PR 252 Lae is OF Cornell Aniversity Library Cornell University Library Aartin Drowhout feulpsit London, WILLIAM SHAKSPERE., THE LEOPOLD SHAKSPERE. The Port's Works, in Chronological Droer, FROM THE TEXT OF PROFESSOR DELIUS, WITH “THE TWO NOBLE KINSMEN” AND “EDWARD IIL,” AND AN INTRODUCTION BY Fy Je°FURNIVALL CORNELLS UNIVERSITY ——X, LIBRARY §llustratea ———<— == CASSELL PETTER & GALPIN: LONDON, PARIS § NEW YORK. )8 i i TO H.R.H. PRINCE LEOPOLD, K.G, D.C.L., his Edition OF SHAKSPERE’S WORKS 1s, BY HIS ROYAL HIGHNESS’S KIND PERMISSION, RESPECTFULLY DEDICATED, CONTENTS. oreo PAGE PREFACE 2 ‘ * aus Vv INTRODUCTION .. wh a vii A CONJECTURAL CHRONOLOGICAL ORDER OF SHAKSPERE’S PLAYS AND POEMS :— Titus ANDRONICUS : " am before 1591 .. ie « 1 Kine HENRY VI.—Part I. es im es ai i ro 1591... a ee 24 _\THE Two GENTLEMEN OF VERONA >» 1591 ‘ ‘ 49 THE COMEDY OF ERRORS ae 1591 70 VENUS AND ADONIS a 1592 88 Kine HENRY VI.—Part II. fi 8 se A ws i 1592. 97 Love’s Lasour’s Lost .. ‘ 7 1592. 125 \}-RomMEO AND JULIET ae. “Gee ots i 1592 149 SONNETS oe bs 3 See Preface. 177 Kine Henry VI.—Part IIL. .. ws . 1598 193 LUCRECE x a a as a ‘i e 1593 . 221 “THE TAMING OF THE SHREW os es oe 28 1594 +. 235 Kine RICHARD III. A ii ts ta ae 38 1594 260 --THE MERCHANT OF VENICE .. a e i ‘ 1595 293 A MIDSUMMER-NIGHT’S DREAM He wie 2s a ve 1595. 0% 317 Kine JoHN .. 2 = er i 5 1596. 338 Kine Ricnuarp II. ae oe his 1595. 361 Kine HENRY IV.—Parrl.... wa i 2 as 1597 386 ALL’S WELL THAT ENDS WELL 5 a ts és .. before 1598 8 a #218 Kine Henry IV.—PartT Il. .. sf ‘ its ee ne #6 rs 1508 ac or 1 438 iv CONTENTS. Tur PASSIONATE PILGRIM ee ADO ABOUT NOTHING See Preface. 7 1599 Kine Henry V. 1599 THE MERRY WIVES OF WINDSOR .. a ‘ ‘ AG ai 1600 THE PH@NIX AND TURTLE See Preface. “~~ TWELFTH-NIGHT: OR, WHAT You WILL ey oe ie 1601 — As You Like It 1601 , HAMLET, PRINCE OF DENMARK 1602 ‘JULIUS CESAR 1603 MEASURE FOR MEASURE “s, 1603 ‘\ OTHELLO, ae Moor OF VENICE 3 ae ‘ ee .. 1604 : A LOVER’s COMPLAINT See Preface. “\ Kine Lear 1601-5 ‘MACBETH 1606 TIMON OF ATHENS .. 1607 ANTONY AND CLEOPATRA 1608 PERICLES 1608 . TROILUS AND CRESSIDA 1609 CORIOLANUS 1609 THE WINTER'S TALE 1610 CYMBELINE 1610-11 THE TEMPEST.. 1611 Kine HENRY VIII. 1613 THE Two NOBLE KINSMEN EDWARD III. PAGE 466 470 495 630 654 680 1012 1037 PREFACE. —— according to a conjectural chronological order supplied most kindly by Professor Delius, of Bonn, expressly for this edition. In reference to this matter the learned professor writes:—% The chief object in these chronological researches or experiments, as I conceive it, cannot be to fix the date of a certain year for each play—and I am very doubtful about my dates in this respect—but to point out the growth and the working of Shakspere’s art and genius in the course of his whole dramatical career. Of course, even this end can only be arrived at to an approxi- mative degree, by combining, as far as possible, an unprejudiced consideration of the inherent characteristics—arrangement of the plot, personification of the character, style, and verse, all varying in Shakspere’s different periods—with an accurate criticism of those outward notices and allusions, either existing or believed to exist, in reference to the most part of Shakspere’s plays. With regard to these allusions which have so frequently and so triumphantly been held up—each generally contradicting and invalidating the latest previous discovery—I confess to an inveterate scepticism; and, unless these allusions were self-evident, I have seldom suffered myself to be influenced by them in my chronological arrangement. In the same way I have, in the progress of my Shaksperean studies, grown rather sceptical about ‘the favourite theory, which I formerly cherished myself, that Shakspere did really at any period of his life re-write a play which he had written before. I am rather inclined now to ascribe all those discrepancies in the text between the first and the second editions of Hamlet, Romeo and Juliet, Henry V., Henry VI. (second and third parts), The Merry Wives of Windsor, merely and exclusively to those anonymous hands that meddled with the first publications of these dramas. I am altogether sceptical, too, about another favourite theory which tries to discover the traces of an anonymous hand, other than Shakspere’s, in his acknowledged plays. Of course, I except Timon of Athens and Pericles as dramas written formerly by another author—probably George Wilkins— and afterwards completed and altered partially by our Poet. I ought to add that I do discover an anonymous hand in the Prologues to Troilus and ‘Cressida and to King Henry VIIT., but nowhere ‘else.” With respect to the chronology of the Poems, the following quotations from Professor vi PREFACE. Delius’s letter on the subject appear to be necessary. “As to the Sonnets, I dare not assign them to a certain year, because they were written at different times, though all in the first period of Shakspere’s poetical career. The whole series of them may range between The Two Gentlemen of Verona and Romeo and Juliet. I think you had best place them with the latter play. A Lover’s Complaint may belong to the end of Shakspere’s second period, or to the third and latest period. So you may place it with Othello. The Passionate Pilgrim can hardly lay claim to a definite place in our chronological order, consisting as it does, for a great part, of poems falsely attributed to our Poet. All that is really Shakspere’s in this fraudulent publication belongs to his first period. The Phenix and Turtle must have been written shortly before its appearance in print (1601).” It has been thought advisable that THe LEOPOLD SHAKSPERE, which aims at being one of the completest editions before the public, should include two plays which are considered by many competent authorities to contain much of Shakspere’s work—namely, The Two Noble Kinsmen and Edward III. The text of the former play has been. specially revised for this edition by Mr. Harold Littledale; and, by the courtesy of Pro- fessor Delius, his text of the latter play has been used, though he wishes it to be most distinctly understood that it is not to be inferred that he regards that historical play as Shakspere’s, for, as a matter of fact, Edward III. is, in his opinion, a pseudo- Shaksperean play. The Editor’s thanks are due to Professor Delius and his publisher, Mr. Friderichs, of Elberfeld, for their express permission to use the text of Delius’s Shakspere; to Mr. F. J. Furnivall for his admirable Introduction and the many useful suggestions he has offered respecting this edition; and to Mr. Harold Littledale for his revision, as already mentioned, of the text of The Two Noble Kinsmen. INTRODUCTION. ee § 1. Shakspere’s county, town, father, and birth, April, 1564. d. The 3 Sunny or Sweet-Time Comedies,? § 2, Shakspere’s boyhood at home and school, p. x. Much Ado (1599-1600), p. liv; As You Like It 3. Shakspere married, p. xiii. (4 Periods of his Life, p. citi.) (1600), p. lvii ; Twelfth-Night (1601), p. lix. Q 4, Shakspere on the road to London (1587 2), p. xiv. e. The Darkening Comedy.! All's Well (1601-2), p. Ix. 5 5. The London of his day referred to, p. xv. 11. Shakspere’s Sonnets (? 192-1608), p. lxili, p. exxiv. 6. The first news of him there (a.p. 1592), p. xvi. 12. The Plays of Shakspere’s Tu1Rp Periop (1601-1608), i 7. The Dates and Order of his Plays, p. xvii. p. lxvii. (General view of them, p. 1xxxv.) a, External evidence, p. xvii. a. The Unfit-Nature or Under-Burden-failing Group. 6. Internal evidence. 1. Allusions, p. xviii; 2. Met- © Julius Cesar (1601), p, lxvii ; Hamlet (1602-3), rical tests,-f. xix. p. 1xix ; Measure for Measure? (? 1603), p. xxiv. § 8. Work of the Second Victorian School of Shak- b. The Tempter-yielding Group. spereans, p. Xx. Othello (? 1604), p. lxxv; Macbeth (1605-6), §9. The Plays and Poems of Shakspere’s First Prriop p. Ixxvii. (21588-1594), p. xxii. (Litus Andr. not Shaksp.’s.) cv, The 1st Ingratitude and Cursing Play: King Lear u. The Comedy of Errors or Mistaken-Identity (1605-6), p. Ixxviii. Group. (See too p, exxiv.) d. The Lust or False-Love Group. Love's Labours Lost (? 1588-9), p. xxii; The Troilus and Cressida (?1606-7), p. 1xxx, p. CXXV; Comedy of Errors (? 1589), p. xxiv ; Midsummer- Antony and Cleopatra (? 1606-7), p. 1xxxji. Night's Dream (? 1590-1), p. xxvi. e The 2nd Ingratitude and Cursing Group. b. Link-play. Coriolunus (? 1607-8), p.1xxxili ; Timon (2 1607- The Two Gentlemen of Verona (? 1590-1), p. xxvii. 8), p. lxxxiv. (Review of the Third-Period ve. The Passion Group. Plays, p. 1xxxv.) Romeo and Juliet (1591-3), p. xxviii; Venus § 13, The Plays of Shakspere’s Fourtu Periop (1609-13). and Adonis (1593), p. xxx; Lucrece (1593-4), All of Re-union, of Reconciliation and Forgiveness, p. xxxiii. (The Passionate Pilgrim (? 1589-99 : a, By Men. pr. 1599), p. xxxv ) Pericles (1608-9), p. Ixxxvii; The Tempest d. The Early Histories. (? 1609-10), p. Ixxxviii. Richard IT, (2 1593), p. xxxvi; 1, 2, 3 Henry VI. b. By Women (mainly). (? 1592-4), p. kxxvii; Richard III. (? 1594), p. Cymbeline (? 1610), p. 1xxxix; The Winter's Tale Xxxix. (1611), p. xei; Henry VIII. (1612-18), p. xcii. §10. The Plays of Shakspere’s Seconp Perron (71595-1601), § 14. The Doubtful Plays. (Sir Thomas More, p. cii.) p. xl. The Two Noble Kinsmen (? 1612-13), part Shak- a. The Life-plea Group : a History and Comedy. spere’s, Pp. xcvi. King John (21595), p. xl; The Merchant of Edward 111, (1594), none of it Shakspere’s, p. e. Venice (? 1596), p. xli. § 15. The few facts of Shakspere’s outward life from 1592 b. A Farce: The Taming of the Shrew (? 1596-7), p. xliv. to his death, April 24 (our May 3), 1616, p. cii. c. The 3 Comedies of Falstaff, with the Trilogy of § 16. Shakspere and his Works, p. exii. Henry IV., V. §17. A Visit to Stratford, p. exvii. [Reprint.] 1 Henry IV. (1596-7), p. xlvii; 2 Henry IV. § 18. Object of this Introduction, p. exvii. (1597-8), p. xlviii; The Merry Wives (1598-9), 19. The best Books for Shakspere Students, p. exxi. p. 1; Henry V. (1599), p. lii. 20. Table of Metre and Dates, p. exxiii. Notes, p. exxiv. birth to Shakpere.4 EAR the centre, the heart, of England, in one of those Midland shires that gave f Britain its standard speech, was the most famous user of that speech, William Shakspere, the world’s greatest poet, born. Stratferd-upon-Avon his birth-town: Warwickshire, famed for its legends of Sir Guy and Rembrun; its castles, Warwick and Kenilworth; its ancient Coventry of Guilds and Mystery-plays; its battle-field of Edgehill’; its Kingmaker, Warwick ; its rolling hills and vales; Stratford-upon-Avon, famous alone as having given The town lies on the river Avon, beyond its tidal flow; and just as the stream reaches the town, it broadens to full treble its wonted width, as if Warwickshire was his county, to mirror duly the elm-ringd church on its bank, and show in full beauty the swans sailing on its surface. Round the town are more or less distant hills, and the view of it from the nearest, 1 The link of Mistaken-Identity or Personation couples all these together. . 2 The prison-scene, where Claudio’s nature fails under the burden of coming death, is the centre of the play. *% After Shakspere’s time. October 23, 1642. See the description in Graphic Illustrations of Warwickshire, pp. 8-9. Warwickshire is also the county of one who is often called England's Shakspere among novelists, George Eliot (Mrs. G. H. Lewes, formerly Miss M. Evans). (N.B. All the dates here are Old Style ones. Add ten days to each for our New Style.) 4 This spelling of our great poet’s name is taken from the only unquestionably genuine signatures of his that we possess, the three on his will, and the two on his Blackfriars conveyance and mortgage. None of these signatures have an e after the &; four have no « after the firste; the fifth I read eere, or ere, The @ and e had their French sounds, which explain the forms ‘‘Shaxper,” &c. Though it has hitherto been too much to ask people to suppose that Shakspere knew viii §1. SHAKSPERE’S BIRTHPLACE AND FATHER. the Welcombe Hills, whose enclosure Shakspere said he was not able to bear, shows the town nestling in the broad valley, a quiet cozy place, now numbering 7,400 inhabitants. It and Henley, not far off to the northward, are described in a Harleian MS. of 1599 as “ good markett townes.” (My Harrison, p. 1xxxviii.) ; The house that Shakspere was born in is not certainly known. In 1552 his father lived in ‘“Hendley Streete,” and was “ presented,” or reported, with Humfrey Reynolds and Adrian Quyney for making a dunghill (sterguinariwm) in the street. In 1575, eleven years after his son William’s birth, he bought the property, afterwards two houses, with gardens and orchards, the left-hand house of which tradition assigns as the poet’s birth- place (in the first-floor room above the porch and below the gable), and which, having been “restored,” and looking outside as if it had been built a week ago, is figured in the cut below. SHAKSPERE’S SUPPOSED BIRTHPLACE (RESTORED). Before its restoration, the left-hand house was used as a butcher’s shop, and the right-hand one, then with brick front, as the “Swan and Maidenhead” Inn. ‘The right-hand house is now a Shakspere Museum of relics, views, books, &c. The interior of the left-hand one has been left untoucht, and the dingy whitewash of the bare supposed birth-room is scribbled all over with names of men, known and unknown, among the former being Byron, Walter Scott, and Alfred Tennyson. Shakspere’s father, John Shakspere (not he of Clifford, or the farmer of Ington Meadow, in Hampton Lucy) was probably the son of Richard Shakspere, farmer, of Snitterfield, three miles from Stratford, a tenant of Robert Arden, whose daughter John Shakspere married. In 1552 we find John Shakspere in Henley Street, helping to make a dunghill, as noticed above; and on June 17, 1556, Thomas Siche brings an action against him—John Shakyspere, glouer},—for £8. Besides gloving, he took up corn-dealing, or farming, as, in 1556, he brings an action against Henry Fyld for 18 quarters of barley, which Fyld unjustly detains. On October 2, 1556, he buys a copyhold house, garden, and croft in Greenhill Street, and a copyhold house and garden in Henley Street. In 1557, on April 10, he was marked, but not sworn, as one of the jury of the court-leet to inquire into and reform local abuses. In 1557 he was made an ale-taster (sworn to look to the assize and goodness of bread, ale, and beer), and was fined 8d. for being away from three courts. Soon after Michaelmas he became a burgess of Stratford, and about the end of 1557 must have married Mary Arden, (youngest daughter of the late Robert Arden, husbandman and landowner, under whose will she took a small property, of about fifty-four acres and a house, called Ashhies, at Wilmecote?2, £6 13s. 4d.,and an interest in two tenements at Snitterfield, and other land at Wilmecote.) how to spell his own name, I hope the demand may not prove too great for the imagination of my readers. The spelling of ‘“Shake-speare” in those quartos that have it, and the poet’s arms of the fluttering bird and spear, evidently arose from the desire to give meaning to the popular (and, in this case perhaps, true) etymology-name, which so suited the conceit- mongers of Elizabeth’s time, (A friend of mine explains Furnivall as Ferny-vale.) An old acquaintance who, as a boy, often came in to Stratford market with his grandmother, from their village near, to sell butter, &e., tells me that his grandfather and all the villagers and Stratford folk used then to pronounce the name ‘Shax-per.” 1 Glou’, with the mark of contraction for er,=* glover.’ 2 Sly’s Wincott ale, Induction to The Shrew. §1. SHAKSPERE’S BAPTISM, APRIL 26, 1564. ix Their first child, Joan, was baptised on September 15, 1558, and probably died soon after. On September 30, 1558—some six weeks before Queen Elizabeth’s accession, on November 17—John Shakspere was one of the jury of the court-leet, and was also elected constable. On October 6, 1559, he was again made constable, and also “‘ afteeror,’ or fixer of the fines not fixt by statute, to be levied for offences against the borough by-laws. In May, 1561, he was again made affeeror ; and, in September, one of the two chamberlains, which office he held for two years. On December 2, 1562, his daughter Margaret was baptised; and on April 30, 1563, she was buried. These years, 1562-3, were bad plague years for London. Stowe says that in the city and neighbouring parishes 20,136 people died of it! Of 1563 he writes (dnnuls, ed. 1605, p. 1,112) :— “Threefola ‘‘ Forsomuch as the plague of pestilence was so hot in the citie of London, there plague to the was no Terme kept at Michaelmasse: to be short, the poore Citizens of London poore Citizens were this yeere plagued with a threefold plague, pestilence, scarcitie of money, and of-London, dearth of victuals: the miserie whereof were too long heere to write: no doubt the poore remember it; the rich, by flight into the countries [= counties], made shift for themselucs. . “An earthquake was in the month of September in diuers places of this realm, Earthquake. gnecially in Lincolne and Northamptonshire. “ Ann. reg. 6. “From the first day of December till the 12, was such continuall lightning and Lightning and thunder, especially the same 12 day at night, that the like had not bene seene nor thunder; heard by any man then liuing.”’ “© 1564. But in 1564 came glad tidings— Peace with “an honorable & ioyfull peace was concluded betwixt the Queenes Maiestie re Pe and the French King, their Kealmes, Dominions, and Subiects, which peace was proclaimed with sound of trumpet before her Maiestie in her Castle of Windleshore [Windsor]. Also the same peace was proclaimed at London on the 13 day of Aprill.”’ pad on the 26th, at Stratford, Wednesday, April 26, the same as our May 6, New Style,—was baptised— “1564, April 26, Gulielmus filius Johannes Shakspere.”’ (William son (of) John Shakspere. ] Well was it for the world that the plague, on its journey northward, spared one house in that pleasant Midland town, and called on the father, not for his baby son’s life, but only ‘towards the releeffe of the poore,” for 12d. on August 30, 6d. on each of September 6 and 27, 8d. on October 20. The plague was rife in Stratford. “From June 30 to December 31, 238 inhabitants, a ninth of the population, are carried to the grave” (Knight). The day of Shakspere’s birth cannot be ascertaind. ‘The inscription on his monument says that he dicd on April 23, 1616, in the 53rd year of his age. Tradition has consequently fixt on April 23 as his birthday ; and of course he may have been rightly said to be in his 58rd year if he became 52 on the day he died. But one may well doubt the probability of his being baptised at three days old, in the absence of any tradition as to his illness then; and if his death-day had been the anni- versary of his birthday, the inscription would most probably have mentiond the coincidence. We leave the brown-eyd boy fora time in his mother’s arms? while we follow his father’s fortunes. In 1564, John Shakspere and his fellow-chamberlain, John Taylor, having left office, gave in their account as “ chamburlens,’’ and in it are the entries, “ Item, payd to Shakspeyre for a pec tymbur, iii.s.,”” and on January 26, 1564-5, “the chamber is found in arrerage, and ys in det unto John Shakspeyre, £1 5s. 8d.” On July 4, 1565, John Shakspere is chosen one of the fourteen aldermen of Stratford. In 1566, on February 15 (8th of Elizabeth 1565-6), “Thaccompt of William Tylor and William Symthe, chamburlens, made by John Shakspeyr,’ is rendered; at Michaelmas, John Shakspere is twice surety for Richard Hathaway; and on October 13, his second son, Gilbert, is baptised. No record of the family occurs in 1567, but at Michaelmas, 1568, John Shakspere was made high bailiff, or mayor, of Stratford for a year. On April 15, 1569, his third daughter, calld Joan after the dead first, was baptised; and as both the Queen’s and the Earl of Worcester’s players performd in the town that year3, perhaps father John took his five-and-a-half-year-old boy Will to see them. On September 5, 1571, John Shakspere was elected for a year chief alderman, which gave him the right to be called Mr.—Master, Magister—and on September 28, his fourth daughter, Anne (who was buried on April 4, 1 It had spread from Newhaven, whither the soldiers from the French war had crowded. : 2 Shakspere’s birth-year was that of Queen Elizabeth’s visit to Cambridge, and of the great frost, the Thames being frozen over, so ‘that, on New-yeares euen, people went ouer and along the Thamis on the ice from London-bridge to Westminster ; some played at foote-ball as boldly there as if it had bene on the dry land . . and the people, both men and women, went on the Thamis in greater number then in any streete of the city of London.” Then came a rapid thaw on January 3, 1565, at night, “ which caused great flouds and high waters, that bare downe bridges and houses, and drowned many people in England, especially in Yorkeshire, Owes bridge was borne away with other.”—Stowe, p. 1,115, Marlowe, too, was born in 1564. . . 3 It is the first recorded performance. Every year after, except two, during Shakspere’s youth, players acted in the town. x §2. THE BOY SHAKSPERE AT HOME AND SCHOOL. 1579), was baptised. Did the young Will wonder, as we did, where the babies came from, and look under the gooseberry-bushes for them; or did he, later on, consult with his brothers and sisters how the youngest baby could most conveniently be made away with? At any rate, the question of his school naturally turns up in 1571, when he became seven!, because boys could not be admitted to the free Stratford Grammar School unless they were seven years old, able to read, and lived in the town. Thomas Hunt, curate of Luddington, the next village down the Avon, was then master of the Grammar School, and he was succeeded by Thomas Jenkins. er § 2. How a school-boy of the time was to dress and behave is told us by Francis Seager in his Schoole of Vertue and booke of good Nourture for chyldren, A.D. 1577, reprinted in my Babees’ Book, Early English Text Society, 1868, pp. 333-345. He was to rise early, put on his clothes, turn up his bed, go down stairs, salute his parents and the family, wash his hands, comb his head, brush his cap and put it on, taking it off when he spoke to any man. Then he was to tie his shirt-collar to his neck, see that his clothes were tidy, fasten his girdle round his waist, rub his hose or breeches, see that his shoes were clean, wipe his nose on a napkin, pare his nails (if need were), clean his ears, wash his teeth, and get his clothes mended if torn. Then take his satchel, books, pen, paper, and ink, and off to school. On the way there, he was to take off his cap and salute the folk he met, giving them the inside of the road; and he was to call his school-fellows. At school he was to salute his master and school-mates, go straight to his place, undo his satchel, take out his books, and learn as hard as he could. After school he was to walk orderly home, “‘Not runnynge on heapes as a swarme of bees, As commonly are vsed in these dayes, of boyes, As at this day Euery man it nowe sees ; As hoopynge and halowynge, as in huntynge the fox, Not vsynge, but refusynge, suche foolyshe toyes That men it hearynge, deryde them with mockes.” The model boy (which I heartily hope Will Shakspere wasn’t) was, on the contrary, not to talk or chatter as he walkt home, or to gape or gaze at every new fangle; but to go soberly, be tree of cap, and full of courtesy; and when he reacht home, he was to bid his fellows farewell, and salute his parents with all reverence. Then he was to wait on his parents at dinner. First, say grace; then make a low curtsey, and say, “ Much good may it do you!” I£ he was big enough, he was then to bring the food to the table, taking care not to fill the dishes too full, so as to spill them on his parents’ clothes or the table-cloth. He was to have spare trenchers and napkins ready in case any guests came in; to see that there was plenty of bread and drink, often empty the voiders into which bones were thrown, and be always ready in case anything was wanted. Then he was to clear away. First, cover the saltcellar, then set a voider—dirty plate-basket —on the table, and put into it all the dirty trenchers and napkins (as forks were not yet in use, and folk ate with their fingers, the napkins would be made very dirty); then sweep the crambs into another voider, and lay a clean trencher before every one; then set on cheese, fruit, biscuits, or carraways, with wine (if there was any), or else ale or beer. When all had finisht, he was to turn in each side of the table-cloth, and fold it up, beginning at the top. That done, spread a clean towel on the table, or if there was not a towel, use the table- cloth; bring the basin and ewer, and when people were ready to wash their greasy hands, pour water on them, but not too much. Then clear—“ voyde’’—the table that all might rise, and, lastly, make a low curtsey to them. The hungry boy is at last free to eat his own dinner; but no, he must “pause a space, for that is a sygne of nourture and grace.’ Then he is to take salt with his knife; to cut his bread, not break it; not to fill his spoon too full of pottage (soup) for fear of spilling it on the cloth, and not to sup his pottage, “or speake to any, his head in the cup;” his knife is to be sharp, to cut his meat neatly; and his mouth is not to be too full when he eats: “Not smackynge thy lyppes, As commonly do hogges, Suche rudenes abhorre, such beastlynes flie, Nor gnawynge the bones, As it were dogges ; At the table behave thy selfe manerly.” He is to keep his fingers clean by wiping them on a napkin; and before he drinks out of the common cup, he is to wipe his mouth, so that, like Chaucer's Prioress, he may leave no grease on the edge. At the table, his tongue is not to walk; he is not to talk, or stuff: “Temper thy tongue and belly alway, For ‘ measure is treasure,’ the prouerbe doth say.” He is not to pick his teeth at the table, or spit too much—‘‘ this rudnes of youth is to be abhorrde.” He is only to laugh moderately, and is to learn as much good manners as he can, for “ Aristotle, the Philosopher, this worthy sayinge writ, then playnge on instrumentes and other vayne pleasure ; That ‘ maners in a chylde are more requisit For vertuous maners 1s a most precious treasurc.’” So our chestnut-haird, fair, brown-eyd, rosy-cheekt boy went to school, and waited on his father 1 [ went to a boarding-school at six-and-a-quarter, and recollect still, jumping with delight when the carriage drove round to take me. But after a quarter's taste of the cane, &c., tears came on going back for the Autumn half. §2. THE BOY SHAKSPERE AT SCHOOL, xi and mother and their guests. Was he like Seager’s model lad, or Jaques’s ‘‘ whining school-boy, with his satchel and shining morning face, creeping like a snail unwillingly to school” ? (As You Like Zt, II. vii. 145-7)!. Did he never, unlike “‘ the blessed sun of heaven, prove a micher [truant?], and eat blackberries? . . .a question to be askt ” (1 Henry IV., U1. iv. 419). Did he not play “ nine- men’s-morris”’ ? (Midswmmer-Night’s Dream, II. ii. 39), and ‘ more sacks to the mill,” ‘+ hide-and-seek”’ (Love's Labours Lost, [V. iii. 78), and other games? like hockey, foot-ball, &c., that Strutt names, and that we playd at school too? Undoubtedly he did; and birds-nested too, I dare say, and joind in May-day, Christmas, and New Year's games; helpt make hay, went to harvest-homes and sheep- shearings (Winter's Tale, IV. iii), fisht (Mauch Ado, III. 1. 26-8), ran out with the harriers (Venus and Adonis, st. 113-118), and loved a dog and horse (Venus and Adonis, st. 44-52, Midsummer- Night's Dream, IV. i. 119; Shrew, Ind. i. 18-81, IL. 45; Richard If., V. v. 78-86; 1 Henry IV., II. i. 7, &e.), as dearly as ever boy in England did. It is good to think of the bright young soul’s boy-life. But in one of those extra-dramatic bits‘, that he occasivnally gives us in his plays, he tells us that in his boy days he did vot hear of goitrous throats and travellers’ lies :— “ Gonzalo. When we were Boys, Whose heads stood in their breasts ? which now we find Who would believe that there were mountaineers Kach putter out of five for ones will bring us Dew-lapp’d like bulls, whose throats had hanging at’em Good warrant of.”—Tempest, IIL, iii, 42-9. Wallets of Hesh? or that there were such men What did Shakspere learn at school? Latin, of course; and notwithstanding bragging Ben Jonson’s sneer of Shakspere’s owning “little Latin and less Greek,” it is clear’ that he must have been well grounded in Latin at least (see Capel on Dr. Farmer's Essay on ‘‘ The Learning of Shakspere,” 1767). On this subject, Mr. Lupton, the editor of Colet, the best authority I know, says :—‘ I think you would be safe in concluding that at such a school as Stratford, about 1570, there would be taught—(1) an‘ A BC book,’ for which a pupil teacher, or ‘ A-B-C-darius,’ is sometimes mentioned as having a salary®; (2) a Catechism in English and Latin, probably Nowell’s; (3) the authorised Latin grammar, i.e., Lilly’s, put out with a proclamation adapted to each king’s reign (I have editions of 1529, 1532, 1655, &c.); (4) some easy Latin construing-book, such as Erasmus’s Colloquies, Corderius’s Colloguies, or Baptista Mantuanus’, and the familiar ‘Cato,’ or Disticha de Moribus, which is often prescribed in Statutes (a copy I have is dated 1558). The Greek grammar, if any, in use at Stratford, would most likely be Clenard’s, i.¢., ‘Institutiones absolutissima in Greecam linguam’ . . . Nicolao Clenardo auctore (my copy is dated 1543).” The treatment of boys at school was sharp®, and Shakspere, no doubt, got whacks on the hands and back with a cane—to say nothing of being bircht over a desk, or hoisted on another boy’s back—for making mistakes, like the rest of us in later time. English, we may be pretty sure, he was not taught; it is now only gradually finding its way into schools. Of some of the university subjects, the trivials,—grammar, “‘logike, rhetorike,—and the quadriuials . . I meane arethmetike, musike, geometrie, and astronomie” (Harrison, 1577-1587, book ii, p. 78, of my edition), I suppose some smattering was given in the grammar-school®, but I know no authority on the point. On September 3, 1572, John Shakspere ceast to be chief alderman of Stratford. On March 11, 1573, his third son, Richard (died February 4, 1612-13), was baptised; and in this year the Earl of Leicester’s players playd at Stratford. In 1574 the Earl of Warwick’s and the Earl of Worce8ter's players both acted at Stratford. In 1575, as the record of the fine levied on the purchase shows, John Shakspere bought the traditional birthplace of the poet (both houses), with its garden and orchard, for £40. And in the July of that year he may have taken his boy Will to see some of the festivities that went on at the fine red-stone Kenilworth Castle, twelve miles off, at the entertainment 1 Compare, too, Gremio’s “As willingly-as e’er I came from school” in The Shrew, III. ii. 149; Romeo and Juliet, II..ii, 156-7 -— ' “Love goes towards love, as school-boys from their books, But love from love, toward school with heavy looks,” &c. 2 Mr. W. Watkins Old, of Monmouth, says he remembers the word in this sense in Devonshire, while in Monmouth- shire the poor people still call blackberries mwehes ; to pick them is to mwceh; and the pickers are mwchers. Can the words be connected with micher ? ee : 3 The exercises for boys that Mulcaster, the Head-Master of Merchant Tailors’ School, set up 1561, treats in his Positions, 1581, are, indoors: dancing, wrestling, fencing, the top and scourge @vhiptop) ; outdoor: walking, running, leaping, swimming, riding, hunting, shooting, and playing at the ball—handball, tennis, football, armball. 4 Some one should collect them. ‘ 5 Travellers in Shakspere's time, like Fynes Moryson, &c., before starting on their travels, lent money to merchants, on condition of losing it if they did not return, or receiviug three or five times its amount if they got home safe. 6 “T have a transcript of an ‘A B C Book’ from the Grenville Library, which I suppose to be of the latter part of Henry VIII.’s time.—T L.” 7 Shakspere quotes him in his first play, Love's Labours Lost. 8 See Ascham's Schoolmaster, &c., and my Babees' Book Forewords. , J ; 9 If schoolmasters know a thing, they generally teach it. It is only their ignorance of English historically, and science, which has so long kept these subjects out of schools. xii §2. SHAKSPERE AS A LAD. §3. SHAKSPERE IN LOVE. Leicester gave Queen Elizabeth, from Saturday, July 9, to Wednesday, July 27. Shakspere’s lines in Midsummer-Night’s Dream, I. ii. 90-95, describe a somewhat like scene to that of Triton on a swimming mermaid, and Arion on a dolphin’s back, at Kenilworth, on Monday, July 18; and the rough Coventrymen’s play of the repulse of a Danish invasion, partly by English women (acted partly on Sunday, July 17, and fully on Tuesday, July 19), may have been the poet’s first hint of historical plays. This play had been acted yearly at Coventry, but was ‘“noow of late laid dooun; they knu no cauz why, onless it wear by the zeal of certain theyr preacherz: men very commendabl for their behauiour and learning, sweet in their sermons, but sumwhat too sour in preaching awey their pastime. ’”’} ; ‘ In 1577 troubles begin to come on John Shakspere. He does not attend regularly the meetings of the corporation? and instead of paying, like other aldermen, 6s. 8d. “‘towardes the furniture of thre pikemen, ij billmen, and one archer,” he is let off with 3s. 4d. On October 15 he and his wife sell their interest in her property at Snitterfield, to Robert Webbe; and on November 14, they mortgage her Ashbies property, at Wilmecote, to Edmund Lambert for £40, a mortgage which they never redeem*, In the list of debts annext to the will of Roger Sadler, a baker at Stratford, dated also November 14, 1578, is “Item of Edmonde Lambarte and. Cornishe, for the debte of Mr. John Shaksper, v.di..". On November 19, when every alderman is orderd to pay fourpence a week for the relief of the poor, John Shakspere is let off, he shall “not be taxed to paye anythynge.”’ In 1579 John Shakspere is returnd as a defaulter for not paying his year’s 3s. 4d. for pike and billmen (see above). On July 4 his daughter Anne (born September 28, 1571) is buried, and he pays “ for the bell and pall for Mr. Shakspers dawghter, viijd.,” seemingly 4d. for the bell, and 4d. for the pall. The same year, the players of both Lord Strange and the Countess of Essex play in the Guildhall at Stratford, as do Lord Derby’s players in 1580. On May 3, 1580, Edmund, son to Mr. John Shakspere is baptised; and John Shakspere, of Stratford-upon-Avon, in the hundred of Barlichway, is enterd in “A Book of the Names and Dwelling-Places of the Gentlemen and Freeholders of the County of Warwick, 1580.” It is probable that Shakspere left school at the age of from fourteen to sixteen. Of what he did when he left, there is no evidence. A Mr. Buston’s report, by Aubrey, is, that Shakspere “understode Latine pretty well, for he had been in his younger yeares a schoolmaster in the countrey ”—possibly the A-B-C-darius, or pupil-teacher, that Mr. Lupton speaks of above. A Mr. Dowdall writes, in 1693, that the old clerk of Stratford Church, then above eighty, “says that this Shakespear was formerly in this towne bound apprentice to a butcher, but that he run from his master to London.’ Another tradition says that he was an attorney’s clerk; and that he was so at one time of his life, I, as a lawyer, have no doubt. Of the details of no profession does he show such an intimate acquaintance as he does of law. The other books in imitation of Lord Campbell’s prove it to any one who knows enough law to be able to judge. ‘They are just jokes; and Shakspere’s knowledge of insanity was not got in a doctor's shop, though his law was (I believe) in a lawyer’s office. Shakspere, and his life as a Stratford lad, must be left to the fancy of every reader. My own notion of him is hinted at above (pp. x, xi). Taking the boy to be the father of the man, I see a square-built yet lithe and active fellow‘, with ruddy cheeks, hazel eyes, and auburn hair§, as full of life as an egg is full of meat, impulsive, inquiring, sympathetic; up to any fun or daring; into scrapes, and out of them with a laugh; making love to all the girls; a favourite wherever he goes—even with the prigs and fools he mocks ;—untroubled as yet with Hamlet doubts; but in many a quiet time communing with the beauty of earth and sky around him, with the thoughts of men of old in books®; throwing himself with all his heart into all he does. § 3. Of course, every impulsive young fellow falls in love; and, of course, the girl he does it with is older than himself. Who is there of us that has not gone through the process, probably many times? Young stupids we were, no doubt: so was Shakspere. But, unluckily, he went further; and one day near Michaelmas, 1582, he of eighteen-and-a-half, and his Anne Hathaway of twenty-six? 1 Laneham, p. 27 of my edition for the Ballad Society, in which a sketch is given of all Captain Cox's (or Laneham's) books. Laneham’s coxcombical racy letter should be read, and also the poet George Gascoigne’s Brief Rehearsal of what was done at this time at Kenilworth. 2 On the possible, though doubtful note by Dethick, garter king-at-arms—at whose rooms the first Society of Antiquaries met (see my Francis Thynne's Animadversions, p. 93)—that in 1576 Clarence Cooke trickt John Shakspere’s arms for him, see Dyce’s note 27, p. 21 of his Shakspere, 1866. 3 See my letter of October 24, 1876, in The Academy. 4 I believe the “lame” and ‘lameness” of Sonnets 37 and 89, to be purely metaphorical. In 89, the contrast is between what is not, (the lameness) and what the friend’s wish would create. 5 These are the colours on the bust in Stratford Church. 6 I don’t press the books point, except they were story-books, such as then existed. 7 She died ‘‘the 6th day of August, 1623, being of the age of 67 yeares” (so, born in 1556, eight years before Shakspere), says the brass plate over her grave in Stratford Church. §3. SHAKSPERE MARRIED. xiii “read no more.” ‘Thcir marriage became necessary. The bond to the bishop's officials, to enable the marriage to take place after once asking of the banns!, was dated November 28, 1582; and their baby, Susanna, was baptised on May 26, 1583. Such things were common enough then, as they have been since, especially in country life; and I don’t think this one is helpt by supposing a public betrothment of William and Anne beforehand in the presence of friends?, I doubt John Shakspere, or any other father, being likely to consent formally to the pledging of his boy of eighteen-and-a-half, when both he and his boy were poor, to a woman of twenty-six, who was poor too, unless the case was one of necessity. A father would be much more likely to tell his boy not to make a young fool of himself in that way. When or where this marriage was solemnised we do not know. Anne Hathaway was most probably one of the daughters of Richard Hathaway, husbandman, of Shottery, a little village within a mile of Stratford, where his thatcht cottage, tenanted in part by one of his supposed descendants, Mrs. Baker, is still to be seen—a pleasant body Mrs. Baker is, and pleasant is the walk across the fields to her cottage. Still, Anne is not mentiond in Richard Hathaway’s will ®. What Shakspere had to keep himself, his wife, and baby on, is not recorded; but he probably livd at Stratford, for there his twins, Hamnet and Judith—probably named after Hamnet Sadler (possibly a baker) and Judith his wife—were baptised on February 2, 1585 (1584-5). Here, then, is our young poet, not twenty-one, yet with three children, and a wife eight years older than himself, pretty well weighted for his run through life. Was his early married life a happy one? I doubt it. Look at the probabilities of the case, and at the way in which Shakspere dwells on the evils of a wife’s jealousy* in his second—some folk say his first—play, The Comedy of Errors, V. i. 69-86, and on the doctrine that men “are masters to their females, and their lords.” I suspect that the Abbess and Luciana represent their creator’s then opinion on these points, while Adriana speaks his wife’s*. If so, this would be one cause to lead Shakspere to seek his fortunes elsewhere. ‘The need of winning money and fame would be another. And tradition gives us a third: that Shakspere joind some wild young fellows in breaking into Sir Thomas Lucy’s park at Charlecote, about three miles from Stratford, and stealing his deer, for which, and for writing an impossibly bad ballad against Sir Thomas, the latter so persecuted the poet that he had to leave Stratford. The lawfulness of poaching was, even in my young days, strongly impresst on the country mind, and no doubt Stratford folk held Andrew Boorde’s opinion of venison, “I am sure it is a lordes dysshe, and IJ am sure it is good for an Englysshe man, for it doth anymate hym to be as he is, whiche is, strong and hardy 6.” And one would expect Shakspere to have a hand in any fun that was going on. But all is uncertain. The objection that Charlecote was not a park till Charles II.’s reign is of little avail, because Rathgeb notes that deer were kept here in woods as well as parks (my Harrison, p. 82), and that the Lucys had deer is pretty clear, because Sir Thomas's son sent Lord Ellesmere a buck in 1602. Anyway, it is generally supposed, though 1 The wording of the Condition of the Bond is awkward: ‘if the said William Shagspere do not proceed to solemnisacion of marriadg with the said Ann Hathwey without the consent of hir friendes,” &c., then the bond is to be void. The words did not bind Shakspere to marry Anne Hathaway, but only secured that if he married her, her friends should consent to it, and so clear the bishop, Of course, when she and the boy had got into their mess, her mother and father would consent to the marriage. 2 4 form of betrothal, with long explanations about it, for those who desire to ‘marry in the Lord,” is containd in A Godly Form of Household Government, 1598, &c., by R[obert] C[leaver], 4411, df. Brit. Mus. The consent of the parents and the couple being given, ‘the parties are to be betrothed and affianced in these words, or such like :— “T, N., do willingly promise to marry thee, N., if God will, and I live, whensoeuver our parents shall thinke good and meet ; til which time I take thee for my onely betrothed wife, & thereto plight thee my troth. In the name of the Futher, the Sonne, and the Holy Ghost: So bee it.” “The same is to bee done by the woman, the name only chaunged, and all in the presence of the Parents, kinsfolkes, and friends.” And among the things that the betrotht couple were to be publicly admonisht after the ceremony, was, that they were ‘to abstaine from the vse of marriage, and to behaue themselves wisely, chastly, lovingly,and soberly till the day avpointed do come.” And this ‘“ Because the Lord would by this meanes make a difference betwixt bruite beastes and men, and betwixt the Prophane and his children. For they, enen as beastes, do after a heastlike manner, beeing led by a naturall instinct and motion, fall togither : but God will haue this difference, whereby his children should bee seuered from that brutish manner, in that they should haue a certaine distance of time betweene the knitting of affection, and the enioying one of another, and a more neere ioyning of one vnto another.”—Pp. 137-138. See longer extracts in my letter in The Academy, November, 1876. 3 He was buried at Stratford on September 7, 1581. — d 4 “The presence of termagant or shrewish women” is Prof. Dowden’s 11th characteristic of Shakspere’s early plays. i gt His Mind and Art, p.59.) See Gervinus too, p. 137. The “ What is wedlock forced but a hell, an age of iscord and continual strife?” of 1 Henry VI., V. v. 62-63, is almost certainly not Shakspere’s. : ee 5 Mr. and Mrs. Geoffrey Chaucer were probably of like minds. Chaucer would hear more than once of Miss Cecilia Champaigne. « a Ha aces on, ‘But I do aduertyse euery man, for all my wordes, not to kylle and so to eate of it, excepte it be lawfully, for it isa meate for great men. And great men do not set so moch by the meate, as they do by the pastyme of killyng of it.”—P. 275 of my edition. That deer-stealing was a regular amusement of wild young fellows in Shakspere’s time, see the extracts in Halliwell’s Folio Shakspere, vol, i xiv §4. SHAKSPERE ON HIS ROAD TO LONDON. without any sure ground, that Shakspere left Stratford in or about 1586. As we havo no tidings of Chaucer for seven years, from his ransom for £16 from France in the spring of 1360, till 1367, so we have no tidings of Shakspere from the baptism of his twins in February, 1585, till 1592, when he is successful enough as actor and author in London to be sneerd at in Greene’s posthumous Groatsworth of Wit. I say no tidings, though we have, in a record of his fathcr’s action in the Queen’s Bench for £30 against John Lambert, the son of the mortgagee of the Ashbics property (p. xii, above), John Shakspere’s Statement, in 1589, first, that John Lambert agreed, on September 26, 1587, to pay him £20 if he, John Shakspere, his wife, and son William, would confirm the Ashbies property to Lambert; second, that he, Juhn Shakspere, and his wife, and son William had alwavs been ready so to contirm the property, but that John Lambert had never paid the £20. (Z[alliwell’s Lllustrations, Part I., end.) We must now hark back a bit. By 1586 John Shakspere’s money troubles had increast. On June 19 the return made to a writ to distrain goods on his land was, that he had nothing which could be distraind; so a writ to take his person was issued on February 16, and again on March 2. He was also deprivd of his aldermanship on September 6, because ‘‘Mr. Wheler .. . and Mr. Shaxpere dothe not come to the halles when they be warned, nor hathe not done of long tyme.” On March 29, 1587, John Shakspere produced a writ of habeas corpus in the Stratford Court of Record, which eee he had been in custody or prison, probably for debt, and, as he would urge, put there illegally. § 4. His father being thus in fresh difficulties, and Shakspere himself probably not prosperous. Burbage’s company, ‘‘The Queen’s Players,’ the company with which Shakspere is always connected, came for the first time to Stratford, in 1587. And this was probably the turning- point in Shakspere’s life. At any rate, sooner or later he left his birth-town for London, and took the way to fame and fortune. Two roads lay before him for his journey, one over Edge Hill, through Drayton, Banbury, Buckingham, Aylesbury, Amersham, Uxbridge—the road engravd by Ugilby in 1675'—the other by Shipston, Long Compton?, Woodstock, Oxford, High Wycombe, Beaconsfield, and Uxbridge. Perchance Shakspere took the latter?, over lias and oolite at first, to see the town that Hentzner describes in 1598 as “ Oxford, the famed Athens of England ; that glorious seminary of learning and wisdom; whence religion, politeness and letters are abundantly dis- persed into all parts of the kingdom!,” the sight of which must have filled the young poet's heart with delight. No doubt he wisht that he could then, in 1587, have been taking his M.A. degree there, as his only rival, then unknown to him, Christopher Marlowe, the Canterbury-shoemaker’s son, was taking his M.A. at Cambridge. Over the Chiltern Hills, the Wycombe chalk—whose fair downs and woods elsewhere bound Thames stream from Hedsor to past Pangbourne—he’d descend to London elay, and from Uxbridge pass thro’ my old school-village, Hanwell, to Ealing, Shepherd’s Bush, and so to London thro’ New Gate, leaving on his left, St. John’s Wood, where in Crowley’s day, 1542, and long after, were foxes for my Lord Mayor to hunt. On his road up, William Shakspere would take his case in his inn®, whether he walkt or rode; for, says Harrison, ed. 1587, bk. 3, ch. 16, p. 246, col. 2:— “Those townes that we call thorowfaires haue great and sumptuous innes builded in them, for the receiuing of such trauellers and strangers as passe to and fro. The manner of harbouring wherein, is not like to that of some other countries, in which the host or goodman of the house dooth chalenge a lordlie authoritie ouer his ghests, but cleane otherwise, sith euerie man may vse his inne as his owne house in England, and haue for his monie how great or little varietie of vittels, and what other seruice, himselfe shall thinke expedient to call for. Our innes are also verie well furnished with naperie, bedding, and tapisterie, especiallie with naperie: for, beside the linnen vsed at the tables, which is commonlie washed dailie, is such and so much as belongeth vnto the estate and calling of the ghest. Ech commer is sure to lie in cleane sheets, wherein no man hath beene lodged since they came from the landresse, or out of the water wherein they were last washed. If the traueller haue an horsse, his bed dooth cost him nothing; but if he go on foot, he is sure to paie a penie for the same: but whether he be horsseman or 1 It is also given as the London road in England Displayed, 1769. 2 Over a fine stretch of highish land, part of the way, says Mr. Wheatley. The Graphic Illustrations, p. 6, says of this part of the county : “‘Its hills are chiefly in the south, and although of slight elevation, open up scenes of much beauty. On the extreme border is Long Compton Hill, affording an extensive prospect ; and in a field not far off, adjoin- ing the read to Oxford, which passes over this hill, are the celebrated Rollich or Rollright Stones. These stones are disposed in a circular form, and appear to have been originally sixty in number. . . . There can... be little doubt that... they are the remains of a Druid temple”—notwithstanding the legend that they're the bodies of a Danish invading Prince and his followers, turned into stone by a British fairy, as the names of ‘‘ the King’s Stone” and ‘‘the Whispering Knights” still bear witness. 3 See my friend Mr. Hales’s paper on it, in The Cornhill Magazine, January,1877. My notes are independent ones. 4 My Harrison, p. \xxxvii. See too p. lxxiii. 5 The earliest use of the phrase I know, is in The Pilgrim’s Tale, ab. 1537, in my Thynne’s Animadversions, p. 77. a Fy §5. THE LONDON SHAKSPERE CAME TO. XV footman, if his chamber be once appointed, he may carie the kaie with him, as of his owne house, so long as he lodgeth there.” ! Pain would also go armd, for he would be liable to meet suspicious-looking fellows base ae aren says, p. 283 of my edition—‘‘the excessiue staues which diverse that 1 na wee e waie doo carrie vpon their shoulders, whereof some are twelue or thirteene foote te » beside the pike of twelue inches: but as they are commonlie suspected of honest men 0 be theeues and robbers, or at the leastwise scarse true men which beare them; so by reason of this and the like suspicious weapons, the honest traueller is now inforced to ride with a case of dags [pistols] at his sadle bow, or with some pretie short snapper, whereby he may deale with them further off in his owne defense, before he come within the danger of these weapons. Finallie, no man trauclleth by the waie without his sword, or some such weapon, with vs; except the minister, who commonlie weareth none at all, vnlesse it be a dagger or hanger at his side. Seldom also are they or anie other waifaring men robbed, without the consent of the chamberleine, tapster, or ostler where they bait and lic, who, feeling at their alighting whether their capcases or budgets be of anie weight or not, by taking them downe from their sadles, or otherwise see their store in drawing of their purses, do by and by giue intimation to some one or other attendant dailie in the yard or house, or dwelling hard by, vpon such matches, whether the preie be worth the following or no.” Probably Shakspere on his first journey would not be worth robbing. His read would no doubt be a fair one to travel on, except perhaps on the Oxford and London clays. His Garmombles of Lhe Merry Wives*—Count Mimpelgart—drove from London to Oxford, 47 miles, in August, 1592, in a day and a half, which means good roads for the lumbering coaches and posthorscs of the day, or even for riding, when out ona tour. His secretary thus describes the country :— “Between London and Oxford the country is in some places very fertile, in others very boggy and mossy; and such immense numbers of sheep are bred on it round about that it is astonishing. There is besides a superabundance of fine oxen and other good cattle.”—Rye, England as scen by Foreigners in the Days of Elizabeth and James I., p. 30. § 5. For the look of the London that Shakspere came to, I must refer my readers to the plans * and views publisht and to be publisht in my Harrison for the New Shakspere Society, from Norden’s Middlesex—with Mr. Wheatley’s Notes on them—and the Sieur de la Serre’s account of the visit of Marie de Medicis to England in 16385, &c. Small as the city was when compard to its present size—say half as big again as the City proper, within the walls, with a belt of houses down the Strand to Westminster, and another on Bankside, Southwark—it was still to then visitors ‘lovely London,” as the Scottish poet Dunbar calld it; and its one bridge across the Thames, with its rows of houses on each side, was one of the wonders of the world. For the society, the gracious accomplisht ladies of the Court, and the jealous pushing courtiers, one turns to Spenser’s Colm Clout’s come home again, to Harrison (pp. 271-2), and the like character books. For the charming women “and by nature so mighty pretty, as I have scarcely ever beheld,” to Kiechel, in Mr. Rye’s #ngland, p. 7, or my Harrison, p. lxii., &c., and to almost every Elizabethan dramatist, who but turns his lovely countrywomen into the glorious creations of his plays. The cheery working-men too, ‘“‘so merie without malice, and plaine without inward Italian or French craft and subtiltie, that it would doo a man good to be in companie among them,” are in Harrison as well, p. 151, with sketches of all other classes, and accounts of the wonderful increase, in Shakspere’s days, in the wealth and well-being of his countrymen. But of course there was a dark side to the bright picture; and the Puritans like Stubbes®, Northbrooke’, Gosson’, the satirists like Dekker (Gull’s Hornbook), bring this dark side into view with terrible distinctness, show in their filth and grime all the vices and follies of the time, and especially paint the players as black as the devil himself is—by report—and tint their audiences but one shade lighter. Full of interest these one- sided books are, but we must not let them blind us to the new life in the land in fair Eliza’s time, and to the nobleness and daring of the Sidneys, the Grenvilles, the Raleighs, the men like-minded in all ranks, ready for adventure, ready for death, who’d hold their own against the world. Into a society thus mixt, soon to be stirrd to its depths by the approach of the Armada in 1588, did Shakspere come. 1 See also the interesting extract from Fynes Moryson, A.D. 1617, in my Harrison, p. Ixx., and the rest of Harrison's bk. 3, ch. 16, ed. 1587, as to the ostler and chamberlain (waiter) being in league with the highway robbers. 2 “Gadshill. I am joined with no foot land-rakers, no long-staff sixpenny strikers.”—1 Henry IV., II. i. 76. 8 So-called in the imperfect Quarto ; see the comment on the play below. + The plan of London in 1593 was also published in The Graphic of October 21, 1876, from our plate. See too the Soc. of Antiquaries’ engraving of the Provession of Edward VI., thro’ the City on the day before his Coronation ; and Agas’s Map of London. 5 This has been reprinted for the New Shaksp. Soc., by the heliogravwre process (Dujardin's. Paris), and will be issued in my Harrison, Part Il. It is a most interesting view of the north side of Cheapside, in holiday finery. 6 See my edition New Shaksp. Soc. 1876-7 ; also my Tell Troth volume, and Stafford; R. C.’s Time's Whistle in the Early English Text Society, &c. 7 In the old Shakespeare Society. xvi § 6. FIRST NEWS OF SHAKSPERE IN LONDON. § 6. How? As astranger to be honourd, welcomd, and kisst by “ girls with angels’ faces”? ?} Or poor and despis’d, to pick up his first pence by holding men’s horses at the theatre-doors, as one tra- dition sayshe did?* The play-house with which tradition connects him was called “‘The Theatre,” and was built by a player and joiner, James Burbage, in 1577, in the fields outside the City Walls’, on the west of Bishopsgate Street, near the site of the present Standard Theatre in Shoreditch. In 1598 it was pulld down, and in 1599 rebuilt as ‘* The Globe,’ on Bankside, Southwark.4 Whether employd at “The Theatre,” or ‘‘‘The Curtaine ” close by (first noticed in 1577), or any of the ‘‘ other suche lyke places besides,” of which Northbrooke speaks in 1577-8, or “the theaters” of which Harrison said in 15738, “It is an euident token of a wicked time when plaiers were so riche that they can build suche houses,” it is clear from Robert Greene’s posthumous Groatsworth of Wit in 1592* that Shakspere was then known, and well known, as both actor and author, though we have no direct evidence of his being a member of Burbage’s, or the Lord Chamberlain’s, Company till Christmas, 1593. In the accounts of the Treasurer of the Chamber, containing this evidence, Shakspere’s name occurs atter that of Kempe the comedian, and before that of Richard Burbage the great tragedian.® What then had Shakspere written by 1592 to move the wrath of the dying and deserted Greene? Certainly, say some critics, The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixt, §e., printed in 1595, a play enlargd by Shakspere and others into The Third Part of Henry the Sixt, first printed in the First Folio of 1628. In both plays occurs the line below quoted by Greene, with the change of serpents (Tr. Trag.) to womans (Folio) : “Oh Tygers hart wrapt in a womans hide! To bid the father wipe his eies withall, How couldst thou draine the life bloud of the childe And yet be seene to beare a womans face?” the lines being spoken by York to the tigrish Queen Margaret. I however am strongly of opinion that neither the line above, nor York’s speech in which it occurs, is Shakspere’s; and I suspect that the parts of 2 & 3 Henry TJ. written by him are of a later date than 1592. Greene’s quotation of a line by Marlowe, from a speech with an adage in which he may himself have had a hand, and from a play which the two had written together—with 1 Erasmus: he also says, ‘‘ Besides, there is a custom here never to be sufficiently commended. Wherever you come, you are receivd with a kiss by all; when you take your leave, you are disinisst with kisses; you return, kisses are repeated. They come to visit you, kisses again; they leave you, you kiss them all round. Should they meet you anywhere, kisses in abundance; in fine, wherever you move, there is nothing but kisses.”—Harrison, p. 1xi.; and see p. lxii. 2 The authority for it is the poet Pope: he heard it from Rowe, who was told by Betterton the actor, and he by Sir Wm. Davenant the actor, who is reported tu have said he was Shakspere’s bastard by Mrs. Davenant, the Oxford-inn landlady. The story is told in Cibber’s Lives of the Poets, 1753, vol. i., p. 130, and in Johnson's Prolegomena to Shake- speare, 1765. The latter says, ‘‘ When Shakespear fled to London from the terror of a criminal prosecution, his first expedient was to wait at the door of the playhouse, and hold the horses of those who had no servants, that they night be ready again after the performance. In this office he became so conspicuous for his care and readiness, that in a short time every man as he alighted called for Will. Shakespear, and scarcely any other waiter was trusted with a horse while Will. Shakespear could be had. This was the first dawn of better fortune. Shakespear, finding more horses put into his hand than he could hold, hired boys to wait under his inspection, who, when Will. Shakespear was summoned, were immediately to present themselves, J am Shakespear's boy, sir. In time, Shakespear found higher employment : but as long as the practice of riding to the playhouse continued, the waiters that held the horses retained the appellation of Shakespear's boys.” I am willing to accept the tradition, for it harmonises with Greene’s Johannes fac totum. I believe in life and go as the essence of young Shakspere. He'd have wiped boots with a shoe-clout, cleand a horse, commanded the channel-fleet, the army, or the nation, or written a sermon for any Romanist or Puritan, to say nothing of poems and plays for young nobles and the stage. Another tradition is given ina letter, dated 1693, from a man named Dowdall to Mr. Edward Southwell, which says that the parish clerk of Stratford, who showd Dowdall the church, and was above 80 years old, told him that Shakspere was bound apprentice to a butcher, and ran from his master to London, where he was taken into the theatre as a servitor. But the apprentice part of this tradition is inconsistent with Shakspere’s fatherhood of three children at 21 years old. 3 Builders of theatres put them outside the Walls to prevent their being shut by order of the City authorities or Proclamation, whenever there came a panic about infection or plague, harm to morality, &c. + A hundred yards or so west of the Surrey toot of London Bridge. Globe Alley is still by the Brewery there, I am told, as Playhouse-yard is by The Times printing-office in Blackfriars, where the theatre once was. 5 ‘* Base minded men all three of you [Marlowe, Nash, Peele], if by my miserie ye bee not warned : for vnto none of you (like me) sought those burres to cleaue: those Puppits (I meane) that speake ‘from our mouths, those Anticks arnisht in our colours, Is it not strange that I, to whome they all haue been beholding, shall (were ye in that case that am now) be both at once of them forsaken? Yes, trust them not: for there is an upstart crow, beautified with our feathers, that with his Tygers heart wrapt in a Players hide, supposes he is as well able to bumbast out a blanke verse as the hest of you: and being an absolute Johannes fac totum, is in his owne conceit the only Shake-scene in a countrie,”"— Allusion-Books, New. Sh. Soc., p. 30. We must not suppose that Greene's bitter words fairly represent Shakspere’s character. Henry Chettle, who put forth the Groatsworth after Greene’s death, says, evidently of Shakspere, in his own, Kindharts Dreame (p. 38, lines 18-17, New. Sh. Soce.’s Allusion-Books, 1874) :—‘‘ My selfe haue seene his demeanor no lesse ciuill than he exelent in the qualitie he professes. Besides, diuers of worship haue reported his vprightnes of dealing, which argues his honesty, and his facetious grace in writing, that aprooues his Art.” 6 «To William Kempe, William Shakesyeare and Richarde Burbage, seruauntes to the Lord Chamberleyne, vpon the councelles warrant, dated at Whitehall xvtu. Marcij 1594, for twoe seuerall Comedies or Enterludes shewed by them before her majestie in Christmas tyme laste paste, viz.: St. Stephens daye and Innocentes daye, xiijli, vjs, viijd, and by waye of her majesties Rewarde vjli, x1ij, iiija, in all, xx ),"—Halliwell’s Illustrations, p. 31. - \ §7. SHAKSPERE’S DATED PLAYS. xvii others’ help ?—would sufficiently point the shaft aimd at Shakspere, without necessarily implying his part-authorship or revision of Zhe True Tragedie at that time. But this matter raises the question of the dates and order of Shakspere’s Plays. § 7. It is a question that has not been yet enough attended to in England, involving, as it does, the cure of the great defect of the English school of Shakspercans, their neglect to study Shakspere as a whole. They have too much lookt on his works as a conglomerate of isolated plays, without order or succession, bound together only by his name, and the covers of the volume that containd them. Whereas the first necessity is to regard Shakspere as a whole, his works as a living organism, each a member of one created unity, the whole a tree of healing and of comfort to the nations, a growth from small beginnings to mighty ends, the successive shoots of one great mind, which can never be seen in its full glory of leaf, and blossom, and frut, unless it be viewd in its oneness. Certain it is that no one work of Shakspere’s, or any other man’s, can be rightly and fully valued and understood, unless it is set by his other works, and its relation to them made out, the progress of his mind up to that point followd, and the advance of it afterwards ascertaind. This process can alone enable the student to get the full yield out of the play or the author he studies; while it gives him quite a new interest in the author’s works, by the light it casts on the history of that author's mind. The getting Shakspere’s Plays into the nearest possible approach to their right order of writing, is thus a matter of first importance to all students of our great poet. The evidence for this order is twofold, from without, and from within. § 7a. That from without, consists (1) of entries of Poems and Plays, before or on publication, by publishers, in the Registers of the Stationers’ Company founded by Queen Anne, of which the book-entries from 1554 to 1640 are incourse of printing by Mr. E. Arber: the 4th and last volume will be finisht early in 1877. (2.) The publications of the Poems and Plays. (3.) Allusions in contemporary books, diaries, letters, &c. These give the date at which the poem or play must have been in existence, though it may have been written long before. Nos. 1 and 2, the Stationers’ Registers, and publication, date sufficiently for us two Poems, and six plays, all printed in Shakspere’s lifetime except As You Like It, which, tho’ not expressly dated 1600, is in such a place in the Stat. Reg. that no other year than 1600 can be meant. See gArber’s Transcript, iti. 371:— ‘enterd - Venus and Adonis 1593; Lucrece 1594; 1 Hen. IV. 1597; Much Ado 1600; publisht ot 1393 ; y» oS 5 1598; Fr ——; enterd - Hamlet - - - 1602; Lear 1607: mentioning 1606; Pericles - 1608; publisht » - + 1603 & 1604; » 1608; if 1609.2 No. 3, Allusions in contemporary books, &c., date for us four Plays: Julius Cesar, 1601; Twelfth-Night, February, 1602; Winter's Tale, 1611; Henry VIII., 1613. The authorities are as follows :—Weever’s Mirror of Martyrs, 1601, for Julius Cesar: “The many-headed multitude were drawne When eloquent Mark Antonie had showne By Brutus’ speech, that Czesar was ambitious ; : His vertues, who but Brutus then was vicious?” There is no such scene in Plutarch’s Life of Cesar, which was Shakspere’s original, so that no doubt Weever alluded to Shakspere’s play. Manningham’s Diary (Camden Society, 1868, ed. J. Bruce, p. 18: Manningham was a ‘barrister of the Middle Temple) for Twelfth-Night :— “Feb. 2, 1601{-2]. “ At our feast, wee had a play called Twelve Night, or What You Will. Much like the Comedy of Errors, or Menechmi in Plautus; but most like and neere to that in Italian called Inganni. A good practise in it to make the steward beleive his lady widowe was in love with him, by T “4 Augusti” [1600]. The year is fixed by the subsequent entries [of Henry V.] at p. 169, and [Much Adoand 2 Hen. IV.] atp. 170. ‘As you like yt | a booke. Henry the Fift | a booke. very man in his humour | a booke. The comedie of muche a doo about nothing | a booke.” 2 The other dates of publication (and entry) are as follows. All are starrd to imply that the works they date were written earlier, and my conjecturd dates tollow :— 1593-4. Titus Andronicus (? Shakspere's) (? ) * 1600. 2 Henry IV. (2 1597-8) 1594, A Shrew, the basis of T’he Shrew) 1 bef. * 1600. Henry V. - - 1599 1594, Contention, the basis of 2 Hen. VI.) M96 * 1600. Mids. Night’s Dream - - (? 1590-2) 1595. True Tragedy, the basis of 3 Hen. VI.) j * 1600. Merch. of Venice (entd. 1598) ? 1596) * 1597. Romeo and Juliet (? 1591-3 * 1602. Merry Wives (entd. 1601) - ? 1598-9) * 1597. Richard II. - °- ~ + ? 1593-4 * 1609. Sonnets es - ? 1593-1608) * 1597. Richard III. ? 1594) * 1609. Troilus and Cressida (entd. 1608) (2 1606-7) * 1598. Love's. Labours Lost -. . ? 1589) * 1622. Othello - - - - - (? 1604) * 1599. Passionate Pilgrim : (? 1589-99) * 1623. Other Plays: first Folio - (2 1488-1613) A Lover's Complaint, printed in 1609, at the end of Shakspere’s Sonnets, I am content to follow Mr. Swinburne in believing spurious, though Dyce’ declares it an early genuine work. 5 xviii § 7. SHAKSPERE'’S DATED PLAYS. counterfayting a letter as from his lady in general termes, telling him what she liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him believe they took him to be mad,” &c. Dr. Forman’s Diary, in No. 208 of the Ashmole MSS. in the Bodleian Library, Oxford, art. 12, for Winter's Tale, says, “In the Winters Talle at the glob, 1611, the 15 of maye},’ and,—his spelling being modernised :—“ Observe thee how Leontes, the King of Sicilia, was overcome with jealousy of his wife, with the King of Bohemia, his friend that came to see him, and how he contrived his death, and would have had his cup-bearer to have poisoned [Bohemia], who gave the King of Bohemia warning thereof, and fled with him to Bohemia. Remember also how he sent to the oracle of Apollo, and the answer of Apollo, that she was guiltless, and that the king was jealous, &c.; and how except the child was found again that was lost, the King should die without issue: for the child was carried into Bohemia, and there laid in a forest, and brought up by a shepherd; and the King of Bohemia’s son married that wench; and how they fled in[to] Sicilia to Leontes, and the shepherd having showed the letter of the nobleman by whom Leontes sent away that child, and the jewels found about her, she was known to be Leontes’ daughter, and was then sixteen years old.” 5 For Henry VIII. 1. Thomas Lorkin’s letter, in the Harleian MS. 7002 (British Museum), to Sir Thomas Puckering, dated “ London, this last of June, 1613 :”— “No longer since than yesterday, while Bourbage his company were acting at the Globe the play of Henry VIII, and there shooting of certayne chambers [small cannon or mortars] in way of triumph, the fire catched,” &¢.— Singer. 2. John Chamberlaine’s letter to Sir Ralph Winwood, dated London, 8th July, 1613, in Winwood's Memorials, vol. iii., p. 469:— “But the burning of The Globe? or Playhouse, on the Bankside, on St. Peter's day, cannot escape you; which fell out by a peele of chambers (that I know not upon what occasion were to be used in the play), the tampin or stopple of one of them lighting in the thatch that covered the house, burn’d it to the ground in less than two hours, with a dwelling-house adjoining ; and it was a great marvaile and faire grace of God that the people had so little harm, having but two narrow doors to get out at.”’—Singer. The burning of the Globe is mentiond also by Howes, in his continuation of Stowe’s Annales, ed. 1631, p. 926; but Sir Hy. Wotton, in his account of it, (Religuie Wottoniane, p. 425, ed. 1685) says that the play was “a new play called A// is true.”’3 § 74 (1). The evidence of date from within the plays is (1) from allusions in them to past or con- temporary events, kc. These date positively only one play, Henry V., which in 1. 30 of its Prologue to Act V., refers to the Earl of Essex, then in command of the Queen’s army in Ireland :— «But now behold, AS, by a lower, but by loving likelihood, In the quick forge and working-house of thought, Were now the general of our gracious empress, How London doth pour out her citizens ! (As, in good time, he may) from Ireland, coming, The mayor, and all his brethren, in best sort,— Bringing rebellion brooched upon his sword, Like to the senators of the antique Rome, How many would the peaceful city quit, With the plebeians swarming at their heels,— To welcome him? much more, and much more cause, Go forth, and fetch their conquering Czesar in : Did they this Harry.” And there can be little doubt that the Prologue to Act I. also refers to the newly-built wooden (O or) Globe Theatre, opend in 1599. See p. xvi, above :— “Can this cockpit hold Within this wooden O, the very casques The vasty fields of France? or may we cram That did affright the air of Agincourt?” 1 The entries in Black's Catalogue, col. 169, are ““*12. The Bocke of Plaies and Notes thereof per Formans for common pollicie.” Qeaf) 200. This book was begun a few months before his death, and contains notes of only four plays which he witnessed ; namely—‘‘In Richard the 2 at the glob, 1611, the 30 of Aprill.” 201. “In the -Winters Talle at the glob, 1611, the 15 of maye.” 201-2. ‘Of Cinobelin, King of England.” 206. ‘In Mackbeth at the glob, 1610, the 20 of aprill.” 207-7. 2 Built in 1599 out of the materials of The Theatre : see p. xvi, above. It was rebuilt in 1613, after the fire. 3 Besides these, Francis Meres, in his Palladis Tamia, 1598, gives us the downward dates of some of Shakspere’s Sonnets (the whole were publisht in 1609), of 6 Comedies and 6 Tragedies :— , “As the soule of Euphorbus was thought to liue in Pythagoras: so the sweete wittie soule of Ouid lines in mellifluous and hony-tongued Shakespeare, witnes his Venus and Adonis, his Luecrece, his sugred Sonnets among his priuate friends, &c. “As Plautus and Seneca are accounted the best for Comedy and Tragedy among the Latines : so Shakespeare among English is the most excellent in both kinds for the stage; for Comedy, witnes his Gentlemen. of Verona, his Errors, is Loue labors lost, his Loue labours wonne,) his Midsummers night dreame, and his Merchant of Venice: for Tragedy, his Richard the 2., Richard the 3., Henry the 4., King John, Titus Andronicus, and his Romeo and Juliet.”—New Shaksp. Soc’s. Allusion-Books, p. 159. Allusions in other books also give downward dates for plays, as John Weever, 1595, for “* Romea-Richard” ; Robert Tofte, 1598, for “‘ Loves labour lost" ; Jn. Marston, 1598, for Richard III. ; Primlyco, 1609, Pericles ; J. W. von Vendenheym, April 30, 1610, for Othellv, &c. 1 Most likely, the play recast as All's Well that Ends Weil. §% METRICAL TESTS. xix But the date of one other play may also be taken as decided by an allusion in it. And that is Romeo and Juliet, by the Nurse’s words as to Juliet’s age :— “Come Lammas-eve at night, shall she be fourteen. That shall she, marry ; I remember it well. Susan and she,—God rest all Christian souls ! Tis since the earthquake now eleven years ; 5 Were of an age.—Well, Susan is with God ; And she was wean'd,—I never shall forget it,— She was too good for me: But, as I said, Of all the days of the yeat, upon that day.”—I. iii. 17-25. On Lainmas-eve at night shall she be fourteen : . Now the great earthquake of Shakspere’s time—to which he also probably refers in Venus and Adonis—was on April 6, 1580. And, unless Juliet was suckled till she was between two and three, the Nurse’s 11 years should be 138. This gives cither 1591 or 1593 for the date of the Play, and as it must be close to Venus and Adonis,—enterd and publisht 1593,—either date may be held for it, tho’ I incline to put it before Venus and Adonis rather than after it.) Thus far, then, we have trustworthy dates? for two poems (Venus and Adonis, 1593; Lucrece 1594) and 11 Plays: Romeo and Juliet, 1591-3; 1 Henry IV., 1597; Henry V., 1599; As You Like It and Much Ado, 1600; Twelfth-Night, 1602; Hamlet, 1602-4; Lear, 1606; Pericles, 1608; Winter's Tale, 1611; Henry VIIT., 1613. § 76 (2). And for the dates, or rather the order, of the rest, 26 of Shakspere’s 37 plays—18 printed during his life, and 19 after his death (including The Two Nodle Kinsmen), —as well as part of his Sonnets, we are thrown back on the second part of the Evidence from Within, the Style and Temper of the works. Let us first take the pvint of Metre, in which Shakspere was changing almost play by play, during his whole life. Here are two passages of narrative from plays of his youth and hisage. Just read them, and see which has the formality of the beginner, which the ease and flow of the practist writer :— And, knowing whom it was their hap to saue, The wild Sea of my Conscience. I did steere Gaue healthfull welcome to their ship-wrackt guests, The Comedie of Errors, I. i. 99-121, p. 88, Folio. The Life of King Henry the Eight, II. iv. 186-209, p. 217, Folio. “¢ Merch. Oh, had the gods done so, I had not now 99 } “« First, me thought } Worthily tearm’d them mercilesse to vs ! I stood not in the smile of Heauen, who had 1 4 For ere the ships could meet by twice fiue leagues, Commanded Nature, that my Ladies wombe, y We were encountred by a mighty rocke, If it conceiu’d a male-child by me, should 1 \ Which being violently borne vp{on], Doe no more Offices of life too ’t, then wk. d Our helpefull ship was splitted in the midst ; The Graue does to th’ dead. For her Male Is] sue, J So that, in this vuiust diuorce of vs, 105 Or di’de where they were made, or shortly af| ter ? Fortune had left to both of vs alike, This world had ayr’d them. Hence I tooke a thought s What to delight in, what to sorrow for. 107 This was a Judgement on me, that my king | dome } Her part, poore soule, seeming as burdend 108 (Well worthy the best Heyre o’ th’ World,) should not With lesser waight, but not with lesser woe, 109 Be gladded in ’t by me. Then followes, that wk. 3 Was carried with more speed before the winde ; I weigh’d the danger which my Realmes stood-in i And in our sight they three were taken-vp 2 d ie i By Fishermen of Corinth, as we thought. 112 By this my Issues faile ; and that gaue to|me = wk. ) At length another ship had seiz’d on vs, Many a groaning throw: thus hulling in wk. 1 L And would haue reft the Fishers of their prey, Toward this remedy, whereupon we are hi ) Had not their barke beene very slow of saile ; Now present heere together ; that’s to say, 4 And therefore, homeward did they bend their course. I meant to rectifie my Conscience,— which 1Yy Thus haue you heard me seuer’d from my blisse, I then did feele full sicke, and yet not well,— J That by misfortunes was my life prolongd, 120 By all the Reuerend Fathers of the Land, To tell sad stories of niy owne mishaps.” And Doctors learn’d. First, I began in pri| uate With you, my Lord of Lincolne ; you remem| ber, 3 How vnder my oppression I did reeke, When I first mou’d you.” 1 As You Like It is sometimes said to be dated 1601 by the allusion in Act IV., sc. i., 1. 153, where Rosalind, chaffing Orlando, says, ‘‘I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry.” Careless referers to Stowe’s Survay, 1598, revis’'d 1603, have interpreted the removal of the old timber cross at the top of the stone Eleanor Cross, after December 24, 1600, to imply the removal also of what was set up on its east side in 1596, ‘‘a curiously wrought tabernacle of grey marble, and in the same an image alabaster of Diana, and water conveyed from the Thames prilling from her naked bresst for a time, but now decayed.”—Thoms's reprint, p. 100, col. 2. The aliasion in The Comedy of Errors, ILI. ii. 124-6, to France making war against her heir, gives only the vague date of 1584-89, or 1584-98, See below. . : | 2 T say, trustworthy dates, because the external evidence is confirmd by the internal. xx § 7. METRICAL TESTS. § 8. CHANGES IN SHAKSPERE. Is it not plain that the Errors lines are the work of the novice, the Henry VIII. ones of the traind artist, with full command of his material, who has learnt how to conceal his art’ Compare the formal structure of the first, with the ease and varied pauses of the second. Note in the Errors passage, how every line but 3 dwells on its last word, has a pause after it, (tho’ with 3 central pauses too,) while in the Hexry VIII. one, every line but 8 refuses to pause at its last word, and not only runs on into the next line, making central pauses instead of end ones in every case except 3, but also, to facilitate this running-on, puts in 8 lines a light (1.) or weak (wk.) ending at the last word: this, to get the freedom and ease of natural talk. Note again that the Errors lines have all 10 syllables or five measures, while in Henry VIIJ., five lines have an extra or 11th syllable, to break the monotony of the verse. Just compare then the percentages of these characteristics :— i ain 24 olin is Extra-syllable { fieiry VIIL, 6 in 24, or lin 4 1, oh in 8 orl in Ll Weal endings ke VIII. 8 in 24, or lin Note again that in Shakspere’s earliest genuine play, Love's Labours Lost, as compard with three of his latest, the proportions of ryming 5-measure lines to blank-verse ones, are as follows :— Love's Labours Lost - 1,028 ryme, to 579 blank, or 1 to ‘56. The Tempest - 2 ryme, to 1,458 blank, or 1 to 779. Winter's Tale 0 ryme, to 1,825 blank, or 1 to infinity. So the proportion of end-unstopt lines to end-stopt ones in three of the earliest and latest plays is as follows :— a { Errors Run-on lines V Henry VIL Central-pause { teen VI Earliest Plays. Run. — f Latest Plays. Run. Love’s Labuurs Lost 1 in 1814 The Tempest 1 in 3°02 The Comedy of Errors - - 1 in 107 Cymbeline - - 1 in 252 The Two Cent. of Verona 1 in 10° The Winter's Tale 1 in 27122 § 8. Now these changes in Shakspere’s metre are not accidental .3 They are undesignd outward signs of his inward growth. They were accompanied by other changes in style and temper that markt the progress of Shakspere’s mind and spirit. He soon gave up the doggrel, the excessive word-play, quip and crank, of his early plays, their puns, conceits, and occasional bombast, their use of stanzas‘ in the dialogue; he put his early superabundant use of fancy more and more under the control of the higher imagination and of straight aim; he subdued the rhetoric of his historical plays; he changed the chaff, the farce, the whim, of his early comedies, into the death-struggle of the passions, into the terror of his tragedies, laying bare the inmost recesses of the human soul; and then 1 Of course in the early plays there'll be some passages with all run-on lines, &c., and in the late plays some passages with all end-stopt lines, &c., but in each case these do not give the general character of the metre of the play they occur in. Here is an exceptional specimen of the run-on line and central pause in Romeo and Juliet, II. vi. 24-29 :— “Rom, Ah, Juliet, if the measure of thy joy This neighbour air, and let rich music’s tongue Be heap’d like mine, and that thy skill be more Unfold the imagin’d happiness that both To blazon it, then sweeten with thy breath i Receive in either by this dear encounter.” Any poet wanting ease must kick those end-stops out of his way, as any dramatic poet must get rid of the clogs of ryme, the source of so much padding and fudge in verse, since it makes men say only what they can, not what they would. My friend Mr, Hargrove adds; ‘‘ When Shakspere began to write, he and his fellow playwrights were but learning the use of blank verse, and for a time they write as men but just set free from shackles would walk,; they rid themselves easily enough of the fetters of ryme, but cannot without much practise and some boldness get over the habits acquired during the wearing of them. Now ryme imposes four conditions ; (1) the first and essential one is the recurrence of the same or similar sounds ; but this happens in all speech or writing: in order that it may be prominent, we must add (2) that the recurrence be at regular intervals, i.e., that each ryme line be of the same number of syllables, and (3) that the syllable containing the recurring sound be a marked one, that is, be accented ; this last condition carries with it 4) that a pause, greater or less, must follow the ryming syllables, and therefore be at the end of each line. We get thus ‘our tests of gradual growth from ryming plays, in which the meaning is forced to conform to metre, to those in which the metre is a mere accompaniment, secondary to and harmonizing with the meaning, (1) Disuse of rime ; (2) Lines of more or fewer than the prescribed number of syllables ; (3) Lines ending with syllables on which the voice does not dwell (called light endings) or cannot dwell (called weak endings) ; (4) Run-on lines, or such as suffer no pause to be made at the end.” ; 2:My friend Professor Dowden says: ‘‘ As characteristic of these early plays, we may notice (i) frequency of ryme, in various arrangements: (a) rymed couplets, (b) rymed quatrains, (c) the sextain, consisting of an alternately ryming quatrain, followed by a couplet (the arrangement of the last six lines of Shakspere’s sonnets) ; (ii). Occurrence of rymed doggrel verse in two forms, (a) very short lines, and (b) very long lines; Gi) comparative infrequency of feminine or double ending ; (iv), weak ending ; ), unstopped line ; (vi), regular internal structure of the line: extra syHables seldom packed into the verse ; (vii), frequency of classical allusions ; (viii), frequency of puns and conceits; (ix), wit and imagery drawn out in detail to the point of exhaustion ; (x), clowns who are, by comparison with the later comic characters, outstanding persons in the play, told off specially for clownage ; (xi), the presence of termagant or shrewish women ; (xii), soliloquies addressed rather to the audience (to explain the business of the piece, or the motives of the actors), than to the speaker's self ; (xiii), symmetry in the grouping of persons.”-—Growth of Shakspere’s Mind and Art, p. 59 (with the h taken out of its rhyme, A.-Sax,, rim; Chaucer, rym n., ryme vb.). 8 Some overgrown children still pooh-pooh them altogether. 4 One of the 15th century Digby Mysteries is written in stanzas all thro’, one stanza being now and then shared among two or three people, as, indeed, several are in Shakspere’s Love's Labowrs Lost, §8 SECOND VICTORIAN SCHOOL GF SHAKSPEREANS. xxi passt, serene and tender, to the pastorals of his later age. Changing, developing, Shakspere always was. And as his growth is more and more closely watcht and disvernd, we shall more and more clearly see, that his metre, his words, his grammar and syntax, move but with the deeper changes of mind and soul of which they are outward signs, and that all the faculties of the man went onward together.1 This subject of the growth, the oneness of Shakspere, the links between his successive plays, the light thrown on each by comparison with its neighbour, the distinctive characteristics of each Period and its contrast with the others, the treatment of the same or like incidents, &c., in the different Periods of Shakspere’s life—this subject, in all its branches, is the special business of the present, the second school of Victorian students of the great Elizabethan poet, as antiquarian illustration, emendation, and verbal criticism—to say nothing of forgery, or at least, publication of forgd documents*—were of the first school. The work of the first school— minus the forgery—we have to carry on, not to leave undone; the work of our own second school we have to do. In it, Gervinus of Heidelberg, Dowden of Dublin, Hudson of Boston, are the students’ best guides that we have in English speech.3 I can only hope to help to their end, by saying how Shakspere’s successive plays have struck me, who came late to the study of them, resolvd to try to get at their relation to one another and their author, and not to submit to the mere gammon I used to hear, ‘Succession of Shakspere’s plays! My dear fellow, impossible! Shakspere was infinite; no before and after in him!”’ or, ‘‘ Succession : can’t be done; the very utmost you can hope for, is, to say to which of the three Periods a play belongs ;’’—as it the same powers of mind which could put a play into a period, couldn’t, with further exercise, settle the place of the play in that period. I don’t say that we can do this yet; we can’t: but it’s only because we haven’t yet used our eyes and heads enough. Assuredly a day will come when the large majority of reasonable 1 “T do not believe that he [Shakspere] could have been induced, after he was 40, to write either ryme or blank verse, resembling in metrical structure and rhythmical effect, that which he used to write before he was 25, or even 30. The regular cadence and monotonous sweetness had grown tiresome to his ear; his imagination and intellect had become impatient of the luxuriance of beautiful words and superfluous imagery. It had become a necessity to him to go to the heart of the matter by a directer path, and to produce his effects of beauty and sweetness in another way—a way of his own. Compare the description of a similar ohject in three different plays, belonging to dates considerably distant from each other ; the face of a beautiful woman just dead; there being nothing in the character of the several speakers to explain the difference. “1, Romeo and Juliet, second edition (1599): not in the first edition : therefore presumably written between 1597 and 1599 [I believe very much earlier, 1591-3, the 1st edition being only a pirated version of the 2nd, and neither printed till long after the writing of the play.]:— ‘Her blood is settled and her joints are stiff. Death lies on her, like an wntimely frost Life and these lips have long been separated. Upon the sweetest flower of all the field.’ {Fancy.] “2. Antony and Cleopatra [? 1606-7] :— ‘If they had swallowed poison, 'twould appear As she would catch another Anthony By external swelling : but she looks like sleep, In her strong toil of grace.’ {Imagination, penetrating to the purpose of her life. ] “3. Cymbeline [? 1610] :— ‘How found you him? Not as death's dart being laughed at. His right cheek y Stark, as you see, Reposing on a cushion.’ Thus smiling, as some fly had tickled slumber, “The difference in the treatment in these three cases represents the progress of a great change in manner and taste : a change which could not be put on or off, like the’ fashion, but was part of the man.” “Look, again, at the structure of the verse a few lines further on (Cymbeline, Act IV., sc. ii., 1. 220-4; Folio, p. 389, col. 1) :— ‘Thou shalt not lacke The Flower that’s like thy face, Pale Primrose, nor (wk. The azur’d Hare-bell, like thy Veines: no, nor wk, The leafe of Eglantine, whom not to slan | der Out-sweetned not thy breath.’ “T doubt whether you will find a single case in any of Shakspere’s undoubtedly early plays of a line of the same structure. Where you find a line of ten syllables ending with a word of one syllable—-that word not admitting either of emphasis or pause, but belonging to the next line, and forming part of its first word-group—you have a metrical effect of which Shakspere grew fonder as he grew older ; frequent in his latest period ; up to the end of his middle period, so far as I can remember, unknown.”—Mr. Spedding’s letter to me on his ‘‘ Pause-Test.” New Shal:spere Soc.’s Trans. , 1874, p. 31. ‘2 The utterers of these forgd documents were J. P. Collier and the late Peter Cunningham. Those put forth by Mr. Collier as genuine were the documents from the Ellesmere (or Bridgewater House) and Dulwich College Libraries, a State Paper, and Mr. C.’s additions to the Dulwich Letters (see Dr. Ingleby’s Complete View). I,in common with many other _men, have examind the originals with Mr. Collier’s prints of them. He printed one more name to one document than was in it when produced ; and when this was found out, the document was made ,away with, undoubtedly by the forger of it. None of Mr. Collier’s statements should be trusted till they have been verified. The entries of the actings of Shak- spere’s plays in Mr. Peter Cunningham's Revels at Court (Shakespeare Society, 1842), pp. 203-5, 210-11, are also printed from forgeries (which Sir T. Duffus Hardy has shown me), though Mr. Halliwell says he has a transcript of some of the entries, made before Mr. Cunningham was born. Thus the following usually relied-on dates are forgd: 1605, ‘Moor of Venice, Merry Wives, Measure for Measure, Errors, Love's Labours Lost, Henry V., Merchant of Venice. 1612, Tempest, Winter's Tale. The forgd biographical documents uttered by Mr. Collier have been a curse to Shakspere students ever since. In December, 1876, a theatrical paper—which, by the way, once pretended to knowledge enough to criticise the New Shakspere Society’s work—reprinted the Blackfriars Theatre documents as genuine. % See, too, Mr. Swinburne’s two Articles in The Fortnightly Review, 1875-6. xxii §9. SHAKSPERE’S FIRST-PERIOD PLAYS. critics will be agreed aa to the order of Shakspere’s plays; and as soon as folk know their Shakspere A BC, we shall have no more such silly fancies as the late Mr. Hunter’s—that The Tempest was Love's Labours Won, and written before 1598—or Mr. Swinburne’s, that Henry VIII. was an early Second-Period Play, and therefore before or about 1596. § 9. The handiest test for Shakspere’s earliest plays is that of metre, combind with evident youngness of treatment. We find in certain plays such a large proportion of rymed lines mixt with blank verse in the ordinary 5-measure dialogue, and in others such unripeness of handling, that we pick out as the First-Period Plays, Love's Labours Lost (the early part of All’s Well, representing Love’s Labours Won), The Comedy of Errors, Midsummer-Night’s Dream, The Two Gentlemen of Verona, Romeo and Juliet ith the poems Venus and Adonis and Lucrece, and probably the early part of Troilus and Cressida), Richard IT., and the quadrilogy of 1, 2, & 8 Henry VI. and Richard ILI. Tirvs Anpronicus I do not consider here, although it is in Meres’s list above, p. xviii, note 3, and in the First Folio; for to me, as to Hallam and many others, the play declares as plainly as play can speak, “I am not Shakspere’s: my repulsive subject, my blood and horrors, are not, and never were, his.” I accept the tradition that Ravenscroft reports when he revivd and alterd the play in 1687, that it was brought to Shakspere to be toucht up and prepard for the stage. I advise my readers not to read Titus till they have read all the rest of Shakspere, and are in a position to judge what is his work, and what is not. Let no one begin his introduction to Shakspere with Titus. Some of the passages in it that Mr. H. B. Wheatley suggests as Shakspere’s (New Sh. Soc.’s Trans., 1874, pp. 126-9) are, I. i. 9— “ Romaines, friends, followers, favourers of my right ” (echoed in Mare Antony’s speech in Jul. Cesar, III. ii. 75, “ Friends, Romans, countrymen”); IT. i. 82-3, “Shee isa woman, therefore to be woo’d: Shee is a woman, therefore may be wonne” (like Gloster’s lines on Lady Anne, Rich. III, I. ii. 228-9, and 1 Hen. VI, V. iii. 78-9); also I. i. 70-6, 117-119 (cp. Portia’s mercy speech, Merchant, IV. i. 183); Ti. 141-2); II. ii. 1-6; II. iii. 10-15; III. i. 82-6, 91-7; IV. iv. 81-6; V. ii. 21-27, V. iii. 160-8. Looking then to the metrical facts, that Love’s Laspours Lost has twice as many rymed lines as blank-verse ones (1 to ‘58), that it has only one run-on line in 18°14, only 9 extra-syllable blank-verse lines; that it has, in the dialogue, 8-line stanzas (I. i.), several 6-line stanzas (ab, ab, ce: IV.i., iii.), and in Act IV., sc. iii., 222-289, no less than 17 consecutive 4-line verses of alternate rymes (ab, ab), &c., with much 1-line (short, and long) antithetic talk; that it has 194 doggrel lines of different measures, and only 1 Alexandrine (6-measure with a pause at the 3rd); that it has hardly any plot; that it is cram-full of word-play and chaff, without a bit of pathos till the end, I have no hesitation in picking out this as Shakspere’s earliest play. The reason that has induced some critics to put it later is, I believe, that it is much more carefully workt-at and polisht than some of the other early plays. And thisistrue. But one can understand thisin a writer’s first venture, especially when, as in the present case, he revisd and enlargd his play into the form in which we now have it, which is that of the Quarto of 1598, ‘‘As it was presented before her Highness this last Christmas. Newly corrected and augmented.’ And if the reader will turn to Berowne’s speech 1 Note the Chaucer allusion in II. i. 126, ‘‘ The emperor's court is like the House of Fame.” 2 As to the date and sources of 7'itus, Ben Jonson says in the Induction to his Bartholomew Fair, produced “ at the Hope on the Bankside [Southwark], in the county of Surrey . . the one-and-thirtieth day of October, 1614,’—and lasting ‘‘ two hours and an half, and somewhat more,” as against the ‘‘two hours” of Romeo and Juliet (1st chorus).—“‘ He that will swear Jeronymo or Andronicus are the best plays yet, shall pass unexcepted at here, as a man whose judgment shows it is constant, and hath stood still these five-and-twenty or thirty years.” This would carry us back to 1584-9. But it is not till 1594 that Henslowe enters in his Diary, on the back of leaf 8 of the scrubby paper MS. at Dulwich College, in his account of ‘‘ the earle of Sussex his men,” that at a new play of this name he took £3 8s., ‘‘ne Rd. at Titus and ondronicus, the 22 of Jenewary, 1593 (-4) . ij. li. viij.s.” (PB. 88, Old Shakesp, Soc.’s edition.) It is also not till 1594 (1593-4), that on February 6 ‘‘A booke entitled a noble Roman Historye of Tytus Andronicus” is entered in the Stationers’ Registers to John Danter (Arber's Transcript, ii. 644). Langbaine says in his Account of English Dramatic Poets, p. 464, that this play “‘ was first printed 4°, Lond., 1594,” but no copy is now known earlier than 1600. But inasmuch as there is an old German ‘l'ragedy of Titus Andronicus, which was acted in Germany about the year 1600 by English actors, and that contains a Vespasian, my old friend Mr. Albert Cohn says, in his Shakespeare in Germany, 1865, that we ought to believe that our English Titus Andronicus was founded on the play of ‘“‘ tittus and Vespasia,” markt ne or new, by Philip Henslowe (Diary, MS. leaf 7 back ; print, p. 24), on ‘“‘the 11 of aprell,” 1591, at the acting of which the manager got £3 4s., and which was often performed. Of the sources of the play, Theobald says: ‘The story we are to suppose merely fictitious. Andronicus is a surname of pure Greek derivation. Tamora is neither mentioned by Ammianus Marcellinus, nor any body else that I can find. Nor had Rome, in the time of her emperors, any war with the Goths that I know of: not till after the translation of the empire, I mean to Byzantium. And yet the scene of the play is laid at Rome; and Saturninus is elected to the empire at the Capitol.” —Variorum Shaks., xxi. 379. The copy of the ballad in the Roxburghe Collection, [., 392, 393, vol. i., p. 544, of my friend Mr. Chappell’s edition for our Ballad Society, “cannot,” says Mr. Chappell, p. 543, ‘‘ be dated before the reign of James I., and is more probably of that of Charles I. It is included in the Pepys Collection, I. 86, printed for E. Wright. A second edition in the same collection is for Clarke, Thackeray,and others (I. 478). The Roxburghe edition is by A[lexander] M[ilbourne], and the Bagford, 643 m. 10, p. 11, is by W. O[nley].” The title of the ballad is ‘ The lamentable and tragical history of Titus Andronicus. With the fall of his Sons in the Wars with the Goths, with the manner of the Ravishment of his Daughter Lavinia by the Empresses two Sons, through the means of a Bloody Moor taken by the sword of Titus in the War: with his Revenge upon their cruel and inhumane Act. To the tune of ‘Fortune, my foe,’” &c., for which see Chappell’s Popular Music of the Olden Time. §9. MISTAKEN-IDENTITY GROUP. LOVE'S LABOURS LOST. xxiii on. the effect of love, in IV. iii., he will find two striking instances of this correction: lines 296-8, are repeated in 317-320, and lines 299-301 in 847-350, and in each case improved—the printer left the first ones in by accident—while in lines 302-5 (‘‘ Why, universal plodding,” &c.) is seen an insertion of the maturer hand and thought uf the older Shakspere. Let the reader too with Mr. Spedding, on February 2, 1839, ‘‘ observe the inequality in the length of the Acts; the first being half as long again, the fourth twice as long, the fifth three times as long, as the second and third. This isa hint where to look for the principal additions and alterations. In the first Act I suspect Biron’s remonstrance against the vow (to begin with) to be an insertion. In the fourth, nearly the whole of the close, from Biron’s burst, ‘Who sces the heavenly Rosaline’ (IV. iii. 218). In the fifth, the whole of the first scene between Holofernes and Sir Nathaniel bears traces, to me, of the maturer hand, and may have been inserted bodily. The whole close of the fifth Act, from the entrance of Mercade (V. ii. 705), has been probably re-written}, and may bear the same relation to the original copy which Rosaline’s speech ‘Oft have I heard of you, my Lord Biron,’ &c. (V. ii. 831-844) bears to the original speech of six lines (807-812), which has been allowed by mistake tostand. There are also a few lines (1-3) at the opening of the fourth Act which I have no doubt were introduced in the corrected copy. ‘Prince. Was that the king, that spurr’d his horse so hard Against the steep uprising of the hill? Boyet. I know not; but I think it was not he.’ It was thus that Shakspere learnt to shade off his scenes, to carry the action beyond the stage.” . In accordance with his own theory of ‘“ playing, whose end both at the first and now, was and is, to hold, as ’twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure,”—Hamlet, III. ii. 22-25,—Shakspere dealt, in his first Play, with one of the great social questions of his day, and quizzd the leading fashions of the London of his time. This question, the relation of young men to young women, has come to the front again (as was natural) in our Victorian days, and was solvd for us by Mr. Tennyson in his Princess?, 1847, as Shakspere solvd it for the Elizabethans by his Love’s Labours Lost. The Elizabethan poet made woman the teacher, as was his wont; the Victorian made man, as (in his Arthur, &c.) he usually does. The fashion Shakspere satirised was Euphuism: this kind of affected antithetic talk : ‘‘ But vnlesse Euphues had inutigled thee, thou hadst yet bene constant: yea, but if Euphues had not seene thee willyng to be wonne, he woulde neuer haue wo(o)ed thee: But had not Euphues entised thee with faire wordes, thou wouldst neuer haue loved him: but hadst thou not giuen him faire lookes, he would neuer haue liked thee: I [=ay], but Euphues gave the onset: I, but Lucilla gaue the occasion: I, but Euphues first brake his minde: I, but Lucilla first bewrayed hir meaning.”—John Lyly’s Euphues, 1579, p. 89, ed. Arber, 1868. Academies were also in the air in those days (see my ed. of Queene Elizabethes Achademy, K.E.T. Soc.), and Shakspere quizzd these too in his Love’s Labours Lost. The London wits of the day, and their consequentialness, their assumed superiority over country bumpkins, would naturally strike and amuse the Stratford-bred Shakspere; and so, in his first Play, he just. showd them that he could beat them with their own weapons, and told them what their wit and fine talk, on which they so prided themselves, were worth—not one penny, in comparison with real good heart and work. Rosaline speaks the moral of the Play in the task she sets Berowne to cure his gibing, jesting spirit—a year’s work, day by day, in a hospital? among the speechless sick (V. ii. 831- 859), to show him what the realities of life were. Another point that plainly struck Shakspere, and disgusted him, in London society, was, the fashion of women—the good, like the bad—painting their faces, and wearing sham hair,—which latter, at least, has long offended many of us Victorian men too. He alludes to the face-painting, not only in this, his first Play, 1V. iii. 256, ‘‘ painting and usurping hair,” 260, but in his Sonnets also, 67, 1.5; 68, 1. 2-8, and again and again in his later Plays’, as he does to the sham hair. The sharp London boy—like the Paris gamin—he sketches too in Moth (a mote). Love’s Labours Lost is hardly a drama; but is rather a play of conversation and situation, with the slightest possible plot, and with no known original, except a passage in Monstrelet’s French Chronicle, ch. xvii., Johnes, 1807, i. 54; Hazlitt, i. 3, that, for the Duchy of Nemours, and a promise of 200,000 gold crowns, Charles, King of Navarre, surrenderd to the King of France, the castle of Cherbourg, the county of Evreux, and other lordships. But from capon being used IV. i. 56 for a love-letter, like the French powlet, it is thought that Shakspere may have had a French original. 1 T don’t accept as later all the parts named above. 2 Tt is very odd that I never saw or heard of any comparison between Tennyson’s Princess and In Memoriam, and Shakspere’s L. L. L. and Sonnets, till I made it. The subject is full of interest, and wants working out. 3 A terrible place to work in then. See Stubbes’s Anatomie of Abuses. * Painting : Two Gent., IT. i. 55-58 ; Meas. for Meas., III. ii. 80, IV. ii. 38 ; Hamlet, V. i. 201 ; Ant. and Cleop., T. ii. 18; Winter's Tale, IV. iii. 101; Pass. Pilgr. (if 8.’s), 180. Sham hair: Merchant, LI. ii. 92-6 ; Henry V., III. vii. 60; Sonnets, 68, 1. 2-8. xxiv §9, MISTAKEN-IDENTITY GROUP. THE COMEDY OF ERRORS. This supposal is not needed: the phrase was no doubt one of Shakspere’s day. The action of the play takes up two days, a Thursday and Friday. The knowledge of situation and stage-business shown by Shakspere in his earliest plays leaves little doubt that he was an actor before he was a playwright, and harmonises with the tradition to that effect, and the “ feathers "’! (cf. Hamlet, ITI. ii. 277) and ‘‘ quality ” of Greene’s and Chettle’s lines above, p- xvi, note 5. A few other features only of the play I stop to notice here: (1) that Shakspere started with the notion that mistaken identity was the best device for getting fun in comedy; he relied on it in the ladies’ changed masks here, as later in Much Ado ; in the two sets of twins in his Errors; in Puck’s putting the juice on the wrong man’s eyes in Midswmmer-Night’s Dream; in Sly in The Shrew, &c.; and it is indeed in all his comedies in some form or other:—(2) that his obscurity (or difficulty) of expression is with him from his start, “King. The extreme parts of tine extremely form And often, at his very loose, decides All causes to the purpose of his speed ; That which long process could not arbitrate” (V. v. 730-3) ; (3) that he brings his Stratford out-door life and greenery, his Stratford countrymen’s rough sub-play, on to the London boards ; and names two of his boy-games there too, “ more sacks to the mill,” and hide and seek (“ All hid”), IV. iii.; (4) that he re-writes the characters and incidents of this play: Berowne and Rosaline in Benedick and Beatrice of Much Ado; Armado’s falling in love with Jacquenetta, in Touchstone with Audrey in As You Like It ; Dull,in Old Gobbo, Verges, &c.; (5) that the “ college of witcrackers” (Much Ado,-V. iv. end) here overdo their quips, and tire one with them; (6) that Shakspere makes the young nobles behave like overgrown school-boys when teaching Moth—see Boyet’s long speech in V. ii.:—this want of dignity, as in Hermia and Helena’s quarrel in Midsemmer-Night s Dream, is a mark of early work. (7) Rosaline’s making Berowne wait for a year may have been taken from Chaucer's Parlament of Foules, where the lady (or eagle representing her) insists on a year’s delay before she chooses which of her three lovers she will have. (8) The best speech in the play is, of course, Berowne’s on the cffect of love in opening men’s eyes, and making the world new to them. How true it is, every lover since can bear witness; but still there is a chafliness about it, very different to the humility and earnestness of the lovers who follow Berowne in Shakspere, except his second self, Benedick. Tue Comepy or Errors.—In this second play Shakspere seems to have determined to make a com- plete contrast to his first, which was almost without a plot—a mere play of conversation. He turned to the old Latin comedian Plautus, and from his Menechmi* got a plot full of farcical action and comic business ; to this he added pathos and love, and so completed his Errors. The old comedy has no shipwreck; it has one child lost at the games at Tarentum, whose father, of Syracuse, dies of grief. The grandfather gives the left child the name of the stolen one, Menachmus, and lives at Syracuse. The stealer of the lost twin, who lives at Epidamnus, adopts him, marries him to a rich wife, and leaves him money. He has one slave, whom Shakspere doubles. The Syracusan twin, after a search of six years, comes to Epidamnus with his servant, to ask for his brother. The twin of Epidamnus has a jealous wife; he dines with a courtesan (Erotium), who has a cook and maid; he tries to steal her mantle, and her gold bracclet which her maid had given him to get mended ; the courtesan and his wife both quarrel with him; he shams mad; a doctor is fetcht, and carries him off asa madman. The Syracusan twin's money has to be fetcht; the slave explains the confusion, and is freed. There’s a mutual recognition ; the Epidamnian twin’s wife, as a punishment for her impertinent jealousy, is to be sold to the highest bidder, and the twin-brothers both go to Syracuse. Shakspere also workt-in a scene from Plautus’s lmphitruo, in which Mercury keeps the real Amphitruo out of his own house, while Jupiter, the sham Amphitruo, enjoys the real one’s wife, Alemena. Shakspere got additional fun out of this story by doubling the slave; but he added to it the pathetic element of Zgeon’s story and threatened death, the mother’s love and suffering, and the re-uniting of the family at the end of the play. He also introduced the beautiful element of the love of Antipholus of Syracuse for Luciana, the first uprise of that serious tender love which was never after absent from Shakspere’s plays. Mr. Swinburne says, ‘‘ What is due to Shakspere, and to him alone, is the honour of having embroidered, on the naked old canvas of comic action, those flowers of elegiac beauty which vivify and diversify the scene of Plautus, as reproduced by the art of Shakspere. In this light and lovely work of the youth of Shakspere, we find for the first time that strange and sweet admixture of farce with fancy, of lyric charm with comic effect, which recurs so often in his later work, from the date of 4s You 1 See my late friend Mr. Richard Simpson's letter on this point in The Academy, April 4, 1874, and extracts in New Sh. Soc.’s Allusion-Books, Pt. I., 1874, pp. xX., xi. 2Mr. Hazlitt has reprinted in his Shahspere’s Library, Pt. IT., vol. i., pp. 1-42, the Menachmi, translated from Plautus, by W. W., publisht in 1595, but circulated in MS. before; and in Part I., voli., pp. 55-6, The Story of the Two Brothers of Avignon, from Goulart’s Admirable and Memorable Histoires, 1607, p. 529. The text of the play was first printed in the First Folio of 1623. An old play The Historie of Error was acted betore Queen Elizabeth on January 1, 1577, and January 6, 1583. § 9. MISTAKEN-IDENTITY GROUP. THE COMEDY OF ERRORS. xxv Like It to the date of Winter's Tale.’ There’s a strong link between the Errors and Love's Labours Lost in the relation of man to woman, though here it is of wife to husband, discusst in Luciana’s speeches to Adriana and by the Abbess. There's a pathetic background in both plays, and as we've noticed before, Love's Labours Lost is a comedy of errors too. Though the finish of the Eyvors is less than that ot Love's Labours Lost, yet its artificiality is less too; its pathos is greater, it reaches more profound depths, and it is a better play dramatically. The link with the next play, the Midsummer- Night's Dream, is shown by Dromio’s— “Dro. S. O, for my beads ! I cross ine for a sinner. If we obey them not, this will ensue, This is the fairy land ;—O, spite of spites !— They Ul suck our breath, or pinch us black and blue.” We talk with goblins, owls, and elvish sprites ; The sweetness of Luciana in dissvading her sister from jealousy, in her advice to Antipholus of Syracuse, her supposed sister’s husband, in Act III., sc. ii., and “ I’ll fetch my sister” before she consents to her suitor’s love, cannot prevent our rejoicing that her doctrine of the subjection of women to men has given place to Tennyson’s more generous teaching in the Princess. Adriana, though jealous and shrewish, truly urges that her love is the cause of these qualities. Though she abuses her husband, she does not really mean it; she says her beauty’ll come back if he’s but kind to her again, she urges the different measure he would mete to her for adultery. Her marriage was one of duty, not of love; the Duke gave her away to the soldier of Corinth who had saved his life. This Antipholus of Ephesus was a man without father’s or mother’s training, and with no high purpose in life like his brother. He’s a brave soldier, and has saved the Duke’s life, but he has no notion of the sacredness of love or marriage. He takes his wife as the reward of his bravery, and still consorts with a courtesan. He is full of resource in confinement, and gnaws his bonds. His brother, brought up by his father, has a far higher nature. The search for his lost twin-brother has given him a purpose in life, and though he has a temper, and beats his slave too often, he reverences women and refuses to avail himself of his chance with his unknown brother’s wife. His love for Luciana is very pretty. We may note, too, his belief in witches, which would seem from the dets of the ‘Apostles to have been right at Ephesus. Of the two Dromios, the Syracusan seems to have been the better. He’s more humourous, always merry and cool, takes his troubles better than his master, and has not his brother's indifference about a wife, an Ephesian globe of blubber and mess. The noble and pathetic figure of AZgeon forms a fine background to the play. The loss of wife and one boy, then of his second boy, his five years’ search for them, seemingly to end in vain and in death, his anxiety at Ephesus, and when he’s at the point of death the cruel refusal of his son to recognise him—all appeal to our hearts. But at last: come peace, reunion with his loved ones, and happy days. But it is odd with what lightness Shakspere has passed over the meeting again of AZgeon and Emilia after their long separation and suffering. If we compare it with the like scene in Pericles of the Fourth Period, we shall see how -Shakspere’s nature had deepened in the interval. Pinch the apothecary introduces us to Shakspere’s catalogue of epithets shown in the apothecary in Romeo and Juliet, the description of Petruchio’s horse, &c. &c. The quip and crank, the word-play, ryme, doggrel, &c., of Love's Labours Lost are continued here, though they are not so overdone. The play, its plot being borrowd from a classical writer, preserves the unities of time, place, and action. It takes up only one day; it is all acted in one town. A friend, who has seen it on the stage, tells me that it went admirably; the acting brought out the fun of the farce. The date of the play is probably 1589-91. 1 It turns on the statement in Act IITI., se. ii., p. 92, col. 1, Booth’s reprint of the Folio, that France is ‘“arm'd and reverted, making war against her heire.”. Mr. Richard Simpson, relying on the strict accuracy with which Shakspere always uses legal terms, and specially on his use of Héritier de France, for Henry V. of England during Charles VI.’s life (Henry V., vii. 346), contends that in the £rrors the word “heire” must have its strict technical meaning of “ person entitled to the inheritance (of the throne) after the death of its present holder.” If so, the date of the play must lie between 1584 and 1589. Henry of Navarre became ‘“‘heir of France” on the death of the Duke of Anjou in 1584. He was head of the Huguenots, and fought against his king, Henri III, till 1589, when, at this king's request, he joined him against the League, and both laid siege to Paris. During the siege, Henri II]. was assassinated, and died on ‘August 2; 1589, after naming Henry of Navarre as his successor, Henry IV. at once became king-by-right ‘of all France, though king-in-fact of only half of it. He had to raise the siege of Paris ; but soon won the battles of Arques and Ivry ; then, to gain the League, he turned Roman Catholic on July 25, 1593 ; and was received with open gates by Paris in 1594. Rouen soon followed ; the Pope acknowledged him in 1595, and the rest of France in 1598. Now the stopt-line and other metrical tests point rather to a date of 1589-1591 for the Errors, than one of 1584-8. Moreover, English Protestant feeling was inore stirred up about France after Henry IV.’s accession than before. In 1589 Elizaleth sent him £23,800 to support his rights, and in 1591 despatched the Earl of Essex with 4,000 men to his aid, as she did other forces in 1592 and 1594, Again, Shakspere’s use of the word ‘“‘reverted ” in Hamlet, IV. vii. 23 : — : ae “So that my Arrowes, Would have reverted to my Bow againe, Too slightly timbred for so loud a Winde, And not where I had a(i)m’d them,” (P. 275, col, 2, rep. Booth}— shows that he probably used it in the Errors in the sense of “turned back from its proper course,” that is, (half) France ‘in 1589-91 (and longer) turned back from its rightful owner or heir, Henry IV., to his rival the Duke of Mayence, the leader of the League. The word “heir” would then be applied by Shakspere, as it so often is and has been by others, to —_— Xxvi § 9. MISTAKEN-IDENTITY GROUP. MIDSUMMER-NIGHT’S DREAM. A Minsummer-Nicut’s Dream.—Here at length is Shakspere’s genius in the full glow of fancy and delightful fun. ‘The play is an enormous advance on what has gone before. But it is a poem, a dream, rather than a play; its freakish fancy of fairy-land fitting it for the choicest chamber of the student’s brain, while it second part, the broadest farce, is just the thing for the public stage. E. A. Poe writes, ‘‘ When I am asked for a definition of poetry, I think of Titania and Oberon of the Midsummer-Night’s Dream.” And certainly anything must be possible to the man who could in one work range from the height of Titania to the depth of Bottom. The links with the Errors are, that all the wood scenes are a comedy of errors, with three sets of people, as in the Errors (and four in Love's Labours Lost). Then we have the vixen Hermia to match the shrewish Adriana. the quarrel with husband and wife, and Titania’s “ these are the forgeries of jealousy ” to compare with Adriana’s jealousy in the Zyros. Adriana offers herself to Antipholus of Syracuse, but he refuses her for her sister Luciana, as Helena offers herself to Demetrius and he refuses her for her friend Hermia. Hermia bids Demetrius love Helena, as Luciana bids Antipholus of Syracuse love his supposed wife Adriana. In the background of the Errors we have the father Aigeon with the sentence of death or fine pronounced by Duke Solinus. In the Dream we have in the background the father Egeus with the sentence of death or celibacy on Hermia pronounced by Duke Theseus. In both plays the scene is Eastern: in the Errors, Ephesus; and in the Dream, Athens. We have an interesting connection with Chaucer, in that the Theseus and Hippolyta are taken from his Knight's Tale, and used again in The Two Noble Kinsmen; also the May-day and Saint Valentine, and the wood birds here, may be from Chaucer’s Purlament of Foules. The fairies too are in Chaucer’s Wife of Bath’s Tale! As links with Love’s Labours Lost we notice the comedy of errors in the earlier play, the forest scene, and the rough country sub-play, while as opposed to the Love’s Labours Lost’s “‘ Jack hath not Gill,” the fairies tell us here ‘‘Jack shall have Gill.” The fairies are the centre of the drama; the human characters are just the sport of their whimn and fancies, a fact which is much altered when we come to Shakspere’s use of fairy-land again is his Tempest, where the aérial beings are but ministers of the wise man’s rule for the highest purposes. The finest character here is undoubtedly Theseus. In his noble words about the country- men’s play, the true gentleman is shown. His wite's character is but poor beside his. Though the story is Greek, yet the play is full of English life. It is Stratford which has given Shakspere the picture of the sweet country school-girls working at one flower, warbling one song, growing together like a double cherry, seeming parted, but yet a union in partition. It is Stratford that has given him the picture of the hounds with “Ears that sweep away the morning dew, Each under each. A cry more tunable Crook-kneed and dew-lapt like Thessalian bulls, Was never hollad to nor cheerd with horn.” Slow in pursuit, but matcht in mouth like bells, It is Stratford that has given him his out-door woodland life, his clowns’ play, and the clowns them- selves, Bottom with his inimitable conceit, and his fellows, Snug and Quince, &c. It is Stratford that has given him all Puck’s fairy lore, the cowslips tall’, the red-hipt humble-bee, Oberon’s bank, the pansy love-in-idleness, and all the lovely imagery of the play. But wonderful as the mixture of delicate and aérial fancy with the coarsest and broadest comedy is, clearly as it evidences the coming - of a new being on this earth to whom anything is possible, it is yet clear that the play is quite young. The undignified quarrelling of the ladies, Hermia with her “ painted may-pole,” her threat to scratch Helena’s eyes,—Helena with her retort— “‘She was a vixen when she went to school, And though she is but little she is fierce ;” and ““Your hands than mine are quicker for a fray, My legs are longer though to run away,” the rightful claimant of the throne, kept out of his due by an opponent. Allowing our poet's great accuracy in the uso of language generally, and law terms especially, we may well hold that the word “heir” was rightly applied te Henry IV. fighting for his throne, unacknowledged by Paris, by great part of France, and the whole of Roman Catholic Europe. On the whole, the year 1589 can be accepted as the date of the Errors by the advocates of either interpretation of the word “heir ;” while probability leans rather to 1589-91 than to 1587-89. (From my note in The Academy.) 1 «Tn oldé dayés of the Kyng Arthour . . . The elf-queen, with hir joly compaignye, Al was this land fulfilled of fayrie ; Daunced ful oft in many a grené mede.” (Jephson and Bell's text.) 2 The pensioners are London, tho’, Queen Elizabeth’s, in their smart coats; still, some of them may have been with her at Kenilworth in 1575. She had 50 of ’em in her ‘Band of Pencioners,” and their fee was £50 “‘ apeece.”— Household Ordinances, p. 251, col. 1. See the oath they took, ib., p. 277. If any one urges that Theseus’s pack was too good a one for a country town like Stratford, and must have belongd to some nobleman nearer London, I can only answer—May-be. va / § 9. MIDSUMMER-NIGHT’S DREAM. b. TWO GENTLEMEN OF VERONA. — xxvii the comical comparison of the moon tumbling through the earth (Act IIL., sc.ii.,52-55) incongruously put into an accusation of murder, “T'll believe as soon May through the centre creep, and so displease That the whole earth may be bored ; and that the moon | Her brother’s noon-tide with the Antipodes.” the descent to bathos in Shakspere’s passage about his own art, from “ the poet’s eye in a fine frenzy rolling” to “ how easy is a bush supposed a bear,” would have been impossible to Shakspere in his later development. Those who contend for the later date of the play, from the beauty of most of the fancy, and the allusion to the effects of the rains and the floods, which they make those of 1594! (see Stowe, and Dr. King’s Sermons on Jonah), must allow, I think, that the framework of the play is considerably before the date of King John and The Merchant of Venice. Possibly two dates may be allowd for the play, tho’ I don’t think them needful. Note in this Dream the first of those inconsistencies as to the time of the action of the play that became so markt a feature in later plays, like The Merchant of Venice, where three months and more are crowded into 39 hours.? Here Theseus and Hippolyta say that “ four happy days” and “four nights” are to pass before “ the night of our solemnities’’ (I. i. 2-11); but, in the hurry of the action of the play, Shakspere forgets this, and makes only two nights so pass. Theseus speaks to Hippolyta, and gives judgment on Hermia’s case, on April 29. ‘‘' To-morrow night,” April 30, the lovers meet, and sleep in the forest, and are found there on May-day morning by Theseus. They and he all go into Athens and get married that day, and go to bed at midnight, the fairies stopping with them till the break of the fourth day, May 2. It is likely that the Dream was written for a performance in honour of some May-day marriage. This is, too, the first play with an Epilogue. As Shakspere may have used in his play Plutarch’s Life of Theseus in North’s Plutarch’s Lives, englisht in 1579 (other editions in 1595, 1603, 1612, &c.) from Amiot’s French translation, Mr. Hazlitt has reprinted the Life in his Shakspere’s Library, Pt. I., voli., pp. 5-51. The names Perigenia (Perigouna in North), Augles, Ariadne, and Antiopa, Midsummer-Night’s Dream, II. ii. 19-21, are in the Life, pp. 15-16, 28, 37. Dyce thinks that while composing the burlesque interlude of Pyramus and Thisbe,—a subject very popular in those days (and therefore not meant by Shakspere expressly to ridicule Chaucer’s Tisbe in his Zegende)—he (Shakspere) seems to have had an eye to Golding’s translation of Ovid’s Metamorphoses, 1565, 1567, &c. (see Book iv., p. 43 (¥), ed. 1603). Two editions of the Midswmmer-Night’s Dream were publisht in 1600, the better by Thos. Fisher (to whom it was enterd—? §9.¢. THE PASSION-GROUP. VENUS AND ADONIS. xxxi It was reprinted six times in Shakspere’s life—in 1594, 1595, 1599, 1600, twice in 1602; and afterwards in 1617, 1627, 1690, &c. The first edition is very well printed, and was perhaps seen through the press by Shakspere himself. Mr. W. C. Hazlitt notes the contrast of Shakspere’s own title pages— tirst, Venus and Adonis (with the motto from Ovid), and Luerece, both without his name,—with the booksellers’ long titles of the Quarto Dramas. But the Poems each contained a Dedication signed with Shakspere’s name. The source of the story told by the poem was no doubt the ninth and tenth Fables of the 10th Book of Ovid’s Metamorphoses, though Shakspere may have borrowed some of his details elsewhere. Ovid relates, shortly, that Venus, accidentally wounded by an arrow of Cupid’s, falls in love with the beauteous Adonis, leaves her favourite haunts and the skies for him, and follows him in his huntings over mountains and bushy rocks, and through woods. She warns him against wild boars and lions. She and he lie down in the shade on the grass—he without pressure on her part ;—and there, with her bosom on his, she tells him, with kisses!, the story of how she helped Hippomenes to win the swift-footed Atalanta, and then, because he was ungrateful to her (Venus), she excited him and his wife to defile a sanctuary by a forbidden act, for which they were both turned into lions. With a final warning against wild beasts, Venus leaves Adonis. He then hunts a boar, and gets his death-wound from it. Venus comes down to sce him die, and turns his blood into a flower—the anemone, or wind-flower, short-lived, because the winds (avemoi), which give it its name, beat it down, so slender is it. Other authors give Venus the enjoyment which Ovid and Shakspere deny her, and bring Adonis back from Hades to be with her. Though the Venus was dedicated by Shakspere, when twenty-nine, to the Earl of Southampton before he was twenty*, and cannot be called an improving poem for a young nobleman to read, we must remember the difference between the Elizabethan times and our own. Then, not one in a thousand of the companions of poets would have complaind of Shakspere’s choice of subject, or thought it other than as legitimate as its treatment was beautiful. The same subject was repeated perhaps by Shakspere in some sonnets of The Passionate Pilgrim ; and a like one, in higher and happier tone, was made the motive of his All's Well that Ends Well—as I believe, the recast of his early Love’s Labours Won. However it grates on one to compare the true and loving Helena with the lustful Venus, one must admit that the pursuit of an unwilling man by a willing woman—though he was no Joseph, and she no Potiphar’s wife—was not so distasteful to the Elizabethan age as it is to the Victorian. Constable’s best poem (printed in 1600) treats the same topic as Shakspere’s first : its title is The Shepherd’s Song of Venus and Adonis.4 The large use by Shakspere of his country recollections®, coupled with his calling the Venus, in its dedication, “the first heir of his invention®,” and the young-blood passionateness of its sensual lines’, led me at first to adopt the doctrine of Gervinus and others, that the poem was written many years before its dedication to Southampton—indeed, soon after Shakspere’s arrival in London ;—and by him who, at eighteen-and-a-half, had married a woman of twenty-six, and had a child within six months after his marriage. Such conceits as those in lines 1, 2, of the purple-fac’d sun, and the weeping morn; in line 1054, of Adonis’s wound weeping purple tears*, &c.; the elaboration of the 1“ And, in her tale, she bussed him among.”—A. Golding. Ovid’s Met., leaf 129 bk., ed. 1602. 2 Pliny (bk. i., c. 23) says it never opens but when the wind is blowing. 3He was born October 6, 1573; his father died October 4, 1581; he entered at St. John’s College, Cambridge, on December 11, 1585, just after he was twelve ; took his degree of Master of Arts before he was sixteen, on June 6, 1589; and soon after entered at Gray’s Inn, London. He was a ward of Lord Burghley. He became a favourite of Queen Elizabeth's, but lost her favour, in 1595, for making love to Elizabeth Vernon (Essex’s cousin), whom he married later, in 1598. (Massey's Shakspere’s Sonnets, p. 58, &c.) 4 Lodge has three stanzas in his Glaucus and Scilla, 1589, on Adonis’s death, and Venus coming down to his corpse. 5In the Venus it is not only the well-known descriptions of the horse (1. 260-318), and the hare-hunt (1.673-708), that show the Stratford man, but the touches of the overflowing Avon (72), the two silver doves (366), the milch doe and fawn in some brake in Charlecote Park (875-6), the red morn (453), of which the weatherwise say :— “A red sky at night’s a shepherd’s delight ; A red sky at morning ’s a shepherd’s warning ;” ‘the hush of the wind before it rains (458), the many clouds consulting for foul weather (972), the night owl (531), the lark (853), &. &c.; just as the artist (289) and the shrill-tongued tapsters (849) show the taste of London life. (I. J. F., in The Academy, August 15, 1874, p. 179, col 1.) There are scores more allusions to country scenes, &c., in the Venus. 6 This is to be understood of pure poetry (lyric or epic) in contradistinction to dramatic. It was his poems, and Romeo and Juliet, that first made Shakspere’s fame. The Venas was, too, Shakspere’s first publisht work. oo 7 But we must note that Shakspere is not so carried away by his subject as to show that his sympathy with it is beyond his reason. He plainly says that Venus is lustful (line 47); that she ‘“‘beats reason back, forgets shame’s pure blush and honour’s wrack ” (lines 557-558); that hers is not love, but ‘‘sweating lust” (lines 794-804). 8 Compare Anthony Munday and Hy. Chettle in The Death of Robert, Earl of Huntingdon, 1598, pr. 1600, Dodsiey, viii. 285 :— “ Could the sun see, without a red eclipse, The purple tears fall from those tyrant wounds.” xxxii §9.c THE PASSION-GROUP. VENUS AND ADONIS. similes, the abounding fancy, the general treatment, the fewness of the unstopt or run-on lines (48 in 1,194, say 1 in 252)—-scemd to confirm the early date of the poem; as did also its extreme elaboration, just like that of a young pre-Raffaclite painter: every detail is given you; all the signs and course of Venus’s passion? are stippled in with the same precision as the incidents and process of the hare-hunt. But, on further study, and comparison with the Midsummer-Night’s Dream, Romeo and Juliet, and Luereee, came the strong conviction that the Venus belongd to the 1590-4 Passion- sroup. ‘ : OF possession and promise in Shakspere’s first poem, we have an intense love of nature, and a conviction (which never left him) of her sympathy with the moods of men; a penetrating eye; a passionate soul 4; a striking power of throwing himself into all he sees, and reproducing it living and real to his reader; a lively fancy, command of words, and music of verse ; these wielded by a shaping spirit that strives to keep each faculty under one control, and guide it while doing its share ot the desired whole. We may note, too, Shakspere’s liking for words in wre (closure®, line 782; repeated in Sonnet 48, line1l; Richard IJT., III. iii. 10); and of his forcing words to be what parts of speech, and have what meaning, he will (passions, vb. int., line 1059; pale, paling, line 230). Of his undoubted license in ryme (see Ellis’s Early English Pronunciation, p. 953), the only instance here is the early one that poets still allow themselvcs, of ryming long and short vowels, as in unlikely, quichly, lines 989, 990. That swine, groin, lines 1115, 1116; exter, venture, lines 626, 628, were regular in Shakspere’s time, sce E//is, pp. 968, 973.5 His own experience of love may well be told in lines 1187, 1188, which he echoes elsewhere : “It shall be waited on with jealousy, Find sweet beginning, but unsavoury end.” The first? allusion to the Tews is by Meres in 1598: ‘* As the soule of Euphorbus was thought to live in Pythagoras, so the sweete wittie soule of Ovid lives in mellifluous and hony-tongued Shakespeare; witness his Tens and Adonis, his Lucrece, his sugred Sonnets among his priuate friends, &c.”—Palladis Tamia, §on Poets. In 1598 the two poems were again noticed, in “A Remembrance of some English Poets,” the fourth tract in a volume called Poems: in Diuers Humors, of which the first tract bears Richard Barnfield’s name :— « And Shakespeare thou, whose hony-flowing Vaine, Thy Name in fame’s immortall Booke have plac'’t. (Pleasing the World) thy Praises doth obtaine ; Liue ever you ! at least, in Fame liue ever ! Whose Venus, and whose Lucrece (sweete and chaste), Well may the Bodye dye ; but Fame dies neuer.” In the same year, 1598, the satirist, John Marston’, publisht “the first heir of his invention,’ which he called (p. 202) “ the first bloomes of my poesie,” ‘‘ The Metamorphosis of Pigmalion’s Image. And Certaine Satyres” (Works, 1856, ili. 199), and in it, says Mr. Minto (Characteristics of English Pocts, 1874, p. 437), reviving an old theory, “ Shakspere’s Menus and Adonis was singled out as the type of dangerously voluptuous poetry, and unmercifully parodied; the acts of the goddess to win over the cold youth being coarsely paralleled in mad mockery by the acts of Pygmalion to bring his beloved statue to life.” Now the fact is, that there is no trace of “ mad mockery” or parody in Marston’s poem, though there are echoes in it of Venus, as there are of Richard III.9, Hamlet, &c., in Marston’s Scourge of Villanic, his Fawn, &c.; and the far more probable view of the case, is that put forward by Dr. Brinsley Nicholson: that Marston, being young, and of a warm temperament and 1 Compare the simpler and easier tone of the later Venus and Adonis sonnets (? Shakspere’s) in The Passionate Pilgrim. 2 The proportion of extra syllable lines, 212 (of which 14 are of two syllables), is one in 5°63. ea 81 doubt the theory of his repeating possibly Anne Hathaway's experience in this. He could not have been an icy donis. 4 \ young poet can, at, most, give evidence of ardent feeling and fresh imagination.”—Mark Pattison, Macmillan's Magazine, March, 1875, p. 386. 5 Used by Lodge in the same year, 1593,—‘‘ humbled closures” closed on downeast eyelids,—in his ‘Complaint of Elstred.” (Phillis, p. 67.) © Read the whole discussion, pages 917-996. It’s first-rate work. : 7 If there realiy was an earlier edition in 1595, or any year before 1598, of John Weever’s Epigrammes, which we know only in the edition of 1599, then Weever was before Meres in recognising the merit of Shakspere's T’enus, Lucrece Romeo, and Richard, See the Epigram 22, in the New Shakspere Society's Allusion-Books, Pt. I., p. 182. ‘ 5 See the character given of him in the most interesting Return from Parnassus (about 1602, published 1606), Hazlitt’s Dodsley, ix. 116-117. Also the anecdote in Manningham's Diary. Z ° “A horse! a horse! My kingdom for a horse!” (1607. What You Will, Act II., se. i. Works, i, 239), “A man! aman! akingdom fora man!" (1598, Scourge of Villanie. Works, iii. 278.) And he repeats the call, ““A man, a man !” thrice in the next two pages (Shakspere Allusion Books, i. 188. New Shakspere Society). See, too, “A foole, a foole. a foole, my coxcombe for a foole!"” (Fawn, 1606, Act V., sc. i. Works, ii. 89); and on p. 23, Hercules's imitation of Iago’s speech to Roderigo, in Othello, ii, 40-60 (Nicholson). Again, in The Malcontent, 1607, Act IIT, se. iii. (Works, i 239), “Ho, ho! ho, ho! arte there, olde true pennye ;” from Hamlet, &c. Compare, too, Lampatho in The Malcontent (vol. i., p. 236) with Armado in Love's Labours Lost. Marston was steept in Shakspere, though to little good. §9.¢e. THE PASSION-GROUP. THE RAPE OF LUCRECE, xxxiii licentious disposition, followed the lead of a poem then in every body's mouth! (Shakspere’s Venus), and produced his Pigmatlion’s Image ; but being able only to heighten the Venus’s sensuality, and leave out its poetry and bright outdoor life, he disgusted his readers, had his poem supprest by Whitgift and Bancroft’s order, and then tried to get out of the scrape by saying that he had written his nastiness only to condemn other poets for writing theirs! A likely story indeed! But let him tell it himself. In his “Satyre VI.” of his Scourge of Villanie, 1598 (completed in 1599), Works, 1856, iii. 274, 275, he says :— “Curio! know’st my sprite ; Intombes the soules most sacred faculty? Yet deein’st that in sad seriousness I write Hence, thou iisjudging censor! know, I wrot Such nasty stutfe as is Pigmation ? Those idle r.mes to note the odious spot Such maggot-tainted, lewd corruption! ... And blemish that deformes the lineaments Think’st thou that I, which was create to whip Of moderne poesies habiliments. Incarnate fiends... Oh that the beauties of inventién?, Think’st thou that I in melting poesie For want of judgements dispositién, Will pamper itching sensualitie, Should all be spoil’d !” .. . That in the bodies scumme, all fatally Then, after describing seven types of poets—of whom the fifth may be Shakspere*, and the sixth Ben Jonson (cp. p. 245)—Marston goes on to satirise the readers of his and other writers’ loose poems, for whom he ‘‘slubber’d up that chaos indigest”’ of his Pigmalion. This epithet is certainly not con- sistent with the dedication of his poem to Good Opinion and his Mistress; and his excuse for his failure in it is plainly an afterthought. But whatever we determine as to Marston's motives and honesty, we shall all join in regretting the “want of judgements disposition’’ that let Shakspere choose Venus‘ for an early place in his glorious gallery of women—forms whose radiant purity and innocence have won all hearts ;—though we will remember this fault only as the low level from which he rose on stepping-stones of his dead self to higher things. He who put Venus near the beginning of his career, ended with Miranda, Perdita, Imogen, and Queen Katharine. Let them make atonement for her ! Tue Rape or Lucrece.—This poem, publisht 1594, we can well believe is the graver labour with which Shakspere vowd, in his dedication to the Venus, to honour Lord Southampton. It is very different in certain points of metre, the run-on line for instance®, to the Venus, but is full of the beautiful fancy we see in that. Read the description of Lucrece in her bed, one Ly hand under her rosy cheek :— “‘Without the bed her other fair hand was, Her eyes like marigolds had sheathd their light ; On the green coverlet : whose perfect white And, canopied in darkness, sweetly lay, Showed like an April daisy on the grass, Till they might open to adorn the day ’’— With pearly sweat resembling dew of night, and acknowledge that the Lucrece can well stand beside the play and the poem which precede it, while in weight of reflection it naturally excels them. It is not so full as the Venus of country allu- sions®, though here the rapacious animals (and their prey) prevail in number as they do in 2 and 3 Henry VI. Compare the following list from the poem and plays :— 1 See The Fair Maid of the Exchange— “Crip{ple]. But heare you sir? reading so muchas you | Crip. Why that’s the very quintessence of loue ; Doe you not remember one pretty phrase, [haue done, If you remember but a verse or two, To scale the walles of a faire wenches loue ? Ile pawne my head, goods, lands, and all, twill doe.” Bow{dler}. I never read any thing but Venus and Adonis. In R. Baron’s ‘ Fortune’s Tennis-ball” (Pocula Castalia, 1640) are, says Dr. B Nicholson, many appropriations from Venus and Adonis, suddenly occurring where hunting is spoken of. Falstaff is also referred to; and at the end are many appropriations from Ben Jonson’s Hymenci. 2 Cp. Shakspere’s “ First heir of my invention.” 3 “Yon’s one whose straines haue flowne so high a pitch, | Is like that dreain’d-of imagery, That straight he flags, and tumbles in a ditch. Whose head was gold, brest silver, brassie thigh, His sprightly hot high-soring poesie Lead leggs, clay feete: O faire fram'd }oesie |” That Shakspere’s subject was clay, and his verse gold, is certainly true. + The author of the Return from Parnassus (written about 1602, publisht 1606), puts it thus (Hazlitt’s Dodsley, ix. 118) :— “ William Shakespeare ? ““ Who loves Adonis’ love or Lucrece rape: Could but a graver subject him content, His sweeter verse contains heart-robbing life, Without love's foolish, lazy languishment.” 5 Its proportion of unstopt lines is 1 in 10°81 (174 such lines to the poem’s 1,855) against the Vents's 1 in 25°40 (47 Tun-on lines in 1,194). Let this large difference in proportion of run-on lines between two poems which I now put within a year or two of one another, have what weight it should in lessening the value of the end-stopt-line test when applied to Shakspere’s plays. The order of the plays is independent of any metrical test, though all such tests help in settling that order. But the slightest study of Shakspere’s earliest and latest plays together, is enough to prove the great worth of the end-stopt-line test. The tide through old London Bridge is in line 1667 of Lucrece. 6 We have the London artist too, in the painter of the Siege of Troy, 1. 1366, &c., as in the Venus. Note the dying eyes, with their ashy light, 1. 1378. Of the country and outward nature, we have lilies and roses, 71; red roses and white lawn, 258: clouds and stormy weather, 115 ; corn o’ergrown by weeds, 281; little frosts in spring, 331; cloud and silver Xxxiv §9.c. THE PASSION-GROUP. THE RAPE OF LUCRECE. LUCRECE, 2and 3 HENRY VI. Doves, 58 0.’ Doves, 3 Henry VI, II. ii. 18 ?? not Shakspere) Owls’ and wolves’ death-boding cries, 165 Silly lambs, 167 Night-wandering weasels, 307 (Strong pirates, 335) Dove and night-owl, 360 Lurking serpent, 362 Grim lion fawning on his prey, 421 New-kill'd bird trembling, 457 Honey guarded with a sting, 493 Faleon towering in the skies, 506 Coucheth the fowl below . . . . crooked beak, 507-8 as fowl hear falcon’s bells, 511 Cockatrice’ dead-killing eye, 540 White hind under the gripe’s sharp claws, 543 Foul night-waking cat, 554 His vulture folly, 556 Wolf and poor lamb, 677 Full-fed hound or gorged hawk, 694 A jade, 707 Thievish dog, 736 Wearied lainb, 737 Honey lost ; drone-like bee, 836 Bee-hive, and wasp suckt the honey, 840 Hateful cuckous hatch in sparrows’ nests, 849 Toads’ venom, 850 Adder hisses where sweet birds sing, 871 Wolf and lamh, 878 Sin’s pack-horse, 928 Tiger, unicorn, and lion, 956 Crow and its coal-black wings, 1009 Snow-white swan, 1011 ‘ Gnats, 1014 Eagles, 1015 Slaughterhouse and tool, 1039 Little bird's morning joys, 1107, 1121 Lamenting Philomel, 1079; and nightingale and thorn, 1135 Men proving beasts, 1148 Poor frighted deer, 1149 Little worms, 1248 Pale swan in watery nest, 1611 Blood, and watery rigol, 1745 Old bees die, young possess their hive, 1769 0. n, Boding sereech-owls, 2 Henry VI., III. ii. 327; 0. that fatal screech-owl, 3 Henry VI., IL. vi. 55 Sucking lamb, 2 Henry VI., III. i. 71 a. (The strong Hlyrian Pirate, 2 Henry VI., IV. i. 108) zo ao = n, a = ° 2 3 2 2s . Harmless dove, 2 Henry VI., 1.1.71; 0, night-owl, 3 Henry VI., IL. i. 130 The lurking serpent’s mortal sting, 3 Hen y ¥/., II. ii. 15. . When the lion fawns upon the lamb, 3 Henry VI., IV. viii. 49; a. pent-up lion o'er the wretch that trembles under his devouring paws, 3 Henry V/J., I. iii. 12. . Some say the bee stings, 2 Henry VI., 1V. ii. 83 Your falcon flew above the rest, 2 Henry VI., II. i. 5, 6 . So doves do peck the falcon’s piercing talons, 3 Henry VL, . iv, 41 . Murdering basilisks (same as cockatrices), 2 Henry VI., IIT. ii. 324 . ep. she-partridge in the puttock’s nest, 2 Henry VI., III. ii. 191 (Whose vulture thought, Venus, 551) Lamb ravenous wolf, 2 Henry VI., IIT. i. 77-8 Lainbs pursued by hunger-starved wolves, 3 Henry VI., I. iv. 5 . Hawks do tower so well, 2 Henry VI., II. i. 10 . The jades that drag the night, 2 Henry VI., IV. i. 4 (? Marlowe) . To beat a dog, 2 Henry VI., III. i. 171 . An innocent lamb, 2 Henry VI., 1V. ii. 81; 0. poor harmless lambs, 3 Henry VI., Il. v. 75 . Drones rob bee-hives, 2 Henry VI., IV. i. 109 (? not Shak- spere) . Hive of bees, 2 Henry VI., III. ii. 125 [1 Henry IV., III. dy 5 vi. 28] Lear, I. iv. 219; Antony and Cleopatra, II. . Venom toads, 3 Henry VI., II. ii. 188 (? not Shakspere) . Adder, 2 Henry VI., IIL. ii. 76 . Trembling lamb environed with wolves, 3 Henry VI, I. i, 242 . Tiger’s heart, tigers of Hyrcania, 3 Henry VI., I. iv. 137- 155; 0, lion, 3 Henry VI., I. ii. 11 . The night-crow cried, 3 Henry VI., V. vi. 45 . Gnats, 3 Henry VI., I. vi. 8 n. . The bloody slaughterhouse, 2. Henry Empty eagle, 2 Henry VI., IIT. i. 248 VIL, Il. i. o butcher and his axe, 2 Henry VJ., III. ii. 189 212; (The nightingale lean’d her breast up till a thorn, Barnfield’s Ode, in Passionate Pilgrim, xxi. 8-10] . Margaret turnd worse than tigers, 3 Henry VI., I. iv. 154 . The deer . 7. will scare the herd . 0. here’s a deer, 3 Henry VI, III. i, 2-22 (the deer is Henry himself) . The smallest worm will turn, 3 Henry V'I., IL. ii. 17 @ not Shakspere) : . Aswan swim against the tide, 3 Henry VI., I. iv. 19-20 This cold congealed blood, 3 Henry VI., V. ii. 37 Bees that want their leader, 2 Henry VI, III. ii. 125; and see Clifford’s argument in 3 Henry VJ., IL. ii, 21-42 But the long lamentations of Lucrece, so full of antithesis and so laboured?, are, without doubt, imitated from Chaucer’s poem of Troilus and Cressida. As some compensation for them, we have the noble figure of Lucrece herself, suffering death rather than live under dishonour, a figure fit to moon, 371; sun from cloud, 372; April daisy, 395; marigolds, 397 ; red-rose blush, 479; thorns on growing rose, 492; black-faced cloud, 547; dim mist, 548; earthquake, 549; streams to the salt ocean, 649; sea, flood, &c., 652; silver- shining moon and twinkling stars, 786-7, 1007-8 ; unruly blasts and tender spring, 869 ; wormwood taste, 893; bastard graff, 1062 ; mountain-spring, 1077; blushing morrow, 1082 ; flood overflowing banks, 1118; bark peeled, from pine, 1167 ; leaves and sap, 1168; dew (conceit of earth’s tears), 1226 ; goodly champaign plain, 1247 ; rough winter killing the flower, 1255 ; Simois’ reedy banks, 1437; bright day and black-fac’d storms, 1518, little stars shot from places, 1525 (ep. ALN, D.); ebb and flow, 1569; water-galls and storms, 1589; floods increast by rain, 1677 ; windy tempest blows up rain, 1788. , 1 Miss Lee has kindly put o. to the old-play lines, a, to those altered, 7, to the new ones, in 2 and 3 Henry VI. 2 In St. 19, Shakspere has five consecutive rymes in ing, 1, 127-131, as in 1. 428-434 he has a whole stanza with ing rymes. This is like Chaucer's five in ore and five in ere in Yroilus, bk. v., st. iv., xxii, (Works, ed. Morris, vol. v., p. 2, p. 10.) §9.c. THE PASSIONATE PILGRIM. XXXV stand by Brutus’s Portia, by Volumnia, of Shakspere’s greatest time. We will not forget, too, that in Coriolanus Shakspere comes back to near the days of this early Rape of Lucrece | The Lucrece was enterd in the Stationers’ Registers in 1594, “9 maij: Master harrison Senior : Entred for his copie vnder th{e hJand of master Senior Cawood, Warden, abooke intituled the Ravyshe- ment of Lucrece. . .vj4, C.” (Arber's Transcript, ii. 648), and was publisht the same year by J. Harrison. It was reprinted in 1598, 1600, 1607, 1616, and 1624, each Quarto being taken from the one before it. The first edition was probably seen through the press by Shakspere himself. It contains a short fervent Dedication to Lord Southampton, then just of age (see Julius Cesar below), and an “Argu- ment” or sketch of the story on which fhe poem is founded. Whence Shakspere got this Argument —his only piece of non-dramatic prose besides his two short Dedications—has not yet been made out in detail. Chaucer had, in his Legende of Good Women (a.p. 1386 ?), told the story of Lucrece, after those of Cleopatra, Dido, Thisbe, Ypsiphile, and Medea, “As saythe Ovyde and Titus Lyvyus” (Ovid’s Fasti, bk. ii., 1. 741; Livy, bk. i., ch. 57, 58): the story is also told by Dionysius Halicarnassensis, bk. iv., ch. 72, and by Diodorus Siculus, Dio Cassius, and Valerius Maximus. In English it is, besides in Lydgate’s Falles of Princes, bk. iii., ch. 5, and in Wm. Painter's Palace of Pleasure, 1567, vol. i., fol. 5-7, where the story is very shortly told: the heading is “Sextus Tarquinius ravisheth Lucrece, who bewailyng the losse of her chastitie, killeth her self.’ I cannot find the story in the Rouen edition, 1603, of Boaistuau and Belleforest’s Histoires Tragiques, 7 vols., 12mo; or the Lucca edition, 1554, of the Novelle of Bandello, 3 parts; or the Lyons edition, 1573, of the Fourth Part. Painter’s short ZLucrece must have been taken by himself from one of the Latin authors he cites as his originals at the end of his preface. In 1568, was enterd on the Stat. Reg., A, lf. 174, a receipt for 4d. from Jn. Alde “for his lycense for prynting of a_ballett, the grevious complaynt of Luerece”” (Arber’s Transcript, i, 379); and in 1570 the like from “ James Robertes, for his lycense for the pryntinge of a ballett intituled Lhe Death of Lueryssia” (Arber’s Transcript, i. 416). Another ballad of the legend of Lucrece was also printed in 1576, says Warton. (Var. Shakspere, xx. 100.) Chaucer's simple, short telling of the story in 206 lines—of which 95 are taken up with the visit of Collatyne and Tarquynyus to Rome, before Shakspere’s start with Tarquin’s journey thither alone— cannot of course compare with Shakspere’s rich and elaborate poem of 1,855 lines, though, had the latter had more of the earlier maker's brevity, it would have attaind greater fame. “Tue Passionate Prterime, by W. Shakespeare,” was first publisht in 1599. In the middle of sheet C is a second title: ‘Sonnets To sundry notes of Musicke.” The Pilgrim is a collection, made by the piratical publisher, William Jaggard, of some genuine Sonnets, &c., by Shakspere, Richard Barnfield, Bartholomew Griffin, Christopher Marlowe, and other writers unknown, got from divers printed books and other sources. Thirteen years afterwards, in 1612, the same pirate Jaggard reprinted The Pilgrim as Shakspere's, and put into it, under Shakspere’s name, and to his disgust, two poems by Thomas Heywood?, for which the latter publicly reproacht Jaggard. The original edition (reprinted in due order in the Leopold and Globe eds.) contains—1, 2. Shakspere’s Sonnets 138 and 144, with various readings. 3. Berowne’s Sonnet to Rosaline in Love's Labours Lost, IV. iii. 57-70, “ Did not the heavenly rhetoric of thine eye.” 4. The first Venus and Adonis Sonnet, “ Sweet Cytherea.” 5. Berowne’s 6-measure Sonnet-Letter to Rosaline in Love’s Labours Lost, IV. ii. 103-116, “It love make me forsworn.”? 6. The second Venus and Adonis Sonnet, “Scarce had the sun.” 7. Three stanzas of six, “ Fair is my love” (to be compared with Sonnet 138, No. 1 here). 8. Richard Barnfield’s first Sonnet? from his Poems: In diuers humors‘, 1598. It was written “To his friend Maister R. L. In praise of Musique and Poetrie” (p. 189, ed. Grosart, Roxburghe Club, 1876), and begins, “If 1 It is very interesting to compare the sympathetic tone in which Shakspere speaks of the Siege of Troy, in lines 1366-1568 ; of Ajax and Ulysses, 1. 1394-1400; of Nestor, 1. 1401-1421 ; of Achilles, 1. 1422-7; of Hector, 1. 1429-1435, with the bitter way in which he treats the same subject and men in his later Troilus and Cressida. Also note here in 1. 1443-1485, the source of the player’s Hecuba-speech in Hamlet. Shakspere’s Minor Poems have not yet been workt enough with his plays ; nor Chaucer’s with his Tales. 2 From his Troia Britanica, 1609, which proceeding, says Dyce, was thus noticed by Heywood in the Postscript to his Apology for Actors, also printed in 1612: ‘‘Here, likewise, [ must necessarily insert a manifest injury done me in that worke [Troja Britannica], by taking the two epistles of Paris to Helen, and Helen to Paris, and printing them ina lesse volume under the name of another, which may put the world in opinion I might steale them from him, and hee, to doe himselfe right, hath since published them in his owne name : but, as I must acknowledge my lines not worthy his patronage under whom he hath publisht them, so the author, I know, much offended with M. Jaggard that (altogether unknowne to him) presumed to make so bold with his name.” ‘Heywood having thus claimed his own, Jaggard cancelled the title-page of the third edition of Phe Passionate Pilgrim, 1612, on which was the name of Shakespeare, and substituted a title-page without any author's name.” (This pirate Jaggard's name was William.) : 3 Both this and No. 21, “ As it fell,” though in Barnfield’s first edition of 1598, publisht by John Jaggard, were, like all the rest of the Poems but two, left out of the second edition of Lady Pecunia, &c., in 1605, ‘to be sold by Jhon Hodgets, dwelling in Paules Churchyard, a little beneath Paules Schoole.” But that this outleaving does not imply that the two poems were Shakspere’s, or not Barntield’s, Mr. Grosart shows in his edition of Barnfield, 1876, p. xxxi. [ wish the Sonnet, with its love of Spenser, had been Shakspere’s. ; , IN 4 Ina volume of 31 leaves contaming---1. The praise of Lady Pecunia. 2. The Complaint of Poetrie tor the Death of Liberalitie. 3. Poems; in divers Humors.—1598, Hazlitt’s Handbook. XXXV1 §9.d. FARLY HISTORIES. RICHARD II. music and sweet poetry agree,” and is one of his ‘fruits of vnriper yeares.” 9. The third Venus and Adonis Nonnet, ‘Fair was the morn,” incomplete as now, without its second line. 10. Two stanzas ' of six lines each, ‘Sweet rose.”” 11. The fourth Venus and Adonis Sonnet, by Bartholomew Griffin, Sonnet III. in his Fidessa, 1596, sign B 2, but now with new mistakes and various readings, and new lines 9-12, whence got, is unknown. 12. “Crabbed age and youth.” 13. “ Beauty,” 14. ‘‘ Good night,” each two stanzas of six, and not Shakspere’s, I think. 15. ‘Lord, how mine eyes,” three stanzas of six. 16. (Here begin the “ Sonnets to sundry notes of Musicke,’’ with) a spurious set of quatrains (aaab), “It was a lording’s daughter,” of course not Shakspere’s. 17. Dumaine’s poem to his “most divine Kate,” in Love's Lubours Lost, IV. iii. 98-117, “On a day.”! 18. “ My flocks feed not,” from Weelkes's Madrigals, 1597: clearly.not Shakspere’s.1 19. ‘‘ When as thine eye.’ 20. Marlowe's “ Live with me, and be my love” (sung by Izaak Walton’s handsome milkmaid’), with Sir Walter Raleigh’s Reply. 21. Richard Barnfield’s Ode, ‘‘ As it fell upon a day,” from his Poems : In diuers humors (1598), 56 lines. (Lhe Phenix and the Turtle first appeard, with Shakspere’s name to it, in Chester’s Love's Martyr : or, Rosalins Complaint, in 1601. It is no doubt spurious.) I have not workt enough at these poems in Lhe Passionate Pilgrim to havea real opinion on them. The dates vary, I suppose, from 1589 to 1599, or so. I put the collection at the end of the other poems, because it can only be noticed here or at the end of the plays. The first three Venus and Adonis Sonnets are to me so much easier in flow and lighter in handling than the Venus and Adonis itself, that, if they are Shakspere’s, I cannot suppose them to have been written before that poem. They seem to me worthy of Shakspere in his young-man's time. In addition to Nos. 8, 11, 16, 18, 20, and 21, noted above as not being Shakspere’s, I suppose that 10, 13, 14, 15, are not his either. About No. 19 I doubt: that ‘to sin and never for to saint,’ and the whole of the poem, are by some strong man of the Shakspere breed. My. Grosart has shown in his Prefaces to his editions of Barnfield’s Poems and (rittin’s Fidessa, that there is no reason to take from the first, his Ode (No. 21) and his Sonnet (No. 8), or from the second, his Venus and Adonis Sonnet (No. 11), many of whose readings the Pussionate Pilgrim print spoils. No. 12 I like to think Shakspere’s; and No. 7 goes so well with No. 1, that though I see nothing distinctively Shakspere’s in it, I suppose it may be his. RicHarp THE Seconp.—Shakspere turned from his play and his poems of passion, to deal with the great political questions which were stirring his countrymen in his own time. One cannot believe that he who knew the object of playing was to show “the very age and body of the time, his form and pressure,” could have been indifferent to the greatest questions pressing on his age, when he freely satirised the petty fashions of men’s coats and breeches, and women’s false hair and face- painting and the like, The chief questions troubling his time were the disputed succession of Eliza- beth and her title to the Crown, her government by favourites, the continual conspiracies against her, either home-grown or supported by foreign aid. And whether Shakspere took up the topic of historical plays because it was popular with English audiences, and had been dealt with by former writers, or because he had his own say on Elizabethan pulitics to say to his countrymen, I cannot doubt that he did speak his own opinions and preacht his own moral through his historical plays. That he loved his country, every play and poem of his shows. That he was a patriot above party, even though he may have inclined to Southampton and Essex’s side, his historical plays show too. He first took the weak kings, and of them first, Richard the Second, who by favouritism ruind England. Elizabeth herself said to Lambarde, ‘I am Richard the Second: know vou not that?” And her favouritism is still one of the just, among the many unjust, stains on her character. That Shakspere’s Richard I. was the play acted in the streets of London by direction of Essex s friends on the afternoon before his rebellion broke out, is almost certain, for the arrangement for the performance of the play was made with “ Augustine Phillipps, servant to the Lord Chamberlain, and one of his Players%,” that is, a member of the company to which Shakspere belongd; and that Shakspere’s Richard If. from the first containd the Deposition Scene, though this was not printed in the first quarto, is clear from the lines that come before and after the omission. Shakspere shows by this weak king’s history, what is the end of a sovereign’s unwise favouritism, and he also protests against the benevolences and daily new exactions raisd in Elizabeth's reign’, especially about 1591-3. I do not contend that in Richard, Shakspere meant to picture Elizabeth: she was far other than he. This degenerate son of the Black Prince, the flower of warriors, is shown in Shakspere’s 1 In England's Helicon, 1600; 18, signd Ignoto. No. 20 and part of 21 are there too, with Sir Walter Raleigh’s Reply. 2“ Ag T left this place and entered into the next field, a second pleasure entertained me: ‘twas a handsome milk- maid ; she cast away all care, and sung like a nightingale. Her voice was good, and the ditty fitted for it; it was that smooth song which was made by Kit Marlowe, now at least fifty years ago. And the milk-inaid’s mother sung an answer to it, which was inade by Sir Walter Raleigh in his younger days."—Complete Angler. 3 See A. Phillipps’s Examination, in Mrs, Green’s Calendar of State Papers, Domestic Series, 1598-1601, p. 578; and Mr. Hales's letter of November 15, 1875, in The Academy for that month. 4 “Still, 1 cannot help observing, though I know not how to account for it, that the dramatist here dwells upon 39. d. EARLY HISTORIES. HENRY VI. xxxvii pages as a mere royal sham. Personate a king in tongue he can; but act as one he can’t. His claim to command is belied by the action of the quarrelsome nobles in his very presence in the first scene. The utter meanness of his nature is shown by his inability to take the reproof of the noble, dying Gaunt. His stage-actor’s hollowness is shown on his return to England when, idiot that he is, he affects to favour England’s earth by touching it with his royal hand, and then claims on the one hand the certainty of help from heaven, and on the other grovels in the mire of despair as soon as bad news comes. Good tidings lift him again for a moment, but he falls at once into the slime to which by nature he belongs. He cannot part with his crown without calling for a glass to look at himself in: and it is not till he suffers and dies in prison, that we have any feeling of regret for the majesty he so little represented on the throne. His rival Bolingbroke, on the other hand, the son of that Gaunt, through whom Shakspere has spoken his own love of “ this blessed plot, this earth, this realm, this England,” the son of Chaucer’s sweet-voiced Duchess Blanche, is shown with all his mother’s gracious ways winning the hearts of the common folk, wiling the tediousness of Northumberland’s journey, and astutely seizing the chances that fortune and Richard’s misgovernment give him to ascend the throne. His hint for Richard's murder is caught up by Exton, and the king has soon to learn that the deed is worse than a crime; it isa blunder. ‘The passion and fancy of the last group of Shakspere’s works give way to the patriotism and the rhetoric of the present set of historical plays. As in the former the fincy sometimes verged on conceit, so in the latter does the rhetoric sometimes verge on rant, as in Bolingbroke’s and Mowbray’s speeches. In the later scenes, too of Richard II., ryme seems to make its last effort to stand as part of Shakspere’s regular means for working out his plays. But these scenes are singularly weak ; and with the repetition of the nobles’ challenge constitute a blemish on the play. Another blemish is the want of comic relief, and the making of the gardener and his mates talk like philosophers or Friar Laurence. A strong link with Romeo and Juliet is seen in the up-and-downness of the characters of Richard the Second and Romeo. Richard II. is founded, like Shakspere’s other Historical Plays, upon Holinshed’s Chronicle, with such changes and additions as it pleasd the poet to make in his original. Among the inventions here are the fine scene between John of Gaunt on his death-bed and his nephew; Aumerle’s continuing faithful to Richard ; Northumberland’s not kneeling to the King, whereas he did kneel; the scene of the Queen and the gardeners; Richard’s interview with her after his return from Ireland; the lament of Henry over Richard’s corpse. York’s description of the progress of Richard and Bolingbroke is from Stowe, p.322. See, too, Daniel’s poem, History of the Civil Wars, bk. ii. (P. A.D.). ‘* The characters of Richard, of Bolingbroke, and of York, are sufticiently true to nature and to history so far as Shakspere was acquainted with it. Richard, reckless in prosperity, weak in adversity; Bolingbroke, bold and ambitious, and courting popularity; York, timid and wavering, or, viewed more favourably (Coleridge, Lit. Rem., ii. 173), halting between his loyalty and his patriotism.’ —Courtenay, i. 73. The first Quarto of Richard II. was publisht in 1597, then reprinted in 1598, 1608, and 1615. Each of the later Quartos was printed from the one before it; and the Folio text was printed from the Quarto of 1615. Richard LZ. is the first play of the Tetralogy which the Trilogy of Hexry IV., V. completes. Henry tHe Stxru.—The next series of historical plays that goes under the name of Shakspere deals, in three parts, with a weak king, Henry the Sixth, in one part with a strong king, Richard the Third. Its subject is a superb one for a dramatist. You have, on the one hand, the story of individual love; onthe other, the ruin of a kingdom and a throne. The old guilty love of Guinevere and Lancelot is reproduced in that of Margaret and Suffolk; and as the first still holds the hearts of poets and of men, so that Mr. Tennyson has reproduced it for our Victorian time, so might the second have been treated that it would have been one of the glories of the Elizabethan drama. As the first brought about the ruin of all the goodly fellowship of the flower of kings, so the second led to those wars of York and Lancaster which lost us all the fair realm of France, and filled England with civil war. The “fairest beauty” Margaret, ‘‘ soft as downy cygnets,’ was turned by ambition into a “ she-wolf of France, but worse than wolves of France, whose tongue more poisons than an adder’s tooth,” into one of the demonesses whom the French Revolution in later time reproduced. Her pride makes her level to the ground the pillar of the noble Humphry, who is the sole support of her husband’s throne. -His removal gives room for all the angry passions of the nobles, the designs of the crafty, hypocritical Gloster, to work. And soon the queen, bereft of love, of child, of throne, of husband, has nothing to console her but the curses she can heap on the foes who have ruind her, and the eager watching for their fulfilment. From out the ruins of her life, on which she, cursing, sits, steps the striking figure of Richard, exulting with grim humour in his villainy and success. He has trod through blood to the throne, and he will pour out blood to hold it. But behind him is the gathering popular grievances, which in the other play (King John) he treats with contempt, though history has certainly handed down John as, not less than Richard, the oppressor of his people.” —Courtenay’s Comment., i. 50. Tho’ benevalences were not known till Henry VIL.’s time, yet Richard II. made many aceused persons compound for pardon, and pay large sums pro benevolentid sud recuperandd.—Turner, ii, 317.—ib. xxxviii §9.d. EARLY HISTORIES. HENRY VI. storm of the curses of Margaret and her sister-queens, the wail of murderd innocents mixing with the women’s wrath. And at last the storm bursts in lightning-flash, on battle-field, on the head of the guilty king, erect, defiant, fearing death as little as he feard sin. And the land is again ina strong man’s hand. Of this superb subject, but little is made in the Henry VI. plays. The first of them is broken and choppy to an intolerable degree. The only part of it to be put down to Shakspere is the Temple Garden scene of the red and white roses!; and that has nothing specially characteristic in it, though the proportion of extra-syllabled lines in it forbids us supposing it is very early work. There must be at least three hands in the play, one of whom must have written—probably, only—the ryme scenes of Talbot and his son. But poor as this play seems to us, we have Nash’s evidence that it toucht the Elizabethan audiences: ‘‘ How would it haue joy’d braue Talbot (the terror of the French) to thinke that after he had lyne two hundred yeare in his tomb, he should triumph againe on the stage, and haue his bones new embalmed with the teares of ten thousand spectators at least, (at seuerall times) who, in the tragedian that represents his person, imagine they behold him fresh bleeding” (Pierce Penilesse, p. 60, ed. 1842, Old Shak. Soc.). The characters of the clear-seeing Exeter, the noble Talbot— great Alcides of the field . Lord Furnival, of Sheffield ”’—and his gallant young son, Salisbury, ‘‘ mirror of all martial men,” the generous Bedford, are the only ones that redeem the gloom of such cowards and cads as Somerset, such vain and foolish traitors as the Countess of Auvergne, the baseness of the Dauphin, and the abominable way in which Joan of Arc is treated by Frenchmen as well as English. ‘Traditional as the witch-view of Joan of Are was in Shakspere’s time, one is glad that Shakspere did not set it forth tous. The Second and Third Parts of Henry VI. are but recasts of two older plays, the Contention, published in 1594, and the Zrwe Tragedy, published in 1595.2 The latest discussion of the authorship of these plays is by my friend, Miss Jane Lee, New Sh. Soc.’s Trans., 1875-6, Part II., and never before has the question been so ably and thoroughly handled. I incline to accept the conclusion of herself and some other critics that Shakspere took no part in the Contention and True Tragedy, though it cannot be certain that he had no share in the original sketch of Jack Cade. It is unquestionable that Shakspere’s hand is in the revised play. Duke Humphry’s great speech in Part II. (Act I., se. i.), ‘‘Brave peers of England,” &c., King Henry’s, in Part IIT. (Act II., sc. v.), the description of Duke Humphry’s corpse in Part II. (Act IIT., sc. ii.), can have been written by no other man. The powerful account of the cardinal's death has been assigned, with some probability, to Marlowe, with whose Faustus’s carrying-off scene it is well compared. But certainly parts of the revision were done by Marlowe’, or one of his school, and some parts, as I think, by Greene, or one of his school*; 1 The wooing of Margaret by Suffolk is not his, as its quick falling off into that ‘cooling card,” &c., shows. 2 Mr. Hazlitt reprints both in his Shakspere’s Library—a book indispensable to every real student of Shakspere— Part Il., Cont., vol. i., pp. 379-520; Tr. Trag., vol. ii., pp. 2-105. The text of the revised plays, 2 and 3 Henry VJ., appeard for the first time in the Folio of 1623. 3 Miss Lee assigns to Marlowe the following portions of the revised plays: see her answer to me in the Discussion on her Henry VI. paper in New Shakspere Society's Transactions, 1876, Part II. :—2 Henry VI., II. iii. 1-58; II. i. 142-199, 282-330, 357-383 ; IIT. ii. 43-121 (with Shakspere); 1V. i. 1-147, x. 18-90 (?IV. ix., Greene); V. i. 1-160, 175- 195; ii, 10-11, 19-30 (?), 31-65. (I doubt, too, the following being Shakspere’s :—I. i, 24-35, iv. 41-66; II. i. 1-113 Q); III. i, 200-281, 331-356 ; ii, 1-87, 43-121, 246-269, 339-366 (?); V. i. 161-174, ii. 72-90). 3 Henry VI., 1. ii. 5-765 ID. i. 81-6, 200-4; ii. 6, 53, 56, 79, 83, 143, 146-8; iii, 49-56; iv. 1-4, 12, 13: v. 114-120; vi. 31-6, 47-50, 58, 100-2; TIT. iii. 4-43, 47, 48, 67-77, 110-120, 134-7, 141-150, 156-161, 175-9, 191-201, 208-18, 221, 226, 233-8, 244-255 (?); IV. ii. 19-30; V. i, 12-16, 21, 22, 31-33, 39, 48-57, 62-66, 69-71, 78, 79, 87-97; ili, 1-24. (I doubt, too, the following being Shak- spere’s :—(?) I. i, 216-273, iv. 1-26 (?); IL. i. 41-78, iii. 9-47; V. 58-113 (?), 123-139 (?). Miss Lee's division of the Con- tention and True Tragedie between their several authors is in the New Shakspere Society's Trdusactions, 1876, too. In that I agree. On the points on which Miss Lee differs from me, let the reader trust her and not me, till he has workt enough to form an opinion of his own. She has workt at the plays twenty times as much as I have, and has got. a certainty about them that I can't pretend to have. * For instance, I feel almost certain that neither Marlowe nor Shakspere alterd the following left-hand passage trom the Contention into the right-hand one from 2 Heury VI. :— 1591 Contention, p. 49. 1623, 2 Henry VI., TV. i. 104-114. “Suf. O that I were a God, to shoot forth Thunder Vpon these paltry, seruile, abiect Dridqes : “Sauffolke. This villain being but Captain of a Pinnais, Small things make base men proud. This Villaine heere, Threatens more plagues then mightie Abradas*, Being Captaine of a Pinnace, threatens more The great Masadonian Pyrate,” Then Bargulus the strong Illyrian Pyrate. Drones sucke not Kagles blood, but rob Bee-hiues : it is impossible that I should dye. By such a lowly Vassalt as thy selfe. “Thy wordes addes fury and not remorse in me.” Thy words moue Rige, and not remorse in me: I go of Message from the Queene to France : I charge thee waft me sufely crosse the Channell.” * Greene, in his Penelope's Web, 1588, mentions ‘‘Abradas, the great Macedonian pirat,” who “ thought enery one had a letter of mart that bare sayles in the ocean.” See Malone's Shakspere, by Boswell, vol. xviii., p. 280. Bargulus—or Bupdvddis, as Plutarch writes it in the Life of Pyrrhus,—is mentioned by Cicero, Bargulus Illyrius lateo (Halliwell). §9. d. EARLY HISTORIES. RICHARD III. xxxix and if Marlowe and Greene were, with Peele, as I’m content to think they were, the authors of the earlier plays, I am not surprised to find their hands beside Shakspere’s in the revised one. I believe that the revision of these plays is to some extent like the conversion of 4 Shrew into The Shrew, and that another adapter’s hand than Shakspere’s is to be largely recognised in them. He may have retouchd and strengthend them after Greene (died September 5, 1592) and Marlowe (stabd June 1, 1593) had reworkt them. ‘The humour of Cade is thoroughly Shaksperean, and may claim to stand alongside, though it is earlier in date than, that of Sly and Grumio. Ricuarp THE Turd is written on the model of Shakspere’s great rival, Christopher Marlowe, the Canterbury cobbler’s son, who was stabd in a tavern brawl on June 1, 1598. It was Marlowe’s character- istic to embody in a character, and realise with terrific force, the workings of a single passion. In Tamberlaine he personified the lust of dominion, in Faustus the lust of forbidden power and knowledge, in Barabas ( The Jew of Malta) the lust of wealth and blood (J.A.Symonds). In Richard III. Shakspere embodied ambition, and sacrificed his whole play to this one figure. Gloster’s first declaration of his motives, shows of course the young dramatist, as the want of relief in the play, and the monotony of its curses, also do. But Richard’s hypocrisies, his exultation in them, his despising and insulting his victims, his grim humour and delight in gulling fools, and in his own villainy, are admirably brought out, and that no less than thirteen times in the play. 1. With Clarence. 2. With Hastings. 3. With Anne, widow of Prince Edward, Henry the Sixth’s son, whom Richard the Third, when Gloster, had stabd. 4. With Queen Elizabeth, with Gloster and Hastings, and possibly in his professt repentance for the wrongs he did Queen Margaret in murdering her son and husband.! 5. With Edward the Fourth on his death-bed, and his queen, and lords, and as to the author of Clarence’s death. 6. With his nephew, Clarence’s son. 7. With Queen Elizabeth and his mother, “Amen! And make me die a good old man!” 8. With Buckingham, “ I as a child will go by thy direction.” 9. With the young prince, Edward the Fifth, ‘God keep you from them and from such false friends.” 10. With Hastings and the Bishop of Ely. 11. With the Mayor about Hastings and then about taking the crown—(note Richard’s utter brutality and baseness in his insinuation of his mother’s adultery). 12. With Buckingham about the murder of the princes. 13. With Queen Elizabeth when he repeats the scene of his wooing with Anne, as the challenge-scene is repeated in Richard II. Villain as he is, he has the villain’s coolness too. He never loses temper, except when he strikes the third messenger. As a general he is as skilful as Henry the Fifth, and looks to his sentinels ; while, like Henry the Fourth, he is up and doing at the first notice of danger, and takes the right practical measures. Yet the conscience he ridicules, he is made to feel— “«There is no creature loves ine, And if I die no soul will pity me.” But we must note that this is only when his will is but half-awake, half-paralysed by its weight of sleep. As soon as the man is himself again, ncither conscience nor care for love or pity troubles him. The weakest part of the play is the scene of the citizens’ talk; and the poorness of it, and the | monotony of the women’s curses, have given rise to the theory that in Richard IJJ. Shakspere was only re-writing an old play, of which he let bits stand. But though I once thought this possible, I have since become certain that it is not so. The wooing of Anne by Richard has stirrd me, in reading it aloud, almost as much as anything else in Shakspere. Note, too, how the first lines of the play lift you out of the mist and confusion of the Henry VJ. plays into the sun of Shakspere’s genius. Richard III. was first publisht in quarto in 1597, and afterwards in 1598, 1602, 1605, 1612, and 1622 (and 1629, 1634), each edition being printed from the one before it. The Folio text of 1623 shows a number of small word-changes from the Quarto—with important ones of passages occasionally— that render the making of the best text of Richard ITI. the hardest puzzle in Shakspere-editing. In avery able paper in the New Shakspere Socicty’s Transactions, 1875-6, Part I., Mr. James Spedding contends, against the Cambridge editors, Clark and Wright, that the Folio, in all but a few cases, gives Shakspere’s own.corrections. Professor Delius holds this view too (Jahrbuch, vii. 124), as the Folio has many passages linking Richard IIT, with Henry VT. that are not in the Quarto. ‘The source of the play—as of all Shakspere’s Historical Plays—is Holinshed’s Chronicle, which is here taken from Sir Thomas More’s Life of Richard III., Polydore Vergil, &c. See Courtenay’s Commentaries on the Historical Plays,ii.60-117. Courtenay says, ‘The [then] received history is pretty closely followed.”. . ‘Margaret sustains her part well, but that is entirely fanciful, and not to be admired. Shakspere’s character of Queen Anne is imaginary, and not well imagined.’ One instance that Courtenay brings forward to show that Shakspere designedly blackend Richard’s character—his making Richard concernd in bringing about Clarence’s death—I have shown to be unfounded; because Hall, in his Chronicle, p. 343, ed. Ellis, 1809, says that “some wise menne”’ did hold this view of Richard, and Holinshed, too, in Edward V., mentions it. The action of the play covers fourteen years, from Henry the 11 have always, tho’, considered this genuine repentance, or at least a genuine profession of it. xl § 10. SECOND-PERIOD PLAYS. a. LIFE-PLEA GROUP. KING JOHN. Sixth’s murder, May 21, 1471, to Richard the Third’s death, August 22, 1485. If Shakspere had ever seen on the boards or in print Lhe Lrue Tragedic of Richard the Third, 1594, 2 Hazlitt, i. 43, he used it but little, or Dr. Legge’s Latin Richardus Tertius either (Lloyd’s Essays, p. 287). Kiye Joux.—With this play of pathos and patriotism we open Shakspere’s Second Period,— looking on Richard II. as the last play in which ryme plays a prominent part, we take the series of Heury VI. and Richard III. as the transition to the Second Period;—and on opening it we are struck with a greater fulness of characterisation and power than we saw in the First-Period plays. But the whole work of Shakspere is continuous. Hing John is very closely linkt with Richard ILI, In both plays we have cruel uncles planning thcir nephews’ murder, because the boys stand between them and the Crown. In both we have distracted mothers overwhelmd with grief. In both we have prophecies of ruin and curses on the murderers, and in both the fulfilment of these. In both we have the kingdom divided against itself, and the horrors of civil war. In both we have the same lesson of the danger of division taught to the discontented English parties of Shakspere’s own day. Richard III. is an example of the misgovernment of a cruel tyrant; Hing John of the misgovernment of a sclfish coward. But in John we have the mother’s pathetic lament for her child far developed above that of Queen Elizabeth's for her murdered innocents, and far more touching than the laments of Queen Margaret and the Duchess of York, while the pathos of the stifled children’s death is heightened in that of Arthur. The temptation scene of John and Hubert, repeats that of Richard and Tyrrel. The Bastard’s statement of his motives, ‘‘ Gain, be my lord,” &c., is like that of Richard the Third’s about his villainy. (The Bastard’s speech on commodity may be compared with Lucrece’s reproaches to opportunity.) Besides the boy’s pleading for his life, besides his piteous death and the mother’s cry for him, which comes home to every parent who has lost a child, we have in the play the spirit of Elizabethan England’s defiance to the foreigner! and the Pope. King John is founded on the old play of The Troublesome Raigne of Ning John, 1591.2 Shakspere alters the old play in eight chief political points,—as shown by Mr. Richard Simpson in the New Shahspere Society's Transactions, 1874,—in order to bring the play closer home to his hearers, and the circumstances of his time, the disputed succession of Elizabeth, and the interference of Spain and the Pope. The old play-writer made the murder of Arthur, as Mr. Lloyd has noticed,* the turning-point between the high-spirited success of John at first and his dejection and disgrace at last; and he, too, fixed on the assertion of national independence against invading Frenchmen and encroaching ecclesiastics as the true principle of dramatic action of John's time. So long as John is the impersonator of England, of defiance to the foreigner, und opposition to the Pope, so long is he a hero. But he is bold outside only, only politically; inside, morally, he is a coward, sneak, and skunk. See how his nature comes out in the hints for the murder of Arthur, his turning on Hubert when he thinks the murder will bring evil to himself, and his imploring Falconbridge to deny it. His death ought, of course, dramatically to have followed from some act of his in the play, as revenge for the murder of Arthur, or his, plundering the abbots or abbeys, or opposing the Pope. The author of The Troublesome Raigne, with a true instinct, made a monk murder John out of revenge for his anti-Papal patriotism.4 But Shakspere, unfortunately, set this story aside, though there was some warrant for it in Holinshed, and thus left a serious blot on his drama which it is impossible to remove. The character which to me stands foremost in John is Constance, with that most touching expression of grief for the son she had lost. Beside her cry, the tender pleading of Arthur for his life is heard, and both are backed by the rough voice of Falconbridge, who, Englishman-like, depreciates his own motives at first, but is lifted by patriotism into a gallant soldier, while his deep moral nature shows itself in his heartfelt indignation at Arthur’s supposed murder. The rhetoric of the earlier historical plays is kept up in Hing John, and also Shakspere’s power of creating situations, which he had possessed from the first. Of the situation in Act III., sc. i., Mrs. Jamieson says in her Characteristics of Women, 1“ The great lesson taught in the last lines of the play should he more brought out. King, nobles, claimant, all lean on foreign help, and all find it a broken reed which pierces their hands."—C. Hargrove. Besides the passage usually cited from Andrew Boorde for these last lines, he has another nearer to Shakspere's words ; ‘I think if all the world were set against England, it might neuer be conquered, they beyng treue within them selfe.”—1542 (pr. 1547) Introduction, p. 164 of my edn., 1870. 2 It is the old play re-written. The two must be read together and compared, to see what genius makes out of ordinary work. The extreme Protestant tone of the old play is much modified by Shakspere. Andas Prof. Delius notices (New Shakspere Society's Transactions, 1875-6, Part 11.), Shakspere only tells certain incidents that the old play acts, as Falconbridge ransacking the churches, arresting Peter of Pomfret on the stage ; John’s meal and poisoning, the death of the monk who poisons him, and Falconbridge’s stabbing the abbot. Falconbridge's soliloquies are new too. On the many variations from history in King John, see T, P. Courtenay’s Commentaries on the Historical Plays of Shakspere, two vols., Colburn, 1840, a book indispensable to the student of these plays. The old Trowblesome Raigne of 1594 is reprinted in Hazlitt's Shakspere’s Library, Part IL, vol. i., p. 221. 3 Critical Essays, G. Bell and Sons, 1875. The best half-crown hook on Shakspere. ‘No, but for his enmity to, and robhery of the monks. See Hazlitt's Sh. Libr., Pt. IL, vol. i., pp. 309-311."— C. Hargrove. I meant to include these as anti-Papal acts. t §10. SECOND-PERIOD PLAYS. THE MERCHANT OF VENICE. xli ed. 1870, pp. 856, 357 :—“* Aud what a situation! One more magnificent was never placed before the mind’s eye than that of Constance, when, deserted and betrayed, she stands alone in her despair, amid her false friends and her ruthless enemies! The image of the mother-cagle, wounded and bleeding to death, yet stretched over her young in an attitude of defiance, while all the baser birds of prey are clamouring around her eyry, gives but a faint idea of the moral sublimity of this scene. Considered iuerely as a poetical or dramatic picture, the grouping is wonderfully fine: on one side, the vulture ambition of that mean-souled tyrant, John; on the other, the selfish, calculating policy of Philip; between them, balancing their passions in his hand, the cold, subtle, heartless Legate; the fiery, reckless Falconbridge; the princely Louis; the still unconquered spirit of that wrangling Queen, old Elinor ; the bridal loveliness and modesty of Blanche; the boyish grace and innocence of young Arthur; and Constance in the midst of them, in all the state of her great grief, a grand impersonation of pride and passion, helpless at once and desperate, form an assemblage of figures, cach perfect in its kind, and taken all together, not surpassed for the variety, force, and splendour of the dramatic and picturesque effect.” King John is in Meres’s list, 1598, and was first printed in the Folio of 1623. It was written probably in 1595. My friend, Dr. Brinsley Nicholson, contends for two dates in it: 1594, from its storm imagery ; 1896, from its fleet passage, alluding, as he thinks, to the Cadiz expedition. But in 1595 was Drake and Hawkins’s Darien expedition ‘‘ with a fleet of men of war’? (Zoone’s Chronol. Hist., i1.); besides Raleigh’s second voyage to America. And Shakspere was in London in Armada time, 1588, and heard all about the fleet then. His only boy, Hamnet, was buried on August 11, 1596. Tur Mexcuant or Venice (?1596).—We turn from the rain-green level meads of France, from our own murky land—and yet a land like Venice is a city, a precious stone set in the silver sea—to the sunlit Venice of Italy— “The glorious city of the sea: Ebbing and flowing, and the salt sea-weed The sea is in the broad, the narrow streets Clings to the marble of her palaces.”— Rogers. We turn to “© Padua, where the stars are night by night Watched from the top of an old dungeon tower, Whence blood ran once—the tower of Ezzelin.”—Rogers. And we are greeted here, too, with a parent’s cry for a lost child; but whereas in John it was the mother’s pathetic, passionate grief for her reft boy, the dearest thing to her on earth, in heaven; in The Merchant it is the father’s fierce and selfish curse on his girl, flesh of his flesh and bone of his bone, and yet far less dear to him than his gold. Here, too, we have an appeal for a life, a cry for mercy to the condemnd. In John it was from Arthur’s lips; in The Merchant it is from Portia’s— sweet sources both—-and in each case the life is saved: in John by a man’s true heart, in The Merchant by a woman’s ready wit. Other links there are between the plays. The sadness or melancholy of which Arthur speaks in John, Act IV., sc. i. “*T remember, when I was in France, Young gentlemen would be as sad as night Only for wantonness ”— is echoed in Antonio’s first speech in the very first line of The Merchant— “Tn sooth I know not why I am so sad ;” in Salanio’s and Salarino’s echoes of that; and in Antonio’s— “*T hold the world ese eh ede a le A stage, where every man must play a part, And mine a sad one ;” while Portia’s first speech, “By my troth, Nerissa, my little body is aweary of this great world,” and Jessica’s ‘I am never merry when I hear sweet music,” repeat the same thought. Gratiano may be compared with Falconbridge; Blanche, having to choose between her uncle and her bride- groom, with Portia having to choose between her husband's honour and her bridal joys; the loss of John’s forces in the Wash, to that of Antonio’s ships on the Goodwin Sands, &c. But that the play is a splendid advance on Jon, no reader will question. We have here no want of climax, no louse thread of dramatic action, as in John. The three plots of Antonio and Shylock, Portia and Baysanio, Jessica and Lorenzo, are interwoven and workt through with consummate skill. As we saw in Midsummer-Night’s Dream a great outburst of fancy, in Romeo and Juliet a great outburst of passion, in Richard IT. of patriotism and rhetoric, combined in John with pathos, in Richard III. « great outburst of intensity, so here we see, not one feeling dominating all the rest, but a symphony of grace and fierceness, mercy and vengeance, friendshiy and love and fiend-like xiii §10. SECOND-PERIOD PLAYS. THE MERCHANT OF VENICE. hate, of wit and humour too, all harmonised by the quiet strains of Heaven’s own choir of stars. The play is a picture, glowing with the hues of the Italian sky and sea, and the gemmed palaces which reflect their glory. Beautiful as the visions of Venice that Turner painted, yet firm as earth, solid as flesh, pulsing with life, like blood. If we turn back to The Two Gentlemen of Verona, the first play in which Shakspere dealt with this passionate, scheming, Italian nature, we shall see how he. has advanced. Ifwe turn forward to the great Venetian play of his Third Period, Othello, we shall see to what greater height, to what lower deep, he had to pass. The Merchant of Venice is the first full Shakspere. ‘The only blemish on the play—the seemingly tedious casket-scenes—become almost its brightest gems, when an actress of genius like Miss Ellen Terry puts into them the wonderful by- play that she did at the Prince of Wales’s Theatre in the summer of 1875. The hero of the piece is undoubtedly Shylock. The first entry of the play in the Stationers’ Registers is the Merchant of Venice, otherwise called the Jew of Venice. And beside the gracious figure of Portia, that of the cursing Shylock ever stands. But as Antonio’s friendship is the occasion for the display of Shylock’s character, and triumphs over his hate, the play is justifiably called The Merchant of Venice. The Jews were banisht from England in 1290, and Holinshed relates how the captain who took away the richest of them, drowned them all in the Thames, and he implies that this act was approved by many Englishmen even in Elizabeth’s time. Shylock’s tribal hatred of Antonio and the Christians was surely wholly justified, and so was his individual hatred to a great extent. A cur when kickt will bite when he secs a chance. It is only the hate that springs from avarice in Shylock that we can condemn, That his whole hate was intense, we may judge by his risking 3,000 ducats, dearer to him than his daughter's life!, to gratify it. The hereditary self-restraint in the man, and his hypocrisy, “ O, father Abraham, what these Christians are ”’ (I. iii. 159), &c., are noticeable—the latter point matches Richard the Third’s “I thank my God for my humility.”” His appeal to justice, “‘ Hath not a Jew eyes,” &c., is unanswerable, and is not yet admitted in many a land calling itself civilised. For how short atime, alas, have we admitted it! That wonderful scene with Tubal in Act IIL., se. i., Shylock’s gloating over his revenge, his subduing his avarice to it, his self-possession in defeat, are all work of the first order. But at last comes, ‘‘ I am not well,’ and one wishes he had been spared the spiteful punishment of being made a Christian. His was a strong nature, capable of good; ’tis the fallen angel who makes the worst devil; but devil or not, Shylock carries our sympathies with him.? As to Portia, we shall all agree with Jessica, “The poor rude world hath not her fellow.’ With many lovers of Shakspere, Portia is still the dearest character,—her namesake, Brutus’s wife, Volumnia, Imogen, Hermione, notwithstanding. As Mrs. Fanny Kemble says in the Atlantic Monthly, June, 1876, p. 713, ‘‘Shakspere’s Portia, then, as now, my ideal of a perfect woman.” Portia is one of those characters that, like Rosalind in As You Like Jt, Shakspere shows us first in gloom and then brings into the sunshine of love. She is sad at first, and no wonder. The lottery of her destiny bars her the right of voluntary choosing. She is but the sport of that great allotter of fate, Chance, which Shakspere has made such a leading element in this play.? But chance is kind to her, and gives her the man she loves. We see her endow’d, like the lady of Chaucer’s “ Pity,” with grace, good birth, and stately courtesy, but not with the earlier lady’s cruel heart. Wit and humour she has, keen judgment too. Nothing can be happier than her judgment of her lovers, and her description of herself, when dresst as a young fop; both to be compared with Julia's in The Two Gentlemen. How pretty, too, is her “ Yes, yes,” the prelude of her love for Bassanio; her charming hesitation, ‘‘It isn’t love and yet it is; you're half my heart;’ her quiver when Bassanio is choosing; that most beautiful and gracious giving of herself to her husband; her unselfishness in letting her lover-husband leave her so soon to save his friend: she rightly loves his honour more than she loves him. Note, too, the generous wisdom of her judgment of Antonio's character from Bassanio’s ; her quick insight and wit on the call for action; her self-reliance—-she risks her all and makes a joke of it ;—her admirable handling of her case in court; the reserve of her power of deciding the case until she has first tried to raise Shylock to the nobleness she would have him reach. See how the essence of all the virtues of woman is in her speech for mercy, which will echo to all time, and which we may compare with that of Queen Philippa in Edward IJI., with that of Isabella in Alcasure for Measure. See, too, how through the whole of the trial scene she keeps up her happy, roguish humour, chafting her husband about giving her up, and insisting on his ring. (The later ring-scene is wonderfully effective on the stage, with Portia and Nerissa stalking about in a pretty little tantrum, whisking their long trains round, flapping their fans, and raising a regular mock storm. Another delightful touch, too, Miss Terry put into her representation of the part: as 1T do not forget the redeeming, ‘‘I had it of Leah when I was a bachelor” (III. i. 118), Shylock could care for love, as well as revenge, before money ; but it wasnt love for his girl. ? Miss J. Lee pleads that he was a near relation of Marlowe’s Barabas: ‘the more I think of the two plays the more I believe that here is another debt owed by Shakspere to Marlowe. In Acts L, II, V. of the Jew of Malta, Barabas is a grand old fellow.” : 3 My friend Mr. James Pierce, of Bedford's view. § 10. SECOND-PERIOD PLAYS. THE MERCHANT OF VENICE, xiii Bassanio, after the trial, walkt to the front of the stage, the black-capt Doctor Portia put her pretty hands to her lips, behind him, and blew him a wifely kiss.) No one can praise Portia too highly. She is the happy mean between the brilliant, saucy Beatrice, and the quict, devoted Viola. Jessica, ‘the most beautiful pagan, most sweet Jew,” is more romantic and impulsive. Love is her ruling passion, as greed is her father’s. Ina certain sense she reproduces Juliet. She would give up herself, her all, for love. She leads Lorenzo, and plans their elopement, just as Portia leads Bassanio. Jessica knows the value of money in one way, but she sacrifices it to a whim. The lyrical beauty of the night scene with Lorenzo, a certain touch of Easternness in her character, her sadness at music, show depths of nature which speak a happy future for the pair. Antonio is to me the Shakspere of the Sonnets. The beautiful unselfishness of his message to Bassanio— “All debts are cleared between you and I if I might but see you at my death. Notwithstanding, use your pleasure ; if your love do not persuade you to come, let not my letter”— f can only be matcht by Shakspere’s own feeling for his Will in Sonnets 87, 93, with which are to be set 71-4, 97,99. We have no hesitation in accepting Bassanio’s character of him — “The dearest friend to me, the kindest man, The ancient Roman honour more appears, The best condition’d and unwearied spirit Than any that draws breath in Italy.” In doing courtesies ; and one, in whom Bassanio is a bit of an adventurer, yet he is noble.! One must not find fault with the man whom Antonio and Portia loved. Still he is not worthy of Portia, though one does not blame him so much for being willing to give up Portia for his friend, as we did Valentine for his weak offer to surrender Sylvia to Proteus on his profession of repentance. Bassanio felt that Portia herself commended him for being willing to sacrifice his all, his life, even her, for the friend who had forfeited his life for him. Gratiano, with his head in his hat, saying “‘ Amen” and behaving properly, is great fun all through. He is the Cyril of Tennyson’s Princess ; and in the trial and ring scenes we enjoy his jeers, and his getting out of his scrapes with that lawyer’s scrubby boy. Launcelot Gobbo, as Launce in The Two Gentlemen, has a discussion with himself, after the manner of Davus in Terence’s Andria, Act I., sc. iii. And though we have no dog here, yet we do have the inimitable damning of Jessica, the forerunner of Touchstone’s of Corin (4s You, ITI. ii.). The fun of Launcelot and his father interrupting one another while asking Bassanio for his place, is reproduced with added power in Dogberry and Verges in Much Ado. Shakspere keeps up in The Merchant his satire of his contemporaries that we was in his first Love's Labours Lost. His cuts at the Englishman’s dress are worthy of Andrew Boorde, whose woodcut of an Englishman with a piece of cloth in one hand and a pair of shears in the other, standing naked, and musing in his mind what raiment he should wear, p. 116 of my edition, Shakspere may have seen, as he had no doubt read Harrison’s declaration—“ Except it were a dog in a doublet, you shall not see anie so disguised as are my countrie men of England,” p. 168 of my edition, NV. Sh. Soe. The want of education, too, in our nobles was a commonplace of the time, see the Forewords to my Babees’ Book; while Portia’s sketch of the young fop and lady-killer might have been verified in the walks in St. Paul’s any day in the week, and the “how every fool can play upon the word” too. Women’s sham hair is forcibly condemned in Act IIL., sc. ii., as often before'and after in Shakspere ; while we have the English coin, the angel, in Act IL., sc. vii.; the Goodwin Sands in Act III., sc. i.; the jury of twelve men in Act IV., sc. i.; the ring’s posy like the cutler’s poetry on a knife in Act V., sc. i. The time of the action of the play I have noticed before, p. xxvii. Notwithstanding the three- months’ bond, and the gaoler engaged a fortnight beforehand, the action of the play is hurried into ! thirty-nine hours. When once he'd started, Shakspere couldn’t wait three months, ’twas not his nature to, in a play like this. I group together John and The Merchant as “ Life-Plea Plays.” The Merchant was enterd twice in the Stationers’ Registers: first in 1598: “xxij° Julij. James Robertes. Entred for his copie vnder the handes of bothe the wardens, a booke of The Marchaunt of Venyce, or otherwise called the Jewe of Venyce. Prouided that yt bee not prynted by the said James Robertes or anye other whatsocuer without lycence first had from the Right honorable the lord Chamberlen . . . vj” (Arber’s Zranscript, iii. 122). Second, in 1600: ‘28 octobris. Thomas haies. Entred for his copie under the handes of the Wardens, and by Consent of master Robertes. A booke called the booke of the merchant of Venyce . . . vj” (Transcript, iii. 175). The play was not publisht till 1600, when James Roberts printed it in quarto for himself (Q. 1), and also (Q. 2) for Thomas Heyes. The text in the first Folio, 1623, was printed from the second Quarto. That there was an old play on the bond story we judge from a passage in Gosson’s School of Abuse®, 1579, pp. 29-30, Old Shakespeare Society, 1841 :— ; “ And as some of the players are farre from abuse, so some of their playes are without rebuke, 1 And, like Fenton in The Merry Wives, he smells April and May, ‘A day in April never came so sweet,” &e., Il. ix. 91. (Portia implies Shakspere’s rise into the society of such English ladies as he'd not known in earlier life.) 2“ The S[clhoole of Abuse, Conteining a pleasaunt inuective against Poets, Pipers, Plaiers, Jesters, and such like xliv §10. SECOND-PERIOD PLAYS. b. THE TAMING OF THE SHREW. which are casily remembered, as quickly reckoned. . . . The Jew, and Ptolome, showne at the Bull; the one representing the greedinesse of worldly chusers, and bloody mindes of usurers; the other (&c.). . neither with amorous gesture wounding the cye, nor with slovenly talke hurting the cares of the chast hearers. . . . These playes are good playes and sweete playes, and of all playes the best playes, and most to be liked.” The new play of “the Venecyon comodey,” acted the ‘25 of aguste 1594” (Henslowe’s Diary, p. 40), cannot have been Shakspere’s Merchant. ‘he earliest Englishing of the bond story is in the translation of the Cursor Mundi of the end of the thirteenth. century, publisht last year by the Early English Text Soc. (See Miss Toulmin Smith’s Paper in New Sh. Soc.’s Trans., 1875-6, Pt. 1.) But that has no lady in it, tho’ it has a Jew. The next English version is in the translation (ab. 1440 a.p.) of the Gesta Romanorwn (the Latin version of ab. 1390, not the original bef. 1362), in Harl. MS. 7333, printed by the Roxburghe Club in 1838, ed. Sir F. Madden. But this has no Jew, though it has a lady. Nor is there any lady in the 95th Declamation of Zhe Orator of Alex. Silvayn, englisht by L. P. [Lazarus Piot, that is, Anthony Munday], and publisht in 1596: only the arguments of a Jew and a Christian Merchant, and the decision of the Judge, are there given. But in the Italian story in the Pecorone of Ser Giovanni Fiorentino, written 1378, but not printed at Milan till 1558, we have not only both Jew and Lady (of Belmont too)—she is the hero Giannetto’s wife, and acts as judge in the case—but also the ring incident, and the Lady’s maid being married to Ansaldo, the Antonio of Shakspere’s play. I have no doubt that a report of this Italian story by some Italy-visiting or Italian-knowing friend of Shakspere’s, was the foundation of his play. And as he could not send his hero to bed three times with the heroine, before he won her by pouring down his bosom on the third night—on the hint of her maid—the drugd wine with which he had been sent to sleep on the first two occasions, and had lost his fine ships with their freights, Shakspere took from the partially englisht Gesta Romanorum of his day !,—Richard Robinson's “ Record of neyent Historyes intituled in Latin Gesta Romanorumn,” 1577,—the story of the Three Caskets?, as a less objectionable way of making his lover and sweetheart one. Tue Taine or THE SHREw.—We change from Portia, the graceful, wise, and witty, perfect woman, we change from the tender friendship of men, to Kate the curst, who is hell; to Petruchio's coarse, rough ways. At first there seems hardly a link between the two plays; yet there’s a sclf- surrender of a woman in each; but how different its cause! There’s the adventurer’s spirit in both Bassanio and Petruchio, though with the contrast of the feeling, hardly to be called friendship, of Hortensio to Petruchio, with the devoted love of Antonio to Bassanio. There are rival wooers to Bianca as for Portia, and the scene is still Italy, though this is due to the adapter of the old play of A Shrew, who changed it from Athens. It is difficult to feel certain about the position of the play, for its links with The Comedy of Errors seem strong. First: Kate is like the shrew Adriana, shrewish from neglect. Her sister Bianca is somewhat like Adriana’s sister Luciana. Second: Kate’s wife’s-subjection doctrine is just like that of Luciana in the Errors, Act IL., sc. i. Third: The threatened death of the Pedant on coming to Venice, Act IV., se. ii., is like the death decreed to the Syracusan coming to Ephesus in the Zrrors, Act I.,sc. i. Fourth: The farcical beating of Grumio, &c., is like that of the Dromios ; and Grumio’s “ Knock me,” &c., is like Dromio’s. But still with the Shrew-links that I have already named, and the further ones with Henry IJ’, of Hotspur’s scene with his wife Kate, and the way he avoids and overrides her questions, being so like Petruchio’s way with his Kate at their first meeting (compare both with the later beautiful scene of Brutus trusting his Portia in Julius Cesar), of the shrew Kate's spirit in both Hotspur himself and his wife, the likeness of Prince Henry's mad- cap humours to Petruchio’s—though both men have themselves entirely in hand, and have a purpose through all their acting—and lastly, the kinship of Grumio’s wit and humour with those of Falstaff, make me believe, for the present at least, that The Shrew is rightly placed between The Merchant and Henry IT”, Part I. This place is confirmed by the ryme test, though the stopt-line test makes Shakspere’s part of the play his earliest work. The old play on which The Shrew is founded, the Caterpillers of a Commonwelth: Setting vp the Flagge of Defiaunce to their mischieuous exercise, and overthrowing their Bulwarkes, by Prophane Writers, Naturall reason, and common experience. A discourse as pleasaunt for Gentlemen that fauour learning, as profitable for all that wyll follow vertue. By Stephan Gosson, Stud. Oxon... . Printed at London, by Thomas Woodcocke. 1579.” 1 Tt was “ perused, corrected and bettered,” no doubt from Wynkyn de Worde’s edition (unique copy in St. John’s Coll. Camb. lib ), or John Kynge’s 1557 (copy in the Bodleian). None of these three editions contain the bond story. This first told by Johu of Haute Seille in his collection of Latin stories called Dolopathos or the King and the Seven Sages, written about 1179-1212, and turned intu French by Herbert in 1223. The story is told by the fourth Sage. aa See it printed from Sir FP. Madden's edition in Hazlitt’s Shakspere’s Library, Part I., vol. i., p. 361. The Pecorone and Silvayn stories are printed there too, pp. 819, 355, with two old ballads of the pound-of-fesh story, ‘The Northern Lord ” (p. 367) and Gernutus a Jew (p. 375), which I do not suppose are so old as 1596. §10. SECOND-PERIOD PLAYS. 6. THE TAMING OF THE SHREW. xlv Taming of a Shrew, was printed in 1594.} It was re-written, but not, as in the case of John, entirely by Shakspere. An adapter, who used at least ten bits of Marlowe in it, first recast the old play, and then Shakspere put into the recast the scenes in which Katherine, Petruchio, and Grumio appear. We have thus, asin Henry VJ., Parts II. and III., three hands in the completed play : see my division of their work in the New Shakspere Society's Transactions, 1874, p. 106? (102-114). The ’ subject of the play is to us a repulsive one, but the three workers at it have made a capital comic piece out of it. It is the only play with an Induction; and Sly is carelessly left on the stage, and not taken off it, as in the old play. The double plot of the winning of the two sisters is admirably workt, and the stage situations are first-rate. We must recollect the position of women in early times in England. We start in the eighth century— “A king shall with bargain buy a queen. . .. A damsel it beseems to be at her board (table)... . A rambling woman scatters words. She is often charged with faults, a man thinks of her with contempt, oft smites her cheek.”— Exeter Book, pp. 338, 367. Every reader of Chaucer remembers the Merchant’s wife, “the worste that may be,” who'd over- match the devil if he were coupled to her; the host’s cruel wife, too; and the Boke of Mayd Emlyn’s opinion of wives— “For of theyr properte, Shrewes all they be, And styll can they prate.” Before 1575 (it is mentioned by Laneham) is “‘A Merry Geste of a Shrewd and Curst Wife lapped in Morrelles Skin,” a popular poem, in which a man with a shrewish wife, thrashes her till she bleeds, and then wraps her in the salted hide of his old horse Morrell. So the subject of taming shrews was a familiar one to the Elizabethan mind, and no one then would have been offended by Petruchio’s likening of the training of a wife to that of a falcon in Act IV., sc. i. We must look on Petruchio as a man wanting a hunting mare now, a goer, never mind her temper. He looks at her in the stable: she kicks and bites; he quietly rakes her straw and hay out; lets her stand all night; gallops her next day till she can’t stand; tames her, and is then iu the first flight ever after. Accept this view, and then look at the play. Kate isa spoilt child, strong-willed, spoilt by her father’s weakness and her sister’s gentleness. She has a genuine grievance, that she, the strong, the mistress- mind, is not to have a husband, while her weak sister is to have one. As she says, Act II., sc. iim “She is your treasure, she must have a husband ; I must dance | arefoot on her wedding-day, And, for your love to her, lead apes in hell.” Kate, like all reasonable girls, wants to get married, and though she is not the cooey, turtle-dovey girl that her sister is, who so attracts men, she knows she has that in her which is worthy of aman. She is soured by neglect, and she bullies her sister from envy; old Gremio calls her a devil, and hell. Petruchio comes. She sees he means business, though she snaps at him. She sees that he admires her beauty; she is flattered, and minds his opinion when she walks to show him she doesn’t limp. She must admire him as the first man who stands up to her and overrules her. She is bewildered by his coolness andassurance too. She had forfeited by her childish bad temper a woman's right to chivalrous courtesy, and she feels that she has no right to complain of her lover's roughness. Asa woman, too, she likes the promise of finery, and she makes up her mind to marry him. Nay, she actually cries ‘when he comes too late. She who has scoffed at every one cannot bear the thought that— “Now must the world point at poor Katherine, And say, Lo, there is mad Petruchio’s wife, If it would please him come and marry her.” To avoid this, Petruchio in any clothes is welcome ; and she takes him at once, notwithstanding his ‘ outrageous and slovenly dress. She trembles and shakes at his hitting the priest (if he’d do that to.God’s representative, what wouldn’t he do to her?). Having got him, she is to be baulked of the wedding-feast (cruellest of all blows to a bride). Under the influence of the wedding she is tender at first. ‘Let me entreat you now; if you love me, stay’’ (Act ITI., sc. i1.). And we almost wish that Petruchio had taken advantage of this tenderness, and tried taming by love. But then we should have lost the best scenes of the play. However, her entreaties are rejected, and she stands up 1 Reprinted in Hazlitt’s Shakspere’s Libr., Pt. II., vol. ii., p. 485, with, for the story of the Induction, The Waking Man’s Dream, from an old story-book, and a tale of Philip, Duke of Burgundy, I. iv, 47, from Goulart's Admirable_ and Memorable Histories, 1607, in Hazlitt, Pt. I., vol. iv., p. 403 ; and also The Shrewd and Curst Wife Lapped in Morel’s Skin, p. 415,.an old tale of the cure of a shrew. The student must read 4 Shrew and The Shrew carefully together, as he must The Troublesome Raigne and King John. : > ; 7 2 Shakspere wrote the Induction, II. i. 168-326 (? touching 115-167); TIT. ii. 1-125, 151, 240; IV.i. (and ii., Dyce); IV. iii., v. (iv., vi., Dyce), and V. ii, 1-180, with occasional touches elsewhere. xlvi §10. SECOND-PERIOD PLAYS. b. THE TAMING OF THE SHREW. really for the first time for her rights. Now or never: it is her best time, with all her friends around her. Now or never she will struggle for what women most desire, rule over their husbands.! And the result is not now. Petruchio’s drawing his sword and hustling her away, with the further taming on the journcy and on reaching home, are most admirably handled, while the first signs of weakness, the humbling of herself to Grumio, the fresh fight again over her clothes (if a woman mayn't choose her clothes, what on earth may she do ?), bring the conviction to her that resistance will not pay. The dispute over the sun and moon she evidently treats as fun, and enters into the joke. She has given in once for all, has learnt her lesson. She is convinced of her past folly, and goes through with her task as far on the good side as on the bad before. Why rebel and be tamed again ? No sense in that. ‘‘Peace it bodes and quiet life,’ &c. She is a new daughter to Baptista. It is the best result for her time, though Tennyson shows us a better for our Victorian era in his Princess. Petruchio is like Falconbridge in making himself out worse than he really is. Though he declares his object is only to wive wealthily, and Grumio says he’d marry any foul old hag with money, yet this is plain exaggeration. He’s one of those men who like a bit of devil in the girl he marries and the mare he rides. ‘ None of your namby-pamby ones for me.” He knows he can tame her: if she is sharp-tempered, he is sharper. It’s a word and a blow with him, as Grumio has experienced. When he hears of Kate, he won’t sleep till he sees her; when she comes, he takes the lead and keeps it. He means to have it and her. He ridicules her in such a pleasant, madcap fashion, that one can’t help liking him. He understands women, and flatters her. Note the limping touch. He praises her beauty; promises her finery; keeps her waiting; makes her put up with his dress, and tremble at church; outs with his sword and makes her go with him; declares his wife's his chattcl; leaves her horse on her when she falls during the journey, and makes her beg for Grumio; will give no choleric food to choleric folk; in fact he “ kills her in her own humour;” tames her by pretended love; starves her till she thanks him for meat he’s dresst; and then when her food has made her saucy, and she rebels again about her dress (which was indeed enough to make the most angelic woman’s temper rise), he beats her in the old way by pretending to sympathise with her. Then he stops her going home, because she won't say two is seven. When she gives in, he no doubt tries her too hardly, but then she has tried him before, and the result is that they two alone are married, while the other two, Hortensio and Lucentio, are only “ sped.’ (“ Let us hope though,” says Miss Constance O’Brien, “that Petruchio gave up choosing Kate’s dresses and caps.) If Petruchio is not a gentleman, and Kate not a lady, their day differed from ours: they were a happy couple, we may be sure. Kate would obey him with a will, for her husband had fairly beaten her at her own game, and won her respect. When I saw the play at the Haymarket, over thirty years ago, old Keeley was Grumio, and was certainly the leading character of the play; Mrs. Nesbitt (Lady Boothby) was Kate. The farce and rich humour of the character, the delightful exaggeration of sliding down his body, after a run down his head and neck, the dry humour of his account of the accident, his scene with the tailor (enlarged from the old play), his entering into the humour of his master’s taming Kate, make Grumio the finest character in comedy that we have yet had from Shakspere’s hand. We must pass over Bianca—the sweet and gentle, whose breath perfumed the air, who yet had a will of her own, and that ever-Italian love of intrigue—only noting, as in private duty bound, that literature and language beat music, and win the girl. In Baptista we note his weakness, his being an old Italian fox, yet taken in for all his cleverness; his base willingness to sell his daughter for money. Lucentio loves at first sight, like Romeo does Juliet, and he cuts out the two older lovers and wins. Though Hortensio finds Petruchio to marry Kate, he yet loses Bianca. He is a straight-forward fellow about love, and cannot stand her flirting. In the Induction, we notice Sly with his humour, standing between Bottom and Grumio, and with his Warwickshire allusions of Burton Heath and the fat ale- wife of Wincot, while the lord reproduces Shakspere’s love of hounds which we saw in Theseus in the Midsuminer-Night's Dream, Stories like that of the Induction are those of the Sleeper awakened in The Arabian Nights, The Waking Man’s Dream (see note 1, p. xlv), told of Philip the good Duke of Burgundy, and another told of Charles V., in Sir Rd. Barckley’s Discourse on the Helicitie of Man, 1598. The hints for the intrigue of Lucentio come from Ariosto’s Swppositi, through George Gascoigne’s englishing of it, the Swpposes, acted at Gray's Inn in 1566, and containing the names of Petruchio and Licio. The comical sham translation of the Latin lesson may have been suggested by a like bit in The 3 Lords and 3 Ladies of London, a.n. 1588, pr. 1590 (Hazlitt’s Dods/ey, vi. 500), “O, singulariter nominativo, wise Lord Pleasure; genitive, bind him to the post; dativo, give me my torch; accusative, for I say he’s a cosener; vocativo, O, give me room to run at him; ablativo, take and blind me.” Zhe Shrew was first printed in the Folio of 1623, 4 Shrew in 1594. 1See Chaucer's Wife of Bath's Tale,;and the marriage of Sir Gawaine, in the Percy Ballads (i. 112); and the bequest in the Wyll of the Deuyll, ‘‘ Item, I geue to all women souereygntee, which they most desyre.” §.10. SECOND-PERIOD PLAYS. c.1 HENRY IV. xlvii Tue First Parr or Henry IV.!—In Henry IT”, we return to our own England— “This blessed plot, this earth, this realm, this England, This nurse, this teeming womb of royal kings Feared by their breed and famous for their birth.”"—Richard IT., Act IL, se. i. We come from the grace and beauty and wit of Portia, the curses and baffled vengeance of Shylock, the tender friendship of Antonio and Bassanio, and the rivalry of the courters of the sweet Bianca, the taming of Katherine the curst, to the headstrong valour of Hotspur, the wonderful wit of Falstaff, the vanqnisht rebels who wound England with their horses’ hoot's, the noble rivalry of Henry Percy and Henry, Prince of Wales— “* Hotspur. O, ‘would the quarrel lay upon our heads ; And that no man night draw short breath to-day, But I and Harry Monmouth ”— and the sight of how “ever did rebellion find rebuke” (Henry IV., Part I., Act V., sc. v.). Love gives place to war; kingdoms are striven for, not fair girls’ hands; rebels, not shrews, are tamed. Let us look for a moment at the change from Shakspere’s early historical plays. It is one from spring to summer. Like Chaucer, he has been, as it were, to Dante’s land, to Petrarch’s, Boccaccio’s home, and when he touches his native soil again?, he springs from youth to manhood, from his First Period to his Second, from the cramp of ryme, the faint characterisation of Richard IT. to the freedom, the reckless ease, the full creative power of Henry IV. Granting that the rhetoric of the earlier play does still appear in Vernon’s speech, &c., yet all its faint and shadowy secondary figures have vanished. Through every scene of Henry IV., Part I., beats the full, strong pulse of vigorous manhood and life. The whole play is instinct with “go,” every character lives; and what magnificent creations they are! Falstaff, Hotspur, Glendower, Henry and his son, Douglas, Poins, Lady Percy, Mrs. Quickly—who does not know them as old friends? In comic power Shakspere culminates in Falstaff ; in characterisa- tion the play is never excelled. But, for particulars. We saw Henry the Fourth before as Bolingbroke in Richard II.; his stirring impeachment of Mowbray, his unjust banishment by Richard the Second for six long years to wander from the jewels that he loved, Act II., se. iii.; his courtship of the common people; his coming back to claim his own inheritance; his sweet, soft speech, got from his gracious mother whom Chaucer loved; his promise to young Hotspur; his professions to Richard the Second; his taking the crown notwithstanding prophecies and warnings of evil; his hint to Exton to murder Richard, and his vow to make a voyage to the Holy Land. We are now to see how as king he kept his vow and fulfilled his promises, how Carlisle’s and Richard's prophecies were accomplisht, and how the character of his unthrifty son, in whom he saw some sparkles of a better hope, developt. In his time the right doctrine of elective kingship was not accepted by the English. Nor was it so in Shakspere’s time. The power of the barons was too great, and the turbulence necessarily following from it we have already seen in Richard II., Henry VI., and John. But now a strong king is on the throne. What Henry has won, he’ll keep, let who will say nay. We have no fine sentiments followed by nothingness, as with Richard II. ; no pious weak moralising, as with HenryVJ. ; no calling in of Pope as with John; but instead, the word and blow, troops out, and march. Still his mother’s’ nature’s in him; he wills not that war's “Crimson tempest should bedrench The fresh green lap of fair [King Henry’s] land.” He offers peace even to the arch-rebel Worcester, his bitterest foe. It is refused; and then, having doffed his easy robes of peace and crushed his old limbs in ungentle steel, he orders only Worcester and Vernon to their death: “other offenders we will pause upon.”” His real character, his astuteness and foresight, are shown in his talk with his son Harry, when he contrasts himself with Richard the Second. No wonder such a man, looking forward to his death, grieved to see what his heir was, and envied Northumberland his Hotspur. Was all that he’d staked life and soul for, the England that he'd left and regained, to be handed over to a pot-house cad? ‘Was all the Derby, Lancaster line, the John of Gaunt, Third Edward’s blood, to grovel in drunken mire and filth ? The king’s, the father’s heart was toucht. We feel with him in his reproaches to his son, and in his burst of joy “a hundred thousand rebels die in this,’ when Henry vows “to redeem all this on Percy’s head.” Prince Hal, afterwards Henry the Fifth, is Shakspere’s hero in English history. He takes not Coenr-de-lion, Edward I. or TII., or the Black Prince of Wales, but Henry of Agincourt. See 1 Entered at Stationers’ Hall, February 25, 1597. Probably written in 1596-7. Henry IV. is in Meres’s list, 1598. Was first printed in 1598 (Q. 1), and reprinted in 1599 (Q. 2 from Q 1), in 1604 (Q. 3 from Q. 2), in 1608 (Q. 4 from Q. 3), in 1613 (Q. 5 from Q. 4). The Folio Text was printed from the 5th Quarto, 1613. The play ranges from the battle of Holmedon (or Halidown Hill) September 14, 1402, to the battle of Shrewsbury, July 21, 1403. Shakspere may have got hints for Falstatt and Poins from Ned and Sir John Oldcastle in ‘The famous Victories of Henry the Fifth,” 1598, licenst 1594. Hazlitt, Pt. II., i. 323. Falstatf was first called Oldcastle. ; 2The third time. Rich. III. and the revised Hen. VI. and John stand between Rich. II. and Hen. IV. a xlviii § 10. SECOND-PERIOD PLAYS. c. 1&2 HENRY IP. how he draws him by his enemy Vernon’s mouth, how modestly he makes him challenge Hotspur, how generously treat that rival when he dies; how he makes him set Douglas free, praise Prince John’s deed, save his father’s life, give Falstaff the credit of Hotspur’s death! Yet, on the other hand, he shows us him as the companion of loose-living, debaucht fellows, highway-robbers, thieves, and brothel-haunters, himself breaking the law, lying to the sheriff on their behalf. And what is the justification, the motive for all this? To astonish men, to win more admiration— “‘So when this loose behaviour I throw off;” &c.—I. ii. 212, &e. Surely this is a great mistake of Shakspere’s; surely in so far as the Prince did act from this motive, he was a charlatan and a snob. (Yet see Prot. Dowden’s Mind and Art of Shakspere, p. 211.) Instead of a justification by Henry of himself, it should have been put as an excuse, a palliation of misdeeds, in another man’s mouth; as something like it is, in fact, put in Warwick’s mouth in Part II., Act IV., sc. iv. We see, too, how Hal appeas’d his conscience when it bother’d him, by argument which, though they sounded very grand, were really worth nothing. He had sinned morally—how would he atone for it? Why, he’d fight physically. By being stronger or cleverer in fight than Hotspur, he’d win not only Hotspur’s martial fame, but moral glory too, and claim the merit of his foe’s life, of duty and devotion to his mistress, war. When Hotspur lay dead at his feet, he thought Hotspur’s honours and his own shame had changed places. Still we must recollect the times. Henry’s wildness would hardly be blamed then; full bloods wil? sow their wild oats. His escapades were only skin-deep; at a touch, the call of war, he changed. He was not passion’s slave; he had mother’s, his father’s self-control; gallant and wise, he won. As to Hotspur, who can help liking him? With all his hotheadedness and petulance, his daring and his boasting, his humour with his wife, his scorn of that scented courtier, his lashing himself into a rage with Henry the Fourth, his keenness at a bargain (North-country to aT), his hatred of music, his love of his crop-eared roan. Yet he is passion’s slave, the thrall of every temper and whim. Himself and his own glory are really his gods, as at his death he says._ What is his native land, what is England’s weal, to him? Things to be sacrificed because his temper’s crosst. One-third to Wales, to England’s foe, one-third to himself, and but one-third to Richard's rightful heir. In one sense, Hotspur is Kate the Shrew, in armour, and a man. But how he lives in the play, and starts from the printed page! Of Falstaff, who can say enough? He is the incarnation of humour and lies, of wit and self- indulgence, of shrewdness and immorality, of self-possession and vice, without a spark of conscience! or reverence, without self-respect, an adventurer preying upon the weaknesses of other men. Yet all men enjoy him—so did Shakspere, and he carried his delight in successful rogues to the end of his life. See how in Winter's Tale he bubbles and chirps with the fun of that rascal Autolycus, and let's him sail off successful and unharmed. We sce in Falstaff the amusing exaggeration of Grumio; and that imputing his own faults to other innocent people is delightful,? His most striking power is shown in his turns when he’s cornered. Look at the cases of Poins and the coward, Prince Hal’s exposure of his robbery, his false accusation of Mrs. Quickly, his behaviour in the fight with Douglas, and his claiming to have killed Hotspur. His effrontery is inimitable. He’s neither a coward nor courageous. He only asks which’ll pay best—fighting or running away, and acts accordingly. He evidently had a reputation as a soldier, and was a protessed one, was sought out, and got a commission on the outbreak of the war. Tue Seconp Part or Henry IV.‘is not up to the spirit and freshness of the First Part; all con- tinuations do fall off, and this is no exception to the rule. How are Hotspur and the first impression of Falstaff to be equalled? Even Shallow cannot make up for them. There’s a quieter tone, too, in this Part II., though the rhetorical speeches are still kept up by Northumberland and Mowbray. The King leads, not at the head of his army, but in his quiet progress to the grave. The most striking speech in the play is Henry the Fourth’s on sleep—to be set against Hotspur’s fiery words in Part I. And as illustrating the change in Shakspere’s manner of work as he grew, let us set this sleep- speech of the Second Period, against the sleep-speech of the Third Period :— 1 “Ts there not a pathos in Falstaff’s character from the very fact of a spark of conscience. He does sometimes half wish to change his life, but it is too difficult, and no one will trust him. See Maginn’s beautiful Essay, p. 56.”—C. Hargrove. I can't believe in the “half-wish,” except when and hecause he’s hard up for money or sack. 2 It’s like Mercutio imputing his own quarrelsomeness to Benvolio in Romeo and Juliet, ITIL. i. 3 My friend Mr, W. Myers, great at amateur theatricals, says that even 1 Henry IV. is ‘“‘a play that does not act itself,” as the saying is. It depends on the characters, and not on its plot. And this is the case with all the English historical plays. 4 Probably written 1597-8. Enterd in the Stationers’ Registers, August 23, 1600 ; publisht in quarto in 1600. The folio text is from a different original, having many lines that are not in the quarto, while the quarto contains passages not in the folio. The play ranges from Hotspur’s death, July 23, 1403, to Henry V.’s. accession, March 21, 1413 (1412-18). - ee | § 10. SECOND-PERIOD PLAYS. c.2 HENRY IV. xlix “How many thousand of my poorest subjects Who take the ruffian billows by the top, Are at this hour asleep !—Sleep, gentle sleep, Curling their monstrous heads, and hanging them Nature’s soft nurse, how have I frighted thee, With deafning clamours in the slippery clouds, That thou no more wilt weigh my eyelids down, That, with the hurly, death itself awakes ? And steep my senses in forgetfulness? Can’st thou, O partial sleep ! give thy repose Why rather, sleep, liest thou in smoky cribs, To the wet sea-boy in an hour so rude ; Upon uneasy pallets stretching thee, And, in the calmest and most stillest night, And hush’d with buzzing night-flies to thy slumber, With all appliances and means to boot, Than in the perfumed chambers of the great, Deny it toa king? Then, happy low, lie down ; Under the canopies of costly state, Uneasy lies the head that wears a crown.” “And lull’d with sounds of sweetest melody ? O thou dull god ! why liest thou with the vile “*Macb. Methought I heard a voice cry, Sleep no more! In loathsome beds ; and leavest the kingly couch, Macbeth does murder sleep ! the innocent sleep ; A watch-case, or a common ‘larum bell? Sleep, that knits up the ravell’d sleave of care, Wilt thou upon the high and giddy mast The death of each day’s life, sore labour’s hath, Seal up the ship-boy’s eyes, and rock his brains Balm of hurt minds, great nature's second course, In cradle of the rude imperious surge ; Chief nourisher in life's feast.” And in the visitation of the winds, Note in the Second Period the single idea and its elaboration, though justified by Henry’s meditative mood, with the many short, pregnant metaphors of the Third Period, each left to the hearer’s own mind to work out, quite in Shakspere’s later budding style—scven metaphors in four lines. Yet surely Macbeth might well have expanded his thoughts. Any man less filled with his subject, less crowded with thought, than Shakspere, any man like the writer of Edward III, would surely have availed himself of this splendid chance to “ show off.” The contrast of Duncan wrapt in sleep’s security yet pierced with murder’s knife, the contrast of innocent sleep with the guilty deed, its balm his bale, its nourishment his poison, would have tempted a smaller man—but not Shakspere in his , Third Period. Each metaphor has its touch, and then off. In Henry IV., Part IT., the lowerrank of people come more to the front. We've more prominence than before given to the low tavern life, the country squire and his servants, the administration of justice in town and country which Shakspere’s long expe- rience made him sneer at, as against the knightly life of the former Part, notwithstanding its carriers. This prepares us for the fuller sketches of contemporary middle-class life in The Merry Wives. The chief characters of Part I. are further developed. Though the hand of sickness is on the king, yet “ Ready, aye ready”’ is still his word; and as soon as Hotspur is beaten, another army marches against Northumberland and the Archbishop, whose two separate rebellions Shakspere has put into one. But his cares tell on him: the chronicler Hall calls his reign the “unquiete tyme of Kyng Henry the Fourth.”” His mind goes back o’er the troublous past, thinks on his old close friendship with his now foe Northumberland, and the dead Richard’s prophecy of their falling out. And as the past has little to comfort him, so the future has less. His son’s going back, like a sow to wallow again in the mire, cuts him to the heart, as sovereign even more than as father :— “Oh, my poor kingdom, sick with civil blows! O thou wilt be a wilderness again, When that my care could not withhold thy riots, Peopled with wolves, thy old inhabitants.” What wilt thou do when riot is thy care? 2 Henry IV., Act IV., se. iv., 264-8. Was it for this that he’d sufferd exile, riskt his life, won England and held it with his strong right hand? Surely a pathetic figure—the strong man worn with care, disappointed in his dearest wish, the labour of his life made vain. Still, comfort was to come; the son who once before won back his father’s willingly-forgiving heart, again spoke words that again at-oned them. And in the king’s last speech to his gallant heir we see the man’s whole nature—wily to win, strong to hold, a purpose in all he did; not perhaps a hero, but a ruler and a king, a father too. Such political lesson as Shakspere preacht in these plays was, that though, like Elizabeth's crown, the succession to it might not be clear, the way to*hold it was to govern strongly and well, and that the sovereign must not only attack his foes at home, but unite the nation by foreign war, as Henry the Fifth, Napoleon, Cavour, and Bismarck did. For Prince Hal: we have one unworthy scene, two worthy ones. The shadow of his father’s death-sickness is on him, and he goes for relief—half disgusted with himself—(feeling that every one would call him a hypocrite if he lookt sorry) to his old, loose companions. But there’s not much enjoyment in his forced mirth. He feels ashamed of himself, and soon leaves— Falstaff and his old life for ever—“ let the end try the man,” ashesays. It is clear that he now feels the degradation of being Falstaff’s friend and Poins’s reputed brother-in-law. On hearing of the war again, as in Part I., he changes at a touch, and is himself. Thenext time we see him is by his father’s sick bed, and again he wins to him his father’s heart. But surely by a bit of Falstaft-like cleverness, and want of truth. Compare his first speech to the crown, with his second giving an account of it to his father. But one part of that first speech he meant; that he’d hold his crown against the world’s whole strength; and that was what King Henry wanted. When Hal becomes king, his treatment of his brothers, the Chief Justice, and Falstaff is surely wise and right, in all three cases. One does feel for Falstaff; but certainly what he ought to have had, he got—the chance of reformation. 1 §10. SECOND-PERIOD PLAYS. « THE MERRY WIVES OF WINDSOR. What other reception could Henry, in the midst of his new state, give in public to the dirty, slovenly, debauched, old sinner who thrust himself upon him, than the rebuke he did? Any other course would have rendered the king’s own professed reform absurd.} In Falstaff, we have in this Part Il. the old wit and humour, the old slipperiness when seemingly caught, the old mastery over every one, till the triumph should come, when comes catastrophe instead. But we have more of the sharper, the cheat, the preyer on others (the hostess, Shallow, the soldiers at the choosing), brought out. The slipperiness is seen in his answers to the Chief Justice’s attendant, the Chief Justice himself, the hostess, Prince Hal, and Doll. (His excuse for dispraising Hal before Doll is repeated by Parolles for abusing Bertram to Diana in Adis Well.) The scenes with Shallow and Silence, and the choice of soldiers, are of course beyond the reach of praise. We cannot help noting the use that the old rascal meant to make of his power over the young king :— *« Let us take any man’s horses ! Happy are they which have been my friends, The laws of England are at my commandment ; And woe unto my lord chief justice.” His end here is imprisonment for a time; and worse, to be chafft by Shallow the despised, and not return it. This prepares us for his fate in The Merry Wives. The moral is the same as that of Love’s Labours Lost. What is mere wit so valued by men really worth? Wit “Whose influence is begot of that loose grace Which shallow, laughing hearers give to fools.” “ The rogues,’ says Miss Constance O'Brien, ‘all come toa badend. Falstaff dies in obscure poverty, Nym and Bardolph get hung in France, Pistol is stripped of his braggart honour, and even the ‘boy and the luggage,’ as Flucllen puts it, are killed together. Poins alone, the best of the set, vanishes silently, without a word as to his fate; and so that wild crew breaks up and disappears, leaving the world to laugh over them and their leader for ever. (If Falstaff was drawn from a living man, that man must have been a little Irish; no purely English brains work quite so fast.)” The contemporary allusions are still kept up in this play. We have the landlady’s disjointed talk, which Dickens has reproduced for us Victorians, the Wincot of The Shrew Induction again, the tradesmen who “now wear nothing but high shoes and bunches of keys at their girdles,’ the coming in of glass drinking-vessels for silver ones, specially noted by Harrison (my edition, p. 147), the Thames tide in Act IL., sc. iii., as in the Rape of Lucrece, the University and Inns of Court, the school-boys’ breaking-up, the Cotswold man. All through, the play is Shakspere’s England. One Amurath succeeded another in 1596. We may also notice the dwelling on special words, as “security,” ‘‘ accommodate,” ‘rebellion,’ like Falconbridge’s “ commodity,” and Lucrece’s “opportunity,” noted above. The Epilogue of the play promises a continuation, in which Falstaff is to die of a sweat in France— “One word more, I beseech you. If you be not too much cloyet with fat meat, our humble author will continue the story, with Sir John in it, and make you merry with fair Katherine of France; where, for any thing I know, Falstaff shall die of a sweat, unless already he be killed with your hard opinions ; for Oldcastle died a martyr, and this is wot the man.” ? Tue Merry Wives or Winpsor.—Why was the plan alterd?? Tradition says because Elizabeth was so pleasd with Falstaff that she orderd Shakspere to show Falstaff in love, and that he accordingly wrote Lhe Merry Wives in a fortnight4. Of course Shakspere couldn’t make Falstaff really in love, or the man would have been redeemd by it. Even if he bad been made a fool of in the process, love must have lifted him out of the degradation to which he had sunk; and though he had been made a fool of, we should have had to respect him. But he was past redemption. However, as the order was given, Shakspere had to carry it out. With whom could he make Falstaff in love? With women of high birth 1 The history and state characters of the play are mainly from Holinshed’s Chronicle, with the variations noted in Courtenay’s Commentaries on the Historical Plays, i. 75-159. Hotspur, Glendower, Northumberland, Mowbray, the Archbishop, and Prince John, are alterd at will by Shakspere. The “artillery” of Part I., Act I., sc. i., of course, means bows and arrows, as in 1 Samuel xx. 40. 2 That Falstatf was first calld Oldcastle in the play, we know also from Old having been printed at the head of the speech, ‘‘ Very well, my lord, very well,” in the quarto, 1600, of 2 Henry IV., Act I., se. ii., and from Prince Hal calling Falstaff in 1 Henry IV., Act I., se. ii., ‘‘My old lord of the castle,’ &c. That he was called Oldcastle even after Shakspere had alterd the name, is clear from Nathaniel Field’s Amends for Ladies, 1618 :— “Did you never see The play where the fat knight, hight Oldcastle, Did tell you truly what tnis ‘honour’ was?” (see 1 Henry IV., Act V., sc. i.). Oldcastle’s Lollardism (he was martyred December 25, 1417) had brought him into disrepute with the ‘‘society” of his time, and Shakspere, no doubt, took up at first the unjust tradition, but altered it on learning the facts. Still, Falstatf is a Lollard, a degenerate Puritan. See my friend Mr. James Gairdner's iuteresting Paper in The Fortnightly Review, 1875 (I think). = 3 Putting the play here breaks into the trilogy of land 2 Henry IV. and Henry V., but I think this is the right place for it, certainly as regards Falstaff’s career. See Mr. Halliwell’s Introduction to the 1602 version of The Merry Wives, in Hazlitt, Pt. II. ; also see Gervinus, &e. * Dennis first mentions the tradition in 1702, in his recast of the play. He is said to have got it from Dryden, 710 had it from Sir Wm. Davenant, who is said to have calld himself Shakspere’s bastard. §10. SECOND-PERIOD PLAYS. ce. THE MERRY WIVES OF WINDSOR. li and noble life, such as the ladies and gentlewomen of Elizabeth’s court whom Harrison so well describes, p. 271-2 of my edition? Surely not. With the Mrs. Quicklys and Dame Ursulas he’d been already shown. Sothere were but the middle-class townsfolk left; and Shakspere accordingly takes them, and shows Falstaff baffled, mockt, befoold by these country burgess wives whom as a courtier he despisd. Through self-conceit he loses his valued wit, and is turnd into the most despicable of creatures, a pander, and an unsuccessful pander too. Even his men, Pistol and Nym, refuse to help him in his new form of baseness, which ends in his being both degraded and ridiculed. In this play, too, is ridiculed the old aristocratic notion of all citizens’ wives being at well-born men’s disposal. Compare the lesson of 4//’s Weél. And we're also shown, as in Twelfth-Night, the degradation of one class of the professed representative of chivalry, the knight, the professional soldier, debauched by self-indulgence and want of work during peace. Falstaff gets vain too. He really believes he’s made a conquest of the women, and like Richard the Third says he’ll make more of his old body than he has done. He also loses his shrewdness, swallows all Ford’s praise of him, and believes he can do as he likes with Mrs. Ford, just as if she were Mra. Quickly or old Dame Ursula. In his love-making he's frank and business-like ; he makes no pretence of romance, or being one of those lisping hawthorn buds that smell like Bucklersbury in simple time. His only weapons are his power to make Mrs. Ford ‘‘my lady,” were but her husband dead; and his flattery; wit he doesn’t try. In his. description of the outcomes of his first and second attempts at seduction, we have the old humour as rich as ever; while at the end of his third attempt, he does begin to perceive that he is made an ass, and how wit may be made aJack o’ Lent when it is upon alien employment. He has laid his brain in the sun and dried it. He is ridden with a Welsh goat too. He is dejected, and not able to answer the Welsh flannel. Though he does get a laugh at Page and his wife, he has no hand in raising it. The only folk he can chaff and beat are Slender, in Act I., sc.i.,and Simple. All that remains for him is for Theobald to make him babble of green fields, and then leave the world that he’s so abused and amused. But we must not let the offensiveness of Falstaft’s part in the play represent The Merry IVives to us, any more than Venus’s lust does Shakspere’s first poem. The play is like Fenton ; it ‘smells Apriland May.” It has the bright, healthy country air all through it: Windsor Park with its elms, the glad light green of its beeches, its ferns, and deer. There is coursing and hawking, Datchet Mead, and the silver Thames, and though not “The white feet of laughing girls Whose sires have marched to Rome,” yet those of stout, bare-legd, bare-armd English wenches plying their washing-trade. There’s a healthy moral as well: “‘ Wives may be merry and yet honest too.” The lewd court hanger-on, whose wit always masterd men, is outwitted and routed by Windsor wives. The play is slight and thin. It is only merry; there’s no pathos in it; but it is admirably constructed. The double plot is workt without a hitch; the situations are most comical and first-rate. Still its tone is lower than in both earlier and later work. It is Shakspere's only play of contemporary manners and direct sketch of middle-class English life. Cotswold is there as in 2 Henry IV., and Shallow (Sir Thomas Lucy) and his nephew, country justices and asses, as some of the class still are. There are no grandees in it, though we have reflections of the court; the use of Windsor traditions in it points to a performance of the play at Windsor. There wasa grand one (by great personages) at Frogmore in the last century. The short time in which it was written explains the slightness of the play, and the great quantity of prose in it. There’s hardly any verse except for Fenton's love and the Elf scene. To me, born and bred within five miles of its scene, and to whom Windsor Park, Datchet Mead, and the Thames have been dear since my childhood, the play has of course a special attraction. The swectness of “sweet Anne! Page” is all through it. A choice bud in the rose-bud garden of girls of Shakspere’s time, she is, this young heiress, not seventeen, pretty virginity, brown-haired, small-voiced, whose words are so few, yet whose presence is felt all through the play. True to her love she is, ready- witted almost as Portia; dutiful to her parents, so far as she should be, and then disobeying them for the higher law of love. Her real value is shown by the efforts of her three lovers to get her. Why, oh why, didn’t Shakspere give us a separate scene with her and Caius, and then with all three lovers together, and let her play them off one against the other? He hadn't yet come to his Beatrice time. Fenton is a gay, wild young fellow, like Bassanio of The Merchant. He meant to marry for money, but is won from it by love. He's frank and resolute, a friend of the host too. Many a merry night had they had, we may be sure, at the Garter, so-named no doubt from its Order, founded at Windsor. The young lover, with his eyes of youth and his writing verse, brings verse into the play, and his noble nature is shown in his defence of his love Anne’s elopement :— “ The offence jgsholy that she hath committed,” &e. i “Tt has always pleased me that Shakspere gave his own middle-class English heroine his own wife’s name.”— Constance O’Brien. li § 10. SECOND-PERIOD PLAYS. c. HENRY V. Slender is the best-workt figure in the play, although “that Slender, though well-landed, is an idiot.” One need not do more than refer to Simple’s description of him, of his willingness to marry Anne upon any reasonable commands, to his delightfully inimitable scenes with Anne herself, and then finding out that at Eton she’s a great lubberly boy. The mixture of the Welshman, the Frenchman, and the German, points to the greater freedom of intercourse in Elizabeth’s days, while the individualities of Caius with his “It is not jealous in France,” and of Evans, who may represent the Welsh schoolmaster at Stratford in Shakspere’s time, with his “ Well, I will smite his noddle,” are well kept up.! Shakspere’s sketches of the Kelts—Glendower, Fluellen, Lear—should be noted by the student of races. The host has some of the characteristics of Chaucer’s host in the Canterbury Tales. Though he does talk like Pistol, he is yet a genial, good-hearted fellow. He keeps peace between Caius and Evans, as Harry Bailey did between the quarrelsome pilgrims. He helps the young lovers, Fenton and Anne. Therc’s a touch of poetry in his nature ; he’s evidently, too, the centre of sociability in his town, as country inn-keepers so often are. Although he, after the manner of his craft, means to overcharge his customers, they cheat him. For Garmombles 2, see the account of Count Miippelgart’s visit to England (Windsor, &c.) in 1592, in Mr. W. Brenchley Rye’s England as seen by Foreigners in the days of Elizabeth, p.1. In Hazlitt’s Shakspere’s Library, Part I., vol. iii., pp. 1-80, are six stories more or less resembling the plot of The Merry Wives :—1. The Story of Filenio Sisterna of Bologna, from Straparola, printed 1569. 2. The Story of Buceiolo and Pietro Paulo, from the Pecorone (in which the lover is first hid under some clothes from the wash). 3. The Story of Lucius and Camillus (No. 2 abridged). 4. The Story of Nerino of Portugal, 1569. 5. The Tale of Two Lovers of Pisa, from Straparola. 6. The Fishwife’s Tale of Brentford. In Part II. Mr. Hazlitt has also printed The First Sketch of the Play, 1602. This is an imperfect and spurious version of the play, and was reprinted in 1619. The full text appeard for the first time in the first Folio of 1623. It must be read carefully with the 1602 version. See Notes, p. cxxiv. Henry THE Frrru.—Its date is 1599, and one cannot mention the year without the thought of that great contemporary of Shakspere, Edmund Spenser, burnt out of the Irish house he has so lovingly described, losing there one of his children, and dying miserably in a tavern in King Street, Westminster, on January 13, 1598, leaving behind him these last lines of his unfinisht Faerie Queene ; as the subject of his last thoughts, as his last prayer on earth *:— “Then gin I thinke on that which Nature sayd, For all that moveth doth in Change delight : Of that same time when no more Change shall be, But thenceforth, all shall rest eternally But stedfast rest of all things, primely stayd With Him that is the God of Sabaoth hight. Upon the pillours of Eternity, O! that great Sabaoth God, grant me that Sabaoth’s That is contrayr to Mutabilitie ; sight !”—Book VII., Canto VIIL., stanza ii. One likes to think of the two poets, knowing, honouring, and loving one another, of Shakspere’s following Spenser to his grave in the Abbey, near Chaucer. But we've no evidence for all this, Shakspere’s allusions in his Sonnets 80, 86, are to a rival poet, almost certainly to G. Chapman; and assuredly in Henry V. there is no note of sadness or of tribute to a departed friend. On the contrary, a trumpet-tone of triumph sounds through the play, and echoes to all time ; proclaiming not only the glory and gallantry of Shakspere’s hero, but his own full manhood’s spirit, his rejoicing in his strength, and in his success in life. The unrest of Hamlet, the bitterness of Timon, the calm wisdom of Prospero, had not yet succeeded one another in his brain, or at least in his work, though his Hamlet time was near. Neither irresoluteness, vengeance, nor forgiveness was in his thoughts,—but victory, and that over England’s ancient foe. In 1598 Meres, in 1599 Barnefield and Weever, had publicly acknowledgd Shakspere as the great dramatist and poet of the great Elizabethan time, and had plact his “name in Fame’s immortal book.” In 1599 the Globe Theatre had been built, Shakspere taken as a partner in the profits of the house‘, and there, perhaps at its opening, he product this Henry V. In The Merry 1 That the Welshman leaves off his dialect, and talks good English when he speaks in verse, is a necessity of art. Welsh-English vould have spoilt the poetry. 2 “three sorts of cosen garmombles, Is cosen all the Host of Maidenhead & Readings,” 1602 play, p. 192, Hazlitt, Pt. IL., vol. ii. It’s ‘‘ three Cozen-Jermans” in the Folio, p. 57, col. 1; and the Count is ‘ta Duke de Jamanie.”—ib. 3 First noted by my friend Miss Isabel Marshall, of Bedford. #See the memorial of ‘‘ Cutbert Burbage, and Winifred his brother's wife, and William his sonne,” in 1635, to the Lord Chamberlaine, discovered by Mr. J. O. Halliwell in 1870, made public by him in 1874, printed by me from the Record Office MS. in The Academy, March 7, 1874, and since by Mr. Halliwell in his Jllustrations. ‘‘ The father of us, Cutbert and Richard Burbage, was the first builder of playhowses, and was himselfe in his younger yeeres a player. ‘The theater’ hee built with many hundred poundes taken up at interest. The players that lived in those first times had only the profitts arising from the dores ; but now the players receave all the commings in at the dores to themselves, and halfe the galleries from the houskepers (the owners or lessees of the theatre). Hee built this house upon leased ground, by which meanes the landlord, and hee had a great suite in law, and, by his death, the like troubles fell on us his sonnes: we then bethought § 10. SECOND-PERIOD PLAYS. cv. HENRY FP. lili Wives we left the representative of the professional soldier, of the grand old knight of Chaucer, degraded to the lowest depths, taking shares of his man’s thefts, for his lies in getting them off punishment, not only a pander, but an unsuccessful one, beaten in body by a citizen’s stick, in his pride and wit by citizens’ wives; contemptible, and “ made an ass.”’ In Henry V. the picture changes: the old companion of Falstaff rises as high as Falstaff has sunk low, and ‘this star of England” shines glorious o’er the world. The lift of the play over the quieter tone of The Merry Wives is striking. The clarion blast, the clang of arms, the noise of battle, ring through the ears, and kings and princes, not Windsor burgess-wives, are the leading figures in it. No doubt Henry the Fifth is, as we all acknowledge, the hero of Shakspere’s manhood (35). See with what love he dwells on him, by mouth of Chorus, as well as subjects, from lords spiritual and temporal, to the rank and file of the army! Shakspere doesn’t refrain from reminding us of Henry’s wayward youth; but he does it only—as he has done it all along—that the present glory may seem more glorious by contrast with its former darkness. He puts nearly the old specious defence into the Bishop of Ely’s mouth. But we care not to dwell on its sophistry. Enough for us that the change at a touch—as in the call of war and the father’s appeal in 1 Henry IT’., the news of arms in 2 Henry IV.—his father’s death, has come, and that (as Miss Heygate says) Henry ‘‘ has cast his slough of bad habits and loose company, and has come forth a hero, a Bayard, chevalier sans peur et sans reproche, an English soldier, who, “God before him, will come on, Though France himself, and such another neighbour Stand in our way.’” Shakspere first shows us his Henry’s mind and speech. You have his forethought and his righteous. sense of responsibility brought out: no unjust claim for mere glory’s sake, or to establish his throne more firmly ! (as his astute father advised), will he support by arms: he knows the cost of war in lives of English men. (Note the true and humble piety that Shakspere gives Henry, the continual appeals to God, and the ascription of victory to Him alone, all through the play.) Then we see the good-humour and self-control with which the king receives the Dauphin’s insolent message (which yet does sting him), and then the strong resolve, to win or die, and the devotion of all his thoughts and energy to carry out his resolve :— “For we have now no thought in us but France ; Save those to God, that run before our business.” (In connection with the general treatment of the play, note the rhetoric of the prelate’s speeches, thus preparing us for that of Henry’s own—for of the Histories of the Second Period, rhctoric is the cha- racteristic, as word-play is of the Comedies of the First.) Then you have this ‘‘ Mirror of all Christian kings” as judge of traitors: wisely convicting them out of their own mouths, seeking no vengeance for his personal wrong, but sending the miserable wretches to their death for seeking England’s ruin. Then, Henry as warrior, a. exultant: the splendid rhetoric and patriotism of his speeches bring the blood to one’s face. We know that Henry would not only say ‘‘ Go,” but ‘‘Go we,” would share his soldiers’ risks; we have his threatful appeal to the governor of Harfleur to spare the innocent maidens the terrors and horrors of assault—fine this is, but part of it is dangerously near bombast. Was it the air of France that made him brag so? At any rate Shakspere had had enough of it, there is no more in the play, and it almost looks as if there had been an interval between the composition of this first portion, and the later part of the play. 8. Sobered; real danger was in the air. Henry’s little army, wasted by dysentery, ill-fed and harassed by long marches and hostile skirmishes, had to face the terrible odds of more than six to us of altering from thence, and at like expense built the Globe [a.p. 1599] with more summes of money taken up at interest, which lay heavy on us many yeares ; and to ourselves wee joyned those deserving men, Shakspere, Hemings, Condall, Phillips, and others, partners in the profittes of that they call the House. a He ; “Thus, Right Honorable, as concerning the Globe, where wee ourselves are but lessees. Now for the Blackfriars : that is our inheritance ; our father purchased it at extreame rates, and made it into a playhouse with great charge and trouble: which after was leased out to one Evans that first set up the boyes commonly called the Queenes Majesties Children of the Chappell. In processe of time, the boyes growing up to bee men, which were Underwood, Field, Ostler, and were taken to strengthen the King’s service ; and the more to strengthen the service, the boyes dayly wearing out, it was considered that house would bee as fitt for ourselves, and soe [we] purchased the lease remaining from Evans, with our money, and placed men players, which were Hemings, Condall, Shakspeare, &e.” This could not have been till, or after the year 1603, when James succeeded Elizabeth, and there was a “ King's service.” Besides, the Warrant of King James making Shakspere’s company the King’s Company, and which bears date May 17, 1603, mentions only the Globe, as this Company's “‘ now usuall house.” eon “ : aca 1 Yet see how Shakspere marks the union of the nation in Henry’s war, by putting Welsh, Scotch, and Irish into the play, with the English. liv §10. SECOND-PERIOD PLAYS. d. MUCH ADO ABOUT NOTHING. one. No threat comes now: it is “Tell thy king I do not seek him ngw. Yet God before, tell him we will come on,” &¢.:— “We would not seek a battle as we are, Nor as we are we say we will not shun it... . . We are in God’s hand, brother, not in theirs.”—III. vi. 164-5, 169. We certainly don’t like Henry less before Agincourt than before Harfleur. y. As acting general—visiting his outposts, trying the temper of his men, using his old knowledge of common folk, arguing Bates out of his wanting to be up to his neck in the Thames, sophistically stilling Williams's scruples, reflecting on his own kingship and its mere ceremony, going back to his father’s old topic of sleep and the burden of the crown, praying God to steel his soldiers’ hearts. But when he meets his men, with what gay and cheery courage he does it! 3. On the field of battle. We are not conscious that Henry himself fought, till we come in the Chorus before Act V. to his ‘‘bruis¢d helmet” and his “ bended sword’’—all the interest is concen- trated on the touching picture of the dying York and Suffolk. e. Henry as conqueror. Note his true humility (ascribes all to God), his good-humour, his practical joke with Fluellen and Williams; no rhetorical outburst now. Then comes the triumphant return to London, with the allusion to Essex in Ireland. ‘The battle was on October 25, 1415. Henry's marriage on May 20, 1420. Shakspcre misses all the weary sieges and fights, culminating with the fall of Rouen on January 16, 1419, and shows us ¢. Henry as lover. Here again the character of the king comes out well. No pretence, no grand words, just a plain soldier, and a good heart: if she can love him for that, well and good, if not, well and good too. So she takes him, but alas! the boy who was to be compounded, half French, half English, to go to Constantinople and take the Turk by the beard, lost his father before he was a year old, and proved a miserable, flabbily-pious Henry the Sixth, with whom we have already dealt. It is a bit of that irony of Providence of which we have seen instances in our own time. We cannot help noting the weakness of this play as a drama: a siege anda battle, with one bit of light love-making, cannot form a drama, whatever amount of rhetorical patriotic speeches and comic relief are introduced. Henry the Fifth is all the play: no one else is really shown except Fluellen. The characterisation is therefore far inferior to that of 1 Henry IV. The play is more on the model of Richard III. Those who are interested in Shukspere’s development should contrast Henry the Fifth, the hero of the Second Period, with Prospero, the hero of the Fourth. Mvucu Apo anovut Norurine.—(Entered in the Stationers’ Register August 4, 23, 1600.2)—We change from history to fiction, from the green plains of France to the glowing shores of Sicily, with “Italy and Greece laid like pieces of mosaic into the Mediterranean sea-blue;’ we turn from the clash of arms to the clash of tongues. Much dAdo is another play of Shakspere’s brightest time, radiant with brilliantest wit and richest humour. If we heard the trumpet-tone of triumph through Henry V., surely the “ clarion’s shrilling note”? of merry raillery sounds through Much Ado, backed by the rich tone of Dogberry’s bassoon and the muffled drum of Hero's passing sorrow. With his wit at its keenest, his fun and humour at their richest, his power of characterisation at its fullest, Shakspere wrote the comic part of Ifuch -tdo: his mirth, like Beatrice’s, kept him on the “ windy side of care.” But yet, as in all his Comedies, except Aferry Wives, and the Shrew, which is not all his, athwart the sunshine he brought the shadow of distress or death, for he represented life as it is here on earth, and that is not all ‘‘cakes and ale.” Behind our brightest day-dreams, our sunniest times, is still to him who looks (for himself and is not the mere swallower of other folks’ assertions), the cloud of darkness beyond; and we must recollect that the year before this play was produced 1 A spurious imperfect quarto of the play (Q. 1) was published in 1600, and reprinted in 1602 (Q. 2 from Q. 1), and 1680 (Q. 3 from Q. 2). The genuine text first appeared in the folio of 1623. The play ranges from 1413 to 1420. Some hints from it are probably taken from The Famous Victories of Henry V., licenst 1594, publisht 1598, reprinted in Hazlitt, Pt. IL, i. 323. On Shakspere’s treatment of history in this play, see Courtenay’s Commentaries, i. 160-211. Nash, alluding to some old play on Hemy V., says in_his Pierce Penilesse, 1592, ‘What a glorious thing it is have Henry the Fifth represented on the stage, leading the French king prisoner, and forcing both him and the Dolph sweare fealtie ” (p. 60, Old Shakespeare Society, 1842). The entry in Henslowe’s Diary on 14 May, 1592, which Mr. J. P. Collier prints on p. 26, last line, as “‘ harey the Vth, the 14 of maye, 1592” is as plainly, ‘‘ harey the 6th .. .” as ever it can be. Ishowd the entry to Dr. Carver, the Master of the College, on 31 Jan., 1874, and he said ‘6th. No doubt about it.” Yet Mr. Collier puts a note, ‘‘ Malone takes no notice of this play, which at least was the same in subject as Shakespeare’s work. Possibly he read _it ‘Harey the VI.,’ but it is [that is, is not] clearly ‘Harey the Vth.’ The two entrics of Cstmes on pages 46, 62, of the printed Diary, are in the MS., one on leaf 11, ‘S steuen’ (St. Stephen's Day is Dec. 26), two on leaf 14, *$ steuens day.’ There are many omissions of accounts, &c., in the print.” Mr. Collier has since stated that he is not responsible for the copy of the M8., which was supplied to him, but only for the notes. Dr. Ingleby thinks the entry about *‘ Marloes Tamberlen " on p. 71 of the print is a forgery, and it certainly looks so in the MS. from the ink and hand- writing. He also believes that the ‘Like quits Like” on p. 230 is a forgery in a modern-antique hand. 2 The only quarto of the play was publisht in 1600, and from it the text of the first folio was printed, with some omissions, that, as in the case of Hamlet, &c., modern editors re-insert in their text. §10. SECOND-PERIOD PLAYS. d. MUCH ADO ABOUT NOTHING. lv Shakspere himself had told the world that an angel and a devil were struggling for possession of him :— : SONNET CXLIV. “ Two loves I have of comfort and despair, Wooing his purity with her foul! pride. Which like two spirits do suggest me still ; And whether that my angel be turn’d fiend, The better angel is a man right fair, Suspect 1 may, yet not directly tell ; The worser spirit a woman, colour’d ill. But being both from me, both to each friend, To win me soon to hell, my female evil I guess one angel in another's hell. Tempteth my better angel from my side, Yet this shall I ne’er know, but live in doubt And would corrupt iny saint to be a devil, Till my bad angel fire my good one out.” Still, I never read Much Ado without a certain shock at the needless pain caused to Hero, which might have been so easily avoided or lessened. But where the fun is fastest the sorrow must be saddest, I suppose. We must take the play as Shakspere saw fit to give it us. This central comedy of Shakspere’s middle happiest time (the Merchant, Shrew, Merry Wives went before, ds You Like It, Twelfth-Night, All's Well followed after) is also full of interest, as, on the one side, gathering into itself and developing so much of his work lying near it, and, on the other side, stretching one hand to his earliest genuine work, another to his latest complete one. First. Of the links with the other plays near it, we may note Benedick’s and Beatrice’s loving one another “no more than reason,’ with Slender’s so loving Anne Page, “I will do as it shall become one that would do reason.” Second. Dogberry, Verges, and the Watch, miscalling names, with Slender’s “ decrease ” and ‘‘dissolutely,” &c., in The Merry Wives. Third. As to: The Shrew, isn’t Much Ado in a certain sense a double taming of the shrew, only here each tames himself and herself by the answer of his and her richer, nobler nature, to an overheard appeal to its better feelings, an unseen showing of where its poor, narrow, shrewishness was leading it? Dogberry’s conceit, and Verges’s belief in him, are like Bottom’s in the Midswmmer-Night’s Dream, and his companijops’ belief in him; while The Merchant's scene between Launcelot Gobbo and his father and Bassanioteat veloped in that of Dogberry and Verges with Leonato in Much Ado. Leonato’s lament over Hero here, ‘‘ grieved I, I had but gne,”’ &c., must be compared with Capulet’s complaint about Julict :— “‘ Wife, we scarce thought us blessed But now I see this one is one too much, That God had lent us but this only child, And that we have a curse in having her.” Benedick’s dress in Much Ado, Act IIL., sc. ii., is to be compared with the young English baron’s in The Merchant. Friar Francis’s advice that Hero shall be supposed dead for awhile, is like Friar Laurence’s advising that Juliet should counterfeit death for forty-two hours. Leonato’s refusing to be comforted by any one who hadn't suffered equal loss with him is to be compared, on the one hand, with Constance’s “He talks to me that never had a son,” in Hing John, and, on the other, with Macduft’s “He has no children” in Macbeth. Hero’s caving in under the unjust accusation brought against her is like Ophelia’s silence in her interviews with Hamlet, and to be compared with Desdemona’s ill-starred speeches that brought about her death, and the pathetic appeal of Imogen that she was true, and the noble indignation of Hermione against her accusers. Such comparisons as these bring out with irresistible force the growth of Shakspere in spirit and temper as well as words. Of the reach backward and forward of this play, remember that Benedick and Beatrice are but the development of Berowne and Rosalind in Shakspere’s first genuine play, Love's Labours Lost, while Hero is the prototype of Hermione in Winter's Tale, Shakspere’s last complete drama. Hermione—“ queen, matron, mother,’’ who, like Hero, unjustly suspected and accused, is declared innocent, and yet for sixteen years suffers seclusion as one dead, with that noble magnanimity and fortitude that distinguish her, and then without a word of reproach to her base and cruel husband, throws herself—but late a statue of stone, now warm and living—into his arms. Look at the “solemn and profound”’ pathos of that situation, and contrast it with the Hero and Claudio one here, and see how Shakspere has grown from manhood to fuller age, just as when you set the at-onement of Aigeon and his family in The Comedy of Errors beside the reunion of Pericles, his daughter, and wife, in Pericles, you'll see the difference between youth and age, between the First and Fourth Periods of Shakspere’s work and art. The many likenesses between Benedick and Beatrice and Berowne and Rosalind in Love's Labours Lost are caught at once. We need only dwell on the moral of the earlier play, as Rosalind preaches it to Berowne, the utter worthlessness of wit, the mocking spirit, and the need that the gibing spirit be choked, thrown away, and remember that the moral is repeated here, in Beatrice’s wise and generous words (she, woman-like, instinctively goes to the heart of the matter) :— “Stand I condemnd for pride and scorn so much ? Contempt, farewell ! and maiden pride, adieu ! No glory lies behind the back of such.” 1 Fair 1599 ; foul 1609. lvi §10. SECOND-PERIOD PLAYS. d. MUCH ADO ABOUT NOTHING. Note, too, that with Beatrice, its most brilliant instance, this pungent, wit-stinging type of heroine, the admiration of Shakspere’s early manhood, the product of the city, disappears (except in the waiting-maid Maria of Twelfth-Night), and the gentler, sweeter, more suffering type of Luciana, Helena, Sylvia, comes to the front and endures to the end, its virtues exalted by contrast with the fierce type of Lady Macbeth, Goneril, Regan, Cleopatra, Cymbeline’s queen, while the simple beauty and freshness of the un-town girl Miranda, Perdita, take, in Shakspere’s age, the place that the piquant London Rosalind and Beatrice held in his youth. Beatrice! is the sauciest, most piquant, sparkling, madcap girl that Shakspere ever drew, and yet a loving, deep-natured, true woman too. Sharp sayings flow from her, like humorous ones from Falstaff. Something she has in common with Chaucer’s carpenter's wife in the Miller’s Tale, ‘‘wynsyng she was,” &c. Hero's description of her is a caricature ; yet her wit is her most prized possession, as Benedick’s is his. His ‘hundred many tales” to her, her ‘“‘ prince’s jester” and ‘‘folk’s disregard ” to him, are the bitterest. cuts. Claudio’s ‘‘ two bears that bite one another when they meet’? is a libel of course. But why do the two bite or spar ? Let Marlowe tell us in his Hero and Leander, p. 200, col 2:— “Women are won when they begin to jar.” Why does she ask after him if she doesn’t care for him? "Why does she taunt him and make him notice her? Like will to like. But of course she says she doesn’t want a husband—what girl of her type ever acknowledges she does? She keepsa dog to bark at crows: that’s enough for her. ‘What does she want with a husband? She’ll not have her nose brusht by a moustache, or her neck tickled by a beard: pray God, night and morning, to keep her from such abominations: in this world at least—in the next, where there’s no marriage or giving in marriage, she’s no objection to bachelors, she'll sit by them and live as merry as the day is long. In this mood she meets Benedick. And sharp as he is among men, he cannot stand up to her; she overwhelms him with her quick repartees. Yet after this brilliant passage of arms, what are the conqueress’s feelings? ‘But I am alone, alone, heigho for a husband!” When she is limed, and the plot succeeds?, compare the result on the two lovers. See how Beatrice’s noble nature comes out! None of the man’s half-jokes, no thought of what folk will say of her: she’s done wrong, she'll make amends; she lets fall her false covering of mockery and contempt (as Tennyson’s Princess hers of false theory and wilfulness) and stands lovelier, more winning than ever, a simple, truthful, loving woman. Our merry, sparkling friend is changed, she’s “ exceeding ill and sick,” and all with heartache: the Benedictus thistle is her only cure. Then comes the cruel blow on her sweet innocent friend, who sinks under it, unable to defend herself. At once out flashes the true and noble nature of Beatrice, worthy daughter of the gallant old Antonio. Evidence, so-called! Suspicion! what are these to her? She knows her friend’s pure heart, where no base thought even has ever lodged: ‘‘O,on my soul, my cousin is belied!” “Then, deeply wounded, Hero’s guileless face : The queen of wit and women, Beatrice, Beside her, with strong arms‘about her flung, More chivalrous and wiser than a man.” Protecting—worlds of scorn in her bright eyes— She gives her heart to Benedick; but how can he love her rightly, how can she love him, unless he loves honour more than her, and will give his life for what she’d—O, how gladly !—sacrifice her own? Her lover is at last swept away by her vchemence: he will challenge Claudio; the noble girl is satisfied. When they next meet, though her wild heart is tamed to his loving hand, she has not lost all her fun. The couple are too wise to woo peaceably. She doesn’t see the logic of being kisst because foul words have passed between him and Claudio. She chaffs him about “suffering” love for her; and for the first time in her life she lets him have the last word, for it’s all of love for her. Again they meet to marry, but, as she says, she loves him only in friendly recom- pense, she takes him partly to save his life, for she was told he was in a consumption; and he takes her for pity. The two understand one another. We all know what it means. ‘he brightest, sunniest married life, comfort in sorrow, doubling of joy. And fancy Beatrice playing with her baby, and her husband looking on! Never child ’ud have had such fun since the creation of the world. The poet Campbell’s story of his pair was an utter mistake: he never knew a Beatrice. Dogberry we must, alas! pass over, model of Mrs. Malaprop as he is, and of the Red queen’s talk in “ Through the Looking-glass.’’3 j 3 ele and Benedick are wholly Shakspere’s invention, so far as we know. No original of either character has been yet found. : 2 Objectors to the same plot being used to cure both the lovers, forget that both had the same disease. Moreover, what’s sauce for the goose is sauce for the gander. 3 Bandello’s 22nd Novella of 8. Timbreo di Cardona (Hazlitt, Pt. I., vol. iii., p. 104), told in French by Belleforest in his Histotres Tragiques, probably furnisht Shakspere with most of the details of his Claudio and Hero story, including the courtship by the lover's friend, the deception of the lover by a servant, the breaking off the marriage in church, the swoon and supposed death of the heroine, her funeral rites, Leonato’s epitaph on her (Hazlitt, I. iii. 119), and then her marriage to the hero, &c. But details in all the borrowed parts differ. The personation of Hero by Margaret was probably §10. SECOND-PERIOD PLAYS, d. AS YOU LIKE IT. Ivii As You Lixt Ir.—“ The sweetest and happiest of Shakspere’s comedies,” says Professor Dowden. Yes, sweetest, because the sweetness has been drawn from the bitters of life: happiest, because the happiness has sprung from, has overcome, sorrow and suffering. What most we prize is misfortune borne with cheery mind, the sun of man’s spirit shining through and dispersing the clouds that strive to shade it.! And surely this is the spirit of the play. ‘The play goes back, too, to the old Robin Hood spirit of England, to that same love of country and of forest and of adventure which still sends our men all over the world, and empties yearly our women out of town :— “They say he is already in the forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England: they say, many young gentlemen flock to him every day ; and fleet the time carelessly, as they did in the golden world ;” or, as Orlando puts the other side of it— “Tn this desert inaccessible, Under the shade of melancholy boughs, — Lose and neglect the creeping hours of time.” It is true this is not Prospero’s task, but Shakspere is in his Second Period, not his Fourth. We are out of all wrangle of court and struggle of camp, in this forest of enchantment, Arden, where lions and palms and serpents grow, where ambition is shunnd, and all are pleased with what they get. ’Tis Chaucer’s “‘ Flee fro the pres and dwelle with soothfastnesse,”’ his “‘ Former Age;” a fancy picture if you will; but let us enjoy it while we may. ‘The picture is not painted in the same high key of colour as Much Ado. Instead of the hot sun of Beatrice’s and Benedick’s sharp wit-combats, with its golden reds and yellows, backt by the dark clouds of Hero’s terrible distress, we have a picture of greys, and greens, and blues, lit through a soft haze of silvery light. Rosalind’s rippling laugh comes to us from the far-off forest glades, and the wedded couples’ sweet content reaches us as a strain of distant melody. The play stretches backwards and forwards as Much Ado does: back to the First Period, Love’s Labours Lost. The scene is the Forest of Arden, like the King of Navarre’s park; the early Stratford woodland life is in both. And in both is the same almost childish love of the girl tormenting her sweetheart by assuming or continuing unnecessary disguises, the lover’s writing of verses, the hunting, &c.; the names Rosaline and Rosalind, and certain points of likeness between their owners. Miss Baillie says, ‘The way in which Rosalind delights in teasing Orlando is essentially womanly. There are many women who take unaccountable pleasure in causing pain to those they love, for the sake of healing it afterwards.” The love at first sight is like that in Love’s Labours Lost, and Touchstone and Audrey are a far better Armado and Jacquenetta. To Midsummer-Night’s Dream this play is linkt by its enchanted land, and its pretty picture of Rosalind’s and Celia’s friendship matching that of Helena and Hermia. With The Merchant we get the links of Rosalind’s description of her dressing as a man, like Portia’s (and Julia’s in The Two Gentlemen), while the melancholy of Jaques reminds us, in name, of that of Antonio in The Merchant. Rosalind’s description of herself as “one out of suits with fortune” suits Portia’s “My little body is aweary of this great world.” The reach forward of the play is most interesting in its anticipation of the Fourth-Period lesson, that repentance and reconciliation are better than revenge, taught by the two instances of Oliver and Duke Frederick; while in Pericles we see that Marina is to be killed because she stained her friend Cleon’s daughter, as Duke Frederick justifies his cruelty to Rosalind because she throws Celia into the shade. One cannot also forget the fool here, ‘who'll go along o’er the wide world with Celia,” when thinking of Lear’s fool, who’d never been happy since his young mistress went to France. And we may remember, too, Shakspere’s quotation here from his dead friend Marlowe’s Hero and Leander, first printed in 1598 :— «* Dead shepherd, now I find thy saw of might, ‘Whoever loved that loved not at first sight ?’” Of Rosalind, we may well take the epithet ‘‘heavenly Rosalind” asa just description, while allowing her all earthly charms. Fair, pink-cheekt, red-lipt, impulsive,—when she thinks she must speak,— borrowed from the story of Ariodanto and Ginevra in Ariosto’s Orlando Furioso, englisht by Sir John Harington in 1591, canto 5, and printed in Hazlitt, Pt. I., vol. iii., p. 83. Spenser tells a like tale in his Faerie Queene, Bk. IL., canto iv., publish’ in 1590. The two lines in the parenthesis III. i. 9-11, “_like favourites, Made proud by princes that advance their pride Against that power that bred it,”— are so unexpectedly and incongruously brought into Hero’s directions to her waiting-woman Ursula, that I suspect they were an insertion after Essex’s rebellion in 1601. They will lift out of the scene, and leave the speech more natural when they are removed. Shakspere must have aimd the lines at some contemporary favourite, I’m sure. : 1 My friend Dr. Ingleby says on this, ‘The moral of the play is much more concrete. It is not, how to bear mis- fortune with cheery mind, but, how to read the lessons in the vicissitudes of physical nature.” This is what the banisht Duke says as to “the penalty of Adam,” and what Amiens says in ‘‘ Blow, blow, thou winter wind !” and ‘“‘ Under the lili §10. SECOND-PERIOD PLAYS. d. AS YOU LIKE IT. true woman she is.’ There is a great want in her life: she mects Orlando, and the want is filled by love. In her love-making she repeats almost Portia’s pretty hesitations with Bassanio :— é “Did you call, sir? Sir, you have wrestled well, and overthrown More than your enemies.” Banisht from court, where Celia led the way, she has to head their expedition into the country, and though she could find it in her heart to cry like a woman, yet she must comfort the weaker vessel. Searching poor Corin’s wound, she finds her own; but sad as she is, she needs only the news of Orlando’s nearness to change her in a moment. At tidings of him, the impulsive girl throws off all her melancholy for ever, and jumps into the gayest, chaftingest humour possible. But note the touch: “ Alas! the day, what shall I do with my doublet and hose ?”? It’s a little hard that she passes by her father so coolly, yet she’s too full of her lover. ‘“ What talk we of fathers, when there’s such a man as Orlando ¥” The delicious spritely fun of her chaff of Orlando is unsurpassable. Orlando is a noble young fellow, with whom all must sympathise. There is a great charm about his manliness. “I do wish,” says a lady-friend, “there were more young men like him nowadays, instead of the fashionable, dandified creatures, budding Jaqueses, whom one sees in London ball-rooms now. But then one can’t imagine Orlando at a ball, hoping to have the pleasure of the next dance, and remarking on the heat of the room. There’sa breath of fresh air about him, and the energy of a healthy, active life, which carries one away to the country out of the artificial life of the court. No wonder Rosalind liked him. She must have felt from the first that he was a man likely to be a support to her through life.” Much as all his words and deeds become him, nothing is finer, I think, than what he says to the wretched Jaques’s invitation, “ Will you sit down with me? We two will rail against our mistress the world, and all our misery.” Orlando. “I will chide no breather in the world but myself, against whom I know most faults.” Jaques ‘‘ compact of jars” is always getting out of bed on the wrong side every morning, and taking the world the wrong way.’ See how the healthy- natured Rosalind sets him down with her advice :— “Look you lisp and wear strange suits, And almost chide God for making you Disable all the Venefits of your own country ; That countenance you are.” Be out of love with your nativity, He has been a libertine, is soured, and like the rascal Don John, in Much Ado, he hides his bad nature under the cloak of seeming honesty of plain-speaking. His mission is to set everything to rights; but God forbid he should take the trouble to act. He wants liberty only to blow on whom he pleases; he abuses everybody, moralises, weeps sentimentally, and is a kind of mixture of Carlyle in his bad Latter-day-Pamphlets mood, and water, with none of the grand positiveness of our Victorian biographer, historian, and moralist. Look at his philosophy of man’s life, and what poor stuff it is! Macbeth the murderer repeats it: to them, both men and women are but players. Let any mother ask herself whether Jaques’s description of a baby is a just account of hers or any woman's, and judge him accordingly.4 Of Touchstone, and his triumphant fun with Corin the Shepherd and William I cannot speak, but I'll just repeat Miss Buaillie’s words: “He is undoubtedly slightly crackt, but then the very cracks in his brain are chinks which let in the light.” And as to Celia, the loving and true, one must repeat a girl-friend’s words, “It is impossible to read the part without being in love with Orlando. I always pity Celia having to do perpetual gooscberry- bush to Rosalind and Orlando; and I must confess that the way in which Oliver is fished up and reformed to make a husband for Celia, always aggravates me. With all the reforming, cleaning, and whitewashing in the world, Oliver must have been a poor creature; but I suppose Celia made the best of him.” Tradition reports that Shakspere himself acted Adam in .4s You Like It. The play was enterd in the Stationers’ Legisters on August + [1600], but appeard for the first time in the first greenwood tree.” Everywhere it is “in these inclement skies we shall feel what we are, but find no enemy. We who have known the insincerity of flattery, covering ingratitude and backhiting, shall here find frank and outspoken friends, who teach us to read the message of cold winds, &c. ; and through that, make us believe that all adversity has its uses, and, sweet ones.” “Sweet are the uses of adversity. . . .” That can translate the stubbornnesses of fortune ‘‘Happy is your grace, Into so quiet and so sweet a style.” 1 See Mr. R. Grant White’s happy sketch of Rosalind and all the play in his “Tale of the Forest of Arden,” in The Galaxy for April, 1875. It has only just reacht me, too late to quote. Iam much pleasd to find that he has taken the same view of Jaques that I have. But I can’t agree that Touchstone is akin to Jaques, whom I hate and despise. Touchstone's devotion to Celia and his delightful humour draw me to him. He's worth a score of Jaqueses. 2 Compare her living “in the skirts of the forest, like fringe upon a petticoat ” (IIT. ii, 334). 3 He is Laurence Sterne, with his sham sentimentality and attitudinising, says Professor Dowden. *My friend Dr. George MacDonald's saying. Mr. Grant White says, ‘‘ In fact, he seized the occasion to sneer at the representatives of the whole human race.” § 10. SECOND-PERIOD PLAYS. d. TWELFTH-NIGHT. lix Folio, 1623. The source of the play in almost all its detailsis Lodge's story of Rosalynde*, printed in 1590 and 1592. The latter edition is reprinted in Hazlitt’s Shakspere’s Library, Pt. 1., vol. ii., p. 9, and all needful extracts from it are given in my friend Mr. Aldis Wright’s capitally annotated 18d. Clarendon Press edition of the play. For Jaques, Touchstone, and Audrey, Shakspere had no hints in his original. Mr. Wright thinks that the inconsistencies he points out, on pp. vi., vii. of his Preface, imply that the play was finisht in haste. Twetrru-Nicut.—Still one of the comedies of Shakspere’s bright, sweet time. True that we have to change Rosalind’s rippling laugh for the drunken catches and bibulous drollery of Sir Toby Belch and his comrade, and ‘Touchstone for the clown; but the leading note of the play is fun, as if Shakspere had been able to throw off all thought of melancholy, and had devised Malvolio to help his friends “ fleet the time carelessly,’ as they did in the golden world. Still though, as ever in the comedies, except The Merry Wives, there’s the shadow of death and distress across the sunshine. Olivia’s father and brother just dead, Viola and Sebastian just rescucd from one death, Viola threatened with another, and Antonio held a pirate and liable to death. And still the lesson is, as in As You Like It, “Sweet are the uses of adversity ;” out of their trouble all the lovers come into happiness, into wedlock. The play at first sight is far less striking and interesting than Much Ado and As You Like It. No brilliant Beatrice or Benedick catches the eye, no sad Rosalind leaping into life and joyousness at the touch of assured love. The self-conceited Malvolio is brought to the front, the drunkards and clown come next; none of these touch any heart; and it’s not till we look past them, that we feel the beauty of the characters who stand in half-light behind. Then we become conscious of a quiet harmony of colour and form that makes a picture full of charm, that grows on you as you study it, and becomes one of the posses- sions of your life. As the two last plays reach backward and forward, so does Twelfth-Night : to the earliest Love's Labours Lost for the cut at women’s painting their faces that we find here; for its men forswearing for three years the company of women, and then of course admitting them and falling in love with the first ones they see, which is the prototype of Olivia abjuring for seven years . the company of men, then soon admitting one (as is supposed), falling in love at first sight with him (though he’s a woman), and marrying his brother, whom she supposes to be he. For the pair of one family so like as to be mistaken for one another, we go back to the double Antipholus and the double Dromio of Shakspere’s second play, The Comedy of Errors, which gives us, too, the incidents of both a wife (Antipholus’s of Ephesus) and sweetheart (Dromio’s of Syracuse) mistaking another man for her husband and her lover (though here Viola is only a woman disguised). To the same play we go for the refusal or denial of money when trusted to one by another, and for the members of a family sundered by shipwreck, as we look on to Pericles for a somewhat like incident. In the Errors we get, too, the saving, though here only of one member of the family, by the binding to a mast. To The Two Gentlemen of Verona we go for the parallel to Viola sent disguised as a page by Duke Orsino to woo Olivia for him, to the loving Julia sent by the man she loves (Proteus) to woo Sylvia for him. Romeo and Juliet gives us in the love-lorn Romeo repulst by Rosalind, and at once giving her up for Juliet, the match of Duke Orsino resigning the longd-for Olivia, and at the moment taking up Viola. The Merchant of Venice gives us another Antonio willing to give his life for his friend Bassanio, just as here in Twelfth-Night Antonio? faces danger, nay, death, a pirate’s due, for his love to his friend Sebastian. And to the same Merchant we surely go for recollections of the opening scene here, “That strain again! it had a dying fall; That breathes upon a bank of violets, O, it came o'er my ear like the sweet sound Stealing and giving odour,” and for a parallel to the Duke’s love of music through the play. Henry IV. gives us in Falstaff and his followers the company whence Sir Toby Belch and Sir Andrew Aguecheek come, as the Second Part of that play gives us Falstaff playing on Justice Shallow as Sir Toby in Twelfth-Night plays on Sir Andrew. Is not also Slender’s echoing of Shallow in Merry Wives something like Sir . Andréw. echoing ali Sir Toby’s sayings here, and fancying himself a man for it? As to the reach _ forward of the play, I’ve already alluded to its link with Pericles. It is to the Sonnets that we turn fora parallel (5) to Viola’s pleading with Olivia to marry the Duke, and not forbear to leave a copy of her beauty to the world, and to the Sonnets to his mistress for Shakspere’s love of music, while to match Viola's entire devotion even to death to the Duke’s most unjust will we must look forward, even past the Sonnets, to the true and loving Imogen’s willingness to die in obedience to her deceived and headstrong husband’s iniquitous sentence of death on her (Cymb., IIT. iv. 65-79). Note, too, that it is with Perdita of Winter’s Tale that Mrs. Jamieson mainly compares Viola, though, as we have seen, Julia 1 Lodge used in it the old poem of Gamelyn, wrongly attributed to Chaucer, because it is found in several of the best MBS. of his Canterbury Tales. It is none of his. . 2 The second self-sacrificing Antonio is Leonato’s brother in Much Ado. lx § 10. SECOND-PERIOD PLAYS. e. DARKENING. ALL’S WELL. in The Two Gentlemen is in circumstances nearest her. The interest of this middle time of, Shakspere’s work is to me great, showing as it does the development of his early powers, the forecast of his later ones. It is at once the fulfilment of the old promise of his genius, and the prophecy of the new. Viola is the true heroine of the play. She is sad for her brother's supposed death, yet she hopes with the hopefulness of youth and her own escape. She doesn’t mope or shut herself up like Olivia, but looks disaster full in the face, and at once takes practical steps for her future life. Sympathy with Olivia’s loss draws her first to her, but as she can’t enter her service, she resolves to go into the Duke’s (Shakspere’s women of course take naturally to boys’ disguises, because their characters were always acted by boys). She knows the Duke’s love of music; she can sing. Her voice, like Cordelia’s, was ever soft, gentle, and low, ‘‘ an excellent thing in woman;”’ and in the Duke’s love-lorn state, Viola is the very person for him. He wants sympathy, and she gives it him; into her gentle breast he pours the sorrows of his secret soul. Her pity for him opens her heart to him; but how bitter-sweet were his confidences to her! Still his happiness, not hers, is what she wants, and she’ll win it him, though in doing so she break her heart. Valentine has failed, but she'll not fail: he was urged by duty, she by love. Olivia she zidd see and does see. (Notice the woman’s curiosity to see her rival’s face and compare it with her own, as Julia does Sylvia’s picture after seeing her in The Two Gentlemen : both loved ones have, like Chaucer’s ladies, ‘‘eyes grey as glass.) ‘Then note how in pleading Orsino’s cause, through all her words her own love for the Duke speaks, just as in Chaucer’s description of his duke’s love Blanche, the young poet describes and praiseshis own love. Note too the difference between the real love that Viola describes, and the fancied love the Duke feels. Had his love been like Viola’s, no refusal, no rebuff, would have kept him from Olivia’s feet. (Contrast Viola’s tenderness to Olivia with Rosalind’s sharpness to Phoebe.) Then comes the touching scene between Viola and the Duke, where the music makes her speak masterly of love, where Shakspere reveals his own heart’s history with his aged wife, and where Viola herself, in answer to the Duke’s fancied greatness of his love, gives him such hints of her own far deeper devotion to him that, though she never told her love, no man but one blinded by phantasm could have faild to catch the meaning of her words. But still she will appeal again to his unwilling love Olivia for him. Then comes the last scene. The man she loves, forgetting he's a man, out of spite threatens her with death, and she will take it joyfully for him, whom she then declares she loves more than her life. At last the Duke, seeing that Olivia is impossible to him, turns to his friend and confidante, his half-self, now woman, and challenges the fulfilment of her oft-repeated vows. She denies them not, but confesses she loves him still. She has what she wills, and all is happiness and peace. The Duke has a fanciful nature like Olivia. He is one of your dreamy musical men, and Romeo is his parallel in the earlier time. Still he is a man not to be despised, one of a rich, beautiful, artistic nature, had music in his soul, loved flowers, would make a husband tender and true, and say the prettiest, sweetest things to his wife. Malvolio, the affectioned ass (Oh, that Mr. Irving would play him !), the sharp-tongued Maria, who’d have all her work to do as my Lady to keep Sir Toby sober, the clown who sings the capital songs, and all the rest, we must, alas, pass over. ‘The play as acted on the London boards loses all its romantic beauty. Viola is extinguisht, except in the farce of the challenge, by the drunkards and their spirited catch, “Saturday, Sunday, Monday.’ The play was acted at the barristers’ feast at the Middle Temple, on February 2, 1601-2, as Manningham tells us (p. xvii, above). He points out an Italian play like it, Gl Inganni (one by Nicolo Secchi, pr. 1562, another by Curzio Gonzaga, pr. 1592), which contains a brother, and sister so like him drest as a man, as to lead to mistakes like those in Shakspere’s play. But another Italian play, Gl’ Ingannati, pr. 1585, englisht 1862, contains more likenesses to Twelfth- Night. However, the original that Shakspere used was doubtless Barnaby Rich’s History of Apolonius and Silla, printed in Hazlitt, Pt. I., vol. i., p. 387, from “ Riche his Farewell to Militarie profession,” 1581. Rich probably borrowd from Belleforest’s Histoires Tragiques, tom. iv., Hist. viime, as Belleforest did from Bandello, Pt. II., novel 36. The comic characters are Shakspere’s own. The play was first printed in the Folio of 1623. With it I end the group of the three sparkling, Sunny, or Sweet-Time Comedies, and turn to the next, “ the darkening Comedy ;” for, though it may be put with its foregoers, its tone is so different from theirs that I prefer to keep it by itself. Aui's WELL THAT Enps WELL.—We have now left behind us Shakspere’s bright, sweet time, and are at the entrance to his gloomy one. Instead of coming with outstretcht hand and welcoming smile of lip and eye to greet such plays as Much Ado, As You Like It, even Twelfth-Night, we turn with half-repugnance from All's Well, and wish Shakspere had given the subject the go-by. Yet for its main feature—a woman forcing her love on an unwilling man—Shakspere has prepared us in his two last plays (as well as an earlier one), by Phoebe in As You Like It, by Olivia in Twelfth-Night, endeavouring to force their loves on two supposd men, Rosalind! and Viola. But none the less is the 1 We must recollect too that Rosalind made the first advances to Orlando. = a § 10. SECOND-PERIOD PLAYS. ¢. DARKENING. ALL’S WELL. lxi reality distasteful to us, when the supposd man becomes a man indeed. Why then did Shakspere choose this story of Giglietta di Nerbona pursuing Beltramo, which he found in Painter’s Palace of Pleasure}, a.p. 1566, taken from Boccaccio’s Decamerone 22 For the same reason, I conceive, that Chaucer took from the same Italian source—tho’ through Petrarch’s Latin version of it}— the Clerk’s story of Griselda, to show what woman’s love, what wifely duty, would do and suffer for the man on whom they hung. The tale of woman’s suffering, of woman’s sacrifice for love, was no new tale to Shakspere. His Adriana of the Errors, Hermia and Helena of Midswmmer-Night’s Dream, Sylvia and Julia of The Two Gentlemen of Verona, Juliet of Romeo and Juliet, Hotspur’s widow of 2 Henry IV., Hero of Much Ado, Rosalind of 4s You Like It, Viola of Twelfth-Night, had brought home to him, as they have to us, the depth and height of women’s love:— ““Not fearing death, nor shrinking for distress, But always resolute‘in most extremes,” willing to face rebuke, repulse, the unsexing of themselves, base service, exile, nay, the grave, so that thereby the loved one might be won or servd. And when Shakspere saw Giglietta’s story, he recognised in it the same true woman’s love undergoing a more repulsive trial, that of unwomanliness, than he had yet put any of his heroines to; and he resolvd that his countrymen should know through what apparent dirt pure love would pass, and could, unspotted and unsmircht. Apparent dirt, I say, because I can’t see that what would be right, or justifiable, in a man when in love to secure his sweetheart or wife, can be wrong or unjustifiable in a woman. Equality in choice and proposal, should be allowed, as Thackeray says. Another lesson Shakspere had, too, to teach to pride of birth in England; a lesson that, before him, his father Chaucer had taught in many a line, repeated none so oft (see his Gentleness, Wife’s Tale, &c.), and a lesson not yet learnt here; one that never will be learnt, I fear :— “Trust me, Clara Vere de Vere, Howe’er it be, it seems to me, From yon blue heavens above us bent, ’Tis only noble to be good ; The grand old gardener and his wife Kind hearts are more than coronets, Smile at the claims of long descent ; And simple faith than Norman blood.” All’s Weil is, I doubt not, Love’s Labours Won recast. Both have the name Dumaine in common, in both is the Labour of Love: that which is the growth of a life is won here, that which is the growth ~ of a day being lost in the earlier play. Moreover, no intelligent person can read the play without being struck by the contrast of early and late work in it. The stiff formality of the rymed talk between Helena and the King is due, not to etiquette, but to Shakspere’s early time: so also the end of the play. Like ‘‘ notes” are, the Countess talking a stanza, I. iii. 127-134, as in Love’s Labours Lost, Midsummer-Night’s Dream, Romeo and Juliet ; Helena’s and Parolles’s letters like sonnets, III. iv., IV. iii.; also see early passages in II. i. 131-212; V. iii. 59-71, 289-292, 299-302, 312-17, 325-40. Compare too II. iii. 73-105, 125-145; the end of IV. ii., &e. See Mr. Fleay’s Paper, New Shakspere Society’s Transactions, 1874. The play was first printed in the Folio of 1623. For the backward and forward reach of the play, as in the other Second-Period comedies, let us note that Helena in Midsummer-Night’s Dream, with her desire to force herself on Demetrius, is the prototype ‘of Helena of _Ali’s Vell. We have the parallel expression in All’s Well, “the hind that would be mated by the lion must die for love,” in Midsummer-Night's Dream, “the mild hind makes speed to catch the tiger.”” But note the wondrous difference in depth and beauty of character of the two Helenas, also the absence here of the youthful Midsummer-Night’s Dream face-scratchings, long legs, and funny conceit of the moon tumbling through the earth. And notice, too, that as for the earliest of these middle-time comedies, Much Ado, we found the prototype in the earliest of Shakspere’s first-time ones, Love's Labours Lost ; as for the second of the middle-time comedies, ds You Like It, we found the prototype in Love’s Labours Lost too (with The Merchant) ; as for the third middle- time comedy, Twelfth-Night, we found the prototype in his second first-time comedy, the Errors (with his fourth, The Two Gentlemen), so here for his fourth middle-time comedy we find the prototype in his third first-time play, Midsummer-Night’s Dream. It is an interesting undesigned coincidence of succession. I-claim it as a confirmation of my order of the first three plays. Romeo and Juliet, in Lady Capulet’s speech about Tybalt, III. v. 71, gives us the parallel of Lafeu’s ‘“ moderate lamentation” and “excessive grief,” I. i, 58, and Diana Capulet’s name. Zhe Merchant of Venice gives us the ring parallel, and the contrast of Portia being chosen, and its happy result, with Helena’s choosing, and its unhappy outcome for a time. Pistol in 2 Henry IV. and 1 Painter’s englisht story is printed in Hazlitt’s Shakspere's Library, Part I,, vol. iii., pp. 140-151. The Introduction says, “Shakspere adopted all the main incidents from the novel . . . the characters of the Countess, the Clown, and Parolles are new in Shakspere, and there is no hint in the Italian of any part of the comic scenes in which Parolles is engaged.” 2 But through Boaistuau or Belleforest, from Bandello. ; 3 I've printed Latin and Italian together in my Chaucer Society Originals and Analogues. Isii §10. SECOND-PERIOD PLAYS. « DARKENING. ALL’S WELL. mainly Menry I. is the prototype of Parolles, who is but Pistol refined and developed, with a touch of Falstaff added, while Parolles’s echoing of Lafeu (Act IL., se. iii.) is clearly recollected from Sir Andrew Aguecheck’s echoing of Sir Toby Belch in Twelfth-Night. Parolles’s proposal to give himself “some hurts, and say I got them in exploit” (Act IV., sc. i.) is a remembrance of Falstaff’s proposal and its carrying out in 1 Henry IV., after Prince Hal and Poins have robbed the merry old rascal, &c. Also Parolles’s exposure by his comrades is suggested by that of Falstaff by Prince Hal and Poins. The Second Part of Henry IV. gives us, too, Falstaft’s explanation of his abuse of Prince Hal to Doll Tearsheet, as the original of Parolles’s excuse for his letter to Diana Capulet abusing Bertram. As to the forward reach of the play, the link with the Sonnets is of the strongest. Think of Shakspere, the higher nature, but the lower in birth and position, during his separation from his Will, so handsome, high-born, hating marriage, misled by unworthy rivals, also selfish and sensual, and compare him with the poor, lowly-born Helena, richer and higher in noble qualities, longing for, dwelling in mind on, her handsome Bertram, high-born, hating marriage, misled by Parolles, selfish and sensual too. So far Shakspere and Helena are one, and Will is Bertram. Hamlet gives us, in Polonius’s advice to Laertes, the development of the countess’s counsel to Bertram, “love all, trust a few,’ &c. In Aleasure for Measure, the All's Well substitution of the woman who ought to be a man's bed-mate for the one who ought not so to be, but whom he desired to have, is used again, with the very same precautions against discovery, not to stay too long or to speak, &c. The name Escalus used here is also that of the Governor in Measure for Measure ; and for our Corambus here we get a Corambis in the first quarto of Hamlet. For the parallel to the sunshine and the hail in the king at once here, we go to Lear for the sunshine and rain at once in Cordelia, whose smiles and tears were like a better day. For our clown’s “flowery way that leads to the broad gate and the great fire” we turn to the Macbeth porter’s “ primrose way to the everlasting bonfire.” For our “Time will bring on summer, When briers shall have leaves as well as thorns, And be as sweet as sharp,” we turn to Cymbeline with its “ Leaf of eglantine, whom not to slander Outsweeten'd not thy breath.” To Belarius in the same play we go for Touchstone’s and the clown’s contrast of court and country here, and tor Imogen to match the despised, neglected Helena, willing to give up her native land and life for the husband who had so wrongd her. Helena, though condemnd by many women and some men, has yct had justice done her by Coleridge, who calls her Shakspere’s ‘loveliest character ’’—and he wrote Genevieve ;—and Mrs. Jamieson, who says, ‘There never was perhaps a more beautiful picture of a woman’s love cherished in secret, not self-consuming in silent languish- ment, not desponding over its idol, but patient and hopeful, strong in its own intensity, and sustained by its own fond faith. Her love is like a religion, pure, holy, decp. The faith of her affection combining with the natural energy of her character, believing all things possible, makes them so. It would say to the mountain of pride which stands between her and her hope, ‘be thou removed,’ and it is removed.” She is the opposite of Hamlet, as she says :— “Our remedies oft in ourselves do lie Gives us free scope, only doth backward pull Which we ascribe to heaven ; the fated sky Our slow designs when we ourselves are dull.” And she believes that great maxim so often forgotten even now— “« Whoever strove To show her merit that did miss her love.” We can joe her best by the impression that she made on others; and if we compare the praises of her by Lafeu, the king, the clown, and the countess, who knew her from her childhood, and who at least five times sings her praise, we see that Bertram’s words of her are justified: Helena is ‘‘ she who all men praised.” Quick as she is to see through Parolles, she cannot sce through Bertram. Love blinds her eyes. How beautiful is her confession of her love for him to his mother, and how pretty is old Lafeu’s enthusiasm for her! Let those, too, who blame her, notice her drawing back for the time on Bertram’s declaring he can’t love her and won’t try to!. Thenceforward she is passive in the king’s hands. It is he for his honour’s sake who bids Bertram take her; and after the young noble’s seemingly willing consent, she must have been more than woman to refuse to marry the man whom she knew her love alone could lift from the mire in which he was willingly wallowing. They are 1 “Helena. That you are well restored, my lord, I’m glad: Let the rest go! King. My honour’s at the stake,” &c.—II. iii. 148, ——— — §11. SHAKSPERE’S SONNETS. lxiii wedded; and the foolish husband takes counsel of his fool and leaves his wife; and then, without the kiss she asks so prettily for, he sends her home. What she has thenceforth to do she tells us :— “ Like timorous thief most fain would steal What law does vouch mine own.” How little like a triumph, and possession of her love! Her hushand’s brutal letter does but bring into higher relief her noble unsclfishness and love for him. Her only desire is to save him. She knows the urgence of his “important blood,” and takes advantage of it to work a lawful meaning in a lawful act, and so without disgrace fulfils the condition that his buscness has made precedent to his reunion with her. For Bertram, the question one is obliged to ask is, How came the son of such a father and such a mother to be what he was? Secing him even with Helena’s eyes, what has he to recommend him but his good looks? What other good quality of him comes out in the play? Physical courage alone. Of moral courage he has none. Headstrong he is, a fool, unable to judge men, lustful, a har, and a sneak. One thing he has to pride himself in, his noble birth, and that does not save him from being a very snob. He lies like Parolles himself, and even more basely, when he wants to get out of a scrape. I cannot doubt that it was one of Shakspere’s objects in this play to show the utter worthlessness of pride of birth, as he had done in Love's Labours Lost of wit, unless beneath the noble name was a noble soul. As Berowne had to be emptied of the worthless wit he prided himself upon, so had Bertram of his silly aristocraticness, his all, before he could be filld with the love of the lower-born lady of God’s own make, which should lift him to his true height. With a word for the countess who, as Mrs. Jamieson says, “is like one of Titian’s old ladies, reminding us still amid their wrinkles of that soul of beauty and sensibility which must have animated them when young ;” with a kindly glance at the shrewd, warm-hearted, true, and generous old Lafeu, we take our leave of the last play of Shakspere’s delightful Second Period, whose sunshine has gradually clouded to prepare us for the coming storm. Tue Sonnets.—That some of the Sonnets existed in 1598 we know from Meres. Nos. 138, 144,— the key-sonnet, “Two loves I have, of comfort and despair,” &c.,—were printed in The Passionate Pilgrim in 1599; the whole body of them did not appear till 1609, the year of the publication of Troilus and Cressida, both publications being evidently without Shakspere’s sanction. The Sonnets are dedicated by Thomas Thorpe, the publisher, to the “onlie begetter of these insuing sonnets,” Mr. W. H., to whom Thorpe wishes “all happinesse and that eternitie promised by our ever-living poet.” The first question raised on this dedication is whether the word “ begetter”’ is to be taken in the ordinary meaning of the man who calld the Sonnets forth from Shakspere’s mind, or in its less usual sense of ‘“ odtainer, procurer.”’ Those who support the latter view rely on the fact that the first hundred and twenty-six Sonnets only are written to one man, Shakspere’s fair friend Will; while the second group, Nos. 127-154, are written to or about Shakspere’s dark mistress. (Some make a third group of two Sonnets, Nos. 153, 154, on Cupid.)! They argue then that there cannot be an “ only begetter”’ of the Sonnets, because there are two begetters. But looking to the facts that the two Cupid Sonnets (153-4), are on Shakspere’s mistress, that the dark mistress is involved in Shakspere’s friend- ship for Will, and that the relation between them is treated in the first group of Sonnets ; seeing that in Sonnets 38 and 78, Shakspere’s verse is said to be solely begotten by Will, ‘‘ whose influence is thine, and born of thee,” and is contrasted with Will’s influence as but only an improver of other poets’ verse (see also No. 100), I think W. H. may fairly be called the “ begetter” of the Sonnets. It is certain also that Shakspere promist his friend ‘‘ eternitie” through his Sonnets: see 18 (1. 9-14), 55, 60 (1. 13-14), 65, 81, 107 (1. 10-14). That the “W.” was Will, we know from Sonnets 135, 136, 148. What the “H.? meant is a far more difficult question. From the printing of all “hues,” as “ hews” in italics in the original xx. 7, some have supposed that the begetter’s name was Hughes.? Others have decided that the “H.” means Herbert—William Herbert, Earl of Pembroke, to whom and whose brother the first Folio of Shakspere’s works was dedicated by his fellow-players, while many critics of the topsy-turvy, or cart-before-the-horse school, have decided that ‘CW. H.” means “-H. W.”—Henry Wriothesley, Earl of Southampton.—I don’t think it matters much who “ W. H.” was. The great question is, do Shakspere’s Sonnets speak his own heart and thoughts or not? And were it not for the fact that many critics really deserving the name of Shakspere students, and not Shakspere fools, have held the Sonnets to be merely dramatic, I could not 1 This arrangement by Groups is some evidence that it is Shakspere’s own. The so-called Sonnet 126 is only twelve lines of couplet ryme. Sonnet 145 has been supposed spurious, as it’s in four-measure ryme instead of five. But it is linkt to 142 and 144. I hold jt genuine. The form of Shakspere’s sonnets is less strict than those of the Italian poets. It consists of three four-line stanzas of alternate five-measure ryme, ending with a couplet, abab, cded, efef, gg. See Mr. C. Tomlinson’s Book on The Sonnets. Murray, 1874. : 2 George Chapman had a friend, Master Robert Hughes. (See the Preface to the Reader, prefixed to his Homer, Chatto and Windus, pp. 4.)—H. Littledale. lxiv §1l. SHAKSPERE’S SONNETS ARE OF HIS OWN LIFE. have conccived that poems so intensely and evidently autobiographic and self-revealing, poems so one with the spirit and inner meaning of Shakspere’s growth and life, could ever have been conceived to be other than what they are, the records of his own loves and fears. And I believe that if the acceptance of them as such had not involved the consequence of Shakspere’s intrigue with a married woman, all readers would have taken the Sonnets as speaking of Shakspere’s own life. But his admirers are so anxious to remove every stain from him, that they contend for a non-natural interpre- tation of his poems. They forget the difference in opinion between Elizabethan and Victorian times as to those swect sins of the flesh, where what is said to be stolen is so willingly given.! They forget the cuckoo cry rising from nearly all Elizabethan literature, and that the intimacy now thought criminal was then in certain circles nearly as common as handshaking is with us. ‘They forget Shak- spere’s impulsive nature, and his long absence from his home. They will not face the probabilities of the case, or recollect that David was still God’s friend though Bathsheba lived. The Sonnets are, in one sense, Shakspere’s Psalms. Npiritual struggles underlie both poets’ work. For myself, ’'d accept any number of ‘slips in sensual mire” on Shakspere’s part, to have the “ bursts of (loving) heart” given us in the Sonnets. The true motto for the first group of Shakspere’s Sonnets is to be seen in David’s words, “ I am distresst for thee, my brother Jonathan; very pleasant hast thou been unto me. Thy love to me was wonderful, passing the love of woman.” We have had them reproduced for us Victorians, without their stain of sin and shame, in Mr. Tennyson’s In Memoriam. We have had them again to some extent in Mrs. Browning’s glorious Sonnets to her husband, with their iterance, ‘‘ Say over again, and yet once over again, that thou dost love me.” We may look upon the Sonnets as a piece of music, or as Shakspere’s pathetic sonata, each melody introduced, dropt again, brought in again with variations, but one full strain of undying love and friendship through the whole, Why could Shakspere say so beautifully for Antonio of The Merchant, “ All debts are cleared between you and I, if I might but sce you at my death: notwithstanding, use your pleasure”? Why did he make Antonio of Twelfth-Night say, “A witchcraft drew me hither” » Why did he make Viola declare— “And I most jocund, apt, and willingly, To do you rest, a thousand deaths would die”? Why did he paint Helena alone; saying— “Twas pretty though a plague Of every line and trick of his sweet favour ! To see him every hour ; to sit and draw But now he's gone, and my idolatrous fancy His arched brows, his hawking eyes, his curls, Must sanctify his relics”? In our heart’s table,—heart too capable Because he himself was Helena, Antonio. A witchcraft drew him to a “boy,” a youth to whom he gave his “Love without pretension or restraint, All his in dedication.” Shakspere towards him was as Viola towards the Duke. He went “« After him I love more than I love these eyes, More than my life.” In the Sonnets we have the gentle Will, the melancholy mild-eyed man, of the Droeshout? portrait. Shakspere’s tender, sensitive, refined nature is seen clearly here, but through a glass darkly in the plays. Ihave no space to dwell on the sections into which I separate the Sonnets, and which follow in the table below. Iwill only call special attention to sections 9 and 118 (Nos. 71-4, 87-93), in which Shakspere’s love to his friend is so beautifully set forth, and to section 13 (Nos. 97-99), in which Will's flower-like beauty is dwelt on, as Shakspere’s love for him, in absence recalled it. Let those who want to realise the difference between one kind of friendship and another, contrast these Sonnets of Shakspere’s with Bacon’s celebrated Essay on Friendship. On this point I quote the first page of a paper sent in to me at my Bedford Lectures :— “There are some men who love for the sake of what love yields, and of these was Lord Bacon; and there are some who love for ‘love's sake,’ and loving once, love always; and of these was Shakspere. These do not lightly give their love, but once given, their faith is incorporate with their being; and having become part of themselves, to part with that part would be to be dismembered. Therefore if change or sin corrupt the engrafted limb, the only effect is that the whole body is shaken with anguish, ‘And yet, love knows, it is a greater grief To bear love’s wrongs, than hate's known injury.’—Son. 40. 1 Compare the ‘‘ William the Conqueror came before Richard the Third ” story, about Shakspere, R. Burbage, and the citizen's wife. ; 2 Pronounce ‘ Drooz-howt”: hout is wood. §ll. SHAKSPERE’S SONNETS. THE FIRST GROUP. lxv The offending member may be nursed into health, or loved into life again; but—forsaken !— never! ‘Love is not love, Which alters when it alteration finds, Or bends with the remover to remove.’— Son. 116. These are not the men who reap outer advantage from their friendship ; they generally give rather than take; they are often the victims of circumstance, and the scapegoats for their friends’ offences ; still they reap the benefit which inward growth produces; the glorious leaven of sclf-abnegating love within them impregnates their whole being; they move simply and naturally among us, but we fecl that they stand on a higher level than we—that they sce with ‘ larger, othcr eyes than ours,’ and we yield them homage, and feel better for having known them.”—M. J. The thoughtless objection that many Sonnets in this group confuse the sex of the person they’re addresst to, is so plainly answerd by Shakspere himself in Sonnet 20 on the master-mistress of his passion, that one can only wonder—although a Shakspere student is bound to wonder at nothing in his commentators—that the objection was ever taken. SONNETS. ANALYSIS OF GRouP 1. Sonnets 1-126. Section 1. Sonnets 1-26. a. 1-17. Will’s beauty, and his duty to marry and beget a son. B 18-26. Will’s beauty, and Shakspere’s love for him. a 2s 5 First Absence. Shakspere travelling, and away from Will. ee Bs 5 Will's sensual fault blamd, repented, and forgiven. » + ay. Shakspere has committed a fault that will separate him from Will. soy By 35 Will has taken away Shakspere’s mistress. (See Group 2, § 6, Sonnets 133-6.) ar OS ix a. 43-56. Second Absence. Will absent. Shakspere has a portrait of him. 8. 57- 8 The sovereign: slave watching: so made by God. 7. 59-60. Will's beauty. 6. 61. Waking and watching. Shakspere has rivals. ape ills i 62-5. Shakspere full of self-love, conquerd by Time, which will conquer Will too : yet Shakspere will secure hin eternity. aw SS wi 66-70. Shakspere (like Hamlet) tired of the world: but not only on public grounds. Will has uixt with bad company ; but Shakspere is sure he is pure, and excuses him. = Os 5 71-4. Shakspere on his own death, and his entire love for his friend. (Compare the death- thoughts in Hamlet and Measure for Measure.) » 10. bss 75-7. Shakspere's love, and always writing on one theme, his Will; with the present of a table- book dial and pocket looking-glass combined in one. 3 dl. 6 78-93. a. 78-86. Shakspere on his rivals in Will’s love. (G. Chapman, the rival poct.2) #8. 87-93. Shakspere’s farewell to Will: most beautiful in the self-forgetfulness of Shakspere’s love. sc rl Di 3 94-6. Will vicious. ap dds 651 97-99. Third Absence. Will's flower-like beauty, and Shakspere’s love for him ; followed by faults on both sides, and a separation’, ended by Will’s desire, 120, 1. 11. » 14. » 100-121. a. 100-112. Renewiug of love, three years after the first Sonnets (104). Shakspere’s love stronger now in its summer than it was in its spring, 102, 1. 5; 119, 1. 10-12. Note the ‘‘ hell of time,” 120, 1. 6, that Will’s unkindness has made Shakspere pass.5 8. 113-114. Fourth Absence. Shakspere sees Will in all nature. y. 115-121. Shakspere describes his love for Will, and justifies himself. 15. »» 122-126. Shakspere excuses himself tor giving away Will’s present of some tables, again describes his love for Will, and warns Will that he too must grow old. 1 T do not think that ‘The coward conquest of a wretch’s knife, I believe it is the ‘‘ confounding age’s cruel knife ” of 63, 1. 10. 2 “The proud full sail of his great verse,” 86, 1. 1, probably alludes to the swelling hexameters of Chapman's englishing of Homer. ‘His spirit, by spirits taught to write,” 1. 5, may well refer to Chapman’s claim that Homer's spirit inspired him, a claim made, no doubt in words, before its appearance in print in his Tears of Peace, 1609, Inductio, p. 112, col. i., Chatto and Windus ed.— “Tam, said he, [Homer] that spirit Elysian, That ae 2 did thy bosom fill 74, 1.11, alludes to an attempt to stab Shakspere. To vent it to the echoes of the vale & er ee and thou didst inherit With such a flood of soul, that thou wert fain, My true sense, for the time then, in my spirit ; With exclamations of her rapture then, And [ invisibly went prompting thee.” od See, too, on Shakspere’s sneer at his rival's ‘affable familiar ghost, which nightly gulls him with intelligence,” 1. 9, 10, Chapman's Dedication to his Shadow of Night (1594), p. 3, ‘“‘uot without having drops of their souls like an awaked Jamiliar,” and in his Tears of Peace, p. 123, col. 2. “Still being persuaded by the shameless night, | Of an unthrifty angel that deludes That all my reading, writing, all my pains, My simple fancy. Are serious trifles, and the idle veins These make a better case for Chapman being the rival, than has been made for any one else. (Mr. Harold Littledale gave me some of these references.) . F 3 Happily not ending like that of Sir Leoline and Lord Roland de Vaux, in Coleridge. : ; * The doctrine here that ‘‘ruin’d love, when it is built anew, Grows fairer than at first.” was also put into Tennyson’s Princess in its ‘‘ Blessings on the falling-out, that all the more endears ” ; but was rightly taken out again. 5 “ And to be wroth with one we love, Doth work like madness in the brain.”—Coleridge. Ixvi §11. SHAKSPERE’S SONNETS. THE SECOND GROUP. MR. BROWNING. With regard to the second group of Sonnets, we must always keep Shakspere’s own words in No. 121 before us :— “Tam that Tam}; and they that level By their rank thoughts my deeds must not be shown ; At my abuses, reckon up their own: Unless this general evil they maintain, — Tinay be straight, though they themselves be bevel ; All men are bad, and in their badness reign.” Still I think it is plain that Shakspere had become involvd in an intrigue with a married woman who threw him over for his friend Will. She was dark, had beutiful eyes, and was a fine musician, but false. The most repulsive of the Sonnets is no doubt No. 129. But that and the others plainly show that Shakspere knew that his love was his sin (142), and that in his supposed heaven he found hell?. Adultery in those days was no new thing, was treated with an indifference that we wonder at now. What was new, is that which Shakspere shows us, his deep repentance for the sin committed. Sadas it may be to us to be forced to conclude that shame has to be cast on the noble name we reverence, yet let us remember that it is but for a temporary stain on his career, and that through the knowledge of the human heart he gained by his own trials we gvt the intensest ‘and most valuable records of his genius. It is only those who have been through ‘the mill themselves, that know how hard God's stones and the devil’s grind. The Second Group of Sonnets, 127-154, I divide into— Section 1. Sonnet 127. On his mistress’s dark complexion, brows, and eyes. (Cp. Berowne on his dark Rosaline, in Love's Labunrs Lost. Sip) Bae 128. Ou her, his music, playing music (the virginals). Sie Oa Pe! 9 a5 120: i ing her. He laments his weakness. ge egy 130. ee a che ufting de Seripition of her. (Compare Marlowe's Tqnoto ; Lingua, before 1603, in Doelsley y. ee and Shirley's Sisters: ‘‘ Were it not fine,” &c.) el. Soa "Gy 131-2. Tho’ plain to othe is fairest to Shakspere’s doting heart. But her deeds are black ; and her hike wk eyes pity him. ve GR 133-6. She has taken his friend Will from him (ep 40-42). He asks her to restore his friend (134), or to take him as part of her (and his) Will (135). If she’ll but love his name, she'll love hin (Shakspere), as his name too is Will (136). yy Ty) 187-145. Shakspere knows his nustress is uot beautiful, and that she’s false, but he loves her (137). Each lies to and flatters the other (138). Still if she'll only look ‘kindly on him, it ‘ll be enough (139). She must net look too cruelly, or he might despair and go mad, and tell the world that ill of her that it would only too soon believe (140). He loves her in spite of his senses (141). She has broken her led-vow ; then let her pity him (142). She may catch his friend if she will but give him a smile (143). He has two loves, a fair man, a dark woman who'd corrupt the man (144, the Key Sonnet). She was going to say she hated him, but, seeing his distress, said, not him (145). Jae Ose 35 146. (? Misplaced. yon yemonstrance with himself, on spending too much, either on dress or out- ward self-indulgence, and exhorting himself to give it up for inw, ard culture. (The blank for two words in line , I fill with “Hemmd with:” ep. Feaus and Adonis, 1022, “ Hemind with thiev } ge DE ay 147-8. Shakspere's feverish love drives him mad, his doctor—Reason, being set aside (147). Love has obscured his sight (145). » 10. ,, 149-152. He gives himselt up Wholly to his mistress; loves whom she loves, hates whom she hates (149). The worst of her deeds he loves better than any other's best (150). The more he ought to hate her, the more he loves her. He is content to be her drudge, for he loves her (151). Yet he's forsworn, for he’s told lies of her goodness, and she has broken her bed- vow ; he has broken twenty oaths (152). gj: HM. : gs 153-4. (May be made Group IIL, or Division 2 of Group IL.) Two sonnets lighter in tone. In both Cupid sleeps, has his brand put out, in (153) a fountain, (154) a well, which the brand turns into medical baths ; Shakspere comes for cure to each, but finds none. He wants his mistress’s cyes for that (153). Water cools not love (154). The Sonnets stretch, I believe, over many years; the existence of a few, even the first six-and- twenty in 1598, would satisfy Meres’s mention. That three years elapsed between the sections 100- 112, and certain former Sonnets, is clear from 104. Sonnet 66 must surely be about the Hamlet time ; and the extreme difficulty of construing some of the Sonnets, for instance, 107 (for which I cannot admit Mr. Massey’s interpretation), points to their composition in Shakspere’s Third Period. But whatever their date, I wish to say with all the emphasis I can, that in my belief no one can under- stand Shakspere who does not hold that his Sonnets are autobiographical, and that they explain the depths of the soul of the Shakspere who wrote the plays. I know that Mr. Browning is against this view, and holds that if Shakspere did ‘ unlock his heart in his Sonnets,” then “the less Shakspere he.” But I’d rather take, on this question, the witness of the greatest poetess of our Victorian, nay of all time yet, and ask whether she was the less, or the greater and truer, Elizabeth Barrett Brown- ing 4, or poet, because she unlockt her heart in er Sonnets, or because she “‘ went forward and confessed 1 Compare Iago’s ‘I am not what I am,” in Othello, I. i., and Parolles’s ‘‘ Simply the thing I am shall make me live,” in All’s Well, IV. iii. 2 Sonnets 119, lines 2, 8 ; 147, lines 1, 14. 3 “ Honour, again, to the singers of brief poems, to the lyrists and sonnettcers ! O, Shakespeare, let thy name rest gently among them, perfuning the place. We ‘swear’ that these sonnets and songs do verily breathe, ‘not of themselves, §12. THIRD-PERIOD PLAYS. a. JULIUS C#SAR. Ixvii to her critics that her poems had her heart and life in them, they were not empty shells!” “TI have done my work, so far, as work,—not as mere hand and head work, apart from the personal being, — but as the completest expression of that being to which I could attain” (Pref. ed. 1844). And this is why she has drawn to her all noble souls. If any poet has failed in attaining the like result, let him know that it is because he has not used her means. He has kept his readers outside him, and they in return have kept him outside them, not taking him, as they’ve taken her, into their hearts. It is the heart's voice alone that can stir other hearts. I always ask that the Sonnets should be read between the Second and Third Periods, for the ‘hell of time” of which they speak, is the best preparation for the temper of that Third Period, and enables us to understand it. ‘The fierce and stern decree of that Period seems to me to be, ‘there shall be vengeance, death, for misjudgment, failure in duty, self-indulgence, sin,” and the innocent who belong to the guilty shall suffer with them: Portia, Ophelia, Desdemona, Cordelia, lie beside Brutus, Hamlet, Othello, Lear. Jutius Casar.—We puss from the friendship of two private Englishmen to one of the great events, the centres of the world’s history, the fall of the Roman Republic, the rise of the Roman Empire, that Empire so long the dominant power of the ancient world, and whose influence is so deeply felt even in our modern life. There is no question more of rivals for the love of a now unknown Will, for the favour of a forgotten swarthy mistress; it is the world’s throne that has to be struggled for, the fate of nations that has to be settled; and yet, still, over the strife, comes to us the paind cry of the betrayd friend ‘ Z¢ tu Brute,” and Cesar’s heart bursts. The same cry is to reach us from almost every one of Shakspere’s future plays with more or less intensity—from Hamlet’s father and Hamlet himself; from Othello and Roderigo; from Duncan and Banquo; from Lear and Edgar and Gloster (in Lear); from Antony and Octavius; from Coriolanus, Timon ; from Palamon (if Shak- spere wrote part of Two Noble Kinsmen) and Prospero; from Posthumus and Belarius (in Cymbeline). While beside the false friends stand the true ones, Antony to Cesar; Horatio to Hamlet; Cassio to Othello; Macduff to Malcolm; Kent and the Fool to Lear; the Steward to Timon; Paulina to Her- mione. Friendship was much in Shakspere’s thoughts. The lesson of Julius Cesar is, that vengeance, death, shall follow rebellion for insufficient cause, for misjudging the political state of one’s country, and misjudging the means—taking unlawful ones—to attain your ends: Do not evil that good may come. The play is one of that class by which Shakspere taught political lessons to his countrymen. ‘What made Shakspere produce this historical play in 1601? We know its date by an extract from Weever’s Mirror of Martyrs, 1601, no doubt written when the play was quite fresh in people's minds :— “The many-headed multitude were drawn When eloquent Mark Antony had shown By Brutus’ speech, that Ceesar was ambitious : His virtues, who but Brutus then was vicious ?” As there is nothing in Plutarch’s Lives that could have suggested this, Weever must have known Shakspere’s play.mWhat happened in England in 1601 to make Shakspere anxious to enforce the lesson of it? Why, Essex’s ill-judged rebellion against Queen Elizabeth, in February, 1601. He, the queen’s most petted favourite and general, broke out in armd rebellion against her in London. His outbreak was ridiculously ill-advised. He was taken prisoner, tried, and executed on February 25, 1601. And I cannot doubt that this rebellion was the reason of Shakspere’s producing his Julius Cesar in 1601. Assuredly the citizens of London in that year who heard Shakspere’s play must have felt the force of “Zt tu Brute,’ and must have seen Brutus’s death, with keener and more home-felt influence than we feel and hear the things with now. Among Essex’s friends was that Lord Southampton, to whom Shakspere dedicated both his Venus in 1593, and Lucrece in 1594: the latter thus :— “The love I dedicate to your lordship is without end ; whereof this pamphlet, without beginning, is but a super- fluous moiety. The warrant I have of your honourable disposition, not the worth of my untutored lines, makes it assured of acceptance. What I have done is yours ; what I have to do is yours ; being part in all I have, devoted yours. Were my worth greater, my duty would show greater ; meantime, as it is, it is bound to your lordship, to Whom I wish long life, still lengthened with happiness. “Your lordship’s in all duty, “WILLIAM SHAKESPEARE.” For his share in the rebellion, Southampton was imprisond in the Tower (and was not set free till after Elizabeth died, in March, 1603), so that we must believe that the whole matter came home to but thee ;’ and we recognise and bless them as short sighs from thy large poetic heart, burdened with diviner inspiration. - . . . ‘Sidney, true knight, and fantastic poet, whose soul did too curiously inquire the fashion of the beautiful—the fashion rather than the secret,—but left us in one line, the completest Ars Poctica extant— ‘ Foole, sayde my Muse to mee, looke in thine heart, and write,’ thy name be famous in all England and Arcadia! And Raleigh, tender and strong, of voice sweet enough to answer that ‘Passionate Shepherd,’ yet trampet-shrill to speak the ‘ Soul's errauil,’ thrilling the depths of our own!” .. .—English Poets, pp 143-5, ed. 1863. This is the teaching that such of our modern poets as are not mere tinkling cymbals, but have souls—need, and that the student of Shakspere’s Sonnets must recollect. Is Shakspere the less for having unlockt his heart in his Sonnets? It’s only folk less than the noble poetess, who think so. Ixviii §12. THIRD-PERIOD PLAYS. a. JULIUS CAESAR. Shakspere’s heart, though I feel sure that Shakspere as a patriot, with his intense love for England, preferrd his country to his patron, and told the world too, by his new play, what his feclings were. If, too, Shakspere’s company, through Augustine Phillipps, one of its members with whom the contract was made, was the company that acted Richard IJ. in the streets for Essex and his party, the actors would be most desirous to prove their loyalty by producing this new play, with its lesson of vengeance on conspirators. I cannot give-in to the notion that Shakspere didn’t allude to political events in his plays. We know he did to women’s painting their faces and wearing sham hair, to men’s absurd dresses and drunkenness, &c. &c. Why not then to greater things? He, with his intense patriotism and love of England. To say that he didn’t, is all gammon and ooh. e Julius Cesar is not the hero of the play: Brutus is; yet Cesar’s spirit rules, as Cassius and Brutus before their deaths acknowledge. As Gloster’s murder in 2 Henry VJ. is the turning- point of that quadrilogy, as Arthur’s death is the turning-point of Ming John, so here Cvsar’s murder is the centre and hinge of the play. His death overcomes his conquerors. His bodily presence is weak and contemptible, but his spirit rises, arms his avengers, and his assassins proclaim its might. His successor, Octavius, inherits the empire he created but did not enjoy. Cesar prevails. The Ciesar of the play is not the great conqueror of Britain (did Shakspere make him despicable for that?) but Cresar, old, decaying, failing both in health and mind. His long success has ruind his character, has turned his head. He fancies himself not a man as other men. He thinks, as Professor Dowden says, that he can read other men with a look: Cassius he does, but the soothsayer and the conspirators he does not. In Act I., 8c. ii., he speaks of himself in the third person; he swoons when the crown is offered to him; he opens his doublet and offers his throat to be cut ; just like a stage-actor. He has the falling sickness, or epilepsy; he’s deaf in one ear, superstitious, pompous, arrogant, and voastful. He accepts flattery when professing to be above it; he vacillates, though he says he’s con- stant, &c. On the other hand, Brutus is one of Shakspere’s noblest men, if not the noblest. We have him first as a friend to Cesar, telling him of the soothsayer: ‘‘ I love him well,” he says (Act I., se. ii.) ; “ Brutus’s love to Caesar was no less than his.” Yet he is not gamesome; he’s vext and at war with himself; he thinks he is not the man to set the times right, yet if honour calls him he must act: he has thought before of the troubles coming on the State, and would rather be a villager, a pagan, than in Rome under a king. Yet he is no judge of men; he cannot see that Cassius is playing on him as on a pipe; he misjudges Antony, and always takes the wrong steps in action. He wants insight and reasoning power, and agrees to join in the murder of Julius Cesar on a supposition only :— : “He would be crown’d.” “ How that might change his nature, there's the question.” It isa parallel to the argument—“ support the Sodom of Turkey and oppose Russia, for fear the Sclavs may some day get to Constantinople and cause unpleasantness to us.” Brutus is, in fact, somewhat vain of his hereditary character and his own personal one. Blinded by this vanity, which is shown, too, in the putting himself forward to spcak about Cesar’s death, and, being convinced that no one can answer him, he gives in to Cassius’s temptation and the flattery of the appeal to him. He is too noble or too pedantic, too ignorant of human nature, to allow the oath to be taken by the con- spirators, or have Mark Antony kiled. He cannot see what is necessary in practice, that Caesar’s limbs should go with Cwsar. His stupid misjudgment of Mark Ahtony arises from looking at the mere outside of the man, because he’s given to sports, to wildness, and much company, and is not a grave student like Brutus himself. His treatment of Cassius, too, is ungenerous, when he scolds the latter for getting gold by bad means, tho’ he, Brutus, had before askt for some of it, and grumbled when it was not given him. His want of practical knowledge is again shown in his over-ruling Cassius’s wise advice about the battle at Philippi, and then throwing away the battle by letting his soldiers plunder Octavius’s camp instead of attacking Antony who (great soldier as he was) had beaten Cassius. Yet, with all the deductions we have to make from Brutus’s character, there remains one of the noblest figures in Shakspere. Nature stands up and says to all the world, “This was « man,” setting him by Hamlet's father; and when we put his notion of honour beside Hotspur’s or Henry the Fifth’s, we see how much finer a nature the Roman's was than that of our English heroes, and we do not wonder that the man who dying says :— “My heart doth joy that yet in all my life I found no man but he was true to me "— is set down as “ the noblest Roman of them all.” It was under the burden of setti that he, unfit to bear that burden, sank, and died by his own hand. that burden on him, his noble wife died too, self-slaughtered. A word must suffice to refer the reader to Professor Dowden’s beautiful passage on the glorious ) ng right his time, And in sharing the strain of §12. THIRD-PERIOD PLAYS. a. HAMLET. lxix scene between Brutus and his wife, pure soul to soul, no thought of earthly dallying between them. Note the lift from the scene between Hotspur and his Kate. ‘The play was first printed in the Folio of 1623, and is drawn from part of Plutarch’s Lives of Julius Cesar, Brutus, and Antony, printed in Hazlitt, Part I., vol. iii., pp. 171-253, 315-418. Hamuer.—We pass from the seven-hilld city, so long the empress of the world, to “ Denmarke, the whyche is a very poore countre, bare, and full of penurite!,’ and yet a country which, like Rome, conquered England. “The Danes hath bene good warryers, but for theyr poverte I do marueyle how they dyd get ones Englonde. They be subtyll-wytted, and they do proll muche about to get a prey.” Of Elsinore, Miss Deedes says:—‘‘ Many a warm and starlight summer’s eve havé I passed sitting on the rocks, below the ramparts of the castle. Who could describe the perfection of such a scene and such a situation? The calm sea rippling at one’s feet; opposite, the bright lights of the Swedish town; and nearer still the many-coloured lanterns of the numerous ships anchored and at rest for the night. Above, the shining stars, excelling in beauty, purity, and brightness all earthly lights; in one’s ears the great silence of a summer’s night, broken only by the musical whisper of the rippling waves, the chimes from the town, and the bells in the ships as the midnight hour draws near. Behind, the grim old walls, whereon it is not difficult to imagine that one sees the dark figures of Hamlet and his friends, and the shadowy vision of the ghost; or to fancy one’s ear saluted with the ‘Who goes there?’ of the sentry, the wild pleading of Hamlet, and the sepulchral tones of his supernatural visitor.” But it is on no sweet summer's eve that Shakspere, with his sense of nature’s sympathy with man, has put his Hamiet ; biting winter is the time for that. Let ug first tho’ look at the links with Julius Cesar, links of likeness as well as contrast. There are first, three mentions of Julius Czesar in the play by Horatio, in I. i.; Polonius, in III. ii. ; Hamlet, in V.i. Then there is the burden of setting right the times out of joint, put as a duty on a student, a man who knows himself unfit for the burden, and who in bearing it brings death to himself and the woman who loves him, her mind giving way under the strain. 3. As Antony has to revenge his friend Cresar’s murder, so Hamlet and Laertes have to revenge their fathers’ murders ; and Laertes accepts his duty as willingly as Antény does. 4. A ghost appears in each play. 5. Antony’s character of Brutus after death is like that of Hamlet’s father. 6. Brutus’s words to Messala in Act. IV., sc. iii., of Judes Cesar on Portia’s death “‘ we must die,” “she must die once,” are like Gertrude’s and Claudius’s to Hamlet on his father’s death, ‘all that lives must die,” &c. 7. Hamlet’s making his speech of a dozen or sixteen lines the turning-point. of his vengeance is like Brutus and Antony both making their speeches the turning-point of their action. 8. Hamlet's feeling before his fencing-match is just like Cassius’s and Brutus’s before Philippi. 9. Hamlet lovd plays, as Antony did, &c. Besides, there are other small likenesses, as that of the oath taken by Hamlet’s friends, and proposed to be taken by Brutus’s; the murder of Claudius, the usurper of the crown, and the murder of Cesar, the intending usurper; Hamlet reading a book and Brutus reading a book, &c. The links of contrast: We have Hamlet with weakness of will, Brutus with weakness of judgment; Hamlet quick to resolve but slow to act in his great duty, Brutus slow to resolve but quick to act; Hamlet a good shaper of means to end, Brutus a bad, always wrong in practice; Hamlet with no man but Horatio true to him, Brutus with no man ever false to him; Hamlet and his Ophelia to be pitied, Brutus and his Portia to be reverenced. The links with the Sonnets 66 and 90 I have already alluded to. The strong ones with Mensure for Measure will be noted hereafter; this group of three plays is firmly bound together. Of links with earlier plays we need only notice the Conscience-passage here and in Richard IJ. Hamlet’s grand resolves and speeches, with nothing coming of them, are just like Richard the Second’s; and in many points Hamlet is close akinto Romeo. The motto which I would set at the head of Hamlet is three lines from Mr. Tennyson’s ‘‘ Supposed Confessions of a second-rate, sensitive mind not in unity with itself,” from his Poems Chiefly Lyrical, 1830 :— “« Oh weary life! oh weary death ! Oh spirit and heart made desolate ! Oh dainnéd vacillating state.” In judging the character of Hamlet, and getting rid of the gross absurdity of representing him as a here, a man of action and decision, whose hesitation was due only to want of conviction of his duty, we must look at the old story of the prose Hamlet of 16082, and recollect that the Hamlet there was 11542, Andrew Boorde, p. 163 of my edition. : 2 Though this date of publication is five years later than that of the play, yet nearly all students allow that the piece here represents the old story that Shakspere used. It is printed in Hazlitt, Pt. I., vol. ii., pp. 224-279, and was englisht from Belleforest’s Histoires Tragiques, which was translated froin the Italian of Bandello. That there was an earlier play of Hamlet, which Shakspere may have used, too, is certain. The first and spurious Quarto of Shakspere’s plays (possibly Ixx §12. THIRD-PERIOD PLAYS. a. HAMLET. the unhesitating man of action. Though this story gave Shakspere the incidents of the murder of the father, the adulterous incest and subsequent marriage ‘of the mother and uncle, the shainming madness of the son, with the method of it, “a greate and rare subtyllte,” the attempt to find out his secret by a “faere and beautifull” woman in a secret place, Hamlet’s interview with his mother with some one listening behind the arras, the ‘‘a rat, a rat,” the reproach of the mother by the son, the sending Hamlet to England with two of the murderer’s ministers to be killed, and Hamlct’s revenge on them, it yet brings Hamlet back after a year in England to sweep to his revenge, to make all the nobles who took part with his uncle drunk, and burn them in the wine-hall, and to cut his uncle’s head clean off his shoulders. This man Shakspere resolved to turn into the hesitating, philosophising, duty-shirking, excuse-secking Hamlet he has given us, a type of the weakness of every one amongst us, as he changed the first queen’s clear justification of herself, and her acting with Hamlet to accomplish his revenge, into the doubtful conduct of Gertrude: and the frank confession of the woman set to betray Hamlet, into the questionable sharing of Ophelia in her father’s plans. The descrip- tion above of Hamlet’s home at Elsinore, his own account of his rides on the jester Yorick’s back, of his noble father, of his mother’s affection for him, show how happy the boy’s home must have been, and how well he understood the beauty of this “‘ brave o’erhanging firmament,” and “ what a piece of work is man! how noble in reason, how infinite in faculty, in form and moving how express and admirable!” Trained he was in all exercises of arms and knightly deeds. ‘“ Out of Denmarke,” says Andrew Boorde, “a man may go into Saxsony ; the chefe cyte or town of Saxsony is Witzeburg, whych isavnyuersite.” Thither Hamlet went, surrounded by friends. The best fencer in the place, he delighted in the tragedians more than the humorous man and the clown, and, if we may believe Shakspere, was as good a critic of acting as Shakspere himself. These three years he has noted the age. It is grown so picked that the toe of the peasant comes so near the heel of the courtier, he galls his kibe; and down the notes go in the student's tables, of those ills ‘‘ that make calamity of so long life, the whips and scorn of time,” &c. On this young university-man comes the terrible blow of his idolised father’s death. I call him young, as his father docs, as he himself, Polonius, Laertes, and Ophelia do too; for though he is thirty at the end of the few months of the play, yet he cannot be more than about twenty when the play begins,!_ He goes home, and with Iris mother, like Niobe all tears, follows his poor father’s body to the grave. The election to the throne, not by the rabble, but no doubt by a council of the nobles, follows. Hamlct makes no sign; his uncle, whom he suspects of foul play, pops in between the election and his hopes. He still neither watches that uncle nor his mother. He grieves and meditates ? and falls in love. He moons and spoons. His answer to his father shows what has engaged his thoughts, ‘‘ with wings as swift as meditation or the thoughts of love.” In his “ weakness and his melancholy ” he is alone, and throws himself on Ophelia’s bosom. His mother has sought her comfort too, and married her seducer within a month of her first and noble husband’s death. This second blow crushes Hamlet’s already downcast spirit. His impulse is to run away, to go back to school in Wittemberg, to friends, tragedians, and note-books. But weak and melancholy, he weakly gives way to the asking of the mothcr he despises, and stays at court, but still with no thought of action ; all he desires is, to evaporate, or, if he had the pluck or want of conscience, to kill himself. Does not one want a Friar Laurence to cry out as to Romeo, “ Art thou a man, thy tears are womanish? why rail’st thou on thy birth, the heaven and earth? thy noble shape is but a form cf wax, digressing from the valour of a man?” One must insist on this, that before any revelation of his father’s murder is made to Hamlet, before any burden of revenging that murder is laid upon him, he thinks of suicide as a welcome means of escape from this fair world of God’s, made abominable tc his diseasd and weak imagination by his mother’s lust, and the dishonour done by her to his father’s memory. This is the first, as it will be hereafter the main thing in his thoughts, this the act which he will first revenge, and with a will, leaving the vengeance for the murder of his father to the framing of that Providence who “shapes our ends, rough hew them how we will,” and who turns the poisond point meant by the containing some of the oll play and of Shakspete’s, with patches by a botcher) was publisht in 1603 ; the second genuine one, containing passages not in the Folio, was issued in 1604; the third, printed from Q. 2, in 1605 ; the fourth, printed from Q. 3, in 1611. The Folio text is from an independent source. The first entry of the play on the Stationers’ Registers is on July 26, 1602, by James Robertes: ‘A booke called The Revenge of Hamlet, Prince [of] Denmarke, as yt was latelie acted by the Lord Chamberlayne his servantes. . . .vj'"’ See Arber’s Transcript, iii. 212. 1 This inconsistency in Hamlet's age needn't trouble any one. It’s just like the 39 hours for 8 months in The Merchant, Desdemona speaking after she’s stifled, Bohemia having a sea-coast in Winter's Tale, &c. &e. So long as Shakspere got his main point, his characters right, he didn’t care twopence for accidentals. 2 Inacapital Paper, only just received, “The case of Hamlet the Younger” (ealery, April, 1870), by my friend Mr. Richard Grant White, the editor of Shakspere, the same view of Hamlet that I take, was before taken. Mr. Hargrove too has, in his Lectures, he says, often taken this view. Mr. Grant White so well says, p. 537, of Hamlet, ‘‘ his was one of those natures into which wrong enters like a thorn, to wound and rankle, not as a spur to rouse endeavour,” But the “forbidding the chief actor not to mock Polonius” (p. 539) was of course ironical, like the traditional “ don't duck him in the horsepond,” ‘‘ don’t nail his ears to the post”: -the latter, by the way, was the regular thieves’ punishment : the culprit was given a knife, so that he might free himself by cutting his ear, or a bit of it off, when he got tired of standing by his post. §12. THIRD-PERIOD PLAYS. a. HAMLET. Ixxi murderer for Hamlet’s own bosom, into that murderer’s breast. While Hamlet waits for his father’s ghost, he explains to us his own character. He carries the stamp of one defect, weakness ot will, which doubts the noble substance of his nature to his own scandal; and twice again during the play Shakspere reads for us the riddle of his hero’s character, in the Player-king’s speech on Purpose, and Claudius’s on Prompt Action to Laertes. The terrible secret of his father’s murder is reveald to Hamlet ; and he swears he’ll sweep to his revenge. Is he apt to do so, or duller than the fat weed that rots itself in ease on Lethe wharf? Surely the latter. For what does Hamlet do? He denounces first his mother (she’s uppermost in his thoughts), second his uncle, third he makes an entry in his tables, fourth he gets hysterical, laughs and jokes, and says he'll go pray, fifth he frames a plan of shamming madness, and swears his friends not to reveal its cause; sixth, he laments that the burden of revenge which he has just so gladly accepted is put on him. Surely the queen might have commented on his answer to his father with “the gentleman doth protest too much, methinks,” and surely he, instead of cursing spite, might have recollected with Helena— “The fated sky Gives us free scope ; only doth backward pull Our slow designs, when we ourselves are dull.” We know well how all Scandinavian legend and history are full of the duty of revenge for a father’s murder. We know what Hamlet should have done to sweep to his revenge. The king tells us, Laertes shows us. Hamlet’s own reflection on the peasant and courticr, the queen’s “you false Danish dogs,” the king’s precautions, Laertes’s example, all show us how Hamlet, greatly loved by the people, with his friend Horatio more an antique Roman than a Dane, and Marcellus, could have raised the country in a few days, and dethroned Claudius. But that was not the character Shakspere meant to draw. Instead of that, instead of the warrior king’s son sweeping to his revenge, we have the picture of him that Ophelia’s exaggeration gives us :— “Pale as his shirt, his knees knocking each other, And with a look so piteous in purport, As if he had been lovsed out of hell.” He has sought her to look through her, after Caesar’s manner, and see whether she is true to him. He seeks her help; the man who should be strong, from the woman who is weak. But there is no Juliet, Portia, Viola, Helena, Isabella, to rise in the strength of woman's love, in the readiness of woman’s wit, and string again the unstrung mind}, re-nerve the unnervd hand. He has chosen her whose name is Help, but he has chosen wrongly, and help from her comes none. His is the blame, not hers. Mother and love have faild him, but his books are left, and to them he turns. “ Look where sadly the poor wretch comes reading.” Still, neither his troubles nor his books have taken the tang out of his tongue, and his sarcasms convince Polonius that though this be madness, yet there’s method in it. Then come the players; and the genuine emotion shown by the reciter, reveals to Hamlet ‘ what a rogue and peasant slave he is, a dull and muddy-metalld rascal, pigeon-liverd, and an ass, that he, the son of a dear father murderd, prompted to his revenge by heaven and hell, must like a whore unpack his heart with words.” Surely every epithet he here applies to himself is richly deservd. What is the use of his “ words, words, words,” and such lots of tall ones, when all one wants of him is one act? Then at the end of his big talk comes “about my brains,” to frame that paltry excuse for delay, delay: “ the spirit may be a devil.” Where is Friar Laurence again, with his “ Art thou a man?” Then comes the second great suicide and world-evil soliloquy which was summd up in the Tennyson motto for the play, and which Sonnets 66 and 90 re-echo. The two—this speech and the former suicide one —should be carefully compared. In the second, the incestuous love of Hamlet’s mother as the cause of his life-weariness, has given place to the general evils of the world. His reason for not killing himself is no longer God's canon against self-slaughter, but that the dread of something after death puzzles the will. And then he degrades conscience? into identity with this same dread, and seems to offer it as his excuse for letting his resolution to sweep to his revenge, “lose the name of action.” This is a mere subterfuge 1 This is all towards Hamlet’s fancied madness that I can admit. The mad theory, Shakspere has answerd himself. He has shown us who held it, the old fool and the women, And he has also shown us who didn’t hold it, the man with a head on his shoulders, Claudius. I accept Shakspere’s judgment, mad doctors and Co. notwithstanding. Mr. Grant White says, p. 539: “Indeed, he accused himself of insanity to divers persons until almost the day of his death ; a sure evidence, if they had but known it, that he was not mad : and, indeed, so weak was Ins purpose that he confessed with particularity to Guildenstern and Rosencrantz, as well as to Horatio and to his mother, that he was feigning madness for a purpose. He was too weak and incontinent of soul even to keep his own great secret, but went about making others swear that they would keep it for him.” My friend Mr. Hargrove presses the hysteria on me, from certain experiences ofhisown. He says too, ‘It is not Hamlet's mind that is unstrung, but his nerves, and the wild behaviour after the. Ghost-scene and Play-scene is simply so much escape of accumulated nervous force. T cannot think any account of Hamlet complete which does not bring in the word hysteria or ‘ hysterical.’” 2 See the text as against the meaning ordinarily given to the word and passage. Ixxii § 12. THIRD-PERIOD PLAYS. a. HAMLET. und bit of sclf-deceit. He will not fight because he may have bad dreams. He will not kill himself because he’s afraid of something after death. He has neither Macbeth’s pluck to jump the life to come, nor MacMahon’s “J’y suis, j’y reste,” using gun and sword the while. In his second interview with Ophelia, he turns to her at first with gentle words and affection. These are curdled into bitterness and brutality by her offer to return his gifts, not by his fancied seeing of her father behind the arras; for there is no trace in the play of any change of tone after he’s askt her about Polonius; nothing like his Guildenstern and Rosencrantz taunt ‘*’Sblood, do you think I am easier to be played on than a pipe?” He harps still on Ophelia’s marriage, and the harlot’s face-painting, (so often scolded by Shakspere,) tricks and wantonness. He developes his first ‘‘bawd” hint, seeing Ophelia through Gertrude’s lust, and says no word of her lie and treachery to him which he is supposed to have just discoverd. Then he turns stage-manager or clocution-master for a while. Isn’t there something childish in this just like his boyish glee at the success of his play-stratagem ? Is he not a pipe for fortune’s, nay, whims finger, to sound what stops she pleases ? Well, the play succeeds ; the king’s guilt is unkennelld. Hamlet is sure that his uncle was his father’s murderer. Why didn’t he stab Claudius as he fled con- victed, conscience-stricken, before his whole court? Still, of course, Hamlet sweeps to his revenge directly after! Oh, no. He quotes two little bits of poetry, chuckles over the success of his stratagem, and calls fur a tune. He’s acted enough for the present, and can chaff his father’s murderer. The killing of him can stand over; no hurry about that: ‘‘most lame and impotent conclusion.” Still there is one thing that Hamlet really wants to do; convict his mother of her basencss. She gives him the opportunity, and after a brilliantly sarcastic exposure of his innocently } treacherous friends, he at once seizes the chance; but first he must have some more tall words, must lash himself up to act, and indulge in some more self-deception :— “Now could I drink hot blood, And do such Litter business as the day Would quake to look on.” Of course “the poor wretch” could no more do it than fly over the moon; but big words are a relief to such weak creatures.2. On his road to his mother he finds the king at that pathetic prayer of his, the most touching piece in the play, and has an easy chance of performing his vow. He will do it; but then he thinks, and then he won’t do it. His former uncertainties about heaven and hell have been cleard up, he knows all about the conditions of entry to both, and if he kills the murderer on his knees he’ll send him to heaven.’ So, to avoid this, he kecps him for hell: a mere excuse of course for delay. His mind is full of his mother. This duty of revenge is a bore to him, and has almost died out of his mind; any excuse will do to be rid of it. If he could but get overit by accident now, what a blessing it would be! He hopes he has done so, but his victim is Polonius, and he considers the poor old man just a nuisance happily got out of the way. Note the almost brutal words in which he talks of Polonius afterwards, and the delightfully cool and self-deceiving way in which he puts the blame of his rash murder of Polonius on Heaven :— “But Heaven hath pleased it so, To punish me with this, and this with me, That I inust be their scourge and minister.” Still, Hamlet with his mother, is Hamlet in his nobleness and strength. Her disgraceful adultery and incest, and treason to his noble father’s memory, Hamlet has felt in his inmost soul. Compared to their ingrain dic, Claudius’s murder of his father—notwithstanding all his protestations—is only a skin-deep stain. Andagainst his mothcr and her sin all the magnificent indignation of his purity and virtue speak. We forget his blood-stained hands in the white-heat intensity of his words. While thus gratifying his own impulse—righteous though it be—his father’s ghost comes again, to remind him of his first, though his oft-forsaken, duty, and to shield the now-suffering wife that he, the ghost, when in the flesh, had loved with such sweet fond love. The latter purpose of the ghost Hamlet carries out; he changes his tone to his mother, tells her what he’d have her do, abstain from his uncle’s bed (which she evidently doesn’t do), gets her to promise secrecy to him—a promise that she keeps—and trusts her with his resolve to countermine Rosencrantz and Guildenstern’s supposed treacherous schemes? against him. Result: mother and son are at one again,and remain so. Hamlet has resolvd to take revenge on two men who he thinks have betrayd him. Perhaps that’ll train him to revenge his father’s murder, after his fresh declaration that that father's “form and cause conjoind, preaching to stones, would make them capable.” Yes, stones, but not Hamlet. 11 suppose Claudius used Rosencrantz and Guildenstern, as Polonius used Ophelia. ? There's a little author now living who does a good deal of this mouthing in both verse and prose, to make up for his weakness. 3 The theory that this was a genuine excuse, is answerd by Laertes saying that he’d cut the throat of his father's murderer in the church. 4 The complicity of his school-fellows in the king's plan is hardly possible. Claudius was not the man to let his scheme ooze out into the sponges he used. He'd not show them the message they carried, before he sealed it. § 12. THIRD-PERIOD PLAYS. u. HAMLET. xxiii After fresh sarcasms against those “‘ sponges,” Rosencrantz and Guildenstern, and grimly humorous sayings over poor Polonius's corpse, Hamlet, unworthy son of gallant father, sees young Fortinbras, worthy son ot worthy father, marching for honour’s sake against Poland; and now Hamlet looks himself once more fairly in the face, as to his breach of duty, his want of real love to hisfather. His indignation against his mother’s want of love to that father he has given vent to. Now, perhaps, he can clearly sce his own want of love to that father, his failure in duty towards him. He does see it. He owns that he has “ cause, and will, and strength, and means ” to do his duty. And still what is his conclusion? Deeds? No; words again :— “O, from this time forth, My thoughts be bloody, or be nothing worth.” Well, Hamlet sets sail for England. He believes his two school-fellows are in a plot to murder him; and of course they need different treatment at his hands from the man who murderd his father ; his vengeance on them—their punishment—must not be put off; so he cleverly makes their death safe forthwith’, and finds out the king’s villainous plot against himself. Will this fresh personal wrong make Hamlet “sweep to his revenge” at his first fresh chance? We shall see. A pirate chases them. Hamlet shows the old Viking blood and is taken prisoner. His captors land him in Denmark; he sends for Horatio, and says “to-morrow” he'll see the king. He seems to put off “ to-morrow,” and, evidently before going to court, strolls into a graveyard, and, after his old manner, moralises on what he sees there. ‘Then comes the knowledge that Ophelia is dead, and his ranting outburst about his love for her. Can we believe it genuine? Surely not to anything like the extent he professes. No doubt he had loved her more than Laertes had. But his frothy speech shows how little solid love there was underneath it. Next we have Hamlet’s talk with Horatio about carrying out his long-deferred ven- geance on Claudius, his conviction that the time for its being done is short, but that the “ interim” is his. Polonius, Rosencrantz, Guildenstern, Ophelia—all who plotted against him—are by his means dead. When is the other, Claudius, his father’s murderer to follow too? Still he forms no plan; still he leaves the performance of his duty to chance or Providence. And it is Claudius, not Hamlet, that plans the plot for his own death. To Hamlet, anything, any amusement that’ll delay the fulfilment of his vow, is still welcome. He can indulge in his old sarcasms, undertake a fencing match to please the man he thinks he means to kill. Yet a shadow of coming ill is on him; a feeling of fatalism comes over him; “the readiness is all.”” But is he ready? Yes, to give his life, to give his life, which has been long his burden, just as willingly out of the way of duty as in it. We are glad that he asks Laertes’s pardon, sorry that he makes a lying excuse for his rudeness to him. And then this “brother's wager” is played. The erring queen dies first, poisond by her guilty husband’s means. Hamlet learns that he has not half an hour to live; and then at last does “sweep to his revenge,” and sends his father’s murderer to hell. Laertes reaps the due reward of his treachery, though asking and getting Hamlet's forgiveness. Hamlet lives to save Horatio from the death his friendship prompts him to share with his friend ; to point out a fitter successor to the throne than ever he himself could have made; and then with all his failings and all his virtues dies. In death he’s done his duty ; and nothing but that could have made him do it. Still tho’, “ incestuous ” comes before ‘“‘ murderous,” as he denounces Claudius; and it’s “Follow my mother,” not ‘my father,” it’s ‘‘ Wretched queen, adieu!” ‘‘ Horatio, report me and my cause aright,”’ with no mention of his father, tho’ Laertes had just named his. And Horatio, who is honest, put forth no such defence for his friend as Hamlet’s modern admirers do: he speaks only of, “ in this upshot, purposes mistook, fallen on the inventors’ heads.” The folk who admit no imperfection in Hamlet, first pity him—as we all must—then they love him, and then they glorify him. But, admitting his claims on our pity, on our admiration, for his brilliant intellectual gifts—penetration, wit, humour, sarcasm, reflection— his courage and his virtues, we must find him ‘infirm of purpose :” ‘‘ unstable as water, he shall not excel.” In his diseasd view of the beauties of God’s earth and its inhabitants, and of life; his shirkings of duty, his puttings-off, his making grand subterfuge-full excuses for them; in his uncertainties about the mystery of death and the future world, Hamlet but typifies each one of us, at some time or other of our lives. Who is there of us that has not known that ‘“ weary life,” that “‘weary death,” that “(damnéd vacillating state”? And this is the secret of the attraction of Hamlet over us. ‘Is there any other man in Shakspere whom we feel such a longing to comfort?” askt the bonniest and handsomest girl I ever lectured to. (“ Pite rennith soone in gentil herte.”) But, while willing to sympathise to any extent in his weakness (which is my own), and in the ruin of his love, his nature and his hope, I hold that what Hamlet wanted, was some of the Ulysses will :— “That which we are, we are Made weak by time and fate, but strong in will One equal temper of heroic hearts, To strive, to seek, to find, and not to yield. 1 That is, Hamletian will, in words. ; : . Aperne 2T say “cleverly,” without forgetting the scandalous injustice of it. But these fellows’ prying irritated Hamlet, like Polonius’s did. He could get somebody else to kill em; and at the moment gladly seized the chauce of carrying out his before-formed resolve. It was the noise behind the arras over again. © \xxiv §12. THIRD-PERIOD PLAYS. a. MEASURE FOR MEASURE. I hold too that “nothing in his life became him like the leaving of it” (Macbeth, I. iv.), for that involved the doing of his duty.1 Under the burden of that, his unfit nature sank. Measure ror Mrasure.—We turn from the Baltic shore to the inland city of Vienna, that city where Tennyson’s friend Arthur Hallam died, that city which is still notorious for the social] evil which Shakspere brings under our notice, where the loss of woman’s honour is treated as a mere malheur, mishap, unlucky accident?, and which is therefore the fit city for this play that follows Hamlet, where the cloud of the young prince’s mother’s lust hung like a pall over his life, and the incest ‘of the“ beast that wants discourse of reason” poisond his faith in women, and ruind his young love. On the stifling air of this drama, as contrasted with earlier ones, hear Mr. W. Watkiss Lloyd :— We never throughout this play get into the free, open, joyous atmosphere so invigorating in other works of Shakspere: the oppressive gloom of the prison, the foul breath of the brothel, are only exchanged for the chilly damp of conventual walls, or the oppressive retirement of the monastery, where friars are curious as to the motives of ducal seclusion, and are ready to intimate that a petticoat is concerned in the secret.” Yet though we have this “ night’s black curtain” over the play ?; though woman’s and man’s incontinence match, to some extent, the queen’s and Claudius’s in Hamlet ; though Claudio in his weak fear of death, like Hamlet, fails to do his duty: yet here, beside, in intentional contrast to the lust and weak will of woman and man, rises, like the moon in its pure beauty, like the lightning- flash in its white wrath, the noble figure of Isabella, ‘(a thing ensky’d and sainted, an immortal spirit,” Shakspere’s first wholly Christian woman, steadfast and true as Portia, Brutus’s wife, pure as Lucrece’s soul, merciful above Portia, Bassanio’s bride, in that she prays for forgiveness for her foe, not her friend; with an unyiclding will,a martyr’s spirit above Helena’s of Ad/’s Well, the highest type of woman that Shakspere has yet drawn. : In these points then I find that Weaswre for Measure is rightly made to follow Hamlet immediately, and not -4/’’s Well, though assuredly with the latter play it has much in common. Note, too, how AMfeasure for Measure carries on the Hamlet reflections on Death and Life. Compare Hamlet, III. i., “to die, to sleep,” &c., with Claudio’s ‘‘aye, but to die we know not where ;” Hamlet’s dread of something after death, with Isabella’s “ the sense of death is most in apprehension.” Again, Hamlet’s ‘“Cinsolence of office,” &c., with Isabella's ‘‘every pelting petty officer would use his heaven for thunder.” Hamlet’s ‘‘ Be thou as chaste as ice, as pure as snow, thou shalt not escape calumny ” is like the Duke’s ‘* back-wounding calumny the whitest virtue strikes.” The like names Claudio and Claudius occur; and Clandius’s pathetic speech, ‘‘my words fly up, my thoughts remain below,” is like Angelo’s “ Heaven hath my empty words: heaven in my mouth, and in my heart the strong and swelling evil of my conception.” While Lucio’s “ our doubts are traitors,” &e., preach the moral of the play of Hamlet. Further, Hamlet’s ‘‘he took my father grossly full of bread,” and Hamlet’s desire to take his uncle when he is drunk, asleep, are hke Barnardine’s excuse for not dying here: he was, as the Duke says, ‘a creature unprepared, unmeet for death.” Polonius seeing method in Hamlet's apparent madness, and Hamlet's telling his mother he could re-word his sentence, are just the Duke’s, “Her madness hath the oddest frame of sense (Such a dependency of thing on thing) as e’er I heard in madness.” Of whom, too, but the forlorn Ophelia does the deserted Mariana remind us? Music pleased the woe of both of them. One always thinks of Tennyson's Mariana in the Moated Grange :— “Ts this the end, to be left alone, to live forgotten and die forlorn?” With 47s Fell, too, the links are strong. The firm will and energy of Helena is like that of Isabella : her love, though she is deserted and detested, is won back by the same means as Mariana’s; the substitution of Helena for Diana, as here of Mariana for Isabel. Again, the scene in court, the trial as it were before the Duke, and the exposure of Angelo, are like those of Bertram before the king in Als IFell, just as Lucio’s exposure is like Parolles’s. The clown is a male Mrs. Quickly, though the scene with Escalus is like that of Dogberry and Verges before the Duke, and Gobbo and his son before Bassanio. Yet those who would put Jcasure jor Measure next to Alls Well, surely overlook the far deeper tone of the former play: its dealing with death and the future world, its weight of reflection, the analysis of Angelo’s character, the working of conscience, the greater corruption dealt with, the higher saintliness shown in Isabella. Also, if we look at the name of the 1 We Victorians are happy in having a most admirable realisation of the character in Mr. Henry Irving's fine performance of it, free from the effects of tradition, thorough, a work of individuality and genius. ? T speak on the authority of some college friends who were students there, of an article in The Daily News a few years hack, written by a long-dweller in Vienna, in which this matheur was largely used, and of later visitors to the city. ia % The play was probably written during the plague of 1603 in London, in which 30,578 souls died. (Stowe.) See § 15, elow. ~ §12. THIRD-PERIOD PLAYS. a. MEASURG FOR MEASURE. b. OTHELLO, | Ixxv play, Measure for Measure, we shall see that Shakspere’s idea in it was, though with grim humour and ultimate relenting, to preach in Angelo and Lucio his Third-Period doctrine—an eye for an eye, a tooth for a tooth, vengeance for weakness, yielding to temptation, and sin, though here the vengeance is but the poetical justice of marriage to the women whom the sinners have sinned with or abandoned. Intending nun as Isabella is, we must nevertheless look on her as no hard recluse, but as “Isabel, swect Isabel,’ with cheek-roses, gentle and fair. Yet she is ‘‘a thing ensky’d and sainted, an immortal spirit ;” and this enables us to undeystand the conflict that must have gone onin her mind between her sisterly affection and her religious principles when pleading her brother’s cause, and her acquiescence in Angelo’s resolve that Claudio must die. Both times she needs Lucio’s appeal before she'll again urge how much better mercy becomes the king and judge, than justice. Her unhappy words, “ Hark! how Ill bribe you,” seem to have first brought out the evil in Angelo. _“ He tempts her through that which is uppermost in the noble woman, the passion for sacrifice. There is some- thing splendid in the idea of perilling the soul itself for the sake of another’? (E. H. Hickey). Shakspere’s original, Whetstone, makes his heroine Cassandra give way to her brother's appeal :— “My Andrugio, take comfort in distresse ; Cassandra is wonne, thy rannsome greate to paye.” But this was not Shakspere’s conception of Isabella. She believed that the son of her heroic father was noble like herself; and when she found that he was willing to sacrifice her honour for his life, “her swift vindictive anger leapt like a white flame from her white spirit},’? and her indignant “take my defiance, die, perish,’ was her fit answer to her brother’s base proposal. Yet she who would not stoop to wrong, dared for the sake of Mariana to bear the imputation of it. She had no care for the world’s opinion, so that the deed appeared not foul in the truth of her spirit; and as in The Merry Wives and Much Ado, her quick woman’s wit took a righteous delight in circumventing aknave. We have another passionate outburst from her when she hears the false news that her brother has been executed. And then she takes her side by the Duke who loves her, to fight with him God’s fight against the evil in that foul Vienna; a far better post, heading Heaven’s army in her land, than praying barren prayers in convent walls. She is the first of the three splendid women who illumine the dark Third Period: she, glorious for her pueity and righteousness, Cordelia for her truth and filial love, Volumnia for her devotion to honour and her love of her native land. Perhaps we may add a fourth, Portia, Brutus’s wife, for nobleness and wifely duty. But the highest of all is Isabella. For Angelo, we may contrast him with Isabella, as Bertram with Helena, or Proteus with Julia; he has to be emptied of his self-pride in seeming religion, as Bertram of his pride of birth; but in judging Angelo ‘‘let him that thinketh he standeth, take heed lest he fall.” His is a terrible analysis of character, a self-revelation to any man who has striven for purity, has fancied himself safe, and in the hour of trial has failed. Claudio is, as Mr. Pater says, one of the flower-like young University men that abound at Oxford. To him, self-indulgent, life-loving, death is the greatest terror; and he sees no great harm in his sister undergoing what his own sweetheart has borne. To Isabella’s sense of honour and purity he could not attain; but in expression of apprehension he stands even above Hamlet. His words on after-death are among the most poctical in Shakspere. Measure for Measure was first printed in the Folio of 1623. Its story is from the old play of Promos and Cassandra, 1578, by George Whetstone, printed in Hazlitt, Part II., vol. ii., p. 201, with the same story in prose, from Whetstone’s Heptameron, 1582, Hazlitt, Part I., vol. ii., p. 156; and, like stories from Goulart’s Admirable and Memorable Histories, 1607; and from Giraldi Cinthio’s Heeatommithi, Novel 5, decade 8 (p. 167, id.), the probable source of Whetstone’s play. There are plenty more stories of the kind. Seeing that the centre ‘of Measure for Measure is the scene of “ Isabella with Claudio in the prison, where his unfit nature fails under the burden of coming death laid on him; seeing the many links between this play and Hamlet, and the more between that and Julius Cesar, we cannot be wrong in putting all three together as the first group of the Third Period, the “ unfit-nature, or under-burden-failing group,” &c. Then we pass to the second group of the two “tempter-yielding plays,”’ with which the first is, by Angelo, &c., strongly linkt, too. OrHELLo.—From inland Vienna we turn again to Venice, the glorious city in the sea. We were here before in The Merchant, which gives us the name Gratiano (there the humourful), of Desdemona’s uncle. Thence the lover went to seek his Jason’s fleece in Belmont, here he comes to seek his pearl in Venice. There, too, Jessica eloped with Lorenzo amid her father’s curses, as Desdemona does with Othello here. There, too, bride and bridegroom, Portia and Bassanio, were separated in the day of marriage, as they are here. But what a change in the tone and purpose of the two plays! What a change in Shakspere’s temper and mind! ‘True, that in both plays a beautiful, true young bride pleads for a life, for mercy for one condemnd to death; but from the one, Portia’s sweet earnest 1 See my friend Mr. W. H. Pater’s admirable paper in The Fortnightly Review, 1874 or 1875. Ixxvi §12. THIRD-PERIOD PLAYS. b. OTHELLO, words still sound like music in our ears, and we rejoice in the woman’s ready wit that rescued the soul her prayer had faild to save. From the other, Desdemona’s vain appeal for her own life still brings sorrow to our hearts; and Othello knolls in our ears the so sad dirge, “ But yet the pity of it, Iago! oh! the pity of it, Iago.” In thinking of Desdemona’s fate we turn to the Cenci eyes of Juliet, and compare our ill-starrd Desdemona and Othello with that young “ pair of star-crosst lovers’? whose violent delights had also violent ends, who with a kiss died. But Othello is linkt with the plays nearest it, Measure for Measure and Hamlet, in which the lust of Hamlet’s mother, and Angelo, &c., was so leading a feature; for supposcd lust in Desdemona is at the bottom of Othello’s jealousy, and thus the main motive for the action. Claudio’s imprisonment in “The viewless winds, And blown with restless violence round about The pendent world” is Othello’s “ blow me about in winds” (V. ii.); while the Duke’s offer to let Brabantio read the law’s bitter letter after his own sense, is the Duke’s offer to Angelo in Measure for Measure to be judge of his own cause. Iago’s “duteous and knee-crooking knave” is Hamlet's fawner, who “crooks the pregnant hinges of the knee,’ and Hamlct’s opinions on drunkenness among his countrymen are those of Cassio and Iago on the Dane. Ophelia’s fate and song remind us, too, of Barbara's fate, and Mariana’s and Desdemona’s songs. _Iago’s curse of the service where prefer- ment goes by letter and affection, are like Hamlet’s and Isabella’s complaints, which we have before alluded to. Also the plunder of Roderigo by Iago may be likend to that of Sir Andrew Aguecheek by Sir Toby Belch. The incident of Othello hidden by Iago listening to Cassio talking with Iago of Bianca, and then to Cassio and Bianca talking about Desdemona’s handkerchief, may be paralleld with the Jfuch .1do incident of Hero's maid Margaret and Balthazar, overheard by Claudio and Don Pedro, who watch them by Don John’s contrivance. With the Sonnets one may compare Tago’s “I am not what I am,” and of Othello, “ He is what he is,” with Shakspere’s “I am that I am,” of Sonnct 121. The general estimate of Italian women may be seen in Pope Pius II.’s novel of Lucrece and Eurialus englisht :—‘ It is as easy to kepe a woman against her wyll, as a flocke of flies in the hete of the sonne, cxcepte she be of herselfe chaste.’ ‘A woman's thought is unstable, whyche hath as many myndis as trees hath leues . . and seldom loue they theyr husbands whom they haue obteyned.” ! Tago is the Richard the Third of the Third Period, the real mainspring, the wire-puller of the men and women, his puppets, in this play. The Moor, of a tree and open nature, is to him “ an ass,” as he says, ‘led by the nose.” All that Othello tells us of himself wins our hearts, like Desdemona’s, to him. Of royal descent, no boaster but a doer, he has no self-distrust when dealing with men; he commands like a full soldier. Though he tells a “round, unvarnished tale,” yet we see in it proof of that imaginative power which to him, as to Macbeth, was the cause of all his sorrow. He has every manly virtue, and his love is so devoted that he can give up war for it. Distrust at first is impossible to him ; and as he confided in “honest Iago,’ so he declared his life was upon his wife’s faith; and it was; with the supposed loss of that, his life went. The Italian original says that Othello and Desdemona lived together in Venice in peace and concord. Shakspere, of course, cuts this out, for after it we could never excuse even Othello’s believing Iago. The play gives him but an hour of love, and then, as if to warn the newly-wedded ones what was coming into their life, Shakspere raises the storm at sea. Unconscious that that storm is but Nature’s portent, they bask in balmy sunshine on the isle, and again we have the Romeo cestasy of love, “if it were now to die, ‘twere now to be most happy,” &c. Again in the riot of Cassio’s drunkenness we get a plain hint of Othello’s nature :— “« My blood begins my safer guides to rule, And passion, having my best judginent collied, Essays to lead the way.” The first note of coming discord is struck by Iago’s “I like not that;” the first real suspicion is in Othello’s “« By Heaven, he echoes me.” And when once Iago's insinuation of jealousy has taken hold of Othello’s mind,—Othello, who has till then known women’s nature only through the followers of the camp,—his imagination, like Macbeth’s, makes the suggestion work with terrible rapidity. The light of love which lit his face when he before met Desdemona, when he yielded to her first entreaties for Cassio, leaves him, never to return.2 It {s a terrible change, as instant as, but so different from 1 In my Andrew Boorde, p. 342-3, from John Kynge’s edition, 1560. 2 I speak froin recollection of Mr. Irving's touching performance of the part. See my letter in The Daily News, March 2, 1876. Salvini’s acting of Othello was a revelation to me: something new in art. That passionate Southern nature leaping into fury, and flying at Iago like a tiger would, was beyond a Northern's power. The sweetest-sould, most gracious-natured lady that I know, said to me as I was talking to her of the two men: ‘Yes: Salvini is Othello; Irving acts hin.” No more was needed. §12. THIRD-PERIOD PLAYS. b. MACBETH. Ixxvii that of Rosalind when she finds her Orlando in the forest. His framo heaves, his lip quivers, the full fire of his wrath blazes out against Iago, as that demon’s talk of Cassio frenzies him. | Reason leaves him ; he is struck with epilepsy ; and after his recovery from that! Iago shows him Bianca with the handkerchief. His love has become his enemy, against whom spying is lawful, and he resolves to murder her. But yet he cannot forbear to sce “the pity of it.” “What a depth of love, what yearning tenderness, yet what desperate resolve, are expresst in these little words!” (The third Act is the most powerful one in all Shakspere.) Desdemona’s ill-starrd answers provoke instead of calm him, and then he ends her life. Even the beauty of her unselfishness when trying to excuse him from the murder of her cannot touch him.? His words on her are, “ She’s likea liar, gone to burning hell.” Then comes the disclosure of what a fool and dolt he’s been; and in his sense ’tis happiness to die. We cannot allow his excuse that he was not easily jealous, though it is true that ‘‘ being wrought,” he was “ perplext in the extreme.’ he kiss on which he dies shows where his love still was, and that must plead for him. Behind the nobleness of bis nature were yet the jealousy, the suspicion, the mean cunning of the savage. Death to the adulteress was but the practice of his race.* Macsetu.—From Venice and Cyprus we turn to Scotland. Nature changes from her belt of gold and blue, to purple heather and grey rock, but man remains the same, mean, tempted, falling, sinning, murdering, with the vengeance of death falling on him and the wife who here has shared his crime. Macbeth is the play of conscience, though the workings of that conscience are seen far more in Lady Macbeth than in her husband. The play shows, too, the separation from man as well as God, the miserable trustless isolation, that sin brings in its train. As compared with O¢/e/lo the darkness and terror cloye in on us so much more rapidly. We have no picture of the sweet Desde- mona listening to her Moor, going throngh her household tasks, and coming back again to hear » the wondrous story of his life; no bright bridal life, however short. Before the play opens there must have been consultations between the guilty pair on Duncan’s murder 4; and when the play opens, the pall of fiendish witchcraft is over us from the first. The fall of the tempted is terribly sudden. The climax of the play is in the second Act, not the fifth, and no repentance is mixed with the vengeance of its close. The only relief is in the gallantry of Macbeth, the gratitude of Duncan, and the pleasant picture of Macbeth’s castle, so well put into Duncan's and Banquo’s mouths. The links with Othello are, that the hero is, like Othello, a great commander, who has won many victories for his State, that his temptation is both from within and without himself, that the working of passion in both is alike quick, that the victims and murderers alike die, that Othello is accused of witchcraft, as Macbeth practises it. And as the disappointed ambition of Iago in not getting the place given to Cassio, is at the root of all the evil in Uthello, so the immediate motive for Macbeth’s action here is the Prince of Cumberland’s nomination to the throne, which Macbeth believd would be his. As, too, Emilia’s knocking at the door relieves the strain after Desdemona’s murder, so docs that of the porter here 1 Mr. Frank Marshall well urges that the weakening effect of the epileptic attack on Othello’s mind must be allowed for. (Recollect that Desdemona, Greek dusdaimonia, means “ ill-fatedness,” ‘ ill-fortune.”) 2 Shakspere alterd the original’s beating Desdemona to death with a stocking full of sand, into suffocation, but forgot that a person once stifled couldn't speak again. On the short time of the action of the play after the landing in Cyprus, two days, see Prof. Wilson’s Paper, reprinted in New Shakspere Society's T'ransuctions, 1875-6, Appendix. 3 The first and only Quarto of Othello was publisht in 1622, six years after Shakspere’s death, by Thomas Walkley, by whom it was enterd in the Stationers’ Registers on Oct. 6, 1621. It differs in many details froin the Folio text, which is from an independent source. The original of the story is from the 7th novel of the 3rd decade of Ciuthio’s collection of stories, called Hecatommithi, and is priuted with a translation in Hazlitt’s Shakspere’s Library, Pt. I., vol. ii., pp. 285-308. In it the original of Iago, the ensign, wrongly loves Desdemona; and his otive for revenge is her friendly preference of the lieutenant, who is degraded for wounding a soldier on guard, and for whose restoration she twice entreats her husband. The ensign steals the Moor’s handkerchief from her, leaves it on the licutenant’s bolster, and then tells the Moor it was given by Desdemona to her lover. He also shows the Moor an embroidress copying the pattern on the handkerchief, and undertakes to murder the lieutenant. He does cut off his right leg, and then, with the Moor’s help, smashes Desdemona’s skull with a sandfull stocking. They pull the ceiling down on her, and give out that a falling beam killd her, Othello, afterwards mourning her loss, degrades the ensign, who accuses hiin to the lieutenant. The Moor is tried, and on the ensign’s testimony, put to the torture, and sent into exile, where he is at last killd by his wife's relations. The ensign, continuing his bad practises, is rackt for having brought a false accusation against a companion, and is so injurd that he dies in great agony. The poor prose temptation scenes of the Moor by the ensign should be compared with Shakspere’s magnificent ones. There are no Roderigo, Brabantio, Emilia, &c., in the Italian. 4 From I. vii. we clearly see that Lady Macbeth cannot refer to anything in the play :— “Tady M. What beast was’t then, They have made themselves, and that their fitness That made you break this enterprise to me? ao now Nor time, nor place, Does uninake you.” Did then adhere, and yet you would make both : | In the face of this ‘made you break this enterprise to me,” I cannot, of course, agree with Mr. Grant White and other critics that the origination of the crime was Lady Macbeth’s. 5 “T have always regarded the appearance of Banquo’s ghost in III. iv. as the climax of the play. Up till then, all goes well with Macbeth ; from thence, all conspires to his ruin.”—C. Hargrove. ixxviii * §12. THIRD-FERIOD PLAYS. c. KING LEAR. after Duncan’s.!. The murder of the king and the ghost of Banquo connect the play with Hamlet, while the portents before Duncan's death are like those before the death of Hamlet’s futher and Julius Cxusar. With Richard III. we note the links of the murderer clearing his way to the throne, and his enemies out of his way when he has it, as well as the working of conscience in Richard’s sleep as in Lady Macbeth’s, though she feels it always, he only when his will is dead. Macbeth had the wrong nature for a murderer: he was too imaginative; he could jump the life tocome; but it was the judgment here he dreaded, the terrors that his own Keltic imagination created to torment him. What Richard the Third passed over with chuckling indifference, nay, with delight, deprived Macbeth of sleep and haunted every moment of his life :— “ But let the frame of things disjoint, both the worlds Than on the torture of the mind to lie suffer, In restless ecstasy. Dunean is in his grave ; Ere we will eat our meal in fear, and sleep After life’s fitful fever, he sleeps well; In the aftetion of these terrible dreams Treason has done his worst : nor steel, nor poison, That shake us nightly: Better be with the dead, Malice domestic, foreign levy, nothing, Whoin-we, to gain our peace*, have sent to peace, Can touch him farther!” The more blood, that he thought would make him safe and hardend, did but increase his terrors; then cume his fit again. But he was resolved to know the worst ; and after his second visit to the witches, it seems to me that the courage of desperation takes the place of the feebleness of the guilty soul; and except in his two drops down after the servant and the messenger have announced the English force (V. iii., v., end), he faces his fate with the courage and coolness that should have possvsst him all along. He is tied to the stake, and fight he will; but though he quails again before Macduft’s tonguc, he is yet taunted by it into fighting, as before into murder by his wife. Banquo, though noble, has yet in him the canny Scot’s sense of his or his son’s chunce of the throne, and keeps near Macbeth, to be ready for what turns up. He cannot answer the usurper’s invitation with a Macduft’s “Sir, not I,” or, like him, fly to England to bring back Duncan’s rightful heir, his son. Malcolm would spoil Banquo’s son's chance of the throne. (See New Shakspere Society's Transactions, 1875-6, Part II.) My friend Mr. Peter Bayne holds that the analysis of Macbeth’s ideas and motives is Shakspere's greatest achicvement. I think the third Act of Othello is that. But when one compares such a quotation as that from Macbeth’s speech above, with any of Shakspere’s early work in Love's Labours Lost, or Romeo and Juliet, say, one is amazed at the poet’s growth in knowledge of men’s minds, of life, in reflective power, and imagination. Dramatically, too, what a splendid advance the play is on Hamct!% The slight foundation in history or legend for Afacbeth, is in Holinshed’s version of Boece’s Seotorum Historie, which is drawn from Fordun, printed in Hazlitt, Part I., vol. ii., p. 149, and extracts from it are given in the Clarendon Press and other cheap editions of the play. Holinshed knew nothing of the slaughter of Macbeth’s father, and his wife Grunoch’s grandfather, husband, and brother by Duncan’s grandfather. (Clar. Press ed., xlii.) The text was printed for the first time in the Folio of 1623. On the sleep-spcech see 2 Henry 11”. above, p. xlix. Kine Lear.— This play resembles a stormy night. The first scene is like a wild sunset, grand and awful, with gusts of wind and muttcrings of thunder, presaging the coming storm. Then comes a furious tempest of crime and madness, through which we see dimly the monstrous and unnatural forms of Goncril and Regan, Cornwall and Edmund, and hear ever and anon the wild laugh of the Fool, the mad howls of Lear, and the low moan of the blind Gloster; while afar off a ray of moon- light breaks through the clouds, and throws its silvery radiance on the queenly figure of Cordelia standing calm and peaceful in the storm, like an angel of truth and purity amid the raging strife of a sinful and blood-stained world. At the last, one great thunder-clap of death: the tempest ceases, and in the grey light of a cloudy dawn we see the corpses lying stiff and stark, the innocent and the _,\ The Porter acene is certainly genuine, and the assignment of its grim humour to a fifth-rate comic writer like Middleton is a great mistake. The folk who so assign it, don’t know Middleton : they just catch up his name from the witch songs, and stick it on to the Porter, whom he never had anything like power enough to create. It may be that, as Messrs. Clark and Wright (Preface to Clarendon Press, Macheth), and Mr. Grant White (Galaay, Jan., 1877), urge, Hecate’s four-neasnre speech in IIf. v., and hers or the First Witch's at the end of IV. i. 125-122, before the songs, are spurious ; but the king’s-evil passage in IV. iii. is assuredly Shakspere’s ; and so is V. ii., v. 47-50, as Mr. Grant White says. See my discussion of the Porter scene in New Shakspere Society's Transactions, 1874, Part II. 2 Peace, folio 1; place, folios 2, 3, 4. 2 That the play was written in haste, the hurry of its action in its first acts, the want of finish in its first scenes, the difficulty of its expression, tend to prove. Most critics agree in this opinion. Mr, Grant White says of the play in his edition, x. 424:—‘‘It exhibits throughout the hearty execution of a grand and clearly conceived design. But the haste is that of a master of his art, who, with conscious command of its resources, and in the frenzy of a grand inspiration, works out his conception to the minutest detail of essential form, leaving the work of surface finish for the occupation of cooler leisure (which in this case never came)... . . . I regard Macheth as, for the most part, a specimen of Shakspere’s unelaborated, if not unfinished, writing, in the maturity and highest vitality of his genius. It abounds in instances of extremest conipression, and iost daring ellipsis ; while it exhibits in every scene a union of supreme dramatic and poetic power, aud in almost every line an imperially irresponsible control of language.” — a §12. THIRD-PERIOD PLAYS. c. KING LEAR. Ixxix guilty alike whelmed in the blind rage of Fate” (Florence O’Brien).!_ Lear is especially the play of the breach of family ties; the play of horrors, unnatural cruelty to fathers, brothers, sisters, by those who should have loved them dearest. Not content with unsexing one woman, as in Aacéeth, Shakspere has in Lear unsext two. Not content with making Lear’s daughters trcat him with cruel ingratitude, Shakspere has also made Edmund plot against his brothcr’s and father’s lives. Lear is a race-play too. It shows the Keltic passion, misjudgment, and superstition, as in Glendower of 1 Henry IV., in Macbeth, and Cymbeline. Goneril and Regan are like the ghoul-like hags of the French Revolution. A few links with Othello may be named. Desdemona and her love for her father being subordinate to that for her husband, are the same as Cordclia’s. Othello, at the end of the play, has seen the day that with “this good sword” he’d have made his way through twenty times their stop, and Lear, too, at the end of this play, has secn the day that with his “good falchion” he would have made them skip,2, With Macbeth we may compare the witches, the Keltic king, the in- gratitude of Macbeth to Duncan, as of Lear’s daughters to him, while the terrible ficrceness of Lady Macbeth is but the preparation for the more fiend-like Goneril and Regan. Under Adl’s Well we have already noted the likeness of the king’s “sunshino and hail at once” to Cordelia’s ‘‘ sunshine and rain at once,” her smiles and tears. Lear, as first presented to us, is so self-indulgent and unre- strained, has been so fooled to the top of his bent, is so terribly unjust, not only to Cordclia, but to Kent, that one feels hardly any punishment can be too great for him. The motive that he puts to draw forth the desired expression of affection from Cordelia, ‘‘ Do profess love to get a big reward,” is such that no girl with true love for a father could leave unrepudiated*; and whcn his proposal gets the answer it deserves, he meets his daughter’s nobleness by curses and revenge. Stript by his own act of his own authority 4, his I’ool® with bitter sarcasms teaches him what a fool he’s been. And few can regret that he was made to feel a bite even sharper than a serpcnt’s tooth. Still one is glad to see that he was early struggling against his own first wild passion, and that he would blame his own jcalous curiosity before seeing Goneril’s purpose of unkindness. One sympathises with his prayer to heaven to keep him in temper—‘‘ he would not be mad”—with his acquirement of some sclf-control, when excusing the hot duke’s insolence by his illness. One sees tho’ how he still measures love by the allow- ances of knights it will give him; and it is not till driven out to the mercy of the winds and storm, till he knows that he is but a “ poor, infirm, weak, and despised old man,” till he can think of the poor naked wretches of whom he has before taken too little care, that one pities the sufferer for the con- sequences of his own folly. When he recovers from his madness and has come to the knowledge of himself, has found, smelt out, those flatterers who’d destroy him, then is he more truly “ every inch a king,” though cut to the brains, than ever he was before. The pathos of his recognition of Cordelia, his submission to her, and secking her blessing, his lamentation over her corpse, are exceeded by nothing in Shakspere. Professor Spalding dwells on the last scene as an instance of how Shakspere got his most intense effects by no grand situation like Massinger did, like Shakspere himself did in earlier time, but out of the simplest materials. Spalding says, “The horrors which have gathcred so thickly throughout the last act are carefully removed to the background, but free room is left for the sorrowful group on which every eye is turned. Tho situation is simple in the extreme; but how tragically-moving are the internal convulsions, for the representation of which the poet has worthily husbanded his force. Lear enters with frantic cries, bearing the body of his dead daughter in. his arms; he alternates between agitating doubts and wishful unbclief of her death, and piteously experiments on the lifeless corpse ; he bends over her with the dotage of an old man’s affection, and calls to mind the soft lowness of her voice, till he fancies he can hear its murmurs. Then succeeds the dreadful torpor of despairing insanity, during which he receives the most cruel tidings with apathy, or replies to them with wild incoherence; and the heart flows forth at the close with its last 1 This passage was written by one who had never heard of Coleridge’s comments on Shakspere, and had never seen his words, which I had long forgotten too:—“In the Shaksperian drama there is a vitality which grows and evolves itself from within, a key-note, which guides and controls the harmonies throughout. Whatis Lear? It is storm and tempest—the thunder at first grumbling in the far horizon, then gathering around us, and at length bursting in fury over our heads—succeeded by a breaking of the clouds for a while, a last flash of lightning, the closing-in of night, and the single hope of darkness.”—Lit. Rem., ii. 104. 2 Compare Shallow in Merry Wives, IL. i. 219-221—I have seen the time, with my long sword I would have made you four tall fellows skip like rats.” 3 IT can’t help thinking that if Lear had asked the question as One asked it, free from selfishness of heart, “Lovest thou me more than these?” the answer would not have been uulike Peter's, ‘Thou knowest that I love thee.”—E. H. Hickey. : 4 The folly of parents giving up their property to their children, was often dwelt on by early English writers. It is 80 by Robert of Brunne: see the tale he tells about it in my edition of his Handlyng Synne (written a.p. 1303), pp. 37-9. 5 Note the growth in depth and tenderness of Shakspere’s fools as he advances from his First Period. Mr. Grant White says, in The Galaxy, January, 1877, p. 72:—“ In King Lear the Fool rises into heroic proportions, and becomes asort of conscience, or second thought, to Lear. Compared even with Touchstone he is very much more elevated, and shows not less than Hamlet, or than Lear himself, the grand development of Shakspeare’s mind at this period of maturity.” 1xxx §12. THIRD-PERIOD PLAYS. d. TROILUS AND CRESSIDA. burst of love only to break in the vehemence of its emotion, commencing with the tenderness of regret, swelling into choking grief, and at last, when the eye catches the tokens of mortality in the dead, snapping the chords of life in an agonised horror.” Cordelia is as the sun above the deeps of hell shown in Goneril and Regan. One can hardly help wishing that Shakspere had followed the old story told by Layamon and other repeaters of Geoffrey of Monmouth, and made Cordelia set her father on the throne again, and reign after him fcr a while in peace. But the tragedian, the preacher of Shakspere’s Third-Period lesson, did wisely for his art and meaning, in letting the daughter and father lie in one grave. Of the noble Kent, of Gloster,—who doubles Lear in error, and almost in suffering,—of Edmund, the Iago of this play, we have no time to speak. And while content that others should claim Zear as Shakspere’s greatest work, for its diversity and contrast of character, its mixing the storm of nature with the passions of man!, I must yet claim Othello as the work which most deeply touches my heart. Its third Act is the greatest achievement of Shakspere as a dramatist; the first three acts of Macbeth (I. v., vii.; II., III.) come next; Lear may follow. The date of Lear may be considered as fixt at 1605-6. It was enterd in the Stationers’ Registers on Novr. 26, 1607: ‘“‘ Nathanael Butter, John Bushy. Entred for their copie vnder th{e h]Jandes of Sir George Buck knight and Th(e) wardens a booke called Master William Shakespeare his historye of Kinge Lear as yt was played before the kinges maiestie at Whitehall vppon Sainct Stephens night [26 Decr.] at Christmas Last by his maiesties servantes playinge vsually at the Globe on the Banksyde . . vj” (Arber's Zranseript, iii. 366). Two quartos of it were publisht in 1608, independent texts, and neither copied by the Folio. Their title pages confirm the Stat. Reg. date of the performance of the play. The source of the Lear story is Holinshed’s Chronicle ; of the Gloster, Edmund and Edgar story, Sir Philip Sidney’s Arcadia. Mr. Hazlitt has reprinted in his Shakspere’s Library : 1. The History of Lear, from Holinshed (Pt. I., vol. ii., p. 314). 2. The same, from the English Gesta Romanorum (ab. 1440 a.v.), edit. Madden, pp. 450-3, (id. p. 315). 3. The History of Leir and his Three Daughters, 1605, a play (Part II., vol. ii., p. 305. It was not used by Shakspere). 4. Queen Cordela, an historical poem, by John Higins, from the Mirror for Magistrates (Pt. L., ti. 324). 5. The Story of the Paphlagonian Unkind King, from Sidney’s Arcadia (ib. 337). 6. The Ballad of Lear and his Three Daughters (ib. 348). The Latin original of the Lear story is Geoffrey of Monmouth’s Hist. Britonum, bk. ii, ch. 11-15. And it was first told, and well told, in English, by Layamon in his Brut., ab. 1205. That it came originally from Wales there is little doubt. I think Lear must stand by itself as “the first Ingratitude and Cursing Play,” tho’ it is linkt to the Group before it, and the Lust or False-Love Group which follows it. Troitus anp Oressipa.—This is the most difficult of all Shakspere’s plays to deal with, as well for date as position. We only know that it was publisht in 1609 with a preface by another man, and evidently without Shakspere’s consent, as his Sonnets of the same date also were. This fact seems to point to Shakspere’s having left London, possibly in disgust at some neglect of him by his patrons or the public, at which he has been thought to hint in Achilles’s complaints. Yet Shakspere had just pro- duced his greatest tragedies, and no one could then have been his rival. The play is evidently written in ill-humour with mankind; it is a bitter satire. Its purpose is not to show virtue her own feature, but contemptible weakness, paltry vanity, falsehood (like scorn), their own image. The argument of it is, as Thersites says, ‘a cuckold and a whore.”’? And as Ascham declared that the Morte d’ Arthur in which his contemporaries delighted, was nothing but bold bawdry, so Shakspere declares that the heroes of antiquity, the Trojan ancestors in whom the Britons gloried, the Grecian heroes in whom middle and modern England have rejoiced, were a sham; that with them love was all false, and honour but a delusion. Shakspere’s treatment of Chaucer’s heroine, Cressida, is, too, a shock to any lover of the early poet’s work. To have the beautiful Cressida, hesitating, palpitating like the nightingale, before her sin; driven by force of hard circumstances which she could not control, into unfaithfulness to her love; to have this Cressid, whom Chaucer spared for very ruth, set before us as a mere shameless wanton, making eyes at all the men she sees, and showing her looseness in the movement of every limb, is a terrible blow. But whatever may have been Shakspere’s motive in this play, we certainly have in it his least pleasing production. ‘There is no relief to the patchery, the jugglery, and the knavery, except the generous welcome of Nestor to Hector in the Grecian camp, and his frank praise of the gallant Trojan, who, labouring for Destiny, made cruel way through ranks of Greekish youth. I lean to the theory that the Troilus and Cressid part of the play is one of Shakspere’s First-Period works?; the long speeches, and those often rhetorical, of the Grecian leaders, make one incline to think of the specches in John and early plays of the Second Period. Yet there isso much practical wisdom, 1 Coleridge says of Act IIT, se. iv., ©O, what a world’s convention of agonies is here! All external nature in a storm, all moral nature convulsed—the real madness of Lear, the feigned madness of Edgar, the babbling of the Fool, the desperate fidelity of Kent—surely such a scene was never conceived before or since.”—Lit. Rem., ii. 201, ed. 1836. 2 Read the Troilus-Cressida-Pandarus part all through first; then read the Grecian-camp part all through ; and see §12. THIRD-PERIOD PLAYS. d. TROILUS AND CRESSIDA. Ixxxi .so much knowledge of life, in the play, such weighty reflection, that the Greek part of it must be Third Period, not Second; while the plays with which it is allied in tone and temper are Timon and Antony and Cleopatra. One link with Lear is seen in the lust of Cressid and Helen, like, tho’ less than, that of Goneril and Regan. Ulysses plays on Achilles and Ajax just as Iago does on Othello, Cassio, and Roderigo. Othello’s “ My life upon her truth” is like Troilus’s speech to Cressida in IV. iv., and Troilus’s bits about the sweetness of Cressid may be compared with Othello’s about Desdemona. In Hector’s “ Honour dearer than life” of V. iii., we are reminded of Isabella’s words in Jeasure for Measure and Brutus’s in Julius Cesar. While Andromache and Cassandra urging Hector not to fight on the day of his death, are like Cesar’s wife and the soothsayer, urging him not to go to the Capitol on the day of his murder. With Hamlet, too, we have slight links. Achilles’s ‘‘ here is Ulysses: Dll interrupt his reading. What are you reading?” reminds us of Polonius and Hamlet; and Troilus’s ‘“‘ Words, words, mere words” of Cressid’s letter, re-echo Hamlet’s. We have, too, the “fan and wind of your fierce sword” to compare with the Player’s speech. With Romeo and Juliet we have the link of the lovers waking after their night together, and both are waked by the lark. And Troilus’s words, “Oh! that her hand in whose comparison all whites are ink,” match Romeo's ‘‘ White wonder of dear Juliet’s hand.” With The Merchant we get Troilus’s comparison of himself, a merchant sailing to fetch his pearl from her Indian bed, as Bassanio and many Jasons came in quest of Portia to Belmont strand. Is it possible that Shakspere’s envy of Chapman, his rival, with the “proud full sail of his great verse,” in his Will’s affection (Sonnet 86) had anything to do with Shakspere’s deliberate debasing of the heroes of that Homer whom Chapman englisht? It is certain that when he dealt with the same subject in his fine description of the painting of the siege of Troy in The Rape of Lucrece, 1. 1366-1568, his tone is far different from what it is in his play. There is no mention there of Cressid; the only wanton notist and condemnd is Helen, “the strumpet that began this stir,” whose beauty Lucrece wants to tear with her nails, as Hermia does Helena’s in Jfid- summer-Night's Dream. Troilus has only three words, “here Troilus swounds.”” The pathetic figure _of the sad shadow of Hecuba’s beauty is touchingly dwelt on, asin Hamlet, and Shakspere, like Lucrece, “ weeps feelingly Troy’s painted woes.’”’ On the other side, in Ajax’s eyes are only “blunt rage and rigour” (1. 1398), while “the mild glance that sly Ulysses lent, Show’d deep regard and smiling government” (1. 1399). Grave Nestor, with his sober action, and wagging beard, all silver white, calms the quarrels of his Greeks, with golden words. And ‘for Achilles’ image stood his spear, Griped in an arméd hand; himself, behind, Was left unseen, save to the eye of mind.” Here is the gallant warrior, not the selfish coward, of the play. The reader should set poem and play together ; and consider too whether the treatment given to the subject in the poem doesn’t make against the opinion I have hitherto given-in to, of the Troilus-Cressid part of the play being of the early Passion- time group, 1591-4. The play needs a deal more work than has yet been given to it, so far at Jeast as print shows. Troilus is no doubt a young fool in his first love for Cressid, yet note his admiration of Helen’s beauty, and his superb metaphors in expressing it. Her— “Youth and freshness Wrinkles Apollo's and makes stale the morning.” “She is a pearl, whose price has launched above a thousand ships, And turnd crownd kings to merchants,” In the latter of these, Shakspere but quotes his dead shepherd Marlowe’s magnificent apostrophe to Helen, as before, his “ love at first sight” in 4s You Like It, and as in speaking of Cressid’s hand, to ‘‘whose soft seizure the cygnet’s down is harsh,” he no doubt again quotes Marlowe’s likening Margaret to the “downy cygnets” in 1 Henry VI. But that Troilus deserves Ulysses’s most favourable opinion of him, as given in his answer to Agamemnon, is evident. Troilus takes the lead, and his opinion prevails in the council in Act II. as to whether Helen shall be given up. He is the Trojan’s “second hope ;” and it would seem that he’s cured at last of his fondness for Cressid, for he calls on the traitor Diomede to turn and fight for his horse and not for his love. Hector, noble figure though he is, is yet made to prefer a school-boy notion of honour to the earlier wisdom and patriotism of the man. Achilles is turned into at once a snob and a coward; he will not fight Hector single-handed, but waits till he can set his myrmidons on him; his patriotism he sets under his lust, or love, as he calls it; he will not fight his country’s enemies, “ honour, or go or stay.” He is shown asa mean, big, lubberly, peevish boy, even more contemptible than the vain, bragging fool Ajax. Notwithstanding the gleam of generosity on Nestor’s figure, and his pluck in being willing to fight Hector if nobody else will; notwithstanding the fine tigure of Agamemnon, great commander, marrow and bone of Greece, and the crafty, wise Ulysses, guiding all the threads whether you don’t feel a contrast of power and handling that imply difference of Period. Still, there is oneness of tone _ through the whole play ; there are touches of reflection in the love-part that I at present accept as early. I wait and hope for further light on the play. Professor Dowden puts it next to Measure for Measure. ixxxii §12. THIRD-PERIOD PLAYS. d. ANTONY AND CLEOPATRA. of the play, one turns without regret from this repulsive picture of the Trojan and Grecian war.) ANTONY AND CLEOPATRA.—We change from Troy to Egypt and Rome, from the false Cressid to the false Cleopatra, from the deceived Troilus to the deceived and deceiving Antony, from the bitter, clear-seeing Thersites, stripping heroes and legends of antiquity of their glory, to the equally clear-sighted but happier-tempered Enobarbus, calmly explaining the character of his mistress, and Philo, with equal penetration, analysing Antony, and lamenting his master’s infatuation. But while Troilus and Cressida is lit by no light of sympathy from author or reader, save in the one scene of old ‘Nestor’s welcome to Hector in the Greek camp, on Axtony and Cleopatra Shakspere has poured out the glory of his genius in profusion, and makes us stand by, saddend and distresst, as the noble Antony sinks to his ruin, under the gorgeous colouring of the Eastern sky, the vicious splendour of the Egyptian queen; makes us look with admiring hate on the wonderful picture he has drawn, certainly far the most wonderful study of woman he has left us, of that Cleopatra of whom Enobarbus, who knew her every turn, said— “ Age cannot wither her, nor custom stale Cloy the appetites they feed ; but she makes hungry Her infinite variety : other women Where most she satisfies.” That in her, the dark woman of Shakspere’s Sonnets, his own fickle, serpent-like, attractive mistress, is to some extent embodied, Ido not doubt. What a superbly-sumptuous picture, as if painted by Veronese or Titian, is that where Cleopatra first met Antony upon the river of Cydnus! How admirably transferrd from Plutarch’s prose!?_ And how that fatal inability to say ‘“‘ No” to woman shows us Antony’s weakness and the cause of his final fall. The play is like Troilus and Cressida, not only in lust and false women (Cressida and Cleopatra) playing such a prominent part in it, but in Antony’s renown and power, and selfish preference of his own whims to honour’s call, to his country’s good, being the counterpart of Achilles’s. All the 1See Mr. Watkiss Lloyd's spirited and ingenious defence of the play in his Critical Essays, p. 217. Troilus and Cressida was enterd in the Stationers’ Registers on January 28, 1608-9 :— “Richard Bonion Entred for their Copy vnder th{e hJandes of Master Segar, deputy to Sir George Bucke, and master Henry Walleys warden Lownes, a booke called the history of Troylus and Cressida . . . vja."—Arber's Transcript, iii. 400. It was publisht in 1609 by Bonian and Walley, first with a title not mentioning the play’s having been acted, and with a preface : “‘ Eternal reader, you have here a new play never staled with the stage, never clapper-clawed with the palms of the vulgar, and yet passing full of the palm comical,” &c.; next with a title ‘“‘The Historie of Troylus and Cresseida. As it was acted by the Kings Maisties seruants at the Globe,” and without the preface. The play must therefore have been first acted in 1609, between the issues of the lst and 2nd titles. The preface-writer called the play a comedy: ‘‘ this author's comedies . . are so framed to the life, that they serve for the most common commentaries of all the actions of our lives, showing such a dexterity and power of wit, that the most displeased with plays are pleased with his comedies . . . Amongst all, there is none more witty than this . . . refuse not nor like this the less for not being sullied with the smoky breath of the multitude: but thank fortune for the scape it hath had amongst you, since, by the grand possessors [Burbage’s company’s] wills, I believe you should have prayed for them (read it], rather than been prayed.” The Folio text seems to be printed from a corrected and altered copy of the Quarto one (?). The source of Shakspere’s play may have been the old play of the same name by Dekker and Chettle, in earnest of which the manager Henslowe lent £3 on April 7, 1599, and in part payment, 30s. on April 16, and ‘‘in full paymente of the Boocke called the tragedie of Troylles and creseda—Agamemnone” being interlined over the name—£3 5s. on May 30, 1599(Henslowe’s Diary, pp. 148, 149, 153). This old play may be that entered in the Stat. Reg. on Febr. 7, 1602-3, ‘“master Robertes. Entred for his copie in full Court holden this day, to print when he hath gotten sufficient aucthority for yt, The booke of Troilus and Cresseda as yt is acted by my lord Chamberlens Men . . vj*” (Arber's Transcript, iii. 226); but it is not likely, as the Lord Chamberlain’s (or Burbage’s or Shakspere’s) Company was a rival to that of Henslowe, who “ Lent unto Thomas Downton, the 30 of Jenewary 1598, to descarge Thomas Dickers [Dekker] frome the areaste of my lord Chamberlens men. I saye, lent, iij x*” (Diary, p. 143). _ If not, the 1603 play may have been a first sketch of Shakspere's play. As Dyce says (Shaksp., vi. 2), it is unquestionable that parts of the play as we have it, ‘‘ particularly towards the end, are from the pen of a very inferior dramatist” :—see specially Ulysses’s speech in V. v. 30-42, Hector's in V. vi., all V. vii. and viii. Whether they belong to Dekker and Chettle’s old play (as Dyce suggests), or, as 1 suppose, to some botcher of Shakspere,—for he’d hardly have left such patches on his own work,—each reader can judge for himself. If Shakspere did not use an old play, he would no doubt take his Troylus-Cressid-Pandarus story from Chaucer's beautiful poem, and his Greek and Trojan war story from Chapman’s Homer, Caxton’s Recuycll of the Historyes of Troye, from Raoul le Fevre (of the revised edition of which, with ‘‘the English much amended by William Fison,” a 2ud edition had been publisht in 1607), or Lydgate’s Hystorye, Sege and dystruccyon of Troye, 1513, 1555, from Guido di Colonna. Thos. Paynell englisht Dares Phrygius’s Destruction of Troy, in 1553, and Robert Wyer translated Christine de Pise’s Hundred Hystories of Troye about 1540. The Middle-Age poets all considerd Homer a liar, and Dares a trustworthy historian, who had himself been at the Trojan war. See the amusing abuse of Homer in the Prologue to the alliterative Destruction of Troy (from Guido di Colonna), publisht by the Early English Text Society. 2 Read this (Hazlitt, Pt. I., vol. iii., p. 344) with Shakspere’s lines. The whole of Antony's Life, the source of the play, should be compared with Shakspere’s drama. (See too Courtcnay's Comment. on Hist. Plays, ii. 264.) The text of the play appeard first in the Folio of 1623. The englisht Life of Octavius Cesar Augustus (compiled by 8. G. 8. from Aimylius Probus, &c.) reprinted in Skeat’s Shakspere's Plutarch, pp. 230-277, Shakspere doesn’t seem to have used. It did not appear till the 3rd edition of North’s Plutarch in 1603. Shakspere probably workt from the edition of 1579, if he got from North’s Life of Theseus (/lazlitt, I. i. 15, 16, 28, 37) the names of Perigenia, Egle (Perigouna and Adgles in North), Ariadne, and Antiopa, and Theseus’s falseness to their fair owners. Midsummer-Night's Dream, IT. ii. 19-21 (Skeat, p. xiii.). All the Lives in the 1579 and 1595 editions of North are from Amiot’s French translation of Plutarch. The 1603 edition has 15 fresh Lives. §12. THIRD-PERIOD PLAYS. « CORIOLANUS. lxxxiii characters are selfish except Octavia and Eros. Casar’s description of Antony as ‘‘a man who is the abstract of all faults that men follow” is not far wrong. We were prepared by Judius Cesar for the wildness in his, blood and the want of noble purpose in his ordinary pursuits; for his selfishness and unscrupulousness too, by his proposal to sacrifice Lepidus. And though the redeeming qualities of his nature were shown in his love for Cwsar, his appeal to the people for revenge, and his skill in managing them, yet in his development, lust and self-indulgence prevail, and under their influence he loses judgment, soldiership, even the qualities of a man. His seeming impulse towards good in the marriage of Octavia lasts but fora time ; all her nobleness and virtue cannot save him. He turns from - on of women to his Egyptian dish again, and abides by his infatuation even when he knows he’s eceived. To Cleopatra I despair of here doing justice. The wonderful way in which Shakspere has brought out the characteristics of this sumptuous, queenly harlot!, even though he borrows his main lines from Plutarch’s picture, goes far beyond all his previous studies of women. The contrast between her and the noble Roman lady Octavia, to whom her wavering husband bears such favourable witness, is most interesting, and prepares us for the next play. These last two, Z'roilus and Cressida, and Antony and Cleopatra, make a Lust or False-Love Group. The next two form “the second Ingratitude and Cursing Group.” Cortotanus.—Another Roman play from Plutarch?; but how different in tone and colour from the last! An interval of 520 years separates the deaths of the two heroes (Coriolanus’s was after 489 p.c.; Antony’s, 30 a.v.). Antony livd in the decay of public spirit, the growth of luxury in Rome, and after his death Augustus became its frst Emperor. Coriolanus livd in Rome’s early austere days, just when she’d driven the lustful Tarquin from his throne, and establisht the Republic. And it was in the great battle against Tarquin endeavouring to recover the throne, that Coriolanus won his first garland of oak. But it is rather in the heroines than the heroes that the contrast of Antony and Cleopatra and Coriolanus is felt. Against the shifting colours of the kaleidoscope of Cleopatra’s whims and moods, against the hail and storm of her passions, the lurid glow of her lust, the fierce lightning of her wrath, rises the pure white figure of Volumnia, clad in the dignity of Honour and Patriotism, the grandest woman in Shakspere, the embodiment of all the virtues that made the noble Roman lady. It is the heaven of Italy beside the hell of Egypt. And from mothers like Volumnia came the men who conquerd the known world, and have left their mark for ever on the nations of Europe. Read her lines in their beautiful rhythmic prose, ‘“ When yet | he was but | tender-bodied, | and the on | ly son | of my womb. | I . . was pleased | to let him | seek danger | where | he was like | to find fame. | .. HadI | a doz | en sons, | each in | my love | alike, | I had rather | had eleven | die nobly | for their country, | than one | volup | tuously | surfeit | out of | action.” See her overcome her mother’s righteous indignation against her townsmen’s injustice to her gallant son; see her on her knees to that son, for her country’s sake, pleading to him for mercy to her native land, appealing to him in words that all Shakspere’s last plays echo and re-echo to us: ‘ Think’st thou it honourable, for a noble man, still to remember wrongs?” see her win her happy victory, and then return with welcome into Rome, its life; and then acknowledge that no grander, nobler woman, was ever created by Shakspere’s art. Her one fault, her son tells us of, her scorn of the common folk. And as his character was moulded on hers, this fault he shared, but he wilfully greatend it, while his pride and self-love stopt his reaching the height of his mother’s patriotism. ‘Flower of warriors,” as he is, ‘‘ his nature (on one side) too noble for this world,” bravest of the brave, generous in his gifts, his pride —as well of person as of birth—flaws and ruins the jewel of hisrenown. Treated with ingratitude— base and outrageous though in his case it was—he cannot put his country above himself. As Hotspur would third England, so Coriolanus would destroy Rome. His grip is on her throat when his wife Virgilia, mov’d by the gods, stirs his mother to appeal to him. They are joind by Valeria— ** The moon of Rome, chaste as the icicle That's curded by the frost from purest snow, And hangs on Dian’s temple,”— and they visit the Volscian camp. Coriolanus thought he was above nature, that he could hear them unmoved. But mother, wife, and boy prevail. Coriolanus is himself again, and takes death, 1 When a friend of mine was in former days chaplain to a House of Mercy, he told me that what struck him most in the women under his charge was the entire absence of self-control. Every impulse of passion, of feeling good or bad, was yielded to on the instant ; everything was sacrificed to it. This quality was no doubt checkt in Cleopatra by a fox's cunning, a determination to win and keep admiration, a great love of self; but it was her most prominent characteristic. 2 See the Life of Coriolanus reprinted in Hazlitt, I. iii. 257. Also see Courtenay, ii. 210. The text of the play was first printed in the Folio «f 1623. 3 In fact, Cleopatra was a Greek, the daughter of Ptolemy Auletus by a lady of Pontus. Ixxxiv §12. THIRD-PERIOD PLAYS. «. TIMON OF ATHENS. as he should, from the hand of his country’s foe, while his dear ones, unlike Portia, Cordelia, live on in Rome. The ingratitude of the Roman citizens, the cursings of them by Coriolanus, prepare us for the bitterer curses of the next play of this Group. * Timon or ATHENS.—We change from Italy to Greece, from the Republic of Rome to the Republic of Athens. But from Rome in her early legendary days, unlit by the genius of poet or philosopher, to Athens in her palmiest historic time, sunnd with the glory of the greatest names in ancient literature and art—Socrates, Plato, Sophocles, and Aristophanes; Xenophon, Thucydides; Phidias: all these dwelt, in Alcibiades’s time, in Greece. But though the change in land, and light of memory, is great, the burden of Shakspere’s Timon is still the same as that of his Coriolanus, the ingratitude of men :1— * Blow, blow, thou winter wind ! Freeze, freeze, thou bitter sky | Thou art not so unkind Thou dost tot pie fe nigh As man’s ingratitude ; s benefits forgot : Thy tooth is not so keen, Though thou the waters warp, Because thou art not seen, Thy sting is not so sharp Altho’ thy breath be rude. ‘As friend rememberd not.”—As You Like It. The curses of Coriolanus, Thersites, Lear, ring through the play, and no glorious figures of Volumnia, Cordelia, rise to relieve its gloom. Indeed, except the unnamed ladies who dance, harlots alone are the female characters of the play. One wishes it could be movd next to Troilus and Cressida, to which it is closely akin in temper, so that Coriolanus, with its forgiveness for wrongs, and not revenge, might be the transition play from the Third Period to the Fourth. In Timon the only respect-worthy characters are Flavius, Flaminius, the first Stranger, and the Servant who calls Sempronius a villain. The play wants action and characterisation, and is unequal, even in Shakspere’s part. One does not wonder that he left it unfinisht, and let its completer do what he liked with it.2 Other links besides its cursings, between it and Coriolanus are, Alcibiades taking revenge, by invasion, on Athens, as Coriolanus does on Rome; the Senators’ ingratitude, and subsequent appeal for mercy, to the wrongd invader, in each play. With Antony and Cleopatra, Timon is allied, by its story taken partly from Plutarch’s Life of Antony (pp. 399-400, Hazlitt’s Shakspere’s Library, Part I., vol. iii.3), by the name Ventidius in both plays, by a certain gorgeousness of colour over the early part of Timon. Timon’s gold-poison speech reminds us of Romeo’s to the apothecary. The completer’s Lucullus-talk in III. i., seems to me suggested by Shallow’s in 2 Henry IV., III. 1. Shakspere gives us his own account of his play in the Poet’s description of Fortune waving Timon to her hill-set throne and then spurning him, on which all his dependants let him slip down, not one accompanying his declining foot.* Timon is like Lear in thinking he can buy love with gifts. His character is weak and vain, as we see by his foolish self-indulgence and ostentatious generosity; and his weakness is shown just as strongly by his after-rushing to the other extreme, hate of all men, women, and children, and his native land, because his own friends disappoint him. As Apemantus says :— “This is in thee a nature but infected, A poor unmanly melancholy sprung From change of fortune.” And even if we take his own account of his former state and the change in hin— ‘Myself who had the world as my confectionary,” &c. (Act IV., sc. iii.), we see what a poor nature he must have had to be so affected by disappointment, how far short of Orlando’s good sense and modesty, which would have taught him that he himself was the first person he ought to have curst. He could not ask himself Volumnia’s question, ‘‘ Think’st thou it honourable for a noble man still to remember wrongs?” Nor, as Apemantus said, had he ever known the middle of humanity, but only the extremity at both ends. Richardson, an old critic of the play, 1 The plays in which Shakspere dwells specially on ingratitude are, in the First Period, Richard IT. and JIT. ; in the Second, 1 & 2 Henry IV., Henry V., Twelfth-Night (by Viola in III. iv.); in the Third, Julius Cwsar, Lear, Antony and Cleopatra, Coriolanus, Timon ; in the Fourth, The Tempest, Cymbeline, Henry VIII. ? The spurious parts are (probably) part of I. i, 189-240, 258-273 ; certainly I. ii. ; IT. ii, 45-124; all ITT. except vi. 86-102 ; IV. ii. 30-51 ; ili, 292-357, 398-410, 452-538 ; V. i. 1-59 ; V. iv. (New Shakspere Society's Transactions, 130, 242). 3 Mr. Hazlitt also prints :—1. Timon, a play anterior to Shakspere's (Part II.), but which he probably did not use; 2. The Life of Timon, from Painter’s Palace of Pleasure, 1566, vol. i., November 28 (Part I., iv. 395); 3. Account of Timon, from Sir Richard Barckley’s Felicity of Man, 1598 (Part 1., iv. 398). Another passage mentioning ‘‘ Timon, surnamed Misanthropos,” is in Plutarch’s Life of Alcibiades, p. 296 of Skeat’s Shakspere’s Plutarch. , * In five earlier lines is a statement of extreme interest as to Shakspere's own generous spirit in his work (Prof. Masson, in The Reader), so different from that of Greene, Marston, and the like :-— “My free drift Infects one comma in the course I hold ; Halts not particularly, but moves itself But flies an eagle flight, bold, and forth on, In a wide sea of wax : no levell’d malice Leaving no tract behind.” §12. REVIEW OF THE THIRD-PERIOD PLAYS. Ixxxv notices as characteristic of Timon, his weak love of distinction, the ostentatiousness of his liberality, his impatience of admonition, his liking of excessive applause; that his favours did no real good, only gratified men’s passions or vanity; did not relieve the fatherless and widow, but poets, painters, great men, his own attendants; that his gifts were profuse, in order to get profuse praise for them; that he set too high a value on his gifts; that he got for them a due return; he thought he was acting from pure motives, but he wasn’t, only from self-love; his friends felt this, and gave him back nothing in return. Then he weakly turns on all men; he makes sure that he has discovered the best, and that when they fail, all mankind are bad. Yet Shakspere sympathises with Timon, as always with the sufferers, rather than with the practical Alcibiades, who takes the right means to revenge himself for his countrymen’s ingratitude to him. ‘“ Apemantus (whose name means unharmed), why shouldst thou hate men ?” asks Timon. He’s the professional cynic, affecting to despise feasts and rich folk, yet really seeking and enjoying them. Though a despicable character, he yet utters truths, and most wholesome ones, and gives us a sound analysis of Timon’s character. He’s a kind of Third- Period Jaques. The play is clearly not all Shakspere’s. The two epitaphs in the play are both in Plutarch’s Antony: the first, “ A wretched corse,” as on the tomb, and made by Timon; the second, “Here lye I,” as made by the ‘poet Callimachus. May we not rightly put Timon and Coriolanus together as “the second Ingratitude and Cursing Group ” of plays? Before we deal with the Fourth-Period plays, let us cast a glance back over those of the Third Period which we have just considerd. That Third Period opend in 1601, the year of the petted Essex’s rebellion against Elizabeth; and we saw in Julius Cesar, not only Shakspere’s public lesson of political wisdom (as in his early Historical Plays) to his countrymen, but also his private feeling of that ingratitude, treachery, of the closest friend of his hero, that in his Third Period he so often repeated. We saw illustrated, in the suicide of the misjudging, yet noble, Brutus, and the insanity and suicide of his equally noble wife, the lesson of the Third Period, that (the generous are the victims of the designing, and that) for all misjudgment and crime comes death to the misjudger, the criminal,—if Brutus may be so calld,—and the innocent woman whose life is bound upin his. In Hamlet we saw the bright and happy life of the young prince darkend by the lust and ingratitude of his mother, eclipst by the revelation of his ungrateful uncle’s foul murder of his father; while on him, more unfit than Brutus for his task, was laid the burden of revenge. We saw the many shirks from doing his duty of which Hamlet was guilty, and yet how at lust, and as it were under the pressure of that Providence that shapes our ends, rough hew them how we will, the Danish prince in his own death carried out the task his father set him, and again proclaimd that for weakness, misjudgment, as well as crime, death is the penalty on the wrong-doer, while the sweet, weak Ophelia, who loved him, shared his fate. We then turnd to Measure for Measure, and in this, the one so-called comedy of the Period, we had a moral of like kind preacht: in the way you have sinnd, in the same shall you be punisht: atonement you shall make, not shirk. And though this play was called a comedy, we noticed the strong contrast of its gloom of lust and filth with the bright, health-giving, out-door air of all but the last of Shakspere’s second-time comedies. Yet above this lust and filth rose, radiant as a star, the figure of the “ ensky’d and sainted” Isabella, God’s handmaiden, who could not be unclean. Othello came next: and we were let for a while—but oh, so short a one—to dwell on the sweet picture of the hero’s winning, and wooing, and wearing his beautiful bride. But the treacherous, trusted friend, “ honest Iago,” the devil in man’s shape, is soon at work, with his suggestion to Othello of that lust which overshadowd Hamlet and Measure for Measure, and chaos has come again; the noble and generous Moor is the easy victim of his “honest” friend; all Desdemona’s beauty and touching tho’ misjudging innocence, are turned into evidences of her guilt, and she, the pure and guiltless, lies stifled on her bridal bed by the husband who'd set his life upon her faith, Soon his own murderer’s hand lets out his own life-blood: and again the terrible Third-Period lesson is enforced, for misjudgment, un- reasoning jealousy, crime, death is the penalty: no time for repentance is allowd: the innocent must suffer with the guilty. Macbeth comes next. The powers of another world are calld in to help forward the ruin of two human souls ready to fall. For the first time Shakspere has unsext the woman’s nature he so reverenct and lovd (Queen Margaret of 2 & 3 Henry VJ. is not his), and has made ambition turn to gall, that mother’s love, with whose self-forgetfulness and pathos Constance’s heart- wrung utterances still fill our souls. For the first time he has turnd—though here but for a while— a woman to a demon. The traitor couple murder their king and friend. The act would, they thought,— “To all (their) nights and days to come, Give solely sovereign sway and masterdom.,” They’d ‘jump the life to come.” Yet, as Macbeth feard, “ We still have judgment here.” And so they found it. One they were no longer. Sin kept them apart. Nights they had no longer. “ Macbeth, sleep no more ;” “ You lack the season of all nature, sleep ;” “ All the perfumes of Arabia will not sweeten this little hand.” Days of sovereign sway they had not; no joy, no calm content :— Ixxxvi REVIEW OF THE THIRD-PERIOD PLAYS. “ Better be with the dead, Whom we, to gain our peace, have sent to peace, Than on the torture of the mind to lie In restless ecstasy,”— but judgment here: death, under the pangs of conscience, for his wife ; death, from Macduft’s sword, for Macbeth. In no play of the time is the lesson of the Third Period more directly preacht than in Macbeth. The terrors and horrors of Lear follow. Two women are here unsext, and far more terribly than in Lady Macbeth’s case. The ghoul-like lust and fiendish cruelty and ingratitude of Goneril and Regan render them the most repulsive figures inall Shakspere. By their side stand Edmund (a second Iago: what a contrast to the noble Bastard Falconbridge in John !), and Cornwall almost as bad. Ingra- titude of daughters, treachery of a son—driving fathers to despair, to madness, and to death— infidelity of a wife, plotting her husband’s death, and poisoning her sister, to gratify her own lust, the heavens themselves joining in the wild storm of earthly passions, and witchcraft lending itself to enhance their terrors. But still there rises above the foul caldron of vice the gracious figure of Cordelia, who cannot lie; only, when the avenger comes, when judgment is given here, she, the innocent, lies dead among the guilty. Troilus and Cressida comes next, with the bitter, foul-moutht Thersites as its expounder and philosopher. The great early poem of the history of the western world, still the delight of a Gladstone, is stript of all its romance; and the Trojan War is shown in its bittterest, vulgarest reality, as a mere struggle for a harlot-wife, to gratify a cuckold-husband’s revenge. Every one is mean, every onc acts from low motives. Ulysses is just a clever wire-puller, Ajax a bragging fool, Achilles a petty, spiteful chief, who doesn’t even dare to meet his tired enemy alone. Hector prefers a childish notion of honour to right, and patriotism, and good sense. Cressid, so beautiful in Chaucer’s picture, is debased into a mere wanton. No light of nobleness is on the play except in the short reception of Hector by Nestor in the Grecian camp. The end of the war is not given; but Cassandra’s voice tells us it is at hand. Lust and selfishness still prevail, and the noble misjudging Hector has judgment here,— ‘* He's dead ; and at the murderer's horse's tail, In beastly sort, dragged thro’ the shameful field.” Antony and Cleopatra comes next, with its gorgeous Eastern colour, its most wonderful study of a woman that Shakspere ever made. Yct lust and orgies are its theme, the ruin of the noble soul who so loved Cesar and revengd him. We saw how brilliantly he disproved Brutus’s mean estimate of him; we heard the unstinted praise that his rival, Casar’s nephew, gave him for his daring, his generous sharing of all his soldier’s hardships; we saw him tear himself from the arms of the superb paramour who'd enthralld him, and wed that “ piece of virtue” (Caesar), that “ gem of women” (as he called her), noble Octavia, and we hoped that his redemption was nigh. But alas, the lift was but that his fall might be the greater. Again he betook himself to the poison of Cleopatra’s charms, and under them lost all that men valuc most, judgment, honour, manliness, the courage that was his boast, and sank to a dishonourd suicidal grave, the senseless victim of his paramour’s deceit}; while she, from dread of vulgar taunts, died—theatrically-vain and ease-seeking to the last—the gentlest death she could secure, that of asps’ bites on her breast. Coriolanus followd. The noble, high-born warrior is ruind by class-pride. He cannot stoop to seek, at the hands of its givers, the honour that his noble mother has so long longed-for for him, the honour that his brilliant deeds of arms for them, his fellow-citizens, have won. He was born to rule them, not to beg of them. And when, in their quick fit of ingratitude at his scorn—scorn almost as bitter as Thersites’s— they turn on him, as they’d done before, from meaner motives on Brutus—the selfishness at the bottom of all aristocratic pride comes out, Coriolanus puts himself, his own desire of revenge for personal wrong, above his country, and joins her foes. Her life is already in his grasp, and he means to take it, when the splendid figure of his mother—the grand Volumnia, who loves honour and Rome above herself—kneels before him, and wife and boy help him to rise to his own true height, and for- give, not revenge. “ Think’st thou it honourable fora noble man still to remember wrongs?” a prelude of the coming Fourth Period. But, for his mistake, comes judgment here; Coriolanus dies by Volscian hands. His innocents are not involvd with him. They live on in Rome. Lastly came Timon, with its weakly generous, misjudging hero, giving his all to those whom he thought friends, finding them all desert him in his hour of need, and then withdrawing, with curses on all mankind, to get out of the sight of his fellow-men. “Tam misanthropos, and hate mankind.” And so he ends, “ who, alive, all living men did hate.” He, too, has judgment here. ‘The gloom of the play is relievd by no gracious female figure— two harlots, greedy for gold, are the only women introduced: and the faithful steward alone is true. Now look at the mass of evil, of sacrifice of good to ill, of triumph of the base over the noble, that this Third Period represents. Admit gladly that over all the hell-broth of murder, lust, treachery, ingratitude, and crime, there rise the three radiant figures of Isabella, in her saintliness and purity; Cordelia, in 1 Antony runs on his own sword, Eros having first killed himself to avoid killing Antony. — —_ §13. THE FOURTH-PERIOD PLAYS OF RECONCILIATION. a. PERICLES. 1xxxvii her truth and daughter's love; Volumnia, in her devotion to honour and her country: think, too, of the one gleam of happy coming bridal between Isabella and the Duke. But look on the other side, at Cesar, Brutus, and the noble Portia dead; Hamlet and Ophelia dead too; likewise Othello, Desdemona and Emilia, Macbeth and his wife, Banquo, Macdutt’s wife and all his little ones, Lear, Cordelia and eyeless Gloster, beside Regan, Goneril, Cornwall, Edmund, Hector’s gory corpse, Antony self-slain, Cleopatra too, Coriolanus murderd, Timon miserably dead. Think of the temper in which Shakspere held the scourge of the avenger in his hand, in which he felt the baseness, calumny, and injustice of the world around him, in which he saw, as it were, the heavens as iron above him, and God as a blind and furious fate, cutting men off in their sins, involving the innocent with the guilty. Compare for a minute your memories of Shakspere’s patriotic brilliant Second Period. Set the abounding, the overflowing happy life of that, against the bitterness, the world-weariness, of this terrible Third Period, and then decide for yourselves whether this change in Shakspere was one of artist only}, or, as I believe, one of man too; and whether many of the Sonnets do not help you to explain it, with that “hell of time ” through which their writer past :— “For if you were by my unkindness shaken, As I by yours, you have passt a hell of time.”—Sonnet 120, 1. 6. Then turn to the Fourth-Period plays, and note.the change again of temper and of tone. True that they deal with treachery, ingratitude, breach of family-relations, misjudgment, weakness. But where is the avenger here? He is hardly seen. True that Cymbeline’s queen in her guilt, despairing, dies. The fool Cloten is killd. The young Mamilius, under the burden of his base father’s accusation of his noble (mother) Hermione, droops and dies: the one innocent life lost. But in the main, the God of forgiveness and reconciliation has taken the avenger’s place; repentance, not vengeance, is what he seeks. And of all the plays, death is not the end, but life. In three of them the happy bridal life of such sweet girls as Shakspere never before drew, Marina, Miranda, Perdita; - in one, the renewed married life of his queens of wifehood and womanhood, Imogen and Hermione ; in one, the life of her who was to bring “ peace, plenty, love, and truth?” to the England that, with all its faults, Shakspere lovd so well. You turn from the storm, the gloom, and the whirlwind of the Third Period, and see in the Fourth ‘a great peacefulness of light,” a harmony of earth and heaven —sweet, fresh, English country scenes. And here, too, I see the change, not of artist only, but also of the nature of Shakspere himself in his new life in his peaceful Stratford home. The passage from Shakspere’s Third Period to his Fourth always reminds me of the change in Handel’s Israel in Egypt, from the magnificent series of the choruses of the plagues—among them, chief, the gloom and darkness that might be felt, and the terrors of the oppressors’ cries for the death of ( their first-born—to the glad, spring-like, sylvan strain, ‘‘ But as for his people, he led them forth like sheep.” (I hope all my readers know it.) Pericites.—This play forms a fit opening for the Fourth Period, in its happy reuniting of the long-separated family, father, mother, and daughter (Shakspere has now only two daughters, his son died in 1596), and in Pericles’s flood of joy and gratitude at his finding wife and girl again, sweeping away all thought of his intended revenge on his wrongers, Dionyza and Cleon. Pericles is, like Timon, only partly from Shakspere’s hand. He wrote only the last three acts, less the prose brothel scenes and the Gower choruses in them.3 As you read through the dull beginning acts, you at once feel the change of hand when you come on the first words of Act III.: ‘‘'Thou God of this great vast.” You see the birth of Marina, the supposed death and custing into the sea of her mother Thaisa, the committal of the babe to Cleon’s treacherous wife Dionyza, the betrayal of her trust by that harpy, and her persuading Leonine to murder Marina simply because she was more beautiful than her own daughter. Then we see Marina rescued, but see, too, the despair of Pericles on hearing of her (supposed) death, his three months’ silence, and then his recovery under his daughter’s earnest pleas :— “‘ Who starves the ears she feeds, and makes them hungry, The more she gives them speech.” And then his great “sea of joys” rushing upon him when he is convinced of her existence ; then, his first thoughts of vengeance postponed, his visit to the Temple of Diana at Ephesus, the 1 I do not admit as a sufficient answer, that which, of course, rises in one’s mind, that the change from Comedy to Tragedy, and then to Romantic Drama, involvd this change of tone and temper, independent of the author’s own moods. I feel that Shakspere’s change of subject in his different Periods was made because it suited his moods, the different ways in which, on the whole, from Period to Period, he lookt on the world. 2 Fletcher's words to Shakspere’s plan. 3 Mr. Tennyson first pointed out this to me one Sunday in December, 1873. The fact is certain, See the New Shakspere Society's Transactions, 1874, p. 252. On a question like this one cannot accept any foreigner’s opinion as of weight. He cannot judge on it like an Englishman can, tho’ on other as important points he may lead us, and has led us. Ixxxviii § 13. THE FOURTH-PERIOD PLAYS. a. THE TEMPEST. high-priestess, his wife Thaisa, recognising him, and thus finding. husband and daughter at once. ‘Per, Ye gods, your present kindness makes my past misery,” &c. ‘Thenceforth he thinks only of their daughter’s marriage; vengeance is forgotten in his joy. Shakspere’s motive in taking up the story was surely this reunion of father, mother, and daughter, and not the early part, of Apollonius of Tyre’s incest with his child, which Chaucer reproacht Gower for telling. Still, he may have meant to show us Marina by her purity and virgin presence disarming the lust of men, thus giving us in her a Fourth-Period representative of the glorious Third-Period Isabella. Gower’s version of the ancient legend was re-told in two prose forms in Shakspere’s day!, and an expression or two in the 1608 one, “poor inch of nature,” &c., looks like Shaixspere, and as if borrowd from a different version of the play to that which we now have. (See Mr. Collier’s Introduction in Hazlitt, Part I., vol. iv., p. 240, &c.) One passage in Pericles has for me a personal interest as regards Shakspere. Seeing with what contempt he treated the apothecaries in the Errors and Romeo and Juliet, and how little notice he took of the Doctor in Macbeth, we are struck with the very different character he gives to the noble, scientific, and generous Cerymon here. He is a man working for the good of all, the kind of man that Bacon would have desired for a friend. And recollecting that the date of this play is 1608 (or 1607), I cannot help believing that Cerymon represents to some extent the famous Stratford physician ?, Doctor John Hall, who, on June 5, 1607, married Shakspere’s eldest daughter Susanna. The great growth in power shown in the contrast between the scenes of family reunion in Pericles and The Comedy of Errors, between Shakspere’s Fourth Period and his First, I have alluded to above, p. xxv. Pericles appeard in Quarto in 1609 (twice), 1611, 1619, 1630, 1635, and was printed from the sixth or 1635 Quarto in the second issue of the third Folio of Shakspere’s Plays, 1644, with six other fresh plays, all spurious. Ture Trempest.—We turn from the southern to the northern shore of the Mediterranean, from Tyre, where Pericles was Prince, to Naples, where Alonso was King, to Milan, of which Prospero was Duke. We change from Ephesus, where cruel Dionyza plotted her friend’s child’s death, to the fair island in the Mediterranean, the creation of Shakspere’s brain*, where Prospero saved his foe’s child’s life. But though the scene is changed, the Fourth-Period spirit of the Poet is the same. Volumnia’s “‘Think’st thou it honourable for a noble man still to remember wrongs?” is still the burden of the play; the reunion of separated members of a family, the reconciliation of foes, are still its subject, and forgiveness, not revenge, its lesson :— «The rarer action is The sole drift of my purpose doth extend In virtue, than in vengeance : they, being penitent, | Not a frown farther.”—V. i. Surely we may with justice stretch Gonzalo’s sentiment that we have found “all of us ourselves” further than perhaps Shakspere’s use of the words will bear, and thus claim that the truth uttered in them is ‘“‘ when we are not our own alone, when we are emptied of self, when we are most helpful to others, then alone do we find our (true) selves.” No play brings out more clearly than The Tempest the Fourth-Period spirit; and Miranda evidently belongs to that time; she and her fellow, Perdita, being idealisations of the sweet country maidens whom Shakspere would see about him in his renewed family life at Stratford. Of them what better can be said than my friend Mr. Phillpots has said of Miranda, in his Rugby school edition of The Tempest. Differ tho’ they do, each is a phantom of delight, the realisation of Wordsworth’s lines :— ‘Hers shall he the breathing balm, Grace that shall mould the maiden’s form And hers the silence and the calm By silent sympathy. Of mute insensate things. “The stars of midnight shall be dear “The floating clouds their state shall lend To her; and she shall lean her ear To her ; for her the willows bend ; In many a secret place Nor shall she fail to see, Where rivulets dance their wayward round, E’en in the motions of the storm, And beauty born of murmuring sound Shall pass into her face.” Turn back to the First-Period Midsummer-Night’s Dream, and compare with its Stratford girls, staind with the tempers and vulgarities of their day, these Fourth-Period creations of pure beauty and refinement, all earth’s loveliness filld with all angels’ grace; and recognise what Shakspere’s growth has been. Note too that in all the first four Fourth-Period plays are lost daughters or sons. 1 The Patterne of Painfull Aduentures, by Lawrence Twine, 1576 (in 1 Hazlitt, iv., with Gower’s Apollonius of Tyre), and a later tract by George Wilkins, whose title-page alludes to Shakspere’s play, ‘‘ The Painfull Aduentures of Pericles, Prince of Tyre, being The True History of the Play of Pericles, as it was lately presented by the worthy and ancient poet, Iohn Gower,” 1608. Wilkins’s tract has been reprinted in Germany. Mr. Hazlitt gives its ‘‘ Argument of the whole Historie,” and list of “Names of the Personages,” I. iv. 243-7. The Life of Pericles of ATHENS, from North’s Plutarch, was inadvertently put by Mr. Ilazlitt into his collection. There is no like life of Pericles of TyRE. 2 See his “Cures Performed upon very Eminent Persons in Desperate Diseases, put into English by James Cooke,” and publisht in 1657. 3 No original of his story is known. §13. FOURTH-PERIOD PLAYS. a. THE TEMPEST. b. CYMBELINE. lxxxix The general consent of critics and readers identifies Shakspere, in the ripeness and calmness of his art and power, more with Prospero than with any other of his characters; just as the like consent identifies him, in his restless and unsettled state, in his style of less perfect art, with Hamlet. ‘When we compare Prospero’s “We are such stuff As dreams are made of, and our little life Is rounded with a sleep ” with all the questionings and fears about the future life that perplext and terrified Hamlet and Claudio, we may see what progress Shakspere has himself made in soul. The links of this play with Pericles are the opening storm in each, Thaisa and Marina thought drowned or dead, and yet restored to Pericles; Ferdinand, and Prospero, and Miranda thought drowned, and yet restored to Alonso ; revenge forgotten by Pericles in the fulness of his joy, revenge overcome in Prospero by his willing- ness to forgive. With earlier plays we can hardly help comparing the faithful, cheery Gonzalo who provides Prospero and Miranda in their danger with clothes, and food, and books, with the faithful Kent, and Gloster who provides Lear with a room and a litter to drive towards Dover. Caliban is hinted at in Troilus (Act III., sc. iii., line 264), while Prospero’s speech to Miranda about the zenith and the star, is like Brutus’s on the tide in the affairs of men. In his inattention to his government, Prospero is like the Duke in Measure for Measure. With Hamlet we have the likenesses of Antonio getting rid of Prospero and seizing his crown, to Claudius’s murder of Hamlet’s father and taking his crown; and Prospero’s warning to Ferdinand that ‘the strongest oaths are straw to the fire in the blood” like Polonius’s to Ophelia of the blazes when the blood burns, giving more light than heat. But Prospero, unlike Hamlet, has been taught by the discipline of his island life, and as soon as fortune gives him his first chance, he acts, and obtains his end. As a fairyland play, the links of The Tempest with Midsummer-Night’s Dream are strong. But now it is no longer as in Shakspere’s youth, that men and women are toys for fairies’ whims to play with; in his age the poet uses his magic to wield the fairy-world and the powers of nature for the highest possible end—the winning back to good, of human souls given over to evil. Contrast, too, for a moment, Oberon’s care for the lovers in the Dream, with the beautiful, tender feeling of Prospero for Miranda and Ferdinand here. He stands above them almost as a god, yet sharing their feelings and blessing them. Note, too, how his tenderness for Miranda revives in his words, ‘‘ The fringed curtains of thine eyes advance,” the lovely fancy of his youth, her “two blue windows faintly she upheaveth” (Menus and Adonis, line 482). He has seized in Miranda, as in Perdita, on the new type of sweet country-girl unspoilt by town devices, and glorified it into a being fit for an angels’ world. And as he links earth to heaven with Miranda, so he links earth to hell with Caliban. In Caliban, too, and Gonzalo’s ideal commonwealth! he no doubt gave utterance to the thoughts which the beginning of the newly-founded colonial empire of England raised in him, and from the tracts about which in 1610 on the Bermudas and Virginia, he took the storm and the much-vexed Bermoothes. The play preserves the unities of time and place as well as that of action, to which alone Shakspere generally attends. The unity of time required that the play should take in acting the same time as the events that occasion it; and the action of The Tempest is comprised within three or four hours. The unity of place required that the different scenes should be reachable by the characters in the same time, and here the only distance to be travelled is from the sea-shore to Prospero’s cell. As in Pericles and Zhe Tempest, the forgiveness is wholly on the men’s part—Pericles’ and Prospero’s—I propose to put these two plays together as the first Group of the Fourth Period. The Tempest was first printed in the Folio of 1623. CyrmBerLine.—If with The Tempest Shakspere meant to break his magician’s wand, to bury it “certain fathoms in the earth, and deeper than did ever plummet. sound” drown his book (Act V., sc. i., lines 54-7), he happily for the world alterd his mind. From his enchanted island in the Mediterranean and its wise ruler self-controlld, he passt to Britain, and its king, the slave of unreasoning passions. Yet it was not Lear’s savage island, but a half-civilised, Romanised one. Still, like Lear, Cymbeline is a race-play, a Keltic one?; quick, unreasoning passion is yielded to by every leading character, by Cymbeline when he believes two villains’ oaths against Belarius, and banishes him; when workt on by his beautiful, flattering wife’s revenge against Posthumus, he banishes him and almost curses his daughter Imogen; when under the influence of the same wife’s ambition he refuses to pay Czesar’s tribute; when he at first yields to his impulse to avenge Cloten’s murder, and dooms his son Guiderius to death; by his Queen, in her revenge on Posthumus, and Imogen, and her own death; by Posthumus in his direction to kill Imogen; by Imogen in her impetuous love for Posthumus, her pretty impatience to fly to Milford-Haven, her wish for death; 1 Taken from Florio’s englisht Montaigne’s Essays, 1603, extract in 1 Hazlitt, Pt. II., iv. 7, with the Search for the Island of Lampedusa, from Harrington’s Ariosto, canto xli., a.D. 1591, ib., pp. 3-6. 2 See my friend Mr. Hales’s paper on Lear in The Fortnightly Review, for 1874? xe §13. FOURTH-PERIOD PLAYS. b. CVMBELINE. and by Belarius in his revenge of stealing Cymbeline’s sons, With the story of British legend Shakspere wove one of those Italian novels he had so often used before, in which the quick resource and turns of Iachimo (equal Iago) are like those of Proteus and the Duke in The Two Gentlemen of Verona. It would seem as if after the effort of originality in The Tempest, as before in the Midsummer- Night's Dream, he fell back on other men’s inventions. Here, too, we may say partly his own, for in Cymbeline, Lear, Othello, §c., are freely used. Yet that it is a ripe play in thought, the lines— “ Reverence, that angel of the world.” “Those that I reverence, those I fear, The wise "— are enough to show, even if the metrical structure, the number of three syllables in one measure, did not coincide with its lateness in purpose and character. The Fourth-Period doctrine, of repentance for sin, and sin’s forgiveness, is the burden here; pardon’s the word for all. The Italian story is from Boccaccio. Imogen is Madonna Zinevra; Bernardo Lomelin is Posthumus, and offers the wager, Ambrogiuolo da Piacenza (for Iachimo) accepts it, and by bribing a woman friend of the wife’s gets into her bed-chamber in a chest, comes out when she’s asleep, notes the furniture, &c., and the mole beneath her left breast, with some six little hairs as bright as gold round it, and with this convinces the hesitating husband, who writes to his wife to come to him, and charges his servant to kill her on the road. The man lets her off, she assumes male dress, at last exposes Ambrogiuolo, and tortures him to death, but forgives her husband. The story is also in the old French Loman de la Violette, and Le Compte de Poiticrs, in the old French mystery play, Un Miracle de Notre Dame, and in the English Westward for Sielts (1620), probably not used by Shakspere.! The links of Cymbeline are strongest with Winter's Tale, and will be noticed in the comment on that play. Asin The Tempest, we have the vices of the court and the virtues of the country contrasted. As in Lear, we have the weak and passionate king, cruelly unjust to his noble daughter. The picture in Imogen’s room is that of Cleopatra on the Cydnus, so gorgeously painted in Shakspere’s play. With Othello, driven to jealous fury by Iago, we compare Posthumus in like case by Iachimo. With Imogen’s— “ Against self-slaughter “There is a prohibition, so divine, that cravens My weak hand ”"— we compare Hamlet’s— “Oh, that the Everlasting had not fixt His canon ’gainst self-slaughter.” With Belarius’s account of country life and town we compare the Duke’s in As You Like It, and with the description of how Imogen is to act the man, the like passages in ts You Like It, The Merchant, and The Two Gentlemen of Verona. The lovely picture of Imogen in bed takes us back to that of Lucrece; and the separation of Imogen and Posthumus to come together again, as she thinks, at Milford-Haven, or at any rate her impatience to join her husband, may be contrasted with Juliet’s passionate desire to have Romeo in her arms. As Cymbeline is mainly a fool, and his Queen altogether a villain, we turn to the hero and heroine of the play, Posthumus and Imogen. And although the accounts of the Gentleman in the first scene, and Iachimo in the fifth, lead us to expect a perfect character, yet Posthumus shows himself, as he says, ‘‘ a most credulous fool,” sooner convinced than Othello, unable to see how poor the evidence of his wife’s guilt is, till Philario shows him. He has none of Othello’s noble wrath against his tempter, during the temptation scene; and his abuse of all women on his false and groundless suspicion of one is mean. But his repentance is as full as his sin has been greut. Once and again he desires death for Imogen. He feels that nothing is too great to carry out his atonement for his sin against her. We wish we could have been spared his striking of his page-wife to the ground, but it was because he thought she scorned herself; forgiven, he forgives, and teaches Cymbeline to forgive too. Imogen is one of those characters whom it is impertinence to praise. With all Juliet’s impetuous affection and wealth of fancy— . “ E’er I could And like the tyrannous breathing of the North Give him that parting kiss which I had set Shakes all our buds from growing,”"— Betwixt two charming words, comes in my father, a she is nobler, wiser far. To judge of her height above Posthumus, compare her receiving of Iachimo’s assertions of Posthumus’s infidelity, with Posthumus’s receiving of those against her. Note her noble indignation against Iachimo’s base proposals to her, in which the princess as well as the wife speaks. Then the clever turn of Iachimo, and his instant pacifying of her by his praise of her 1 Holinshed has but little about Cymbeline that Shakspere uses. Hazlitt prints an extract, tho’ without the names of the king’s sons, and the payment of the Roman tribute, in his Shakspere’s Library, Pt. I., vol. ii., pp. 194-6. See also Courtenay’s Commentaries, vol. ii. Hazlitt likewise prints, I. ii. 179-193, abstracts of the French Violette, Compte de Poitiers, and Miracle stories, and of Boccaccio’s Tale of Bernabo Lomellia of Genoa. §13. FOURTH-PERIOD PLAYS. b. WINTER'S TALE. xei husband. Passionate though her nature is, Posthumus yet bears witness to her restraint of him. Her love for him again breaks out in her defence of him against Cloten’s abuse; and great is the unconscious pathos of her words on her lost bracelet :— “T hope it be not gone to tell my lord That I kiss aught but he.” Her husband’s consciousness of her love is shown in his letter to her, like Antonio’s to Bassanio in The Merchant—*+ What your own love will, out of this, advise you, follow.” She calls for a ‘‘ horse with wings,” she who, like Chaucer's Canterbury pilgrims, can only ride of miles “ one score ’twixt sun and sun.” Then when, instead of clasping her husband in her arms, she hears his slander, whose edge is sharper than the sword, her pathetic answer, “False to his bed! what is it to be false?” (like Sonnet 61), prepares us for her willingness, like Viola’s, that her master’s bidding should be done, and her life given up to his base wish. Then comes her meeting with her unknown brothers, her death, like Juliet’s, for a time, and the song so little adapted to Euriphile but so fit for her, and in part for Shakspere himself, that her brothers sing over her supposed corpse. But she rises again, not like Juliet to sink into the grave, but to re-live her life more truly than before, the queen, the life, the wife, of the husband she has lifted to herself, the daughter of the father of whose comfort she was great part, the sister of the brothers to whom she had been as the sweet smell of eglantine.? Winter’s Tare.—We turn from our murky Britain again to sunlit Sicily and the Mediterranean, and though Mamilius tells us that— ‘A sad tale’s best for winter,” yet, notwithstanding all Hermione’s suffering, and the death of her gallant boy, who used to frighten her with goblin stories, we can’t call Shakspere’s MVinter’s Tale sad. It is so fragrant with Perdita and her primroses and violets, so happy in the reunion and reconciliation of her and her father and mother, so bright with the sunshine of her and of Florizel’s young love, and the merry roguery of that scamp Autolycus, that none of us can think of The Winter's Tale as a ‘‘sad tale” or play. The last complete play of Shakspere’s as it is, the golden glow of the sunset of his genius is over it, the sweet country air all through it; and of few, if any of his plays, is there a pleasanter picture in the memory than of Winter’s Tale. As long as men can think, shall Perdita brighten and sweeten, Hermione ennoble, men’s minds and lives. How happily, too, it brings Shakspere before us, mixing with his Stratford neighbours at their sheep-shearing and country sports, enjoying the vagabond pedlar’s gammon and talk, delighting in the sweet Warwickshire maidens, and buying them “ fairings,” telling goblin stories to the boys, ‘“‘ There was aman dwelt by a churchyard’, ”—opening his heart afresh to all the innocent mirth, and the beauty of nature around him. He borrowed the impro- bable story of his play from a popular tale by his old abuser Greene, Pandosto‘ (or Dorastus and Fawnia— who is Perdita), of which the first edition in 1588 was followed by thirteen others, and which puts the inland Bohemia on the sea-shore, as Shakspere does. This tale contains no original of Paulina and Autolycus, or the reconcilation of Leontes and Hermione; the shepherd’s wife’s name is Mopsa; the queen dies on hearing of the death of her son. Shakspere changes Bohemia for Sicily, and vice versa. We must accept the medley and anachronisms of this play, as Hudson says, “ making Whitsun pastorals, Christian burial, Giulio Romano, the Emperor of Russia, and Puritans singing psalms to hornpipes, all contemporary with the oracle of Delphi.” ‘It is a winter’s tale, an old tale,” and one must not object to confusions in it. It is Greene’s tale, informed by a new spirit, instinct with a new life. ‘he play is late in metre, in feeling, in purpose. It has no five-measure tyme in the dialogue, its end-stopt lines are only one in 2°12, its double-endings are as many as one in 2°85; it has passages in Shakspere’s latest budding style, ‘‘ What you do, still betters what is done,’ &c. Its purpose, its lesson, are to teach forgiveness of wrongs, not vengeance for them; to give the sinner time to repent and amend, not to cut him off in his sin; to frustrate the crimes he has purpost. And asin Pericles, father and lost daughter, and wife and mother thought dead, meet again; as in Cymbeline, father and injured daughter meet again, she forgiving her wrongs; as there, too, friends meet again, the injured friend forgiving his wrongs, so here do lost daughter, injured daughter and injuring father, meet, he being forgiven; so injured friend forgiving, meets 1 Compare this with Othello’s like words on Desdemona. . 2 The play was first printed in the Folio of 1623. The vision must have been written by some one else than Shakspere. 3 Who will finish it for us? . : 4 Reprinted in Hazlitt’s Shakspere’s Library, Part I., vol. iv., pp. 18-83. Mr. Hazlitt suggests that Shakspere had also an eye to Gascoigne’s englisht ‘ Phoenisse ” of Euripides, presented at Gray’s Inn in 1566, and printed in Gascoigne’s . Works, 1573, 1575, 1587, (ed. Hazlitt, 1869-70) ; and that for the character of Autolycus he may have recollected the amusing pedlar in the curious Book of Dives Pragmaticus, 1563 (reprinted in Mr. H. Huth's Fugitive Tracts, 1875), who sold everything then known under the sun. Dr. Simon Forman saw Iinter's Tale performed at the Globe on May 15, 1611, as we have noted above, p. xviii. 5 And none of Antigonus or the shepherd’s son. xcii §13. FOURTH-PERIOD PLAYS. b. HENRY VIII injuring friend forgiven; while above all rises the figure of the noble, long-suffering wife Hermione, forgiving the base though now repentant husband who had so cruelly injured her. She links this play to Shakspere’s last fragment Henry VIII., and makes us believe that this twice- repeated reunion of husband and wife, in their daughter, late in life, this twice-repeated forgiveness of sinning husbands by sinned-against wives, have somewhat to do with Shakspere’s reunion with his wife, and his renewd family lite at Stratford. The Fourth-Period melody is heard all through the play. We see, too, in The Winter's Tale the contrast between court and country, that The Tempest and Cymbeline showed us. Plenty of other links there are, of which we will note only two: First, one like the sword line at the end of Lear and Othello, “ Slander, whose sting is sharper than the sword’s” (Winter’s Tale, II. iii. 85) ; Slander, whose edge is sharper than the sword” (Cymbeline, IIT. iv. 35); and second, the clown’s clothes making the gentleman-born in Minter’s Tale, and Cloten's ‘Know’st thou me not by my clothes 2” In The Tempest we havea storm as here, while our play is linkt to Othello by the king’s monomaniacal jealousy being like Othello’s, though here it is self-suggested, not from without by an Iago. Paulina here is a truer Emilia: she steals no handkerchief: but the ladies are alike in their love for their mistresses, and in their violent indignation, so well-deserved, against their masters. The pretty picture of the two kings’ early friendship, which reminds us of those of Celia and Rosalind in fs You Like It, and of Hermia and Helena in the Dream\, is soon broken down by the monomania of Leontes’s jealousy, and the disgracefulness of his talking to his boy Mamilius about his wife’s supposed adultery. His attempt to get Camillo to poison Polixenes is more direct than even John’s with Hubert to murder Arthur, Richard’s with Tyrrel to strangle the innocents, Henry the Fourth’s with Exton to clear Richard the Second from his path. His sending his guiltless daughter to her death, and his insistance on his wife’s guilt and trial, are almost madness too. But his repentance, like Posthumus’s, comes at last, and is, we hope, as real. At any rate, he gets the benefit of Shakspere’s Fourth-Period mood, which has restord to him the wife and daughter whom he never deserved. Hermione is, I suppose, the most magnanimous and noble of Shakspere’s women ; without a fault, she suffers, and for sixteen years, as if for the greatest fault. If we contrast her noble defence of herself against the shameless imputation on her honour, with the conduct of earlier women in like case, the faltering words and swoon of Hero, the few ill-starrd sentences of Desdemona, saying just what would worst inflame her husband’s wrath, the pathctic appeal and yet submission of Imogen, we see how splendidly Shakspere has developd in his last great creation. And when Camillo’s happy suggestion that Florizel should take Perdita to Sicily and Leontes has borne fruit, and Shakspere,—forced to narrative, as in the news of Lear to Cordelia,—unites father and daughter, and then brings both into union before us with the mother thought so long a corpse and still u stone, the climax of pathos and delight is reached: art can no farther go. Combined with this noble, suffering figure of Hermione, and her long-sundered married life, is the sweet picture of Perdita’s and Florizel’s love and happy future. Shakspere shows us more of Perdita than of Miranda ; and heavenly as the innocence of Miranda was, we yet feel that Perdita comes to us with a swecter, more earth-like charm, though not less endowed with all that is pure and holy, than her sister of the imaginary Mediterranean isle. On these two sweet English girls, bright with the radiance of youth and love, the mind delights to linger, and does so with happiness, while sadness haunts the recollection of Shakspere’s first great girl-figure Juliet, beautiful in different kind. Not only do we see Shakspere’s freshness of spirit in his production of Perdita, but also in his creation of Autolycus. That, at the close of his dramatic life, after all the troubles he had passed through, Shakspere had yet the youngness of heart to bubble out into this merry rogue, the incarna- tion of fun and rascality, and let him sail off successful and unharmed, is wonderful. And that there is no diminution of his former comic power is shown, too, in his clown, who wants but some- thing to be a reasonable man. With this play we close the genuine dramas of Shakspere, and have now only two to deal with, of which he wrote parts, and of which his loose sheets must have been handed to another man to complete and revise, as in the case of Timon. Henry VIII.—That this is a play of Shakspere’s latest style is evident to any one who really knows the characteristics of that style; the outward marks show it, no less than the inward spirit. The frequent occurrence of the weak-ending2, which alone appears in any numbers in the late plays, the many run-on and extra-syllable lines, the easy conversational flow of parts of the dialogue, the difference between the rhetorical speeches here and in early historical plays, like John, are all evidences of Shakspere’s latest style. While in characters, Queen Katharine and her unjust husband are the match of Hermione and hers of The Winter's Tale. To wrench Katharine from 1 Note the likeness of Hermione’s how pretence of love will manage wives, to that of Luciana in the Errors. 2 Professor Ingram, of Trinity College, Dublin, has a paper on the weak- and light-endings in Shakspere in the New Shaksp, Sve.’s Trans., 874. The 17 weak-endings are “and, as, at, but(=L, sed, and=ercept), by, for (prep. and conj.), from, if, in, of, on, nor, or, than,that (rel. and conj.), to, with.” The 54 light-endings are ‘am, are, art, be, teeny but (=only), can, could, did,! do,! does,! doth, ere, had,! has,! hath,! have,! he, how,? I, into, is, like, may, might, shall, shalt, she, j §13. FOURTH-PERIOD PLAYS. b. HENRY VIII. xeiii Shakspere’s last time to his early second, as Mr. Swinburne would do, is like putting autumn fruit on a tree in spring. The only excuse for the folly of making Henry VIII. a Second-Period play, is the weakness of many parts of that play; but it is abundantly clear that these weak passages, and the disappointing effect of the whole play, are due to Fletcher}, and not to Shakspere. The great authority on this question is my friend Mr. James Spedding, the able editor of Bacon. The suggestion of the view supported by him with so much ability was made to him by Mr. Tennyson; it has been confirmed by Mr. Browning, and supported by such able critics as Professor Ingram and Professor Dowden. On the general question, Mr. Spedding observes :—‘‘ The effect of this play as a whole is weak and dis- appointing. ‘The truth is that the interest, instead of rising towards the end, falls away utterly, and leaves us in the last act among persons whom we scarcely know, and events for which we do not care. The strongest sympathies which have been awakened in us run opposite to the course of the action. Our sympathy is for the grief and goodness of Queen Katharine, while the course of the action requires us to entertain as a theme of joy and compensatory satisfaction the coronation of Anne Bullen and the birth of her daughter; which are in fact a part of Katharine’s injury, and amount to little less than the ultimate triumph of wrong. For throughout, the king’s cause is not only felt by us, but represented to us, asa bad one. We Acar, indeed, of conscientious scruples as to the legality of his first marriage; but we are not made, nor indeed asked, to believe that they are sincere, or to recognise in his new marriage either the hand of Providence, or the consummation of any worthy object, or the victory of any of those more common frailties of humanity with which we can sym- pathise. The mere caprice of passion drives the king into the commission of what seems a great iniquity; our compassion for the victim of it is elaborately excited; no attempt is made to awaken any counter-sympathy for him; yet his passion has its way, and is crowned with all felicity, present and to come. The effect is much like that which would have been produced by The Winter's Tale if Hermione had died in the fourth Act in consequence of the jealous tyranny of Leontes, and the play had ended with the coronation of a new queen and the christening of a new heir, no period of remorse intervening. It is as if Nathan’s rebuke to David had ended, not with the doom of death to the child just born, but with a prophetic promise of the felicities of Solomon. “This main defect is sufficient of itself to mar the effect of the play as a whole. But there is another, which though less vital isnot less unaccountable. The greater part of the fifth Act, in which the interest ought to be gathering to a head, is occupied with matters in which we have not been prepared to take any interest by what went before, and on which no interest is reflected by what comes after. The scenes in the gallery and council-chamber, though full of life and vigour, and, in point of execution, not unworthy of Shakspere, are utterly irrelevant to the business of the play ; for should, since, so (as),3 such (as), they. thou, though, through, till, upon, was, we, were, what,? when,? where?, which, while, whilst, who,? whom,? why,? will, would, yet (=tamen), you.” [1 Only when auxiliaries. ? When not directly interrogative. 3 And so = if only.] Here is an extract from Professor Ingram’s table of these endings in the late plays, whose order alone they help to settle :— No. of No. of No. of | Percentage | Percentage | Percentage light- weak- Verse lines of light- of weak- of both endings. | endings. in play, endings. endings. together. Macbeth | 21 2 THMON & «4 a 15 2 1112 1°35 ? Antony and Cleopatra . 71 28 2803 2°53 1:00 3°53 Coriolanus . . . . 60 44 2563 2°34 171 4:05 Pericles (Shakspere part). | 20 10 719 278 1°39 417 Tempest : : 42 25 1460 2°88 171 4°59 Cymbeline. . . . . 78 52 2692 2°90 1°93 4°83 Winter's Tale. . * . 57 45 1825 3°12 2°47 5°59 Two Noble Kinsmen (non- Fletcher part) . . . 50 34 1378 3°63 2°47 610 Henry VIII. (Sh.’s part) . 45 37 1146 3°93 3°23 716 1 Mr. Swinburne’s assertion that the Fletcher part of the play containd none of that author's characteristic final treble endings was so odd a blunder—like saying that there was no z in the alphabet—that I supposd it was an over- sight, and pointed it out, with the evidence for its correction, in T’he Academy of January 8, 1876. But as Mr. Swinburne, instead of acknowledging his blunder, defended it, and said the triple endings were double ones, I had to quote in The Academy of January 29, 1876, all the instances in Shakspere and Milton for the use of one he had brought forward, ignorance; and they of course showd that Shakspere used the word 24 times as a trisyllable to 4 times as a dissyllable, while Milton used it always as a trisyllable, and had himself by anticipation answerd Mr. Swinburne’s assertion, saying, by his last use of it, that it was not a dissyllable, ‘‘ Though so | esteemd | by shal | low ig | norance |.” (Comus, 514.) I believe that the student will be able to match, out of the Fletcher part of Henry VIIL, nearly every metrical characteristic of that author, of which examples are given by Darley in his Preface to Beaumont and Fletcher’s Works. Instances of the heavy 11th syllable I pointed out in my first Academy letter. xciv §13. FOURTH-PERIOD PLAYS. b. HENRY VIII. what have we to do with the quarrel between Gardiner and Cranmer? Nothing in the play is ex- plained by it, nothing depends upon it. It is used only (so far as the argument is concerned) as a preface for introducing Cranmer as godfather to Queen Elizabeth, which might have been done as a matter of course without any preface at all. The scenes themselves are indeed both picturesque and charactcristic and historical, and might probably have been introduced with excellent effect into a dramatised life of Henry VIII. But historically they do not belong to the place where they are introduced here, and poetically they have in this place no value, but the reverse. “With the fate of Wolsey, again, in whom our second interest centres, the business of this last Act does not connect itself any more than with that of Queen Katharine. The fate of Wolsey would have made a noble subject for a tragedy in itself, and might very well have been combined with the tragedy of Katharine; but, as an introduction to the festive solemnity with which the play concludes, the one seems to be as inappropriate as the other. . . . . . . ; “©T know no other play in Shakspere, which is chargeable with a fault like this, none in which the moral sympathy of the spectator is not carried along with the main current of action to the end. In all the historical tragedies a Providence may be seen presiding over the development of events, as just and relentless as the fate in a Greek tragedy. Even in Henry IV., where the comic element pre- dominates, we are never allowed to exult in the success of the wrong-doer, or to forget the penalties which are due to guilt. And if it be true that in the romantic comedies our moral sense does some- times suffcr a passing shock, it is never owing to an error in the general design, but always to some incongruous circumstance in the original story which has lain in the way and not been entirely got rid of, and which after all offends us rather as an incident improbable in itself than as one for which our sympathy is unjustly demanded. The singularity of Henry VIII. is that, while four-fifths of the play are occupied in matters which are to make us incapable of mirth,— ‘Be sad, as we would make you: think ye see Of thousand friends : then in a moment see The very persons of our history How soon this mightiness meets misery ! As they were living; think you see them great, And if you can be merry then, I’ll say And followed with the general throng and sweat A man may weep upon his wedding day,’— the remaining fifth is devoted to joy and triumph, and ends with universal festivity :— ‘This day let no man think He has business at his house ; for all shall stay : This little one shall make it holiday.’ “Of this strange inconsistency, or at least of a certain poorness in the general effect which is amply accounted for by such inconsistency, I had for some time been vaguely conscious; and I had also heard it casually remarked by a man of first-rate judgment on such a point [Tennyson] that many passages in Henry VIII. were very much in the manner of Fvetcher ; when I happened to take up a book of extracts, and opened by chance on the following beautiful lines :— ‘Would I had never trod this English earth, 1 Shipwrecked upon a kingdom, where no pity, Or felt the flatteries that grow upon it ! No friends, no hope ; no kindred weep for me, Ye have angels’ faces, but heaven knows your hearts, Almost no grave allowed me :—Like the lily, What will become of me now wretched lady ? That once was mistress of the field and flourish’d, Tam the most unhappy woman living. I'll hang my head and perish.’ Alas ! poor wenches, where ure now your fortunes ? “Was it possible to believe that these lines were written by Shakspere ? I had often amused myself with attempting to trace the gradual change of his versification from the simple monotonous cadence of The Two Gentlemen of Verona, to the careless felicities of The Winter's Tale and Cymbeline, of which it seemed as impossible to analyse the law, as not to feel the melody; but I could find no stage in that progress to which it seemed possible to refer these lines. I determined upon this to read the play through with an eye to this especial point, and see whether any solution of the mystery would present itself. The result of my examination was a clear conviction that at least two different hands had been employed in the composition of Henry VIII. ; if not three; and that they had worked, not together, but alternately upon distinct portions of it. ‘This is a conclusion which cannot of course be established by detached extracts, which in questions of style are doubtful evidence at best. The only satisfactory evidence upon which it can be determined whether a given scene was or was not by Shakspere, is to be found in the general effect produced on the mind, the ear, and the feelings by a free and broad perusal; and if any of your - readers care to follow me in this inquiry, I would ask him to do as I did—that is, to read the whole play straight through, with an eye open to notice the larger differences of effect, but without staying to examine small points. The effect of my own expcriment was as follows :— “ The opening of the play—the conversation between Buckingham, Norfolk, and Abergavenny— seemed to have the full stamp of Shakspere, in his latest manncr: the same close-packed expression ; the same life, and reality, and freshness; the same rapid and abrupt turnings of thought, so quick ae 2 SS —~ §13. FOURTH-PERIOD PLAYS. b. HENRY VIII. xev that language can hardly follow fast enough; the same impatient activity of intellect and fancy, which having once disclosed an idea cannot wait to work it orderly out; the same daring confidence in the resources of language, which plunges headlong into a sentence without knowing how it is to come forth; the same careless metre which disdains to produce its harmonious effects by the ordinary devices, yet is evidently subject to a master of harmony; the same entire freedom from book-language and common-place ; all the qualities, in short, which distinguish the magical hand which has never yet been successfully imitated. “In the scene in the council-chamber which follows (Act I., sc. ii.), where the characters of Katharine and Wolsey are brought out, I found the same characteristics equally strong. “ But the instant I entered upon the third scene, in which the Lord Chamberlain, Lord Sands, and Sir Thomas Lovell converse, I was conscious of a total change. I felt asif I had passed suddenly out of the language of nature into the language of the stage, or of some conventional mode of conversation. The structure of the verse was quite different and full of mannerism. The expression became suddenly diffuse and languid. The wit wanted mirth and character. And all this was equally true of the supper scene which closes the first Act. “The second Act brought me back to the tragic vein, but it was not the tragic vein of Shakspere. When I compared the eager, impetuous, and fiery language of Buckingham in the first Act with the languid and measured cadences of his farewell speech, I felt that the difference was too great to be accounted for by the mere change of situation, without supposing also a change of writers. The presence of death produces great changes in men, but no such change as we have here. “When in like manner I compared the Henry and Wolsey of the scene which follows (Act IT., sc. ii.) with the Henry and Wolsey of the council-chamber (Act I., sc. ii.), I perceived a difference scarcely less striking. The dialogue, through the whole scene, sounded still slow and artificial. “The next scene brought another sudden change. And, as in passing from the second to the third scene of the first Act, I had seemed to be passing all at once out of the language of nature into that of convention, so in passing from the second to the third scene of the second Act (in which Anne Bullen appears, I may say for the first time, for in the supper scene she was merely a conventional court lady without any character at all), I seemed to pass not less suddenly from convention back again into nature. And when I considered that this short and otherwise insignificant passage contains all that we ever see of Anne (for it is necessary to forget her former appearance) and yet how clearly the character comes out, how very a woman she is, and yet how distinguishable from any other individual woman, I had no difficulty in acknowledging that the sketch came from the same hand which drew Perdita. “Next follows the famous trial-scene. And here I could as little doubt that I recognised the same hand to which we owe the trial of Hermione. When I compared the language of Henry and of Wolsey throughout this scene to the end of the Act, with their language in the council-chamber (Act I., sc. ii.), I found that it corresponded in all essential features ; when I compared it with their language in the second scene of the second Act, I perceived that it was altogether different. Katharine also, as she appears in this scene, was exactly the same person as she was in the council-chamber; but when I went on to the first scene of the third Act, which represents her interview with Wolsey and Campeius, I found her as much changed as Buckingham was after his sentence, though without any alteration of circumstances to account for an alteration of temper. Indeed the whole of this scene seemed to have all the peculiarities of Fletcher, both in conception, language, and versification, without a single feature that reminded me of Shakspere; and, since in both passages the true narrative of Cavendish is followed minutely and carefully, and both are therefore copies from the same original and in the same style of art, it was the more easy to compare them with each other. “Tn the next scene (Act IIL., sc. ii.) I seemed again to get out of Fletcher into Shakspere; though probably not into Shakspere pure; a scene by another hand perhaps which Shakspere had only re- modelled, or a scene by Shakspere which another hand had worked upon to make it fit the place. The speeches interchanged between Henry and Wolsey seemed to be entirely Shakspere’s ; but in the alterca- tion between Wolsey and the lords which follows, I could recognise little or nothing of his peculiar manner, while many passages were strongly marked with the favourite Fletcherian cadence!; and as for the famous ‘ Farewell, a long farewell,’ &c. though associated by means of Enfield’s Speaker with my earliest notions of Shakspere, it appeared (now that my mind was open to entertain the doubt) to belong entirely and unquestionably to Fletcher. “Of the fourth Act I did not so well know what to think. For the most part it seemed to bear evidence of a more vigorous hand than Fletcher’s, with less mannerism, especially in the description 1 As, for instance :-— 5 2 ‘Now I feel Ye appear in everything may bring my ru | in! Of what base metal ye are moulded,—En | vy. Follow your envious courses, men of mal | ice: How eagerly ye follow my disgra | ces Ye have Christian warrant for them,’ &. As if it fed ye, and how sleek and wau | ton xevi §13. HENRY VIE §14. DOUBTFUL PLAYS. THE TWO NOBLE KINSMEN. of the coronation, and the character of Wolsey; and yet it had not, to my mind, the freshness and originality of Shakspere. It was pathetic and graceful, but one could see how it was done. Katharine’s last speeches, however, smacked strongly again of Fletcher. And altogether it seemed to me that if this Act had occurred in one of the plays written by Beaumont and Fletcher in conjunction, it would probably have been thought that both of them had had a hand in it. “The first scene of the fifth Act, and the opening of the second, I should again have confidently ascribed to Shakspere, were it not that the whole passage seemed so strangely out of place. I could only suppose (what may indeed be supposed well enough if my conjecture with regard to the authorship of the several parts be correct) that the task of putting the whole together had been left to an inferior hand; in which case I should consider this to be a genuine piece of Shakspere’s work, spoiled by being introduced where it has no business. In the execution of the christening scene, on the other hand (in spite again of the earliest and strongest associations), I could see no evidence of Shakspere’s hand at all; while in point of design it seemed inconceivable that a judgment like his could have been content with a conclusion so little in harmony with the prevailing spirit and purpose of the piece.” Mr. Spedding then dealt with the evidence of the metre of the play, and applied the extra-syllable test, and I (in 1873) the end-stopt-line test, with the following result :— Act. Scene. Lines. | Extra Syll.| Proportion. Author. Unstopt Line. I. i. 225 63 1 to 3-5 Shakspere 1 to 1°83 ii. 215 74 is 29. “ 9 l8ée iii. & iv. 172 100 sr. EE Fletcber 5, 3°84 II. i 164 97. a 6 ie sy 296 ii. 129 77 » 16 aig 9 «843, lil. 107 41 5 2276 Shakspere yi 228% iv. 230 72 « ol re i 218 III. 1s, 166 119 ay 1S Fletcher » 483 Vii. 193 62 3 8 Shakspere ee ill. 257 152 » 16 Fletcher » 348 IV. i. 116 57 ee » oe ii. 80 51 « 10 Re : i oa | st | tee . ax 288 V. i. 176 68 ee) Shakspere 3 «2°28 ii. 217 115 ‘eS Fletcher » 4:77 iii. (almost all prose or rough verse) ” » 501 iv. 37 «| 644 Lg, 16 9 5 641 In short, the proportion of Shakspere’s double endings was 1 to 3, of Fletcher’s 1 to 1:7; of Shak- spere’s unstopt lines, 1 to 2°03, of Fletcher's 1 to 3-79, both tests making Shakspere’s part of the play his latest work. Mr. Spedding’s division of the play between Shakspere and Fletcher was confirmed independently by the late Mr. S. Hickson, in Motes and Queries, ii. 198, August 24, 1850: and by Mr. Fleay, in New Shakspere Society's Transactions, 1874, Appendix, p. 238. It may be lookt on as certain. The length to which this discussion has run prevents me from dwelling on the noble character of Katharine, who, with her pleadings for the unjustly oppresst poor, the dignity and forbearance with which she meets crushing misfortune, her forbearance to her rival, and her forgiveness to her ruffian husband is, as Mrs. Jamieson says, in one sense ‘“ the triumph of Shakspere's genius and his wisdom.” Though it seems very hard to take from Shakspere, Wolsey’s last speeches, yet that they are Fletcher’s in manner, the evidence shows. He may, of course, have workt on hints left in Shakspere’s MS., which was handed to him. Those who believe that Fletcher wrote no prose, can cut the porter’s scene up into rough, irregular verse, no worse than some of Fletcher’s. Tur Two Nonie Kinsmen.—This play and Edward ITI. have been included in this edition at my request, because so many critics of the first rank have declared in favour of part of The Two Noble Kinsmen being Shakspere’s, while Mr. Tennyson has committed himself to the opinion? that at least the king and countess scene in Edward JIJ. is by the same master’s hand. This latter opinion I do not share, though I am content to believe that Shakspere took some part in The Two Noble Kinsmen. The play was first printed in 1634: “THE TWO NOBLE KINSMEN: 1 To exit of the King. The rest of ii. is made ini. 2 An off-hand opinion after once reading of the play. I hope and believe that it will not be permanent. §14. DOUBTFUL PLAYS. THE TWO NOBLE KINSMEN. xevii Presented at the Blackfriers by the Kings Maiesties servants, with great applause: Written by the memorable Worthies of their time, fe eee Gent. Printed at London by Tho. Cotes, for John Waterson: and are to be sold at the signe of the Crown, in Pauls Church-yard, 1634.” We have no other external evidence either for or against Shakspere’s authorship, as the play no doubt remaind in the custody of Fletcher (d. Aug. 28, 1625) and his representatives, and was never available to the Editors of the First Folio. Internal evidence can then alone decide the question as to whether Shakspere wrote any part of the play. The metrical evidence is, I think, conclusive, that there are two hands in the play. Mr. Fleay and I examined it by the extra-syllable and stopt-line tests on the scheme which Mr. Hickson proposed, that Shakspere designd the underplot as well as the main part of the play, and wrote Acts I.; II. i.; III. i., ii.; IV. iii. (prose); V. all but scene ii.; while Fletcher wrote the rest, as Hickson thought was shown by its weakness when compard with Shakspere’s part, and its more frequent use of the extra final syllable. ‘The double-ending test and the end-stopt-line test, show, that while in the supposd 1,124 Shakspere-lines in the play there are 321 with extra final syllables or double endings—that is, 1 in 3°5, and only 1 line of 4-measures—in the 1,398 Fletcher- lines there are 771 with double endings, or 1 in 1°8, nearly twice as many as in the supposd Shakspere, and 14 lines of 4-measures. Also in the supposd Shakspere’s lines the proportion of unstopt lines to end- stopt ones is 1 in 2°41, while in Fletcher’s it is 1 in 6°53.1 See Appendix to New Shakspere Society’s Transactions, 1874, where Mr. Spedding’s and Mr. Hickson’s Papers are reprinted. But the great question is whether the whole of the part assigned to Shakspere by Mr. Hickson or even by Professor Spalding is by our great dramatist. The following scheme shows where Professor Spalding and Mr. Hickson, and the latest editor of the play, my friend Mr. Harold Littledale 2, agree, and where they differ :— Prologue FLETCHER (Littledale). Act I., se. i. SuaxsPere. Spalding, Hickson (Bridal Song not Shakspere’s : Dowden, Nicholson, Lit- tledale, Hargrove, Furnivall 8). 55 se. ii SHAKSPERE. Spalding (Shakspere revisd by | SHakspERE and FLETCHER, Fletcher: Dyce, Skeat, Swinburne, Little- or Fletcher revisd by | dale). Shakspere. Hickson. be sis se. lii., iv. SuakspPeReE. Spalding, Hickson, Littledale. 33) Sc. V. SHAKSPERE. Spalding, ?Shakspere, Hickson. | ?FLeTcHer. Littledale. Act Il, sc. i. (prose). ‘4SHaxspere. Hickson, Coleridge, Littledale. | *FLETcHER. Spalding, Dyce. 35 se. ii, iii, iv., FuercHer. Spalding, Hick- : v., vi. son, Littledale. Act IIL, sei. SHAKSPERE. Spalding, Hickson. 35 se, ii. genes a Hickson (not Fletcher, Fur- | *FLEtcHEerR. Spalding, Dyce. nivall). se. iii., iv., v., vi. > Act IV., se. i., ii. FLETCHER. Spalding, Hick- son, Littledale. FLetcHeR, Spalding, Hick- 5 son. 4SHAKSPERE, 4FLETCHER. Spalding, Dyce. . ii Hickson. ” se. Act V., sce i. (includes SHAKSPERE, Spalding, Hickson, &c. Weber’s se. i., ii, iii.) ?lines 1-17 by FLETCHER. Skeat, Littledale. “3 se. li. FiercHer, Spalding, Hick- son, &c. 3 se. iii., iv. SHAxKsPERE. Spalding, Hickson, &c., with a few lines FuercHer. Se. iv. (with FLETCHER interpolations. Swinburne, Littledale). Epilogue FLetcuEer. Littledale. Professor Spalding’s able ‘‘ Letter on Shakspere’s authorship of The Two Noble Kinsmen,—publisht in 1833, and reprinted by the New Shakspere Society in 1876, with Forewords by myself, a life of the author by Dr. J. Hill Burton, the Historian of Scotland, and an able note by Mr. J. Herbert Stack,—is 1 Mr. Hargrove has kindly tabulated the proportions in Henry VIII. and The Two Noble Kinsmen from the figures in the New Shakspere Society’s Transactions, with slight corrections. But he says they need revision :— Hewry VIII. ' Two Nosie KInsMEN. : Shakspere. Fletcher. Shakspere. Fletcher. Total number of lines .. 1146. 1467. 1095. 1426. Unstopt lines .« | 575, or lin 2°03 |415, orlin 3°79|| 517, orlin 21 | 27l,orlin 5°26 Light endings... .. .. 45, or 1 in 25°5 7, or lin 209 60, or lin 21 3,orlin 445 Weak endings.. . 37, or 1 in31 1, or 1 in 1467 34, or Lin 32 1, or lin 1426 Double endings .. .. .. | 380, orlin 3°16 |863,orlin 177 || 321,orlin 3-4 |77l,orlin 19 2 See his reprint of the quarto, and Pt. I. of his revised edition, in the New Shakspere Society books for 1876. The text in the present volume is his. % I cannot get over Chaucer's daisies being calld ‘‘smelless but most quaint.” The epithets seem to me not only poor, but pauper: implying entire absence of fancy and imagination.—F. ‘‘Chough hoar” is as bad though.—H. L. 4 Here Professor Spalding and Mr. Hickson differ. xevili §14. DOUBTFUL PLAYS. THE TWO NOBLE KINSMEN. the leading authority on the play. The Letter convinced Hallam and Dyce; but these writers were not aware of a fact which I did not find out till 1 had become assurd that Professor Spalding’s letter assignd too much of the play to Shakspere—that Professor Spalding himself had, with further reflection, modified his own early judgment, and had in 1840 (Edinburgh Review, July, No. 144, p. 468) declard that his opinion “is not so decided as it once was,” and in 1847 (Edinburgh Review, July, 1847, p. 578), that “the question of Shakspere’s share in this play is really insoluble.” Still every student of the play should read Professor Spalding’s well-reasond, keen, and brilliant letter, as well as Mr. Hickson’s article alluded to above. Professor Spalding contrasts the broken and pauseful versification of Shakspere with Fletcher’s smoother end-stopt and double-ending lines. He finds in The Two Noble Kinsmen many of Shakspere’s images and his very words, as well as the energy, obscurity, abruptness, and brevity of his late plays, while in other paris of the play he shows that there is the diffuseness, the amplification, and delicacy of Fletcher. As instances of Shakspere’s metaphors he quotes ‘“‘ what man thirds his own worth?” ‘“ Let us be widows to our woes,” “ Our kind air, to them unkind,” ‘‘ Her arms shall cors/et thee,” ‘‘ unpang’d judgment,” “*Our Reasons are not prophets, “Give us the bones When oft our Fancies are” (V. v), Of our dead kings that we may chapel them,” and the like. Then he finds in one part of the play the active imagination of Shakspere, hardly ever indulging in lengthened description, whereas in other parts or scenes are Fletcher's poverty of metaphor and his romantic and picturesque descriptions. He contrasts, too, Shakspere’s ireatment of mythology with Fletcher’s, and shows the difference in the two poets. Then he contrasts Shakspere’s tendency to reflection, and his active and inquiring thought, his practical worldly wisdom, the mass of general truths he puts into his writing, with the want of these characteristics in Fletcher. Shakspere’s faults of conceit and quibbles, too, with their resistless force, he contrasts with the slow elegance and want of pointedness in Fletcher, who is also almost guiltless of plays on words. Then he shows how Shakspere differs from Fletcher in his personification of Grief and Time, Strife and War, Peace and Love, Mercy and Courage, Reason and Fancy, &c. He also shows what a firm grasp of imagery Shakspere has as contrasted with Fletcher, and again how the choice of the simple story must have been Shakspere’s, who belongd to the old school, and not Fletcher’s, who belongd to the new school of involvd and invented plots. Shakspere relied on characterisation and avoided spectacles. He kept in this play the two moving passions of Love and Jealousy always in the front, which Fletcher could not have done. ‘The harmony of its parts was, too, an idea beyond Fletcher’s. The shrewdness and good sense of the characters were so likewise. And, on the whole, Professor Spalding concluded that Shakspere wrote the scenes assignd to him in the table above, viz., Act. I., Act IIIL., sc. i.; Act V., except sc. ii. While reading Professor Spalding’s enthusiastic and able argument, backt by his well-chosen quotations, it is difficult to resist his conclusions. But when you turn to the play and read it by yourself or aloud with a party of friends, then you begin to doubt. Professor Spalding himself hesitated on further reflection, as we have seen. He was from the first obliged to admit that in Shakspere’s specialty, characterisation, the play was weak. He could not have denied that whereas in one part the character of Chaucer’s Emilia, the huntress seeking no marriage-bed, is rightly seized; in another she is turnd into a kind of foolish waiting- maid, not knowing which of her suitors she loves, and fearing that Palamon may be wounded and get his figure spoilt:— ., Areite may win me, The spoiling of his figure. Oh, what pity And yet may Palamon wound Arcite to Enough for such a chance !” If the student accepts the theory of Shakspere’s taking anything like a half share in the play, he must yet allow that portions of his work and conception were afterwards spoilt by Fletcher. The comparison of Chaucer’s Anight’s Tale, the source of the play, with the play itself, is in no way to Chaucer’s discredit. The fear expressed in the Prologue that Chaucer’s bones might shake on hearing a possible hiss at the play on its first production has a certain justification. That the play opens finely with the woes of the three queens, that Palamon’s speech in the temple (Act V.) is very fine, one gladly admits. But there is nothing else to match Chaucer’s description of the foes engaged in the tournament, of the adornments of the building where it was held; nor can the sketch of Emilia in the play be set for a minute beside Chaucer’s lovely picture of Emilia in the garden. The repulsiveness of the under-plot, whose details are due to Fletcher, detracts terribly from the effect of the play as a whole. The under-plot, as Mr. Stack has noticed, is not interwoven with the main plot. It might, as he says, “be altogether omitted without affecting the story. Theseus, Emilia, Hippolyta, Arcite, Palamon, never exchange a word with the group of Jailer’s Daughter, Wooer, Brother, Two Friends, and Doctor. And Palamon’s only remembrance of the Daughter's services is, that at his supposed moment of execution he generously leaves her the money he had no further need of, to help her to get married to a remarkably tame young man who assumes the name of his rival in order to bring his swectheart to her senses.” Mr. Stack says also, “I should incline to the §14. DOUBTFUL PLAYS. THE TWO NOBLE KINSMEN. xcix middle opinion, that Shakspere selected the subject, began the play, wrote many passages, had no under-plot, and generally left it in a skeleton state; that Fletcher took it up, patched here and there, and added an under-plot; that Fletcher, not Shakspere, is answerable for all the departures from Chaucer, for all the under-plot, and for the revised play as it stands.’”” This is as far as any one i : can rightly go, I think. My present feeling is to substitute “some” for the word “many” in the ; passage above, and to suggest that Beaumont or some one who modelled himself on the run-on lines of Shakspere’s later time, as Fletcher did on the extra-syllable lines, wrote much of the work in this play assignd by Spalding (at first) and Hickson to Shakspere. On the source of the play, Mr. Harold Littledale has kindly sent me the following note :— The Two Noble Kinsmen.—The source of the play which has been reprinted in our volume under this name is the Knightes Tale, in Chaucer's Canterbury Tales ; and a comparison of play and poem will show how closely the original story has been adhered to in the structure of the main plot. Unlike many of the plays which Shakspere took in hand, we have no evidence, beyond the vaguest conjecture, to suggest that this play has been based on an earlier drama on the same subject. We know that in 1566 a play called Palemon and Arcyte, by Richard Edwardes, was performed before Queen Elizabeth at Oxford, but certain indications make it pretty clear, though this play has perished, that it can have had little likeness to The Two Noble Kinsmen, and may rather have resembled the Damon and Pythias (Hazlitt’s Dodsley, vol. iv.) of the same author. Wood’s account in the Athene Oxonienses mentions the play several times, but the following passages, communicated to Nicholls, the historian of Elizabeth’s Progresses, by Mr. Gutch, from Wood’s MSS., are more detailed, and clearly show that Edwardes's play and the play before us must have differed so materially as to make it almost certain that the authors of the latter can have known nothing of the former. Part of the play was performed on Sept. 2, 1566, when « scaffolding fell, and three lives were lost. Wood continues :—‘ Sept. 4, 1566. At night the Queen was present at the other part of the play of Palemon and Arcyte, which should have been acted the night before, but deferred because it was late when the Queen came from dispu- tations at St. Mary’s. When the play was ended, she called for Mr. Edwards, the author, and gave him very great thanks, with promises of reward, for his pains: then making a pause, said to him and her retinue standing about her, this relating to part of the play : ‘“ By Paleemon, I warrant he dallieth not in love when he was in love indeed; by Arcyte, he was a right martial knight, having a sweet countenance, and a manly face; by Trecatio, God's pity, what a knave it is; by Perithous, throwing St. Edward’s rich cloak into the funeral fire, which a stander-by would have stayed by the arm with an oath, he knoweth his part, I warrant.’’ In the said play was acted a cry of hounds in the Quadrant, upon the train of a fox in the hunting of Theseus, with which the young scholars, who stood in the windows, were so much taken (supposing it was real), that they cried out, “ Now, now! —there, there !—he’s caught, he’s caught!” All which the Queen merrily beholding, said, “O, excellent! those boys, in very troth, are ready to leap out of the windows to follow the hounds!” . . . +] In the acting of the said play there was a good part performed by the Lady Amelia, who, for gathering her flowers prettily in a garden there represented, and singing sweetly in the time of March, received eight angels for a gracious reward by her Majesty's command,’ &c. I have given the foregoing account as fully as my limits would permit, as I believe it has never hitherto been pointed out, and it eliminates Edwardes’s play from the possible sources of the Shaksperian Drama. Unfortunately we have not such explicit evidence on the remaining possible source of this play. Mr. Dyce (Shakspere, vol. viii., p. 118, ed. 1876) says: ‘. . . we learn from Henslowe’s Diary that a piece entitled Palamon and Arsett was acted several times at the Newington Theatre in 1594. ([Diary, pp. 41, 43, 44, ed. Shake. Soc.] Mr. Collier conjectured that the last- mentioned piece may have been a rifacimento of Edwards’s play, and that in 1594 Shakespeare may have introduced into Palamon and Arsett those alterations and additions which afterwards “ were employed by Fletcher in the play as it was printed in 1634.” But I suspect that the Palamon and Arsett of 1594 was a distinct piece from the academical drama of 1566; and I cannot persuade myself that the ‘“‘Shakespearian”’ portions of The Two Noble Kinsmen were composed so early as 1594,— stamped as they everywhere are with the manner of Shakespeare's later years.’ As this play of 1594 has perished, we are unable to say whence the authors derived the under-plot: they have no hint of it in Chaucer (v. Knightes Tale, 1. 610); and they may either have invented it, or elaborated it from the 1594 play. ‘The question of authorship may be said to have been competently pronounced on for the first time by Charles Lamb, followed by Coleridge, who both declared strongly for Shakspere’s share in the work. De Quincey also confidently supported the same view. Against this array of opinion William Hazlitt stands forth pre-eminent. These writers proceeded, however, by no systematic method of examination, and merely pronounced as they felt, that the hand of Shakspere, well known as it was to them, was, or was not, to be found in the work. But the first systematic analysis of the work, in which the evidence is fairly stated, was Professor Spalding’s Letter, &c.”’—as noticed above. (On the Oxford performance of Palemon and Arcyte, see my Harrison, p. liv.) c §14. EDWARD III. (NOT SHAKSPERE’S). Epwaxrp THe Turrp.—This play was publisht in 1596 with the following title : “The | Raigne of | King Edward | the Third: | As it hath bin_sundrie times plaied about | the Citie of London. London, | Printed for Cuthbert Burby, 1596.” It was entered in the Stationers’ Registers, on the 1st of December, 1595.1 There were other editions of it in 1597, 1609, 1617 (and 1625). The play was there- fore well known and popular. But it was not put into any folio of Shakspere’s works, not even into the third and fourth, which containd seven New Pieces or doubtful plays; and this, though Cuthbert Burby was the publisher of two genuine Shakspere quartos, the first of Love's Labours Lost in 1598, and the second (the first genuine one) of Romeo and Juliet in 1599, which were both used for the Folio, the Love's Labours Lost one directly, the Romeo and Juliet one thro’ its reprint in 1609. The play is not in Meres'’s list of Shakspere’s works in 1598; and it is therefore certain that Edward III. was not known as Shakspere’s during his life, nor was his writing it ever suggested till nearly 150 years after his death. In 1760, Capel reprinted and publisht it as “thought to be writ by Shakspere.”2 There is, therefore, no external evidence in favour of Shakspere’s authorship of the play. On the contrary, the external evidence is dead against that authorship. The argument for our poet having written the play must therefore proceed from within ; and the question is, what does the in- ternal evidence prove? A few wild, untrustworthy folk contend that Shakspere wrote the whole play. Against them the internal evidence is clear. It is impossible that Shakspere at any time of his life can have been guilty of the faults this drama contains, at the same time that he could have produced its beauties. First, the play has no dramatic unity. It is made up of two halves. It has two distinct plots, that of the King and Countess, and that of the King and the Black Prince and the wars. The plots are not interwoven with one another, after Shakspere’s invariable manner; the first is a mere episode, and simply stops the action and progress of the main plot. Secondly, there’s great want of characterisation throughout the play, except in the King and Countess episode; all the characters talk in the same high, exaggerated strain. Thirdly, there’s no humour, no wit, and no comedy. Fourthly, there’s a high moral tone forced on the notice of the audience and reader. Fifthly, there are such weak bits as— “But, soft, I hear the music of their drums, By which I guess that their approach is near.” Sixthly, there are absurdly inconsistent and mixed metaphors and similes like— ““The snares of French ike emmets on a bank Entangled in the net of their assaults, Muster about him ; whilst he lion-like, Frantie’ly rends and bites the woven toil,” &c. Like the prince’s— “Now, Audley, sound those silver wings? of thine, And let those milk-white messengers of time Show thy time’s learning in this dangerous time.” (Are the silver wings, Audley’s moustachios, or words of ancient wisdom, or what 4 P) “Wither, my heart, that like a sapless tree “A slender point I may remain the map of infamy?” Within the compass of the horizon As 'twere a rising bubble in the sea, _Or as a bear fast chain’d unto a stake.” Seventhly, there are exaggerated and incongruous descriptions. Take the description of the sea- fight,—- “« Purple the sea ; whose channel fill’d as fast Here flew a head, dissever’d from the trunk ; With streaming gore, that from the maimed fell, There mangled arms, and legs, were toss'd aloft ; As did her gnsning inoisture break into As when a whirlwind takes the summer dust The cranny'd cleftures of the through-shot planks : And scatters it in middle of the air.” Recollecting that this is part of a mariner’s speech, it will be perhaps a sufficient specimen of the bombastic show-off passages that abound in the play and are quite inconsistent with the speaker’s character, and which not even the Sergeant's talk in Macbeth can allow us to consider Shakspere’s. One other instance I may cite which is worthy of Marlowe’s Tamburlaine,— “What, may I do, Or that it were restorative, command To win thy life, or to revenge thy death ? A health of king's blood, and I'll drink to thee.” If thou wilt drink the blood of captive kings, There are plenty more instances of like kind in the play, though certain poetic power must be allowed 1 “Cutbert Burby. Entred for his copie vnder the handes of the wardens A book intitled Edward the Third and the Blacke Prince, their warres with kinge John of Fraunce . . . . vj4—Arber’s Transcript, iii. 55. 2 It must be rememberd that Capel also thought the non-Shakspere Titus Andronicus genuine. As Farmer says: “Capell thought Edward III. was Shakspere’s because nobody could write so, and Titus Andronicus because every body could! Well fare his heart, for he is a yewel of a reasoner !|”"—Var. Shaksp., xxi. 881. 3 Delius reads “strings.” ‘Perhaps the writer was thinking of the Homeric érea mrepdevra. Silver refers to the sweetness of Audley’s eloquence. Milk-white messengers are his grey locks which have brought with them experience.—W. G. 8. §14. EDWARD III. (NOV SHAKSPERE’S). ci to the writer; his tendency to show off is effective when put into Audley’s mouth in Act IV., sc. iv., the description of the French at Cressy, &c.; yet any one who attributes all the stilted nonsense in this play to Shakspere may be safely written down ass, for this opinion, however clever on other points he may be. We come, then, to those more moderate and sensible critics, who contend that the King- and-Countess Act alone is Shakspere’s. And I willingly grant them that the Act is worthy of the young Shakspere, and that it is worth an effort to try and secure for his early time so noble a figure as that of the true English woman and wife, the Countess of Salisbury, to set against the Margaret of Henry VI., or the more colourless female characters of the other historical plays before King John. But one has to look at the evidence; and the first thing that strikes one is this, was Shakspere, who was above alla dramatist, was he likely to put even into another man’s play a whole act, twenty pages in the Tauchnitz edition, having nothing to do with, nay, stopping, the action of that play ? Next, was he who took all the facts, the groundwork of bis historical plays from Holinshed’s and other chronicles (though he followed the old King John when he recast it), was he likely to go for any facts in the lite of one of our heroic kings, Edward IIL., to an English translation of an Italian novel, which turned the Earl and Countess of Warwick into panders to betray their married daughter’s virtue, and which made the Countess of Salisbury Edward’s queen!? I cannot believe it. Further, is it likely that when in the almost parallel scene, recast in Part III. of Henry VJ., near the time when Edward ITI. was written,—is it likely that when humour was put into the courtship of Lady Elizabeth by Edward IV., humour should have been kept out of Edward III.’s courtship of the Countess, if Shakspere had anything to do with it? But it is argued that there are many echoes of Shakspere’s previous plays in the King and Countess episode, and also many echoes of lines in this episode in Shakspere’s after work, while Sonnet 94, line 14, quotes from Act II., sc. i, here, its “ Lilies that fester, smell far worse than weeds.” I admit that Shakspere must have read and been impresgt by this Act, perchance saw the play acted. But I cannot admit that the Act is his. Admirable as many of its parts are, there is a con- tinuous strain throughout it, which to me is not Shakspere’s. Its want of relief, too, isnot his. Its want of connection with the rest of the play, its giving four pages of talk on the stage, where action is required, to the composition of the king’s love-letter, is not his. And I submit.that it is not my duty to prove the negative; it is the business of the advocates of Shakspere’s authorship of this scene to prove the affirmative. We must not assume that there was no known author of Marlowe’s school except himsclf.2 There were, doubtless, one-play men in those days, as there have been one-book men since. As at present advised, I refuse to admit the episode as Shakspere’s. The story of the Episode is founded on Froissart’, and the history of it has some interest, for, as my friend Prof. Guizot pointed out to me, Froissart* first believed in Jean le Bel’s story that Edward III. had used force and violated the Countess. Then when he came to England, he inquired right and left as to the truth of the story, and having found it, set it down. But the story was deliberately rejected by Shakspere’s authority, Holinshed, as it was afterwards by Barnes in his History of Edward III., p. 251. But Bandello, the Italian story-teller, saw what an admirable tale it would make, and he re-told it®, but did all he could to spoil it, with his long affected love-makings, reflections, and love-letters. He invented the secretary and the letters; he turned the lady’s father and mother into panders to her; he killed her husband ; he made her offer to stab herself, or be killed by the king; and then made the king offer to marry her, and actually marry her; after which, as the English translation says, “shee was conveyed up into a publick place, and proclamed Queene of England, to the exceedinge gratulacion, and ioye 1 The writer of the Episode in Edward IIT. rejects Bandello’s pander-mother, and killing the Earl of Salisbury, and making the Countess Queen. He also sweeps away a lot of Bandello’s rubbishing talk ; but he doubles the Countess’s dagger. My friend Mr. W. G. Stone, of Walditch, and I are slowly preparing an edition of the play and its originals for the New Shakspere Society. 2 Can't the King and Countess episode be his ? 3 1. 98, ed. 1812. From him Gratton tells the story (without Bandello’s additions, of course) in his Chronicle, i, 354, ed. 1809. 4 “Vous avés bien chy dessus oy parler coumment li roys englés fu enamourés de le comtesse de Sallebrin. Touttes- foix, lez cronikez monseigneur Jehan le Bel parollent de ceste amour plus avant et mains convignablement que je ne doie faire ; car, se il plaist 4 Dieu, je ne peusse ja 4 encoupper le roy d’Engleterre, ne le comtesse de Sallebrin, de nul villain reproche. Et pour continuer J'istore et aouvrir le verité de le matére, par quoy touttez bonnez gens en soient apaisiet et sachent pourquoy j’en parolle et ramentoy maintenant ceste amour, voirs est que messires Jehans li Biaux maintient par ces cronikes que li roys englés assés villainnement usa de ceste damme et en eult, ce dist, ses vollentéz si comme par forche : dont je vous di, se Dieux m’ait, que j’ai moult repairiet et converssé en Engleterre, en J’ostel dou roy principaument, et des grans seigneurs de celui pays, mes oncques je n’en oy parler en nul villain cas ; si en ai je demandé as pluisseurs qui bien le sceuissent, se riens en euist esté. Ossi je ne poroie croire, et il ne fait mies a croire, que ungs si haux et vaillans homs que li roys d’Engleterre est et a esté, se dagnaist ensonnier de deshonnerer une sienne noble damme ne un sien chevalier qui si loyaument I’a servi, et servi toutte se vie: si ques (ores en avant de ceste amour je me tairay.”--Froissart, ed Luce. MS. d’Ainiens, III. 293. (Soc. de l'Histoire de France.) See Notes, p. cxxvi. 5 In La Seconda Parte de le Novelle del Bandello; Lucca, M.D.LIIII., Novella XXXVIII., fols. 228-254. The Countess’s name is ‘‘ Aelips ;” her father is ‘‘ Ricciardo, Conte de Varuccia.” The French versiou does not follow the original accurately. cil §14. SUMMARY OF THE PLAYS. §15. SHAKSPERES LIFE AFTER 1592. incredible, of all the subiectes” (I.199). The Italian story was very freely translated by Boaistuau in his Histoires Tragiques, Extraictes des Guures Italiennes de Bandel, and this was englisht by William Painter in his L’alace of Pleasure, 1575, vol. i., leaves 182 to 199, the forty-sixth novel. We may note in the play the double repetition of the leading idea of the King-and-Countess sceene—a man won from intended baseness by the appeal of a nobler nature: first, Prince Charles of France by Villiers’s appeal to him; second, King John of France by his son Prince Charles’s appeal to him. In no other play is there any real pretence that Shakspere took part. The so-called “ doubtful plays,” excepting the two above treated, have not a trace of him in them. I do not think that the substituted piece by a different hand in Sir Thomas More, pp. 24-9, ed. Dyce, Old Shakesp. Soc., is Shakspere’s, or that the leaves 8, 9, of the MS. Harleian, 7,368, on which it is written, are in Shak- spere’s hand. (Some four years ago I took the opinion of the best MS. men in the Museum on the latter point, and discusst the Shakspereanness of this part of the play with some of the best men I knew. We all agreed that there was nothing necessarily Shaksperean in it, though part of it was worthy of him.’ (It was the Edward JII. King-and-Countess scene over again.) But this portion of Sir Thomas More is so far better than the rest of the play, that Mr. Spedding wishes to know what other dramatist than Shakspere could have written it.) ‘We have now gone through the series of Shakspere’s works, have seen him begin with those that suited youth, skits on the Londoners’ fashions and follies, showing his Stratford clowns on the London stage, dealing with love and its vagaries, starting into fancy, incorporating all his country lore in Puck and his companions, first stepping on to the ground of Italian story in The Two Gentlemen of Verona, then bursting into a fervour of passion in Romeo and Juliet, and his early poems; passing thence to history, to speak his mind to his countrymen on the disputes that rent England asunder in his time. Then again, falling back with renewd power on Italian story, and first taking his due lead before all other men in The Merchant of Venice, then sinking almost his history in the humourful comedies of Fulstaff and the brilliant plays of the Second Period that succeeded them ; then, troubled in heart himself, as we see in his Sonnets, disappointed in his affection for his friend who was his all, cast off by his dark mistress, passing the hell of time of which he speaks to his friend when they were reconciled again, and during this time no doubt giving to the world those tragedies in which he laid the burden of life on souls too weak to bear it, in which he let noble men be drawn to their ruin by temptations from without, by suggestions from within, in which he showd ingratitude eating the hearts of father and of child, in which he let lust lead its noble victims to their death, in which he showd all old-world glory and honour but a sham, in which at last he made Timon curse all man- kind; and then we saw him, no longer wiclding the scourge of vengeance, but acting as the minister of reconciliation, passing from his time of terror to one of peace, and in Prospero, Posthumus, Imogen, Hermione, Queen Katharine, forgiving injuries for which of old he would have exacted death. And in this temper we find him, after leaving the scenes of his trials and triumphs in London, enjoying as a boy again the sweet sights and sounds of his native home. § 15. In 1592 we had to face the question of what Shakspere had then written to provoke the sneers of the dying reprobate, Robert Greene, our poet’s predecessor, and perchance teacher, in comedy. And having once enterd on the subject of the succession of Shakspere’s plays, and the means by which it was made out, we could not well leave it till we'd workt it thro’. It took us from 1592 to 1613, and gave us Shakspere’s mental and spiritual life during that time. Now we've to put together the few facts of his and his family’s outward life that still survive to us. 1 Take the best bit, More’s remonstrance against the citizens’ outbreak to turn out the aliens, p. 27 :— “More, Graunt them remoued, and graunt that this your | What had you gott? T'le tell you: you had taught noyce How insolence and strong hand shoold prevayle, Hath chidde downe all the maiestie of Ingland ; How ordere shoold be quelld ; and by this patterne Ymagin that you see the wretched straingers—- Not on | = one] of you shoold lyve an aged man ; Their babyes at their backes, and their poor lugage,— For other ruffians, as their fancies wrought, Plodding tooth’ ports and costes for transportacion, With sealf same hand, sealf reasons, and sealf right, And that you sytt as kinges in your desyres, Woold shark on you ; and men, lyke ravenous fishes, Aucthoryty quyte sylenct by your braule, Woold feed on on { = onc] another.” And you in rulf of your opynions clothd : It’s a strong man’s work assuredly. The picture of the plodding aliens with babies and luggage on back, while their oppressors “sit as kings in your desires »» . And you in ruff of your opinions clothd ;” that ‘“ shark on you,” the later uplifting of the office of the king, and the leading the majesty of law in leash, to slip him like a hound, certainly justified my late sweet-natured friend Richard Simpson in suggesting that these More insertions were Shakspere’s, and do justify Mr. Spedding’s arguing that they are so still, specially as the play was one of Shakspere’s company’s, and the alteration in it was made hurriedly by direction of the Master of the Revels, Sir E. Tylney. But when we note that the allusions in the play fix its date to 1586, as Mr. Simpson acknowledgd, when Shakspere was probably at Stratford, that the humour in the insertion is not distinctively his, that another scene, the one between Lady More and her son-in-law and daughter, pp. 75-6, ed. Dyce, is also much above the level of the rest of the play, and yet neither specially Shaksperean nor a Jater insertion, we are justified in declining to hold as his the first insertion on pp. 24-9. Mr, Simpson's letter on the question is in 4 Notes and Queries, viii. 1, and Mr. Spedding’s in x. 227. §15. FOUR PERIODS OF SHAKSPERE’S LIFE. HIS SON’S DEATH, 1596. ciii I divide Shakspere’s life—like his plays—into four Periods: (1) from his birth, in 1564, to his leaving Stratford for London in 1587 (%), the Home-Period; (2) from 1587 to 1599, when he was taken as partner in the profits of the Globe, the Period of Struggle to Success; (a. 1587 to 1592, unrecorded, 4. 1592 to 1599, recorded) ; (3) from 1599 to 1609, or whenever else he left London, the Period of Triumph or Assured-Success ; (4) from his return to Stratford 1609 (?), to his death, 1616, the Period of Renewd Family Life, or Peace. II. a. The Plays I suppose to have been written by 1592 are Love's Labours Lost, The Comedy of Errors, Midsummer-Night's Dream, The Two Gentlemen of Verona, Romeo and Juliet, a few passages in Titus and Andronicus, and the Temple-Garden Scene in 1 Henry VI. These are the only records of his life during the first part of his Period of Struggle. Now for the second part. II. b. In 1693 began, no doubt, Shakspere’s visits to his publisher, Richard Field}, in St. Paul's Churchyard’, when Venus and Adonis was enterd in the Stationers’ Registers, and publisht. It was the acting of Romeo and Julict, and the issue of the Venus and Luerece, that first brought Shakspere fame ; and a tradition, reported by Rowe as coming from Sir William Davenant, states that Lord Southampton, to whom these two poems were dedicated, ‘‘ at one time gave him [Shakspere]a thousand pounds to go through with a purchase which he heard he had a mind to.” But though the gift is likely enough, its amount has no doubt been exaggerated, seeing what £1,000 meant then. 2On the night of December 28, 1594—one of a week’s entertainments at Gray’s Inn—Shakspere and Bacon were no doubt present in Gray’s Inn Hall together at the performance of the former’s Errors: ‘‘ After such sports, a Comedy of Errors (like to Plautus his Menechmus) was played by the players: so that night was begun, and continued to the end, in nothing but confusion and errors; whereupon it was ever afterwards called The Night of Errors.” (Gesta Graiorum, p, 22, ed. 1688 (in Dyce) ; Nichols’s Progresses of Queen Elizabeth, iii. 262; Spedding’s Letters and Life of Bacon, i. 326.) ‘‘From a paper now before me, which formerly belonged to Edward Alleyn the player, our poet appears to have lived in Southwark, near the Bear-garden, in 1596,” says Malone in his Inguiry into the Authenticity of Certain Papers, &c., p. 215. This paper having disappeard, one of the modern Shakspere forgers provided another of like kind in its place, among the Dulwich College papers, and Mr. J. P. Collier printed it ; but its sham was soon detected. Qn August 11, 1596, as I have noticed under King John, p. xli, above, Shakspere’s only son, Hamnet (baptised February 2, 1585), died, and was buried at Stratford, “1596, August 11th. Hamnet, filius William Shakespere”’ (Neil). That his son’s death must have been a great blow to Shakspere, as well as a father as a man wishing to found a family, we cannot doubt. That he had the ambition of being recognised as a gentleman in his own town and county is clear, He was like Walter Scott and so many other Britishers in this, following the hereditary instinct, poor though it is, of his Anglo-Saxon forefathers, that what constitutes a free man is the possession of land: landed, free ; landless, thrall. And though his father on January 26, 1596, had by a deed, in which he is described as John Shakespere, yeoman, sold part of the ground belonging to his Henley Street (or birthplace) property to George Badger for £2, ‘we find in the Heralds’ College a dratt grant. of arms to this John Shakspere, as a gentleman, dated the 20th October, 1596, which, notwithstanding the doubt formerly thrown on it, The Herald and Genealogist, Part VI., pp. 503-6 (cited by Dyce, Shakspere, 1866, p. 21), inclines to think was executed. We know that then, as now, men rising or having risen in the world could, and did, buy arms for themselves, with, often, forgd pedigrees attacht to them. Harrison says in 1577-87, pp. 128-9 of my edition :— “Gentlemen whose ancestors are not knowen to come in with William duke of Normandie (for of the Saxon races yet remaining we now make none accompt, much lesse of the British issue) doo take their beginning in England, after this maner in our times. Who soeuer studieth the lawes of the 1 He was a fellow-townsman of Shakspere’s ; and the goods and chattels of his father, Henry Field, tanner, of Stratford, were valued by Shakspere’s father, John Shakspere, in 1592. (Old Shakespeare Society's Papers, iv. 36.) 2 §t. Paul’s Churchyard before the Fire was chiefly inhabited by booksellers, and several of the early editions of Shakspere’s poems and plays were published here. Venus and Adonis, 1593, was to be sold at the White Greyhound, where also J. Harrison published The Rape of Lucrece, 1594. The first edition of The Merry Wives of Windsor appeared at the Flower de Luce and Crown, kept by A. Johnson ; the first edition of The Merchant of Venice at the Green Dragon, by T. Heyes ; the first editions of Richard II., Richard III., and First Part of Henry IV. at the Angel, by A. Wise ; the first edition of Troilus and Cressida at the Spread Eagle over against the great north door of Paul's, by R. Bonian and H. Whalley ; the first edition of Lear at the Pied Bull, by N. Butter; and the first known edition of Vitus Andronicus at © the Gun, near the little north door of Paul's, by E. White. M. Law published several of the quartos at the Fox.—H. B Wheatley, in my Harrison, p. ev., from Peter Cunningham’s London. 3 In 1593 I suppose Richard IT. to have been written ; and in 1593-4, the revising of The Contention and True Tragedy into 2 & 3 Henry VI. with Richard III. In 1594 were publisht Lucrece,a second edition of Venus and Adonis, and the first of The Contention, on which 2 Henry VI. was based, and the first of The Taming of a Shrew, the groundwork of The Taming of the Shrew. Willobie his Avisa, 1594, notives Shakspere’s Lucrece, and Sir Wm. Harbert and Drayton evidently allude to it, as Robert Southwell does to his Venus. (I shall not note all the allusions here. For them, see the forth- coming second edition of Dr. Ingleby's Centurie of Prayse that he will give to the New Shakspere Society in 1877.) + In 1595 was publisht The True Lragedy, which was alterd into 3 Henry VI. ; and in 1596, the third edition of Venus and Adonis. I believe that King John was written in 1595, The Merchant in 1596 ; that The Shrew was revised in 1596-7, and 1 Henry I}. written. civ §15. SHAKSPERE'S FATHER’S ARMS. PURCHASE OF NEW PLACE, 1597. realme, who so abideth in the vniuersitie giving his mind to his booke, or professeth physicke and the liberall sciences, or beside his seruice in the roome of a capteine in the warres, or good counsell giuen at home, whereby his common-wealth is benefited, can live without manuell labour, and thereto is able and will bear the port, charge, and countenance of a gentleman, he shall, for monie, haue a cote and arms bestowed vpon him by heralds (who in the charter of the same doo of custome pretend antiquitie and seruice, and manie gaie things) and therevnto, being made so good cheape, be called ‘master,’ which is the title that men giue to esquiers and gentlemen, and reputed for a gentleman euer after. Which is so much the lesse to be disalowed of, for that the prince dooth loose nothing by it, the gentleman being so much subiect to taxes and publike paiments as is the yeoman or husbandman, which he likewise dooth beare the gladlier for the sauing of his reputation. Being called also to the warres, (for with the gouernment of the common-wealth he medleth litle) what socuer it cost him, he will both arraie & arme himselfe accordinglie, and shew the more manly courage, and all the tokens of the person which he representeth. No man hath hurt by it but himselfe, who peraduenture will go in wider buskens than his legs will beare, or as our prouerbe saith, now and then beare a bigger saile than his boat is able to susteine.” Now the ‘“monie” for the grant of arms to John Shakspere, then known at Stratford as a ‘¢ yeoman,” can hardly have come from him. Without doubt his rising London son supplied it. And when the second grant was applied for, and made, in 1599, the heralds, Dethick and Camden, wouldn't quarter with Shakspere’s arms those of the Warwickshire gentlefolk, the Ardens of Park Hall, Curd- worth—Lrmine, a fess cheequy or and azure—but gave instead, the arms of the more distant Ardernes of Alvanley, in Cheshire—Gules, three crosslets fitchée, and a chief or, with a martlet for difference-—who were farther away from Stratford, and not likely to have notice of the matter, or make any fuss about it. Moreover, there is no existing record of the Arden quartering ever having been assumed by Shakspere or his family. On his monument are the Shakspcre arms alone; and they alone are impaled on his daughter Susanna’s monument with those of Hall. .When he grew older, had his position, and married his younger daughter Judith to a wine-dealer’s? son, he no doubt gave up the ambitious fancy of his earlier days. In or before Easter Term of the 39th of Elizabeth, 1597, Shakspere bought of William Underhill, for £60, New Place, a house and grounds at the corner of (the Guild) Chapel Lane, and Chapel Street leading to the Grammar School and Church. The house was built by Sir Hugh Clopton, about 1490, bought by a Stratford attorney, William Bott, in 1563, and sold by him to Wm. Underhill in 1567. In the note‘ of the fine levied on the sale to Shaksperc, Underhill is described as generosus, a gentleman, but Shakspere is not so calld. And as in fines the description of the property was almost always doubled, we find here, as in the double garden and orchard on the sale of the birth- place property, that there were two barns and two gardens included. Shakspere repaired New Place. Long after his death a new house was built, probably on its foundations, and of these a few scraps can still be seen, owing to Mr. Halliwell’s care. (He got up a subscription to buy the place.)® Early in 1598 Shakspere wanted to lay out more moncy in the neighbourhood of Stratford, and was nibbling at the tithes of which he afterwards bought a moiety or half-part in 1605. Abraham Sturley, writing on January 24, 1597-8, from Stratford to a friend in London—evidently Richard Quiney, father of Shakspere’s future wine-dealing son-in-law—says :—‘‘It semeth bi him (‘ur [=your] father’), that our countriman, Mr. Shakspere, is willinge to disburse some monei upon some od yarde land or other att Shottri or neare about us; he thinketh it a veri fitt patterne to move him to dealé in the matter of our tithes. Bi the instruccions u can geve him theareof, and bi the frendes he can make therefore, we thinke it a faire marke for him to shoote att, and not unpossible 1 The 1599 grant accordingly speaks of the ancestors of John Shakespeare having been advanct and rewarded for their services by King Henry VII. (Folio Life, p. 69.) Heralds’ gammon, no doubt. That some actors had turnd squires, The Return from Parnassus (1602-3), printed 1606, tells us :— “England affords those glorious vagabonds, And pages to attend their masterships : That carried erst their fardles on their backs, With mouthing words that better wits have framed, Coursers to ride on through the gazing streets, They purchase lands, and now esquires are made.” Sweeping it in their glaring satin suits, Hazlitt's Dodsley, ix. 202, 2 Remember that Chaucer's father, uncle, and grandfather, were wine-dealers and taverners too. 3 So calld before it came into Shakspere’s hands. Early in the sixteenth century, when the Cloptons had it, it was calld the great house, (Halliwell, Octavo Life, p. 166.) + “ Exemplification ” is the technical word for it. 5 The reason given me as a pupil in chambers for this practice was, that the tine might include enough ; one garden inight have been accidentally left out of the description of the property bought. Often, with arable land too, some pasture was thrown in on spec. 6 In 1597 were publisht the first or spurious Quarto of Romeo and Juliet and the first Quartos of Richard II. and Richard III, In 1598, second editions of Lucrece, Richard [f., Richard I/I., and the first of 1 Henry IV. and Love's Labours Lost. The latter play was written about by R. Tofte, in 1598. I suppose that 2 Henry IV. was written in 1597-8, and The Merry Wives in 1598-9. §15. SHAKSPERE A PARTNER IN THE GLOBE, 1599. ev to hitt. It obtained, would advance him in deede, and would do us much good.” (Halliwell, Octavo 172, Folio 140.) A Subsidy Roll, dated October 1, 1598, shows that Shakspere, or a namesake of his, was assesst 13s. 4d. on property in the parish of St. Helen’s, Bishopsgate, London: “ Affid. William Shakespeare, v /i.—xiij s. liijd.” During a scarcity of grain at Stratford, ‘‘A noate of corne and malte” there was taken—dated February 4, 1597-8, and among the dwellers in Chapel Street Ward is enterd as a holder of grain, “ Wm. Shackespere, X quarters.” In this year too is the following entry in the Chamberlains’ account: “Pd. to Mr. Shaxpere for on lod of ston . . . . xd.” As the repairs of New Place were probably going on, the poet, and not his father, was probably the seller of the stone. In a dateless and unsignd letter, “To my lovynge sonne Rycharde Quyney, at the Belle in Carter Leyne, deliver thesse in London,” evidently written by Adrian Quiney of Stratford, and perhaps in 1598, is the following sentence: ‘‘ Yff yow bargen with Wm. Sha.... or receve money therfor, brynge your money home, that yow maye.” Next comes the only letter written to Shakspere that has survived to us. It is from his friend, the above-named Richard Quiney, asking for the loan of £30 :—“ Loveinge contreyman, I am bolde of yow, as of a firende, craweinge yowr helpe with xxx. li. vppon Mr. Bushells and my securytee, or Mr. Myttons with me. Mr. Rosswell is nott come to London as yeate, and I have especiall cawse. Yow shall ffrende me muche in helpeing me out of all the debettes I owe in London, I thancke God, & muche quiet my mynde, which wolde nott be indebeted. I am nowe towardes the Cowrte, in hope of answer for the dispatche of my Buysnes. Yow shall nether loase creddytt nor monney by me, the Lorde wyllinge; & nowe butt perswade yowrselfe soe, as I hope, and yow shall nott need to feare butt with all heartie thanckefullnes I wyll holde my tyme, and content yowr firende; & yf we Bargaine farther, yow shalbe the paie-master yowr selfe. my tyme biddes me hastene to an ende, and soe I committ thys [to] yowr care, & hope of yowr helpe. I feare I shall nott be backe thys night ffrom the Cowrte. Haste. The Lorde be with yow & with us all. amex! ffrom the Bell in Carter Lane, the 25 octobr 1598. “ Yowrs in all kyndenes, Ryc. QuyNey. “To my loueinge good ffrend and contreyman, Mr. Wm. Shackespere, deliver thees.” On November 4, 1598, the before-named Abraham Sturley writes from Stratford “to his most lovinge brother, Mr. Richard Quinei, att the Bellin Carter Laneatt London . . . . Ur[=your] letter of the 25. of Octobr . . . imported . . . that our countriman Mr. Wm. Shak. would procure us monei, which I will like of, as I shall heare when and wheare and howe; and I prai let not go that occasion, if it mai sorte to ani indifferent condicions. Allso, that if monei might be had for 30 or 40/., a lease &c. might be procured. . . .”’ In 1598 came Meres’s praise of Shakspere, and a list of his poems and plays, already noted on p. xvii, note 2; and in the same year Shakspere acted in Ben Jonson’s famous comedy of Every Man in his Humour.! In 1598 also ‘The Theater” built by James Burbage, where his and his sons’ (or Shakspere’s) company playd, was pulld down, and rebuilt as “The Globe” on Bankside, Southwark, in 1599; and Shakspere, being a ‘‘deserveing” man, was taken as one of the “partners in the profittes of that they call the House” (see Henry V., p. lii, note 4, above), that is, the chief actors’ share, not including that of the Burbages as owners of the lease of the theatre from Sir Matthew Brand. I take this admission as a partner into the profits of the new Globe as the start of a new Period in Shakspere’s life. It marks definitely his success in London better than his purchase of New Place at Stratford does.? III. The Third-Period of Shakspere’s life, tho’ I call it the Period of Assured-Success, opens darkly like the dark Third-Period of his plays, that of his greatest tragedies. In January, 1601 (1600-1), Essex’s rebellion breaks out, and, for his share in it, Lord Southampton, Shakspere’s patron, is imprisond in the Tower, where he stays till James I.’s accession in 1603 (see p. lxvii, above). On September 8, 1601, Shakspere’s father, John Shakspere, was buried at Stratford. On May-day, 1602, Shakspere buys of Wm. and Jn. Combe, for £320, a hundred and seven acres of arable land in the parish of Old Stratford; and as he was not then at Stratford, the conveyance was delivered to his brother Gilbert. On September 28, 1602, Walter Gatley surrenderd to Shakspere a cottage, with its appur- tenances?, in Walker's Street, alias Dead Lane, Stratford, near New Place. And by a fine levied in 1 His name stands first in the list of the actors at the end of the play in the Folio edition of Jonson’s Works, 1616. 2 In 1599 vame out the pirated Passionate Pilgrim, the fourth edition of Venus and Adonis, and the second of 1 Henry IV., and the second or genuine Quarto of Romeo and Juliet. Henry V. was written in 1599, and Much Ado and As You Like It by or in 1600. 1600 was the chief publishing year of Shakspere’s ‘life. It saw issued a fifth edition of Venus, a third of Lucrece, first of 2 Henry IV. and Much Ado, first and second of both The Merchant and the Midsummer- Night's Dream, first or imperfect Quarto of Henry V., and the first extant edition of Titus Andronicus. 3.Shakspere seems to have increast this property afterwards, for in a fine levied of it in Trinity Term, 1611, an addi- tional ‘twenty acres of pasture land” are described ; and that this was not a fancy addition (p. civ, n. 5, above) appears from the fact that ‘‘in'adeed which bears date in 1652, this land is also stated to be of the same extent.” (Halliwell, Folio Life, p. 165.) In the conveyance, Shakspere is described as ‘‘ gentleman,” and in the exemplification of the fine of the Gatley sale as generosus le oroman. 4 It was copyhold of the Manor of Rowington. evi §15. SHAKSPERE ONE OF “THE KINGS PLAYERS,” 1603. Michaelmas Term, 1602, we learn that Shakspere bought of Hercules Underhill for £60 a messuage with two barns, two orchards, and two gardens, in Stratford: the doubling was no doubt due to the fancy addition in the note of the fine. In a most interesting play, The Returne from Pernassus, which is dated 1602, from its mentioning the Queen’s day (Hazlitt’s Dodsley, ix. 161), occurs the following testimony to Shakspere’s powers (id. 194) : “ Kemp. Few of the university, pen plaies well; they smell too much of that writer Ovid, and that writer Metamorphosis, and talke too much of Proserpina & Juppiter. Why, here’s our fellow Shakespeare puts them all downe, I, and Ben Jonson too. O that Ben Jonson is a, pestilent fellow; he brought up Horace giving the Poets a pill; but our fellow Shakespeare hath given him a purge that made him beray his credit.” “ Burbage. It's a shrewd fellow indeed.”! (Ingleby’s Centurie of Prayse, 1874, p. 39.) ; On March 24, 1602-3, Queen Elizabeth died. Shakspere had written on her in Midsummer- Night's Dream those delightful lines on the “ fair vestal thronéd in the west,” “ the imperial votaress,” IL. i. 157-164. She had « Gracéd his desert, And to his laies opend her royall eare,” as'‘Chettle says, in his Exglandes Mourning Garment, 1603 (New Shakspere Society’s Allusion-Books, p. 98), she had been “0 taken” by his plays, as Ben Jonson said in his lines ‘‘ To the Memory of Shak- spere;” she had so liked Falstaff that she had orderd his creator to show him in love (see The Merry Wives, p. 1), and yet, as Chettle complains, ‘‘ the silver-tongéd Melicert”” (Shakspere) did not “drop from his honied Muse one sable teare.’”’ His company no doubt expected favours from James I., thro’ one of their members, Laurence Fletcher, who had acted before James in Scotland, with the English actors who were there between October, 1599, and December, 1601, and who was granted the freedom of the city of Aberdeen on October 22, 1601, as “ comedian to his Majesty.” Accordingly, a few days after James had reacht London, he, by Warrant dated May 17, 1603, licenst Fletcher's (or Shak- spere’s) company “these our servants Laurence Fletcher, William Shakespeare, Richard Burbage, Augustine Philhppes, John Hemmings, Henrie Condcll, William Sly, Robert Armyn, Richard Cowley, and the rest of their associats, freely to use and exercise the arte and faculty of playing comedies, tragedies, histories, enterludes, moralls, pastorals, stage-plaies, and such other like rer) well for the recreation of our loving subjects, as for our solace and pleasure when we shall thinke good to see them, during our pleasure ; and the said comedies, trajedies, histories, enterludes, moralls, pastoralls, stage-plaies, and such like, to shew and exercise publiquely to their best commoditie, when the infection of the plague shall decreasc, as well within their now usuall howse called the Globe, within our county of Surrey, as also within anie towne halls, or mout halls, or other convenient places within the liberties and freedome of any other citie, universitie, towne, or borough whatsoever, within our said realmes and dominions. . . . ” Shakspere’s company was thus changed from “The Lord Chamberlain’s Servants” to ‘“ The King’s Players.’ But it is quite clear from the Warrant, and the Burbages’ Memorial of 1635, printed on p. lii, above, note 4, that when the Warrant was issued the company did not play at the Blackfriars Theatre, as that had been then for some time “leased out to one Evans that first sett up the boyes, commonly called the Queenes Majesties Children of the Chappell.’’ It is also quite clear that when, evidently after 1603, the Burbages bought back “the lease remaining from Evans with our money,” Shakspere was still an actor’, for the Burbages say they placed in the Blackfriars “ men players, which were Hemings, Condall, Shakespeare,” &c. I see no reason to doubt that Shakspere remaind an actor as long as he stayd in London, and that his Sonnet 111, might have been written as late as 1607-8; the later the better, I think, as showing a reason why he'd like to turn his back on London. The plague of which James I.’s Warrant speaks, is mentiond by Stowe on pp. 1,415, 1,425, of his Annals, ed. 1605. It stopt the King from riding from the Tower thro’ the City, as was customary before coronations; the citizens were orderd not to come to Westminster ; Wednesday, August 5, and every succeeding Wednesday, were appointed to be kept holy, for the offering of prayers “ while the heavy hand of God, by the plague of pestilence, continued among us ;”’ and between December 23, 1602, and December 22, 1603, there died of the plague, 30,578 souls.? After the latter . 1 In 1602 were publisht the sixth and seventh Quartos of Venus and Adonis, the third of Richard IIT., the first botcht Quarto of Hamlet, the first imperfect one of The Merry Wives, and the second of Henry V. All's Well aud Julius Cesar I assign to 1601, Hamlet to 1602-3, and Measure for Measure to 1603. 2 | know some critics hold that Shakspere left London in 1604. But then they are such awful guessers. They put Henry VIII, in 1604 too. 3 3“ Also by reason of God’s visitation for our sinnes, the plague of Pest[ilence] there raigning in the Citty of London and suburbes (the Pageants and other showes of triumph, in most sumptuous maner prepared. but not finished), the Kinge rode not from the Toure through the Citty in royal manner as had bene accustomed ; neither were the Citizens permitted to come at Westminster, but forbidden by proclamation, for feare of infection to be hy that meanes increased, for there died that weake in the Citye of London and suburbes, of all diseases, 1103 ; of the plague, 857. —Pp, 1415 and 1416 (the second couple so numberd). y ‘Wednesday the 10, of August was by the ordinary appoynted to be kept Holliday, and fasted, the church to be §15. SHAKSPERE'S ELDEST DAUGHTER MARRIES DR. HALL, 1607. evii date Stowe does not mention the plague. It probably stopt gradually; must certainly have been over by March ; as, for the procession of King James, his Queen Anne, and son Henry, on March 15, 1603-4, to the City of London, the King’s Players were each given four yards and a half of ‘“‘skarlet red cloth;’’ and the first name in the list of nine players is ‘‘ William Shakespeare” (from “The Accompte of Sir George Howne, Knight, Master of the Greate Warederobe” to James I.—Atheneum, April 30, 1864; Dyce, viii. 473); and on April 9, 1604, the King’s Council wrote a Letter to the Lord Mayor of London and the Magistrates of Middlesex and Surrey, directing them to allow the King’s Company (or Shakspere’s), and the Queen's, and Prince’s, “publicklie to exercise their plaies in ther severall usuall howses,” &c.1 Was Shakspere revising Hamlet?—the second or genuine Quarto was publisht in 1604—writing Measure for Measure (the tone of the play would suit a plague-struck city: see p. xxiv, above), and planning Othello during his enforced leisure? It is odd to turn from that terrible third Act of Othello, and learn that the next news of Shakspere is from Stratford, and shows the poet as a malster. (Folio Life, p. 170.) Between March, 1604, and the end of May, he had sold Philip Rogers, of Stratford, £1 19s. 10d. worth of malt, and had also, on June 25, lent him 2s. The rogue Rogers had only paid 6s. of his debt; so Shakspere sued him in the Stratford Court of Record for the balance, £1 15s.10d. On July 24, 1604, Shakspere bought for £440 the remaining thirty-two years’ term of the moiety or half of a ninety- two years’ lease (granted in 1544) of the great and small tithes of Stratford, Old Stratford, Bishopton, and Welcombe, no doubt the same property that he’d been after in January, 1597-8, and the conveyance is from ‘‘Raphe Husbande, esquire, to William Shakespeare, of Stratford uppon Avon, gentleman.’’ It must have been a good purchase, as it brought in £60 a year, that is, paid 5 per cent on the whole of the purchase-money during the thirty-two years, and brought back besides—in yearly instalments of £38, which could be re-invested as they came in—£1,216 for the £440.83 Augustine Phillipps, of Shakspere’s company (see Richard IT., p.xxxvi, the Burbages’ Memorial, p. lii, and James I.’s Warrant, p. evi, plows), by his will, dated May, 1605, leaves “William Shakespeare a thirty-shilling peece in gold.” In 1607, Shakspere’s eldest daughter, Susanna, being then 24, married, on June 7, Dr. John Hall, a physician at Stratford of large practice®, to the englisht notes of whose cures of patients'—including his own wife and daughter, himself, the poet Drayton, &c.—I have before alluded, when stating my belief that Dr. Hall is to some extent embodied in Cerymon of Pericles. (Had he but cured Shakspere in 1616 instead of letting him die, we should have had an interesting account of the success. Possibly some successor of Ireland and our Victorian Shakspere-forgers will produce an earlier cure of Shakspere from the thousand notes of cases of which Dr. Hall’s translator speaks in his Postscript.) On December 31, Shakspere’s youngest brother, Edmund, “ player,” was buried at St. Saviour’s, Southwark, close to the Globe Theatre, and 20s. were paid for a ‘“‘forenoon knell of the great bell.” Shakspere’s first granddaughter, Elizabeth Hall, the only child of her parents, was baptised on February 21, 1607-8; and on “1608, September 9, Mayry Shaxpere, Wydowe,” our poet's mother, was buried at Stratford. On October 16, Shakspere stands godfather to a boy, William Walker—son of Henry Walker, of Stratford, chosen alderman January 3, 1605-6—to whom he afterwards left by his will ‘‘ 20s.in gold.” In 1608 died Thomas Whittington, shepherd to Richard Hathaway, and by his will left “unto the poor of Stratford 40s. that is in the hand of Anne Shaxspere, wyfe unto Mr. Wyllyam Shaxspere, and is due debt unto me, being paid to mine executor by the sayd Wyllyam Shaxspere or his assignes.” In August, 1608, Shakspere brought an action against John Addenbrooke for a debt. After several frequented with praiers to almighty God, Sermons of repentance to the people, and charity to the poore to be collected & distributed, and the like commanded to be done weekly euery wednesday while the heauy hand of God, by the plague of pest[ilence] continued among vs.—P. 1416 (the second). “In the former yeare, to wit 1602, the plague of pest{ilence] being great in Holland, Sealand, and other the low countries, and many souldiers returning thence into England, the infection was also spred in diuers parts of this realme; namely [=especially], in the Citie of London and liberties thereof it so increased, that in the space of one whole yeare, to wit, from the 23. of December 1602, vnto the 22. of December, 1603, there died of all diseases (as was weekly accompted by the parish clerks, and so certified to the King), 38244, whereof, of the Plague, 30578, God make vs penitent, For he is mercifull.”—P. 1425. 1 To this letter, after Malone saw it, was stuck a forged list—first printed by Mr. Collier, as usual,—of the King’s Players, with ‘‘ Shakespeare” second in it. Another forged passage about Shakspere was printed by Mr. Collier in Mrs. Alleyn’s letter of October 20, 1603; another about Lodge was also printed by him, &c. &c. : see the books of my friends Mr. N. E. 8. A. Hamilton and Dr. Ingleby on these shameful matters. ‘ 2 Neither of. his uses of plague in III. i., IV. vii., or pestilence in V. i. 196, can be taken as an allusion, __ 3 But if we allow 10 per cent. for interest—as Shakspere does in his will on his younger daughter Judith Quiney’s marriage-portion,—then the yearly balance of £16 would only return £512 for the £440. 4 In 1605, the fourth ediiton of Richard III. was publisht. In 1607, the fourth edition of Lucrece. I suppose Othello to have been written in 1604, Macbeth in 1605-6, Lear in 1605-6, and Troilus and Cressida and Antony and Cleopatra in 1606-7. 5 “This Learned Author lived in our time, and in the County of Warwick, where he practised Physik many years, and in great Fame for his skill, far and near. Those who seemed highly to esteem him, and whom by Gods blessing he wrought these cures upon, you shall finde to be among others, Persons Noble, Rich, and Learned.”—James Cooke, the englisher of Dr. Hall's Cures. ‘To the Judicious Reader.” Dr. Hall left another book ready for the press, besides his Cures, His widow sold them both to Mr. Cooke as another man’s MSS. (Cures, sign. A. 3, back.) : eviii §15. FOURTH PERIOD OF SHAKSPERE’S LIFE, 1609-1616. months’ delay a verdict was given in Shakspere’s favour for £6, and £1 4s. costs; but as the defendant couldn't be found, Shakspere sued Addenbrooke’s bail, Thomas Horneby, for the money. ‘lhe latest date noted in the record is June 7, 1609.1 LV. In or about 1609, after the Period of his great Tragedies, grandfather Shakspere is supposed to have left London, for his new lite at Stratford, his fresh delight in all its flowers and scenes, its sweet girls and country sports. There is nothing definite to fix the change to any one year; but as Shakspere’s Sonnets and Pericles were both pubhsht, evidently without his leave, in 1609; as a new tone—a new scent as of violets or sweetbriar—breathes from his plays in and after 1609 ; as the later ones are loose in dramatic construction, as if written away from the theatre; as Shakspere must, before he made his will, have sold or releast to his partners all his interest in the Globe and Black- friars, and his plays, we conclude that his leaving town dates from 1609 or thereabouts’, tho’ the first Stratford tidings seem against the notion. In September, 1609, ‘Thomas Greene, the Town-Clerk of Stratford, says that a G. Brown might stay longer in his (Greene’s) house, “the rather because I perceyved I might stay another yere at New Place.’ Greene may have been living there with his “cosen Shakspere”’ ; if not, Shakspere cannot have settled at New Place till later. By June 21, 1611, Thomas Greene is probably in his own house, as an order was made that the town is ‘‘to repare the churchyard wall at Mr. Greene's dwelling-place” (Halliwell’s Hist. of New Place). In a list of donations “ colected towardes the charge of prosecutyng the bill in Parliament for the better repayre of the highe waies, and amendinge divers defectes in the statutes already made,” dated Wednesday, September 11, 1611, the name of “ Mr. William Shackspere’’ is found in the margin, with no sum to it. “This MS.,” says Mr. Halliwell in his Folio Life, p. 202, ‘ evidently relates to Stratford.” The draft of a bill? to be filed before Lord Ellesmere by ‘‘ Richard Lane, of Awston, in the cownty of Warwicke, esquire, Thomas Greene, of Stratford uppon Avon, in the said county of Warwicke, esquire, and William Shackspeare, of Stratford uppon Avon aforesaid, in the said county of Warwicke, gentleman ;’’ undated but seemingly drawn up in 1612, shows Shakspere in a lawsuit about his share in the tithes which he had bought in 1605. Some of the lessees of the tithes had refused to pay their share of a reserved rent of £27 13s. 4d., and had thus driven Shakspere anda few others to pay the defaulters’ share as well as their own, in order to prevent the lease being forfeited. The draft bill states Shakspere’s income from the tithes of corn and grain, wool and lamb, privy tithes, oblations and alterages as being £60 a year. His brother Richard was buried at Stratford on February 4, 1612-13. On the 10th of March in that year Shakspere bought for £140 from Henry Walker, citizen and minstrel of London, a house® and a piece of ground near the Blackfriars Theatre, “abutting upon a streete leading down to Pudle Wharfte on the east part, right against the Kinges Maiesties’ Wardrobe.” But as Shakspere only paid £80 of the purchase-money, he next day mortgaged the property to the vendor Henry Walker for the odd £60, and let the house, which he mentions in his will, to John Robinson, the then tenant of it. On June 29, 1613, the Globe Theatre on Bankside, Blackfriars, was burnt down during a performance of Henry JIII., as I have noted above on p. xvili; and we can fancy Shakspere’s feelings on hearing of the destruction of the old house, for so many years the scene of his triumphs. He must have been glad to see its rebuilding at once begun. In a paper dated September 5, 1614, Shakspere is mentioned among the “ Auncient ffreeholders in the fields of Old Stratford and Welcombe,” viz. :—‘‘ Mr. Shakspeare, Thomas Parker, Mr. Lane, Sir Frauncys Smyth, Mace, Arthur Cawdrey, and Mr. Wright, Vicar of Bishopton ;” thus, “Mr. Shakspeare 4 yard land, noe common nor ground beyond Gospell-bushe, nor ground in Sandfield, nor none in Slow-hill-field beyond Bishopton,: nor none in the enclosures beyond Bishopton.” And by an agreement, dated October 8, 1614, between Shakspere and William Replingham, a joint- owner with him of the tithes before-mentiond, Replingham covenanted with Shakspere to repay him all such loss as he should incur in respect of the decreasing’? of the yearly value of the tithes held by Replingham and Shakspere, by reason of any enclosure or decaye of tillage intended in the tithable fields by the said Replingham. To the enclosure of the Welcombe common and hills, 1 In 1608 were issued the first and second Quartos of Lear, the fourth of 1 Henry IV”., the third of Richard IT., and the third of the imperfect Henry V. I put down Coriolanus and Timon as written in 1607-8. 2 In 1609 were publisht The Sonnets, the first edition of Troilus and Cressida (in two states, with differing titles, see p. lxxx), the first and second Quartos of Pericles, and the third and fourth of Romeo and Juliet. Shakspere’s part of Pericles I date 1608-9, and The Tempest 1609-10. ; 3 In 1611 came out the fourth edition of Hamlet, the third of Pericles, and the second of Titus Andronicus. I suppose Cymbeline to have been written in 1610, The Winter's Tale in 1611, and the Shakspere part of Henry VIII. and The Two Noble Kinsmen (?) in 1612-18, 4 See Folio Life, p. 212. 5 In 1612 were publisht the fifth edition of Richard ITI., and the third (with Heywood’s Poems)—no copy of the second edition is known—of The Passionate Pilgrim. In 1613, the fifth Quarto of 1 Henry IV. _§ See a wood-cut of what purports to be it in Halliwell's Octavo Life, p. 247. The counterpart of the conveyance (printed #b., pp. 248-251) is in the Guildhall Library, London. The Mortgage is in the British Museum show-room. 7 MS. increasinge. Folio Life, p. 221. §15. SHAKSPERE’S DEATH, MAY 3, 1616(NEW STYLE). HIS WILL. cix whence the best view of Stratford is to be got, the Corporation was strongly opposed,—as so many writers of Tudor time were to like enclosures, because they cared for their poorer neighbours ;—and the Corporation clerk or lawyer, Shakspere’s kinsman, Thomas Greene, was in London on this business when he made the following Memorandum :— “1614: Jovis, 17 No. My cosen Shakspear comyng yesterdy to town, I went to see him how he did. He told me that they assured him they ment to inclose no further than to Gospell Bush, and so upp straight (leavyng out part of the Dyngles to the flield) to the gate in Clopton hedg, and take in Salisburyes peece; and that they mean in Aprill to survey the land, and then to gyve satisfaccion, and not before; and he and Mr. Hall say they think ther will be nothyng done at all.” (Folio Life, p. 222.) J About a fortnight after the above date, says Dyce, Greene, having left Shakspere in London, returnd to Stratford; where he continued his notes:—23 Dec. or other—who wants to raise a laugh, just as metrical tests have been: “there’s a man and a woman in The Tempest and the Dream ; therefore they are next to one another; ‘the’ and ‘a’ are in all the plays, therefore they were all written the same day,” &c. But it must be a poor method or man that’s put down by “A gibing spirit, Whose influence is begot of that loose grace Which shallow laughing hearers give to fools.”—L. L. Lost, V. ii. 849-851. Students must, too, have a certain knowledge of the succession of Shakspere’s plays, in order to appreciate the value of the evidence. May I again refer to a mistake of mine—and a happy hit—to illustrate this? When trying for the order and groups of Chaucer’s Canterbury Tales, I could at first find nothing better than to follow my best MS., the Ellesmere, and our best old editor, Tyrwhitt. But on sending up my scheme to the only man in the world who knew anything about the subject, and had long workt in vain at it, Mr. H. Bradshaw, the sight of my mistake at once enabled him to set me and himself right, and to settle at once and for ever the order of the Tales. So in Chaucer’s Minor 2 Till then I had been struck only by the contrast of the characters of Brutus and Hamlet. See Notes, p. exxv. 2 The strong temptation to put Measure for Measure next All's Well I had instinctively resisted from the first. 3 It differs from mine in some points. I have not lookt to see which. Every reader must judge for himself, after work and thought, whether either or neither of us is right. 4 Every reading of plays near one another, brings out fresh links, Only last night at 2 Henry IV. my friend and colleague, Mr. F. D. Matthew, noted that Pistol’s song-quotation (?when putting on his boots, 134), ‘‘ Where is the life that late I led?” V.. iii. 143, is Petruchio’s when pulling off his boots in The Shrew, IV. i. 135. It was no doubt a popular air that Shakspere himself sang at this time. 5 Mr. Swinburne especially needs the reminder that people who live in glass houses shouldn't throw stones. If any one chose to descend to his level in conducting controversy in some points, there is plenty of material for a reply to his personalities in matters Shaksperean, especially if his answerer lives near Hampstead Heath. The ear of which he makes so much—and which must be long to measure Shakspere—the bray that has already brought down driver Punch’s stick on his sides,—List of May Meetings, 1876, Mr. Swinburne may meet a poet equal to himself; in his own opinion,— irresistibly suggest the assimilation of consonants needed in A. G. 8., to give a name to his little mutual-admiration club,--while the components of the chaff to feed its members with, can be had for the asking. Buta couple of couplets addresst to the author of the Nest of Ninnies (of which Mr. Swinburne knows the name at least), no doubt explains the part that his wounded vanity, and want of manliness to acknowledge a mistake, led him to play in this matter :— « Armine, what shall I say of thee, but this, And wrong thee much ; sith thou indeed art neither, Thou art a fool and knave : both ?—fle, I miss, Although in shew thou playest both together.” Mr. Swinburne is meant for better thiugs than a cap and bells. §18. THE ORDER OF SHAKSPERE’S PLAYS IS THE NATURAL ORDER. exix Poems, I had followed the best leader and argument I could find, and printed the Dethe of Blanche first. Then Mr. Bradshaw told me he had never been able to get a place for The Complaint to Pity. On a careful reading of it—never till then given—I saw it was Chaucer’s first original poem, before the Blanche, and that the latter alluded to his love-sickness explained in the Pity.! Mr. Bradshaw’s knowledge of Chaucer—unequalld it is, in these points—made him agree in this firstness of the Pity. But a man with very much slighter knowledge of Chaucer details, Mr. Minto, could not agree—he hadn’t had the special training to enable him to—and he made the comical suggestion that Chaucer's illness was due to the want of cash2, of which the poet complains in his very latest poem. Now the critic I want for the order and groups of Shakspere’s plays is a Bradshaw, and not a Minto; some one—a friend I hope—who knows ; who can say, ‘‘ That play or group must come out of your wrong place, and go into my right one, there;” and whom one can gladly, delightedly, thank for setting one right. For in these small, as in greater matters, it's— “What delights can equal those When one that loves but knows not, reaps That stir the spirit’s inner deeps A truth from one that loves and knows !” In Memoriam, xli. 9-12. Chaucer was right in putting his clerk’s ‘‘ gladly wolde he lerne,” before the ‘‘ gladly wolde he teche’’: the learning’s ever so much pleasanter. Why won’t the men of the level of Tennyson, Spedding, Pater, Symonds, Dowden, Ingram, do more for us at Shakspere? "Wooden-heads, and pert know-littles, we’ve had in plenty. But we want the men who see. The plays about the place of which there is most doubt, are the Dream—which, after formerly shifting after the Errors, I movd back again—The Shrew, and Troilus, specially the last. If they are in the wrong places now, and get movd to their right ones, I have no doubt that a number of links of like phrases, thoughts, subjects, characters, will be perceivd between them and the plays lying next them. I believe, nay, assert, that down each side-edge of every one of Shakspere’s plays are several hooks and eyes of special patterns, which, as soon as their play is put in its right place, will find a set of eyes and hooks of the same pattern on the adjoining play to fit into. This was oddly the case with Julius Cesar when put into its right place before Hamlet. And the only exception to the rule is, where an entirely new or different subject like this Julius Cesar is started, after such a succession of comedies as closes Shakspere’s Second Period: in this case the links, the hooks and eyes, on the left edge of the new play, may be wanting. Note too, that, as in conjunctions, we have both copulative and disjunctive ones, so in links we have. both bonds of likeness and contrast, as I have shown under Hamlet, p.lxix. These links—almost always undesigned ones—I contend are only what must naturally exist between works written by the same man nearly at the same time of his hfe and in the same mood. From evidence of like kind, comparing the general tone of the Four Periods of his works, I hold that Shakspere’s plays, when lookt at broadly in their successive Periods, represent his own prevailing temper of mind, as man as well as artist, in the succeeding stages of his life. These tempers and moods, as they change in Shakspere’s Four Periods, are but those of Nature. Mr. Spedding, who objects to part of my views, yet says :— . “Along with the resemblances between the writings of the same man, there will also be differences; differences corresponding to changes in his tastes, humours, habits, fortunes, and mental conditions. In his earlier youth, farce and deep tragedy may probably divide his affections between them. As his mind expands and ripens, the broader humours of farce and the simpler horrors of tragedy lose their attraction, and give place to the richer, chaster, and more delicate humour of high comedy, and the deeper mysteries of tragic passion. As advancing years cool the blood, and decreasing activity makes the pleasures of a quiet life more attractive than those of a stirring one, it is probable that the writer’s taste will incline to the calmer and more soothing kind of pathos, in which the feeling is too profound and tender for what is called comedy, and yet the final impression too peaceful for what is called tragedy. Tastes so changing would no doubt induce changes both in the choice of subjects and in the treatment of them; and looking through your list of Shakspere’s plays in the order of their dates as determined upon independent grounds, the succession is much what we might (without invent- ing any extraordinary spiritual trials in his private life to account for the changes) have expected. Take your Four Periods, and you will find that the differences in choice and treatment suit very naturally with the natural changes in a man’s mind as he grows older; and that the whole series will divide very well into four groups. Between twenty-four and thirty, Shakspere had a young man’s tastes, both in the light and the, heavy line—a taste for merriment and absurdity and ingenious conceits and 1 This poem also explains the cause of the great preponderance of melancholy thwarted-love poetry in Chaucer's early time, as contrasted with the prevailing humourous poetry of his Third Period. oon atts 2 Characteristics of English Poets, p. 10. ‘Matrimonial pangs” Mr. Minto has since suggested in his article in the Eneycl. Britan., which contains some great blunders. — : : 3 The Temple-Garden scene in 1 Henry VI. was no doubt written some time before Shakspere’s part of 2 & 3 Henry VIL? but I had to treat the whole quadrilogy together. : 4 Professor Dowden puts Troilus next Measure for Measure. See Notes atend. I think that’s too early. exx § 18. THE ORDER OF SHAKSPERE’S PLAYS. HE HIMSELF IS IN THEM. slang and bawdry, in the light line; and for love, in the ‘sighing-like furnace’ and bowl-and-dagger -stage, in the serious. Aftcr thirty he lost his relish for these puerilities, aimed at a higher order of wit and humour in comedy, and a higher moral standard altogether ; while for the true elements of human tragedy he turned to history. Five or six years of such work led him upwards into a still higher region. In comedy, though the vein was as rich as ever and as full of enjoyment, yet the pathetic element springing from the tender and serious feeling with which he had come to regard all human things became more and more predominant, and so prevailed over the other in the general effect, that his later works which end happily are hardly to be called comedies. I suppose nobody ever thought of Measure for Measure as a comedy, though everybody in it except Lucio is happily disposed of, and the effect of his sentence is rather comic than otherwise. Adl’s Well is allied to tragedy rather than comedy, by the pity and serious interest with which we follow the fortunes of the heroine; and Twelfth-Night, in spite of the number and perfection of the comic scenes, and the wonderful liveliness and rapidity and variety of incident and action, is nevertheless to me one of the most pathetic plays I know—and would draw tears far sooner than Romeo and Juliet. ‘So Shakspere may be said to have taken leave of comedy proper in The Merry Wives, and to have grown out of it before he was forty years old. In the meantime his exercises in tragedy proper had led him into the region of the great passions which disclose the heights and depths of humanity—a region which was destined to become and remain his own. These passions,—for the benefit of the theatre, the glory of Burbage, the amusement and instruction of the play-going public—and partly it may be for the satisfaction and relief of his own genius—he brought, by means of such stories as he could find, suit- able for showing them in action, upon the stage. And to this we owe Hamlet, Macbeth, Othello, Lear, and the rest; which occupied the ‘unhappy Third Period.’ I should like to have a period of un- happiness like that. [No doubt.] The Fourth Group follows naturally enough. He was forty-four years old; he had made moncy enough; he had retired from business; he had passed the period when the mind takes pleasure in violent agitations; and he employed himself upon such subjects as suited— or treated the subjects which he found so as to make them suit—the autumnal days :—Witness The Winter's Tale and The Tempest. “Classing the plays according to their general character, I find that they fall naturally into these broad divisions, and that they have a kind of correspondence with the divisions which are observable in the life of man. But if you want to separate these natural divisions into subordinate groups, according to the particular feature which distinguishes each, it seems to me that you must have as many groups as there are plays. The distinguishing feature of each would depend upon many things besides the author’s state of mind. It would depend upon the story which he had to tell; and the choice of the story would depend upon the requirements of the theatre—the taste of the public, the popularity of the different actors, the strength of the company. A new part might be wanted for Burbage or Kempe. The two boys that acted Hermia and Helena [and Rosalind and Celia]—the tall and the short onc,—or the two men who were so like that they might be mistaken for each other, might want new pieces to appear in!; and so on. The stories would be selected from such as were to be had (and had not been used up), to suit the taste of the frequenters of the theatre ; and the characters and incidents would be according to the stories.” If then the broad divisions are those of Nature, if they are a priori probable, and the succession of the plays in each Period can be made out—as I have shown it can be, with a close approach to certainty—by a combination of all the evidence from without and within, how can we help asking ourselves what smaller groups the plays of each Period fall into? how can we help refusing to admit the evidence under our noses that, for instance, Julius Cesar, Hamlet, and Measure for Measure are most closely allied by the unfitness of Brutus, Hamlet, Claudio, to bear the burden put on them, while Othello and Macbeth, tho’ like the first group in the unfitness of their heroes’ nature for the strain put on them, are yet more closely linkt to one another by their heroes, under the influence of their quick-working imaginations, yielding to temptations from without and from within? And so on. Next, as to the question how far we are justified in assuming that Shakspere put his own feelings, himself, into his own plays. Some men scorn the notion, ask you triumphantly which of his characters represents him, assert that he himself is in none of them, but sits apart, serene, unruffied himself by earthly passion, making his puppets move.2 I believe, on the contrary, that all the deepest and greatest work of an artist,—playwright, orator, painter, poet, &c., —is based on personal experience, on his own emotions and passions’, and not merely on his observations of things or feelings outside him, on which his fancy and imagination work. , I find 1 Cp. Viola and Sebastian in Twelfth-Niqht. 2 They take the Fourth-Period calm of Prospero, reacht thro’ trial and storm, as that of Shakspere’s whole life, even. his ‘‘hell of time.” It is a strange mistaking of this life-ful, nerve-ful man. 3The revived doctrine that the main object of poetry is to please, seems to me too contemptible to be discusst. 1 don’t believe the mere wish to please, ever produced anything better than toys. §18. SHAKSPERE HIMSELF IN HIS PLAYS. exxi that Fra Angelico, whose angel-pictures breathe calm into you as you walk up to them, and lift you into heaven’s own serene, makes you smile at his devils. I find that Wordsworth cannot paint passion, but that Michael Angelo can. I find that Milton’s Satan has Milton’s noble nature perverted ~——is no devil, &c.;—but that Dante can paint hell, because he’s felt it. Shakspere tells me he’s felt hell: and in his Othello, Macbeth, Lear, Coriolanus, Timon, I see the evidence of his having done so.! He tells me how he loved his friend, as with woman’s love; and in his Antonio—thrice repeated—his Helena, his Viola, I see his own devoted love reflected. He tells me what his false swarthy mistress was: and in his Cleopatra I see her, to some extent, embodied. Tradition tells me of the merry mectings at the Mermaid, and the wit-combats there; and in the Falstaff-scenes at the Boar’s Head, &c. &c.; I see these imaged. The early plays show me what Shakspere was at the beginning of his career—how comparatively poor in nature, and merely sharp and witty. I see him ow in knowledge and experience of life from Period to Period, almost play to play, enriching himself with the society of gracious Elizabethan ladies, and courtly men, fighting the deepest questions which puzzle the will, getting convinced of the sternness of the Moral Ruler of mankind, of the weakness of his own nature, of the suffering that sin brings; I see him laying bare his own soul as he strips the covering off other men’s; and I see him at last passing into at-oneness with God and man, into fresh delight in all the glories of the outward world, and the sweet girls about him in his Stratford home. Then content to sleep. And I refuse to separate Shakspere the man from Shakspere the artist. He himself, his own nature and life, are in all his plays, to the man who has eyes, and chooses to look for him and them there. , But still let those who reject this view, note that all I have said of the succession of Shakspere’s Plays is independent of it. Only let them study the works of Shakspere chronologically, as they do those of Raphael, Turner, Mozart, Handel, Beethoven; and let them help to put down the idiotic helplessness and confusion on the subject that have hitherto been so prevalent in England, and which still make many men turn angrily on you when you try to get them out of it. Let them also insist, that Shakspere’s Poems be studied with his Plays, as Chaucer’s Minor Poems must be with his Tales. Neither man can be known from Plays or Tales alone. (I owe an apology to my readers for the slightness and inequality of parts of this Introduction. Most of it has been draggd out of me when in a Hamlet-like mood of putting-off, and amid the pressure of other work. All the play-part was dictated to an amanuensis, from old notes and recollections’, and under constant injunctions to be short. But the intended thirty-two pages have grown to four times their length, and yet much that should have been said remains unsaid. I have not had time either, to work out fully the links between the plays,—with the help of the Variorum edition or a Concordance’,—or § 16 on Shakspere. How poorly the words I have used, represent him or my own feeling for him, I painfully feel. Still, that they will help beginners at least, teachers and students of long standing, who have themselves learnt from what I have written, have assurd me; and I know, when I began work at Shakspere, how much I wanted such an introduction to him as is given here. My best thanks are due to the friends who have lookt over these sheets, and added the suggestions to which their names are put.) § 19. a. The best books to help the student to understand Shakspere’s mind, growth, and purpose, are Gervinus’s “Commentaries” (14s., Smith and Elder); Dowden’s “Shakspere, his Mind and Art” (12s., H. S. King and Co.); Mrs. Jameson’s ‘“ Characteristics of Women,” that is, Shakspere’s Women—an enthusiastic and beautiful book (ds., Routledge); Watkiss Lloyd’s “ Critical Essays on the Plays” (2s. 6d., Bell and Sons); 8. T. Coleridge’s ‘Shakespeare Lectures,” &c., from vol. ii. of his “ Biographia Literaria” (3s. 6d., Howell, Liverpool).4 Then, if you wish 1 T look for the Shakspere of each Period—good part of him, at least—to the character or opposite characters whom he has drawn with most sympathy in it: to Valentine (and Romeo?) in the First Period ; to Henry V. on the one hand, Antonio on the other, in the Second Period ; to Hamlet on the one hand, Othello on the other, in the Third Period ; to Prospero in the Fourth. I can’t believe that Shakspere had much of the wily Ulysses or the calm, self-seeking (tho’ re- pentant) Enobarbus in him, tho’ they may represent, for his Third Period, the self-control that Benvolio does for his First. While he knew with Romeo what the ecstacy of love was, with Antonio what the self-sacrifice of life to friendship was, with Hamlet what will-weakness, with Othello what jealousy, with Coriolanus, with Timon, what ingratitude were ; though with his nerve-ful sensitive frame, his yieldings, his falterings, his mauvais quarts d’hewre were many, yet his healthy nature pulld him thro’. And as Professor Dowden says, George Chapman’s lines fitly represent him:-:- “ “Give me a spirit that on life’s rough sea There is no danger to the man that knows Loves to have his sails filled with a lusty wind What life and death is ; there’s not any law Even till his sail-yards tremble, his masts crack, Exceeds his knowledge ; neither is it lawful And his rapt ship runs on her side so low That he should stoop to any other law.’ That she drinks water, and her keel ploughs air ; (Byron's Conspiracy, Act III. end.) “ Such a master-spirit pressing forward under strained canvas was Shakspere. If the ship dipped and drank water, she Tose again ; and at length we see her within view of her haven, sailing under a large, calm wind, not without tokens of stress of weather, but if battered, yet unbroken, by the waves.” 2 Tf in any there are bits from unacknowledged sources, this arises from forgetting, not intention. 3 I have never used either for the purpose, except in the case of Lucrece. * Add Prof. Spalding’s Letter on The Two Noble Kinsmen and the Characteristics of Shakspere’s Style (N. Sh. Soc.). scsi 19. THE BEST SHAKSPERE BOOKS. - for more books, Hudson’s “Shakespeare, his Life, Art, and Characters” (of his twenty-five greatest plays) (2 vols., 12s., Ginn, Boston, U.8.; Sampson Low, &c.); Schlegel’s ‘‘ Dramatic Art” (3s. 6d.) ; Ulrici’s “ Shakspere’s Dramatic Art” (7s.), and Hazlitt’s thin “ Characters of Shakespeare’s Plays” (2s., Bell and Sons).! 4, For the originals of the Plays, Hazlitt’s “ Shakspere’s Library’’ (6 vols., 42s., Reeves and Turner), and ‘I’. P. Courtenay’s matter-of-fact “Commentaries on the Historical Plays” (2 vols., Colburn, 1840), are indispensable. ¢, Glossaries, &e.; Dr. Alex. Schmidt’s excellent “Shakespeare-Lexicon” (26s., Williams and Norgate) gives reference to all the occurrences of every word in the lesser Poems and Plays, but not quotations of all the passages. It arranges the references under their senses, and the parts of speech of the head-word. Mrs. Cowden Clarke’s “‘Concordance”’ to the Plays (25s.) gives a quotation for every occurrence of every word not a particle, preposition, auxiliary, &c., but mixes words spelt the same way, and different parts of speech and meanings. Mrs. Horace Howard Furness’s ‘‘ Concordance to the Minor Poems” (1és.) gives a quotation for every use of every word, and prints all the Minor Poems too, for handiness of reference. Dyce’s “Glossary” (last vol. of his Shakspere), and Nares’s general Elizabethan “ Glossary’? (2 vols., 24s., A. R. Smith), are most useful. d. Grammar and Metre: Dr. Abbott's ‘“‘Shakesperian Grammar” (6s., Macmillan) is indispensable, but has some bad misscansions. W. Sidney Walker's three volumes of Shakspere Text-criticism (15s., A. R. Smith) are excellent; Dr. Ingleby’s ‘“‘Shakespeare Hermeneutics” (10s., Triibner) interestingly defends the Folio text against rash emendations. The late C. Bathurst’s capital little half-crown volume on the end-stopt and unstopt line, —‘‘ Changes in Shakespeare’s Versification at different Periods of his Life” (2s. 6d., J. W. Parker and Son)—is unluckily out of print. e. Pronunciation: buy Mr. A. J. Ellis’s “Early English Pronunciation with Special Reference to Chaucer and Shakespeare” (four Parts, 40s., Asher and Co.; or Part III. only, the Shakespeare Part [pp. 917-96], 10s.). Get also Hy. Sweet's “‘ History of English Sounds” (4s. 6d., Triibner). f. For Text: have the ‘ Leopold” or the ‘‘ Globe ” edition (Macmillan, 3s. 6d.), because its lines are numberd, and for sound text; but do not ruin your eyes by reading the ‘Globe.’ For reading, get a small 8vo. clear-type edition like Singer’s (10 vols., 25s., Bell and Sons). Get Gif you can aftord it) Mr. Furness’s admirable Variorum edition of Romeo and Juliet and Macbeth (15s. each, A. R. Smith) ; Hamlet is preparing; (the other plays will slowly follow); and, for their notes, Messrs. Clark and Wright’s little Clarendon-Press edition of plays at 1s. or 1s. 6d. each (their 8vo. Cambridge edition with most valuable full collations, is out of print); and Craik’s Julius Cesar. The little Rugby editions of the plays are very good, and not so dryasdust as the Clarendon Press ones. g. Get Mr. John R. Wise’s charming little book on “ Shakespeare: his Birthplace and its Neigh- bourhood ” (8s. 6d., Smith and Elder) ; and Mr. Roach Smith's “‘ Rural Life of Shakespeare” (3s. 6d., - Bell and Sons). And certainly buy a copy of Booth’s admirable Reprint of the First Folio of 1623 (12s. 6d., Glaisher, 265, High Holborn; with the Quarto of ‘‘Much Adoe,” for 1s.); or Chatto and Windus’s little photograph-process fac-simile (10s. 6d.), but buy a magnifying glass to read it with. For the facts of Shakspere’s Life, chronologically arrangd, Mr. 8. Neil’s cheap little “ Shakespeare: a Critical Biography ” (Houlston and Wright) is a handy book, though it is confused, like all others, except (I suppose) Dyce’s last, by the forged documents publisht by J. P. Collier and P. Cunningham. On the “Sonnets,” get the best book yet written, Armitage Brown’s (6s., A. R. Smith)?; for the allegorical view of them, Mr. R. Simpson’s ‘‘ Philosophy of Shakespeare’s Sonnets” (3s. 6d., Tritbner) ; for useful information and a mistaken theory, Mr. Gerald Massey’s book—the edition sold off at 5s. 6d. (Reeves and Turner).—Of course, subscribe a guinea a year to the New Shakspere Society (Hon. Sec., A. G. Snelgrove, Esq., London Hospital, E.), read its Papers, and work its Texts, specially the parallel ones. Get one or two likely friends to join you in your Shakspere work, if you can, and fight out all your and their difficulties in common: worry every line; eschew the vice of wholesale emendation. Get up a party of ten or twelve men and four or six women to read the plays in succession at one another's houses, or elsewhere, once a fortnight, and discuss each for half an hour after each reading. Do all you can to further the study of Shakspere, chronologically and as a whole, throughout the nation. § 20. The following Metre and Date Table is re-arranged from Mr. Fleay’s Metrical Table? in the New Shakspere Society's Transactions, 1874, p. 16, with dates revisd from my Table in my Gervinus Introduction, pp. xxvi.—vii. J Professor Dowden, who has been through all the German commentators, thinks Kreyssig’s Vorlesungen iber Shakespeare (a big book), and Shakespeare-Fragen (a little book), the best popular introduction in German to Shakspere. Prof, Ward's Iistory of Dramatic Literature, 2 vols., octavo, gives a general view of the whole subject, and will be found serviceable, Mr. Hargrove says that he has found ‘‘ Mr. Fleay’s Handbook useful, despite its gross defects.” The student must not adopt its “mere vagary” that Ben Jonson re-wrote or toucht-up Julius Cwsar ! 2 Now out of print. The book on the Sonnets has yet to be written; and I hope Professor Dowden "ll do it. Mr. Grosart means to comment on them in his Life of Lord Southampton (H. W., for Thorpe’s W. H.). 4 The figures in this need verifying, but are probably not far out. §20. METRE AND DATE TABLE OF SHAKSPERE’S PLAYS. exxiii METRE AND DATE TABLE OF SHAKSPERE'S PLAYS. | sl ol vledifl lel @lalalgd didi ¢leleel . : 4 128i) be: ie a a . ES] & a (Ag AE) eae) S| Aa ER] eI EY aa | a | ‘| =| hes | a ov | cy a“ [oe I.—PLAYS OF FIRST (RYMING) PERIOD. (M=Meres, 1598.) Love’s L. Lost .2789,1086 re 1028 54 | 32 | 71 194 | 412 13 | —| 1 1598 | 1598m) 1588-9 |Love’s L. Lost Com. of Errors 1770, 2401150 380, — | — | 137 6 3 |x 109 8 9 | — | — 11623 | | 1594M; 1589-91'Com. of Errors Midsum. N. D. 2951! 441) 878 731.138 | 63) 29 a — il 5 3) — | — 1600 | 1598 M| 1590-1 ea, N. D. T. Gent. of V. (2060: 409 1510 116} - | 15 | 203 1 6 | — 18 | 815, 32} 8; 5 |1623 , 1598m, 1590-2 \T. Gent. of V. Rom. and Jul. 3002, 405.2111 486 — | —- | 118 62 | 28 | — 10 20 16 | 4% 6 (1597 | 1595M) 1591-3 Rom. and Jul. Richard IJ. ../2644, — (2107: 5387) — | — : 148, 12 | i — 11:17; 26 | 22 : 3371597 21595M, ?1593-4 |Richard II. Richard ILL 11/3599! 5573374: 170; — i: — | 570: — » — 1 — 20139. 13 | 23 | 16 }1597 :71595 M| 1594 |Richard IIL. ; II.—HISTORIES AND COMEDIES OF SECOND PERIOD. , King John __ ..|2553| — j2403: 150) — | — | 54) 12 | —j—]1.9 4] 4) 2 [1693 | 1598M) 1595 | |King John Mer. of Venice 2705, 673, 1896: 93) 3L | 9 | 297 ; Fewer 4 | 816) 22 | 2 | 14 |16007) 1598m) 1596 |Mer. of Venice 1 Henry IV. 3170, 146L 1622; 84; — | — | 60 — | — j16)17| 16 | 16 | 13 |1598 | 1598M} 1596-73/1 Henry IV. 2 Henry IV. ../3437,1860,1417| 74) 7 | 15 | 203 (Pistol 641. ‘| 3/13) 7] — | 6 |1600 | 1598m) 1597-832 Henry IV. Merry Wives a01e)2708 227; 69! — | 19 | 32)|Pistol 391.] |—| 3} 3] — | 3 s1602 | 1602 1598-9 |Merry Wives Henry V. he seao loa! 1678; 101) 2| 8 | 291 ist] — 2/13} 10 | 4 | 23 |1600-) 1599 15993 |Henry V. Much Ado, &c.]2823'2106] 643} 40) 18 | 16 | 129) 22: — | — | 2] 7} 15} 4] 4 {1600 | 1600 | 1599-1600 |Much Ado, &e. ' As You Like It 2904/1681 925) 71)130 | 97 | 211] 10 | — | 2 | 3)10) 38) 1) 5 1623 | 1600 16003 |As You Like It | Twelfth-Night |2684)1741] 763) 120, — | 60 | 152; — | — | — | 821) 23 | 5 | 10 |1623 | 1602 16013 |Twelfth-Night | All's Well __../2981/1453)1234; 280) 2 | 12 | 223) 8 | 14 | — 731 31 | 5 | 14 (1623) — 1601 | |All’s Well | (L.L.Won.1590)} | | (L.L.Won.1590) Ill.—_TRAGEDIES AND COMEDY OF THIRD PERIOD. | Julius Ceesar../2440; 165.2241) 34 — | — | 369, — | — | — [14.31] 55 | 6 | 16 [1623 | 1601 1601 _— |Julius Ceesar | Hamlet .. 3924|1208'2490| 81} — } 60 | 508! [86 1. play] aes 55 | 11 | 47 11603!) 2 1602-33/Hamlet i Measure forM. 2309|1134/1574 73| 22) 6 | 338) — ; —; — /10:29: 66 | 5 | 47 |1623 | — 1603 |Measure forM. | Othello .|8324} 54112672) 86; — | 25 | 646) — | — | = 19)66| 71 | 13 | 78 |1622 | 1610 1604 |Othello | Macbeth .. ../1993} 158/1588) 118/129 | — | 399) — | — | — ae 43 | 8 | 18 |1623 | 1610 1605-63)Macbeth King Lear _ ..|/3298| 903/2238| 74 83 | 567) — |] — | — 4116 | 22 | 50 |16083) 1606 1605-63)King Lear -Antony and C./3964| 255|2761| 42) — | 6 | 613) — | — | — i 13) 8 31 | 61 1623 | 16087 1606-7 |Antony and C. Coriolanus — .:/3392) $29/25211 42! — | —.| 708) — | — | — 3133| 5 1.19 | 42 |1623 | — 21607-8 |Coriolanus IV.—PLAYS OF FOURTH PERIOD. Tempest , 2068, 48/1458) 2) — 476|[54 1. masq.] | 2|16| 47 | 5 | 11 11623 {21614 1610 _|Tempest Cym eline (3448! 6383/2585 107| _ | 82 | 726|[84 1. vision] | 8/15] 31 | 18 | 42 xs 1611 1610-12\C yeline Winter's Tale’ 2758; 844|1825| 01 — | 57 | 639|(321. chorus] 8/14! 19 | 13 | 16 |1623 | 1611 21611 inter’s Tale . V.—FIRST SKETCHES IN ee QUARTOS. : Rom. and Jul. |2066 26111151 354 —|—| 92 aa —|—|72 21 | 92 |1597 | 1595M) %1591-3 jpom and Jul. Hamlet .. ..|2068} 509|1462 a 43 a“ (36 1. play] [13; ia 3 37 | 30 |13031) 2? 1602-32, Hamlet Henry’ V. . {1672} 898) 774 es — 04) — —|—-— ai 35 | 31 | 15 |1600 | 1599 15993 |Henry V. Merry Wives 1395 1207 148; 40 $8 [tairies}19 —|-—l —! 5] 4& '1602 ! 1602 1598-9 |Merry Wives VI. DOUBTFUL PLAYS. Titus andes, 2525, 43/2338) 144) — | — | 154) —{—J| 4 8) 9] 9] 12 |1600 | 1600 1588-90| Titus Andron, 1 Henry VI. ../2693; — |2379| 314| — 140) — | — | — | 5) 5} 4] 7 | 12 |1623 | 1592 1592-4 }1 Henry VI. 2 Henry VI. ../3032) 448/2562| 122) — | — | 255) — | — | — ! 8]25] 15 | 21 | 12 1623 | — 1592-4 |2 Henry VI. 3 Henry VI. ../2904| — |2749) 155) — | — | 346) — | — | — 13 Il) 14 | 11 | 7 /1623 | — 1592-4 |3 Henry VI. Contention _../1952! 381]1571| 44, — | —! 54, —|; — | — 14) 16 | 32 | 44 11594 | 1592 1586-8 jpontenbon True Tragedy - se — 12035] 66: — | — | 148. — | — | — re 21| 29 | 38 | 34 [1595 | 1592 1586-8 [True Tragedy VIIL—PLAYS IN WHICH SHAKSPERE WAS NOT SOLE AUTHOR. Tam. of Shrew/}2671! 516'1971: 169 15 260, — | — | 49 | 4/18) 22 | 23) 5 1623) — 1596-7 |Tam. of Shrew Troilus and C, |3423/1186/2025| 196| — | 16 a — | — |10/46] 62 | 13 | 43 |1609 | 1609 1606-7 |Troilus and C. Timon of Ath. |2358] 596/1560|) 184)'18 — |15}28] 54 | 30 | 37 |1623 | — 1607-8 |Timon of Ath. Pericles .. _,./2386} 418/1136) 225) 89 | — i [222 1.Gower] A 49; 59 | 26 | 18 |16091| 1608 16083 |Pericles Two Noble K. 2734) 179/2468) 54! — | 33 | al — | 919 46]}17 |) 5 1634} — 1612 '|Two Noble K. a VIII. ..12754' 67212613]. 161 — | 12° 1193 [46 1.Pr. Bp] aig! 18 | 3 | 32 [1693 | 16137 16133 [Henry VIIT. "Poems publisht :— Venus and ‘Adonis, 1593 ; Luer cee, 1594 ; Passionate Pilgrim, 1599; Phenix and Turtle (spurious), 1601; Sonnets, 1609; with ‘A Lover’s Complaint (? spurious).: 1 Enterd one year before at Stationers’ Hall. 2 Enterd two years before. 3 May be lookt-on es fairly certain. aes exxiv NOTES. PROF. DOWDEN'S GROUPS OF THE PLAYS AND SONNETS. NOTES. P. vii.—This is Professor Dowden’s grouping of the Plays :— 1. Pre-SHAKSPEREAN GROUP. ested @) bine joyous, romantic. ; ' usica welfth-Night. ae by Shakspere.) sadness. Much Ae, ‘ itus Andronicus As You Like It. 1 Henry VI. }(rtooa and fre) (Jaques the link to the next group.) Discordant (c.) Earnest. All's Weil. 2. MARLOWE-SHAKSPERE GROUP. sadness. Bitter, dark, Measure for Measure. Early 2 & 3 Henry VI. (Marlowe's presence). Tronical. Troilus and Cressida History. Richard III. (Marlowe's influence). (which I place here), 3. EARLY CoMEDIES. 9. MIDDLE TracEDY (= Tragedy of reflection). Love's Labours Lost. : Julius Cesar. Error and misfortune, rather Errors Hamlet. than passion and crime. Two Gentlemen Midsummer-Night's Dream. 10. LATER TRAGEDY (= Tragedy of passion). Jealousy and murder. Othello. 4, Earty TRacepy. Ambition and murder. Macbeth. Romeo and Juliet. Ingratitude and parricide, Tae oun Voluptuousness. niony a opatra, 5. MippLe History. Haughtiness (alienation from Richard I. country). Coriolanus. King John. Misanthropy (alienation from es 6. MmppLE Comepy. humanity). Timon. Timon is the climax. Merchant of Venice. ) 7. Later History (History and Comedy united). 1 & 2 Henry IV. Henry V. 11. RoMANCES. Sketch Marina (1st Tempest). Tempest (Tempest again). Cymbeline. 8. LATER CoMEDY. Winter's Tale. Group (a). Rough and boisterous comedy. 12. FRAGMENTS. Shrew. Henry VIII. Merry Wives. Two Noble Kinsmen. No sadness. Observe I have early, middle, and later History ; early, middle, and later Comedy: and early, middle, and later Tragedy; and the plays might well be read, not only right through in chronological order, but also in these three lines chronologically :— Comedy, Tragedy. History. a a a b | b b c € c P. xi. Shakspere’s Games.—I hope he did not, like Falstaff as a boy (Merry Wives, V. i. end), ‘‘pluck geese ’’ as well as ‘play truant, and whip top.” ‘‘To strip a.living goose of its feathers was formerly an act of puerile barbarity ” (Singer). P. lii. Merry Wives——On the odd mess of the time of the action of this play, see Grant White's Shakspere, ii. 200-1. Falstaff’s second adventure takes place between eight and nine of the morning of the same day on which his first adventure had taken place in the afternoon. There is no room for an intervening night in III. v. P. Ixiv. Lord Bacon.—The idea of Lord Bacon’s having written Shakspere’s plays can be entertaind only by folk who know nothing whatever of either writer, or are crackt, or who enjoy the paradox or joke. Poor Miss Delia Bacon, who started the notion, was no doubt then mad, as she was afterwards proved to be when shut up in an asylum. Lord Palmerston, with his Irish humour, naturally took to the theory, as he would have done to the suggestion that Benjamin Disraeli wrote the Gospel of St. John. If Judge Holmes’s book is not meant as a practical joke, like Archbishop Whately’s Historie Doubts, or proot that Napoleon never livd, then he must be sct down as characteristic- blind, like some men are colour-blind. I doubt whether any so idiotic suggestion as this authorship of Shakspere’s works by Bacon had ever been made before, or will ever be made again, with regard to either Bacon or Shakspere. The tomfoolery of it is infinite. P.lxv. Sonnets.—Professor Dowden says :—“ The first possible break in the Sonnets is at No. 32; the second possible (I don’t say actual) one is at No. 74; the third possible one at 96. With 100 begins a new series, after three years from the first Sonnets. Beauty, Time, Offspring, Verse, Goodness, Love,—these are the topics of the Sonnets. How shall beauty conquer time? First, by breed (early Sonnets). Well, if you won’t beget, then by Jerse. But in the end, Love as Love is the one eternal thing, and this love is founded on the virtue of the soul, not the beauty of the face (last of the series, 125). That is the end of the whole matter.” I hope that Professor Dowden will some day write further on the Sonnets. Let every one look out for his shilling Shakspere Primer in Mr. J. R. NOTES. THE CORPSE-SPEECHES IN JULIUS CAHSAR. CXxV Greene’s series, for Macmillans. Armitage Brown divides the Sonnets into six poems, each with its envoy: I., Nos. 1-26; II., 27-55; III., 6-77; IV., 78-101; V., 102-126; VI., 127-152. He thinks 153-4 do not relate to the mistress of 127-152. P. lxvii. Weever’s Lines—Professor Guizot, in a note of February 3, suggested, that as speeches of Brutus and Antony over Cesar’s body were in Appian’s Civil Wars, Bk. II., ch. exxxvii.-cxlvii., and that book was englisht in 1578, I should look whether the speeches were in the englisht version, as Weever might have alluded to it, and not to Shakspere’s play. On turning to the anonymous translation of the first books of Appian, publisht by H. Binneman in 1578, I found that though a very long speech by Brutus was given, yet that was a day before Antony’s short speeches to the people over the corpse, while Antony’s earlier speeches to the Senate were much longer. There was no such sharp contrast between the two orators’ speeches as Shakspere makes, and Weever alludes to. Moreover, the 1578 englisht Appian can never have been a popular book, and must have been somewhat out of date when Shakspere wrote his play. Weever’s allusion must have been to something fresh in folks’ minds in 1601, and to some long and striking speeches that at once followd Brutus’s, and were aimd at it, like Antony’s in the play were, and not to the short “ plaine speeches spoken agaynst the Senate,” &c., and others to the people, in the englisht Appian. But while I am clear that Weever’s allusion was to Shakspere, and not to Appian, I am none the less grateful to my friend Professor Guizot for having pointed out to us Englishmen for the first time, so far as I know, the source, in Appian, of our great poct’s famous scene and speeches. As the 1578 Appian is very rare, I am printing the corpse-speeches from it as the fourth Appendix to the New Shakspere Society's Transactions, 1875-6, Part II., which will be out in March, 1877. P. lxxvii, note 1. The late Professor J. Wilson (Christopher North) lookt on Iago’s speech about Othello’s epilepsy as a mere lie. Dr. Ingleby agrees. P. lxxx. Troilus and Cressida.— Troilus and Cressida is Shakespeare’s wisest play in the way of worldly wisdom. It is filled choke-full of sententious, and, in most cases, slightly satirical revelations of human nature, uttered with a felicity of phrase and an impressiveness of metaphor that make each one seem like a beam of light shot into the recesses of man’s heart. Such are these :— ‘In the reproof of chance ‘A stirring dwarf we do allowance give Lies the true proof of men.’ Before a sleeping giant.’ “The wound of peace is surety ; ‘Tis certain, greatness once fall’n out with fortune Surety secure ; but modest doubt is called Must fall out with men too ; what the declin’d is, The beacon of the wise.’ He shall as soon read in the eyes of others ‘ . ree 9” As feel in his own fall ; for men, like butterflies, ovnatis aught, bub ae t is valued} Show not their mealy wings but to the summer ; Tis mad idolatry i And not a man, for being simply man, To make the service greater than the god. Hath any honor.’ Besides passages like these, there are others of which the wisdom is inextricably interwoven with the occasion.” sa “The undramatic character of Troilus and Cressida, which has been already mentioned, appears in its structure, its personages, and its purpose. . . . There is also a singular lack of that peculiar characteristic of Shakespeare’s dramatic style, the marked distinction and nice discrimination of the individual traits, mental and moral, of the various personages. Ulysses is the real hero of the play ; the chief, or, at least, the great purpose of which is the utterance of the Ulyssean view of life; and in this play Shakespeare is Ulysses, or Ulysses Shakespeare. In all his other plays Shakespeare so lost his personal consciousness in the individuality of his own creations that they think and feel, as well as act, like real men and women other than their creator, so that we cannot truly say of the thoughts and feelings which they express, that Shakespeare says thus or so; for it is not Shakespeare who speaks, but they with his lips. But in Ulysses, Shakespeare, acting upon a mere hint, filling up a mere traditionary outline, drew a man of mature years, of wide observation, of profoundest cogitative power, one who knew all the weakness and all the wiles of human nature, and who yet remained with blood unbittered and soul unsoured—a man who saw through all shams, and fathomed all motives, and who yet was not scornful of his kind, not misanthropic, hardly cynical except in passing moods; and what other man was this than Shakespeare himself? What had he to do when he had passed forty years, but to utter his own thoughts when he would find words for the lips of Ulysses? And thus it is that Trodlus and Cressida is Shakespeare’s wisest play. If we would know what Shakspere thought of men and their motives after he reached maturity, we have but to read this drama; drama it is; but with what other character, who shall say ? For, like the world’s pageant, it is neither tragedy nor comedy, but a tragi- comic history, in which the intrigues of amorous men and light-o’-loves and the brokerage of panders are mingled with the deliberations of sages and the strife and the death of heroes. . “The thoughtful reader will observe that Ulysses pervades the serious parts of the play, which is all Ulyssean in its thought and language. And this is the reason, or rather the fact of the play’s lack of distinctive characterisation. For Ulysses cannot speak all the time that he is on the stage ; exxvi NOTES. GRANT WHITE ON TROILUS. JEAN LE BEL ON EDWARD IL. and, therefore, the other personages, such as may, speak Ulyssean, with, of course, such personal allusion and peculiar trick as a dramatist of Shakespeare’s skill could not leave them without for difference. Jor example, no two men could be more unlike in character than Achilles and Ulysses, and yet the former, having asked the latter what he is reading, he, uttering his own thought, says as follows with the subsequent reply :— * Ulyss. A strange fellow here ‘ Achil. This is not strange, Ulysses, Writes me: That man, how dearly ever parted,* The beauty that is borne here in the face, How much in having, or without or in, The bearer knows not, but commends itself Cannot make boast to have that which he hath, To others’ eyes ; nor doth the eye itself, Nor feels not what he owes, but by reflection, That most pure spirit of sense, behold itself, As when his virtues shining upon others Not going from itself; but eye to eye opposed, Heat them, and they retort that heat again Salutes each other with each other’s form ; To the first giver.’ For speculation turns not to itself Till it hath travelled, and is mirror’d there *TI.e., gifted, endowed with parts. Where it may see itself. This is not strange at all’ “ Now these speeches are made of the same metal and coined in the same mint ; and they both of them have the image and superscription of William Shakespeare. No words or thoughts could be more unsuited to that bold, bloody egoist, ‘the broad Achilles,’ than the reply he makes to Ulysses; but here Shakespeare was merely using the Greek champion as a lay figure to utter his own thoughts, which are perfectly in character with the son of Autolycus. Ulysses thus flows over upon the whole serious part of the play. Agamemnon, Nestor, A‘neas, and the rest, all talk alike, and all like Ulysses. That Ulysses speaks for Shakespeare will, I think, be doubted by no reader who has reached the second reading of this play by the way which J have pointed out to him. And why, indeed, should Ulysses not speak for Shakespeare, or how could it be other than that he should A The man who had written Hamlet, Hing Lear, Othello, and Macbeth, if he wished to find Ulysses, had only to turn his mind’s eye inward; and thus we have in this drama Shakespeare’s only piece of introspective work.’’? Let Shakspere’s worldly wisdom of 1606 be in Ulysses. His spirit of the Fourth Period is not. God forbid that Ulysses,—not Prospero,—and Cressid, not Imogen, Hermione, Perdita, should give us our last impression of Shakspere! I give up the theory of two dates to Troilus and Cressida. P. xevii, note 38. Miss Hickey defends the gwaint for daisies as an archaism, like Milton’s “ quaint enamelld eyes,’ and quotes,— “And then bycometh the grounde so pronde “« There spronge the violete al newe, \ That it wole have a newé shroude, And fresshe pervynke ryche of hewe. . . And maketh so queynt his robe, and faire, Ful gaye was all the grounde, and queynt, That it had hewes an hundred payre.” .. . And poudred, as men had it peynt.” . Romaunt of the Rose, p. 61, ed. R. Bell, P. ci. Edward III. Froissart and Jean le Bel.—Mr. W. G. Stone writes :—‘ Froissart follows . Jehan le Bel almost verbally in his account of Edward’s visit to the castle of Salisbury after the retreat of the King of Scots. He adds the chess game between the king and countess, and the story of the ring. At the end of chap. 50, in which the visit is related, Jehan le Bel promises the story of the countess’s violation. Froissart alters this into a promise to give a description of the tournament held by Edward for love of the countess. Jehan le Bel, in chap. 61, also describes the tournament in much the same terms as Froissart uses. In chap. 65, Jchan le Bel narrates that during the absence of the earl in Brittany, Edward paid a second visit to the countess on the pretext of inspecting the defences of the country. The countess received him, although unwelcome, with courtesy. The king renewd his suit, but faild. When the night was come, and he knew the countess was in her chamber, and every one in the castle was asleep, he rises, and ordering his chamberlains not to disturb him, goes to the countess’s room, where, after closing the door of the garde-robe, in order to prevent her ladies from coming to her assistance, he stops her mouth and effects his purpose. The next day he returned to London without a word, grandement couroussié de ce qwil avoit commis. After this the king goes to Brittany, and returns to England with the Earl of Salisbury. The earl on reaching his home is received by the countess with constrained cheerfulness, but when they retire for the night she tells him the whole story. He says that he cannot remain in England after this dishonour; she shall have half his lands for her support and their child’s. whom he commits to her care. They lament together, and the earl departs for London, taking with him his son. He appears before the king, and after reproaching Edward for his ingratitude, and predicting that it will be an eternal blot on his name, the carl commends his young son to the king’s protection, and leaves the court. The earl enters into the service of the King of Spain, who was then at war with the King of Granada, and dies at the siege of Algesiras. Jehan supposes that the countess did not long survive him. M. Polain, the editor of Jehan le Bel, says that his partiality for Edward would have led Jehan to express any doubts he felt about this story, and that it is confirmed by the chronicles of Flanders.” ' 1 In the Amiens MS. February 11, 1877. FREDK. J. FURNIVALL. | ' | | ! ' , | { TITUS ANDRONICUS. DRAMATIS PERSON. SATURNINUS, Son to the late Emperor of Rome. Bassianus, Brother to Saturninus. TITUS ANDRONICUS, a noble Roman. Marcus AnDronicus, Brother to Titus. Lucius, QUINTUS, MaRTIUs, MUTIUS, Young Lucius, a Boy, Son to Lucius. Pusuivs, Son to Marcus Andronicus. AiMILIvs, a noble Roman. ALARBUS, ) DEMETRIUS, ; Sons to Tamora. CHIRON, J \ Sons to Titus Andronicus. AARON, a Moor. A Captain, Tribune, Messenger, and Clown; Romans. E Goths and Romans. Tamora, Qucen of the Goths. Lavinia, Daughter to Titus Andronicus. A Nurse, and a black Child. Kinsmen of Titus, Senators, Tribunes, Officers, Soldiers, and Attendants. SCENE-— Rome, and the Country near it. ACT IL. ScENE I.—Rome. Flourish. Enter the Tribunes and Senators aloft; and then enter SATURNINUS and his Followers at one aTt{Ww onc jf Saturninus. _. OBLE patricians, patrons of my right, Defend the justice of my cause with v arms ; \ And, countrymen, my loving followers, Plead my successive title with your swords. I am his first-born son, that was the last That wore the imperial diadem of Rome: Then let my father’s honours live in me, Nor wrong mine age with this indignity. Bass. Romans, friends, followers, fa- vourers of my right, If ever Bassianus, Ceesar’s son, 10 Were gracious in the eyes of royal Rome, Keep then this passage to the Capitol ; And suffer not dishonour to approach The imperial seat, to virtue consecrate, To justice, continence, and nobility : But let desert in pure election shine ; And, Romans, fight for freedom in your choice. Enter Marcus ANDRONICUS, aloft, with the crown. Marc. Princes, that strive by factions and by friends Ambitiously for rule and empery, Know, that the people of Rome, for whom we stand A special party, have by common voice, - 21 In election for the Roman empery, Chosen Andronicus, surnamed Pius, For many good and great deserts to Rome: A nobler man, a braver warrior, Lives not this day within the city walls. He by the senate is accited home, From weary wars against the barbarous Goths; That, with his sons, a terror to our foes, Hath yok’d a nation strong, train’d up in arms. 30 Ten years are spent since first he undertook This cause of Rome, and chastised with arms Our enemies’ pride : five times he hath return’d Bleeding to Rome, bearing his valiant sons door, and BAssIANus and his Followers at the other, with drum and colours. In coffins from the field ; And now at last, laden with honour’s spoils, Returns the good Andronicus to Rome, Renowned Titus, flourishing in arms. Let us entreat,—by honour of his name, Whom worthily you would have now succeed, 40 And in the Capitol and senate’s right, Whom you pretend to honour and adore,— That you withdraw you, and abate your strength. Dismiss your followers, and, as suitors should, Plead your deserts in peace and humbleness. Sat. How fair the tribune speaks to calm my thoughts ! Bass. Marcus Andronicus, so I do affy In thy uprightness and integrity, And so I love and honour thee and thine, Thy noble brother Titus and his sons, And her to whom my thoughts are humbled all, Gracious Lavinia, Rome’s rich ornament, That I will here dismiss my loving friends ; And to my fortune’s and the people’s favour Commit my cause in balance to be weigh’d. [Exeunt the Followers of BASSIANUS. Sat. Friends, that have been thus forward in my right, I thank you all, and here dismiss you all; And to the love and favour of my country Commit myself, my person, and the cause. _ [Exeunt the Followers of SATURNINUS. Rome, be as just and gracious unto me, 60 As I am confident and kind to thee.— Open the gates, and let me in. Bass. Tribunes, and me, a poor competitor. [They go up into the Senate-house. ScENE II.—The Same. Enter a Captain, and others. Cap. Romans, make way! The good Andronicus, ‘Patron of virtue, Rome’s best champion, T a TITUS ANDRONICUS. Successful in the battles that he fights, With honour and with fortune is return’d From where he circumscribed with his sword, And brought to yoke, the enemies of Rome. Sound drums and trumpets, and then enter two of Tirus’s Sons. After themtwo Men bearing a cofin [Act L To re-salute his country with his tears, Tears of true joy for his return to Rome. Thou great defender of this Capitol, Stand gracious to the rites that we intend ! Romans, of five-and-twenty valiant sons, Half of the number that King Priam had, Behold the poor remains, alive, and dead ! Tit. ‘Stand gracious to the rites that we intend !” covered with black; then two other Sons. After them TITUS ANDRONICUS; and then TAMORA, with ALARBUS, CHIRON, DEMETRIUS, AARON, and other Goths, prisoners; Soldiers and People following. They set down the coffin, and T1Tus speaks, Tit. Hail, Rome, victorious in thy mourning weeds! Lo! as the bark, that hath discharg’d her fraught, Returns with precious lading to the bay, From whence at first she weigh’d her anchorage, Cometh Andronicus, bound with laurel boughs, 10 These, that survive, let Rome reward with love ; These, that I bring unto their latest home, With burial amongst their ancestors. Here Goths have given me leave to sheath my sword. Titus, unkind, and careless of thine own, Why suffer’st thou thy sons, unburied yet, To hover on the dreadful shore of Styx ?— Make way to lay them by their brethren. ge dh he tomb is opened. There greet in silence, as the dead are wont, ‘ And sleep in peace, slain in your country’s wars ! Scene II.] TITUS ANDRONICUS. 3 O sacred receptacle of my joys, Sweet cell of virtue and nobility, 30 How many sons of mine hast thou in store, That thou wilt never render to me more! Luc, Give us the proudest prisoner of the Goths, That we may hew his limbs, and on a pile Ad manes fratrum sacrifice his flesh. Before this earthy prison of their bones ; That so the shadows be not unappeas’d, Nor we disturb’d with prodigies on earth. Tit. I give him you, the noblest that survives, The eldest son of this distressed queen. Tam. Stay, Roman brethren !—Gracious conqueror, Victorious Titus, rue the tears I shed, A mother’s tears in passion for her son : And if thy sons were ever dear to thee, O, think my son to be as dear to me. Sufficeth not, that we are brought to Rome, To beautify thy triumphs and return, Captive to thee, and to thy Roman yoke ; But must my sons be slaughter’d in the streets, For valiant doings in their country’s cause ? 50 O! if to fight for king and commonweal Were piety in thine, it is in these. Andronicus, stain not thy, tomb with blood : Wilt thou draw near the nature of the gods? Draw near them then in being merciful : Sweet mercy is nobility’s true badge ; Thrice-noble Titus, spare ny ee orn son. Tit. Patient yourself, madam, and pardon me. These are their brethren, whom you Goths beheld Alive, and dead ; and for their brethren slain Religiously they ask a sacrifice : To this your son is mark’d, and die he must, To appease their groaning shadows that are gone. Lue. Away with him! and make a fire straight ; And with our swords, upon a pile of wood, Let’s hew his limbs, till they be clean consum’d. [Zzeunt Lucius, QUINTUS, MaRTIUsS, and MUTIUS, with ALARBUS. Tam. O cruel, irreligious piety! Chi. Was ever Scythia half so barbarous ? Dem. Oppose not Scythia to ambitious Rome. Alarbus goes to rest, and we survive 70 To tremble under Titus’ threatening look. | Then, madam, stand resolv’d ; but hope withal, The self-same gods that arm’d the Queen of Troy With opportunity of sharp revenge oon the Thracian tyrant in his tent, ay favour Tamora, the Queen of Goths (When Goths were Goths, and Tamora was queen), To quit the bloody wrongs upon her foes. Re-enter Luctus, QUINTUS, MarRTIUs, and MUTIUS, with their swords bloody. Luc. See, lord and father, how we have perform’d Our Roman rites. Alarbus’ limbs are lopp’d, 80 And entrails feed the sacrificing fire, Whose smoke, like incense, doth perfume the sky. Remaineth nought, but to inter our brethren, And with loud ‘larums welcome them to Rome. Tit. Let it be so ; and let Andronicus Make this his latest farewell to their souls. [Trumpets sounded, and the coffins laid in the tomb. In peace and honour rest you here, my sons; Rome’s readiest champions, repose you here in rest, Secure from worldly chances and mishaps! Here lurks no treason, here no envy swells ; 90 Here grow no damned drugs; here are no storms, No noise, but silence and eternal sleep. : In peace and honour rest you here, my sons ! Enter Lavinia. Lav. In peace and honour live Lord Titus long ; My noble lord and father, live in fame. Lo! at this tomb my tributary tears I render for my brethren’s obsequies : And at thy feet I kneel, with tears of joy Shed on the earth for thy return to Rome. O! bless me here with thy victorious hand, . Whose fortune Rome’s best citizens applaud. 100 Tit. Kind Rome, that hast thus lovingly reserv’d The cordial of mine age to glad my heart !— Lavinia, live ; outlive thy father’s days, And fame’s eternal date, for virtue’s praise! Enter Marcus ANDRONICUS, SATURNINUS, Bas- SIANUS, and others. Marc. Long live Lord Titus, my beloved brother, Gracious triumpher in the eyes of Rome! Tit. Thanks, gentle tribune, noble brother Marcus. Mare. And welcome, nephews, from successful wars, You that survive, and you that sleep in fame. 110 Fair lords, your fortunes are alike in all, That in your country’s service drew your swords ; But safer triumph is this funeral pomp, That hath aspir’d to Solon’s happiness, And triumphs over chance in honour’s bed.— Titus Andronicus, the people of Rome, Whose friend in justice thou hast ever been, Send thee by me, their tribune and their trust, This palliament of white and spotless hue, And name thee in election for the empire, With these our late-deceased emperor's sons. Be candidatus then, and put it on, And help to set a head on headless Rome. Tit. A better head her glorious body fits, Than his that shakes for age and feebieness. What should I don this robe, and trouble you? Be chosen with proclamations to-day, To-morrow yield up rule, resign my life, And set abroad new business for you all? Rome, I have been thy soldier forty years, And led my country’s strength successfully, And buried one-and-twenty valiant sons, Knighted in field, slain manfully in arms, In right and service of their noble country. Give me a staff of honour for mine age, But not a sceptre to control the world: Upright he held it, lords, that held it last. arc. Titus, thou shalt obtain and ask the empery. Sat. Proud and ambitious tribune, canst thou tell ? Tit. Patience, Prince Saturninus. Sat. Romans, do me right.— Patricians, draw your swords, and sheathe them not Till Saturninus be Rome’s emperor.— Andronicus, ’would thou wert shipp’d to hell, Rather than rob me of the people’s hearts. Luc. Proud Saturnine, interrupter of the good That noble-minded Titus means to thee ! Tit. Content thee, prince: I will restore to thee The people’s hearts, and wean them from themselves. Bass. Andronicus, I do not flatter thee, But honour thee, and will do till I die: 150 My faction if thou strengthen with thy friends, I will most thankful be ; and thanks to men Of noble minds is honourable meed. Tit. People of Rome, and noble tribunes here, I ask your voices and your suffrages :_ ‘Will you bestow them friendly on Andronicus? Trib. To gratify the good Andronicus, And gratulate his safe return to Rome, The people-will accept whom he admits. Tit. Tribunes, I thank you; and this suit I make, That you create your emperor’s eldest son, 161 Lord Saturnine, whose virtues will, I hope, Reflect on Rome as Titan’s rays on earth, And ripen justice in this commonweal : Then, if you will elect by my advice, Crown him, and say,—‘‘ Long live our emperor!” Marc. With voices and applause of every sort, Patricians, and plebeians, we create Lord Saturninus Rome’s great emperor, And say,—“‘ Long live our Emperor Saturnine!” 170 A long flourish. Sat. Titus Andronicus, for thy favours done To us in our election this day, I give thee thanks in part of thy deserts, And will with deeds requite thy gentleness: And for an onset, Titus, to advance Thy name and honourable family, Lavinia will I make my empress. 120 1 TITUS ANDRONICUS. [Act I. Rome’s royal mistress, mistress of my heart, And in the sacred Pantheon her espouse. Tell me, Andronicus, doth this motion please thee ? Tit. It doth, my worthy lord ; and in this match 181 I hold me highly honour’d of your grace: And here, in sight of Rome, to Saturnine, King and commander of our commonweal, The wide world’s emperor, do I consecrate My sword, my chariot, and my prisoners ; Presents well worthy Rome’s imperious lord: Receive them then, the tribute that I owe, Mine honour’s ensigns humbled at thy feet. Sat. Thanks, noble Titus, father of my life! How proud I am of thee, and of thy gifts, Rome shall record ; and when I do forget ‘The least of these unspeakable deserts, Romans, forget your tealty to me. Tit. [1!0 TAMoRA.] Now, madam, are you prisoner to an emperor ; To him that, for your honour and your state, Will use you nobly, and your followers. Sat. A goodly lady, trust me, of the hue That I would choose, were I to choose anew.— Clear up, fair queen, that cloudy countenance: 200 Though oe of war hath wrought this change of cheer, Thou com’st not to be made a scorn in Rome: Princely shall be thy usage every way. test on my word, and let not discontent Daunt all your hopes : madam, he comforts you, Can make you greater than the Queen of Goths,— Lavinia, you are not displeas’d with this? Lav. Not I, my lord; sith true nobility Warrants these words in princely courtesy. Sat. Thanks, sweet Lavinia.—Romans, Yet us go. Ransomless here we set our prisoners free : Proclaim our honours, lords, with trump and drum. Bass. Lord Titus, by your leave, this maid is mine. [Seizing LAVINIA. Tit. How, sir? Are you in earnest then, my lord ? Bass. Ay, noble Titus; and resolv’d withal, To do myself this reason and this right. Mare. Suum cuique is our Roman justice : This prince in justice seizeth but his own. Luc. And that he will, and shall, if Lucius live. Tit. Traitors, avaunt! Where is the emperor’s ‘guard ? 0 Treason, my lord! Lavinia is surpris’d. Sat. Surpris’d! by whom ? Bass. By him that justly may Bear his betroth’d from all the world away. [Zzcunt Marcus and BassiIANws, with LAVINIA. Mut. Brothers, help to convey her hence away, And with my sword I'll keep this door safe. [Axeunt Luctus, OG PENIEE: and MaRTIUvUs. Tit Follow, my lord, and I’ll soon bring her back. Mut. My lord, you pass not here. Tit. What, villain boy ! [Kills MvutTius. Help, Lucius, help! 190 Barr’st me my way in Rome ? Mut. ‘Re-enter Lucius. Luc. My lord, you are unjust, and more than so: In wrongful quarrel you have slain your son. 230 Tit. Nor thou, nor he, are any sons of mine: My sons would never so dishonour me. Traitor, restore Lavinia to the emperor. Luc. Dead, if you will; but not to be his wife, That.is another's lawful promis’d love. Sat. No, Titus, no; the emperor needs her not, Nor her, nor thee, nor any of thy stock : I'll trust, by leisure, him that mocks me once; Thee never, nor thy traitorous haughty sons, Confederates all thus to dishonour me. Was there none else in Rome to make a stale, But Saturnine? Full well, Andronicus, : Agree these deeds with that proud pone thine, That saidst, I begg’d the empire at thy hands. Tit. Omonstrous! what reproachful wordsare these? Sat. But go thy ways; go, give that changing piece To him that flourish’d for her with his sword. A valiant son-in-law thou shalt enjoy : 240 One fit to bandy with thy lawless sons, To ruffle in the commonwealth of Rome. 251 Tit. hese words are razors to my wounded heart, Sat. And therefore, lovely Tamora, Queen of Goths, That, like the stately Phoebe ’mongst her nymphs, Dost overshine the gallant’st dames of Rome, If thou be pleas'd with this my sudden choice, Behold, I choose thee, Tamora, for my bride, And will create thee Empress of Rome. Speak, Queen of Goths, dost thou applaud my choice? And here I swear by all the Roman gods,— Sith priest and holy water are so near, And tapers burn so bright, and every thing In readiness for Hymeneeus stand,— I will not re-salute the streets of Rome, Or climb my palace, till from forth this place I lead espous’d my bride alang with me. Tam. And here, in sight of heaven, to Rome I swear, If Saturnine advance the Queen of Goths, She will a handmaid be to his desires, A loving nurse, a mother to his youth. Sat. Ascend, fair queen, Pantheon.—Lords, accom- 270 pany Your noble emperor, and his lovely bride, Sent by the heavens for Prince Saturnine, Whose wisdom hath her fortune conquered. There shall we consummate our spousal rites. [Exeunt SaTURNINUS and. his Followers; TAMORA and her Sons; AARON and Goths. Tit. Iam not bid to wait upon this bride. Titus, when wert thou wont to walk alone, Dishonour’d thus, and challenged of wrongs? Re-enter Marcus, Lucius, QUINTUS, and MaRTIUs. Marc. O Titus, see! O, see what thou hast done! In a bad quarrel slain a virtuous son. Tit. No, foolish tribune, no; no son of mine, 280 Nor thou, nor these, confederates in the deed That hath dishonour’d all our family : Unworthy brother, and unworthy sons! Luc. But let us give him burial, as becomes: Give Mutius burial with our brethren. Tit. Traitors, away ! he rests not in this tomb. This monument five hundred years hath stood, Which I have sumptuously re-edified : Here none but soldiers, and Rome's servitors, Repose in fame; none basely slain in brawls. Bury him where you can ; he comes not here. arc. My lord, this is impiety in you. My nephew Mutius’ deeds do plead for him: He must be buried with his brethren. : Quint., Mart. And shall, or him we will accom- pany. Tit. And shall ! What villain was it spake that wor Quint. He that would vouch it in any place but 290 ere. Tit. What! would you bury him in my despite? Marc. No, noble Titus; but entreat of thee To pardon Mutius, and to bury him. 300 it. Marcus, even thou hast struck upon my crest, And with these boys mine honour thou hast wounded : My foes I do repute you every one ; So, trouble me no more, but get you gone, Mart. He is not with himself : let us withdraw. Quint. Not I, till Mutius’ bones be buried. (Marcus and the Sons of TrtTus kneel. Mare. Brother, for in that name doth nature plead,— Quint. eels and in that name doth nature : speak,— Tit. Speak thou no more, if all the rest will speed. Marc. Renowned Titus, more than half my soul,— Luc, Dear father, soul and substance of us all,— Marc. Suffer thy brother Marcus to inter 312 His noble recne here in virtue’s nest, That died in honour and Lavinia’s cause. Thou art a Roman ; be not barbarous : The Greeks upon advice did bury Ajax, That slew himself; and wise Laertes’ son Did graciously plead for his funerals. Scene I.) TITUS ANDRONICUS. 5 Let not young Mutius then, that-was thy joy, Te barr’d his entrance here. Tit. 4 Rise, Marcus, rise.— 320 The dismall’st day is this that e’er I saw, To be dishonour’d by my sons in Rome !— Well, bury him, and bury me the next. . (Mutivs ts put into the tomb. Luc. There lie thy bones, sweet Mutius, with thy friends, Till we with trophies do adorn thy tomb. All. No man shed tears for noble Mutius; He lives in fam2 that died in virtue’s cause. Mare. My lord,—to step out of these dreary am p3, — How comes it that the subtle Queen of Goths Is of a sudden thus advanc’d in Rome? 330 Tit. I know not, Marcus, but I know it is; Whether by device.or no, the heavens can tell. Is she not then beholding to the man That brought her for this high good turn so far ? Yes, and will nobly him remunerate. Flourish. Re-enter, at one door, SATURNINUS, at- tenied; 'TAMORA, DEMETRIUS, CHIRON, and Aaron; at the other door, BASSIANUS, LAVINIA, and others. Sat. So, Bassianus, you have play’d your prize: God give you joy, sir, of your gallant bride ! Bass. And you of yours, my lord! I say no more, Nor wish no less ; and so I take my leave. Sat. Traitor, if Rome have law, or we have power, Thou and thy faction shall repent this rape. 341 Bass. Rape call you it, oy lord, to seize my own, My true-betfothed love, and now my wife? But let the laws of Rome determine all; Meanwhile, I am possess’d of that i3 mine. Sat. ’Tis good, sir: you are very short with us; But, if we live, we’ll be as sharp with you. Bass. My lord, what I have done, as best I may, Answer I must, and shall do with my life. Only thus much I give your grace to know : 350 By all the duties that I owe to Rome, This noble gentleman, Lord Titus here, Is in opinion and in honour wrong’d ; That, in the rescue of Lavinia, With his own hand did slay hi3 youngest son, In zeal to you, and highly mov’d to wrath, To be controll’d in that he frankly gave. Receive him then to favour, Saturnine, That hath expres3’d himself, in all his d2eds, A father, and a friend to thee and Rom3. 360 Tit. Prince Bassianus, leave to plead my deeds : ‘Tis thou, and those, that have dishonourd me. Rome and the rigateous heavens be my judge, How I have lov’d and honour’d Saturnine. Tam. My worthy lord, if ever Tamora Were gracious in those princely eyes of thine, Then hear me speak indifferently forall ; And at my suit, sweet, petupe what is past. Sat. What, madam! be dishonour’d openly, And basely put it up without revenge ? 370 Tam. Not so, my lord: the gods of Rome forfend, I should be author to dishonour you! But on mine honour dare J undertake For good Lord 'itus’ innocence in all, Whose tury not dissembled speaks his griefs, Then, at my suit, look graciously on him; Lose not so noble a friend on vain suppose, Nor with sour looks afflict his gentle neart.— [Aside to SaTuRNINUs.] My lord, be rul’d by me, be won at last ; Dissemble all your griefs and discontents: 380 You are but newly planted in your throne ; Lest then the people, and patricians too, Upon ajust survey, take ‘Vitus’ part, And so supplant you for ingratitude, Which Rome reputes to be a heinous sin, Yield at entreats, and then let me alone. I’ find a day to massacre them all, And raze their faction and their family, The cruel father, and his traitorous sons, To whom I sued for my dear son’s life; . 390 And make them know what ’ti3 to let a queen Kneel in the streets, and beg for grace in vain.— [Aloud.] Come, come, sweet emperor ;—come, Andro- nicus ;— Take up this good old man, and cheer the heart That dies in tempest of thy angry frown. Sat. Rise, Titus, rise: my empress hath prevail’d. Tit. I thank your majesty, and her, my lord. These words, these looks, infuse new life in me. Tam. Titus, I am incorporate in Rome, A Roman now adopted happily, 400 And must advise the emperor tor his good. This day all quarrels die, Andronicus ;— And let it be mine honour, good my lord, That I have reconcil’d your triends and you.— For you, Prince Bassianus, I have pass’d My word and promise to the emperor, That you will be more mild and tractable.— And fear not, lords,—ard you, Lavinia ;— By my advice, all humbled on your knees, You shall ask pardon of his majesty. 410 Luc. We do; and vowto heaven, and to his highness, That what we did was mildly, as we might, ‘end 'ring our sister's honour, and our own. Marc. ‘That on mine honour here I do protest. Sat. Away, and talk not: trouble us no more.— Tam. Nay, nay, sweet emperor, we must all be friends : The tribune and his nephews kneel for grace ; I will not be denied : sweet heart, look back. Sat. Marcus, for thy sake, and thy brother’s here, And at my lovely Tamora’s entreats, 420 I do remit these young men’s heinous faults. Stand up. Lavinia, though you left me like a churl, I found a friend ; and sure as death I swore, I would not part a bachelor from the priest. Come ; if the emperor’s court can feast two brides, You are my guest, Lavinia, and your friends.-- This day shall be a love-day, Tamora. Tit. ''o-morrow, an it please your majesty, To hunt the panther and the hart with me, 430 With horn and hound we'll give your grace bon jour. Sat. Be it so, Titus, and gramercy too. {Trumpets. Exeunt. ACT ScENE I.--The Same. II. Before the Palace. Enter AARON. — Aaron. yy OW climbeth Tamora Olympus’ top, Safe out of fortune’s shot ; and sits aloft, Secure of thunder’s crack, or lightning flash, ‘ Advanc’d above pale envy’s threat’ning each, As when the golden sun salutes the morn, And, having gilt the ocean with his beams, Gallops the zodiac in his glistering coach, And overlooks the highest-peering hills ; So Tamora. Upon her wit doth earthly honour wait, And virtue stoops and trembles at her frown. Then, Aaron, arm thy heart, and fit thy thoughts, To mount aloft with thy imperial mistress, And mount her pitch, whom thou in triumph long Hast prisoner held, fetter’d in amorous chains, And faster bound to Aaron's charming eyes, Than is Prometheus tied to Caucasus. Away with slavish weeds and servile thoughts ! I will be bright, and shine in pear] and gold, To wait upon this new-made empress. To wait, said I? to wanton with this queen, This goddess, this Semiramis, this nymph, This siren, that will charm Rome’s Saturnine, And see his shipwrack, and his commonweal’s. Holla! what storm is this? 10 20 Enter DEMETRIUS and CHIRON, braving. Dem. Chiron, thy years want wit, thy wit wantsedge, And manners, to intrude where I am grac’d, And may, for aught thou know’st, atfected be. Chi. Demetrius, thou dost overween in ali, And so in this, to bear me down with braves. °T is not the difference of a year, or two, Makes me less gracious, or thee more fortunate : fam as able, and as fit, as thou, To serve, and to deserve my mistress’ grace ; And that my sword upon thee shall approve, And plead my passions for Lavinia’s love. dar. Clubs, clubs! these lovers will not keep the peace. Dem. Why, boy, although our mother, unadvis’d, Gave you a dancing-rapier by your side, Are you so desperate grown, to threat your friends? 40 Go to; have your lath glued within your sheath, Till you know better how to handle it. Chi. Meanwhile, sir, with the little skill I have, Full well shalt thou perceive how much I dare. Dem, Ay, boy, grow ye so brave ? [They draw. Aar, Why, how now, lords? So near the emperor’s palace dare you draw, And maintain such a quarrel o only 2 Full well I wot the ground of all this grudge: I would not for a million of gold The cause were known to them it most concerns ; Nor would your noble mother, for much more, Be so dishonour’d in the court of Rome. For shame, put up. Not I, till I have sheath’d 30 50 Dem. : My rapier in his bosom, and, witha J Thrust those reproachful speeches down his throat, That he hath breath’d in my dishonour here. Chi. For that I am prepar d and full resolv’d, Foul-spoken coward, that thunder’st with thy tongue, And with thy weapon nothing dar’st perform. dar, Away,I . 60 Now, by the gods that warlike Goths adore, This petty brabble will undo us all.— Why, lords,—and think you not how dangerous It is to jet upon a princess right ? What! is Lavinia then become so loose, Or Bassianus so degenerate, That for her love such quarrels may be broach’d, Without controlment, justice, or revenge ? Young lords, beware !—an should the empress know This discord’s ground, the music would not please. 70 Dem. “Ay, boy, grow ye so brave?” Chi. I care not, I, knew she and all the world : T love Lavinia more than all the world. Dem. Youngling, learn thou to make some meaner choice: Lavinia is thine elder brother's hope. : Aar. Why, are ye mad? or know ye not, in Rome How furious and impatient they be, And cannot brook competitors in love? I tell you, lords, you do but plot your deaths By this device. Chi. Aaron, a thousand deaths Would I propose, to achieve her whom I love. 80 Aar. To achieve her, how? Dem. Why mak’st thou it so strange? She is a woman, therefore may be woo'd; She is a woman, therefore may be won; She is Lavinia, therefore must be lov'd. at, man! more water glideth by the mill Than wots the miller of : and easy it is Of a cut loaf to steal a shive, we know: Though Bassianus be the emperor’s brother, Better than he have worn Vulcan’s badge. Aar. [Aside.] Ay, and as good as Saturninus may. Dem. Thee ey should he despair that knows Ha court i Scene III] TITUS ANDRONICUS. 7 With words, fair looks, and liberality ? What! hast thou not full often struck a doe And borne her cleanly by the keeper’s nose ? Aar. Why, then, it seems, some certain snatch or so Would serve your turns. Chi. Ay, so the turn were serv’d. Dem. Aaron, thou hast hit it. Aar. _,. Would you had hit it too ; Then should not we be tir’d with this ado. Why, hark ye, hark ye,—and are you such fools, To square for this? would it offend you then, 100 That both should speed ? Chi. Faith, not me. Dem. Nor me, 80 I were one. Aar. For shame, be friends, and join for that you jar. ’T is policy and stratagem must do That you affect ; and so must you resolve, Thai what you cannot as you would achieve, You must perforce accomplish as you may. Take this of me: Lucrece was not more chaste Than this Lavinia, Bassianus’ love. A speedier course than lingering languishment Must we pursue, and I have found the path. My lords, a solemn hunting is in hand ; ‘There will the lovely Roman ladies troop: The forest walks are wide and spacious, And many unfrequented plots there are, Fitted by kind for rape and villainy. Single you thither then this dainty doe, And strike her home by force, if not by words: This way, or not at all, stand you in hope. Come, come ; our empress, with her sacred wit, To villainy and vengeance consecrate, Will we acquaint with all that we intend ; And she shall file our engines with advice, That will not suffer you to square yourselves, But to your wishes’ height advance you both. The emperor’s court is like the house of Fame, The palace full of tongues, of eyes, of ears: The woods are ruthless, dreadful, deaf, and dull ; There epeehs and strike, brave boys, and take your urns ; There serve your lust, shadow’d from heaven's eye, And revel in Lavinia’s treasury. 131 Chi. Thy counsel, lad, smells of no cowardice. Dem. Sit fas aut nefas, till I find the stream To cool this heat, a charm to calm these fits, Per Styga, per manes vehor. 110 120 [Exeunt. ScENE II.—A Forest. Horns and cry of hounds heard. Enter Tirus ANDRONICUS, with Hunters, d-c., Marcus, Lucius, QUINTUS, and MARTIUS. © Tit. The hunt is up, the morn is bright and grey, The fields are fragrant, and the woods are green. Uncouple here, and let us make a bay, And wake the emperor and his lovely bride, And rouse the prince, and ring a hunter’s peal, That all the court may echo with the noise. Sons, let it be your. charge, as it is ours, To attend the emperor’s person carefully : Ihave been troubled in my sleep this night, But dawning day new comfort hath inspir’d. 10 Horns wind a peal. Enter SaTURNINUS, TAMORA, BASSIANUS, LAVINIA, DEMETRIUS, CHIRON, and Attendants. Tit. Many good morrows to your majesty ; Madam, to you as many and as good.— 1 promised your grace a hunter’s peal. : Sat. And you have rung it lustily, my lords, Somewhat too early for new-married ladies. Bass. Lavinia, how say you? Lav, I say, no; Ihave been broad awake two hours and more. Sat. Come on then. horse and chariots let us have, And to our sport. [Zo TAMORAS.] Madam, now shall ye see Our Roman hunting. Mare. I have dogs, my lord, 20 ‘Will rouse the proudest panther in the chase, And climb the highest promontory top. Tit. And I have horse will follow where the game Makes way, and run like swallows o’er the plain. Dem. Chiron, we hunt not, we, with horse nor hound ; But hope to pluck a dainty doe to ground. ([Hzeunt. ScENE III.—A desert Part of the Forest. Enter AARON, with a bag of gold. Aar. He that had wit would think that I had none, To bury so much gold under a tree, And never atter to inherit it. Let him that thinks of me so abjectly Know that this gold must coin a stratagem, Which, cunningly effected, will beget A very excellent piece of villainy: And so repose, sweet gold, for their unrest, : [Hides the gold. That have their alms out of the empress’ chest. Enter TAMORA. Tam. My lovely Aaron, wherefore look’st thou sad, When every thing doth make a gleeful boast ? il Aar, ‘‘ And so repose, sweet gould, for their unrest.” The birds chaunt melody on every bush ; The snake lies rolled in the cheerful sun ; The green leaves quiver with the cooling wind, And make a chequer’d shadow on the ground. Under their sweet shade, Aaron, let us sit, And, whilst the babbling echo mocks the hounds, Replying shrilly to the well-tun’d horns, As if a double hunt were heard at once, Let us sit down and mark their yelping noise : 20. And—after conflict, such as was suppos’d The wandering prince and Dido once enjoy’d, When with a hapny storm they were surpris’d, And curtain’d with a counsel-keeping cave— We may, each wreathed in the other’s arms, Our pastimes done, possess a golden slumber ; Whiles hounds, and horns, and sweet melodious birds, Be unto us as is a nurse’s song ‘ Of lullaby, to bring her babe asleep. Aar. Madam, though Venus govern your desires, Saturn is dominator over mine. 31 What signifies my deadly-standing eye, My silence, and my cloudy melancholy ; My fleece of woolly hair, that now uncurls Even as an adder, when she doth unroll To do some fatal execution ? No, madam, these are no venereal signs : 8 TITUS ANDRONICUS. * [Acr II Vengeance is in my heart, death in my hand, Blood and revenge are hammering in my head. Hark, ‘Tamora, the empress of my soul, Which never hopes more heaven than rests in thee, This is the day of doom for Bassianus ; His Philome] must lose her tongue to-day : Thy sons make pillage of her Suet And wash their hands in Bassianus’ blood. Scest thou this letter? take it up, I pray thee, And give the king this fatal-plotted scroll.— Now question me no more ; we are espicd : Here comes a parcel of our hopeful booty, Which dreads not yet their lives’ destruction. 50 Tam. Ah, my sweet Moor, sweeter to me than life! Aar. No more, great empress. Bassianus comes: Be cross with him; and I'l! go fetch thy sons To back thy quarrels, whatsoe’er they be. [Awit. Enter BASSIANUS an’ LAVINIA. Bass. Whom have we here? Rome's royal empress, Unfurnish’d of her well-beseeming troop ? Or is it Dian, habited like her, Who hath abandoned her holy groves, To see the general hunting in this forest ? Tam. Saucy controller of my private steps! 60 Had I the power that some say Dian had, Thy temples should be planted presently With horns as was Acteeon’s, and the hounds Should drive upon thy new-transformed limbs, Unmannerly intruder as thou art! Lav. Under your patience, gentle empress, ’*T ig thought you have a goodly gift in horning ; And to be doubted that your Moor and you Are singled forth to try experiments. Jove shield your husband from his hounds to-day; 70 ’T is pity they should take him for a stag. Bass. Believe me, queen, your swarth Cimmerian Doth make your honour of his body’s hue, epee. detested, and abominable. Why are you sequester’d from all your train, Dismounted from your snow-white goodly steed, And wander'd hither to an obscure plot, Accompanied but with a barbarous Moor, foul desire had not conducted you? Lav. And being intercepted in your sport, 80 Great reason that my noble lord be rated For sauciness !—I pray you, let us hence, And let her joy her raven-colour’d love ; This valley fits the purpose passing well. Bass. The king, my brother, shall have note of this. Lav. Ay. for these slips have made him noted ong: gs Good king, to be so mightily abus’d! Tam. Why have I patience to endure all this? Enter DEMETRIUS and CHIRON. Dem. How now, dear sovereign, and our gracious mother, Why doth your highness look so pale and wan? 90 Tam. Have I not reason, think you, to look pale? These two have tic’d me hither to this place: A barren detested vale, you see, it is; The trees, though summer, yet forlorn and lean, O’ercome with moss and baleful mistletoe : Here never shines the sun; here nothing breeds, Unless the nightly ow] or fatal raven. And when they show’d me this abhorred pit, They told me, here, at dead time of the night, A thousand fiends, a thousand hissing snakes, 100 Ten thousand swelling toads, as many urchins, Would make such fearful and confused cries, As any mortal body, hearing it, Should straight fall mad, or else die suddenly. No sooner had they told this hellish tale, But straight they told me, they would bind me here Unto the body of a dismal yew, And leave me to this miserable death : And then they call’d me foul adulteress, Lascivious Goth, and all the bitterest terms 110 That ever ear did hear to such effect ; And, had you not by wondrous fortune come, This vengeance on me had they executed. Icevenge it, as you love your mother’s life, Or be ye not henceforth call’d my children. Dem. This is a witness that I am thy son. : , Stabs Bassianus. Chi. And this for me, struck home to show my strength. | [Stabbing him likewise. Lav. Ay, come, Semiramis,—nay, barbarous Tamora; For no name fits thy nature but thy own. Tam. Give me thy poniard: you shall know, my 120 joys, Your mother’s hand shall right your mother’s wrong. Dem. Stay, madam, here is more belongs to her: First thrash the corn, then after burn the straw. This minion stood upon her chastity, Upon her nuptial vow, her loyalty, And, with that painted hope, braves your mightiness: And shall she carry this unto her grave? Chi. An if she do, I would I were an eunuch. Drag hence her husband to some secfet hole, And make his dead trunk pillow to our lust. 130 Tam. But when ye have the honey ye desire, Let not this wasp outlive, us both to sting. Chi. I warrant you, madam, we will make that sure.— Come, mistress, now perforce we will enjoy That nice-preserved honesty of yours. Lav. O Tamora! thou bear'st a woman’s face,— Tam. I will not hear her speak ; away with her! Lav. Sweet lords, entreat her hear me but a word. Dem. Listen, fair madam : let it be your glory To see her tears ; but be your heart to them 140 As unrelenting flint to drops of rain. i Lav. bi sae the tiger’s young ones teach the am O! do not learn her wrath ; she taught it thee; The milk thou suck’dst from her did turn to marble; Even at thy teat thou hadst thy tyranny. Yet every mother breeds not sons alike : [To CHIRON.] Do thou entreat her show a woman pity. Chi. What ! wouldst thou have me prove myself a bastard ? Lav. ’Tis true, the raven doth not hatch a lark: Yet have I heard,—O, could I find it now !— 5 The lion mov’d with pity did endure To have his princely paws par’d all away. Some say that ravens foster forlorn children, The whilst their own birds famish in their nests: O! be to me, though thy hard heart say no, Nothing so kind, but something pitiful. Tam. I know not what it means ; away with her! Lav. O! let me teach thee : for my father’s sake, | That gave thee life, when well he might have slain thee, Be not obdurate, open thy deaf ears. Tam. Hadst thou in person ne'er offended me, Even for his sake am I pitiless.— Remember, boys, I pour’d forth tears in vain, To save your brother from the sacrifice ; But fierce Andronicus would not relent. Therefore, away with her, and use her as you will: The worse to her, the better lov’d of me. Lav. O Tamora! be call'd a gentle queen, And with thine own hands kill me in this place ; For 't is not life that I have begg’d so long : lV Poor I was slain when Bassianus died. Tam. What begg’st thou then? fond woman, let. me go. Lav. ’Tis present death I beg; and one thing more, That womanhood denies my tongue to tell. O! keep me from their worse than killing lust, And tumble me into some loathsome pit, Where never man’s eye may behold my body : : Do this, and be a charitable murderer. Tam. So should 1 rob my sweet sons of their fee: No, let them satisfy their lust on thee. 180 Dem. Away! for thou hast stay’d us here too long. Lav. No grace? no womanhood? Ah, _ beastly creature ! The blot and enemy to our general name! Confusion fall— ScENE V.] TITUS ANDRONICUS. 9 Chi. Nay, then I'll stop your mouth.—Bring thou her husband : (Dragging off LAVINIA. This is the hole where Aaron bid us hide him. [Ezeunt CHIRON and DEMETRIUS. Tam. Farewell, my sons: see, that you make her sure. Ne’er let my heart know merry cheer indeed, Till all the Andronici be made away. Now will I hence to seek my lovely Moor, 190 And let my spleenful sons this trull deflour. (Exit. ScENE IV.--The Same. Enter AARON, with QUINTUS and MaRTIUS. Aar. Come on, my lords, the better foot before : Straight will I bring you to the loathsome pit, Where I espied the panther fast asleep. uint. My sight is very dull, whate’er it bodes. art. And mine, I promise you: were’t not for shame, Well could I leave our sport to sleep awhile. Falls into the pit. Quint. ae ! art thou fall’n ?-What subtle hoie is is, Whose mouth is cover’d with rude-growing briers, Upon whose leaves are drops of new-shed blood, As fresh as morning’s dew distill’d on flowers ? 10 A very fatal place it seems to me. Speak, brother, hast thou hurt thee with the fall? Mart. O brother! with the dismall’st object hurt, That ever eye with sight made heart lament. Aar. [Aside.] Now will I fetch the king to find them here, That he thereby may give a likely guess, How these were they that made away his brother. is cit. Mart. Why dost not comfort me, and help me out From this unhallow'd and blood-stained hole ? Quiné. Iam surprised with an uncouth fear ; 20 A chilling sweat o’erruns my trembling joints : My heart suspects more than mine eye can see. Mart. To oe thou hast a true-divining heart, Aaron and thou look down into this den, And see a fearful sight of blood and death. uint. Aaron is gone; and my compassionate heart Will not permit mine eyes once to behold The thing whereat it trembles by surmise. O! tell me how it is; for ne’er till now Was I a child, to fear I know not what. 30 Mart. Lord Bassianus lies embrewed here, All on a heap, like to a slaughter'd lamb, In this detested, dark, blood-drinking pit. Quint. If it be dark, how dost thou know ’tis he? Mart. Upon his bloody finger he doth wear A precious ring, that lightens all the hole, ich, like a taper in some monument, Doth shine pe the dead man’s earthy cheeks, And shows the ragged entrails of this pit : So pale did shine the moon on Pyramus, 40 When he by night lay bath’d in maiden blood. O brother! help me with thy fainting hand— If fear hath made thee faint, as me it hath—- Out of this fell devouring receptacle, As hateful as Cocytus’ misty mouth. Quint. Reach me thy hand, that I may help thee out; Or, wanting strength to do thee so much good, Imay be pluck’d into the swallowing womb Of this deep pit, poor Bassianus’ grave. __ Ihave no strength to pluck thee to the brink. 50 Mart. Nor I no strength to climb without thy help. Quint. Thy hand once more; I will not loose again, Till thou art here aloft, or I below. ; Thou canst not come to me ; I come to thee. [Falls in. Enter SATURNINUS and AARON. Sat. Along with me :—I’ll see what hole is here, And what he is that now is leap’d into it. Say, who art thou, that lately didst descend. Into this gaping hollow of the earth ? Mart. The unhappy son of old Andronicus, Brought hither in a most unlucky hour, 60 To find thy brother Bassianus dead. Sat. My brother dead! I know, thou dost but jest: He and his lady both are at the lodge, Upon the north side of this pleasant chase ; “Tis not an hour since I left him there. Mart. We know not where you left him all alive, But, out, alas! here have we found him dead. Enter Tamora, with Attendants ; Trrus ANDRONICcUs, and Lucius. Tam. Where is my lord the king? j Sat. Here, - monn though griev’d with killing rief. Tam. Where is thy brother Bassianus ? Sat. Now to the bottom dost thou search wound ; Poor Bassianus here lies murdered. Tam. Then all too late I bring this fatal writ, [Giving a letter. The complot of this timeless tragedy ; And wonder greatly that man’s tace can fold In pleasing smiles such murderous tyranny. Sat. [Reads.] ‘‘ An if we miss to meet him hand- somely,— Sweet huntsman, Bassianus ’tis, we mean,— Do thou so much as dig the grave for him. Thou know’st our meaning: look for thy reward 80 Among the nettles at the elder-tree, Which overshades the mouth of that same pit, Where we decreed to bury Bassianus. Do this, and purchase us thy lasting friends.” O Tamora ! was ever heard the like ? This is the pit, and this the elder-tree. Look, sirs, if you can find the huntsman out, That should have murder’d Bassianus here. Aar. My gracious lord, here is the bag of gold. 7 my [Showing it. Sat. [To Trrus.] Two of thy whelps, fell curs of bloody kind, 9u Have here bereft my brother of his life.— Sirs, drag them from the pit unto the prison : ‘There let them bide, until we have devis'd Some never-heard-of torturing pain for them. Tam. What! are they in this pit? O wondrous thing! How easily murder is discovered ! Tit. High emperor, upon my feeble knee I beg this boon with tears not lightly shed ; - That this fell fault of my accursed sons, Accursed, if the fault be prov’d in them,— 100 Sat. If it be prov’d! you see, it is apparent.— Who found this letter? Tamora, was it you? Tam. Andronicus himself did take it up. Tit. J did, my lord: yet let me be their bail ; For, by my fathers’ reverend tomb, I vow, They shall be ready at your highness’ will, To answer their suspicion with their lives. Sat. Thou shalt not bail them: see, thou follow me. Some bring the murder’d body, some the mur- derers : Let them not speak a word, the guilt is plain ; 110 For, by my soul, were there worse end than death, That end upon them should be executed. Tam. Andronicus, I will entreat the king : Fear not thy sons, they shall do well enough. Tit. Come, Lucius, come; stay not to talk with them. [Exeunt severally. ScENE V.—The Same. Enter DEMETRIUS and CHIRON, with LAVINIA, i a her hands cut off, and her tongue cut out. Dem. So, now go tell, an if thy tongue can speak, Who ’tavas that cut thy tongue, and ravish’d thee. Chi. Write down thy mind, bewray thy meaning 80; An if thy stumps will let thee, play the scribe. | wo TITUS ANDRONICUS. {Act ITI. Dem. See, how with signs and tokens she can scrawl. Chi. Go home, call for sweet water, wash thy ands. Dem. She hath no tongue to call, nor hands to wash ; And so let’s leave her to her silent walks. Chi. An ’t were my case, I should go hang my- self. Dem. If thou hadst hands to help thee knit the cord, [Zxeunt DEMETRIUS and CHIRON. Enter Marcus, from hunting. Marc. Who’s this?—my niece, that flies away so fast ? 11 Cousin, a word: where is your husband ?— If I do dream, ’would all my wealth would wake ' If I do wake, some planet strike me down, That I may slumber in eternal sleep !— Speak, gentle niece, what stern ungentle hands ave jopp'd and hew’d, and made thy body bare Of her two branches, those sweet ornaments, Whose circling shadows kings have sought to sleep in, And might not gain so great a happiness 20 As have thy love?) Why dost not speak to me ?— Alas! a crimson river of warm blood, g Like to a bubbling fountain stirr’d with wind, Doth rise and fall between thy rosed lips, Coming and going with thy honey breath. But, sure, some ‘l'ereus hath deiloured thee, And, lest thou shouldst detect him, cut thy tongue. Ah ! now thou turn’st away thy face for shame ; And, notwithstanding all this loss of blood, As from a conduit with three issuing spouts, 30 Yet do thy cheeks look red as Titan’s face Blushing to be encounter’d with a cloud. Shall I speak for thee? shall I say, ’tis so? O, that I knew thy heart ; and knew the beast, That I might rail at him, to ease my mind! Sorrow concealed, like an oven stopp’d, Doth burn the heart to cinders where it is. Fair Philomela, she but lost her tongue, And in a tedious sampler sew’d her mind: But, lovely niece, that mean is cut from thee ; 40 A crattier Tereus hast thou met withal, And he hath cut those pretty fingers ott, That could have better sew’d than Philomel. QO! had the monster seen those lily hands Tremble like aspen-leaves upon a lute, And make the silken strings delight to kiss them, He would not then have touch’d them for his life ; Or had he heard the heavenly harmony, Which that sweet tongue hath made, He would have dropp’d his knife, and fell asleep, 50 As Cerberus at the ‘l'hracian poet’s feet. Come, let us go, and make thy father blind ; For such a sight will blind a tather’s eye: One hour’s storm will drown the fragrant meads; What will whole months of tears thy father’s eyes ? Do not draw back, for we will mourn with thee: O, could our mourning ease thy misery ! [EZzeunt. Ye A Ci f ACT ITI. Titus. ; EAR me, grave fathers! noble tribunes, stay! For pity of mine age, whose youth was spent In dangerous wars, whilst you securely slept; For all my blood in Rome’s great quarrel shed ; For all the frosty nights that I have watch'd; And for these bitter tears, which now : you see Filling the aged wrinkles in my cheeks ; Be pitiful to my condemned sons, Whose souls are not corrupted as ’tis thought. For two-and-twenty sons I never wept, 10 Because they died in honour’s lofty bed : For these, tribunes, in the dust I write (Throwing himself on the ground. My heart’s deep languor, and my soul’s sad tears. Let my tears stanch the earth’s dry appetite ; My sons’ sweet blood will make it. shame and blush. [Exeunt Senators, Tribunes, &c., with the Prisoners. ‘ O earth! I will befriend thee more with rain, That shall distil from these two ancient urns, Than youthful April shall with all his showers: / Scenr I.—Rome. fe Enter Senators, Tribunes, and Officers of Justice, with MARTIUS and QuINTUS, bound, Se passing on to the place of execution; Titus going before, pleading. A Street. In summer’s drought, I 11 drop upon thee still; In winter, with warm tears Ill melt the snow, 20 And keep eternal spring-time on thy face, So thou refuse to drink my dear son’s blood. Enter Lucius, with his weapon drawn. O reverend tribunes! O gentle-aged men! Unbind my sons, reverse the doom of death; And let me say, that never wept before, My tears are now prevailing orators. Lue. O noble father, you lament in vain: The tribunes hear you not, no man is by, And you recount your sorrows to a stone. Tit. Ah, Lucius, for thy brothers let me plead.— 30 Grave tribunes, once more I entreat of you,— . Luc. My qraciens lord, no tribune hears you speak. Tit. Why, ’tis no matter, man: if they did hear, They would not mark me, or if they did mark, They would not pity me, yet plead I must, And bootless unto them. Therefore I tell my sorrows to the stones, Who, though they cannot answer my distress, ‘Yct in some sort they are better than the tribunes, For that they will not intercept my tale. ‘When I do weep, they, Iambly at my feet, Reccive my tears, and seem to weep with me; And were they but attired in grave weeds, Rome could afford no tribune like to these. Scene I] TITUS ANDRONICUS. ll A stone is soft as wax, tribunes more hard than | For now I stand as one upon a rock, stones ; Environ’d with a wilderness of sea, A stone is silent, and offendeth not, Who marks the waxing tide grow wave by wave. And tribunes with their tongues doom men to | Expecting ever when some envious surge death. [Rises. | Will in his brinish bowels swallow him. But wherefore stand’st thou with thy weapon drawn? | This way to death my wretched sons are gone ; Here stands my other son, a banish’d man, And here my brother, weeping at my woes ; 100 TM Wea WN | But that which gives my soul the greatest spurn, Is dear Lavinia, dearer than my soul,— Had I but seen thy picture in this plight, It would have madded me : what shall I do Now I behold thy lively body so? Thou hast no hands to wipe away thy tears, Nor tongue to tell me who hath martyr’d thee : Thy husband he is dead, and for his death Thy brothers are condemn’d and dead by this. Look, Marcus; ah! son Lucius, look on her: 110 When I did name her brothers, then, fresh tears Stood on her checks, as doth the honey-dew Upon a gather’d lily almost wither’d. ‘arc. Perchance, she weeps because they kill’d her husband ; Perchance, because she knows them innocent. Tit. If they did kill thy husband, then be joyful, Because the law hath ta’en revenge on them.— No, no, they would not do so foul a deed ; Witness the sorrow that their sister makes,— Gentle Lavinia, let me kiss thy lips, 120 Or make some sign how I may do thee ease. Shall thy good uncle, and thy brother Lucius, And thou, and I, sit round about some fountain, Tit, “In the dust I write my heart's deep languor.” Looking all downwards, to behold our cheeks How they are stain’d, like meadows yet not dry, With miry slime left on them by a flood ? Luc. To rescue my two brothers from their death ; And in the fountain shall we gaze so long, For which attempt the judges have pronounc’d 50 | Till the fresh taste be taken from that clearness, My everlasting doom of banishment. And made a brine-pit with our bitter tears ? Tit. O happy man! they have befriended thee. Or shall we cut away our hands, like thine? 130 Why, foolish Lucius, dost thou not perceive, Or shall we bite our tongues, and in dumb shows That Rome is but a wilderness of tigers? Pass the remainder of our hateful days? Tigers must prey ; and Rome affords no prey, What shall we do? let us, that have our tongues, But me and mine: how happy art thou then, Plot some device of further misery, From these devourers to be banished! To make us wonder’d at in time to come. But who comes with our brother Marcus here ? Lue. ower. father, cease your tears; for at your grief, inter Marcus and Lavinia. See, how my wretched sister sobs and weeps. Marc. Titus, prepare thy aged eyes to weep; Marc. Patience, dear niece.—Good Titus, dry thine Or, if not so, thy noble heart to break : 60 eyes. I bring consuming sorrow to thine age. Tit. Ah, Marcus, Marcus! brother, well I wot, Tit. Will it consume me? let me see it then. Thy napkin cannot drink a tear of mine, Marc. This was thy daughter. For thou, poor man, hast drown’d it with thine own. Tit. Why, Marcus, so she is. Zmc. Ab, my Lavinia! I will wipe thy cheeks. Luc. Ah me! this object kills me. Tit. Mark, Marcus, mark ! I understand her signs. Tit. Faint-hearted boy, arise, and look upon her.— Had she a tongue to speak, now would she say Speak, Lavinia, what accursed hand That to her brother which I said to thee : ath made thee handless in thy father’s sight? His napkin, with his true tears all bewet, What fool hath added water to the sea, Can do no service on her sorrowful cheeks. Or brought a faggot to bright-burning Troy ? O! what a sympathy of woe is this ; My grief was at the height before thou cam’st, 70 | As far from help as limbo is from bliss ! And now, like Nilus, it disdaineth bounds.— Give me a sword, I'll chop ce my hands too; : Enter Aaron. For they have fought for Rome, and all in vain; Aar. Titus Andronicus, my lord the emperor 150 And they have nurs’d this woe, in feeding life; Sends thee this word,—that, if thou love thy sons, In bootless prayer have they been held up, Let Marcus, Lucius, or thyself, old Titus, And they have serv’d me to effectless use: Or any one of you, chop off your hand, Now all the service I require of them And send it to the ae : he, for the same, Is that the one will help to cut the other.— Will send thee hither both thy sons alive, ‘Tis well, Lavinia, that thou hast no hands, And that shall be the ransom for their fault. For hands, to do Rome service, are but vain. 80 Tit. O gracious emperor! O gentle Aaron! Luc. Speak, gentle sister, who hath martyr’d thee? | Did ever raven sing so like a lark, ' Mare. O! that delightful engine of her thoughts, That gives sweet tidings of the sun’s uprise ? That blabb’d them with such pleasing eloquence, With all my heart, I'll send the emperor my hand. 160 Is torn from forth that pretty hollow cage, Good Aaron, wilt thou help to chop it off? : Where, like a sweet melodious bird, it sung Luc. Stay, father! for that noble hand of thine, Sweet varied notes, enchanting every ear. That bath thrown down so many enemies, Inc. O! say thou for her, who hath done this deed? | Shall not be sent : my band will serve the turn. Marc. 0! thus I found her, straying in the park, My youth can better spare my blood than you, Seeking to hide herself, as doth the deer, And therefore mine shall save my brothers’ lives. That hath receiv’d some unrecuring wound. 90 Marc. Which of your hands hath not defended Tit. It was my deer; and he that wounded her Rome, Hath hurt. me more, than had he kill’d me dead : And rear’d aloft the bloody battle-axe, | 12 Writing destruction on the enemy’s castle? O! none of both but are of high desert. My hand hath been but idle; let it serve To ransom my two nephews from their death : Then have I kept it toa worthy end. For tear they die before their pardon come. Marc. My hand shall go. Lue. By heaven, it shall not go! Tit. ae strive no more: such wither’d herbs as these Are meet for plucking up, and therefore mine. Luc. Sweet father, if I shall be thought thy son, Let me redeem my brothers both from death. 1 Mare. And for our father’s sake, and mother’s care, Now let me show a brother’s love to thee. Tit. Agree between you ; I will spare my hand. 170 | ular. Nay, come, agree, whose hand shall go along, TITUS ANDRONICUS. Acr Il. Luc. Then I ‘o fetch an axe. Marc. But I wil use ihe axe. a : ceunt LUCIUS and Marcus, Tit. Come hither, Aaron ; I'll deceive them both: Lend me thy band, and I will give thee mine. | . Aar. [Aside.] If that be call’d deceit, I will be honest, | And never, whilst I live, deceive men so :— . Tit. ‘‘ Faint-hearted boy, arise, and look upon her,” j But 1’ll deceive you in another sort, 190 And that you’ll say, ere half an hour pass. (Cuts of Trtus's hand. Re-enter Lucius and Marcus. Tit. Now, stay your strife; what shall be, is de- spatch’d.— ; Good Aaron, give his majesty my hand: Tell him, it was a hand that warded him From thousand dangers ; bid him bury it : More hath it merited; that let it have. ScENE I.] TITUS ANDRONICUS. 13 As for my sons, gay, I account of them As jewels purchas‘d at an easy price ; And yet dear too, because I bought mine own. [ss Tit, “Lend me thy hand, and I will give thee mine.” Aar. Igo, Andronicus ; and, for thy hand, 200 Look by and by to have thy sons with thee. Aside.] Their heads, I mean.—O, how this villainy oth fat me with the very thoughts of it! Let fools do good, and fair men call for grace, Aaron will have his soul black like his face. Tit. O! here I lift this one hand up to heaven, And bow this feeble ruin to the earth: If any power pities wretched tears, To that I call.—_{To Lavinia4.] What! wilt thou kneel [Exit. . With me? Do then, dear heart; for heaven shall hear ye 10 . prayers, Or with our sighs we ’ll breathe the welkin dim, And stain the sun with fog, as sometime clouds, When they do hug him in their melting bosoms. Marc. O! brother, speak with possibilities, And do not break into these deep extremes. Tit. Is not my sorrow deep, having no bottom ? Then be my passions bottomless with them. Marc. But yet let reason govern thy lament. Tit. If there were reason for these miseries, Then into limits could I bind my woes. 220 When se doth weep, doth not the earth o’er- ow? If the winds rage, doth not the sea wax mad, Threat’ning the welkin.with his big-swoln face? And wilt thou have a reason for this coil? Iam the sea; hark, how her sighs do blow! She is the weeping welkin, I the earth: Then must my sea be moved with her sighs ; Then must my earth with her continual tears Become a deluge, overflow’d and drown’d: For why my bowels cannot hide her woes, But like a drunkard must I vomit them. Then give me leave, for losers will have leave To ease their stomachs with their bitter tongues. 230 Enter a Messenger, with two heads and a hand. Mess. Worthy Andronicus, ill art thou repaid For that good hand thou sentst the emperor. Here are the heads of thy two noble sons, And here’s thy hand, in scorn to thee sent back : Thy griefs their sports, thy resolution mock’d ; hat woe is me to think upon thy woes, More than remembrance of my father’s death. Marc. Now let hot tna cool in Sicily, And be my heart an ever-burning hell! These miseries are more than may be borne. To weep with them that weep doth ease some deal, But sorrow flouted at is double death. [Evit. 241 Luc. Ah, that this sight should make so deep a wound, And yet detested life not shrink thereat ! That ever death should let life bear his name, Where life hath no more interest but to breathe ! {Lavinia kisses TITUS. Mare. Alas, poor heart! that kiss is comfortless, 250 As frozen water to a starved snake. Tit. When will this fearful slumber have an end? Marc.. Now farewell, tlaitery : dic, Andronicus. Thou dost not slumber: see thy two sons’ heads, Thy warlike hand, thy mangled daughter here ; Thy other banish’d son with this dear sight Struck pale and bloodless; and thy brother, I, Even like a stony image, cold and numb. Ah! now no more will I control thy griefs. Rent off thy silver hair, thy other hand 260 Gnawing with thy teeth ; and be this dismal sight The closing up of our most wretched cyes! Now is a time to storm; why art thou still? Tit. Ha, ha, ha! Mare. ae dost thou laugh? it fits not with this : our. Tit. Why, I have not another tear to shed : Besides, this sorrow is an enemy, And would usurp upon my watery eyes, And make them blind with tributary tears ; Then, which way shall I find Revenge’s cave? For these two heads do seem to speak to me, 270 And threat me, [ shall never come to bliss, Till all these mischiet's be return’d again, Even in their throats that have committed them. Ni i i Tit. ‘“ When will this fearful slumber have an end?” Come, let me see what task I have to do.— You heavy people, circle me about, That I may turn me to each one of you, And swear unto my soul to write your wrongs.— The vow is made.—Come, brother, take a head ; And in this hand the other will I bear. 7 Lavinia, thou shalt be employed in these things : Bear thou my hand, sweet wench, between thy teeth. As for thee, boy, go, get thee from my sight ; Thou art an exile, and thou must not stay : u TITUS ANDRONICUS. [Act III. Hie to the Goths, and raise an army there ; And if you love me, as I think you do, Let’s kiss and part, for we have much to do. [Eveunt Titus, Marcus, and LAVINIA. Luc. Farewell, Andronicus, my noble father ; The wofull’st man that ever livdin Rome. | Farewell, proud Rome: till Lucius come again, 290 He leaves his pledges dearer than his life. Farewell, Lavinia, my noble sister ; O, ’would thou wert as thou tofore hast been ! But now nor Lucius, nor Lavinia lives, But in oblivion, and hateful griefs. If Lucius live, he will requite your wrongs, And make proud Saturnine and his empress Beg at the gates like Tarquin and his queen. Now will I to the Goths, and raise a power. To be reveng’d on Rome and Saturnine. : [Exit. 300 ScreNnE IJ.—A Room in Titus’s House. A Banquet set out. Enter Titus, Marcus, Lavinia, and young LucIvs, a boy. Tit. So, so; now sit ; and look, you eat no more Than will preserve just so much strength in us As will revenge these bitter woes of ours. Marcus, unknit that sorrow-wreathen knot: Thy niece and I, poor creatures, want our hands, And cannot passionate our ten-fold grief With folded arms. This poor right hand of mine Is left to tyrannise upon my breast ; And when my heart, all mad with misery, Beats in this hollow prison of my flesh, 10 Then thus I thump it down.— {To Lavinta.] Thou map of woe, that thus dost talk in signs, When thy poor heart beats with outrageous beating Thou canst not strike it thus to make it still. Wound it with sighing, girl, kill it with groans ; Or get some little knite between thy teeth, aad just against thy heart make thou a hole; That all the tears that thy poor eyes let fall May run into that sink, aie soaking in, Drown the lamenting fool in sea-salt tears. Marc. Fie, brother, fie! teach her not thus to lay Such violent hands upon her tender life. Tit. How now! has sorrow made thee dote already ? Why, Marcus, no man should be mad but I. What violent hands can she lay on her life? Ah! wherefore dost thou urge the name of hands; To bid Aineas tell the tale twice o’er, How Troy was burnt, and he made miserable ? O! handle not the theme, to talk of hands, Lest we remember still that we have none. 30 Fie, fie! how franticly I square my talk, As if we should forget we had no hands, If Marcus did not name the word of hands !— Come, let’s fall to; and, gentle girl, eat this.— | Here is no drink. Hark, Marcus, what she says; I can interpret all her martyr’d signs. She says she drinks no other drink but tears, Brew’'d with her sorrow, mash’d upon her cheeks, Speechless complainer, I will learn thy thought; In thy dumb action will I be as perfect, 40 As begging hermits in their holy prayers: Thou shalt not sigh, nor hold thy stumps to heaven, Nor wink, nor nod, nor kneel, nor make a sign, But I, of these, will wrest an alphabet, And, by still practice, learn to know thy meaning. Boy. Good grandsire, leave these bitter deep laments : Make my aunt merry with some pleasing tale. Marc. Alas, the tender boy, in passion mov’d, Doth weep to see his grandsire’s heaviness. Tit. Peace, tender sapling; thou art made of tears, 50 And tears will ey melt thy life away. — (Marcus strikes the dish with a knife. What dost thou strike. at, Marcus, with thy knife? Marc. At that that I have kill’d, my lord,—a fly. Tit. Out on thee, murderer! thou kill’st my heart ; Mine eyes are cloy’d with view of tyranny: A deed of death, done on the innocent, Becomes not Titus’ brother. Get thee gone; 1 see, thou art not for my company. Mare. Alas! my lord, I have but kill’d a fly. Tit. But how, if that fly had a father and mother, 60 How would he hang his slender gilded wings, And buzz lamenting doings in the air? Poor harmless fly, That, with his pretty buzzing melody, Came here to make us merry! and thou hast kill’d im, Marc. Pardon me, sir: it was a black ill-favour’d Ys Like to the empress’ Moor; therefore I kill’d him. Tit. O, 0, O! Then pardon me for reprehending thee, For thou hast done a charitable deed. Give me thy knife, I will insult on him ; Flattering myself, as if it were the Moor, Come hither purposely to poison me.— There’s for thyself, and that’s for Tamora. Ah, sirrah !— Yet I think we are not brought so low, ‘ But that between us we can kill a fly, That comes in likeness of a coal-black Moor. Marc. Alas, poor man! grief bas so wrought on 70 m, He takes false shadows for true substances. 80 Tit. Come, take away.—Lavinia, go with me: I'll to thy closet ; and go read with thee Sad stories, chanced in the times of old.— Come, boy, and go with me: thy sight is young, And thou shalt read, when mine begins to dazzle. [Exeunt. ACT IV. Enter Tirus and Marcus. ye Boy. * ELP, grandsire, help! my aunt Lavinia Follows me every where, I know not why.— Good uncle Marcus, see, how swift she ; . comes ! 7 sy Alas ! sweet aunt, I know not what you mean. Marc. Stand by me, Lucius; do not fear thine aunt. ; Tit. She loves thee, boy, too well to do thee harm. Boy. Ay, when my father was in ome, she did. Marc. What means my niece Lavinia ~ by these signs ? Tit. Fear her not, Lucius: — some- what doth she mean. See, Lucius, see, how much she makes of thee: 10 Somewhither would she have thee go with her. Ah, boy! Cornelia never with more care Read to her sons, than she hath read to thee, Sweet poetry, and Tully’s Orator. Marc. Canst thou not guess wherefore she plies thee thus? Boy. My lord, I know not, I, nor can I guess, Unless some fit or frenzy do possess her ; For I have heard my grandsire say full oft, Extremity of griefs would make men mad; And I have read that Hecuba of Troy 20 Ran mad through sorrow : that made me to fear ; Although, my lord, I know, my noble aunt Loves me as dear as e’er my mother did, And would not, but in fury, fright my youth ; Which made me down to throw my books, and fly, Causeless, perhaps. But pardon me, sweet aunt; And, madam, if my uncle Marcus go, I will most willin: ly attend your ladyship. Marc. Lucius, I will. [Lavinia turns over the books which Lucius had let fall. Tit. How now, Lavinia?— Marcus, what means this ? 30 Some book there is that she desires to see.— Which is it, girl, of these ?~Open them, boy.- But thou art deeper read, and better skill’d ; Come, and take choice of all my library, And so beguile thy sorrow, till the heavens Reveal the damn’d contriver of this deed.— What book ? Why lifts she up her arms in sequence thus? arc. I think, she means that there was more than one Confederate in the fact :—ay, more there was; 40 Or else to heaven she heaves them for revenge. Tit. Lucius, what book is that she tosseth so ? * Boy. Grandsire, ’tis Ovid’s Metamorphoses : My mother gave it me. ‘are. For love of her that’s gone, Perhaps, she cull’d it from among the rest. Tit. Soft ! so busily she turns the leaves! Help her : What would she find ?~Lavinia, shall I read ? Ce Scenpb I.—The Same. Before Trrus’s House. _Then enter young LUCIUS, LAVINIA running after him. This is the tragic tale of Philomel, And treats of Tereus’ treason and his rape ; 50 And rape, I fear, was root of thine Bene Mare. Hee brother, see! note, how she quotes the eaves. Tit. Lavinia, wert thou thus slat a sweet girl, Ravish’d and wrong’d, as Philomela was, Fore’d in the ruthless, vast, and gloomy woods ?— See, see !— Ay, such a place there is, where we did hunt, (O, had we never, never hunted there !) Pattern’d by that the poet here describes, By nature made for murders, and for rapes. Mare. 0! why should nature build so foul a den, Unless the gods delight in tragedies ? Tit. Give signs, sweet girl, for here are none but friends, What Roman lord it was durst do the deed : Or slunk not Saturnine, as Tarquin erst, ‘nat left the camp to sin in Lucrece’ bed? Marc. Sit down, sweet niece :—brother, sit down by me.— Apollo, Pallas, Jove, or Mercury, Inspire me, that I may this treason find !— My lord, look here ;—look here, Lavinia : 70 This sandy plot is plain; guide, if thou canst, This after me. [He writes his name with his staff, and guides it with feet and mouth. I have writ my name Without the help of any hand at all. Curs’d be that heart that forc’d us to this shift !— Write thou, good niece, and here display at last What God will have discover’d for revenge. Heaven guide thy pen to print thy sorrows plain, That we may know the traitors and the truth! [She takes the staff in her mouth, and guides it with her stumps, and writes. do you read, my lord, what she hath writ 2 Stuprum—Chiron—Demetrius. Marc. What, what !—the lustful sons of Tamora Performers of this heinous, bloody deed ? Tit. Magni dominator polit, Tam lentus audis scelera ? tam lentus vides ? Marc. O! calm thee, gentle lord ; although I know There is enough written upon this earth, To stir a mutiny in the mildest thoughts, And arm the minds of infants to exclaims. My lord, kneel down with me; Lavinia, kneel ; And kneel, sweet boy, the Roman Hector’s hope; 90 And swear with me,—as with the woful fere, And father, of that chaste dishonour’d dame, Lord Junius Brutus sware for Lucrece’ rape,— That we will prosecute, by good advice, Mortal revenge upon these traitorous Goths, And see their blood, or die with this reproach. Tit. Tis sure enough, an you knew how; But if you hunt these bear-whelps, then beware : The dam will wake, an if she wind you once: She ’s with the lion deeply still in league, And lulls him whilst she playeth on her back ; And when he sleeps will she do what she list. 10 16 TITUS ANDRONICUS. [Act rv. | You’re a young huntsman: Marcus, let alone ; And, come, I will go get a leaf of brass, And with a gad of steel will write these words, And lay it by. The angry northern wind Will blow these sands like Sibyl’s eaves abroad, And where's your lesson then +~Boy, what say you? Boy. I say, my lord, that if [ were a man, Their mother’s bedchamber should not be safe 110 For these bad bondmen to the yoke of Rome. Marc. Ay, that’s my boy! thy father hath full oft For his ungrateful country done the like. Boy. And, uncle, so will I, an if I live. Tit. Come, go with me into mine armoury : Lucius, I’ll fit thee ; and withal my boy Shall carry from ine to the empress’ sons Presents, that lintend to send them both. Come, come; thou’lt do thy message, wilt thou not? Boy. Ay, with my dagger in their bosoms, erand sire. 2 Tit. No, boy, not so; I’ll teach thee another course. Lavinia, come.—Marcus, look to my house : Lucius and I’ go brave it at the court ; Ay, marry, will we, sir; and we'll be waited on. [Zxeunt Trrus, LAVINIA, and Boy. Mare. O heavens! can you hear a good man groan, And not relent, or not compassion him ? Marcus, attend him in his ecstacy, ‘That hath more scars of sorrow in his heart, Than foemen’s marks upon his batter’d shield ; But yet so just, that he will not revenge.— 130 Revenge the heavens for old Andronicus ! [Exit. ScENE II.—The Same. A Room in the Palace. Enter AARON, DEMETRIUS, and CHIRON, at one door; at another door, young Lucivs, and an Attendant, ae a bundle of weapons, and verses writ upon eM, Chi. Demetrius, here's the son of Lucius ; He hath some message to deliver us. dar. Ay, some mad message from his mad grand- father. Boy. My lords, with all the humbleness I may, I greet your honours from Andronicus ;— [Aside. ou pray the Roman gods confound you oth. Dem. Gramercy, lovely Lucius. What's the news? Boy. [Aside.] That you are both decipher’d, that’s the news, For villains mark’d with rape. [To them.] May it dy ase you, My grandsire, well advis’d, hath sent by me 10 The goodliest weapons of his armoury, To gratify your honourable youth, The hope of Rome ; for so he bade me say, And so I do, and with his gifts present Your lordships, that, whenever you have need, You may be armed and appointed well. And so I leave you both, (as/de] like bloody villains. [Exeunt Boy and Attendant. Dem. What’s here? Shep. ‘* Deny me not, I pr’ythee, gentle Joan.” Puc. Will nothing turn your unrelenting hearts ?-- Then, Joan, discover thine infirmity, 60 That warranteth by law to be thy privilege.— Iam with child, ye bloody homicides: Murder not then the fruit within my womb, Although ye hale me to a violent death. York. oa Peenen forfend! the holy maid with c War. The greatest miracle that e’er ye wrought! Is all your strict preciseness come to this? York. She and the Dauphin have been juggling: I did imagine what would be her refuge. War. Well, go to: we will have no bastards live ; 70 Especially, since Charles must father it. uc. You are deceiv’d; my child is none of his: It was Alencon, that enjoy’d my love. York. Alengon, that notorious Machiavel ! It dies, an if it had a thousand lives. Puc. O! give me leave; I have deluded you: ‘T was neither Charles, nor yet the duke I nam’d, But Reignier, King of Naples, that prevail’d. War. A married man: that’s most intolerable. York. Why, here’s a girl! I think, she knows not well, 80 There were so many, whom she may accuse. . War. It’s sign she hath been liberal and free. York. And yet, forsooth, she is a virgin pure.— Strumpet, thy words condemn thy brat, and thee: Use no entreaty, for it is in vain. Puc. Then lead me hence ;—with whom I leave my curse. May never glorious sun reflex his beams Upon the country where you make abode ; But darkness and the gloomy shade of death Environ you, till mischief, and despair, Drive you to break your necks, or hang yourselves! Lxit, guarded. York. Break thou in pieces, and consume to ashes, Thou foul accursed minister of hell! Enter Cardinal BEAUFORT, attended. Car. Lord regent, I do greet your excellence With letters of commission from the king. For know, my lords, the states of Christendom, Mov'd with remorse of these outrageous broils, Have earnestly implor’d a general peace Betwixt our nation and the aspiring French ; And here at hand the Dauphin, and his train, 100 Approacheth to confer about some matter. Doak, Is all our travail turn’d to this ettect ? After the slaughter of so many peers, So many captains, gentlemen, and soldiers, That in this quarrel have been overthrown, And sold their bodies for their country’s benefit, Shall we at last conclude etteminate peace ? Have we not lost most part of all the towns, By treason, falsehood, and by treachery, Our great progenitors had conquered ?7— 110 O, Warwick, Warwick ! I foresee with grief The utter loss of all the realm of France. War. Be patient, York! if we conclude a peace, It shall be with such strict and severe covenants As little shall the Frenchmen gain thereby. Enter CHARLES, attended ; ALENGON, BASTARD, REIGNIER, and others. Char. Since, lords of England, it is thus agreed, That peaceful truce shall be proclaim’d in France, We come to be informed by yourselves What the conditions of that league must be. York. Speak, Winchester ; for boiling choler chokes The hollow passage of my poison’d voice, 121 By sight of these our baleful enemies. Win. Charles, and the rest, it is enacted thus :— That, in regard King Henry gives consent, Of mere compassion and ot lenity, To ease your country of distresstul war, And suffer you to breathe in fruittul peace, You shall become true liegemen to his crown. And, Charles, upon condition thou wilt swear To pay him tribute, and submit thyself, 130 Thou shalt be plac’d as viceroy under him, And still enjoy thy regal dignity. len. Must he be then as shadow of himself? Adorn his temples with a coronet, And yet, in substance and authority, etain but privilege of a private man? This protter is absurd and reasonless. Char. ’Tis known already that I am possess’d With more than half the Gallian territories, And therein reverenc’d for their lawful king: 140 Shall I, for lucre of the rest unvanquish’d, Detract so much from that prerogative, As to be call'd but viceroy of the whole? No, lord ambassador ; I'll rather keep That which I have, than, coveting for more, Be cast from possibility of all. York. Insulting Charles! means Us’d intercession to obtain a league, And, now the matter grows to compromise, Stand’st thou aloof upon comparison ? 150 Either accept the title thou usurp’st, Of benefit proceeding from our king, And not of any challenge of desert, Or we will plague thee with incessant wars. Reig. My lord, you do not well in obstinacy To cavil in the course of this contract : If once it be neglected, ten to one, We shall not find like opportunity. Alen. [Aside to CHARLES.) To say the truth, it is your policy To save your subjects from such massacre, 160 And ruthless slaughters, as are daily seen By our proceeding in hostility ; And therefore take this compact of a truce, Although you break it when your pleasure serves. War. Hoss Cane thou, Charles? shall our condition stan hast thou by secret 48 KING HENRY VI-PART I. Char. It shall; Only reserv’d, you claim no interest In any of our towns of garrison. . York. Then swear allegiance to his majesty ; As thou art knight, never to disobey, 170 Nor be rebellious to the crown ot England, Thou, nor thy nobles, to the crown ot England.— [CHARLES, and his Nobles, give tokens of fealty. So; now dismiss your army when ye please: Hang up your ensigns, let your drums be still, For here we entertain a solemn peace. (Exeunt. ScENE V.—London. Twin Brothers, Attendants Dromio of Syracuse, § on the two Antipholuses. BALTHAZAR, a Merchant. ANGELO, @ Goldsmith. A Merchant, Friend to Antipholus of Syracuse. A Merchant trading with Angelo. Pincu, a Schoolmaster. JEMILIA, Wife to cEgeon. ADRIANA, Wife to Antipholus of Ephesus, Luciana, her Sister. Luce, Servant to Adriana, A Courtesan. Gaoler, Officers, and other Attendants. SCENE--EPHESUS. ACT I. a ScrneE J.—A Hall in the DuKE’s Palace. Ageon. Me ROCEED, Solinus, to procure my fall, And by the doom of death end woes and all. Duke. Merchant of Syracusa, plead no more. T am not partial, to infringe our laws: The enmity and discord, which of late Sprung from the rancorous outrage of 4 your duke To merchants, our well-dealing country- > men,— Who, wanting gilders to redeem their "eS, Have seal'd his rigorous statutes with their bloods,— Excludes all pity from our threat’ning looks. 10 For, since the mortal and intestine jars *Twixt thy seditious countrymen and us, It hath in solemn synods been decreed, Both by the Syracusians and ourselves, ‘To admit no traffic to our adverse towns: Nay, more, if any, born at Ephesus, Be seen at Syracusian marts and fairs ; Again, if any Syracusian born Come to the bay of Ephesus, he dies, His goods contiscate to the duke’s dispose ; 20 Unless a thousand marks be levied, To quit the penalty, and to ransom him. Thy substance, valued at the highest rate, Cannot amount unto a hundred marks ; Therefore, by law thou art condemn’d to die. Age. xe this my comfort: when your words are done, My woes end likewise with the evening sun. Duke. Well, Syracusian; say, in briet, the cause Why thou departedst from thy native home, And for what cause thou cam'st to Ephesus. 30 «lige. A heavier task could not have been impos’d Than I to speak my griefs unspeakable ; Yet, that the world may witness, that my end Was wrought by nature, not by vile offence, I’ll utter what my sorrow gives me leave. In Syracusa was I born, and wed Unto a woman, happy but for me, And by me too, had not our hap been bad. With her I liv’d in joy: our wealth increas’d Enter DUKE, AXGEON, Gaoler, Officers, and other Attendants. By prosperous voyages I often made To Kpidamnum ; till my factor’s death, And the great care of goods at random left, Drew me from kind embracements of my spouse: From whom my absence was not six months old, Before herself (almost at fainting under The pleasing punishment that women bear) Had made provision for her following me, And soon, and safe, arrived where I was. There had she not been long, but she became A joyful mother of two goodly sons ; And, which was strange, the one so like the other, As could not be distinguish’d but by names. That very hour, and in the self-same inn, A meaner woman was delivered Of such a burden, male twins, both alike. Those, for their parents were exceeding poor, I bought, and brought up to attend my sons. My wife, not meanly proud of two such boys, Made daily motions for our home return: Unwilling I agreed; alas! too soon We came aboard. A league from Epidamnum had we sail’d, Before the always-wind-obeying deep Gave any tragic instance of our harm: But longer did we not retain much hope: For what obscured light the heavens did grant Did but convey unto our fearful minds A doubtful warrant of immediate death ; 40 Which, though myself would gladly have embed Yet the incessant weepings of my wife, Weeping before for what she saw must come, And piteous plainings of the pretty babes, That mourn’d for fashion, ignorant what to fear, Fore’d me to seek delays for them and me. And this it was,—for other means was none. The sailors sought for safety by our boat, And left the ship, then sinking-ripe, to us. My wife, more careful for the latter-born, Had fasten’d him unto a small spare mast, Such as seafaring men provide tor storms: To him one of the other twins was bound, Whilst I had been like heedful of the other. The children thus dispos’d, my wife and I, Fixing our eyes on whom our care was fix’d, Fasten’d ourselves at either end the mast ;, ScENE IL] THE COMEDY OF ERRORS. 7 And floating'straight, obediént to the stream, Were carried towards Corinth, as we thought. At length the sun, gazing upon the earth, Dispers’d those vapours that o:fended us, And by the benefit of-his wished light 90 The seas wax’d calm, and we discovered Two ships from far making amain to us; Of Corinth that, of Epidaurus this: But ere they came,.—O, let me say no more! Gather the sequel by that went before: Duke. Nay, torward, old man ; do not break off so ; For we may pity, though not pardon thee. Atge. O, had the gods done so, I had not now Worthily term’d them merciless to us! For, ere the ships could meet by twice five leagues, We were encounter’d by a mighty rock ; 101 Which- being violently borne upon, Our helpful ship was splitted in the midst ; So that in this unjust divorce of us Fortune had left to both of us alike What to delight in, what to sorrow for. Her part, poor soul ! seeming as burdened With lesser weight, but not with lesser woe, Was carried with more speed before the wind, And in our sight they three were taken up By fishermen of Corinth, as we thought. At length another ship had seized on us; And, knowing.whom it was their hap to save, Gave healthful welcome to their stapyrack a guests ; And would have reft the fishers of their prey, Had not their bark been very slow of sail ;: And therefore homeward did they bend their course.— Thus have you heard me sever’d from my bliss, That by misfortunes was my life prolong’d, To tell sad stories of my own mishaps. 120 Duke. And, for the:sake of them thou sorrowest for, Do me the favour to dilate at full What hath befall’n of them, and thee, till now. Age. My youngest boy, and yet my eldest care, At eighteen years became inquisitive After his brother; and importun’d me, That his attendant (so his case was like, Reft of his brother, but retain’d his name) | Might bear him company in the quest of him ; Whom whilst I labour'd of a love to see, Lhazarded the loss of whom I lov’d. Five summers have I spent in farthest Greece, Roaming clean through the bounds of Asia, And, coasting homeward, came to Ephesus, Hopeless to find, yet loath to leave unsought Or that, or any place that harbours men. But there must end the story of my life ; And elias were [in my timely death, | Could all my travels warrant me they live. . ‘ Duke. Hapless Augeon, whom the fates have mark’d To bear the.extremity of dire. mishap ! ; 141 Now, trust me, were it not against our laws, Against my crown, my oath, my dignity, Which princes, would they, may not disannul, My soul should sue as advocate for thee. But though thou art adjudged to the death, And passed sentence may not be recall’d But to our honour’s great disparagement, Yet will I favour thee in what I can:' Therefore, merchant, I ’ll limit thee this day, tr seek thy help by beneficial help : 110 130 150 ty all the friends thou hast in Ephesus ; eg.thou, or borrow, to make up the sum, And live ; if no, then thou art doom’d to die.— Gaoler, take him to “7 custody. Gaol. 1 will, my lord. aie, Hopeless, and helpless, doth Atgeon wend, But to procrastinate his lifeless end. [Exeunt. ScENE II.—A Public Place. Enter AwvrPHOLus of Syracuse, DROMIO of Syracuse, and a Merchant. ’ Mer, Therefore, Five out you are of Epidamnum, Lest that your goods too soon be confiscate. This very day, a Syracusian merchant 1s apprehended for arrival here ; And, not being able to buy out his life According to the statute of the town, Dies ere the weary sun set in the west. There is your money that I had to keep. Ant. S. Go bear it to the Centaur, where we host, And stay there, Dromio. till I come to thee. 10 Within this hour it will be dinner-time : Till that, I’ll view the manners of the town, Peruse the traders, gaze upon the buildings, And then.return and sleep within mine inn ; For with long travel I am stiff and weary. Get thee away. Dro. S. Many a man would take you at your word, -And go indeed, having so good a mean. [£xit. Ant.S. A trusty villain, sir, that very oft, When I am dull with care and melancholy, 20 Lightens my humour with his merry jests. ' What, will you walk with me about the town, And then go tomy inn, and dine with me? Mer. Iam invited, sir, to certain merchants, Of whom I hope to make much benefit ; I crave your pardon. Soon at five o'clock, Please you, I'll meet with you upon the mart, And afterwards consort you till bed-time : My present business calls me from you now. Ant, S. Farewell till then. I will go lose myself, 30 And wander up and down to view the city. Mer. Sir, I commend you to your own Ses yi nxt. Ant. S. He that commends me to mine own content, Commends me to the thing I cannot get. I to the world am like a drop of water, That in the ocean seeks another drop ; Who, falling there to find his fellow forth, Unseen, inquisitive, confounds himself : So I, to find a mother, and a brother, In quest of them, unhappy, lose myself. 40 Enter DRomio of Ephesus. Here comes the almanac of my true date. What now? How chance thou art return’d so soon ? Dro. is Return’a so soon! rather approach’d too ate. The capon burns, the pig falls from the spit, The clock hath strucken twelve upon the bell ; My mistress made it one upon my cheek : She is so hot, because the meat is cold ; The 1neat is cold, because you come not home ; You come not home, because you have no stomach ; You have no stomach, having broke your fast ; 50 But we, that know what ’tis to fast and pray, Are penitent for your default to-day. Ant. S. Stop in your wind, sir. Tell me this, 1 pray : Where have you left the money that I gave you? Dro. E. O! sixpence, that I had o’ Wednesday last, To pay the saddler for my mistress’ crupper ; The saddler had it, sir; I kept it not. Ant. S. Iam not in a sportive humour now. Tell me, and dally not, where is the money ? We being strangers here, how dar'st thou trust 60 So great a charge irom thine own custody? Dro. E. I pray you, jest, sir, as you sit at dinner. J from my mistress come to you in post ; If I return, I shall be post indeed, For she will score your fault upon my pate. Dera are maw, like mine, should be your clock, And strike you home without a messenger. Ant. S. Come, Dromio, come ; these jests are out of _ season : Reserve them till a merrier hour than this. Where is the gold I gave in charge to thee? 70 Dro. E. To me, sir? why, you gave no gold to me. Ant. S. Come on, sir knave; have done your foolish- ness, And tell me how thou hast dispos’d thy charge. Dro. E. My charge was but to fetch you from the mart THE COMEDY OF ERRORS. (Act IL. Home to your house, the Phoenix, sir, to dinner. My mistress, and her sister, stay for you. nt. S. Now, as lam a Christian, answer me, In what safe place you have bestow'd my money ; Or I shall break-that merry sconce of yours, That stands on tricks when I am undispos’d. Where is the thousand marks thou hadst of me? Dro, E. [have some marks of yours upon my pate ; Some of my mistress’ marks upon my shoulders, But not a thousand marks between you both. If I should pay your worship those again, Perchance, you will not bear them patiently. Ant. S. Thy mistress’ marks! what mistress, slave, hast thou ? Dro. E. Your worship’s wife, my mistress at the Phoenix ; She that doth fast till you come home to dinner, And prays that you will hie you home to dinner. 90 Ant. S. What, wilt thou flout me thus unto my 80 ace, Being forbid? There, take you that, sir knave. Strikes him. Dro. E. What mean you, sir? for God's sake, hold your hands. Nay, an you will not, sir, I'll take my heels. [Ezit. Ant. S. Upon my life, by some device or other The villain is o’er-raught of all my money. They say, this town is full of cozenage ; As, nimble jugglers that deceive the eye, Dark-working sorcerers that change the mind, | Soul-killing witches that deform the body, | Disguised cheaters, prating mountebanks, 7 an ant. S. “ There, take yuu that, sir knave.” And many such-like liberties of sin: If it prove so, I will be gone the sooner. I'll to the Centaur, to go seek this slave: I greatly fear, my money is not safe. [Exit. ACT II. ScENE T.—House of ANTIPHOLUs of Ephesus. Enter ADRIANA and LUCIANA. .ldr. But, were you wedded, you would bear some Adriana. turn’d, That in such haste I sent to seek his master! uy Sure, Luciana, it is two,o’clock. Luc. Perhaps, some merchant hath in- s vited him, \ And from the mart he’s somewhere gone % to dinner. > Good sister, let us dine, and never fret: A man is master of his liberty : Time is their master ; and, when they see time, They ‘ll go, or come: if so, be patient, sister. Adr. Why should their liberty than ours be more ? Luc. Because their business still lies out o’ door. 11 Adr. Look, when I serve him so, he takes it ill. Luc. O! know he is the bridle of your will. Adr. There’s none but asses will be bridled so. Luc. Why, headstrong liberty is lash’d with woe. There 's nothing situate under heaven's eye But hath his bound, in earth, in sea, in sky: The beasts, the fishes, and the winged fowls, Are their males’ subjects, and at their controls. Men, more divine, the masters of all these, Lords of the wide world, and wild wat’ry seas, Indued with intellectual sense and souls, Of more pre-eminence than fish and fowls, Are masters to their females, and their lords: Then, let your will attend on their accords. Adr, This servitude makes you to keep unwed. Luc. Not this, but troubles of the marriage-bed. 20 sway. Lue. Ere I learn love, I'll acuee to obey. Adr. How if your husband start some other where? Luc. ‘Till he come home again, I would forbear. 31 Adr. Patience unmov’d, no marvel though she pause ; They can be meek that have no other cause. A wretched soul, bruis’d with adversity, We bid be quiet, when we hear it cry; But were we burden’d with like weight of pain, As much, or more, we should ourselves complain ; So thou, that hast no unkind mate to grieve thee, With urging helpless patience wouldst relieve me: But if thou live to see like right bereft, 40 This fool-begg'd patience in thee will be left. Luc. Well, I will marry one day, but to try.— Here comes your man; now is your husband nigh. Enter DRomio of Ephesus. Adr. Say, is your tardy master now at hand ? Dro. E. Nay, he is at two hands with me, and that my two ears can witness, Adr. Say, didst thou speak with him? Know’st thou his mind ? : Dro. E. Ay, ay ; he told his mind upon mine ear. Beshrew his hand, I scarce could understand it. Luc. Spake he so doubtfully, thou couldst not feel his meaning? 51 Dro. E. Nay, he struck so plainly, I could too well feel his blows ; and withal so donbtfully, that I could scarce understand them. ScEenE Ii] THE COMEDY OF ERRORS. 73 Adr. But say, I pr’ythee, is he coming home? It seems, he hath great care to please his wife. Dro. E. a mistress, sure my master is horn- mad. Adr. Horn-mad, thou villain ! Dro. #. 1 mean not cuckold-mad; but, sure, he is stark mad. When I desir’d him to come home to dinner, 60 He ask’d me for a thousand marks in gold: “lis dinner-time,” quoth I; ‘* My gold!” quoth he: “Your meet doth burn,” quoth I; * My goid!” quoth e: “Will you come home?” quoth I; “‘my gold!” quoth “Where is the thousand marks I gave thee, villain?” Inw, * Ere I learn love, I'll practise to obey.” “The pig.” quoth I, ‘“‘is burn’d;” “My gold!” quoth e: “My mistress, sir,” quoth I; ‘‘Hang up thy mis- tress ! Iknow not thy mistress: out on thy mistress !” Luc. Quoth who? Dro. E. Quoth my master : 70 “T know,” quoth he, “no house, no wife, no mis- tress.” So that my errand, due unto my tongue, I thank him, I bear home upon my shoulders ; For, in conclusion, he did beat me there. : Adr, m back again, thou slave, and fetch him ome. Dro. E. Go back again, and be new beaten home? For God’s sake, send some other messenger. Adr. Back, slave, or I will break thy pate across. Dro. E. And he will bless that cross with other beating. Between you I shall have a holy head. 80 Adr. lence, prating peasant! fetch thy master ome. Dro. E. Am Iso round with you, as you with me, That like a football you do spurn me thus? __ You spurn me hence, and he will spurn me hither : If I last in this service, you must case me in leather. [Ecit. Luc. Fie, how impatience lowereth in your face ! Adr. His company must do his minions grace, Whilst I at home starve for a merry look. Hath homely age the alluring beauty took | From my poor cheek ? then he hath wasted it : 90 Are my discourses dull? barren my wit? If voluble and sharp discourse be marr’d, Unkindness blunts it, more than marble hard. Do their gay vestments his affections bait? That’s not my fault ; he’s master of my state. What ruins are in me, that can be founda By him not ruin’d? then is he the ground Of my defeatures. My decayed fair A sunny look of his would soon repair ; But, too unruly deer, he breaks the pale, 100 And feeds from home: poor I am but his stale. Luc. Self-harming jealousy !—fie ! beat it hence. Adr. Unteeling fools can with such wrongs dis- pense. I know his eye doth homage otherwhere, Or else, what lets it but he would be here? Sister, you know, he promis‘d me a chain: ’Would that alone alone he would detain, So he would keep fair quarter with his bed! I see, the jewel best enamelled Will lose his beauty : and though gold ’bides still, 110 That others touch, yet often touching will Wear gold ; and no man, that hath a name, But falsehood and corruption doth it shame. Since that my beauty cannot please his eye, I'l] weep what’s left away, and weeping die. Luc. How many fond fools serve mad jealousy ! [Ezeunt. ScENE II.—A Public Place. Enter ANTIPHOLUS of Syracuse. Ant. S. The gold I gave to Dromio is laid up Sate at the Centaur; and the heedful slave Is wander’d forth, in care to seek me out. By computation, and minc host’s report, I could not speak with Dromio, since at first I sent him from the mart. See, here he comes, Enter DRoMIo of Syracuse. How now, sir? is your merry humour alter’d ? As you love strokes, so jest with me again. You know no Centaur? You receiv’d no gold? Your mistress sent to have me home to dinner ? 10 My house was at the Phcenix? Wast thou mad, ‘that thus so madly thou didst answer me ? Dro. S. What answer, sir? when spake I such a word? : Ant. S. Even now, even here, not half an hour since. Dro. S. I did not see you since you sent me hence, Home to the Centaur, with the gold you gave me. Ant. S. Villain, thou didst deny the gold’s receipt, And toldst me of a mistress, and a dinner; For which, I hope, thou feltst I was displeas’d. Dro. S. 1am glad to see youin this merry vein. 20 What means this jest? I pray you, master, tell me. Ant. S. Yea, dost thou jeer, and flout me in the teeth? Think’st thou, I jest? Hold, take thou that, and that. (Beating him. Dro. S. Hold, sir, for God’s sake! now your jest is earnest : Upon what bargain do you give it me? ‘Ant. S. Because that I familiarly sometimes Do use you for my fool, and chat with you, Your sauciness will jet upon my love, And make a common of my serious hours. When the sun shines, let foolish gnats make sport, 30 But creep in crannies, when he hides his beams. If you will jest with me, know my aspect, And fashion your demeanour to my looks, Or I will beat this method in your sconce. Dro. S. Sconce, call you it? so you would leave bat- tering, I had rather have it a head: an you use these blows long, I must get a sconce for my head, and ensconce it too; or else I shall seek my wit in my shoulders. But, I pray, sir, why am I beaten? Ant. S. Dost thou not know? Dro. S. Nothing, sir, but that I am beaten. Ant. S. Shall I tell you why ? Dro, S. Ay, sir, and wherefore ; for, they say, every why hath a wherefore. . dnt. S. Why, first,—for flouting me, and then, wherefore,—- For urging it the second time to me. Dro. S. Was there ever any man thus beaten out of season, 74 THE COMEDY OF ERRORS. [Acr IL When, in the why, and the wherefore, is neither rhyme nor reason ?— Well, sir, I thank you. Ant. S. ‘hank me, sir? for what? 50 Dro. S. Marry, sir, for this something, that you gave me for nothing. . int. S. I'll make you amends next, to give you nothing for something. But say, sir, is it dinner- time ? Dro. S. No, sir: I think, the meat wants that I have. : Ant. S. In good time, sir; what’s that? Dro. S. Basting. | Ant. S. Well, sir, then ’t will be dry. 60 Dro. S. If it be, sir, I pray you eat none of it. Ant. S. Your reason? . Dro. S. Lest it make you choleric, and purchase me another dry basting. ; : ; int. S. Well, sir, learn to jest in good time : there's a time for all things. Dro. S. l durst have denied that, before you were so choleric. Ant. S. By what rule, sir? . Dro. S. Marry, sir, by a rule as plain as the plain bald pate of father Time himself. val Ant. S. Let’s hear it. ; Dro, S. There's no time for a man to recover his hair that grows bald by nature. Ant. S. May he not do it by fine and recovery? Dro. S. Yes, to pay a fine tor a periwig, and recover the lost hair of another man. nt. S. Why is Time such a niggard of hair, being, as it is, so plentiful an excrement ? Dro. S. Because it is a blessing that he bestows on beasts : and what he hath scanted men in hair, he hath given them in wit. 2 int. S. Why, but there’s many a man hath more hair than wit. Dro. S. Not a man of those, but he hath the wit to lose his hair. " Ant. S. Why, thou didst conclude hairy men plain dealers without wit. Dro. S. The plainer dealer, the sooner lost : yet he loseth it in a kind of jollity. 90 Ant. S. For what reason ? Dro. S. For two; and sound ones too. _4nt. S. Nay, not sound, I pray you. ~ Dro. 8. Sure ones then. int. S. Nay, not sure, in a thing falsing. Dro. S. Certain ones then. Ant. S. Name them. Dro. 8. The one, to save the money that he spends in tiring; the other, that at dinner they should not drop in his porridge. 100 Ant. S. You would all this time have proved, there is no time for all things. Dro. 8S. Marry, and did, sir; namely, no time to recover hair lost by nature. aint. S. But your reason was not substantial, why there is no time to recover. Dro. S. ThusI mend it: Time himself is bald, and therefore, to the world's end, will have bald fol- lowers. But 11 Ant. S. I knew, ’twould be a bald conclusion. soft! who wafts us yonder? Enter ADRIANA and LUCIANA. Adr. Ay, ay, Antipholus, look strange, and frown: Some other mistress hath thy sweet aspects, Iam not Adriana, nor thy wife. The time was once, when thou unurg’d wouldst vow That never words were music to thine car That never object pleasing in thine eye, That never touch well-welcome to thy hand, That never meat swect-savour'd in thy taste, Unless I spake, or look'd, or touch’d, or carv'd to thee. 120 How comes it now, my husband, 0! how comes it, That thou art then estranged from thyself ? Thyself I call it, being strange to me, That, undividable, incorporate, Am better than thy dear self’s better part. Ah, do not tear away thyself from me; For know, my love, as easy may’st thou fall A drop of water in the breaking gulf, And take unmingled thence that drop again, Without addition. or diminishing, 130 As take from me thyself, and not me too. How dearly would it touch thee to the quick, Shouldst thou but hear 1 were licentious, And that this body, consecrate to thee, By ruftian lust should be contaminate! Wouldst thou not spit at me, and spurn at me, And hurl the name of husband in my face, And tear the stain'd skin off my hariot-brow, And from my false hand cut the wedding-ring, And break it with a deep-divorcing vow ¢ I know thou canst ; and therefore, see thou do it. I am possess'd with an adulterate blot; : My blood is mingled with the crime of lust For, if we two be one, and thou play false, I do digest. the poison of thy flesh, Being strumpeted by thy contagion. Keep then fair league and truce with thy true bed; I live distain’d, thou undishonoured. Ant. S. Plead you to me, fair dame? I know you not. In Ephesus I am but two hours old, 150 As strange unto your town, as to your talk ; Who, every word by all my wit being scann’d, Want wit in all one word to understand. Luc. Fie, brother: how the world is chang'd with ou! When were you wont to use ny sister thus ? She sent for you by Dromio home to dinner, aint. S. By Dromio? Dro. S. By me? oe adr. By thee; and this thou didst return from him,— . That he did buffet thee, and, in his blows, 160 Denied my house for his, me for his wife. Ant. S. Did you converse, sir, with this gentle- woman ? What is the course and drift of your compact ? Dro. 8. I, sir? I never saw her till this time. alnt. S. Villain, thou liest; for even her very words Didst thou deliver to me on the mart. Dro. S. I never spake with her in all my life. nt. S. How can she thus then call us by our names, Unless it be by inspiration ? ; 1dr. How ill agrees it with-your gravity, 170 To counterfeit thus grossly with your slave, Abetting him to thwart me in my mood! Be it my wrong, you are from me exempt, But wrong not that wrong with a more contempt. Come, I will fasten on this sleeve of thine ; Thou art an elm, my husband, I a vine, , Whose weakness, married to thy stronger state, Makes me with thy strength to communicate : If aught possess thee from me, it is dross, Usurping ivy, brier, or idle moss; - 180 Who, all for want of pruning, with intrusion Infect thy s.p, and live on thy confusion. Ant. S. To me she speaks; she moves me for her theme! What, was I married to her in my dream, Or sleep I now, and think I hear all this? What error drives our eyes and ears amiss? Until I know this sure uncertainty, I'll entertain the offer'd fallacy. Luc. Dromio, go bid the servants spread for dinner. Dro. S. O, for my beads! I cross me for a sinner. This is the fairy land ; O, spite of spites! I We talk with goblins, owls, and elvish sprites. If we obey them not, this will ensue, They ‘ll suck our breath, or pinch us black and blue, Lue W ne prat’st thou to thyself, and answer'st no Dromio, thou drone, thou snail, thou slug, thou sot! Dro. 8S. Tam transformed, master, am { not? «tut. S. I think thou art, in mind, and so am I. Scene II.] THE COMEDY OF ERRORS. 75 Dro. S. Nay, master, both in mind and in my | And shrive you of a thousand idle pranks. — 210 Sirrah, if any ask you for your master, Say, he dines forth, and let no creature enter.-- Come, sister.—Dromio, play the porter well. Ant. S. Am I in earth, in heaven, or in hell? shape. Ant. S. Thou hast thine own form. Dro. 8. No, I am an ape. Luc. If thou art chang’d to aught, ’tis to an ass. 201 : Ant. S. ** Plead you to me, fair dame? I know you not.” Dro. S. ’Tis true; she rides me. and I long for | Sleeping or waking? mad, or well advis’d « 4 grass. Known unto these, and to myself disguis’d ? "Tis so, Iam an ass; else it could never be, I'll say as they say, and persever so, But I should know her, as well as she knows me. And in this mist at all adventures go. Adr, Come, come ; no longer will I be a fool, Dro. 8. Master, shall I be porter at the gate? To put the finger in the eye and weep, Adr, Ay; and let none enter. lest I break your Whilst man and master laugh my woes to scorn. pate. 220 Come, sir, to dinner.—Dromio, keep the gate.— Luc. Come, come, Antipholus ; we dine too late. Husband. I'll dine above with you to-day, [Erevnt. ACT ScENE I.—The Same. Enter ANTIPHOLUS of Ephesus, DROoMIO of Ephesus, ANGELO, and BALTHAZAR. Antipholus of Ephesus. i OOD Signior Angelo, you must excuse us all ; My wife is shrew ish, not hou Say, that Mingerd with you at your when I keep shop To see the making of her carcanet, And that to-morrow you will bring it home. But here's a villain, that would face me down He met me on the mart, and that I beat him, And charg’d him with a thousand marks in gold ; And that I did deny my wife and house. — Thou drunkard, thou, what didst thou mean by this? Dro. E. Say what you will, sir, but I know what Iknow. iL That you as me at the mart, I have your hand to show: If the skin were opener and the blows you gave were ink, Your own handwriting would tell you what I think. Ant. #, I think, thou art an ass. Dro. E. Marry, so it doth appear, By the wrongs IJ suffer, and the blows I bear. I should kick, being kick’d, and being at that pass, You would keep from my heels, and beware ot an ass. aint. H. You are sad, Signior Balthazar: ‘pray God, our cheer May Sneyer ay good will, and your good wefoome Bal. T hold. your dainties cheap, sir, and your wel- come dear. Ant. FE. O Signior Balthazar, either at flesh or fish, A table-full of welcome makes scarce one dainty dish, Bal. Good meat, sir, is common; that every churl atfords, aint. #. And welcome more common, for that's nothing but words. Bal. Small cheer and great welcome makes a merry feast. Ant. E. Ay, to a niggardly host, and more sparing guest: But though my cates be mean, take them in good part ; Better cheer may you have, but not with better heart. But soft! my door is lock’d. Go bid them let us in. 30 Dro. E. Maud, Bridget, Marian, Cicely, Gillian, Jin ! Dro. S. (WWithin.}] Mome, malt-horse, capon, cox- comb, idiot, patch ! Either get thee from the door, or sit down at the hatch, Dost thou conjure for wenches, that thou call’st for such store, When one is one too many? Go get thee from the oor. Dro, &. What patch is made our porter?— My master stays in the street. Dro. S. (Within.| Let him walk from whence he dee came, lest he catch cold on's fect. n . Who talks within there ? ho! open the door. Dro. s (Within.] Right, sir: I'll tell you when, an you'll tell me Micaela, ( III. Ant. HE. Wherefore? for my dinner: din'd to-da Dro. S. (Within. th Nor to-day here you must not; come again when you may. Ant. E. What art thou that keep’st me out from the house I owe ? Dro. 8. [Within.] The Pe for this time, sir, and my name is Drom Dro. E. O villain! thou last stolen both mine office and my name: The one ne'er got me credit, the other mickle blame. If thou hadst been Dromio to-day in my place, Thou wouldst have chang’d thy face for a name, or thy name for an ass. Luce. [Within.] What a coil is there ! Dromio, who are those at the gate ? Dro. E. Let my master in, Luce. Luce. (Within.] Faith no; he comes too late; And so tell your master. Dro. O Lord! I must laugh.— 50 Have at you with a proverb :—Shall I set in my staff? Luce. (Within.] Have at you with another : that’s, — When? can you tell? Dro. a Within.) If thy name be called Luce, Luce, ou hast answer’d him well. Ant. BE Do you hear, you minion? you'll let us in, I pet Luce. [Within,] I thought to have ask’d you. Dro. S. (Within.} And you said, no. Dro. E. So; come, help: well struck! there was blow for blow. Ant. FE. Thou baggage, let me in. Luce. (Within.] Can you tell for whose sake? Dro, E. Master, knock the door hard. Luee. ( ithin.| Let him knock till it ache. alnt. Hk. You il ery for this, minion, if I beat the door down. Luce. (Within.] What needs all that, and a pair of stocks in the town ? 60 Adr. (Within.] Who is that at the door, that keeps all this noise ? Dro. S. (Within.] By my troth, your town is troubled with unruly boys. Ant, FE. Are you there, wife? you might have come I have not 40 before. Adr. [Within.] Your wife, sir knave? go get you from the door. Dro. H. If you went in pain, master, this knave would go sore. Ang. Here is neither cheer, sir, nor welcome: we would fain have either. Bal. In debating which was best, we shall part with neither. Dro. E. They stand at the door, master: bid them welcome hither. aint. E. There is something in the wind, that we cannot get in. Dro. E. You would say so, master, if your garments were thin. 70 Your cake there is warm within; you stand here in the cold: It would minke aman mad asa buck to be so bought and sold. Ant. E. Ge fetch me something: I'll break ope the gate. ScENE II.] THE COMEDY OF ERRORS. a s Dro. S. [Within.] Break any breaking here, and I’ll break your knave's pate. Dro. E, A man may break a word with you, sir, and words are but wind ; Ay, and pres it in your face, so he break it not be- hind. Dro. S. [Within.] It seems, thou wantest breaking. Out upon thee, hind! Dro. E. Here's too much out upon thee! I pray thee, let me in. Dro. S. [Within.] Ay, when fowls have no feathers, nd fish have no fin. a Ant. HE. Well, I'll break in. Go borrow mea crow. Stil iF RSs Dro. E. ‘‘Master, knock the door hard.” Dro. E. A crow without feather? master, mean you so For a fish without a fin, there’s a fowl without a feather. If a crow help us in, sirrah, we'll pluck a crow to- gether. Ant. E. Go get thee gone: fetch me an iron crow. Bal. Have patience, sir; O! let it not be so: Herein you war against your reputation, And draw within the compass of suspect The unviolated honour of your wife. Once this,—your long experience of her wisdom, Her sober virtue, years, and modesty, Plead on her part some cause to you unknown ; And doubt not, sir, but she will well excuse Why at this time the doors are made against you. Be rul’d by me: depart in patience, And let us to the Tiger all to dinner; And about evening come yourself alone, To know the reason of this strange restraint. If by strong hand you offer to break in, Now in the stirring passage of the day, A vulgar comment will be made of it ; 100 And that supposed by the common rout Against your hi ungalled estimation, That may with foul intrusion enter in, And dwell po your grave when you are dead ; For slander lives upon succession ; For ever housed, where it gets possession. Ant, H. You have prevail’d, I will depart in quict, And, in despite of mirth, mean to be merry. I know a wench of excellent discourse, — Pretty and witty, wild and yet, too, gentle, — 110 There will we dine: this woman that I mean, My wife (but, I protest, without desert) Hath oftentimes upbraided me withal : To her will we to dinner.—Get you home, And fetch the chain; by this, I know, ‘tis made; Bring it, I pray you, to the Porpentine ; For there’s the house: that chain will I bestow (Be it for nothing but to spite my wife) Upon mine hostess there. Good sir, make haste. Since mine own doors refuse to entertain me, 120 I’) knock elsewhere, to see if they ‘ll disdain me. Ang. I'll meet you at that place, some hour hence. wnt. E. Doso, This jest shall cost me some expense. ‘ [Eccunt. ScENE II.—The Same. Enter Luctana and ANTIPHOLUS of Syracuse. Luc. And may it be that you have quite forgot A husband’s oftice?) Shall, Antipholus, Iven in the spring of love, thy love-springs rot ? Shall love, in building, grow so ruinous? It you did wed my sister tor her wealth, Then for her wealth’'s sake use her with more kind- ness: Or, if you like elsewhere, do it by stealth ; Mutte your false love with some show of blindness; Let not my sister read it in your eye; Be not thy tongue thy own shame’s orator ; 10 Look sweet, speak fair, become disloyalty ; Apparel vice like virtue’s harbinger ; Bear a fair presence, though your heart be tainted; Teach sin the carriage of a holy saint ; Be secret-false : what need she be acquainted ? What simple thief brags of his own attaini? ’T is double wrong, to truant with your bed, And let her read it in thy looks at board: Shame hath a bastard fame, well managed ; Ill deeds are doubled with an evil word. 20 Alas, poor women! make us but believe, Being compact of credit, that you love us; ‘Though others have the arm, show us the sleeve ; We in your motion turn, and you may move us. Then, gentle brother, get you in again: Comfort my sister, cheer her, call her wife. -T is holy sport to be a little vain, When the sweet breath of flattery conquers strife. Ant. S. Sweet mistress (what your name is else, I know not, Nor by what wonder you do hit of mine), 30 Less in your knowledge, and your grace, you show not, Than our earth's wonder; more than earth divine. Teach me, dear creature, how to think and speak : Lay open to my earthy-gross conceit, Smother’d in errors, feeble, shallow, weak, The folded meaning of your words’ deceit. Against my soul's pure truth, why labour you To make it wander in an unknown field ? Are you a god? would you create me new ? Transform me then, and to your powerl’Uyield. 40 But if that Iam I, then well I know, Your weeping sister is no wife of mine, Nor to her bed no homage do I owe: Far more, far more, to you do I decline. O, train me not, sweet mermaid, with thy note, To drown me in thy sister’s flood of tears. Sing, siren, for thyself, and I will dote :. Spread o’er the silver waves thy golden hairs, And as a bed I'll take thee, and there lie ; And, in that glorious supposition, think, 50 He gains by death, that hath such means to die: Let Love, being light, be drowned if she sink! Luc. What! are you mad, that you do reason so? Ant. S. Not mad, but mated ; how, I do not know. 78 THE COMEDY OF ERRORS. {Act IIL. Lue. It is a fault that springeth from your eye. | tnt, S. For gazing on your beams, fair sun, being b ys 2 Luc. Gaze where you should, and that will clear your sight. . tnt. S. As good to wink, sweet love, as look on nigne. . Luc. Why call you me love? call my sister so. Ant. S. Thy sister's sister. : Lue. That’s my sister. Ant. S. No; 60 It is thyself, mine own self’s better part ; Mine eye’s clear eye, my dcar heart’s dearer heart ; My food, my fortune, and my sweet hope ‘s aim, My sole earth’s heaven, and my heaven’s claim. ‘Luc, All this my sister is, or else should be. ——— ee a Vr i Lue. “ O, soft, sir! hold you stil.” Ant. S. Call thyself sister, sweet, for I aim thee. Thee will I love, and with thee lead my life: Thou hast. no husband yet, nor I no wife. Give me thy hand. Lue. : O, soft, sir! hold you still : I'll fetch my sister, to get her good will. zs D cit, Enter DRoMio of Syracuse, hastily. Ant. S. Why, how now, Dromio? where runn’st thou so fast? Dro. S. Do you know me, sir? am I Dromio? am I your man, am I myself? ant. S. Thou art Dromio, thou art my man, thou art thyself. Dro. 8. 1am an ass, I am a woman’s man, and be- sides myself. «{nt. S. What woman’s man? and how besides thy- self ? 80 Dro. S. Marry, sir, besides myself, I am due toa woman ; one that claims me, one that haunts me, one that will have me. Ant. S. What claim lays she to thee? Dro. S. Marry, sir, such claim as you would lay to your horse; and she would have me as a beast: not that, I being a beast, she would have me; but that she, being a very beastly creature, lays claim to me. Ant. S. What is she? 89 Dro. S. A very reverend body ; ay, such a one as a man may not speak of, without he say, sir-reverence. I have but lean luck in the match, and yet she is a wondrous fat marriage. Ant. S. How dost thou mean a fat marriage? Dro. S. Marry, sir, she’s the kitchen-wench, and all grease ; and I know not what use to put her to, but to make a lamp of her, and run from her by her own light. I warrant, her rags, and the tallow in them, will burn a Poland winter: if she lives till dooms- day, she’ll burn a week longer than the whole world. Ant. S. What complexion is she of ? 101 Dro. S. Swart, like my shoe, but her face nothing like so clean kept: for why she sweats; a man may go over shoes in the grime of it. aint. S. That’s a fault that water will mend. Dro. S. No, sir; ’tis in grain: Noah's tiood could not do it. nt. S. What's her name? Dro. S. Nell, sir; but her name and three quarters, that is, an ell and three quarters, will not measure her from hip to hip. 111 Ant. 8. Then she bears some breadth ? Dro. S. No longer from head to foot, than from hip to hip: she is spherical, like a globe ; | could find out countries in her. 5 «lnt. S. In what part of her body stands Ireland? Dro, 8. Marry, sir, in her buttocks : I found it out by the bogs. ant. S. Where Scotland ? Dro. S. I found it by the barrenness, hard in the palm of the hand. 121 aint. S. Where France? Dro. S. In her forehead; armed and reverted, making war against her hair. wnt. S. Where England? Dro. S. I look’d for the chalky cliffs, but I could find no whiteness in them: but I guess, it stood in Ber chin, by the salt rheum that ran between France and it. aint. S. Where Spain ? 130 Dro. S. Faith, I saw it not; but I felt it hot in her breath. aint. S. Where America, the Indies? Dro. S. O! sir, upon her nose, all o’er embellished with rubies, carbuncles, sapphires, declining their rich aspect to the hot breath of Spain, who sent whole armadoes of caracks to be ballast at her nose. int. S. Where stood Belgia, the Netherlands? Dro. S. O! sir, [did not look so low. To conclude, this drudge, or diviner, laid claim to me; call’d me Dromio; swore, I was assured to her; told me what privy marks I had about me, as the mark of my shoulder, the mole in my neck, the great wart on my left arm, that I, amazed, ran from her as a witch, | And, I think, if my breast had not been made of faith, and my heart of steel, She had transform’d me to a curtail-dog, and made me turn i’ the wheel. aint. S. Go hie thee presently post to the road :— An it the wind blow any way from shore, I will not harbour in this town to-night :— If any bark put forth, come to the mart, ' 150 Where [ will walk till thou return to me. If every one knows us, and we know none, ’T is time, I think, to trudge, pack, and be gone. Dro. S. As from a bear a man would run for life, . So fly I from her that would be my wife. 7 Lace «int. os There’s none but witches do inhabit ere, And therefore ’tis high time that I were hence. She that doth call me husband, even my soul Doth for a wife abhor; but her fair sister, Possess’d with such a gentle sovereign grace, 160 Of such enchanting presence and discourse, Hath almost made me traitor to myself: But, lest myself be guilty to self-wrong, I'll stop mine ears against the mermaid’s song. Enter ANGELO. Ang. Master Antipholus? Ant. S. Ay, that’s my name. 7 Ang. I know it well, sir. Lo, here is the chain. I thought to have ta’en you at the Porpentine ; The chain unfinish’d made me stay thus long. P Ant. S. What is your will that I shall do with this? lng. What please yourself, sir: I have made ft for you. | Ant. S. Made it for me, sir ? I bespoke it not. | Ang. ae once, nor twice, but twenty times you ave, Go home with it, and please your wife withal ; And soon at supper-time Ill visit. you, And then receive my money for the chain. Scene II.] THE COMEDY OF ERRORS. 79 Ant. S. I pray you, sir, receive the money now, For fear you ne’er see chain, nor money, more. Ang. You are a merry man, sir. Fare you wal : [Eavit. Ant. S. What I should think of this, I cannot tell ; 180 But this I think, there ’s no man is so vain, That would retuse so tair an otfer’d chain. I see, a man here needs not live by shifts, When in the streets he meets such golden gifts. I'll to the mart, and there for Dromio stay ; If any ship put out, then straight away. [Evit. ACT Merchant. i } OU know, since Pentecost the sum is due, | And since I have not much importun’d FOU 5 Nor now y had not, but that I am bound To Persia, and want gilders for my voyage : Therefore make present satisfaction, Or I'll attach you by this officer. Ang. Even just the sum, that I do owe to you, Is growing to me by Antipholus ; And, in the instant that I met with poe : He had of me a chain: at five o’cloc 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. Of. That labour may you save: see where he comes. . Ant. E. pe aue I go to the goldsmith’s house, go thou 10 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 ; Bey thou a rope, and bring it home to me. 20 ro. E. I buy a thousand pound a year: I buy a rope ! 2 [Ezit. Ant. E, 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. Ang. Saving your merry humour, here’s the note How much your chain weighs to the utmost caract, The fineness of the gold, and chargeful fashion, Which doth amount to three odd ducats more 30 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. Ant. E. 1am not furnish’d 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. - Ang. Then you will bring the chain to her your. self ? Ant. E. No; bear it with you, lest I come not time enough. ; Ang. Well, sir, I will. Have you the chain about you? IV. ScENE JI.—The Same. Enter a Merchant, ANGELO, and an Officer. Ant. E. An if I have not, sir, I hope you have, Or else you may return without your money. ang. Nay, come, | pray you, sir, give me the chain: Both wind and tide stay for this gentleman, And I, to blame, have held him here too long. ant. HE. Good Lord! you use this dalliance, to excuse Your breach of promise to the Porpentine. I should have chid you for not bringing it, 50 But, like a shrew, you first begin to brawl. Mer. The hour steals on: I pray you, sir, despatch. Ang. You hear, how he importunes me: the chain— es Ant. E. Why, give it to my wife, and fetch your money. - : Ang. Come, come; you know, I gave it you even now. Either send the chain, or send me by some token. Ant. HE. Fie! now you run this humour out of 4 breath. Come, where’s the chain? I pray you, let me see it. Mer. My business cannot brook this dalliance. Good sir, say, whe’r you ll answer me, or no: 60 If not, Il leave him to the officer. Ant. H. Tanswer you! what should I answer you? Ang. The money that you owe me for the chain. Ant. FE. I owe you none, till I receive the chain. Ang. You know, I gave it you half an hour since. Ant. H. You gave me none: you wrong me much to say so. : dng. You wrong me more, sir, in denying it: Consider how it stands upon my credit. Mer. we officer, arrest him at my suit. é 0, 7 And charge you in the duke’s name to obey me. Ang. This touches me in reputation.— Either consent to pay this sum for me, Or I attach you by this officer. Ant. E. Consent to pay thee that I never had ? Arrest me, foolish fellow, if thou dar’st. «ing. Here is thy fee: arrest him, officer.— I would not spare my brother in this case, If he should scorn me so apparently. Off. I do arrest you, sir. ou hear the suit. 80 Ant. E. 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. Ang. Sir, sir, I shall have law in Ephesus, To your notorious shame, I doubt it not. Enter DRomIO of Syracuse. Dro. S. Master, there is a bark of Epidamnum, That stays but till her owner comes aboard, ; And then, sir, she bears away. Our fraughtage, sir, I have convey’d aboard, and I have bought 80 THE COMEDY OF ERRORS. [Act Iv, The oil, the balsamum, and aqua-vitee. 90 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. 2 Ant. E. How now? a madman! Why, thou peevish sheep, What ship of pidamnum stays for me? Dro. 8. A ship you sent me to, to hire waftage. Ant. #. Thou drunken slave, I sent thee for a rope ; And told thee to what purpose, and what end. Dro. S. You sent me tor a rope’s end as soon, You sent me to the bay, sir, for a bark. . Ant. E. I will debate this matter at more leisure, And teach your ears to list me with more heed. To Adriana, villain, hie thee straight ; 100 «lng. “ Here Is thy fee: arrest Lim, officer.” 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: lct 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. [EHxeunt Merchant, ANGELO, Officer, and ANT. E. Dro. S. To Adriana? that is where we din‘d, 110 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. [Evit. ScEeNE II.—The Same. Enter ADRIANA and LUCIANA. Adr. Ah! Luciana, did he tempt thee so? Mightst 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 ? Luc. First he denied you had in him no right. Adr. He eels he did me none: the more my spite. Luc. Then swore he, that he was a stranger here. «1dr. And true he swore, though yet forsworn he were. Luc. Then pleaded I for you. Adr. And what said he? Luc, That love I begg'd for you, he begg'd of me. Adr. With what persuasion did he tempt thy love? Luc. With words that in an honest suit might move. First, he did praise my beauty ; then, my speech. Adr, Didst speak him fair? Lue. Have patience, I beseech. Adr. I cannot, nor J will not hold me still: My tongue, though not my beart, shall have his will. He is deformed, crooked, old, and sere, Ill-tac’d, worse bodied, shapeless everywhere ; 20 Vicious, ungentle, foolish, blunt, unkind, Stigmatical in making, worse in mind. Lue. Who would be jealous then of such a one ¢ No evil lost is wail’d when it is gone. Adr, 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. Dro. S. Here, go: the desk! the purse ! sweet now, make haste. Luc. How hast thou lost thy breath ? Dro. 8. By running fast, Adr. Where is thy master, Dromio? is he well? 31 Dro. S. 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 counter- mands The passages of alleys, creeks, and narrow lands: A hound sei runs counter, and yet draws dry-foot well; One Tee | before the judgment, carries poor souls i ell. Adr, Why, man, what is the matter? Dro. S. 1 do not know the matter: he is ’rested on the case. Adr, What, is he arrested? tell me at whose suit. Dro. S. 1 oe not at whose suit he is arrested well; But is ina suit of buff which ’rested him, that can I ell. Will you send him, mistress, redemption, the money in his desk ? Adr. Go fetch it, sister. [Exit Luctana.]}_This I wonder at, That he, unknown to me, should be in debt :— Tell me, was he arrested on a band? Dro. S. Not on a band, but on a stronger thing; 50 A chain, achain. Do you not hear it ring? dr, What, the chain? Dro. S. No, no, the bell. ’Tis time that I were gone: It was two ere I left him, and now the clock strikes one. Adr, The hours come back ! that did I never hear. Dro. S. O yes; if any hour meet a sergeant, a’ turns back for very fear. Adr. As if Time were in debt ! how fondly dost thou reason ! Dro. S. Time is a very bankrout, 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 Time be in debt and theft, and a sergeant in the way, Hath he not reason to turn back an hour in a day? Re-enter LUCIANA. 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. Adr. ScENE III.—The Same. Enter ANTIPHOLUS of Syracuse. Ant. S. There’s not a man I meet but doth salute me, As if I were their well-acquainted friend ; And every one doth call me by my name. Some tender money to me, some invite me ; Some other give me thanks for kindnesses; ScenE IV.] THE COMEDY OF ERRORS. 81 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, 10 And Lapland sorcerers inhabit here. Enter DRomio of Syracuse. Dro. S. Master, here’s the gold you sent me for.— What have you got the picture of old Adam new- apparell’d ? Ant. S. ber gold is this?) What Adam dost thou mean Dro. S. Not that Adam that kept the Paradise, but that Adam that keeps the prison: he that goes in the calf’s skin that was kill’d for the Prodigal: he that came behind you, sir, like an evil angel, and bid you forsake your liberty. 20 Ant. S. Lunderstand thee not. Dro. S. 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 fob, and rests them; he, sir, that takes pity on decayed men, and wives them suits of durance; he that sets up his rest to o more exploits with his mace, than a morris-pike. Ant. S. What, thou mean’st an officer? Dro. S. 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!” 32 Ant. S. Well, sir, there rest in your foolery. Is there any ship puts forth to-night? may we be gone? Dro. S. Why, sir, I brought you word an hour since, that the bark Expedition put forth to-night; 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. Ant. S. The fellow is distract, and so am I, 40 And here we wander in illusions. Some blessed power deliver us from hence! Enter a Courtesan. Cour. Well met, well met, Master Antipholus. Isee, sir, you have found the goldsmith now : Is that the chain you promis'd me to-day? Ant. S. Satan, avoid! I charge thee, tempt me not! Dro. S. Master, is this Mistress Satan ? aint. S. It is the devil. Dro. S. Nay, she is worse, she is the devil's dam, and here she comes in the habit of alight wench: and thereof comes that the wenches say, ‘‘God damn me,” that's as much as to say, ‘‘God make me a Jight 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. Cour. Your man and you are marvellous merry, ae Will you go with me? we'll mend our dinner ere. Dro. S. Master, if you do, expect spoon-meat, or bespeak a long spoon. 60 Ant. S. Why, Dromio? Dro. S. Marry, he must have a long spoon that must eat with the devil. Ant. S. Avoid, thou 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. Cour. 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. Dro. S. Some devils ask but the parings of ones é 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 : an if you give it her, 228 The devil will shake her chain, and fright us with it. Cour. I pray you, sir, my ring, or else the chain. T hope you do not mean to cheat me so. 7 nt. S. Avaunt, thou witch! Come, Dromio, let us go. Dro. S. “Fly pride,” says the peacock: mistress, that you know. [Axeunt ANT. S. and DRo. S. Cour. Now, out of doubt, Antipholus is mad, 80 Else would he never so demean himself. A ving 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 to-day 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. 90 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. ScENE IV.—The Same. Enter ANTIPHOLUS of Ephesus and the Officer. aint. H. 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 ina wayward mood to-day, And will not lightly trust the messenger. That I should be attach’d in Ephesus, I tell you, ’t will 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? Dro. F. Here’s that, I warrant you, will pay them i 10 all. But where’s the money ? Ant, E. Dro. E. Why, sir, I gave the money for the rope. Ant. HE. Five hundred ducats, villain, for a rope ? Dro. E. 111 serve you, sir, five hundred at the rate. Ant. E. To what end did I bid thee hie thee home ? Dro. E. To a rope’s end, sir; and to that end am I return’d, aint. H. And to that end, sir, I will welcome you. [Beating him. Off. Good sir, be patient. Dro. FE. Nay, ‘tis for me to be patient; I.am in adversity. 21 Og. Good now, hold thy tongue. Dro. E. Nay, rather persuade him to hold his hands. Ant, #. Thou whoreson, senscless villain! Dro. E. I would I were senseless, sir, that I might not feel your blows. Ant, #. Thou art sensible in nothing but blows, and so is an ass. Dro. E. J am_an ass, indeed ; you may prove it by my long ears. I have serv’d him from the hour of my nativity to this instant, and have nothing at his hands for my service but blows. When Iam cold, he heats me with beating ; when Iam warm, he cools me with beating: I am wak’d with it, when I sleep; rais’d 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. 39 Ant. E. Come, go along: my wife is coming yonder. Enter ADRIANA, LucIANA, the Courtesan, and PINCH. Dro. E. Mistress, respice finem, respect your end; or rather the prophecy, like the parrot, ‘* Beware the rope’s end.” dnt, HE. Wilt thou still talk ? (Beats him. Cour. How say you now? is not your husband mad? Adr. 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. C 82 THE COMEDY OF ERRORS. Luc. Alas, how fiery and how sharp he looks! 50 | Whilst upon me the guilty doors were shut, Cour. Mark, how he trembles in his ecstacy ! Pinch. Give me your hand, and let me teel your pulse. Ant. E. There is my hand, and let it feel your ear. And I denied to enter in my house? Adr. 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 ! Pinch. 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. Ant, E. Peace, doting wizard, peace! Iam not mad. Adr. O, that thou wert not, poor distressed soul ! Ant. EF, You minion, you, are these your customers? Did this companion with the saffron face 61 Revel and feast it at my house to-day, “IT conjure thee by all the saints in heaven.” Ant. E. Dined at home! Thou, villain, what say’st thou? Dro. E. Sir, sooth to say you did not dine at home. ant. E. ere not my doors lock'd up, and I shut ou vi Dro, E. Ferdys your doors were lock’d, and you shut out. Ant. E. And did not she herself revile me there? Dro. E. Sans fable, she herself revil’d you there. [Act IV. ScENE IV.] THE COMEDY OF ERRORS. = | Ant. EH. Did not her kitchen-maid rail, taunt, and scorn me ? Dro. E. Certes, she did; the kitchen-vestal scorn’d you. Ant. E. And did not I in rage depart from thence? Dro. E. In verity, you did :—my bones bear witness, That since have felt the vigour of his rage. dr. Is’t good to soothe him in these contraries? Pinch. It is no shame: the fellow finds his vein, 80 And, yielding to him, humours well his frenzy. Ant. £. Thou hast suborn’d the goldsmith to arrest me. Adr. Alas, I sent you money to redeem you, By Dromio here, who came in haste for it. Dro. E. Money by me? heart and good will you might, But, surely, master, not a rag of money. aint. Z. Went’st not thou to her for a purse of ducats ? Adr. He came to me, and I deliver’d it. Luc. And I am witness with her that she did. Dro. E. God and the rope-maker bear me witness, That I was sent for nothing but a rope ! 91 Pinch. Mistress, both man and master is possess’d : I know it by their pale and deadly looks. ‘Lhey must be bound, and laid in some dark room. Ant. HE. Say, wherefore didst thou lock me forth to-day ? And why dost thou deny the bag of gold? Adr. I did not, gentle husband, lock thee forth. Dro. E. And, gentle master, I receiv’d no gold ; But I confess, sir, that we were lock’d out. Adr. Dissembling villain! thou speak’st false in both. 100 Ant. E. 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 Ill pluck out these false eyes, That would behold in me this shameful sport. ddr. O, bind him, bind him! let him not come near me. Pinch. More company !—the fiend is strong within m. im. Luc. Ah me! poor man, how pale and wan he looks! Enter three or four, and bind ANTIPHOLUS of Ephesus and DRoMio of Ephesus. Ant. i, What, will you murder me? Thou gaoler, ou, Iam thy prisoner : wilt thou suffer them 110 To make a rescue? Off. Masters, let him go: He is my prisoner, and you shall not have him. Pinch. Go bind this man, for he is frantic too. Adr. What wilt thou do, thou peevish officer ? Hast thou delight to see a wretched man Do outrage and displeasure to himself ? Of. He is my prisoner: if I let him go, The debt he owes will be requir’d of me. Adr. I will discharge thee, ere I go from thee. Bear me forthwith unto his creditor, And, knowing how the debt grows, T will pay it. Good master doctor, see him safe convey’d Home to my house.—O most unhappy day ! Ant. E. O most unhappy strumpet ! Dro. E. Master, I am here enter’d in bond for you. Ant. E. Out on thee, villain! wherefore dost thou mad me? Dro. E. Will you be bound for nothing? be mad, good master ; Cry, the devil! Lue. God help, poor souls ! how idly do they talk! Adr, Go bear him hence.—Sister, go you with me.— [Exeunt Pincu and Assistants with ANT. E. and Dro. E. Say now, whose suit is he arrested at ? _ 131 Of. One Angelo, a goldsmith ; do you know him? Adr, Iknow the man. What is the sum he owes? Off. Two hundred ducats. Addr. : Say, how grows it due? Off. Due for a chain your husband had of him. «ldr. He did bespeak a chain for me, but had it not. Cour. Whenas your husband, all in rage, to-day 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. Of. “ Away! they'll kill us.” Adr. It may be so, but I did never see it.— _ Come, gaoler, 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. Lue. God, for thy mercy ! they are loose again. Adr. And come with naked swords. Let’s call more help, . To have them bound again. Away ! they’ll kill us. [Exeunt ADRIANA, LUCIANA, Courtesan, and Officer. is Ant. S. I see, these witches are afraid of swords. Dro. S. She that would be your wife now ran from you. Ant. S. Come to the Centaur ; fetch our stuff from thence: I long, that we were safe and sound aboard. 150 Dro. S. 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 mar- riage of me, I could find in my heart to stay here still, and turn witch. Ant. S. I will not stay to-night for all the town ; Therefore away, to get our stuff aboard. [Exeunt. ACT V. ScENE I.—The Same. Enter Merchant and ANGELO. Angelo. 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. ier. How is the man esteem’d here in the city? Ang. 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. Mer. Speak softly: yonder, as I think, he walks. Enter ANTIPHOLUS of Syracuse and DROMIO of Syracuse. Ang. ’Tis so; and that self chain about his neck, 10 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, 20 Had hoisted sail, and put to sea to-day. This chain you had of me: can you deny it? int. S. I think. I had: I never did deny it. Mcr, Yes, that you did, sir, and forswore it too. wnt. S. Who heard me to deny it, or forswear it? Mer. The 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. Ant. S. Thou art a villain to impeach me thus. I'll prove mine honour and mine honesty Against thee presently, if thou dar'st stand. Mer. I dare, and do defy thee for a villain. [They draw. Enter ADRIANA, LUCIANA, Courtesan, and others. Adr. sl 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. Dro. S. Run, master, run; for God's sake take a ag house ! This is some priory ;—in, or we are spoil’d. [Zzeunt Ant. S. and Dro. S. to the Abbey. Enter the Abbess. Abb. Be quict, people. Wherefore throng you hither? Adr. To fetch my poor distracted husband hence. Let us come in, that we may bind him fast, 40 And bear him home for his recovery. Ang. I knew, he was not in his perfect wits. Mer. Tam sorry now, that I did draw on him. Abb. How long hath this possession held the man? Adr. This week he hath been heavy, sour, sad, Before an Abbey. And much different from the man he was; But, till this afternoon, his passion Ne‘er brake into extremity of rage. bb. Hath ze not lost much wealth by wrack of sea, Buried some dear friend? Hath notelsehiseye 5 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? .idr, To none of these, except it be the last; Namely, some love, that drew him oft from home. fbb. You should for that have reprehended him. adr. Why, so I did. albb. Ay, but not rough enough. adr. As roughly as my modesty would let me. «1bb, Haply, in private. adr. And in assemblies too. 60 Abb. Ay, but not enough. Adr, It was the copy ot 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. Abb. “And therefore came it that the man was mad.’ Abb. And therefore came it that the man was mad: The venom clamours of a jealous woman Poison more deadly than a mad dog’s tooth. 70 It seems, his sleeps were hinder'd by thy railing, And thereof comes it that his head is light. Thou say'’st, his meat was sauc’d with thy, upbraid- ings: 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, 80 And at their heels a huge infectious troop ScENE 1.] THE COMEDY OF ERRORS. 85 Of pale distemperatures, and foes to life ? 1n food, in sport, and life-preserving rest To be disturb’d, would mad or man or beast. The consequence is then, thy jealous fits Have scar’d thy husband from the use of wits. Luc. She never reprehended him but mildly, When he demean’d himself rough, rude, and wildly.— Why bear you these rebukes, and answer not ? dr, She did betray me to my own reproof.— 90 Good people, enter, and lay hold on him. bb. No; not a creature enters in my house. ddr. ee let your servants bring my husband orth. Abb. 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. Adr. J will attend my husband, be his nurse, Diet his sickness, for it is my office, And will have no attorney but myself, 100 And therefore let me have him home with me. Abb. Be patient ; for I will not let him stir, Till [ have us'd the approved means [ 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. dr, I will not hence, and leave my husband here ; And ill it doth beseem your holiness 110 To separate the husband and the wife. bb. Be quiet, and depart: thou shalt not have him. [E£uit. Luc. Complain unto the duke of this indignity. dAdr. Come, go: I will tall 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. Mer. 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, 120 The place of death and sorry execution, Behind the ditches of the abbey here. «lng. Upon what cause ? Mer. Yo see a reverend Syracusian merchant, Who put unluckily into this bay Against the laws and statutes of this town, Beheaded publicly for his offence. «lng. See, where they come: we will behold his death. Luc. Kneel to the duke before he pass the abbey. Enter DUKE, attended ; ALGEON bareheaded ; with the Headsman and other Officers. Duke. Yet once again proclaim it publicly, 130 If any friend will pay the sum for him, He shall not die, so much we tender him. «ldr. 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. dr. May it please your grace, Antipholus, my husband,— Whom Imade lord of me, and all I had, At your important letters,—this ill day A most outrageous fit of madness took him, That desperately he hurried through the street, 140 (With him his bondman, all as mad as he) Doing displeasure to the citizens y 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 thése that had the guard of him, And with his mad attendant and himself, 150 Each one with ireful passion, with drawn swords, Met us again, and, madly bent on us, Chas’d 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 Servant. Serv. 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, —_170 Whose beard they have sing’d 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 paticnce 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. Adr. Peace, fool! thy master and his man are here, And that is false thou dost report to us. Serv. Mistress, upon my life, I tell you true; 180 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. ke. Come, stand by me; fear nothing. Guard with halberds! Adr. Ah me, itis 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 of Ephesus and DROMIO of Ephesus. Ant, E. Justice, most gracious duke! O! grant me justice, 190 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. siege. Unless the fear of death doth make me dote, Isee my son Antipholus, and Dromio! Ant. FE. ; ustice, 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. 200 Beyond imagination is the wrong That she this day hath shameless thrown on me. Duke. Discover how, and thou shalt find me just. Ant. E. 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? Adr, No, my good lord: myself, he, and my sister, To-day did dine together. So befall my soul, As this is false he burdens me withal. Luc. Ne’er may I look on day, nor sleep on night, But she tells to your highness simple truth. 211 Ang. Operjur'd woman! They are both forsworn : In this the madman justly chargeth them. Ant. E. My liege, I am advised what I say: Neither disturbed 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; 2 Who parted with me to go fetch a chain, Promising to bring it to the Porpentine, Where Balthazar 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. 86 THE COMEDY OF ERRORS. [Act Vv. 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 the way we met My wife, her sister, and a rabble more Of vile confederates: along with them saa They brought one Pinch, a hungry lean-fac’d villain, A mere anatomy, a mountebank, A threadbare juggler, and a fortune-teller, 240 A needy, hollow-ey'd, sharp-looking wretch, A living dead man. This pernicious slave, Forsooth, took on him asa conjurer, And gazing in mine eyes, feeling my pulse, And with no face, as ’t were, 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, 250 I gain’d my freedom, and immediately Ran hither to your grace, whom I beseech To give me ample satisfaction ited For these deep shames, and great indignities. | . dng. 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? Ang. He had, my lord; and when he ran in here, These people saw the chain about his neck. : Mer. Besides, I will be sworn, these ears of mine Heard you confess you had the chain of him, 261 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. Ant. E. [never came within these abbey-walls, Nor ever didst thou draw thy sword on me. T never saw the chain. So help me Heaven, As this is false you burden me withal. : . Duke. Why, what an intricate impeach is this! 270 J 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? Dro. E. Sir, he din’d with her there, at the Por- pentine. Cour. He did, and from my finger snatch'd that ring. Ant. E. ’Tis true, my lieg2; this ring I had of her. Duke. Saw’st thou him enter at the abbey here? Cour. As sure, my liege, as I do see your grace. 280 Duke. ae this is strange.— Go call the abbess ither.— I think you are all mated, or stark mad. ; [Exit an Attendant. Age. 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 thon wilt. ge. Is not your name, sir, call’d Antipholus, And is not that your bondman Dromio? Dro. &. Within this hour I was his bondman, sir: But he, I thank him, gnaw’d in two my cords: 290 Now am I Dromio, and his man unbound. Aige. Tam sure you both of you remember me. Dro. E. 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? ge. wa look you strange on me? you know me well. Ant. H. [never saw you in my life, till now. Ange. e grief hath chang’d me, since you saw me ast ; And careful hours, with Time’s deformed hand, Hive written strange defeatures in my face: 309 But tell me yet, dost thou not know my voice? Ant. EH. Neither. ige. Dromio, nor thou? Dro. E. No, trust me, sir, nor I. "" I may trust the flattering truth of slecp, My dreams presage some joyful news at hand. My bosons lord sits lightly in his t . rone ; And, all this day, an unaccustom’d Spun Lifts me above the ground with cheer- ful thoughts. I dreamt, my lady came and found me ead ; (Strange dream, that gives a dead man leave to think!) And breath’d such life with kisses in my lips, That I reviv’d, and was an emperor. Ah me! how sweet is love itself pos- ‘ 10 sess'd, When but love’s shadows are so rich in joy! Enter BALTHASAR. News from Verona !—How now, Balthasar? Dost thou not bring me letters from the friar? How doth my lady? Is my father well? How doth my Lady Juliet? that I ask again; For nothing can be ill if she be well. Bal. Then she is well, and nothing can be ill. Her body sleeps in Capels’ monument, And her immortal part with angels lives. I saw her laid low in her kindred’s vault, And presently took post to tell it you. O, pardon me for bringing these ill news, Since you did leave it for my office, sir. Fom. Is it e’en so? then, I deny you, stars! Thou know'st my lodging : get me ink and paper, And hire post-horses ; I will hence to-night. Bal. I do beseech you, sir, have patience : Your looks are pale and wild, and do import Some misadventure. 20 | Rom. Tush! thou art deceiv’d: Leave me, and do the thing I bid thee do. Hast thou no letters to me from the friar? Bal. No, my good lord. Rom. No matter; get thee gone, And hire those horses: I’Ul be with thee straight.— [Erit BALTHASAR. Well, Juliet, I will lie with thee to-night. 7 Let ’s see for means :—O mischief! thou art swift ‘To enter in the thoughts of desperate men! I do remember an apothecary, And hereabouts ’a dwells, which late I noted In tatter’d weeds, with overwhelming brows, Culling of eae 3; meagre were his looks, Sharp misery had worn him to the bones: And in his needy shop a tortoise hung, An alligator stutf’d, and other skins Of ill-shap’d fishes; and about his shelves A beggarly account of empty boxes, Green earthen pots, bladders, and musty sceds, Remnants of packthread, and old cakes of roses, Were thinly scatter’d to make up a show. Noting this penury, to myself I said— An if a man did need a poison now, Whose sale is present death in Mantua, __ Here lives a caitiff wretch would sell it him. O! this same thought did but forerun my need, And this same needy man must sell it me. As I remember, this should be the house: Being holiday, the beggar’s shop is shut.— What, ho! apothecary ! Enter Apothecary. Ap. Who calls so loud? Rom. Come hither, man.—I see, that thou art poor; Hold, there is forty ducats: let me have A dram of poison ; such soon-speeding gear As will disperse itself through all the veins, That the life-weary taker may fall dead: And that the trunk may be discharg’d of breath 30 40 605 ScENE IIL] ROMEO AND JULIET. 173 As violently, as hasty powder fir’d Doth hurry from the fatal cannon’s womb. Ap. Such mortal drugs I have ; but Mantua’s law Is death to any he that utters them. Rom. Art thou so bare, and full of wretchedness, And fear’st to die? famine is in thy cheeks, Need and oppression starveth in thy eyes, 70 Contempt and beggary hang upon thy back ; The world is not thy friend, nor the world’s law: The world affords no law to make thee rich; Then be not poor, but break it, and take this. Ap. My poverty, but not my will, consents. Rom. I pay thy poverty, and not thy will. Ap. Put this in any liquid thing you will, And drink it off; and, if you had the strength Of twenty men, it would despatch you straight. Rom. There is thy gold; worse poison to men’s : souls, > . 89 Doing more murder in this loathsome world, Than these poor compounds that thou may’st not sell: Isell thee poison, thou hast sold me none. Farewell ; buy food, and get thyself in flesh.— Come, cordial, and not poison, go with me To Jwiet’s grave, for there must I use thee. [Hxewnt. Scrne II.—Friar LAURENCE’s Cell. Enter Friar JOHN. John. Holy Franciscan friar! brother! ho! . Enter Friar LAURENCE. _ Lau. This same should be the voice of Friar John.— ’ Welcome from Mantua: what says Romeo ? : Or, if his mind be writ, give me his letter. | John. Going to find a bare-foot brother out, One of our order, to associate me, ' Here in this city visiting the sick, _ And finding him, the searchers of the town, Suspecting that we both were in a house Where the infectious pestilence did reign, 10 Seal’d up the doors, and would not let us forth ; So that my speed to Mantua there was stay’d. Lau. Who bare my letter then to Romeo? John. I could not send it, —here it is again, — Nor get a messenger to bring it thee, So fearful were they of infection. Lau. Unhappy fortune! by my brotherhood, The letter was not nice, but full of charge, Of dear import; and the neglecting it May do much danger. Friar John, go hence; 20 Get me an iron crow, and bring it straight Unto my cell. John. Brother, I'll go and bring it thee. [Exit. Lau. Now must I to the monument alone; Within this three hours will fair Juliet wake: She will beshrew me much, that Romeo Hath had no notice of these accidents ; But I will write again to Mantua, And keep her at my cell till Romeo come: Poor living corse, clos’d in a dead man’s tomb! iz 0 xt ScENE JII.—A Churchyard ; in it a Monument belonging to the CAPULETS. Enter Paris, and his 786: bearing flowers and a torch. Par. Give me thy torch, boy: hence, and stand aloof ; Yet put it out, for I would not be seen. Under yond yew-trees lay thee all along, Holding thine ear close to the hollow ground: So shall no foot upon the churchyard tread, Being loose, unfirm with digging up of graves, But thou shalt hear it: whistle then to me, 8 signal that thou hear’st something approach. Give me those flowers. Do as I bid thee; go. Page. Iam almost afraid to stand alone _ 10 Here in the churchyard; yet I will adventure. [Retires. - What said my man, when m: Par. Sweet flower, with flowers thy bridal bed I strew, (O woe! thy canopy is dust and stones !) Which with sweet water nightly I will dew, Or, wanting that, with tears distill’d by moans: The obsequies that I for thee will keep, Nightly shall be, to strew thy grave and weep !— [The Boy whistles. The boy gives warning something doth approach. What cursed foot wanders this way to-night, ‘To cross my obsequies, and true love’s rite ? 20 What! with a torch ?—muttle me, night, awhile. |Retires. Enter RoMEO and BALTHASAR, with a torch, mattock, &c. Rom. Give me that mattock, and the wrenching iron. Hold, take this letter: early in the morning See thou deliver it to my lord and father. Give me the light. Upon thy life I charge thee, Whate’er thou hear’st or seest, stand all aloot, And do not interrupt me in my course. Why I descend into this bed of death, Is, partly, to behold my lady’s face ; But, chiefly, to take thence from her dead finger 30 A precious ring, a ring that I must use In dear employment. Therefore hence, be gone: But if thou, jealous, dost return to pry In what I further shall intend to do, By Heaven, I will tear thee joint by joint, And strew this hungry churchyard with thy limbs. The time and my intents are savage-wild, More fierce, and more inexorable far, Than empty tigers, or the roaring sea. Bal. Iwill be gone, sir, and not trouble you. 40 Rom. So shalt thou show me friendship.—Take thou that: Live, and be prosperous ; and farewell, good fellow. Bal. For all this same, I’ll hide me hereabout : His looks I fear, and his intents I doubt. Retires. Rom. Thou detestable maw, thou womb of death, Gorg’d with the dearest morsel of the earth, Thus I enforce thy rotten jaws to open, [Breaking open the door of the monument. And, in despite, I’l] cram thee with more food ! Par. This is that banish’d haughty Montague, That murder’d my love’s cousin, —with which grief, 59 It is supposed, the fair creature died,— And here is come to do some villainous shame To the dead bodies : I will apprehend him. . [Advancing. Stop thy unhallow’d toil, vile Montague. Can vengeance be pursu’d further than death ? Condemned villain, I do apprehend thee : Obey, and go with me; for thou must die. Rom. I must, indeed ; and therefore came I hither.— Good gentle youth, tempt not a desperate man ; Fly hence, and leave me :—think upon these gone; 60 Let them affright thee.—I beseech thee, youth, Put not another sin upon my head, By urging me to fury :—O, be gone! By Heaven, I love thee better than myself, For I come hither arm’d against myself : Stay not, be gone ;—live, and hereafter say— A madman’s mercy bade thee run away. Par. I do defy thy conjurations, And apprehend thee for a felon here. Rom. Wilt thou provoke me? then, have at thee, 0 boy. 7 ‘ [They fight. Page. O Lord! they fight: I will go call the watch. [Exit. Par. O! Lam slain. [Faills.]—If thou be merciful, Open the tomb, lay me with Juliet. Dies. Rom. In faith, I will.—Let me peruse this face :— Mercutio’s kinsman, noble County Paris !-- betossed soul Did not attend him as we rode? I think, He told me, Paris should have married Juliet: Said he not so? or did I dream it so? Or am I mad, hearing him talk of Juliet, 80 174 ROMEO AND JULIET. [Act V, To think it was so?—O! give me thy hand, One writ with me in sour misfortune’s book ! I'll bury thee in a triumphant grave.— A grave? O, no! a lantern, slaughter’d youth, For here lies Juliet, and her beauty makes This vault a feasting presence full of lignt. Death, lie thou there, by a dead man interr’d. [Laying Paris in the monument. How oft, when men are at the point of death, Have they been merry! which their keepers call A lightning before death: O! how may I Call this a lightning? O my love! my wife! Death, that hath suck’d the honey of thy breath Hath had no power yet upon thy beauty : Thou art not conquer’d; beauty’s ensign yet Is crimson in thy lips, and in thy cheeks, And death's pale flag is not advanced there.— Tybalt, liest thou there in thy bloody sheet ? O! what more favour can I do to thee, Than with that hand that cut thy youth in twain To sunder his that was thine enemy? Forgive me, cousin !—Ah ! dear Juliet, Why art thou yet so fair? Shall I believe That unsubstantial death is amorous; And that the lean abhorred monster keeps Thee here in dark to be his paramour? For tear of that I still will stay with thee, And never from this palace of dim night Depart again : here, here will I remain With worms that are thy chambermaids ; O! here Will I set up my everlasting rest, 110 And shake the yoke of inauspicious stars From this world-wearied flesh.—Eyes, look your last ! Arms, take your last embrace ! and, lips, O you, The doors of breath, seal with a righteous kiss A dateless bargain to engrossing death! Come, bitter conduct, come, unsavoury guide ! Thou desperate pilot, now at once run on The dashing rocks thy sea-sick weary bark ! Here’s to my love! (Drinks.]—O true apothecary ! Thy drugs are quick.--Thus with a kiss I die. (p 120 ies. Enter, at the other end of the Churchyard, Friar LAURENCE, with a lantern, crow, and spade. Fri, Saint Francis be my speed ! how oft to-night Have my old feet stumbled at graves !--Who’s there ? Bal. Here’s one, a friend, and one that knows you well. Fyi. Bliss be upon you! Tell me, good my friend, What torch is yond, that vainly lends his light To grubs and eyeless sculls? as I discern, It burneth in the Capels’ monument. Bal. It doth so, holy sir; and there ’s my master, One that you love. Fri. Who is it? Bal. Romeo. iri. How long hath he been there ? \ Bal. Full half an hour. Fri. Go with me to the vault. Bal. T dare not, sir. 131 My master knows not but Iam gone hence; And fearfully did menace me with death, If I did stay to look on his intents. Fri. Stay then, Ill go alone.—Fear comes upon me; OQ! much I fear some ill unlucky thing. Bal. As I did sleep under this yew-tree here, I dreamt my master and another fought, And that my master slew him. Fri, Romeo !—-f[Advancing. Alack, alack ! what blood is this, which stains 140 The stony entrance of this sepulchre ?— What mean these masterless and gory swords To lie discolour’d by this place of peace? [Enters the tomb. Romco! O, pale !—Who else? what! Paris too? And steep'd in blood ?—Ah! what an unkind hour Is guilty of this lamentable chance !— The a stirs. [JULIET wakes. Jul. O comfortable friar ! where is my lord? I do remember well where I should be, And there lam.—Where is my Romeo? [Noise within. fri. I hear some noise.—Lady, come from that nest Of death, contagion, and unnatural sleep: 152 A greater Power than we can contradict Hath thwarted our intents: come, come away. Thy husband in thy bosom there lies dead; And Paris too: come, I’ll dispose of thee Among a sisterhood of holy nuns. Stay not to question, for the watch is coming; Come, go, good Juliet.—[Noise again.) TY dare no longer stay. 7 Jul. Go, get thee hence, for I‘will not away.— 169 (Exit Friar LAURENCE, What’s here? a cup clos’d in my true love’s hand? Fri. “Go with me to the vault.” Poison, I see, hath been his timeless end. O churl! drunk all, and left no friendly drop, To help me after ?—I will kiss thy lips: Haply, some poison yet doth hang on them, To make me die with a restorative. [Kisses him. Thy lips are warm! 1 Watch. [Within.] Lead, boy :—which way? Jul. Yea, noise?—-then I'll be brief.—O happy _ , , dagger ! LSnatching RoMEo’s dagger. This is thy sheath; [stabs hersclf] there rust, and let me die. 170 [Dies, Enter Watch, with the Page of Paris. Page. This is the place; there, where the torch doth burn. 1 Watch. The ground is bloody: search about the churchyard. Go, some of you; whoe’er you find, attach. [Exeunt some. Pitiful sight! here lies the county slain ;-- And Juliet bleeding ; warm, and newly dead, Who here hath Jain this two days buried.— Go, tell the prince,—run to the Capulets,— Raise up the Montagues,—some others search :— [Exeunt other Watchmen. We see the ground whereon these woes do lie; But the true ground of all these piteous woes 180 We cannot without circumstance descry. Enter some of the Watch, with BALTHASAR. 2 TVatch. Here’s Romco’s man; we found him in __, the churchyard. 1W eee him in safety, till the prince come ither, Scene IIL] ROMEO AND JULIET. 175 Enter another Watchman, with Friar LAURENCE. La. Cap. The people in the street cry—Romeo, 191 Some—Juliet, and some—Paris; and all run 3 Watch. Here is a friar, that trembles, sighs, and | “ae open eusery sown ou oe 6 rince. at fear is this, which startles in our weeps: We took this mattock and this spade from him, i ears ¢ Jul. © O churlt drank all, and left no friendly drop.” As he was coming from this churchyard side. 1 Watch. Sovereign, here lies the County Paris 1 Watch. A great suspicion ; stay the friar too. slain ; ; And Romeo dead ; and Juliet, dead before, Enter the PRINCE and Attendants. ‘Warm and aut ee 7 7 Prince. What misadventure is so early up, P ee ee and know how this foul That calls our person from our morning's rest ? 1 Watch. Here is a friar, and slaughter’a Romeo's man, Enter CaPpuLet, Lady CAPULET, and others. With instruments upon them, fit to open 200 Cap. What should it be, that they so shriek abroad? | These dead men’s tombs. 176 ROMEO AND JULIET, [Act V, Cap. O Heaven !—O wife! look how our daughter bleeds ! ; This dagger hath mista’en,—for, lo! his house Is empty on the back of Montague, — And is mis-sheathed in my daughter’s bosom. La. Cup. Ome! this sight of death is as a bell, That warns my old age to a sepulchre. i Enter MONTAGUE and others. Prince. Come, Montague ; for thou art early up, To see thy son and heir more early down. Mon. Alas, my liege, my wife is dead to-night; 210 Grief of my son’s exile hath stopp’d her breath. What further woe conspires against mine age ? Prince. Look, and thou shalt see. Mon. O thou untaught ! what manners is in this, To press before thy father to a grave? ‘ Prince. Seal up the mouth of outrage for a while, Till we can clear these ambiguities, And know their spring, their head, their true descent ; And then will I be general of your woes, And lead you even to death. Meantime forbear, 220 And let mischance be slave to patience. — Bring forth the parties of suspicion. Fri. Iam the greatest, able to do least, Yet most suspected, as the time and place ~ Doth make against me, of this direfu) murder ; And here I stand, both to epee and purge Myself condemned and myself excus’d. Prince. Then say at once what thou dost know in this. Fri. I will be brief, for my short date of breath Is not so long as is a tedious tale. 230 Romeo, there dead, was husband to that Juliet ; and she, there dead, that Romeo’s faithful wife: I married them; and their stolen marriage-day Was Tybalt’s doomsday, whose untimely death Banish'd the new-made bridegroom from this city For whom, and not for Tybalt, Juliet pin’d. You. to remove that siege of grief from her, Betroth’d, and would have married her perforce, To County Paris :—then comes she to me, And, with wild looks, bid me devise some means 240 To rid her from this second marriage, Or in my cell there would she kill herself. Then gave I her (so tutor'd by my art) A sleeping potion; which so took effect As I intended, for it wrought on her The form of death: meantime, I writ to Romeo, That he should hither come as this dire night, To help to take her from her borrow’d grave, Being the time the potion’s force should cease. But he which bore my letter, Friar John, Was stay'd by accident, and yesternight Return'd my letter back. Then, all alone, 250 At the prefixed hour of her waking, Came I to take her from her Peet vault, cel oméo: Meaning to keep her closely at m Till I conveniently could send to But when I came (some minute ere the time Of her awakening), here untimely lay The noble Paris, and true Romeo, dead. She wakes ; and I entreated her come forth, 260 And bear this work of Heaven with patience: But then a noise did scare me from the tomb, And she, too desperate, would not go with me, But (as it seems) did violence on herself. All this I know, and to the marriage Her nurse is privy ; and, if aught in this Miscarried by my fault, let my old life Be sacrific’d, some hour before his time, Unto the rigour of severest law. Prince. We still have known thee for a holy man.— Where’s Romeo’s man? what can he say to this? {71 Bal. I brought my master news of Juliet’s death ; And then in post he came from Mantua, To this same place, to this same monument. This letter he early bid me give his father ; And threaten’d me with death, going in the vault, If I departed not, and left him there. ‘ Prince. Give me the letter, I will look on it.— Where is the county’s page, that rais’d the watch ~- Sirrah, what made your master in this place? 280 Page. He came with flowers to strew his lady’s grave, And bid me stand aloof, and so I did: Anon comes one with light to ope the tomb, And, by-and-by, my master drew on him ; And then Iran away to call the watch. Prince. This letter doth make good the friar’s words, Their course of love, the tidings of her death: And here he writes, that he did buy a poison Of a poor ’pothecary, and therewithal Came to this vault to die, and lie with Juliet.— 290 Where be these enemies? Capulet! Montague! See, what a scourge is laid upon your hate, That Heaven finds means to kill your joys with love; And I, for winking at your discords too, Have lost a brace of kinsmen :—all are eA Cap..O brother Montague! give me thy hand: This is my daughter's jointure ; for no more Can I deinand. Mon. But I can give thee more: For I will raise her statue in pure gold ; That, while Verona by that name is known, 300 Thcre shall no figure at such rate be set, As that of true and faithful Juliet. Cap. As rich shall Romeo by his lady lie; Poor sacrifices of our enmity! aa Prince. A glooming peace this morning with it rings ; The sun for sorrow will not show his head. Go hence, to have more talk of these sad things; Some shall be pardon’d, and some punished : For never was a story of more woe, Than this of Juliet and her Romeo. 310 [Excunt. iu ’7 ROM fairest creatures we desire increase, That thereby beauty’s rose might never ie, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed’st thy light’s flame with self-sub- stantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. S Thou that art now the world’s fresh ornament, And only herald to the gaudy spring, Within thine own bud buriest thy content, — And, tender churl, mak’st waste in niggarding. Pity the world, or else this glutton be, To eat the world’s due, by the grave and thee. Il. When forty winters shall besiege thy brow, And dig deep trenches in thy beauty’s field, Thy youth’s proud livery, so gaz'd on now, Will be a tatter’d weed, of small worth held: Then being ask’d where all thy beauty lies, Where all the treasure of thy lusty days, To say, within thine own deep-sunken eyes, Were an all-eating shame, and thriftless praise, How much more praise deserv’d thy beauty’s use, If thou couldst answer,—‘‘ This fair child of mine Shall sum my count, and make my old excuse,’— Proving his beauty by succession thine! This were to’be new-made, when thou art old, And see thy blood warm, when thou feel’st it cold. III. Look in thy glass, and tell the face thou viewest, Now is the time that face should form another ; Whose fresh repair if now thou not renewest, Thou dost beguile the world, unbless some mother. For where is she so fair, whose unear’d womb Disdains the tillage of thy husbandry? Or who is he so fond, will be the tomb Of his self-love, to stop posterity ? Thou art thy mother’s glass, and she in thee Calls back the lovely April of her prime: So thou through windows of thine age shalt see, Despite of wrinkles, this thy golden time. But if thou live, remember’d not to be, Dée single, and thine image dies with thee. Iv. Unthrifty loveliness, why dost thou spend Upon thyself thy beauty’s legacy? Nature’s bequest gives nothing, but doth lend; And, being frank, she lends to those are free. Then, beauteous niggard, why dost thou abuse The bounteous largess given thee to give? Profitless usurer, why dost thou use So great a sum of sums, yet canst not live ? For, having traffic with thyself alone, Thou of thyself thy sweet self dost deceive. SONNETS. Then how, when nature calls thee to be gone, What acceptable audit canst thou leave ? Thy unus'd beauty must be tomb’d with thee, Which, used, lives th’ executor to be. Vv. Those hours, that with gentle work did frame The lovely gaze where every eye doth dwell, Will play the tyrants to the very same, And that unfair which fairly doth excel: For never-resting time leads summer on To hideous winter, and confounds him there ; Sap check’d with frost, and lusty leaves ee gone, Beauty o’ersnow’d, and bareness eee ere: Then, were not summer’s distillation left, A liquid prisoner pent in walls of glass, Beauty’s effect with beauty were bereft, Nor it, nor no remembrance what it was: But flowers distill’d, though they with winter meet, Leese but their show; their substance still lives sweet. VI. Then let not winter’s ragged hand deface In thee thy summer, ere thou be distill’d: Make sweet some vial; treasure thou some place With beauty’s treasure, ere it be self-kill’d. That use is not forbidden usury, Which onus those that pay the willing loan ; That’s for thyself to breed another thee, Or ten times happier, be it ten for one: Ten times thyself were ope than thou art, If ten of thine ten times refigur’d thee. Then what could death do if thou shouldst depart, Leaving thee living in posterity ? Be not self-will’d, for thou art much too fair ‘To be Death’s conquest, and make worms thine heir. VII. Lo! in the orient when the gracious light Lifts up his burning head, each under eye Doth homage to his new-appearing sight, Serving with looks his sacred majesty; And having climb’d the steep-up heavenly hill, Resembling strong youth in his middle age, Yet mortal looks adore his beauty still, Attending on his golden pilgrimage: But when from high-most pitch with weary car, Like feeble age, he reeleth from the day, The eyes, fore duteous, now converted are From his low tract, and look another way. So thou, thyself outgoing in thy noon, Unlook’d on diest, unless thou get a son. vit. Music to hear, why hear’st thou music sadly ? Sweets with sweets war not, joy delights in joy. Why lov’st thou that which thou receiv’st not gladly, Or else receiv’st with pleasure thine annoy? If the true concord of well-tuned sounds, By unions married, do offend thine ear, They do but sweetly chide thee, who confounds In singleness the parts that thou shouldst bear. 12 178 SONNETS. Mark, how one string, sweet husband to another, Strikes each in each, by mutual ordering ; Resembling sire and child and happy mother, Who, all in one, one pleasing note do sing: Whose speechless song, being many, seeming one, Sings this to thee,—‘‘ Thou single wilt prove none.” IX. Is it for fear to wet.a widow'seye, That thou consum’st thyself in single life? Ah! if thou issueless shalt hap to die, . The world will wail thee, like a makeless wife ; The world will be thy widow, and still weep, That thou no form of thee hast left behind, When every private widow well may keep, | By children’s eyes, her husband’s shape in mind. Look, what an unthrift in the world doth spend, Shifts but his place, for still the world enjoys it ; But beauty’s waste hath in the world an end, And, kept unus’d, the user so destroys it. No love toward others in that bosom sits, : That on himself such murderous shame commits. xX. For shame! deny that thou bear’st love to any, Who for thyself art so unprovident. Grant, if thou wilt, thou art belov’d of many, But that thou none lov’st is most evident ; For thou art so possess’d with murderous hate, That ’gainst thyself thou stick’st not to conspire, Seeking that beauteous roof to ruinate, Which to repair should be thy chief desire. O, change thy thought, that I may change my mind! Shall hate be fairer lodg’d than gentle love? Be, as thy presence is, gracious and kind, Or to thyself, at least, kind-hearted prove: Make thee another self, for love of me, That beauty still may live in thine or thee. XI, As fast as thou shalt wane, so fast thou grow’st In one of thine, from that which thou departest ; And that fresh blood which youngly thou bestow’st, Thou may’st call thine, when thou from youth con- vertest. Herein lives wisdom, beauty, and increase ; Without this, folly, age, and cold decay: If all were minded so, the times should cease, And threescore year would make the world away. Let those whom Nature hath not made for store, Harsh, featureless, and rude, barrenly perish: Look, whom she best endow’d, she gave thee more; Which bounteous gift thou shouldst in bounty cherish. She carv'd thee for her seal, and meant thereby, Thou shouldst print more, not let that copy die. XII. When I do count the clock that tells the time, And see the brave day sunk in hideous night ; When I behold the violet past prime, And sable curls all silver'd o’er with white ; When lofty trees I see barren of leaves, Which erst from heat did canopy the herd, And summer's green all girded up in sheaves, Borne on the bier with white and bristly beard ; Then of thy beauty do I question make, That thou among the wastes of time must go, Since sweets and beauties do themselves forsake, And die as fast as they see others grow; And nothing’gainst Time’s scythe can make defence, Save breed, to brave him, when he takes thee hence. XIII. O, that you were yourself! but, love, you are No longer yours, than you yourself here live: Against this coming end you should prepare, And your sweet semblance to some other give: So should that beauty which you hold in lease Find no determination ; then you were Yourself again, after yourself’s decease, When your sweet issue your sweet form should bear... Who lets so fair a house fall to decay, Which husbandry in honour might uphold Against the stormy gusts of winter’s any, And barren rage of death's eternal cold? QO! none but unthrifts. Dear my love, you know, You had a father: let your son say so. XIV. Not from the stars do I my judgment pluck, And yet, methinks, I have astronomy, But not to tell of good or evil luck, Of plagues, of dearths, or seasons’ quality; Nor can I fortune to brief minutes tell, Pointing to each his thunder, rain, and wind; Or say with princes if it shall go well, By oft predict that I in heaven find: But from thine eyes my knowledge I derive, And, constant stars, in them I read such art, As truth and beauty shall together thrive, If from thyself to store thou wouldst convert ; Or else of thee this I Bropmosticate, Thy end is truth’s and beauty’s doom and date, XV. When I consider every thing that grows Holds in perfection but a little moment; That this huge stage presenteth nought but shows, Whereon the stars in secret influence comment; When I perceive that men as plants increase, Cheered and check’d even by the selfsame sky, ‘Vaunt in their youthful sap, at height decrease, And wear their brave state out of memory ; Then the conceit of this inconstant stay Sets you most rich in youth before my sight, Where wasteful Time debateth with pen To change your day of youth to sullied night; And, all in war with Time, for love of you, As he takes from you, I engraft you new. XVI. But wherefore do not rou a mightier way Make war upon this bloody tyrant, Time, And fortify yourself in your decay With means more blessed than my barren rhyme? Now stand you on the top of happy hours, And many maiden gardens, yet unset, With virtuous wish would bear your living flowers, Much liker than your painted counterfeit: So should the lines of life that life repair, Which this, Time’s pencil, or my pupil pen, Neither in inward worth, nor outward fair, Can make you live yourself in eyes of men. ye phe away yourself keeps yourself still, you must live, drawn by your own sweet skill. _ XVII Who will believe my verse in time to come, If it were fill’d with your most high deserts? Though yet, Heaven knows, it is but as a tomb Which hides your life, and shows not half your parts. If I could write the beauty of your eyes, And in fresh numbers number all your graces, The age to come would say, ‘‘ This poet lies; < Such heavenly touches ne'er touch’d earthly faces. So should my papers, yellow’d with their age, Be scorn’d, like old men of less truth than tongue, And your true rights be term’d a poet’s rage, And stretched metre of an antique song: _ But were some child of yours alive that time, You should live twice,—in it, and in my rhyme. XVII. Shall I compare thee to a summer’s day ? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date. Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d ; And every fair from fair sometime declines, __, By chance, or nature’s changing course, untrimm’d; SONNETS. 179 But thy eternal summer shall not fade, Nor lose possession of that fair thou owest; Nor shall Death brag thou wander’st in his shade, When in eternal lines to time thou growest. So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. XIX. Devouring Time, blunt thou the lion’s paws, And make the earth devour her own sweet brood ; Pluck the keen teeth from the fierce tiger’s sf AAS And burn the long-liv’d phoenix in her blood ; Make glad and sorry seasons as thou fleets, And do whate’er thou wilt, swift-footed Time, To the wide world, and all her fading sweets; But I forbid thee one most heinous crime: O! carve not with thy hours my love's fair brow, Nor draw no lines there with thine antique pen; Him in thy course untainted do allow, For beauty’s pattern to succeeding men. Yet, do thy worst, old Time: despite thy wrong, My love shall in my verse ever live young. XxX. A woman’s face, with Nature’s own hand painted, Hast thou, the master-mistress of my passion ; A woman's gentle heart, but not acquainted With shifting change, as is false women’s fashion ; An eye more bright than theirs, less false in rolling, Gilding the object pene Pano it gazeth ; A man in hue, all hues in his controlling, Which steals men’s eyes, and women’s souls amazeth ; And for a woman wert thou first created; _ Till Nature, as she wrought thee, fell a-doting, And by addition me of thee defeated, By adding one thing to my purpose nothing. But since she prick’d thee out for women’s pleasure, Mine be thy love, and thy love’s use their treasure. XXI. So is it not with me, as with that Muse, Stirr’d by a painted beauty to his verse, Who heaven itself for ornament doth use, And every fair with his fair doth rehearse ; Making a couplement of proudcompare, _ With sun and moon, with earth and sea’s rich gems, With April’s first-born flowers, and all things rare That heaven’s air in this huge rondure hems. O! let me, true in love, but truly write, And then believe me, ne love is as fair _ As any mother’s child, though not so bright As those gold candles fix’d in heaven’s air: Let them say more that like of hearsay well; I will not praise, that purpose not to sell. XXIL My glass shall not persuade me I am old, So long as youth and thou are of one date; But when in thee time’s furrows I behold, Then look I death my days should expiate. For all that beauty that doth cover thee Is but the seemly raiment of my heart, Which in thy breast doth live, as thine in me: How can I then be elder than thou art ? 0! therefore, love, be of thyself so wary, As I, not for myself, but for thee will, Bearing thy heart, which I will keep so chary As tender nurse her babe from faring ill. . Presume not on thy heart, when mine is slain ; Thou gav’st me thine, not to give back again. XXIII. Asan eae actor on the stage, Who with his fear is put besides his part, Or some fierce thing replete with too much rage, Whose strength’s abundance weakens his own heart ; 8o I, for fear of trust, forget to say e perfect ceremony of love’s rite, nd in mine own love’s strength seem to decay, O'ercharg’d with burden of mine own love’s might. O! let my books be then the eloquence And dumb presagers of my speaking breast, Who plead for love, and look for recompense, More than that tongue that more hath more express’d. QO! learn to read what silent love hath writ: To hear with eyes belongs to love’s fine wit. XXIV. Mine eye hath play’d the painter, and hath stell’d Thy beauty’s form in table of my heart: My body is the frame wherein 'tis held, And perspective it is best painter’s art ; For through the painter must you see his skill, To find where your true image pictur’d lies, Which in my bosom’s shop is pares pal, That hath his windows glazed with thine eyes. Now see what good turns eyes for eyes have done: Mine eyes have drawn thy shape, and thine for me Are windows to my breast, where-through the sun Delights to peep, to gaze therein on thee; Yet eyes this cunning want to grace their art, They draw but what they see, know not the heart. xXXV. Let those who are in favour with their stars Of public honour and proud titles boast, Whilst I, whom fortune of such triumph bars, Unlook’d for joy in that I honour most. Great princes’ favourites their fair leaves spread But as the marigold at the sun’s eyes; And in themselves their pride lies buried, For at a frown they in their glory die. The painful warrior, famoused for fight, After a thousand victories once foil’d, Is from the book of honour razed quite, And all the rest forgot for which he toil’d: Then happy I, that love and am belov’d, ‘Where I may not remove, nor be remov’d. XXVL Lord of my love, to whom in vassalage Thy merit hath my duty strongly knit, To thee I send this written embassage, To witness duty, not to show my wit: Duty so great, which wit so poor as mine May make seem bare, in wanting words to show it, But that I hope some good conceit of thine In thy soul’s thought, all naked, will bestow it; Till whatsoever star that guides my moving Points on me graciously with fair aspect, And puts apparel on my tatter’d loving, To show me worthy of thy sweet respect : Then may I dare to boast how I do love thee; Till then, not show my head where thou may’st prove me. XXVIII. Weary with toil I haste me to my bed, The dear repose for limbs with travel tired ; But then begins a journey in my head, To work my mind, when body’s work’s expired : For then my thoughts (from far where I abide) Intend a zealous pilgrimage to thee, And keep my drooping eyelids open wide, Looking on darkness which the blind do see: Save that my soul’s imaginary sight Presents thy shadow to my sightless view, Which, like a jewel hung in ghastly night, Makes black night beauteous, and her old face new. Lo! thus by day my limbs, by night my mind, For thee, and for myself, no quiet find. XXVIII. How can I then return in happy plight, That am debarr’d the benefit of rest? ‘When day’s oppression is not eas’d by night, But day by night, and night by day, oppress'd? And each, though enemies to either’s reign, Do in consent shake hands to torture me; The one by toil, the other to complain How far I toil, still farther off from thee. 180 SONNETS. I tell the day, to please him thou art bright, And dost him grace when clouds do blot the heaven: So flatter I the swart-complexion’d night, When sparkling stars twire not, thou gild’st the even. But day doth daily draw my sorrows longer, And night doth nightly make grief’s strength seem stronger. XXIX. When, in disgrace with fortune and men’s eyes, Tall alone beweep my outcast state, : And trouble deaf heaven with my bootless cries, And look upon myself, and curse my fate, Wishing me like to one more rich in hope, : Featur'd like him, like him with friends possess’d, Desiring this man’s art, and that man’s scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state (Like to the lark at break of day arising From sullen earth) sings hymns at heaven’s gate: For thy sweet love remember’d such wealth brings, That then I scorn to change my state with kings. XXX. When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, ‘And with old woes new wail my dear time’s waste: Then can I drown an eye, unus’d to flow, For precious friends hid in death’s dateless night, And weep afresh love’s long-since cancell’d woe, And moan the expense of many a vanish’d sight. Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay, as if not paid before : But if the while I think on thee, dear friend, All losses are restor’d, and sorrows end. XXXI. Thy bosom is endeared with all hearts, Which I by lacking have supped dead, And there reigns love, and all love’s loving parts, And all those friends which I thought buried. How many a holy and obsequious tear Hath dear religious love stol’n from mine eye, As interest of the dead, which now appear But things remov’d, that hidden in thee lie! Thou art the grave where buried love doth live, Hung with the trophies of my lovers gone, Who all their parts of me to thee did give ; That due of many now is thine alone: Their images I lov’d I view in thee, And thou (all they) hast all the all of me. XXXII. If thou survive my well-contented day, When that churl Death my bones with dust shall cover, And shalt by fortune once more re-survey These poor rude lines of thy deceased lover, Compare them with the bettering of the time, And though they be outstripp’d by every pen, Reserve them for my love, not for their rhyme, Exceeded by the height of happier men. O! then vouchsafe me but this loving thought : “Had my friend’s Muse sonn with this growing age, A dearer birth than this his love had brought, To march in ranks of better equipage : But since he died, and poets better prove, Theirs for their style I’ll read, his for hie love.’ XXXII. Full many a glorious morning have I seen Flatter the mountain-tops with sovereign eye, Kissing with golden face the meadows green, Gilding pale streams with heavenly alchymy ; Anon permit the basest clouds to ride With ugly rack on his celestial face, And from the forlorn world his visage hide, Stealing unseen to west with this disgrace. Even so my sun one early morn ‘did shine, With all-triumphant splendour on my brow; But out, alack! he was but one hour mine, The region cloud hath mask’d him from me now. Yet him for this ne love no whit disdaineth ; Suns of Re port may stain, when heaven’s sun staineth. XXXIv. Why didst thou promise such a beauteous day, And make me travel forth without my cloak, To let base clouds o’ertake me in my way, Hiding thy bravery in their rotten smoke? ’T is not enough that through the cloud thou break, To dry the rain on my storm-beaten face, For no man well of such a salve can speak, That heals the wound, and cures not the disgrace: Nor can thy shame give physic to my grief; Though thou repent, yet I have still the loss: The o.tender’s sorrow lends but weak relief To him that bears the strong oftence’s cross, Ah! but those tears are pearl, which thy love sheds, And they are rich and ransom all ill deeds, XXXV. No more be griev’d at that which thou hast done ; Roses have thorns, and silver fountains mud; Clouds and eclipses stain both moon and sun, And loathsome canker lives in sweetest bud. All men make faults, and even I in this, Authorising thy trespass with compare ; Myself corrupting, salving thy amiss, Excusing thy sins more than thy sins are: For to thy sensual fault I bring in sense,— Thy adverse party is thy advocate,— And ’gainst myseif a lawful plea commence. Such civil war is in my love and hate, That I an accessary needs must be To that sweet thief which sourly robs from me. XXXVI. Let me confess that we two must be twain, Although our undivided loves are one: So shall these blots that do with me remain, Without thy help by me be borne alone. In our two loves there is but one respect, ‘Though in our lives a separable spite, Which though it alter not love’s sole effect, Yet doth it steal sweet hours from love’s delight 1 may not evermore acknowledge thee, Lest my bewailed guilt should do thee shame: Nor thou with public kindness honour me, Unless thou take that honour from thy name: But do not so; I love thee in such sort, As, thou being mine, mine is thy good report. XXXVILI. As a decrepit father takes delight To see his active child do deeds of youth, So I, made lame by fortune’s dearest spite, Take all my comfort of thy worth and truth; For whether beauty, birth, or wealth, or wit, Or any of these all, or all, or more, Entitled in thy parts do crowned sit, I make my love engrafted to this store: So then I am not lame, poor, nor despis’d, R Whilst that this shadow doth such substance give, That I in thy abundance am suftic’d, And by a part of all thy glory live, | Look, what is best, that best I wish in thee: This wish I have; then ten times happy me! XXXVIII. How can my Muse want subject to invent, While thou dost breathe, that pour’st into my verse Thine own sweet argument, too excellent For every vulgar paper to rehearse ? O! give thyself the thanks, if aught in me Worthy perusal stand against thy sight; SONNETS. 181 For who’s so dumb that cannot write to thee, When thou thyself dost give invention light ? Be thou the tenth Muse, ten times more in worth Than those old nine which rhymers invocate ; And he that calls on thee, let him bring forth Eternal numbers to outlive long date. If my slight Muse do please these curious days, The pain be mine, but thine shall be the praise. XXXIX. O! how thy worth with manners may I sing, When thou art all the better part of me? What can mine own praise to mine own self bring? And what is’t but mine own, when I praise thee? Even for this let us divided live, And our dear love lose name of single one, That by this separation I may give That due to thee which thou deserv’st alone. O absence, what a torment wouldst thou prove, Were it not thy sour leisure gave sweet leave To entertain the time with thoughts of love, Which time and thoughts so sweetly doth deceive, And that thou teachest how to make one twain, By praising him here, who doth hence remain ! x. ‘ Take allmy loves, my love, yea, take them all: What hast thou then more than thou hadst before? No love, my love, that thou may’st true love call: All mine was thine before thou hadst this more. Then, if for my love thou my love receivest, I cannot blame thee for my love thou usest ; But yet be blam’d, if thou thyself deceivest By wilful taste of what thyself refusest. I do forgive thy robbery, gentle thief, Although thou steal thee all my poverty ; And yet love knows, it is a greater grief : To bear love’s wrong, than hate’s known injury. Lascivious grace, in whom all ill well shows, Kill me with spites ; yet we must not be foes. XLI. Those petty wrongs that liberty commits, When I am sometime absent from thy heart, Thy beauty and thy years full well befits, For still temptation follows where thou art. Gentle thou art, and therefore to be won, Beauteous thou art, therefore to be assail’d ; And when a woman woos, what woman’s son Will sourly leave her till she have prevail’d? Ah me! but yet thou mightst my seat forbear, And chide thy beauty and thy straying youth, Who lead thee in their riot even there Where thou art fore’d to break a two-fold truth ; Hers, by thy beauty tempting her to thee Thine, by thy beauty being false to me. XL. That thou hast her, it is not all my grief, And yet it may be said, I lov’d her dearly; That she hath thee, is of my wailing chief, A loss in love that touches me more nearly. Loving offenders, thus I will excuse ye :— Thou dost love her, because thou know’st I love her ; And for my sake even so doth she abuse me, Suffering my friend for my sake to approve her. IfI lose thee, my loss is my love’s gain, And losing her, my friend hath found that loss ; Both find each other, and I lose both twain, And both for my sake lay on me this cross: But here’s the joy ; my friend and I are one; Sweet flattery ! then she loves but me alone. XLIII. When most I wink, then do mine eyes best see, For all.the day they view things unrespected ; But when I sleep, in dreams they look on thee, And darkly bright are bright in dark directed. _ Then thou, whose shadow shadows doth make bright, How would thy shadow’s form form happy show To the clear day with thy much clearer light, When to unseeing eyes thy shade shines so ? How would, I say, mine eyes be blessed made B looking on thee in the living day, hen in dead night thy fair imperfect shade Through heavy sleep on sightless eyes doth stay? All days are nights to see, till I see thee, And nights bright days, when dreams do show thee me. XLIV. If the dull substance of my flesh were thought, Injurious distance should not stop my way ; For then, despite of space, I would be brought, From limits far remote, where thou dost stay. No matter then, although my foot did stand Upon the farthest earth remov’d from thee: For nimble thought can jump both sea and land, As soon as think the place where he would be. But, ah! thought kills me, that I am not thought, To leap large lengths of miles-when thou art gone, But that, so much of earth and water wrought, I must attend time’s leisure with my moan ; Receiving nought by elements so slow But heavy tears, badges of either’s woe. XLV. The other two, slight air and purging fire, Are both with thee, wherever I abide ; The first my thought, the other my desire, These present-absent with swift motion slide: For when these quicker elements are gone In tender embassy of love to thee, My life, being made of four, with two alone Sinks down to death, oppress’d with melancholy ; Until life’s composition be recur’d By those swift messengers return’d from thee, ho even but now come back again, assur’d Of thy fair health, recounting it to me: This told, Ijoy; but then, no longer glad, Isend them back again, and straight grow sad. XLVI. Mine eye and heart are at a mortal war, How to divide the conquest of thy sight ; Mine eye my heart thy picture’s sight would bar, My heart mine eye the freedom of that right. My heart doth plead that thou in him dost lie, (A closet never pierc’d with crystal eyes,) But the defendant doth that plea deny, And says in him thy fair appearance lies. To’cide this title is impannelled A quest of thoughts, all tenants to the heart; And by their verdict is determined The clear eye’s moiety, and the dear heart’s part: As thus ; mine eye’s due is thine outward part, And my heart’s right thine inward love of heart. XLVII. Betwixt mine eye and heart a league is took, And each doth good turns now unto the other. When that mine eye is famish’d for a look, Or heart in love with sighs himself doth smother, With my love’s picture then my eye doth feast, And to the painted banquet bids my heart: Another time mine eye is my heart's guest, And in his thoughts of love doth share a part: So, either by thy picture or my love, Thyself away art present still with me; For thou not farther than my thoughts canst move, And J am still with them, and they with thee; Or, if they sleep, thy picture in my sight Awakes my heart to heart’s and eye's delight. XLVII. How careful was I, when I took my way, Each trifle under truest bars to thrust ; That to my use it might unused stay From hands of falsehood, in sure wards of trust But thou, to whom my jewels trifles are, Most worthy comfort, now my greatest grief, Thou, best of dearest, and mine only care, Art left the prey of every vulgar thief. Thee have I not lock’d up in any chest, Save where thou art not, though I feel thou art, Within the gentle closure of my breast, From whence at pleasure thou may’st come and part; And even thence thou wilt be stol’n, I fear, For truth proves thievish for a prize so dear. XLIX. Against that time, if ever that time come, When I shall see thee frown on my defects, Whenas thy love hath cast his utmost sum, Call’d to that audit by advis’d respects ; Against that time, when thou shalt strangely pass, And scarcely greet me with that sun, thine eye; When love, converted from the thing it was, Shall reasons find of settled gravity ; Against that time do I ensconce me here Within the knowledge of mine own desert, And this my hand against myself uprear, To guard the lawful reasons on thy part: To leave poor me thou hast the strength of la Since why to love I can allege no cause. L. How heavy do I journey on the way, When what I seek (my weary travel’s end) Doth teach that ease and that repose to say, _ “Thus far the miles are measur'd from thy friend!” The beast that bears me, tired with my woe, Plods dully on, to bear that weight in me, As if by some instinct the wretch did know, His rider lov’d not speed, being made from thee. The bloody spur cannot provoke him on That sometimes anger thrusts into his hide, Which heavily he answers with a groan, More sharp to me than spurring to his side ; For that same groan doth put this in my mind, My grief lies onward, and my joy bebind. LI. Thus can my love excuse the slow offence Of my dull bearer, when from thee I speed: From where thou art why should I haste me thence? Till I return, of posting is no need. O! what excuse will my poor beast then find, When swift extremity can seem but slow? Then should I spur, though mounted on the wind ; In winged speed no motion shall I know: Then can no horse with my desire keep pace ; Therefore desire (of perfect’st love being made) Shall neigh (no dull flesh) in his fiery race ; But love, for love, thus shall excuse my jade ; Since from thee going he went wilful-slow, Towards thee I’ run, and give him leave to go. LI. So am I as the rich, whose blessed key Can bring him to his sweet up-locked treasure, The which he will not every hour survey, For blunting the fine point of seldom pleasure. Therefore are feasts so solemn and 80 rare, Since seldom coming, in the long year set Like stones of worth, they thinly placed are, Or captain jewels in the carcanet. So is the time that keeps you as my chest, Or as the wardrobe which the robe doth hide, To make some special instant special-blest, By new unfolding his imprison’d pride. Blessed are you, whose worthiness gives scope, Being had, to triumph, being lack’d, to hope. LIII. What is your substance, whereof are you made, That millions of strange shadows on you tend ? Since every one hath, every one, one shade, And you, but one, can every shadow lend. Describe Adonis, and the counterfeit Is poorly imitated after you; SONNETS. On Helen’s cheek all art of beauty set, And oo in Grecian tires are painted new: Speak of the spring, and foison of the year, The one doth shadow of your beauty show, The other as your bounty doth appear ; And you in every blessed shape we know. In all external grace you have some part, But you like none, none you, for constant heart, LIv. O, how much more doth beauty beauteous seem By that sweet ornament which truth doth give! The rose looks fair, but fairer we it deem For that sweet odour which doth in it live. The canker-blooms have full as deep a dye As the perfumed tincture of the roses ; Hang on such thorns, and play as wantonly When summer's breath their masked buds discloses But, for their virtue only is their show, They live unwoo’d, and unrespected fade ; Die to themselves. Sweet roses do not so; Of their sweet deaths are sweetest odours made: And so of you, beauteous and lovely youth, When that shall vade, by verse distils your truth. LV. Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme; But you shall shine more bright in these contents Than unswept stone, besmear’d with sluttish time. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword, nor war’s quick fire shall burn The living record of your memory. ’Gainst death and all-oblivious enmity Shall you pace forth: your praise shall still find room Even in the eyes of all posterity, That wear this world out to the ending doom. So, till the judgment that yourself arise, You live in this, and dwell in lovers’ eyes. LVI. Sweet love, renew thy force: be it not said, Thy edge should blunter be than appetite, Which but to-day by feeding is allay’d, To-morrow sharpen’d in his former might : So, love, be thou ; although to-day thou fill Thy hungry eyes, even till they wink with fulness, To-morrow see again, and do not kill The spirit of love with a perpetual dulness. Let this sad interim like the ocean be Which parts the shore, where two contracted-new Come daily to the banks, that, when they see Return of love, more blest may be the view ; Or call it winter, which, being full of care, Makes summer’s welcome thrice more wish’d, more rare. LVI. Being your slave, what should I do but tend Upon the hours and times of your desire ? I have no precious time at all to spend, Nor services to do, till you require. Nor dare I chide the world-without-end hour, Whilst I, my sovereign, watch the clock for you, Nor think the bitterness of absence sour, | When you have bid your servant once adieu ; Nor dare I question with my jealous thought, Where you may be, or your affairs suppose ; But, like a sad slave, stay and think of nought, Save, where you are how happy you make those. So true a fool is love, that in your will | (Though you do anything) he thinks no ill. LVIII. That God forbid, that made me first your slave, I should in thought control your times of pleasure, Or at your hand the account of hours to crave, Being your vassal, bound to stay your leisure! O! let me suffer (being at your beck) The imprison’d absence of your liberty ; SONNETS. 183 And patience, tame to sufferance, bide each check, Without accusing you of injury. Be where you list; your charter is so strong, That you yourself may privilege your time To what you will; to you it doth belong Yourself to pardon of self-doing crime. Iam to wait, though waiting so be hell, Not blame your pleasure, be it ill or well. LIX. If there be nothing new, but that which is Hath been before, how are our brains beguil’d, Which, labouring for invention, bear amiss The second burden of a former child? O! that record could with a backward look, Even of five hundred courses of the sun, Show me your image in some antique book, Since mind at first in character was done ; That I might see what the old world could say To this composed wonder of your frame ; Whether we are mended, or whe’r better they, Or whether revolution be the same. O! sure I am, the wits of former days To subjects worse have given admiring praise. Lx. Like as the waves make towards the pebbled shore, So do our minutes hasten to their end; Each changing place with that which goes before, In sequent toil all forwards do contend. Nativity, once in the main of light, Crawls to maturity, wherewith being crown’d, Crooked eclipses ’gainst his glory fight, And Time, that gave, doth now his gift confound. Time doth transfix the flourish set on youth, And delves the parallels in beauty’s brow ; Feeds on the rarities of nature’s truth, And nothing stands but for his scythe to mow: -And yet to times in hope my verse shall stand, Praising thy worth, despite his cruel hand. LXL Is it thy will thy image should keep open My heavy eyelids to the weary night ? Dost thou desire my slumbers should be broken, While shadows, like to thee, do mock my sight? Is it thy spirit that thou send’st from thee So far from home, into my deeds to pry ; To find out shames and idle hours in me, The scope and tenor of thy jealousy ? Ono! thy love, though much, is not so great: It is my love that keeps mine eye awake ; Mine own true love that doth my rest defeat, To play the watchman ever for thy sake: For thee watch I, whilst thou dost wake elsewhere, From me far otf, with others all-too-near. LXII. Sin of self-love possesseth all mine eye, And all my soul, and all my ry part ; And for this sin there is no remedy, It is so grounded inward in my heart. Methinks no face so gracious is as mine, No shape so true, no truth of such account ; And for myself mine own worth do define, As I all other in all worths surmount. But when my glass shows me myself indeed, Beated and chopp'd with tann’d antiquity, Mine own self-love quite contrary I read ; Self so self-loving were iniquity. 7 ‘Tis thee (myself) that for myself I praise, Painting my age with beauty of thy days. LXIII. Against my love shall be, as J am now, ith Time’s injurious hand crush’d and o’erworn, When hours have drain’d his blood, and fill’d his brow With lines and wrinkles; when his youthful morn Hath travell’d on to age’s steepy night; : And all those beauties, whereof now he’s king, Are vanishing, or vanish’d out of sight, Stealing away the treasure of his spring ; For such a time do [ now fortity Against confounding age’s cruel knife, ‘nat he shall never cut from memory My sweet love’s beauty, though my lover’s life: His beauty shall in these black lines be seen, And they shall live, and he in them still green. LXIV. When I have seen by Time’s fell hand defac’d The rich-proud cost of outworn buried age ; When sometime lofty towers I see down-raz’d, And brass eternal, slave to mortal rage: When I have seen the hungry ocean gain Advantage on the kingdom of the shore, And the firm soil win of the watery main, Increasing store with loss, and loss with store: When I have seen such interchange of state, Or state itself confounded to decay, Ruin hath taught me thus to ruminate,— ‘That Time will come and take my love away. This thought is as a death, which cannot choose But weep to have that which it fears to lose. LXV. Since brass, nor stone, nor earth, nor boundless sea, But sad mortality o’ersways their power, How with this rage shall beauty hold a plea, Whose action is no stronger than a flower? O! how shall summer's honey breath hold out Against the wracktful siege of battering days, When rocks impregnable are not so stout, Nor gates of steel so strong, but Time decays ? O fearful meditation! where, alack, Shall Time’s best jewel from Time’s chest lie hid? Or what strong hand can hold his swift foot back ? Or who his spoil of beauty can forbid ? O, none, unless this miracle have might, That in black ink my love may still shine bright. LXVI. Tir’d with all these, for restful death I ery ;— As, to behold desert a beggar born, And needy nothing trimm’d in jollity, And purest faith unhappily forsworn, And gilded honour shamefully misplac’d, And maiden virtue rudely strumpeted, And right perfection wrongfully disgrac’d, And strength by limping sway disabled, And art made tongue-tied by authority, And folly (doctor-like) controlling skill, And simple truth miscall’d simplicity And captive good attending captain ill: Tir’d with all these, from these would I be gone, Save that, to die, I leave my love alone. LXVIL. Ah! wherefore with infection should he live, And with his presence grace impiety, That sin by him advantage should achieve, And lace itself with his society ? Why should false painting imitate his cheek, And steal dead seeing of his qivang hue? Why should poor beauty indirectly seek Roses of shadow, since his rose is true? Why should he live, now Nature bankrupt is, Beggar’d of blood to blush through lively veins? For she hath no exchequer now but his, And, proud of many, lives upon his gains. O! him she stores, to show what wealth she had In days long since, before these last so bad. LXVUtr. Thus is his cheek the map of days outworn, When beauty liv’d and died as flowers do now, Before these bastard signs of fair were born, Or durst inhabit on a living brow ; Before the golden tresses of the dead, The right of sepulchres, were shorn away, 184 SONNETS. To live a second life on second head; Ere beauty’s dead fleece made another gay. In him those holy antique hours are seen, Without all ornament, itself, and true, Making no summer of another's green, Robbing no old to dress his beauty new; And him as for a map doth Nature store, To show talse Art what beauty was of yore. LXIX. Those parts of thee that the world’s eye doth view, Want nothing that the thought of hearts can mend ; All tongues (the voice of souls) give thee that due, Uttering bare truth, even so as foes commend. Thy outward thus with outward praise is crown'd; But those same tongues that give thee so thine own, In other accents do this praise confound, By seeing farther than the eye hath shown. They look into the beauty of thy mind, And that, in guess, they measure by thy deeds ; Then (churls) their thoughts, although their eyes were kind, To thy fair flower add the rank smell of weeds: But why thy odour matcheth not thy show, ‘The soil is this,—that thou dost common grow. LXX. That thou art blam'd shall not be thy defect, For slander’s murk was ever yet the fair ; The ornament of beauty is suspect, A crow that tlies in heaven’s sweetest air. So thou be good, slander doth but approve Thy worth the greater, being woo’d of time; For canker vice the sweetest buds doth love, And thou present’st a pure unstained prime. Thou hast pass’d by the ambush of young days, Kither not assail’d, or victor being charg’d ; Yet this thy praise cannot be so thy praise, To tie up envy, evermore enlarg’d: If some suspect of ill mask’d not thy show, Then thou alone kingdoms of hearts shouldst owe. LXXI. No longer mourn for me when I am dead, Than you shall hear the surly sullen bell Give warning to the world that Iam fled From this vile world, with vilest worms to dwell: Nay, if you read this line, remember not The hand that writ it; for I love you so, That I in your sweet thoughts would be forgot, If thinking on me then should make you woe. O! if (L say) you look upon this verse, When I perhaps compounded am with clay, Do not so much as my poor name rehearse, But let your love even with my life decay ; Lest the wise world should look into your moan, And mock you with me after Iam gone. LXXI. O! lest the world should task you to recite What merit liv’d in me, that you should love After my death,—dear love, forget me quite, For you in me can nothing worthy prove; Unless you would devise some virtuous lie, To do more for me than mine own desert, And hang more praise upon deceased I, Than niggard truth would ae. impart. O! lest your true love may seem false in this, That you for love speak well of me untrue, My name be buried where my body is, And live no more to shame nor me nor you. For I am sham’'d by that which I bring forth, And so should you, to love things nothing worth. LXXIUI. That time of year thou may’st in me behold, When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin’d choirs, where late the sweet birds sang. In me thou seest. the twilight of such day As after sunset fadeth in the west, Which by-and-by black night doth take away, Death’s second self, that seals up all in rest : In me thou seest the glowing of such fire, ‘That on the ashes of his youth doth lie, As the death-bed whereon it must expire, Consum’d with that which it was nourish’d by. This thou perceiv’st, which makes thy love more strong, To love that well which thou must leave ere long: LXXIv. But be contented : when that fell arrest Without all bail shall carry me away, My life hath in this line some interest, Which for memorial still with thee shall stay. When thou reviewest this, thou dost review The very part was consecrate to thee. The earth can have but earth, which is his due; My spirit is thine, the better part of me: So then thou hast but lost the dregs of life, The prey of worms, my body being dead; The coward conquest of a wretch’s knife, Too base of thee to be remembered. The worth of that is that which it contains, And that is this, and this with thee remains. LXXV. So are you to my thoughts, as food to life, Or as sweet-season'd showers are to the ground; And for the peace of you I hold such strite As ‘twixt a miser and his wealth is found : Now proud as an enjoyer, and anon Doubting the filching age will steal his treasure; Now counting best to be with you alone, Then better’d that the world may see my pleasure: Sometime all full with feasting on your sight, And by-and-by clean starved for a look; Possessing or pursuing no delight, Save what is had or must from you be took. Thus do I pine and surfeit day by day ; Or gluttoning on all, or all away. LXXVI. Why is my verse so barren of new pride, So far from variation or quick change 2? Why, with the time, do I not glance aside To new-found methods, and to compounds strange? Why write I still all one, ever the same, And keep invention in a noted weed, That every word doth almost tell my name, Showing their birth, and where they did proceed ? O! know, sweet love, I always write of you, And you and love are still my argument; So, all my best is dressing old words new, Spending again what is already spent: For as the sun is daily new and old, So is my love, still telling what is told. LXXVIL. Thy glass will show thee how thy beauties wear, Thy dial how thy precious minutes waste; The vacant leaves thy mind’s imprint will bear, And of this book this learning may’st thou taste: The wrinkles which thy glass will truly show, Of mouthed graves will give thee memory ; Thou by thy dial’s shady stealth may’st know Time's thievish progress to eternity. Look, what thy memory cannot contain, Commit to these waste blanks, and thou shalt find Those children nurs’d, deliver’d from ay brain, | To take a new acquaintance of thy mind, These offices, so oft as thou wilt look, Shall profit thee, and much enrich thy book. LXXVIIL So oft have I invok’d thee for my Muse, And found such fair assistance in my verse, As every alien pen hath got my use, And under thee their poesy disperse. Thine eyes that taught the dumb on high to sing, And heavy ignorance aloft to fly, SONNETS. Have added feathers to the learned’s wing, And given grace a double majesty. Yet be most proud of that which I compile, Whose influence is thine, and born of thee: In others’ works thou dost but mend the style, And arts with thy sweet graces graced be; But thou art all my art, and dost advance As high as learning my rude ignorance. LXXIx. Whilst I alone did call upon thy aid, My verse alone had all thy gentle grace: But now my gracious numbers are decay’d, And my sick Muse doth give another place. I grant, sweet love, thy lovely argument Deserves the travail of a worthier pen 3 Yet what of thee thy poet doth invent, He robs thee of, and pays it thee again. He lends thee virtue, and he stole that word From thy behaviour; beauty doth he give, And found it in thy cheek ; he can afford No praise to thee but what in thee doth live. Then thank him not for that which he doth say, Since what he owes thee thou thyself dost pay. LXxx. O! how I faint when I of you do write, Henne @ better spirit doth use your name, And in the praise thereof spends all his might, To make me tongue-tied, speaking of your fame: But since your worth (wide as the ocean is) The humble as the proudest sail doth bear, My saucy bark, inferior far to his, On your broad main doth wilfully appear. Your shallowest help will hold me up afloat, Whilst he upon your soundless deep doth ride; Or, being wrack’d, I am a worthless boat, He of tall building, and of goodly, pride: + Then, if he thrive, and I be cast away, The worst was this,—my love was my decay. LXXXI. Or I shall live your epitaph to make, Or you survive when I in earth am rotten: From hence your memory death cannot take, Although in me each part will be forgotten. Your name from hence immortal life shall have, Though I, once gone, to all the world must die : The earth can yield me but a common grave, When you entombed in men’s eyes shall lie. Your monument shall be my gentle verse, Which eyes not yet created shall o’erread ; And tongues to be your being shall rehearse, When all the breathers of this world are dead ; You still shall live (such virtue hath my pen), Where breath most breathes, even in the mouths of men. LXXXII. I grant thou wert not married to my Muse, And therefore may’st without attaint o’erlook The dedicated words which writers use Of their fair subject, blessing every book. Thou art as fair in knowledge as in hue, Finding thy worth a limit past my praise ; And therefore art enforc’d to seek anew Some fresher stamp of the time-bettering days. And do so, love; yet when they have devis’d What strained touches rhetoric can lend, Thou, truly fair, wert truly sympathis'd _ In true pan words, by thy true-telling friend ; And their gross painting might be better us’d Where cheeks need blood : in thee it is abus’d. LXXXUl. I never saw that you did painting need, And therefore to your fair no painting set ; I found, or thought I found, you did exceed The barren tender of a poet’s debt: And therefore have I slept in your report, That you yourself, being extant, well might show 185 How far a modern quill doth come too short, ppesking of worth, what worth in you doth grow. This silence for my sin you did impute, Which shall be most my glory, being dumb ; For Limpair not beauty being mute, When others would give life, and bring a tomb. There lives more life in one of your fair eyes, Than both your poets can in praise devise. LXXXIV. Who is it that says most? which can say more Than this rich praise, that you alone are you? In whose confine immured is the store, Which should example where your equal grew. Lean penury within that pen doth dwell, That to his subject lends not some small glory ; But he that writes of you, if he can tell That you are you, so dignifies his story, Let him but copy what in you is writ, Not making worse what nature made so clear, And such a counterpart shall fame his wit, Making his style admired everywhere. You to your beauteous blessings add a curse, Being fond on praise, ‘which makes your praises worse. LXXXV. My tongue-tied Muse in manners holds her still, While comments of your praise, richly compil’d, Reserve their character with golden quill, And precious phrase by all the Muses fil’d. I think good thoughts, whilst others write good words, And, like unletter’d clerk, still ery “Amen” To every hymn that able spirit atfords, In polish’d form of well-refined pen. Hearing you prais’d, I say, ‘*’T is so, ’tis true,” And to the most of praise add something more; But that is in my thought, whose love to you, Though words come hindmost, holds his rank before: Then others for the breath of words respect, Me for my dumb thoughts, speaking in effect. LXXXVI. Was it the proud full sail of his great verse, Bound for the prize of all-too-precious you, That did my ripe thoughts in my brain inhearse, Making their tomb the womb wherein they grew? Was it his spirit, by spirits taught to write Above a mortal pitch, that strack me dead? No, neither he, nor his compeers by night Giving him aid, my verse astonished. He, nor that affable familiar ghost, Which nightly gulls him with intelligence, As victors of my silence cannot boast. I was not sick of any fear from thence; But when your countenance fil’d up his line, Then lack’d I matter ; that enfeebled mine. LXXXVII. Farewell! thou art too dear for my possessing, And like enough thou know’st thy estimate : The charter of thy worth gives thee releasing ; My bonds in thee are all determinate. For how do I hold thee but by thy granting ? And for that riches where is my deserving? The cause of this fair gift in me is wanting, And so my patent back again is swerving. Thyself thou gav’st, thy own worth then not knowing, Or me, to whom thou gav’st it, else mistaking ; So thy great gift, upon misprision growing, Comes home again, on better judement making. Thus have I had thee, as a dream doth flatter, In sleep a king, but waking no such matter. LXXXVIII. When thou shalt be dispos'd to set me light, And place my merit in the eye of scorn, Upon thy side against myself I’ll fight, And prove thee virtuous, though thou art forsworn: With mine own weakness being best acquainted, Upon thy part I can set down a story 186 SONNETS. Of faults conceal’d, wherein I am attainted, That thou, in losing me, shalt win much glory: And I by this will be a gainer too; For bending all my loving thoughts on thee, The injuries that to myself I do, Doing thee vantage, double-vantage me. Such is my love, to thee I so belong, That for thy right myself will bear all wrong. LXXXIX. Say that thou didst forsake me for some fault, And I will comment upon that offence ; Speak of my lameness, and IJ straight will halt, Against thy reasons making no detence. Thou canst not, love, disgrace me half so ill, To set a form upon desired change, As I'll myself disgrace: knowing thy will, I will acquaintance strangle, and look strange ; Be absent from thy walks; and in my tongue Thy sweet-beloved name no more shall dwell, Lest I (too much profane) should do it wrong, And haply of our old acquaintance tell. For thee, against myself I’ll vow debate, For I must ne’er love him whom thou dost hate. XC; Then hate me when thou wilt; if ever, now: Now, while the world is bent my deeds to cross, Join with the spite of fortune, make me bow, And do not drop in for an after-loss. Ah! do not, when my heart hath scap’d this sorrow, Come in the rearward of a conquer’d woe ; Give not a windy night a rainy morrow, To linger out a purpos’d overthrow. If thou wilt leave me, do not leave me last, When other petty griefs have done their spite, But in the onset come: so shall I taste At first the very worst of fortune’s might ; And other strains of woe, which now seem woe, Compar’d with loss of thee, will not seem so. XCI. Some glory in their birth, some in their skill, Some in their wealth, some in their body's force, Some in their garments, though new-fangled ill, Some in joe hawks and hounds, some in their orse ; And every humour hath his adjunct pleasure, Wherein it finds a joy above the rest; But these Bee ees are not my measure: All these I better in one gencral best. Thy love is better than high birth to me, Richer than wealth, prouder than garments’ cost, Of more delight than hawks or horses be; And having thee, of all men’s pride I boast : Wretched in this alone, that thou may’st take All this away, and me most wretched make. XCII. But do thy worst to steal thyself away, For term of life thou art assured mine ; And life no longer than thy love will stay, For it depends upon that love of thine. Then need [ not to fear the worst of wrongs, When in the least of them my life hath end. I see a better state to me belongs Than that which on thy humour doth depend. Thou canst not vex me with inconstant mind, Since that my life on thy revolt doth lie. O! what a happy title do I find, Happy to have thy love, happy to dic: But what's so blessed-fair that fears no blot? Thou may’st be false, and yet I know it not: XCIII. So shall I live, supposing thou art true, Like a deceived husband; so love's face May still seem love to me, though alter'd-new ; Thy looks with me, thy heart in other place; For there can live no hatred in thine eye; Therefore in that I cannot know thy change. In many’s looks the false heart’s history Is writ in moods, and frowns, and wrinkles strange ; But Heaven in thy creation did decree, ‘That in thy face sweet love should ever dwell; Whate’er thy thoughts or thy heart’s workings be, Thy looks should nothing thence but sweetness tell. How like Eve’s apple doth thy beauty grow, If thy sweet virtue answer not thy show! XCIV. They that have ae to hurt, and will do none That do not do the thing they most do show, Who, moving others, are themselves as stone, Unmoved, cold, and to temptation slow; They rightly do inherit heaven’s graces, And husband nature’s riches from expense ; They are the lords and owners of their faces, Others but stewards of their excellence. The summer's flower is to the summer sweet, Though to itself it only live and die; But if that flower with base infection meet, The basest weed outbraves his dignity ; For sweetest things turn sourest by their deeds Lilies that fester smell far worse than weeds. XcV. How sweet and lovely dost thou make the shame, Which, like a canker in the fragrant rose, Doth spot the beauty of thy budding name! O, in what sweets dost thou thy sins enclose! That tongue that tells the story of thy days, (Making lascivious comments on thy sport,) Cannot dispraise but in a kind of pyaise ; Naming thy name blesses an ill report. O! what a mansion have those vices got, Which for their habitation chose out thee, Where beauty’s veil doth cover every blot, And all things turn to fair that eyes can see! Take heed, dear heart, of this large privilege ; The hardest knife ill-us’d doth lose his edge. XCVI. Some say, thy fault is youth, some wantonness; Some say, thy grace is youth, and gentle sport; Both grace and faults are lov'd of more and less: Thou mak’st faults graces that to thee resort. As on the finger of a throned queen The basest jewel will be well esteem’d, So are those errors that in thee are seen . To truths translated, and for true things deem’d. How many lambs might the stern wolf betray, If like a lamb he could his looks translate ! How many gazers mightst thou lead away, If thou wouldst use the strength of all thy state! But do not so; I love thee in such sort, As, thou being mine, mine is thy good report. XCVII. How like a winter hath my absence been From thee, the pleasure of the fleeting year ! What freezings have I felt, what dark days seen, What old December's bareness everywhere! And yet this time remov’d was summer's time ; The teeming autumn, big with rich increase, Bearing the wanton burden of the prime, Like widow’d wombs after their lords’ decease: Yet this abundant issue seem’d tome, But hope of orphans, and unfather’d fruit ; For summer and his pleasures wait on thee, And, thou away, the very birds are mute; Or, if they sing, ’tis with sodullacheer, That leaves look pale, dreading the winter ’s near. XCVIII. From you have I been absent in the spring, When proud-pied April, dress’d in all his trim, Hath put a spirit of youth in everything, : That heavy Saturn laugh’d and leap'd with him: Yet nor the lays of birds, nor the sweet smell Of different flowers in odour and in hue, SONNETS. 187 Could make me any summer's story tell, Or from their proud lap pluck them where they grew: Nor did I wonder at the lily’s white, Nor praise the deep vermilion in the rose; They were but sweet, but figures of delight, Drawn after you, you pattern of all those. Yet seem’d it winter still, and, you away, As with your shadow I with these did play: XCIX. The forward violet thus did I chide :— Sweet thief, Pibionce didst thou steal thy sweet that smells, If not from my love’s breath? The purple pride Which on thy soft cheek for complexion dwells, In my love’s veins thou hast too grossly dy’d. The lily I condemned for thy hand, And buds of marjoram had stol’n thy hair : The roses fearfully on thorns did stand, One blushing shame, another white despair; A third, nor red nor white, had stol’n of both, And to this robbery had annex’d thy breath ; But, for his theft, in pride of all his growth A vengeful canker eat him up to death. More flowers I noted, yet I none could see, But sweet or colour it had stol’n from thee. Cc Where art thou, Muse, that thou forgett’st so long To speak of that which gives thee all thy might? Spend’st thou thy fury on some worthless song, Darkening thy power to lend base subjects light ? Return, forgetful Muse, and straight redeem In gentle numbers time so idly spent: Bing to the ear that doth EY lays esteem, And gives thy pen both skill and argument. Rise, resty Muse, my love’s sweet face survey, If Time have any wrinkle graven there ; If any, be a satire to decay, And make Time’s spoils despised everywhere. Give my love fame faster than Time wastes life ; So thou prevent’st his scythe and crooked knife. cl. O truant Muse! what shall be thy amends For thy neglect of truth in beauty dy’d? Both truth and beauty on my love depends ; So dost thou too, and therein dignified. Make answer, Muse: wilt thou not haply say, “ Truth needs no colour, with his colour fix’d, Beauty no pencil, beauty’s truth to lay ; But best is best, if never intermix’d?” Because he needs no praise, wilt thou be dumb? Excuse not silence so; for’t lies in thee To make him much outlive a gilded tomb, And to be prais’d of ages yet to be. Then do thy office, Muse: I teach thee how To make him seem long hence as he shows now. cll. My love is strengthen’d, though more weak in seem- ing; I love not less, though less the show appear: : That love is merchandis’d, whose rich esteeming The owner’s tongue doth publish everywhere. Our love was new, and then but in the spring, When I was wont to greet it with my lays ; As Philomel in summer’s front doth sing, And stops her pipe in growth of riper days: Not that the summer is less pleasant now, , Than when her mournful hymns did hush the night, But that wild music burdens every bough, . And sweets grown common lose their dear delight. Therefore, like her, I sometime hold my tongue, Because 1 would not dull you with my song. clItr. Alack, what poverty my Muse brings forth, That having such a scope to show her pride, The argument, all bare, is of more worth, Than when it hath my added praise beside ! O! blame me not, if I no more can write: Look in your glass, and there appears a face, That over-goes my blunt invention quite, Dulling my lines, and doing me disgrace. Were it not sinful then, striving to mend, To mar the subject that before was well? For to no other pass my verses tend, ‘Than of your graces and your gifts to tell; ; And more, much more, than in my verse can sit, Your own glass shows you, when you look in it. civ. To me, fair friend, you never can be old, For as you were when first your eye I ey’d, Such seems your beauty still. ‘Three winters cold Have from the forests shook three summers’ pride ; ‘rhree beauteous springs to yellow autumn turn’d In process of the seasons have I seen ; Three April perfumes in three hot Junes burn’d, Since first I saw you fresh, which yet are green. Ah! yet doth beauty, like a dial-hand, Steal from his figure, and no pace perceiv’d ; So your sweet hue, which methinks still doth stand, Hath motion, and mine eye may be deceiv’d: For fear of which, hear this, thou age unbred,— Ere you were born was beauty’s summer dead. cv. Let not my love be call’d idolatry, Nor my beloved as an idol show, Since all alike my songs and praises be, To one, of one, still such, and ever so. Kind is my love to-day, to-morrow kind, Still constant in a wondrous excellence ; Therefore my verse to constancy confin’d, One thing expressing, leaves out difference. Fair, kind, and true, is all my argument, Fair, kind, and true, varying to other words; And in this change is my invention spent, Three themes in one, which wondrous scope affords. Fair, kind, and true, have often liv’d alone, Which three, till now, never kept seat in one. cviI. When in the chronicle of wasted time I see descriptions of the fairest wights, And beauty making beautiful old rhyme, In praise of ladies dead, and lovely knights, Then, in the blazon of sweet beauty’s best, Ot hand, of foot, of lip, of eye, of brow, I see their antique pen would have express’d Even such a beauty as you master now. So all their praises are but prophecies Of this our time, all you prefiguring; And for they look’d but with divining eyes, They had not skill enough your worth to sing: For we, which now behold these present days, Have eyes to wonder, but lack tongues to praise. CVII. Not mine own fears, nor the prophetic soul Of the wide world, dreaming on things to come, Can yet the lease of my true love control, Suppos’d as forfeit to a confin’d doom. The mortal moon hath her eclipse endur’d, And the sad augurs mock their own presage 3 Incertainties now crown themselves assur’d, And peace proclaims olives of endless age. Now, with the drops of this most balmy time My love looks fresh, and death to me subscribes, Since, spite of him, I'l] live in this poor rhyme, While he insults o’er dull and speechless tribes: And thou in this shalt find thy monument, When tyrants’ crests and tombs of brass are spent. CVUI. What’s in the brain that ink may character, Which hath not figur’d to thee my true spirit? What’s new to speak, what new to register, That may express my love, or thy dear merit? 188 Nothing, sweet boy ; but yet, like prayers divine, I must each day say o’er the very same, Counting no old thing old, thou mine, I thine, Even as when first I hallow’d thy fair name. So that eternal love, in love's fresh case, Weighs not the dust and injury of age ; Nor gives to necessary wrinkles place, But makes antiquity tor aye his page ; Finding the first conceit of love there bred, | Where time and outward form would show it dead. CIX. O! never say that I was false of heart, Though absence seem'd my flame to qualify. As easy might I from myself depart, . As from my soul, which in thy breast doth lie. That is my home of love: if I have ranged, Like him that travels, I return again, Just to the time, not with the time exchanged,-- So that myself bring water for my stain. Never believe, though in my nature reign’d All frailties that besiege all kind of blood, That it could so preposterously be stain’d, To leave for nothing all thy sum of good ; For nothing this wide universe I call, Save thou, my rose ; in it thou art my all. ox. Alas! ’tis true, I have gone here and there, And made myself a motley to the view ; : Gor'd mine own thoughts, sold cheap what is most dear, Made old offences of affections new: Most true it is, that I have look’d on truth Askance and strangely ; but, by all above, These blenches gave my heart another youth, And worse essays prov’d thee my best of love. Now all is done, have what shall have no end: Mine appetite I never more will grind On newer proof, to try an older friend, A god in love, to whom I am contin’d. Then give me welcome, next my heaven the best, Even to thy pure and most most loving breast. CXI. O! for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for ny life provide, Than public means, which public manners breeds: Thence comes it that my name receives a brand ; And almost thence my nature is subdu’d To what it works in, like the dyer’s hand. Pity me then, and wish I were renew'd, Whilst, like a willing patient, I will drink Potions of eisel ’gainst my. strong infection ; No bitterness that I will bitter think, Nor double penance, to correct correction. Pity me then, dear friend, and I assure ye, Even that your pity is enough to cure me. OXI. Your love and pity doth the impression fill Which vulgar scandal stamp’d upon my brow ; For what care I who calls me well or ill, So you o’ergreen my bad, my good allow? You are my all-the-world, and I must strive To know my shames and praises from your tongue; None else to me, nor I to none alive, That my steel’d sense or changes right or wrong. In so profound abysm I throw all care Of others’ voices, that my adder’s sense To critic and to flatterer stopped are. Mark how with my neglect I do dispense :— You are so strongly in my purpose bred, That all the world besides methinks they’re dead. CXIII. Since I left you, mine eye is in my mind, And that which governs me to go about Doth part his function, and is partly blind, Scems seeing, but effectually is out; SONNETS. For it no form delivers to the heart Ot bird, of flower, or shape, which it doth latch: Of his quick objects hath the mind no part, Nor his own vision holds what it doth catch ; For if it see the rud’st or gentlest sight, The most sweet favour, or deformed’st creature, The mountain or the sea, the day or night, The crow or dove, it shapes them to your feature: Incapable of more, replete with you, My most true mind thus maketh mine untrue, CXIV. Or whether doth my mind, being crown’d with you, Drink up the monarch’s plague, this flattery ? Or whether shall I say, mine eye saith true, And that your love taught it this alchymy, ‘To make of monsters and things indigest Such cherubins as your sweet self resemble, Creating every bad a perfect best, As fast as objects to his beams assemble ? O! tisthe first: ’tis flattery in my seeing, And my great mind most kingly drinks it up: Mine eye well knows what with his gust is ’greeing, And to his palate doth oe the cup: If it be poison’d, ’t is the lesser sin ‘That mine eye loves it, and doth first begin. CXV. Those lines that I before have writ, do lie, Even those that said I could not love you dearer ; Yet then ae judgment knew no reason why My most flame should afterwards burn clearer. But reckoning Time, whose million’d accidents Creep in ’twixt vows, and change decrees of kings, Tan sacred beauty, blunt the sharp’st intents, Divert strong minds to the course of altering things: Alas! why, fearing of Time’s tyranny, Might I not then say, ‘‘ Now I love you best,” When I was certain o’er incertainty, Crowning the present, doubting of the rest? Love is a babe ; then might I not say so, To give full growth to that which still doth grow? CXVI. Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O, no! it is an ever-fixed mark, That looks on tempests, and is never shaken It is the star to every wandering bark, Whose ome ’s unknown, although his height be taken. Love’s not Time’s fool, though rosy lips and cheeks Within his bending sickle’s compass come ; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error, and upon me prov’d, I never writ, nor no man ever lov'd. CXVIL. Accuse me thus: that I have scanted all Wherein I should your great deserts repay ; Forgot upon your dearest love to call, Whereto all bonds do tie me day by day; _, That I have frequent been with unknown minds, And given to time your own dear-purchas’d right; That I have hoisted sail to all the winds . Which should transport me farthest from your sight: Book both my wilfulness and errors down, And on just proof surmise accumulate : Bring me within the level of your frown, But shoot not at me in your waken’d hate; Since my appeal says, I did strive to prove The constancy and virtue of your love. CXVIIL. Like as, to make our appetites more keen, With eager compounds we our palate urge}; As, to prevent our maladies unseen, We sicken to shun sickness, when we purge}; SONNETS. 189 Even so, being full of your ne’er-cloying sweetness, To bitter sauces did I frame my feeding ; And, sick of welfare, found a kind of meetness To be diseas’d, ere that there was true needing. Thus policy in love, to anticipate The ills that were not, grew to taults assur’d, And brought to medicine a healthful state, Which, rank of goodness, would by ill be cur’d; But thence I learn, and find the lesson true, Drugs poison him that so fell sick of you. CXIX. What potions have I drunk of Siren tears, Distill’d from limbecks foul as hell within, Zpplving fears to hopes, and hopes to fears, Still losing when I saw myself to win! What wretched errors hath my heart committed, Whilst it hath thought itself so blessed never ! How have mine eyes out of their spheres been fitted, In the distraction of this madding tever! O benefit of ill! now I find true, That better is by evil still made better; And ruin’d love, when it is built anew, Grows fairer than at first, more strong, far greater. So I return rebuk’d to my content, And gain by ill thrice more than I have spent. CxXx. That you were once unkind, befriends me now, And for that sorrow, which I then did feel, Needs must I under my transgression bow, Unless my nerves were brass or hammer’d steel. For if you were by my unkindness shaken, As I by yours, you've pass’d a hell of time; And I, a tyrant, have no leisure taken To weigh how once I suffer’d in your crime. O! that our night of woe might have remember’d My deepest sense, how hard true sorrow hits ; And soon to you, as you to me, then tender’d The humble salve which wounded bosoms fits! But that your trespass now becomes a fee; Mine ransom3 yours, and yours must ransom me. CXXI. *Tis better to be vile, than vile-esteem’d, When not to be receives reproach of being, And the just pleasure lost, which is so deem’d Not by our feeling, but by others’ seeing. For why should others’ false adulterate eyes Give salutation to my sportive blood? Or on my frailties why are frailer spies, Which in their wills count bad what I think good? No, Iam that I am; and they that level At my abuses, reckon up their own: I may be straight, though they themselves be bevel ; By their rank thoughts my deeds must not be shown; Unless this general evil they maintain, — All men are bad, and in their badness reign. CXXII. ae gift, thy tables, are within my brain Full character’d with lasting memory, Which shall above that idle rank remain, Beyond all date, even to eternity ; Or, at the least, so long as brain and heart Have faculty by nature to subsist ; Till each to raz’d oblivion yield his part Of thee, thy record never can be miss’d. That poor retention could not so much hold, Nor need I tallies, thy dear love to score ; Therefore to give them from me was I bold, To trust those tables that receive thee more: To keep an adjunct to remember thee, Were to import forgetfulness in me. CXXIII. No! Time, thou shalt not boast that I do change: Thy pyramids, built up with newer might, To me are nothing novel, nothing strange ; They are but dressings of a former sight. Our dates are brief, and therefore we admire What thou dost foist upon us that is old, And rather make them born to our desire, Than think that we before have heard them told. Thy registers and thee I both defy, Not wondering at the oe nor the past; For thy records and what we see do lie, Made more or less by thy continual haste. This I do vow, and this shall ever be, I will be true, despite thy scythe and thee: CXXIV. If my dear love were but the child of state, It might for Fortune’s bastard be unfather’d, As subject to Time’s love, or to Time's hate, Weeds among weeds, or flowers with flowers gather’d. No, it was builded far from accident; It suffers not in smiling pomp, nor falls Under the blow of thralled discontent, Whereto the inviting time our fashion calls: It fears not policy, that heretic, Which works on leases of short-number’d hours, But all alone stands hugely politic, That it nor grows with heat, nor drowns with showers. To this I witness call the fools of time, Which die for goodness, who have liv’d for crime. CXXV. Were’t aught to me I bore the canopy, With my extern the outward honouring, Or laid great bases for eternity, Which prove more short than waste or ruining? Have I not seen dwellers on form and favour Lose all, and more, by paying too much rent; For compound sweet foregoing simple savour, Pitiful thrivers, in their gazing spent ? No, let me be obsequious in thy heart, And take thou my oblation, poor but free, Which is not mix’d with seconds, knows no art, But mutual render, only me for thee. Hence, thou suborn’d informer! a true soul, When most impeach’d, stands least in thy control. CXXVI. O thou, my lovely boy, who in thy power Dost hold Time’s fickle glass, his sickle, hour ; Who hast by waning grown, and therein show’st Thy lovers withering, as thy sweet self grow’st ; If Nature, sovereign mistress over wrack, As thou goest onwards, still will pluck thee back, She keeps thee to this purpose, that her skill May time disgrace, and wretched minutes kill. Yet fear her, O thou minion of her pleasure ! She may detain, but not still keep her treasure: Her audit, though delay’d, answer’d must be, And her quietus is to render thee. CXXVII. In the old age black was not counted fair, Or if it were, it bore not beauty’s name ; But now is black beauty’s successive heir, And beauty slander’d with a bastard shame ; For since each hand hath put on nature’s power, Fairing the foul with art’s false borrow’d face, Sweet beauty hath no name, no holy bower, But is profan'd, if not lives in disgrace. Therefore my mistress’ eyes are raven black, Her eyes so suited, and they mourners seem At such, who, not born fair, no beauty lack, Slandering creation with a false esteem : Yet so they mourn, becoming of their woe, That every tongue says, beauty should look so. CXXVIII. How oft, when thou, my music, music play’st, Upon that blessed wood, whose motion sounds With thy sweet fingers, when thou gently sway’st The wiry concord that mine ear confounds, Dol envy those jacks, that nimble leap To kiss the tender inward of thy hand, 190 SONNETS. Whilst my poor lips, which should that harvest reap, At the wood’s boldness by thee blushing stand! To be so tickled, they would change their state And situation with those dancing chips, __ O’er whom thy fingers walk with gentle gait, Making dead wood more bless’d than living lips. Since saucy jacks so happy are in this, - Give them thy fingers, me thy lips to kiss. CXXIX. The expense of spirit in a waste of shame Is lust in action; and till action, lust Is perjur’d, murderous, bloody, full of blame, Savage, extreme, rude, cruel, not to trust ; Enjoy’d no sooner but despised straight ; Past reason hunted ; and no sooner had, Past reason hated, as a swallow’d bait, On purpose laid to make the taker mad: Mad in pursuit, and in possession so ; Had, having, and in quest to have, extreme; A bliss in proof,—and prov’d, a very woe ; Before, a joy propos'd; behind, a dream. All this the world well knows ; yet none knows well To shun the heaven that leads men to this hell. CXXX. My mistress’ eyes are nothing like the sun ; Coral is far more red than her lips’ red ; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damask’'d, red and white, But no such roses see Lin her cheeks; __ And in some perfumes is there more delight Than in the breath that from my mistress reeks. Llove to hear her speak, yet well I know That music hath a far more pleasing sound : I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: And yet, by Heaven, I think my love as rare As any she belicd with false compare. CXXXI. Thou art as tyrannous, so as thou art, As those whose beauties proudly make them cruel ‘ For well thou know’st, to my dear-doting heart Thou art the fairest and most precious jewel. Yet, in good faith, some say that thee behold, Thy face hath not the power to make love groan: To say they err, I dare not be so bold, Although I swear it to myself alone. And, to be sure that is not false I swear, A thousand groans, but thinking on thy face, One on another's neck, do witness bear, Thy black is fairest in my judgment’s place. In nothing art thou black, save in thy deeds, And thence this slander, as I think, proceeds. CXXXII. Thine eyes I love, and they, as pitying me, Knowing thy heart torments me with disdain, Have put on black, and loving mourners be, Looking with pretty ruth upon my pain. And truly not the morning sun of heaven Better becomes the grey cheeks of the east, Nor that full star that ushers in the even Doth half that glory to the sober west, As those two mourning eyes become thy face. O! let it then as well beseem thy heart To mourn for me, since mourning doth thee grace, And suit thy pity like in every part: Then will I swear, beauty herself is black And all they foul that thy complexion lack, CXXNXIII. Beshrew that heart that makes my heart to groan For that deep wound it gives my friend and me ! Is ’t not enough to torture me alone, But slave to slavery my sweet’st friend must be ? Me from myself ey cruel eye hath taken, And my next self thou harder hast engross’d ; Of him, myself, and thee, Iam forsaken z A torment thrice threefold thus to be cross’d, Prison my heart in thy steel bosom’s ward, But then my friend’s heart let my poor heart bail : Whoe’er keeps me, let my heart be his guard: ’ Thou canst not then use rigour in my gaol: And yet thou wilt; for I, being pent in thee, Perforce am thine, and all that is in me, ’ CXXXIV. So, now I have confess’d that he is thine, And I myself am mortgag’d to thy will, Myself I'll forfeit, so that other mine Thou wilt restore, to be my comfort still: But thou wilt not, nor he will not be free, For thou art covetous, and he is kind ; He learn’d but, surety-like, to write for me, Under that bond that him as fast doth bind. The statute of thy beauty thou wilt take, Thou usurer, that putt’st forth all to use, And sue a friend, came debtor for my sake; So him I lose through my unkind abuse. Him have I Jost ; thou hast both him and me: He pays the whole, and yet am I not free, CXXXy. Whoever hath her wish, thou hast thy 17 ill, And Will to boot, and Will in overplus ; More than enough am I, that vex thee still, To thy sweet will making addition thus. Wilt thou, whose will is large and spacious, Not once vouchsafe to hide my will in thine? Shall will in others seem right gracious, And in my will no fair acceptance shine ? The sea, all water, yet receives rain still, And in abundance addeth to his store ; So thou, being rich in Vill, add to thy Will One will of mine, to make thy large Will more. Let no unkind, no fair beseechers kill; Think all but one, and me in that one Wil. CXXXVI. If thy soul check thee that I come so near, Swear to thy blind soul that I was thy Will, And will, thy soul knows, is admitted there; Thus far for love, my love-suit, sweet, fulfil. Will will fulfil the treasure of thy love, Ay, fill it full with wills, and my will one. In things of great receipt with ease we prove, Among a number one is reckon’d none : Then in the number let me pass untold, Though in thy stores’ account I one must be; For nothing hold me, so it please thee hold That nothing me, a something sweet to thee: 2 Make but my name thy love, and love that still, And then thou lov’st me,—for my name is Will. CXXXVII. Thou blind fool, Love, what dost thou to mine eyes, That they behold, and see not what they see? They know what beauty is, see where it lies, Yet what the best is, take the worst to be. If eyes, corrupt by over-partial looks, . Be anchor’d in the bay where all men ride, Why of eyes’ falsehood hast thou forged hooks, Whereto the judgment of my heart is tied ? Why should my heart think that a several plot, Which my heart knows the wide world’s common place ? : Or mine eyes seeing this, say, this is not, To put fair truth upon so foul a face ? F In things right-true my heart and eyes have err’ d, And to this false plague are they now transferr’d. CXXXVUI. ‘When my love swears that she is made of truth, I do believe her, though I know she lies, That she might think me some untutor’d youth, Unlearned in the world’s false subtleties. Thus vainly thinking that she thinks me young, Although she knows my days are past the best, SONNETS. 191 Simply I credit her false-speaking tongue: On both sides thus is simple truth suppress’d. But wherefore says she not, she is unjust? And wherefore say not I, that Iam old? O! love’s best habit is in seeming trust, And age in love loves not to have years told: Therefore I lie with her, and she with me, And in our faults by lies we flatter’d be. OXXXIX. O! call not me to justify the wrong, That thy unkindness lays upon my heart; Wound me not with thine eye, but with thy tongue; Use power with power, and slay me not by art. Tell me thou lov’st elsewhere ; but in my sight, Dear heart, forbear to glance thine eye aside: What spt et pu wound with cunning, when thy mig Is more than my o’erpress’d defence can ’bide? Let me excuse thee: ah! my love well knows Her pretty looks have been mine enemies, And therefore from my face she turns my foes, That they elsewhere might dart their injuries. Yet do not so; but since I am near slain, Kill me outright with looks, and rid my pain. CXL. Be wise as thou art cruel; do not press My tongue-tied patience with too much disdain ; Lest sorrow lend me words, and words express The manner of my pity-wanting pain. If I might teach thee wit, better it were, Though not to love, yet, love, to tell me so; As testy sick men, when their deaths be near, No news but health from their physicians know :. For, if I should despair, I should grow mad, And in my madness might speak ill of thee ; Now this ill-wresting world is grown so bad, Mad slanderers by mad ears believed be. That I may not be so, nor thou belied, Bear thine eyes straight, though thy proud heart go wide. CXLI. In faith, I do not love thee with mine eyes, For they in thee a thousand errors note; But ’tis my heart that loves what they despise, Who in despite of view is pleas’d to dote. Nor are mine ears with thy tongue’s tune delighted; Nor tender feeling, to base touches prone, Nor taste, nor smell, desire to be invited To any sensual feast with thee alone: But my five wits nor my five senses can Dissuade one foolish heart from serving thee, Who leaves unsway’d the likeness of a man, Thy proud heart’s slave and vassal wretch to be: Only my plague thus far I count my gain, | That she that makes me sin awards me pain. CXLIL. Love is my sin, and thy dear virtue hate, Hate of my sin, grounded on sinful loving. Q! but with mine compare thou thine own state, And thou shalt find it merits not reproving ; Or, if it do, not from those lips of thine, That have profan’d their scarlet ornaments, And seal’d false bonds of love as oft as mine, Robb’d others’ beds’ revenues of their rents. Be it lawful I love thee, as thou lov’st those Whom thine eyes woo as mine importune thee: Root pity in thy heart, that when it grows, Th pity may deserve to pitied be. : If thou dost seek to have what thou dost hide, By self-example may’st thou be denied ! CXLIIL. Lo! as a careful housewife runs to catch One of her feather’d creatures broke away, Sets down her babe, and makes all swift despatch Th pursuit of the thing she would have stay ; Whilst her neglected child holds her in chase, Cries to catch her whose busy care is bent To follow that which flies before her face, Not prizing her poor intant’s discontent: So runn’st thou after that which flies from thee, Whilst I, thy babe, chase thee afar behind ; But if thou catch thy hope, turn back to me, And play the mother’s part, kiss me, be kind: So will I pray that thou may’st have thy Will, If thou turn back, and my loud crying still. CXLIV. Two loves I have of comfort and despair, Which like two spirits do suggest me still: The better angel is a man, right fair, The worser spirit a woman, colour’d ill. To win me soon to hell, my female evil Tempteth my bettcr angel from my side, And would corrupt my saint to be a devil, Wooing his purity with her foul pride. And whether that my angel be turn’d fiend, Suspect I may, yet not directly tell; But being both from me, both to each friend, I guess one angel in another’s hell: Yet this shall I ne’er know, but live in doubt, Till my bad angel fire my good one out. CXLV. Those lips that Love’s own hand did make, Breath’d forth the sound that said, ‘‘I hate,” To me that languish’d for her sake ; But when she saw my woful state, Straight in her heart did mercy come, Chiding that tongue, that ever sweet Was usd in giving gentle doom, And taught it thus anew to greet: “‘T hate,” she alter’d with an end, That follow’d it as gentle day Doth follow night, who, like a fiend, From heaven to hell is fown away: “T hate” from hate away she threw, And sav’d my life, saying—‘ not you.” CXLVI. Poor soul, the centre of my sinful earth, Fool’d by these rebel powers that thee array, Why dost thou pine within, and suffer dearth, Painting thy outward walls so costly gay ? Why so large cost, having so short a lease, Dost thou upon thy fading mansion spend ? Shall worms, inheritors of this excess, Eat up thy charge ? is this thy body’s end? Then, soul, live thou upon thy servant’s loss, And let that pine to aggravate thy store; Buy terms divine in selling hours of dross ; Within be fed, without be rich no more: So shalt thou feed on Death, that feeds on men, And, Death once dead, there’s no more dying then. CXLVII. My love is as a fever, longing still For that which longer nurseth the disease ; Feeding on that which doth preserve the ill, The uncertain-sickly appetite to please. My reason, the physician to my love, Angry that his prescriptions are not kept, Hath left me, and I desperate now approve, Desire is death, which physic did except. Past cure Iam, now reason is past care, And frantic-mad with evermore unrest: My thoughts and my discourse as madmen’s are, At random from the truth vainly express’d ; For I have sworn thee fair, and thought thee bright, Who art as black as hell, as dark as night. CXLVIII. O me! what eyes hath Love put in my head, Which have no correspondence with true sight ! Or, if they have, where is my judgment fied, That censures falsely what they see aright ? If that be fair whereon my false eyes dote, What means the world to say it is not so? 192 If it be not, then love doth well denote Love's eye is not so true as all men’s: no, How can it? O! how can Love's eye be true, That is so vex’d with watching and with tears? No marvel then though I mistake my view ; The sun itself sees not, till heaven clears. rl O cunning Love! with tears thou kecp’st me blind, Lest eyes well-seeing thy foul faults should find. CXLIX. Canst thou, O cruel! say, I love thee not, en I, against myself, with thee partake? Do I not think on thee, when I forgot Am of myself, all tyrant, for thy sake? Who hateth thee that I do call my friend ? On whom frown’st thou that I do fawn upon? Nay, if thou lour’st on me, do I not spen Revenge upon myself with present moan ? What merit do I in myself respect, That is so proud thy service to despise, When all my best doth worship thy defect, Commanded by the motion of thine eyes? But, love, hate on, for now I know thy mind: Those that can see thou lov’st, and I am blind. cL. OQ! from what power hast thou this powerful might, With insufficiency my heart to sway? To make me give the lie to my true sight, And swear that brightness doth not grace the day? Whence hast thou this becoming of things ill, That in the very refuse of thy deeds There is such strength and warrantise of skill, That in my mind thy worst all best exceeds ? Who taught thee how to make me love thee more, The more I hear and see just cause of hate? O! though I love what others do abhor, With others thou shouldst not abhor my state: If thy unworthiness rais’d love in me, More worthy I to be belov'd of thee. CLI. Love is too young to know what conscience is; Yet who knows not, conscience is born of love? Then, gentle cheater, urge not my amiss, Lest guilty of my faults thy sweet self prove: For, thou betraying me, I do betray My nobler part to my gross body’s treason ; My soul doth tell my body that he may Triumph in love; flesh stays no farther reason, But, rising at thy name, doth point out thee As his triumphant prize. Proud of this pride, SONNETS. | Heis contented thy poor drudge to be, To stand in thy affairs, fall by thy side. No want of conscience hold it, that I call Her love, for whose dear love I rise and fall, cL. In loving thee thou know’st I am forsworn, But thou art twice forsworn, to me love swearing In act thy bed-vow broke, and new faith torn, In vowing new hate after new love bearing. But why of two oaths’ breach do I accuse thee, When I break twenty? Iam perjur'd most; For all my vows are oaths but to misuse thee, And all my honest faith in thee is lost : For I have sworn deep oaths of thy deep kindness, Oaths of thy love, thy truth, thy constancy; And, to enlighten thee, gave eyes to blindness, Or made them swear against the thing they see; For I have sworn thee fair : more ee I, To swear, against the truth, so foul a lie! CLIII. Cupid laid by his brand, and fell asleep: A maid of Dian’s this advantage found, And his love-kindling fire did quickly steep In a cold valley-fountain of that ground; Which borrow’d from this holy fire of Love A dateless lively heat, still to endure, And grew a seething bath, which yet men prove Against strange maladies a sovereign cure. But at my mistress’ eye Love’s brand new-fir’d, The boy for trial needs would touch my breast ; I, sick withal, the help of bath desir’d, And thither hied, a sad-distemper’d guest, But found no cure: the bath for my help lies Where Cupid got new fire,—my mistress’ eyes. CLIV. The little Love-god lying once agieeD, Laid by his side his heart-inflaming brand, Whilst many Dy EADBS, that vow'd chaste life to keep, Came tripping by; but in her maiden hand The fairest votary took up that fire Which many legions of true hearts had warm’d: And so the general of hot desire Was, sleeping, by a virgin hand disarm’d. This brand she quenched in a cool well by, Which from Love's fire took heat perpetual, Growing a bath, and healthful remedy For men diseas’d; but I, my mistress’ thrall, Came there for cure, and this by that I prove, Love's fire heats water, water cools not love. KING HENRY VI—PART III. DRAMATIS PERSON. Kinc HENRY THE SIXTH. 3 EDWARD, Prince of Wales, his Son. LEWIS XL, King of France. DUKE OF SOMERSET, DUKE OF EXETER, . ’ EaRL OF OXFORD, | On King Henry's EARL OF NORTHUMBERLAND, [ Side. EARL OF WESTMORELAND, -LORD CLIFFORD, J 5 RICHARD PLANTAGENET, Duke of York. EDWARD, Earl of March, afterwards King Edward IV., ‘ EDMUND, Earl of Rutland, His Sons GEORGE, afterwards Duke of Clarence, RICHARD, afterwards Duke of Gloster, J DUKE oF NORFOLK, MARQUESS OF MONTAGUE, EARL OF WARWICK, t Of the Duke of York’s EARL OF PEMBROKE, { Party. LORD HASTINGS, Lorp STAFFORD, J Str JoHN MortTiMER, 2 Uncles to the Duke of Sirk HuGH MorTIMER, $ York. Henry, Earl of Richmond, a Youth. Lorp Rivers, Brother to Lady Grey. SiR WILLIAM STANLEY. Sirk JoHN MONTGOMERY. Sir JoHN SOMERVILLE. Tutor to Rutland. Mayor of York. Lieutenant of the Tower. A Nobleman. Two Keepers. A Huntsman. ‘A Son that has killed his Father. A Father that has killed his Son. QUEEN MARGARET. Lavpy GREY, afterwards Queen to Edward IV. Bona, Sister to the French Queen. Soldiers, and other Attendants on King Henry and King Edward, Messengers, Watchmen, &c. SCENE—During part of the Third Act, in FRANCE; during the rest of the Play, in ENGLAND. ACT I. F ScENE I.—London. Drums. Some Soldiers of Yorx«’s party break in. The Parliament-House. Then enter the Duke of YORK, EDWARD, RICHARD, NORFOLK, MONTAGUE, WARWICK, and others, with white roses in their hats. & i ous f~. Warwick. Aes WONDER how the king escap’d ‘il k A our hands. York. While we _pursu’d the horsemen of the north, He slily stole away, and left his men: Whereat the great Lord of Northumber- and, Whose warlike ears could never brook retreat, : Cheer’d up the drooping army; and himself, Lord Clifford, and Lord Stafford, all abreast, | Charg’d our main battle’s front, and, breaking in, Were by the swords of common soldiers slain. Edw, Lord Stafford’s father, Duke of Buckingham, Is either slain or wounded dangerous: il Icleft his beaver with a downright blow ; That this is true, father, behold his blood. [Showing his bloody sword. Mont. [To York, showing his.) And, brother, ere’s the Earl of Wiltshire’s blood, Whom I encounter’d as the battles join’d. . Rich. Speak thou for me, and tell them what I did. j [Throwing down the Duke of SOMERSET’S head. : York. Richard hath best deserv'd of all my sons.— But, is your grace dead, my Lord of Somerset ? Norf. Such hope have all the line of John of Gaunt! Itich. Thus do I hope to shake King Henry’s head. War. And so do I.—Victorious Prince of York, 21 Before I see thee seated in that throne, Which now the house of Lancaster usurps, I vow by Heaven these eyes shall never close. This is the palace of the fearful Nii: And this the regal seat: possess it, York; For this is thine, and not King Henry’s heirs’. York. ae me then, sweet Warwick, and I will; ‘ For hither we have broken in by force. Norf. We'llall assist you; he that flies shalldie. 30 York. peas, gentle Norfolk.—Stay by me, my ords :— And, soldiers, stay, and lodge by me this night. War. And when the king comes, offer him no violence, Unless he seek to thrust you out perforce. ; : [The Soldiers retire. York. The queen this day here holds her parlia- ment, But little thinks we shall be of her council. By words or blows here let us win our right. Rich. Arm’d as we are, let’s stay within this house. War. The bloody parliament shall this be call’d, Unless Plantagenet, Duke of York, be king, And bashful Henry depos’d, whose cowardice Hath made us by-words to our enemies. York. Then leave me not, my lords; be resolute; I mean to take possession of my right. War. Neither the king, nor he that loves him best, The proudest he that holds up Lancaster, Dares stir a wing, if Warwick shake his bells. 13 194 KING HENRY VI—PART III. [Act I, I'll plant Plantagenet, root him up who darcs.— Resolve thec, Richard: claim the English crown. [Warwick leads York to the throne, who scats himself. Flourish. Enter King HENRY, CLIFFORD, NORTH- UMBERLAND, WESTMORELAND, EXETER, and others, with red roses in their igtts. K. Hen. My lords, look where the sturdy rebel sits, Even in the chair of state! belike, he means, 51 Back’d by the power of Warwick, that false peer, ‘To aspire unto the crown, and reign as king.— Earl of Northumberland, he slew thy father, — And thine, Lord Clifford; and you both have vow’d revenge On him, his sons, his favourites, and his friends. North. If Lbe not, heavens be reveng’d on me! clif. The joe thereof makes Clifford mourn in steel. West. ve shall we suffer this? let’s pluck him own: My heart for anger burns, I cannot brook it. kK. Hen. Be patient, gentle Earl of Westmoreland. Clif. Patience is for poltroons, such as he: He durst not sit there, had your father liv'd. My gracious lord, here in the parliament Let us assail the family of York. North. Well hast thou spoken, cousin: be it so. A. Hen. Ah! know you not, the city favours them, And they have troops of soldiers at their beck? fixe. But when the duke is slain, they’ll quickly fly. kK. ane, Far be the thought of this from Henny eart, 7 To make a shambles of the parliament-house ! Cousin of Exeter, frowns, words, and threats, Shall be the war that Henry means to use. : [They advance to the DUKE. Thou factious Duke of York, descend my throne, And kneel for grace and mercy at my feet ; Iam thy sovereign. York. Iam thine. iixe. For shame! come down: he made thee Duke of York. York. ’T was my inheritance, as the earldom was. fire. Thy father was a traitor to the crown. Tar, Exeter, thou art a traitor to the crown, 80 In following this usurping Henry. ~ Cf, Whom should he follow but his natural king? War. 7 Clifford ; and that’s Richard, Duke of ork. 4. Hen. And shall I stand, and thou sit in my throne? York. It must and shall be so. Content thyself. War. Be Duke of Lancaster: let him be king. West. He is both king and Duke of Lancaster; And that the Lord of Westmoreland shall maintain. War. And Warwick shall disprove it. You forget, That we are those which chas’d you from the field, 90 And slew your fathers, and with colours spread March’d through the city to the palace gates. North. Yes, Warwick, I remember it to my grief; And, by his soul, thou and thy house shall rue it. West. Plantagenet, of thee, and these thy sons, Thy kinsmen, and thy friends, I’ll have more lives, Than drops of blood were in my father’s veins. Clif. Urge it no more; lest that instead of words I send thee, Warwick, such a messenger, As shall revenge his death before I stir. 100 War. Poor Clifford! how I scorn his worthless threats. ¢ York. Will you, we show our title to the crown? If not, our swords shall plead it in the field. K. Hen. What title hast thou, traitor, to the crown? Thy father was, as thou art, Duke of York; Thy grandfather, Roger Mortimer, Earl of March. I am the gon of Henry the Fifth, Who made the Dauphin and the French to stoop, And seiz’d upon their towns and provinces. War. Talk not of France, sith thou hast lost it all. kK. Hen. The lord protector lost it, and not I: ul When I was crown'd, I was but nine months old. ich. You are old enough now, and yet, methinks, you lose. Father, tear the crown from the usurper’s head. iw. Sweet father, do so: set it on your head. Mont. [To Yor«K.] Good brother, as thou lov’st-and honour’st arms, Let’s fight it out, and not stand cavilling thus. Rich. Sound drums and trumpets, and the king will cs y. York. Sons, peace! 4A. Hen. Peace thou, and give King Henry leave to speak. War. 5 ene shall speak first: hear him, ords ; And be you silent-and attentive too, For he that interrupts him shall not live. dx. Hen. Think’st thou, that I will leave my kingly throne, Wherein my eee and my father sat? No: first shall war unpeople this my realm ; Ay, and their colours—often borne in France, and now in England, to our heart’s great sorrow,— Shall be my winding-sheet.—Why faint you, lords? My title ’s good, and better far than his. 30 Var. Prove it, Henry, and thou shalt be king. 4A. Hen. Henry the Fourth by conquest got the crown. York. "! was by rebellion against his king. A. Hen. [Aside.] I know not what to say: my title’s weak.— Tell me, may not a king adopt an heir? York. What then? A. Hen. An if he may, then am I lawful king; For Richard, in the view of many lords, Resign’d the crown to Henry the Fourth, Whose heir my father was, and I am his. York. He rose against him, being his sovereign, And made him to resign his crown perforce. g Var. Suppose, my lords, he did it unconstrain’d, , Think you, ‘t were prejudicial to his crown ? P Exe. No; for he could not so resign his crown, But that the next heir should succeed and reign. A. Hen. Art thou against us, Duke of Exeter? itxe. His is the right, and therefore pardon me. York. Why whisper you, my lords, and answer not? Exe. My conscience tells me he is lawful king. 150 A. Hen. All will revolt from me, and turn to him. North. Plantagenet, for all the claim thou lay’st, Think not, that Henry shall be so depos’d. IVar. Depos’d he shall be in despite of all. North. Thou art deceiv’d: ’tis not thy southern 140 ower, of Basex Norfelle, Suffolk, nor of Kent,— Which makes thee thus presumptuous and proud,— Can set the duke up in despite of me. ~ Clif. King Henry, be thy title right or wrong, Lord Clifford vows to fight in thy defence : 160 May that ground gape, and swallow me alive, Where I shall kneel to him that slew my father! AK. Hen. O Clifford, how thy words revive my heart ! York. Henry of Lancaster, resign thy crown. What mutter you, or what conspire you, lords? War. Do right unto this princely Duke of York, Or I will fill the house with armed men, And o'er the chair of state, where now he sits, Write up his title with usurping blood. . [He stamps with his foot, and the Soldiers show themselves. , ? K. Hen. My Lord of Warwick, hear me but wy word. Let me for this my life-time reign as king. . : York. Confirm the crown to me, and to mine heirs, And thou shalt reign in quiet while thou liv’st. 4A. Hen. Tam content: Richard Plantagenet, Enjoy the kingdom after my decease. | ; Clif. What wrong is this unto the prince pe son! War. What good is this to England, and imself! West. Base, tearful, and despaiuing Henry! Clif. How hast thou injur'd both thyself and us! West. I cannot stay to hear these articles, 80 North. Nor 1. : = Scene II.] KING HENRY VI—-PART III. 195 Clif. Come, cousin, let us tell the queen these news. West. Farewell, faint-hearted and degenerate king, In whose cold blood no spark of honour bides. North. Be thou a prey unto the house of York, And die in bands for this unmanly deed! Clif. In dreadful war may’st thou be overcome, Or live in peace, abandon’d, and despis‘d! [Exreunt NORTHUMBERLAND, CLIFFORD, and WESTMORELAND. War. Turn this way. Henry, and regard them not. Exe. They seek revenge, and therefore will not yield. 190 K. Hen. Ah, Exeter! War. Why should you sigh, my lord? A. Hen. Not for myself, Lord Warwick, but my son, Whom I unnaturally shall disinherit. But be it as it may, I here entail The crown to thee, and to thine heirs for ever ; Conditionally, that here thou take an oath To cease this civil war, and, whilst I live, York, “ Farewell, my gracious lord: [‘ll to my castle.” To honour me as thy king and sovereign ; And neither by treason, nor hostility, To seek to put me down, and reign thyself. York. This oath I willingly take, and will perform. [Coming from the throne. War. Long live King Henry !—Plantagenet, em- brace him. K. Hen. And long live thou, and these thy forward sons! York. Now York and Lancaster are reconcil'd. Exe. Accurs'd be he that seeks to make them foes! [Sennet. The Lords come forward. York, Farewell, my gracious lord: I'll to my castle. War. And I'll keep London with my soldiers. Norf. And I to Norfolk with my followers. Mont. And I unto the sea from whence I came. [Ereunt York and his Sons, WARWICK, NOR- FOLK, MONTAGUE, Soldiers, and Attendants. K. Hen. And I, with grief and sorrow, to the court. Enter Queen MARGARET and the Prince of WALES. Exe. Here comes the queen, whose looks bewray her anger: 211 Tllsteal away. C. Hen. Exeter, so will I. . Mar, Nay, go not from me ; I will follow thee. \. Hen. Be patient, gentle queen, and I will stay. », @- Mar. Who can be patient in such extremes ? Ah, wretched man! ’would I had died a maid, And never seen thee, never borne thee son, Seeing thou hast prov’d so unnatural a father! 200 Hath he deserv’d to lose his birthright thus? Hadst thou but lov’d him half so well as I, 220 Or felt that pain which I did for him once, Or nourish'd him, as I did with my blood, Thou wouldst have left thy dearest heart-blood there, Rather than have made that savage duke thine heir, And disinherited thine only son, Prince. Father, you cannot disinherit me. If you be king, why should not I succeed ? dv. Hen. Pardon ine, Mafgaret ;—pardon me, sweet son :— The Earl of Warwick and the duke enfore’d me. Q. Mar. Enfore’d thee! art thou king, and wilt be fore'd? 2 I shame to hear thee speak. Ah, timorous wretch ! Thou hast undone thyself, thy son, and me, And given unto the house of York such head, As thou shalt reign but by their sufferance. To entail him and his heirs unto the crown, What is it, but to make thy sepulchre, And creep into it far before thy time ? Warwick is chane: llor, and the Lord of Calais ; Stern Faulconbridge commands the narrow seas ; The duke is made protector of the realm ; And yet shalt thou be safe? such safety finds 241 The trembling lamb, environed with wolves. Had I been there, which am a silly woman, The soldiers should have toss'd me on their pikes, Before I would have granted to that act ; But thou preferr’st thy lite before thine honour : And seeing thou dost, I here divorce myself, Both from thy table, Henry, and thy bed, Until that act of parliament be repeal'd, Whereby my son is disinherited. 250 The northern lords, that have forsworn thy colours, Will follow mine, if once they see them spread ; And spread they shall be, to thy foul disgrace, And utter ruin of the house of York. Thus do I leave thee.—Come, son, let's away: Our army is ready; come, we'll after them. K. Hen. Stay, gentle Margaret, and hear me speak. Q. Mar. Thou hast spoke too much already: get thee gone. AK. Hen. Gentle son Edward, thou wilt stay with me? Q. Mar, Ay, to be murder’d by his enemies. 260 Prince. When I return with Victory from the field, Tl see your grace; till then, I'll follow her. Q. Mar. Come, son, away! we may not linger thus. [Exreunt Queen MARGARET and the PRINCE. K. Hen. Poor queen! how love to me, and to her son, Hath made her break out into terms of rage! Reveng'd may she be on that hateful duke, Whose haughty spirit, winged with desire, Will cost my crown, and, like an empty eagle, | Tire on the flesh of me and of my son! | The loss of those three lords torments my heart: I‘ write unto them, and entreat them fair. — o- = 0 Come, cousin ;’ you shall be the messenger. Exe. And I, I hope, shall reconcile them all. [Excunt. ScENE II.—A Room in Sandal Castle, near Wakefield. Enter EDWARD, RICHARD, and MONTAGUE. Rich. Brother, though I be youngest, give me leave. Edw. No, Lean better play the orator. : Mont. But I have reasons strong and forcible. Enter York. York. Why, how now, sons and brother, at a strife? : What is your quarrel? how began it first? 196 KING HENRY VI—PART III. [Act L Edw. No quarrel, but a slight contention. York. About what? Rich. About that which concerns your grace, and us; The crown of England, father, which is yours. York. Mine, boy? not till King Henry be dead. 10 Rich. Your right depends not on his life, or death. filw. Now you are heir, therefore enjoy it now: By giving the house of Lancaster leave to breathe, It will outrun you, father, in the end. : | York. 1 took an oath that he should quietly reign. Edw. But for a kingdom any oath may be broken : I would break a thousand oaths to reign one year. Rich. No; God forbid, your grace should be for- sworn. York. I shall be, if I claim by open war. Rich. I'll prove the contrary, if you’ll hear me speak. ie | 20 York. Thou canst not, son : it is impossible. Rich, An oath is of no moment, being not took Before a true and lawful magistrate, That hath authority over him that swears: Henry had none, but did usurp the place ; Then, seeing ’t was he that made you to depose, Your oath, my lord, is vain and frivolous. Therefore, toarms. And, father, do but think, How sweet a thing it is to wear a crown, Within whose circuit is Elysium, And all: that poets feign of bliss and joy. Why do we linger thus? I cannot rest, Until the white rose, that I wear, be dyed Even in the lukewarm blood of Henry's heart. York. Richard, enough: I will be king, or die.— Brother, thou shalt to London presently, And whet on Warwick to this enterprise.— Thou, Richard, shalt to the Duke of Norfolk And tell him privily of our intent.— You, Edward, shall unto my Lord Cobham, With whom the Kentishmen will willingly rise : In them I trust; for they are soldiers, Witty, courteous, liberal, full of spirit.— While you are thus employ’d, what resteth more But that I seek occasion how to rise, And yet the king not privy to my drift, Nor any of the house of Lancaster ? 30 40 Einter a Messenger. But, stay. ee news? Why com’st thou in such ost ? Mess. The queen with aJl the northern earls and Intend here to besiege you in your castle. 50 She is hard by with twenty thousand men, And therefore fortify your hold, my lord. York. Ay, with my sword. What! think’st thou, that we fear them ?— Edward and Richard, you shall stay with me; My brother Montague shall post to London: Let noble Warwick, Cobham, and the rest, Whom we have left protectors of the king, With powerful policy strengthen themselves, And trust not Sante Henry, nor his oaths. Mont. Brother, I go; I'll win them, fear it not: 60 And thus most humbly I do take my leave. [E£xit. Enter Sir JoHN and Sir HuGH MortiMErR. York. Sir John, and Sir Hugh Mortimer, mine uncles, You are come to Sandal in a happy hour; The army of the queen mean to besiege us. Sir John. She shall not need, we'll meet her in the eld. York. What, with five thousand men? Rich. Ay, with five hundred, father, for a need. A woman’s general; what should we fear? 7: [4 march afar off. Edw. I hear their drums: let’s set our men in order, And issue forth, and bid them battle straight. 7 York. Five men to twenty !—though the odds be great, I doubt not, uncle, of our victory. Many a battle have I won in France, Whenas the enemy hath been ten to one: Why should I not now have the like success? [Alarum. Exeunt, ScENE III.—Plains near Sandal Castle, Alarums : Excursions, sonier RUTLAND and his utor, Rut. Ah! whither shall I fly to ’scape their hands? Ah, tutor! look, where bloody Clifford comes, Enter CLIFFORD and Soldiers. Clif. Chaplain, away: thy priesthood saves thy life, As for the brat of this accursed duke, Whose father slew my father, he shall die. Tut. And I, my lord, will bear him company. Clif. Soldiers, away with him. Tut. Ah, Clittord! murder not this innocent child, Lest thou be hated both of God and man. Exit, forced off by Soldiers, Clif. How now ! is he dead already? Or is it fear That makes him close his eyes? I'llopenthem. 11 fut. So looks the pent-up lion o’er the wretch That trembles under his devouring paws; And so he walks, insulting o’er his prey, And so he comes to rend his limbs asunder.— Ah, gentle Clifford! kill me with thy sword, And not with such a cruel threatening look. Sweet Clittord! hear me speak before I die: I am too mean a subject for thy wrath ; Be thou reveng’d on men, and let me live. 20 Clif. ee thou speak’st, poor boy: my father’s loo! Hath plopp e. the passage where thy words should enter Rut. Then let my father’s blood open it again: He is a man, and, Clifford, cope with him. Clif. Had I thy brethren here, their lives and thine Were not revenge sufticient for me. No, if I digg’d up thy forefathers’ graves, And hung their rotten coffins up in chains, It could not slake mine ire, nor ease my heart. The sight of any of the house of York Is as a fury to torment my soul; And till I root out their accursed line, And leave not one alive, I live in hell. Therefore— fut. O! let me pray before I take my death.- To thee I pray : sweet Clifford, pity me! cus. Such pity as my rapier’s point affords. Rut. [never did thee harm: why wilt thou slay me? Clif. Thy father hath. Rut. But ’t was ere I was born. Thou hast one son, for his sake pity me, 40 Lest, in revenge thereof, sith God is just, He be as miserably slain as I. Ah! let me live in prison all my days; And when I give occasion of offence, Then let me die, for now thou hast no cause. Clif. No cause? : Thy father slew my father: therefore, die. [Stabs him. Rut. Di faciant, laudis summa sit ista tue! [Dies clif. Plantagenet! I come, Plantagenet ! And this thy son’s blood, cleaving to my blade, Shall rust upon my weapon, till thy blood ‘ Congeal’d with this, do make me wipe off both. [Erit. Screnr IV.—The Same. Alarum. Enter YorK. York. The army of the queen hath got the field: My uncles both are slain in rescuing me ; And all my followers to the eager foe Turn back, and fly like ships before the wind, Or lambs pursu’d by hunger-starved wolves. ' My sons—God knows, what hath bechanced them: But this I know, they have demean’d themselves Like men born to renown, by life, or death. Three times did Richard make a lane to me, ScENE III] KING HENRY VI—PART III. 197 And thrice cried,—‘‘ Courage, father! fight it out!” 10 And full as oft came Edward to my side, With purple faulchion, painted to the hilt In blood of those that had encounter’d him: And when the hardiest warriors did retire, Richard cried,—‘*Charge! and give no foot of round !” And cried,—‘‘ A crown, or else a glorious tomb! A sceptre, or an earthly sepulchre !” With this, we charg’d again ; but, out, alas! We bodg'd again: asIT have seenaswan — With bootless labour swim against the tide, 20 And spend her strength with over-matching waves. [4 short alarum within. Ah, hark ! the fatal followers do pursue ; And I am faint, and cannot fly their fury ; And were I strong, I would not shun their fury. The sands are number’d, that make up my ife ; Here must i stay, and here my life must. end. Enter Queen’ MARGARET, CLIFFORD. NORTHUMBERLAND, the young PRINCE, and Soldiers. Come, bloody Clifford,—rough Northum- berland,— I dare your quenchless fury to more rage. Iam your butt, and I abide your shot. North. Yield to our mercy, proud Plan- tagenet. Clif. Ay, to such mercy, as his ruthless arm With downright payment show’d unto my father. Now Phaethon hath tumbled from his car, And made an evening at the noontide prick. York. My ashes, as the phcenix, may bring forth A bird that will revenge upon you all; And in that hope I throw mine eyes to heaven, Scorning whate’er you can afflict me with. why come you not ?—what! multitudes, and fear? Clif. So cowards fight, when they can fly no further; So.doves do peck the falcon’s piercing talons; 1 So desperate thieves, all hopeless of their lives, ;| Breathe out invectives ‘gainst the officers. York. O Clifford! but bethink thee once again, And in thy thought o’errun my former time ; And, if thou canst for blushing, view this face, And bite thy tongue, that slanders him with cowardice, Whose frown hath made thee faint and fly ere this. Clif. I will not bandy with thee word for word, But buckle with thee blows, twice two for one. 50 [Draws. Q. Mar. Hold, valiant Clifford! for « thousand causes I would prolong awhile the traitor’s life.— Wrath makes him deaf: speak thou, Northumberland. North. Hold, Clifford! do not honour him so much To prick thy finger, though to wound his heart. hat valour were it, when a cur doth grin, For one to thrust his hand between his teeth, When he might spurn him with his foot away? It is war’s prize to take all vantages, And ten to one is no impeach of valour. 60 Fi [They lay hands on YorK, who struggles. Clif. Ay, ay : 80 strives the woodcock with the gin. North. So doth the cony struggle in the net. [(YorxK is taken prisoner. York. So triumph thieves upon their conquer’d 5‘ jooty ; ‘So true men yield, with robbers so o’ermatch’d. ; North. What would your grace have done unto him ‘ now? 4 Q. Mar. Brave warriors, Clifford and Northumber- lan: ‘Come, make him stand upon this molehill here, ‘That raught at mountains with outstretched arms, ist parted but the shadow with his hand.— What! was it you, that would be England’s king? 70 Was’t you that revell’d in our parliament, And made a preachment of your high descent? Where are your mess of sons to back you now? The wanton Edward, and the lusty George ? And where’s that valiant crook-back prodigy, Dicky your boy, that, with his grumbling voice, Was wont to cheer his dad in mutinies ? Or, with the rest, where is your darling Rutland ? Look, York: I stain’d this napkin with the blood That valiant Cliiford with his rapier’s point Made issue from the bosom of the boy ; And if thine eyes can water for his death, I give thee this to dry thy cheeks withal. y. Mar. “ Ay, marry, sir, now looks he like a king.” | Alas, poor York! but that I hate thee deadly, I should lament thy miserable state. I pr’ythee, grieve, to make me merry, York: hat, hath thy flery heart so parch’d thine entrails, That not a tear can fall for Rutland’s death? Why art thou patient, man? thou shouldst be mad; And I, to make thee mad, do mock thee thus. 90 Stamp, rave, and fret, that I may sing and dance. Thou wouldst be fee’d, I see, to make me sport ; York cannot speak, unless he wear a crown.— A crown for York !—and, lords, bow low to him.— Hold you his hands, whilst I do set it on.— [Putting a paper crown on his head. Ay, marry, sir, now looks he like a king. | Ay, this is he that took King Henry’s chair And this is he was his adopted heir.— But how is it, that great Plantagenet Is crown’d so soon, and broke his solemn oath ? As I bethink me, you should not be king, Till our King Henry had shook hands with death. And will you pale your head in Henry’s glory, And rob his temples of the diadem,” Now in his life, against your holy oath? QO! ‘tis a fault too too unpardonable.— Of with the crown; and, with the crown, his head ! And, whilst we breathe, take time to do him dead. Clif. That is my office, for my father’s sake. Q. Mar. Nay, stay; let’s hear the orisons ie 100 makes. York. She-wolf of France, but worse than wolves of France ; Whose tongue more poisons than the adder’s tooth ! How ill-beseeming is it in thy sex, To triumph, like an Amazonian trull, Upon their woes whom fortune captivates ! But that thy face is, visor-like, unchanging, Made impudent with use of evil deeds, I would assay, proud queen, to make thee blush: To tell thee whence thou cam’st, of whom deriv’d, / 198 KING HENRY VIL—PART III. [Acr IL. Were shame enough to shame thee, wert thou not shameless, 2 Thy father bears the type of King of Naples, Of both the Sicils, and verusilent, Yet not so wealthy as an Jtnglish yeoman. Hath that poor monarch taught thee to insult ? It needs not, nor it boots thee not, proud queen ; Unless the adage must be veritied, That beggars, mounted, run their horse to death, ’Tis beauty that doth oft make women proud ; But, God he knows, thy share thereof is small. Tis virtue that doth make them most adinir‘d ; The contrary doth make thee wonder’d at. *T is government that makes them seem divine ; The want thercof makes thee abominable. Thou art as opposite to every good, As the Antipodes are unto us, Or as the south to the septentrion. O tiger's heart, wrapp'd in a woman’s hide! How couldst thou drain the life-wlood of the child, ‘lo bid the father wipe his eyes withal ; And yet be seen to bear a woman's face ? Women are soft, mild, pitiful, and flexible ; Thou stern, obdurate, flinty, rough, remorseless. Bida'st thou me rage? why, now thou hast thy wish: Wouldst have me weep? why, now thou hast thy will. For raging wind blows up incessant showers, And when the rage allays, the rain begins. These tears ure my sweet Rutland’s obseiuies, And every drop cries vengeance for his death, ’Gainst thee, tell Clitford, and thee, false French- 130 110 . woman. : North. Beshrew me, but his passions move me so, That hardly can I check my eyes from tears. 151 York. That tace of his the hungry cannibals Would a have touch’d, would not have stain’d with But you are more inhuman, more inexorable, Q, ten times more, than tigers of Hyrcania, Sce, ruthless queen, a hapless father’s tears ! This cloth thou dipp’dst in blood of my sweet boy, And I with tears do wash the blood away. Keep thou the napkin, and go boast of this; And if thou tell’st the heavy story right, Upon my soul, the hearers will shed tears; Yea, even'my foes will shed fast-falling tears, And say,—"* Alas! it was a piteous deed.”— There, take the crown, and with the crown my curse, And in thy need such comfort come to thee, ; as now I reap at thy too cruel hand !— Hard-hearted Cliftord, take me trom the world; My soul to heaven, my blood upon your heads ! North. Had he been slaughter-man to all my kin, I should not, for my life, but weep with him, 170 To see how inly sorrow gripes his soul. Q. ee ae weeping-ripe, my Lord Northumber- and? Think but upon the wrong he did us all, And that will quickly dry thy melting tears. Clif. Here’s for my oath; here's for my father’s death. . [Stabbing him. Q. Mar, And here’s to right our gentle-hearted king. [Stabbing him, York. Open thy gate of mercy, gracious God ! My soul flies through these wounds to seek out thee, Sag : [Dies. Q. Mar. Off with his head, and set it on York gates: So York may overlook the town of York. 180 [Flourish. Ezxeunt. 160 ACT IT. Scene I.—A Plain near Mortimer’s Cross in Herefordshire. A March. 20 Edward. ma WONDER, how onr princely father’scap'd ; fh; Or whether he be 'scap'd away, or no, From Clitford’s and Northumberland’s pursuit. Had he been ta’en, we should have heard the news ; Had he been slain, we should have heard the news; Or had he ‘seap’d, methinks we should have heard The happy tidings of his good escape.— How fares my brother? why is he so sad? Rich. I cannot joy, until I be resolv’d Where our right valiant father is become. I saw him in the battle range about, 11 And watch’d him how he singled Clifford forth. Methought, he bore him in the thickest troop, As doth a lion in a herd of neat: Or as a bear, encompass’d round with dogs ; Who having pinch’d a few, and made them cry, The rest stand all aloof, and bark at him. So far'd our father with his enemies; So fled his enemies my warlike father : Methinks, ’tis prize enough to be his son. 20 Enter Evwarp and RICHARD, with their Power. See, how the morning opes her golden gates, And takes her farewell of the glorious sun : How well resembles it the prime of youth, Trimm’d like a younker, prancing to his love! Edw. Dazzle mine eyes, or do I see three suns? Rich. Three glorious suns, each one a_ perfect sun, Not separated with the racking clouds, But sever’d in a pale clear-shining sky. ‘ See, see! they join, embrace, and seem to kiss, As if they vow'd some league inviolable : Now are they but one lamp, one light, one sun! In this the heaven figures some event. Edw. ’Tis wondrous staange, the like yet never heard of. I think, it cites us, brother, to the field, That we. the sons of brave Plantagenet, Each one already blazing by our mecds, Should, notwithstanding, join our lights together, And over-shine the earth, as this the world. Whate’er it bodes, henceforward will I bear ‘ Upon my target three fair-shining suns. 4 ich. Nay, pour three daughters: by your leave I ea 3 it, | You love ihe breeder better than the male. ScENE I.] KING -HENRY VI.—PART II. 199 Enter a Messenger. Bearing the king in my behalf along ; But what art thou, whose heavy looks foretell Re ee ee ee ee Ein alten Sonie dreadful BLory hanging on thy tongue ? To dash our late decree in parliament, betes ne t Ue ee ce eee Touching King Henry's oath and your succession. Whenas ael fathers and my lowe lotde Short tale to make,—we at Saint Albans met, 120 Your eo gee Be are y for Thee heard too | Gur battles join’d, and both sides fiercely fought ; Edw. aol, ‘ Bul a eee i oe a an king, i i : . aa ho look’d full gently on his warlike queen, Rich, Say, how he died, for I will hear it all. That robb'd my soldiers of their heated spleen, Mess. Environed he was ae many Toes ; 50 | Op whether ’t was report of her success And stood against chem, bs Ue hope of ‘Troy Or more than common fear of Clitford’s rigour, Against the Greeks, that would have enter’d Troy. Who thunders to his captives blood and death But Hercules Hele SHE oe to odds ; I cannot judge: but, to conclude with truth, ” aud Pn ee oe ee Their weapons like to lightning came and went; ew eo sandaa our father baud. Our soldiers’—like the night-owl’s lazy flight, 130 pee Aiea he'd by ahe: ietnrere ; Or like an idle thresher with a flail, — OF On Sie Clifford, and the queen, Fell gently down, as if they struck their friends. unrelenting: acious.dulee queen, vee I cheer’d them up with justice of our cause, Who crown’d the gracious duke in high despite ; With promise of high pay and great rewards : Laugh’d in his face; and, when with grief he wept, But Allin vain they hadnoheart-tofieht:, The ruthless queen gave him, to dry his cheeks, OL And we. in then. no hope to win the day 2 A napkin steeped in the harmless blood ‘ So that we fled: the king unto the queen: Of sweet young Rutland, by rough, Cliimord slain : Lord George your brother, Norfolk, and myself, And, after pes hs eae eae fo i eee k In haste, post-haste, are come to join with you; They took his head, and on the gates of Yor For in the marches here, we heard, you were, 140 They set the same ; and there it doth remain, The saddest spectacle that e’er I viewd. Edw. Sweet Duke of York! our prop to lean upon, Now thou art gone, we have no staif, no stay. O Clifford! boisterous Clifford! thou hast slain 70 The flower of Europe for his chivalry ; And treacherously hast thou vanquish’d him, For, hand to hand, he would have vanquish’d thee. Now, my soul’s palace is become a prison: Ah! would she break from hence, that this my body Might in the ground be closed up in rest ! For never henceforth shall I joy again, Never, O! never, shall I see more joy. Rich. I cannot weep, for all my body’s moisture 79 Scarce serves to quench my furnace-burning heart : Nor can my tongue unload my heart’s-great burden ; For selfsame wind, that I should speak withal, Is kindling coals that fire all my bréast, And burn me up with flames that tears would quench. : To weep is to make less the depth of grief : Tears, then, for babes ; blows and revenge for me !— Richard, I bear thy name, I'll venge thy death, Or die renowned by attempting it. Edw. His name that valiant duke hath left with thee; His dukedom and his chair with me is left. 90 Rich. Nay, if thou be that princely eagle’s bird, Show thy descent by gazing ’gainst the sun: For chair and dukedom, throne and kingdom say ; Hither that is thine, or else thou wert not his. March. Enter Warwick and MONTAGUE, with their Army. War. How now, fair lords? What fare? what news abroad ? Rich. Great Lord of Warwick, if we should recount Our baleful news, and at each word's deliverance Stab poniards in our flesh till all were told, The words would add more anguish than the wounds. 0 valiant lord! the Duke of York is slain. 100 Edw. O Warwick! Warwick ! that Plantagenet, Which held thee dearly as his soul's redemption, Is by the stern Lord Clifford done to death. War. Ten days ago I drown’d these news in tears, And now, to add more measure to your woes, I come to tell you things sith then befallen. After the bloody fray at Wakefield fought, Where your brave father breath’d his latest gasp, Tidings, as swiftly as the pests could run, Were rought me of your loss, and his depart. I, then in London, keeper of the king, Muster’d my soldiers, gather’d flocks of friends, And very well appointed, as I thought, arch’d towards Saint Albans to intercept the queen, : ne . 110 Making another head to fight again. fidw. W ae is the Duke of Norfolk, gentle War- : wic And when came George from Burgundy to England? War. Some six miles off the duke is with the soldiers ; And for your brother, he was lately sent From your kind aunt, Duchess of Burgundy, With aid of soldiers to this needful war. Rich. ’T was odds, belike, when valiant Warwick Oft have I heard his praises in pursuit, But ne’er, till now, his scandal of retire. 150 War. Nor now my scandal, Richard, dost thou ear; For thou shalt know, this strong right hand of mine Can pluck the diadem from faint Henry’s head, And wring the awful sceptre from his fist, Were he as famous, and as bold in war, As he is fam’d for mildness, peace, and prayer. Rich. I know it well, Lord Warwick ; blame me not: *T is love I bear thy glories makes me speak. But in this troublous time, what’s to be done? Shall we go throw away our coats of steel, And wrap our bodies in black mourning gowns, Numbering our Ave-Maries with our beads? Or shall we on the helmets of our foes Tell our devotion with revengeful arms ? If for the last, say—Ay, and to it, lords. War. Why, therefore Warwick came to seek you out, And therefore comes my brother Montague. Attend me, lords. The proud insulting queen, With Clifford, and the haught Northumberland, And of their feather many more proud birds, Have wrought the easy-melting king like wax. He swore consent to your succession, His oath enrolled in the parliament ; And now to London all the crew are oone To frustrate both his oath, and what eside May make against the house of Lancaster: Their power, I think, is thirty thousand strong. Now, if the help of Norfolk, and myself, With all the friends that thou, brave Earl of March, Amongst the loving Welshmen canst procure, 8 Will but amount to five-and-twenty thousand, Why, Via! to London will we march amain, And once again bestride our foaming steeds, And once again cry—Charge! upon our foes! But never once again turn back, and fly. ; Rich. Ay, Hews methinks, I hear great Warwick speak. Ne’er may he live to see a sunshine day, That cries—Retire, if Warwick bid him stay. Edw. Lord Warwick, on thy shoulder will I lean; 160 170 200 KING HENRY VI—PART III. [Acr I, And when thou fail'st, (as God forbid the hour!) 190 , I'll leave my son my virtuous deeds behind ; Must Edward fall, which peril Heaven forfend ! And ‘would my father had left me no more; 50 War. No longer Earl! of March, but Duke of York : The next degree is England’s royal throne ; For King of England shalt thou be proclaim’d In every borough as we pass along; And he that throws not up his cap for joy, Shall for the fault make forfeit ot his head. King Edward,—valiant Richard, —Montague,— Stay we no longer dreaming of renown, But sound the trumpets, and about our task. 200 Rich. ee Clitford, were thy heart as hard as steel, As thou hast shown it flinty by thy deeds, I come to pierce it, or to give thee mine. . Edw. Then strike up, drums!—God and Saint George for us! Enter a Messenger. War. How now? what news? Mess. The Duke of Norfolk sends you word by me, The queen is coming with a puissant host ; And craves your company for speedy counsel. War. Why then it sorts: brave warriors, away. [ let's ceunt, ScENE II.—Before York. Flourish. Enter King HENRY, Qucen MARGARET, the Prince of WaLeEs, CLIFFORD, and NORTH- UMBERLAND, with drums and trumpets. Q. a ee my lord, to this brave town of ork. Yonder's the head of that arch-enemy, That sought to be encompass’d with your crown: Doth not the object cheer your heart, my lord? 4A. Hen, Ay, as the rocks cheer them that fear their wrack : To see this sight, it irks my very soul.— Withhold revenge, dear God! ’tis not my fault. Nor wittingly have I infring’d my vow. Clif. My gracious liege, this too much lenity, And harmful pity, must be laid aside. To whom do lions cast their gentle looks? Not to the beast that would usurp their den. Whose hand is that the forest bear doth lick ? Not his that spoils her young before her face. Who’scapes the lurking serpent’s mortal sting ? Not he that sets his foot upon her back. The smallest worm will turn, being trodden on; And doves will peck in safeguard of their brood. Ambitious York did level at thy crown ; Thou smiling, while he knit his angry brows: He, but a duke, would have his son a king, And raise his issue like a loving sire ; Thou, being a king, bless’d with a goodly son, Didst yield consent to disinherit him, Which argu’d thee a most unloving father. Unreasonable creatures feed their young ; And though man’s face be fearful to their eyes, Yet, in protection of their tender ones, Who hath not seen them, even with those wings Which sometime they have us’d with fearful flight, Make war with him that climb’d unto their nest, Otfering their own lives in their young’s defence ? For shame, my liege! make them your precedent. Were it not pity, that this goodly boy Should lose his birthright by his father’s fault, And long hereafter say unto his child, — “ What my great-grandfather and grandsire got, My careless father fondly gave away.” Ah! what a shame were this! Look on the boy; And let his manly face, which promiseth Successful fortune, steel thy melting heart To hold thine own, and leave thine own with him. A. Hen. Full well hath Clifford play’d the orator, Inferring arguments of mighty force. But, Clitford, tell me, didst thou never hear, That things ill got had ever bad success? And happy always was it for that son, Whose father for his hoarding went to hell? 10 20 31 | | For all the rest is held at such a rate As brings a thousand-fold more care to keep, Than in possession any jot of pleasure. Ah, cousin York ! ’would thy best friends did know How it doth grieve me that thy head is here! @. Mar. My lord, cheer up your spirits: our foes are nigh, And this soft courage makes your followers faint, You promis’d knighthood to our forward son; Unsheathe your sword, and dub him presently,— Edward, kneel down. K. Hen, Edward Plantagenet, arise a knight; And learn this lesson,—Draw thy sword in right. Prince. My gracious father, by your kingly leave, I'll draw it as apparent to the crown, And in that quarrel use it to the death. Clif. Why, that is spoken like a toward prince. 60 Enter a Messenger. Mess. Royal commanders, be in readiness : For, with a band of thirty thousand men, Comes Warwick, backing of the Duke of York; And in the towns, as they do march along, 70 Proclaims him king, and many fly to him. Darraign your battle, for they are at hand. Clif. IT would, your highness would depart the field: The queen hath best success when you are absent. Q. Mar. Ay, good my lord, and leave us to our fortune. K. Hen. sonra that’s my fortune too; therefore I'll stay. North. Be it with resolution then to fight. Prince. My royal father, cheer these noble lords, And hearten those that fight in your defence. Unsheathe your sword, good father: cry, “Saint George!” 80 March, Enter EDWARD, GEORGE, RICHARD, WaAR- WICK, NORFOLK, MONTAGUE, and Soldiers. Edw. Now, perjur’d Henry, wilt thou kneel for race, And set thy diadem upon my head, Or bide the mortal fortune of the field ? Q. Mar. Go, rate thy minions, proud insulting boy! Becomes it thee to be thus bold in terms, Before thy sovereign, and thy lawful king? Edw. 1 am his king, and he should bow his knee; I was adopted heir by his consent ; Since when, his oath is broke: for, as I hear, You, that are king, though he do wear the crown, Have caus’d him, by new act of parliament, To blot out me, and put his own son in. Clif. And reason too: Who should succeed the father but the son? Rich. Are you there, butcher?—O! I cannot speak. Clif. Ay, crook-back ; here I stand, to answer thee, Or any he the proudest of thy sort. , Rich. ’T was you that kill’d young Rutland, was it not? Clif. Ay, and old York, and yet not satisfied. Rich. Te God’s sake, lords, give signal to the fight. War. What say’st thou, Henry, wilt crown? : ' Q. Mar. Why, how now, long-tongu’d Warwick! dare you speak ? When you and I met at Saint Albans last, Your legs did better service than your hands. ey War. Then't was my turn to fly, and now ‘tis thine. clif. You said so much before, and yet you fied. War. ’T was not your valour, Clifford, drove me thence. North. No, nor your manhood, that durst make you stay. Rich. Northumberland, I hold thee reverently. Break off the parley ; for scarce I can refrain The execution of my big-swoln heart Upon that Clifford, that cruel child-killer. 7 Cuf. I slew thy father: call’st thou him a child? Rich. Ay, like a dastard, and a treacherous cow: thou yield the " 101 110 Scene V.] KING HENRY VI—PART III. 201 As thou didst kill our tender brother Rutland; But ere sunset I’ll make thee curse the deed. K., Hen. Have done with words, my lords, and hear me speak. . Mar. Dety them then, or else hold close thy lips. . Hen. I pr’ythee, give no limits to my tongue: Iam a king, and privileg’d to speak. 120 Clif. My liege, the wound, that bred this meeting here, Cannot be cur’d by words; therefore be still. - Rich. Then, executioner, unsheathe thy sword. By Him that made us all, I am resolv'd That Clifford’s manhood lies upon his tongue. Edw. Say, Henry, shall I have my right, or no? A thousand men have broke their fasts to-day, That ne’er shall dine, unless thou yield the crown. War, If thou deny, their blood upon thy head ; For York in justice puts his armour on. _, 130 Prince. If that beright, which Warwick saysisright, There is no wrong, but everything is right. Rich. Whoever got thee, there thy mother stands; For, well I wot, thou hast thy mother’s tongue. Q. Mar. But thou art neither like thy sire, nor dam; But like a foul misshapen stigmatic, Mark’d by the destinies to be avoided, | As venom toads, or lizards’ dreadful stings. Rich. Iron of Naples, hid with English gilt, Whose father bears the title of a king, (As if a channel should be call’d the sea,) Sham’st thou not, knowing whence thou art extraught, To let thy tongue detect thy base-born heart? Edw. A wisp of straw were worth a thousand crowns, To make this shameless callat know herself, Helen of Greece was fairer far than thou, Although thy husband may be Menelaus; And ne’er was Agamemnon’s brother wrong’d By that false woman, as this king by thee. His father revell’d in the heart of France, And tam’d the king, and made the Dauphin stoop ; And had he match’d according to his state, He might have kept that glory to this day; But when he took a beggar to his bed, And grac’d thy poor sire with his bridal-day, Even then that sunshine brew'd a shower for him, That wash’d his father’s fortunes forth of France, And heap’d sedition on his crown at home. ‘ For what hath broach’d this tumult, but thy pride? . Hadst thou been meek, our title still had slept, 160 And we, in pity of the gentle king, Had slipp’d our claim until another age. Geo. But when we saw our sunshine made thy spring, ‘ And that thy summer bred us no increase, We set the axe to thy usurping root: __ And though the edge hath something hit ourselves, Yet, know thou, since we have begun to strike, We’ll never leave, till we have hewn thee down, Or bath’d thy growing with our heated bloods. Edw. And in this resolution I defy thee; Not willing any longer conference, Since thou deniest the gentle king to speak.— Sound trumpets !—let our bloody colours wave! And either victory, or else a grave. . Mar, Stay, Howard, dw. No, wrangling woman; we’ll no longer stay: These words will cost ten thousand lives this day. : [Exeunt. 140 150 170 Scene III.—A Field of Battle near Towton. Alarums: Excursions. Enter WARWICK. War. Forspent with toil, as runners with a race, Ilay me down a little while to breathe; For strokes receiv'd, and many blows repaid, Have robb’d my strong-knit sinews of their strength, And, spite of spite, needs must I rest awhile. Enter EpwakD, running. Edw. Smile, gentle Heaven, or strike, ungentle ! For this world frowns, and Edward’s sun is clouded. War. How now: my lord? what hap? what hope of goo Enter GEORGE. Geo. Our hap is lost, our hope but sad despair : Our ranks are broke, and ruin follows us. 10 What counsel give you? whither shall we fly? Edw. Bootless is flight ; they follow us with wings; And weak we are, and cannot shun pursuit. Enter Ric arp. Rich. Ah, Warwick! why hast thou withdrawn thyself? Thy brother’s blood the thirsty earth hath drunk, Broach’d with the steely point of Clifford’s lance ; And in the very pangs of death he cried, Like to a dismal clangor heard from far, “Warwick, revenge! brother, revenge my death!” So, underneath the belly of their steeds, 20 That stain’d their fetlocks in his smoking blood, The noble gentleman gave up the ghost. War. Then let the earth be drunken with our blood: I'll kill my horse, because I will not fly. hy stand we like soft-hearted women kere, Wailing our losses, whiles the foe doth rage; And look upon, as if the tragedy Were play’d in jest by counterfeiting actors? Here on my knee I vow to God above, I'll never pause again, never stand still, 30 Till either death hath clos’d these eyes of mine, Or fortune given me measure of revenge. Edw. O Warwick! I do bend my knee with thine; And, in this vow, do chain my soul to thine.— And, ere my knee rise from the earth’s cold face, I throw my hands, mine eyes, my heart to thee, Thou setter-up and plucker-down of kings, Beseeching thee,—if with thy will it stands, That to my foes this body must be prey,— Yet that thy brazen gates of heaven may ope, 40 And give sweet passage to my sinful soul.— Now, lords, take leave until we meet again, Where’er it be, in heaven, or in earth. Rich. Brother, give me thy hand;—and, gentle Warwick, Let me embrace thee in my weary arms. I, that did never weep, now melt with woe, That winter should cut off our spring-time so. War. aways away! Once more, sweet lords, fare- well. Geo. Yet let us all together to our troops, And give them leave to fly that will not stay, And call them pillars that will stand to us; And if we thrive promise them such rewards As victors wear at the Olympian games. This may plant courage in their quailing breasts; For yet is hope of life, and victory.— Forslow no longer ; make we hence amain. [Exeunt. 50 ScENE IV.—The Same. Another Part of the Field. Excursions. Enter RICHARD and CLIFFORD. Rich. Now, Clifford, I have singled thee alone. Suppose, this arm is for the Duke of York, And this for Rutland ; both bound to revenge, Wert thou environ’d with a brazen wall. Clif. Now, Richard, Iam with thee here alone. This is the hand that stabb’d thy father York, And this the hand that slew thy brother Rutland; And there ’s the heart that triumphs in their death, And cheers these hands, that slew thy sire and brother, And so, have at thee! 10 ; ee Sight. WARWICK comes ; CLIFFORD flies. Rich. Nay, Warwick, single out some other chase ; For I myself will hunt this wolf to death. [Exeunt. ScENE V.—Another Part of the Field. Alarum. Enter King HENRY. K. Hen. This battle tares like to the morning’s war, When dying clouds contend with growing light ; 202 KING HENRY VI—PART JIL {Act II, What time the shepherd, blowing of his nails, Can neither call it perfect day, nor night. Now sways it this way, like a mighty sea, Fore’d by the tide to combat with the wind: Now sways it that way, like the selfsame sea, Fore’d to retire by fury of the wind: EP. ENS‘ | it! I have singled thee alone.” Rich. “ Now, Clifford, Sometime, the flood prevails; and then, the wind; Now, one the better, then, another best; Both tugging to be victors, breast to breast, Yet neither conqueror, nor conquered : So is the equal poise of this fell war. Here, on this molchill, will I sit me down. To whom God will, there be the victory; For Margaret my queen, and Clifford too, Have chid me from the battle; swearing both, They prosper best of all when [ am thence. ’Would I were dead! if God’s good will were so; For what is in this world but grief and woe? 20 O God! methinks, it were a happy life, To be no better than a homely swain; To sit upon a hill, as I do now, To carve out dials quaintly, point by point, Thereby to see the minutes how they run, How many make the hour full complete ; How many hours bring about the day ; How many days will finish up the year; How many years a mortal man may live. When this is known, then to divide the times: 30 So many hours must I tend my flock ; So many hours must I take my rest; So many hours must I contemplate ; So many hours must I sport myself ; So many days my ewes have been with young; So many weeks ere the poor fools will ean; So many years ere I shall shear the fleece: So minutes, hours, days, months, and years, Pass’d over to the end they were created, Would bring white hairs unto a quiet grave. 40 Ah, what a life were this! how sweet ! how lovely ! Gives not the hawthorn-bush a sweeter shade To shepherds looking on their silly sheep, aan oth a rich-embroider’d canopy o kings that fear their subjects’ treachery ? Oo! re, it doth; a thousand-fold it doth. And to conclude,—the shepherd’s homely curds, His cold thin drink out of his leather bottle, His wonted sleep under a fresh tree’s shade, All which secure and sweetly he enjoys, 50 Is far beyond a eee delicates, His viands sparkling in a golden cup, His body couched in a curious bed, When care, mistrust, and treason waits on him. Alarum. Enter a Son that hath killed his Father, with the dead body. Son. Ill blows the wind that profits nobody. This man, a hand to hand I slew in fight, May be possessed with somestore of crowns: And I, that haply take them from him now, May yet ae night yield both my life and em To some man else, as this dead man doth 60 me. Who’s this +O God! it is my father’s face, Whom ay {ita conidict I unawares have - . O heavy times, begetting such events! From London by the king was I press’d __ forth: My father, being the Earl of Warwick’s man, Came on the part of York, press'd by his master ; And I, who at his hands receiv'd my life, Have by my hands of life bereaved him.— Pardon me, God, I knew not what I did;— And pardon, father, for I knew not thee.— My tears shall wipe away these bloody marks 7 ; 7 And no more words, till they have flow’d their fill. K. Hen. O piteous spectacle! O bloody times ! While lions war, and battle for their dens, Poor harmless lambs abide their enmity. ‘Weep, wretched man, I'll aid thee, tear for tear ; And let our hearts, and eyes, like civil war, Be blind with tears, and break o’ercharg’d with grief, Enter a Father, who has killed his Son, with the body in his arms. Fath. Thou that so stoutly hast resisted me, Give me thy gold, if thou hast any gold, 80 For I have bought it with an hundred blows. — But let me see :—is this our foeman’s face ? Ah, no, no, no! it is mine only son !— Ah, boy! if any life be left in thee, ; Throw up thine eye : see, see, What showers arise, Blown with the windy tempest of my heart, Upon thy wounds, that kill mine eye and heart !— O, pity, God, this miserable age! What stratagems, how fell, how butcherly, Erroneous, mutinous, and unnatural, 90 This deadly quarrel daily doth beget !— O boy! thy father gave thee life too soon, And hath bereft thee of thy life too late. A. Hen. Woe above woe! grief more than common grief! O, that my death would stay these ruthful deeds! O, pity, pity! gentle Heaven, pity !— The red rose and the white are on his face, The fatal colours of our striving houses: The one his purple blood right well resembles ; The other his pale cheeks, :nethinks, presenteth ; Wither one rose, and let the other flourish! If you contend, a thousand lives must wither. Son. How will my mother, for a father’s death, Take on with me, and ne’er be satisfied ! Fath. How will my wife, for slaughter of my son, Shed seas of tears, and ne’‘er be satisfied ! kk. Hen. How will the country, for these woful chances, Misthink the king, and not be satisfied! Son. Was ever son so rued a father’s death ? Fath. Was ever father so bemoan’d his son? _ 110 K. Hen. Was ever king so griewd for subjects’ woe! Much is your sorrow ; mine, ten times so much. Son. I'll bear thee hence, where I may weep my fill. [Exit, with the body. Fath. Thesearmsof mineshall be thy winding-sheet; 100 | ScENE V.] KING HENRY VI-PART III. 203 My heart, sweet boy, shall be thy sepulchre, And Warwick rages like a chafed bull. For from my heart thine image ne’er shall go. Away ! for death doth hold us in pursuit. My sighing breast shall be thy funeral bell ; Q. Mar. Mount you, my lord: towards Berwick And so obsequious will thy father be, postamain. — Son, for the loss of thee, having no more, | Edward and Richard, like a brace of greyhounds, Q. Mar. “Mount you, my lord: towards Berwick post amain.” As Priam was for all his valiant sons. 120 , Having the fearful fiving hare in sight, 130 I'll bear thee hence ; and let them fight that will, With fiery eyes, sparkling for very wrath, For I have murder’d where I should not kill. And bloody steel] grasp’d in their ireful hands, [Evit, with the body. | Are at our backs; and therefore hence amain. Exe. Away ! for vengeance comes along with them. K. Hen. Sad-hearted men, much overgone wit. e Nay, stay not to expostulate ; make speed, Or else come after: I’ll away before. care, Here sits a king more woful than you are. ) : K. Hen. Nay, take me with thee, good sweet Alarum: Excursions. Enter Queen MARGARET, Exeter: Prince of WALES, and EXETER. Not that I fear to stay, but love to go Prince. Fly, father, fly! for all your friends are | Whither the queen intends. Forward! away! ed, | {(Exeunt. 204 KING HENRY VI—PART III. [Acr IL, ScENE VI.—The Same. Aloud Alarum. Enter CLIFFORD, wounded. Clif. Here burns my candle out ; ay, here it dies, Which, while it lasted, gave King Henry light. O Lancaster! I fear thy overthrow, More than my body’s parting with my soul. My love, and fear, glued nany friends to thee ; And, now I fall, thy tough commixture melts, Impairing Henry, strengthening misproud York ; And whither fly the gnats, but to the sun? And who shines now but Henry’s enemies? O Phoebus! hadst thou never given consent That Phaéthon should check thy fiery steeds, Thy burning car never had scorch’d the earth ; And, Henry, hadst thou sway’d as kings should do, Or as thy father, and his father, did, Giving no ground unto the house of York, They never then had sprung like summer-flies ; I, and ten thousand in this luckless realm, Had left no mourning widows for our death, And thou this day hadst kept thy chair in peace. For what doth cherish weeds but gentle air? And what makes robbers bold but too much lenity ? Bootless are plaints, and cureless are my wounds; No way to fly, nor strength to hold out flight : The foe is merciless, and will not pity ; For at their hands I have deserv’d no pity. The air hath got into my deadly wounds, And much effuse of blood doth make me faint.— Come, York, and Richard, Warwick, and the rest; I stabb’d your fathers’ bosoms, split my breast. (He faints. dlarum and Retreat. Enter EpwarpD, GEORGE, RICHARD, MONTAGUE, WARWICK, and Soldiers. Edw. Now breathe we, lords: good fortune bids us aAuse, And smooth the frowns of war with peaceful looks.— Some troops pursuc the bloody-minded queen, That led calm Henry, though he were a king, As doth a sail, fill’d with a fretting gust, Command an argosy to stem the waves. But think you, lords, that Clifford fled with them? War. No, ‘tis impossible he should escape ; For, though before his face I speak the words, Your brother Richard mark’d him for the grave ; And wheresoe’er he is, he’s surely dead. _ (CLIFFORD groans and dies. Edw. woe soul is that which takes her heavy eave 10 Rich. A deadly groan, like life and death’s departing. | i ' For in thy shoulder do I build my seat, | And never will I undertake the thing, ftich. Revoke that doom of mercy, for ’t is Clifford ; Edw. See who it is: and, now the battle ’s ended, If friend, or foe, let him be gently us’d. Who not contented that he eee the branch In hewing Rutland when his leaves put forth, But set his murdering knife unto the root From whence that tender spray did sweetly spring,— I mean, our pringel? father, Duke of York. 50 War. From off the gates of York fetch down the head, Your father’s head, which Clifford placed there ; ' The scatter'd foe that hopes to rise again ; Instead whereof, let this supply the room: Measure for measure must be answered. dw. eee) forth that fatal screech-owl to our ouse, That nothing sung but death to us and ours: Now death shall stop his dismal threatening sound, And his ill-boding tongue no more shall speak. [Attendants bring the body forward. War. I think, his understanding is bereftt.— Speak, Clitford, dost thou know who speaks to thee?_. Dark cloudy death o’ershades his beams of life, 61 And he nor sees, nor hears us what we say. Rich. O, ’would he did! and so, ‘perhaps, he doth: ’T is but his policy to counterfeit, Because he would avoid such bitter taunts Which in the time of death he gave our father. Geo. If. so thou think’st, vex him with eager words, Rich. Clifford! ask mercy, and obtain no grace, Edw. Clittord! repent in bootless penitence. War. Clitford ! devise excuses for thy faults. 70 Geo. While we devise fell tortures for thy faults. Rich. Thou didst love York, and I am son to York, Edw. Thou pitiedst Rutland, I will pity thee. Geo. Where’s Captain Margaret, to fence you now? Har. They mock thee, Clifford: swear as thou wast wont. Rich. What! not an oath? nay, then the world goes ard, When Clittord cannot spare his friends an oath.— I know by that, he’s dead; and, by my soul, If this right hand would buy two hours’ life, That I in all despite might rail at him, 80 This en ehouid chop it off; and with the issuing 00 Stifle the villain, whose unstaunched thirst York and young Rutland could not satisfy. War. Ay, im he’s dead. Off with the traitors head, And rear it in the place your father’s stands. And now to London with triumphant march, There to be crowned England's royal king. From whence shall Warwick cut the sea to France, And ask the Lady Bona for thy queen. So shalt thou sinew both these lands together ; 90 And, having France thy friend, thou shalt not dread For though they cannot greatly sting to hurt, Yet look to have them buz, to offend thine ears. First will I see the coronation, And then to Brittany I'll cross the sea, To effect this marriage, so it please my lord. . Edw. Even as thou wilt, sweet Warwick, let it be; 100 Wherein thy counsel and consent is wanting.— Richard, I will create thee Duke of Gloster ;— And George, of Clarence ;—Warwick, as ourself, Shall do, and undo, as him eee best. Rich. Let mebe Duke of Clarence, George of Gloster, For Gloster’s dukedom is too ominous. War. Tut! that’s a foolish observation: Richard, be Duke of Gloster. Now to London, To see these honours in possession. [Exeuni, ACT III. Scene I.—A Chase in the North of England. Enter two Keepers, with cross-bows in their hands. 1 Keeper. DER this thick-grown brake we ll shroud ourselves ; For through this laund anon the deer will come ; And in this covert will we make our stand, Culling the principal of all the deer. 2 Keep. I'll stay above the hill, so both may shoot. 1 Keep. That cannot be; the noise of 4 thy cross-bow \ Will scare the herd, and so my shoot is st. ost. Here stand we both, and aim we at the And, for the time shall not seem tedious, I'll tell thee what befell me on a day, 10 In this self place where now we mean to stand. 2 Keep. Here comes a man, let’s stay till he be past. Enter King HENRY, disguised, with a prayer-book. K. Hen. From Scotland am I stol'n, even of pure ve, To greet mine own land with my wishful sight. No, Harry, Harry, tis no land of thine; Thy place is fill’d, thy sceptre wrung from thee, Thy bee wash’d off wherewith thou wast anointed: No bending knee will call thee Ceesar now, No humble suitors press to speak for right, No, not a man comes for redress of thee. 20 For how can I help them, and not myself? 1 Ae. BS here’s a deer whose skin’s a keeper’s ee: This is the gquondam king ; let’s seize upon him. K. Hen. fet me embrace the sour adversities ; For wise men say, it is the wisest course. 2 Keep. Why linger we? let us lay hands upon him. 1 Keep. Forbear awhile; we’ll hear a little more. K. Hen. My queen and son are gone to France for aid; And, as I hear, the great. commanding Warwick Is thither gone, to crave the French king’s sister 30 To wife for Edward. If this news be true, Poor queen and son, your labour is but lost : For Warwick is a subtle orator, And Lewis a prince soon won with moving words. By this account then, Margaret may win him, For she’s a woman to be pitied much: Her sighs will mak~ a battery in his breast, Her tears will pierce into a marble heart ; The tiger will be mild whiles she doth mourn, And Nero will be tainted with remorse, 40 To hear and see her plaints, her brinish tears. Ay, but she’s come to beg ; Warwick, to give: She on his left side craving aid for Henry, He on his right asking a wife for Edward. © weeps, and says—her Henry is depos’d ; He smiles, and says—his Edward is install’d; That she, poor wretch, for grief can speak no more: Whiles Warwick tells his title, smooths the wrong, Inferreth arguments of mighty strength, And, in conclusion, wins the king from her, 50 With promise of his sister, and what else, To strengthen ard support King Edward’s place. O Margaret! thus ’t will be ; and thou, poor soul, Art then forsaken, as thou went’st forlorn. 2 Keep. Say, what art thou that talk’st of kings and queens? K. Hen. More than I seem, and less than I was born to: A man at least, for less I should not be; And men may talk of kings, and why not I? 58 2 Keep. Ay, but thou talk’st as if thou wert a ine KK. Hen. Why, so Iam, in mind; and that’s enough. 2 Keep. But, if thou be a king, where is thy crown? kK. Hen. My crown is in my heart, not on my head; Not deck’d with diamonds, and Indian stones, Nor to be seen: my crown is call'd, content ; A crown it is, that seldom kings enjoy. 2 Keep. Well, if you be aking crown’d with content, Your crown content, and you, must be contented To go along with us; for, as we think, You are the king, King Edward hath depos’d ; And we his subjects, sworn in all allegiance, 70 Will apprehend you as his enemy. Ak. Hen. Ae did you never swear, and break an oath 2 Keep. No, never such an oath ; nor will not now. AK. Hen. Where did you dwell, when I was King of England ? 2 Keep. Here in this country, where we now remain. K. Hen. I was anointed king at nine months old ; My father and my grandfather were kings ; And you were sworn true subjects unto me: And tell me then, have you not broke your oaths? 1 Keep. No; For we were subjects but while you were king. K. Hen. Why am I dead? do I not breathe a man? Ah, simple men! you know not what you swear. Look, as I blow this feather from my face, And as the air blows it to me again, Obeying with my wind when I do blow, And yielding to another when it blows, Commanded always by the greater gust: Such is the lightness of you common men. But do not break your oaths ; for of that sin 90 My mild entreaty shall not make you guilty. Go where you will, the king shall be commanded; And be you kings: command, and Ill obey. 1 Keep. We are true subjects to the king, King Edward. K. Hen. So would you be again to Henry, If he were seated as King Edward is. 1 een, We charge you, in God’s name, and the ing’s, To go with us unto the officers. 4. Hen. In God’s name, lead; your king’s name be obey’d: And what God will, that let your king perform; 100 And what he will, I humbly yield unto. [Exeunt. ScEeNE II.—London. A Room in the Palace. Enter King EDWARD, GLOSTER, CLARENCE, and Lady GREY. K. Edw. Brother of Gloster, at Saint Albans field This lady’s husband, Sir Richard Grey, was slain, | 206 KING HENRY VI.—-PART II. (Acr TL His lands then seiz’d on by the conqueror : Her suit is now, to repossess those lands ; Which we in justice cannot well deny, Because in quarrel of the house of York The worthy gentleman did lose his life. . Glo. Your highness shall do well, to grant her suit ; It were dishonour, to deny it her. A. Edw. It were no less; but yet I’ll make a pause. Glo, [Aside to CLARENCE.] Yea; is it so? 11 I see, the lady hath a thing to grant, Before the king will grant her humble suit. Clar. [Aside to GLosrER.] He knows the game: how true he keeps the wind! Glo. [Aside to CLARENCE.) Silence! - K. Edw. Widow, we will consider of your suit, And come some other time to know our mind. L. Grey. Right gracious lord, I cannot brook delay: May it please your highness to resolve me now, And what your pleasure is shall satisfy me. 20 Glo. [Aside to CLARENGE.] Ay, Widow? then I’ warrant you all your lands, An if what pleases him shall pleasure you. Fight closer, or, good faith, you'll catch a blow. Clar, (Aside to GLosTER.] I fear her not, unless she | chance to tall. Glo. [Aside to CLARENCE.] God forbid that, for he’ll take vantages. A. Bae Moy many children hast thou, widow ? tell me. Clar, [.iside to GLOSTER.] I think, he means to beg a child of her. Glo. [Aside to CLARENCE.] Nay, whip me then ; he'll rather give her two. L. Grey. Three, my most gracious lord. Glo. [.lside to CLARENCE.] You shall have four, if youll be rul’d by him. A. Edw. baie pity, they should lose their father's lands. L. Grey. Be pitiful, dread lord, and grant it then. kA. Ldw. Lords, give us leave: I'll try this widow's wit. Glo. [Aside toCLARENCE.] Ay, good leave have you; tor you Will have leave, Till youth take leave, and leave you to the crutch. (GLOSTER and CLARENCE stand apart. A. Edw. Now tell me, madam, do you love your children ? L. Grey. Ay, full as dearly as I love myself. K. Edw. apd would you not do much, to do them goo L. Grey. To do them good I would sustain some harm. K. Edw. ie get your husband’s lands, to do them good. 40 LZ. trey. Therefore I came unto your majesty. dS. dw. V'll tell you how these lands are to be got. L. Grey. So shall you bind me to your highness’ service. K. Edw. What service wilt thou do me, if I give them ? LL. Grey. What youcommand, that rests in me to do. K. Edw. But you will take exceptions to my boon. L. Grey. No, gracious lord, except I cannot do it. A. Edw. Ay, but thou canst do whet I mean to ask. L. Grey. Why then, I will do what your grace com- mands. Glo. [Aside to CLARENCE.] He plies her. hard; and much rain wears the marble. 50 Clar, [-iside to GLostER.] As red as fire! nay, then her wax must melt. L. new a stops my lord? shall I not hear my fae f K. Edw. An easy task: ‘tis but to love a king. L. Grey. That’s soon perform’d, because I am ua subject. K. Edw. Why then, thy husband’s lands I freely give thee. L. Grey. I take my leave with many thousand thanks. Glo. [Aside to CLARENCE.] The match is made: she seals it with a curtsy. kK. Hdw. But stay thee; ’tis the fruits of love I mean. L. Grey. The fruits of love I mean, my loving liege, kK. Hdw. Ay, but, I fear me, in another sense. What love think’st thou I sue so much to get? L. Grey. My love till death, my humble thanks, my prayers: That love which virtue begs, and virtue grants. &. Edw. No, by my troth, I did not mean such love, L. Grey. ay, then you mean not as I thought you x. Hdw. But now you partly may perceive my mind, _L. Grey. My mind will never grant what I Venere Your highness aims at, if I aim aright. A. Edw. To tell thee plain, I aim to lie with thee. L, Grey. To tell you plain, I had rather lie in prison, &. Edw. Why, then thou shalt not have thy hus- band’s lands. 7 L. Grey. Why, then mine honesty shall be my dower ; For by that loss I will not purchase them. KA. Edw. Therein thou wrong’st thy children mightily. L. Grey. Herein your highness wrongs both them _ and me. But, mighty lord, this merry inclination Accords not with the sadness of my suit; Please you dismiss me, either with ay, or no. &. Edw. Ay, if thou wilt say ay to my request ; No, if thou dost say no to my demand. . Grey. Then, no, my lord. My suit is at an end. Glo. [Aside to CLARENCE.] The widow likes him not, she knits her brows. Clar. [Aside to GLosTER.] He is the bluntest wooer in Christendom. K. Edw. [Aside.| Her looks do argue her replete with modesty ; Her words do show her wit incomparable; AU her perfections challenge sovereignty : One way, or other, she is for a king, And she shall be my love, or else my queen.— Say, that King Edward take thee for his queen? L. Grey. ’Tis better said than done, my ertaiee ord: lam a subject fit to jest withal, But far unfit to be a sovereign. K. Edw, Sweet widow, by my state I swear to thee, I speak no more than what my soul intends ; And that is, to enjoy thee for my love. L. Grey. And that is more than I will yield unto. I know, I am too mean to be your queen, And yet too good to be your concubine. K. Edw. You cavil, widow: I did mean, my queed, L. Grey. "0 will grieve your grace, my sons should call you father. 100 Scene III.) KING HENRY VI.—PART Ii. 207 K. Edw. No more than when my daughters call | And yet I know not how to get the crown, thee mother. For many lives stand between me and home: Thou art a widow, and thou hast some children ; And I,—like one lost in a thorny wood, And, by God’s mother, I, being but a bachelor, That rents the thorns, and is rent with the thorns, Have other some: why, ‘tis a happy thing Seeking a way, and straying from the way, To be the father unto many sons. Not knowing how to find the open air, Answer no more, for thou shalt be my queen. But toiling desperately to find it out, — Glo, [Aside to CLARENCE.] The ghostly father now | Torment myself to catch the English crown: hath done his shrift. And from that torment I will free myself, 180 Clar. [Aside to GLOSTER.) When he was made a | Or hew my way out with a bloody axe. shriver, ’t was for shift. Why, I can smile, and murder while I smile, K. Edw. Brothers, you muse what chat we two | And cry, content, to that which grieves my heart, have had. | . And wet my cheeks with artificial tears, Glo. The widow likes it not, for she looks very sad. | And frame my face to all occasions. K. Edw. You’d think it strange if I should marry | I'l] drown more sailors than the mermaid shall, her. 111 | I’ll slay more gazers than the basilisk ; Clar. To whom, my lord? I'll play the orator as well as Nestor, K, Edw. Why, Clarence, to myself. | Deceive more slily than Ulysses could, Glo. That would be ten days’ wonder at the least. And, like a Sinon, take another Troy. 190 Clar. That’s a day longer than a wonder lasts. I can add colours to the chameleon, Glo. By so much is the wonder in extremes. Change shapes with Proteus, for advantages, K. Edw. Well, jest on, brothers: I can tell you | And set the murd’rous Machiavel to school, both, Can I do this, and cannot get a crown? Her suit is granted for her husband's lands. Tut! were it further off, I'll pluck it down. (Exit. Enter a Nobleman. Nob. My gracious lord, Henry your foe is taken, And brought your prisoner to your palace gate. K. Edw. See that he be convey’d unto the Tower :— And go we, brothers, to the man that took him, 121 To guestion of his apprehension. — Widow, go you along.—Lords, use her honourably. [Exeunt King EDwWarp, Lady GREY, CLARENCE, and Lord. Glo. Ay, Edward will use women honourably. ’Would he were wasted, marrow, bones, and all, That from his loins no hopeful branch may spring, To cross me from the golden time I look for ! And yet, between my soul's desire, and me, — The lustful Edward’s title buried, — Is Clarence, Henry, and his son young Edward, And all the unlook’d-for issue of their bodies, To take their rooms, ere I can place myself: A cold premeditation for my purpose! Why then, I do but dream on sovereignty ; Like one that stands upon a promontory, And spies a far-off shore where he would tread, Wishing his foot were equal with his eye ; And chides the sea that sunders him from thence, eevee ‘ll lade it dry to have his way: So do I wish the crown, being so far off, And so I chide the means that keep me from it ; And so I say—I’ll cut the causes off, Flattering me with impossibilities. — ‘My eye’s too quick, my heart o’erweens too much, Unless my hand and strength could equal them. Well, say there is no kingdom then for Richard, What other pleasure can the world afford ? T’'ll make my heaven in a lady’s lap, And deck my bed in gay ornaments, And witch sweet ladies with my words and looks. 150 O miserable thought ! and more unlikely, Than to accomplish twenty golden crowns. Why, love forswore me in my mother’s womb: And, for I should not deal in her soft laws, She did corrupt frail nature with some bribe, To shrink mine arm up like a wither’d shrub; To make an envious mountain on my back, Where sits deformity to mock my body ; To shape my legs of an unequal size ; To disproportion me in every part ; Like to a chaos, or an unlick’d bear-whelp, That carries no impression like the dam. And am I then a man to be belov’d ? 0 monstrous fault, to harbour such a thought! Then, since this earth affords no joy to me But to command, to check, to o’erbear such As are of better person than myself, 1 make my heaven to dream upon the crown; And, whiles I live, to account this world but hell, Until my misshan a trunk, that bears this head, Be round impaled with a glorious crown. 130 140 160 170 ScENE ITI.—France. A Room in the Palace. Flourish. Enter Lewis the French King, and Lady Bona, attended: the'King takes his state. Uhen enter Queen MARGARET, Prince EDWARD, and the Earl of OXFORD. K. Lew. [Rising.] Fair Queen of England, worthy Margaret, Sit down with us: it ill befits thy state And birth, that thou shouldst stand, while Lewis doth sit. Q. Mar. No, mighty King of France; now Margaret Must strike her sail, and learn awhile to serve, Where kings command. I was, I must confess, Great Albion's queen in former golden days; But now mischance hath trod my title down, And with dishonour laid me on the ground, Where I must take like seat unto my fortune, 10 and to my humble seat conform myself. K. Lew. Why, say, fair queen, whence springs this deep despair ? Q. Mar. From such a cause as fills mine eyes with tears, And stops my tongue, while heart is drown’d in ares. K. Lew. Whate’er it be, be thou still like thyself, And sit thee by our side: [seats her by him] yield not thy neck To fortune’s yoke, but let thy dauntless mind Still'ride in triumph over all mischance. Be plain, Queen Margaret, and tell thy grief ; It shall be eas’d, if France can yield relief. Q. Mar. Those gracious words revive my drooping thoughts, And give my tongue-tied sorrows leave to speak. Now, therefore, be it known to noble Lewis, That Henry, sole possessor of my love, Is of a king become a banish’d man, And fore’d to live in Scotland, a forlorn ; While proud ambitious Edward, Duke of York, Usurps the regal title, and the seat Of England's true-anointed lawful king. This is the cause, that I, poor Margaret, 30 With this my son, Prince Edward, Henry’s heir, Am come to crave thy just and lawful aid ; And if thou fail us, all our hope is done. Scotland hath will to help, but cannot help; Our people and our peers are both misled, Our treasure seiz’d, our soldiers put to flight, And, as thou seest, ourselves in heavy plight. A. Lew. jenowaned queen, with patience calm the storm, While we bethink a means to break it off. Q. De The more we stay, the stronger grows our oe. d 208 kK. Lew. The more I stay, the more I'll succour CO. Q. Mar. O! but impatience waiteth on true sorrow: And see where comes the breeder of my sorrow. Enter Warwick, attended. K. Lew. What ’s he, approacheth boldly to our pre- sence ? Q. Mar. eH Earl of Warwick, Edward’s greatest friend. K. Lew. Welcome, brave Warwick. What brings thee to France ? [Descending from his state. MARGARET rises. : Q. Mar. Ay, now begins a second storm to rise ; For this is he that moves both wind and tide. War. From worthy Edward, King of Albion, My lord and sovereign, and thy vowed friend, I come, in kindness, and unfeigned love, Queen KING HENRY VI PART III. [Acr TL. War. Injurious Margaret! Prince. And why not queen? War. Because thy father Henry did usurp, And thou no more art prince, than she is queen. _ 89 Oxf. Then Warwick disannuls great John of Gaunt Which did subdue the greatest part of Spain ; : And, after John of Gaunt, Henry the Fourth, Whose wisdom was a mirror to the wisest ; And after that wise prince, Henry the Fifth, Who by his prowess conquered all France: From these our Henry lineally descends. War. Oxford, how haps it, in this smooth discourse, You told not, how Henry the Sixth hath lost All that which Henry the Fifth had gotten? 90 BiaL Bini nee peers of France should smile at a But for the rest,—you tell a pedigree Of threescore and two years; a silly time To make prescription for a kingdom's worth. Oxf. Why, Warwick, canst thou speak against thy liege, War. ‘‘1 come, in kindness, and unfelgned Jove." First, to do greetings to thy royal person ; And then, to crave a league of amity ; And lastly, to confirm that amity With nuptial knot, if thou vouchsafe to grant That virtuous Lady Bona, thy fair sister, To England's king in lawful marriage. 9. Mar. If that go forward, Henry’s hope is done. var. [To Bona.] And, gracious madam, in our 51 ee. 5 Beat. Foul words is but foul wind, and foul wind is but foul breath, and foul breath is noisome ; therefore I will pepe unkissed. Bene. Thou hast frighted the word out of his right sense, so forcible is thy wit. But, I must tell thee plainly, Claudio undergoes my challenge, and either I must shortly hear from him, or I will subscribe him a coward. And,I pray thee now, tell me, for which of my bad parts didst thou first fall in love with me? 60 Beat, For them all together; which maintained so politic a state of evil, that they will not admit any good part to intermingle with them. But for which of my good parts did you first suffer love for me? Bene. Suffer love! a good epithet. I do suffer love, indeed, for I love thee against my will. Beat. In spite of your heart, I think. Alas, poor heart! If you spite it for my sake, I will spite it for ours; for I will never love that which my friend ates. : 70 Bene. Thou and I are too wise to woo peaceably. Beat. It appears not in this confession: there’s not one wise man among twenty that will praise himself. Bene. An old, an old instance, Beatrice, that lived in the time of good neighbours. If a man do not erect, in this age, his own tomb ere he dies, he shall live no longer in monument, than the bell rings, and the widow weeps. Beat, And how long is that, think you? 79 Bene. Question :—why, an hour in clamour, and a uarter in rheum: therefore is it most expedient for the wise (if Don Worm, his conscience, find no impediment to the contrary), to be the trumpet of his own virtues, as I am:‘to myself. So much for praising myself, who, I myself will bear witness, is praiseworthy And now tell me, how doth your cousin 192 MUCH ADO ABOUT NOTHING. [Acr Vv, Beat. Very ill. Bene. And how do you? Beat. Very ill too. ot Bene. Serve God, love me, and mend. There will I leave you too, for here comes onc in haste. Enter URSULA. Urs. Madam, you must come to your uncle. Yonder’s old coil at home: it is proved, my Lady Hero hath been falsely accused, the prince and Claudio mightily abused ; and Don John is the author of all, who is fled and gone. Will you come presently ? Beat. Will you go hear this news, signior ? 9 Beat. ** Will you go hear this news, signior?” SSS Bene. T will live in thy heart, die in thy lap, and be buried in thy eyes; and, moreover, I will go with thee to thy uncle's. [Exeunt. ScENE ITI.—The Inside of a Church. Entcr Don PEDRO, CLAUDIO, and Attendants, with music and tapers. Claud, Is this the monument of Leonato? Atten, It is, my lord. Claud. [Reads from a scroll.} “Done to death by slanderous tongues Was the Hero that here lics: Death, in querdon of her wrongs, Gives her fame which never dies. So the life, that dicd with shame, Lives in death with glorious fame.” Hang thou there upon the tomb, Praising her when Iam dumb.— 10 Now, music, sound, and sing your solemn hymn. Sona. Pardon, goddess of the night, Those that slew thy virgin knight; For the which, with songs of woe, Round about her tomb they go. Midnight, assist our moan ; Help us to sigh and groan, Fleavily, heavily : Graves, yawn, and yield your dead, Till death be uttered, 20 Heavily, heavily. Claud. Now, unto thy bones good night! Yearly will I do this rite = . D. Pedro. Good morrow, masters: put your torches out. The wolves have prey’d; and look, the gentle Before the wheels of Bicehue, round abet mn Dapples the drowsy east with spots of grey. Thanks to you all, and leave us: fare you well. Claud. Good morrow, masters: each his several way. D. Pedro, Come, let us hence, and put on other 30 weeds ; Any ag ie Tenney we will go. ‘laud, An ymen now with luckier issue speed’ Than this, for whom we render'd up this woe at's [Ezeunt. ScENE IV.—A Room in LEonato’s House. Enter LEONATO, ANTONIO, BENEDICK, MARGARET, BEATRICE, URSULA, Friar FRANCIS, and HERO. Fri. Did I not tell you she was innocent ? Leon. So are the prince and Claudio, who accus’d her Upon the error that you heard debated : But Margaret was in some fault for this, Although against her will, as it appears In the true course of all the question. int. Well, I am glad that all things sort so well. Bene. And so am I, being else by faith enfore’d To call young Claudio to a reckoning for it. Leon. Well, ae et and you gentlewomen all, 10 Withdraw into a chamber by yourselves, And, when I send for you, come hither mask’d: The prince and Claudio promis’d by this hour To visit me. [Hxeunt Ladies.]—You know your office, brother: You must be father to your brother's daughter, And give her to young Claudio. aint, Which I will do with confirm’d countenance. Bene. Friar, I must entreat your pains, I think. Fri. To do what, signior? Bene. To bind me, or undo me; one of them.— 20 ° Signior Leonato, truth it is, good signior, Your niece regards me with an eye of favour. Leon. That eye my daughter lent her: ’tis most true. Bene. And 1 do with an eye of love requite her. Leon. The sight whereof, I think, you had from me, From Claudio, and the prince. But what's your will? Bene. Your answer, sir, is enigmatical : But, for my will, my will is, your good will May stand with ours, this day to be conjoin’d In the state of honourable marriage :— In which, good friar, I shall desire your help. Leon. My heart is with your liking. t And my help. Fri. ; Here come the prince and Claudio. Enter Don PEDRO and CLAUDIO, with Attendants. D. Pedro. Good morrow to this fair assembly. _. Leon. Good morrow, prince ; good morrow, Claudio: We here attend you. Are you yet determin’d To-day to marry with my brother's daughter? Claud. I'l hold my mind, were she an Ethiop. Leon. Call her forth, brother: here’s the friar ready. [Exit ANTONIO. D. Pedro. Good morrow, Benedick. Why, what's the matter, 40 That you have such a February face, So full of frost, of storm, and cloudiness? Claud. I think, he thinks upon the savage bull.— Tush! fear not, man, we'll tip thy horns with gold, And all Europa shall rejoice at thee, As once Europa did at lusty Jove, When he would play the noble beast in love. Bene. Bull Jove, sir, had an amiable low: |, And some such strange bull leap'd your father's cow. And got a calf in that same noble feat, 50 Much like to you, for you have just his bleat. Re-enter ANTONIO, with the Ladies masked. Claud. For this I owe you, here come other reckon- ings. Which is the lady I must seize upon? Scene IV.] MUCH ADO ABOUT NOTHING. 493 Ant. This same is she, and I do give you her. ! One Hero died defil’'d ; but I do live, Claud. Why, then she’s mine.—Sweet, let me see | And, surely as I live, Iam a maid. our face. ; D. Pedro. The former Hero! Hero that is dead! Leon. No, that you shall not, till you take her hand Leon. She died, my lord, but whiles her slander liv’d. Before this friar, and swear to marry her. Fri. All this amazement can I qualify: Claud. ‘Give me your band before this holy friar : Iam your busband, if you like uf me. Claud. Give me your hand before this holy friar: | When after that the holy rites are ended, Tam your husband, if you like of me. : I’ll tell you largely of fair Hero’s death: Hero. And when I liv’d, I was your other wife: 60 | Meantime, let wonder seem familiar, 70 [Unmasking. | And to the chapel let us presently. And when you lov’d, you were my other husband. Bene. Soft and fair, friar.—Which is Beatrice? Claud. Another Hero? Beat. I answer to that name. [Unmasking.] What ero, Nothing certainer. is your will? 494 MUCH ADO ABOUT NOTHING. [Act V, Bene. Do not you love me? Beat. Why, no; no more than reason. . Bene. Why, then, your uncle, and the prince, and Claudio, have been deceived: they swore you did. Beat. Do not you love me? Bene. Troth, no; no more than reason. Beat. Why, then my cousin, Margaret, and Ursula, Are much deceiv'd; for they did swear you did. 81 Bene. They swore that you were almost sick for me. Beat. They swore that you were well-nigh dead for Bene. Beat. Leon. man, Claud. And I'll be sworn upon ’t, that he loves her; For here’s a paper, written in his hand, A halting sonnet of his own pure brain, Fashion'd to Beatrice. Hero. And here’s another, Writ in my cousin’s hand, stol’n from her pocket, Containing her affection unto Benedick. Bene. A miracle! here’s our own hands against our hearts.—Come, I will have thee; but, by this light, I take thee for pity. Beat. I would not deny you ;—but, by this good day, I yield upon great persuasion, and, partly, to save your life, forI was told you were in a consumption. Bene. Peace! I will stop your mouth. D. Pedro. How dost thou, Benedick, the married man? me. ‘Tis no such matter.—Then, you do not love me? No, truly, but in friendly recompense. Come, cousin, Iam sure you love the gentle- 90 Bene. I'll tell thee what, prince: a college of wi crackers cannot flout me out of my humour, Dost thou think, I care for a satire, or an epigram? No: if a man will be beaten with brains, a’ shall wear nothing handsome about him. In brief, since I do purpose to marry, I will think nothing to any purpose that the world can say against it: and therefore never flout at me for what Ihave said against it, for man is a giddy thing, and this is my conclusion.—For thy part, Claudio, I did think to have beaten thee; but, in that thou art like to be my kinsman, live unbruised, and love my cousin. Claud. I had well hoped, thou wouldst have denied Beatrice, that I might have cudgelled thee out of thy single life, to make thee a double-dealer ; which, out of question, thou wilt be, if my cousin do not look exceeding narrowly to thee. Bene. Come, come, we are friends.—Let’s have a dance ere we are married, that we may lighten our own hearts, and our wives’ heels. 121 Leon. We'll have dancing afterward. Bene. First, of my word; therefore play, music!— Prince, thou art sad; get thee a wife, get ise a wife: phere is no staff more reverend than one tipped with orn. Enter a Messenger. Mess. My lord, your brother John is ta’en in flight, And brought with armed men back to Messina. Bene. Think not on him till to-morrow : I'll devise | thee brave punishments for him.—Strike up, pipers. Dance. Exeunt. ne. pales THE FIFTH. Dene oe BEpronn, i Brothers to the King. DUKE OF EXETER, Uncle to the King. DUKE OF YORK, Cousin to the King. EARLS OF SALISBURY, WESTMORELAND, and WaR- | WICK. ARCHBISHOP OF CANTERBURY. BisHop OF ELY. EARL OF CAMBRIDGE, ) Lorp Scroop, , Conspirators. Sir THoMAS GREY, )} Sir THOMAS ERPINGHAM, GOWER, FLUELLE™, Mac- MORRIS, JAMY, Officers in King Henry's Army. BaTEs, CouRT, WILLIAMS, Soldiers. PISTOL, NYM, BARDOLPH. Boy, Servant to them. .A Herald. Chorus. > FOR a muse of fire, that would ascend The brightest heaven of invention ! A kingdom for a stage, princes to act. And monarchs to behold the swelling scene! : Then should the warlike Harry, like himself, ; Assume the port of Mars; and at his eels, ; Leash’d in like hounds, should famine, e sword, and fire, : Crouch for employment. But pardon, gentles all, The flat unraised spirits that have dar’d On this unworthy scaffold to bring forth 10 So great an object : can this cockpit hold The vasty fields of Frar.ce? or may we cram Within this wooden O the very casques, That did affright the air at Agincourt? KING HENRY V. DRAMATIS PERSONA. CIIARLES THE SixtH, King of France. Lewis, the Dauphin. DUKES OF BURGUNDY, ORLEANS, and BOURBON. The Constable of France. RAMBURES and GRANDPRE, French Lords. MonvJoy, a French Herald. Governor of Harfleur. Ambassadors to England. ISABEL, Queen of France. KATHARINE, Daughter of Charles and Isabel. ALICE, a Lady attending on the Princess. MISTRESS QUICKLY, a Hostess. Chorus. : Lords, Ladies, Officers, French and English Soldiers, Messengers, and Attendants. : SCENE—In ENGLAND and in FRANCE, ACT I. Enter Chorus. O, pardon! since a crooked figure may Attest in little place a million; And let us, ciphers to this great accompt, On your imaginary forces work. Suppose, within the girdle of these walls Are now confin’d two net monarchies, Whose high upreared and abutting fronts The perilous, narrow ocean parts asunder. Piece out our imperfections with your thoughts ; Into a thousand parts divide one man, And make imaginary puissance : Think, when we talk of horses, that you see them Printing their proud hoofs i’ the receiving earth ; For ‘tis your thoughts that now must deck’our kings, Carry them here and there, jumping o’er times, Turning the accomplishment of many years Into an hour-glass: for the which supply, Admit me Chorus to this history ; Who, prologue-like, your humble patience pray, , Gently to hear, kindly to judge, our play. [Zrit. ScENE I.—London. An Ante-Chamber in the K1n@’s Palace. r Enter the Archbishop of CANTERBURY and Bishop of ELy. 2 os Canterbury. a < LD) Y lord, I'll tell you, that self bill is urg'd, Which in the eleventh year of the last king's reign against us, We lose the better half of our possession ; ' For all the temporal lands, which men devout . By testament have given to the Church, 10 ould they strip from us; being valued thus,— As much as would maintain, to the king’s honour, Full fifteen earls, and fifteen hundred knights, Six thousand and two hundred good esquires ; And, to relief of lazars, and weak age, | Of indigent faint souls, past corporal toil, A hundred almshouses, right well supplied ; And to the coffers of the king beside, . A thousand pounds by the year. Thus runs the bill. Ely. This would drink deep. Cant. ’T would drink the cup and all. Ely. But what prevention? 21 Cant. The king is full of grace, and fair regard. Ely, And a true lover of the holy church. Cant. The courses of his youth promis’d it not. The breath no sooner left his father’s body, But that his wildness, mortitied in him, Seem’d to die too: yea, at that very moment, Consideration like an angel came, And bee in the offending Adam out of him, Leaving his body as a paradise, 30 To envelop and contain celestial spirits. Never was such a sudden scholar made ; Never came reformation in a flood, With such a heady currance, scouring faults; Nor never Hydra-headed wilfulness So soon did lose his seat and all at once As in this king. Ely. We are blessed in the change. Cant. Hear him but reason in divinity, And, all-admiring, with an inward wish ‘You would desire the king were made a prelate: 40 Hear him debate of commonwealth affairs, You would say, it hath been all-in-all his study: List his discourse of war, and you shall hear A fearful battle render’d you in music: Turn him to any cause of policy, The Gordian knot of it he will unloose, Familiar as his garter; that, when he speaks, The air, a charter’d libertine, is still, And the mute wonder lurketh in men’s ears, To steal his sweet and honey’d sentences; 50 So that the art and practic part of life Must be the mistress to this theoric: Which is a wonder, how his grace should glean it, Since his addiction was to courses vain ; His companies unletter’d, rude, and shallow ; His hours fill’d up with riots, banquets, sports ; And never noted in him any study, Any retirement, any sequestration From open haunts and popularity. Ely. The strawberry grows underneath the nettle, And wholesome berries thrive and ripen best, 61 Meishbeard by fruit of baser quality ; And so the prince obscur’d his contemplation Under the veil of wildness ; which, no doubt, Grew like the summer grass, fastest by night, Unseen, yet crescive in his faculty. Cant, It must be so; for miracles are ceas’d; And therefore we must needs admit the means, How things are perfected. Ely. os But, my good lord, How now for mitigation of this bill Urg’d by the commons? Doth his majesty Incline to it, or no? Cant. _ _ He seems indifferent, Or, rather, swaying more upon our part, Than cherishing the exhibiters against us; For I have made an offer to his majesty,— Upon our spiritual convocation, And in regard of causes now in hand, Which I have open’d to his grace at large, As touching France,—to give a greater sum Than ever at one time the clergy yet 80 Did to his predecessors part withal. Ely. How did this offer seem receiv’d, my lord? Cant. With good acceptance of his majesty ; Save, that there was not time enough to hear (As, I perceiv’d, his grace would fain have done) ‘The severals, and unhidden passages Of his true titles to some certain dukedoms, And, generally, to the crown and seat of France, Deriv’d from Edward, his Steet eran anor i Ely. What was the impediment that broke this off? Cant. The French ambassador upon that instant 91 Crav’d audience ; and the hour, I think, is come, To give him hearing. Is it four o'clock? Ely. Itis. . Cant. Then go we in, to know his embassy, Which I. could with a ready guess declare, Before the Frenchman Seals Word ae it " Ely. I'll wait upon you, an ong to hear il y pon you, gs [Beceunt ro SceNE II.—The Same. A Room of State in the Same. Enter King HENRY, GLOSTER, BEDFORD, EXETER, WaRWICK, WESTMORELAND, and Attendants. K. Hen. Where is my gracious Lord of Canterbury? Exe, Not here in presence. 3 A. Hen. Send for him, good uncle. West. Shall we call in the ambassador, my liege? K. Hen. Not yet, my cousin: we would be resolv'd, Before we hear him, of some things of weight, That task our thoughts, concerning us and France. Enter the Archbishop of 2 EES and Bishop of ELy. Cant. God and his angels guard your sacred throne, And make you long become it ! . Hen. Sure, we thank you. My learned lord, we pray you to proceed, 0 And justly and religiously unfold, ‘ 1 Why the law Salique, that they have in France, Or should, or should not, bar us in our claim. And God forbid, my dear and faithful lord, ScENE II.] How you awake our sleeping sword of war: We charge you in the name'of God, take heed ; For never two such kingdoms did contend Without much fall of blood; whose guiltless drops Are every one a woe, a sore complaint, ’Gainst him whose wrongs give edge unto the swords That make such waste in brief mortality. Under this conjuration, speak, my lord And we will hear, note, and believe in heart, 30 That what you speak is in your conscience wash'd, As pure as sin with baptism. Cant. Then hear me, gracious sovereign, and you peers, That owe yourselves, your lives, and services, To this imperial throne.—There is no bar To make against your highness’ claim to France, But this, which they produce from Pharamond,— interram Salicam mulieres ne succedant, “No woman shall succeed in Salique land :” Which Salique land the French unjustly gloze 40 To be the realm of France, and Pharamond The founder of this law, and female bar. Yet their own authors faithfully aftirm, | That the land Salique is in Germany, Between.the floods of Sala and of Elbe; Where Charles the Great, having subdued the Saxons, There left behind and settled certain French; Who, holding in disdain the German women, For some dishonest manners of their life, , Establish’d then this law,—to wit, no female 50 Should be inheritrix in Salique land : Which Salique, as I said, twixt Elbe and Sala, Is at this day in Germany call’d Meisen. Then doth it well appear, the Salique law Was not devised for the realm of France; Nor did the French possess the Salique land Until four hundred one-and-twenty years After defunction of King Pharamond, Idly suppos’d the founder of this law ; Who died. within the year of our redemption 60 Four hundred twenty-six ; and Charles the Great - Subdued the Saxons, and did seat the French } Beyond the river Sala in the year . Eight hundred five. Besides, their writers say, King Pepin, which deposed Childeric, Did, as heir general, being descended Of Blithild, which was daughter to King Clothair, . Make claim and title to the crown of France. Hugh Capet also,—who usurp’d the crown Of Charles the Duke of Lorain, sole heir male 70 f the true line and stock of Charles the Great,— To find his title with some shows of truth, Though, in pure truth, it was corrupt and naught, Convey’d himself as the heir to the Lady Lingare, Daughter to Charlemain, who was the son To Lewis the emperor, and Lewis the son Of Charles the Great. Also King Lewis the Tenth, ho was sole heir to the usurper Capet, Could not keep quiet in his conscience, Wearing the crown of France, till satisfied 80 That fair Queen Isabel, his grandmother, Was lineal of the Lady Ermengare, . Daughter to Charles the foresaid Duke of Lorain: the which marriage the line of Charles the reat Was re-united to the crown of France. So that, as clear as is the summer's sun, King Pepin’s title, and Hugh Capet’s claim, Lewis his satisfaction, all appear To hold in right and title of the female. So do the Kings of France unto this day ; 90 Howbeit ey would hold up this Salique law, . To bar your highness’ claiming from the female ; And rather choose to hide them in a net. KING HENRY J. 497 That you should fashion, wrest, or bow your reading, | Than amply to imbare their crooked titles Or nicely charge your understanding soul. Usurp’d from you and your progenitors. With opening titles miscreate, whose right A. Hen. May I with right and conscience make this Suits not in native colours with the truth; claim ? For God doth know, how many, now in health, Cant. The sin upon my head, dread sovereign! Shall drop their blood in approbation For in the Book of Numbers is it writ,— Of what your reverence shall incite us to. 20 | When the man dies, let the inheritance Therefore, take heed how you impawn our person, - Descend unto the daughter. Gracious lord, 100 Stand for your own; unwind your bloody flag; Look back into your mighty ancestors: Go, my dread lord, to your great-grandsire’s tomb, From whom you claim: invoke his warlike spirit, And your great uncle’s, Edward the Black Prince, Who on the French ground play’d a tragedy, Making defeat on the full power of France ; Whiles his most mighty father on a hill Stood smiling, to behold his lion’s whelp Forage in blood of French nobility. O noble English ! that could entertain With half their forces the full pride of France, And let another half stand laughing by, All out of work, and cold for action. Ely. Awake remembrance of these valiant dead, And with your puissant arm renew their feats. You are their heir, you sit upon their threne ; The blood and courage, that renowned them, Runs in your veins; and ay thrice-puissant liege 1s in the very May-morn of his youth, 120 Ripe for exploits and mighty enterprises. Exe. “Buy SrOLEE kings and monarchs of the eart Do all expect that you should rouse yourself, As did the former lions of your blood. West. They know, your grace hath cause, and means, and might :— So hath yOUE highness—never King of England Had nobles richer, and more loyal subjects, Whose hearts have left their bodies here in England, And lie pavilion’d in the fields of France. Cant. O! let their bodies follow, my dear liege, 130 With blood, and sword, and fire, to win your right: In aid whereof, we of the spiritualty Will raise your highness such a mighty sum, As never did the clergy at one time Bring in to any of your ancestors. A. Hen. e must not only arm to invade the French, But lay down our proportions to defend Against the Scot, who will make road upon us With all advantages. Cant. They of those marches, gracious sovereign, 140 Shall be a wall sufficient to defend Our inland from the pilfering borderers. A. Hen. We do not mean the coursing snatchers 110 - only, But fear the main intendment ef the Scot, Who hath been still a giddy neighbour to us: For you shall read, that my great-grandfather Never went with his forces into France, But that the Scot on his unfurnish’d kingdom Came pouring, like the tide into a breach, With ample and brim fulness of his force, Galling the gleaned land with hot essays, Girding with grievous siege castles and towns ; That England, being empty of defence, ‘i Hath shook and trembled at the ill neighbourhood. Cant. She hath been then more fear’d than harm’d, my liege ; For hear her but eee by herself : When all her chivalry hath been in France, And she a mourning widow of her nobles, She hath herself not only well defended, Rut taken, and impounded as a stray, The King of Scots; whom she did send to France, To fill Se fame with prisoner kings, And make her chronicle as rich with praise, As is the ooze and bottom of the sea With sunken wrack and sumless treasuries. West. But there ’s a saying, very old and true,— “Tf that you will France win, Then with Scotland first begin :” For once the eagle England being in prey, 150 160 498. KING HENRY PV. [Aor L To her unguarded nest the weasel Scot 170 Comes sneaking, and so sucks her princely eggs ; Playing the mouse in absence of the cat, To tear and havoc more than she can eat. Exe. It follows then, the cat must stay at home: Yet that is but a crush’d necessity ; . Since we have locks to safeguard necessaries, And pretty traps to catch the petty thieves. While that the armed hand doth fight abroad, The advised head defends itself at home: For government, though high, and low, and lower, 180 Put into parts, doth keep in one concent, Congreeing in a full and natural close, Like music. Be Cant. Therefore doth Heaven divide The state of man in divers functions, Setting endeavour in continual motion ; To which is fixed, as an aim or butt, Obedience : for so work the honey-bees, Creatures, that by a rule in nature teach The act'of order to a peopled kingdom: They have a king, and ofticers of sorts ; Where some, like magistrates, correct at home, Others, like merchants, venture trade abroad, Others, like soldiers, armed in their stings, Make boot upon the summer's velvet buds ; Which pillage they with merry march bring home ‘To the tent-royal of their emperor : Who, busied in his majesty, surveys The singing masons building roofs of gold, ‘The civil citizens kneading up the honey, The poor mechanic porters crowding in Their heavy burdens at his narrow gate, The sad-ey'd justice, with his surly hum, Delivering o'er to executors pale The lazy yawning drone. I this infer,— That many things, having full reference To one concent, may work contrariously ; As many arrows, loosed several ways, Come to one mark ; as many ways meet in one town: As many fresh streams meet in one salt sea ; As many lines close in the dial’s centre ; 210 So may a thousand actions, once afoot, End in one purpose, and be all well borne Without defeat. Therefore to France, my licge. Divide your happy England into four ; Whereof take you one quarter into France, And you withal shall make all Gallia shake. If we, with thrice such powers left at home, Cannot defend our own doors from the dog, Let us be worried, and our nation lose The name of hardiness, and policy. 220 K. Hen. Call in the messengers sent from_ the Dauphin. [Eaxit an Attendant. Now are we well resolv’d : and by God's help, And yours, the noble sinews of our power, France being ours, we ’ll bend it to our awe, Or break it all to pieces: or there we'll sit, Ruling in large and ample emper, O’er France, and all her almost kingly dukedoms, Or lay these bones in an unworthy urn, Tombless, with no remembrance over them: Hither our history shall with full mouth 230 Speak freely of our acts; or else our grave, Like Turkish mute, shall have a tongueless mouth, Not worshipp’d with a waxen epitaph. 190 200 Enter Ambassadors of France. Now are we well prepar’d to know the pleasure Of our fair cousin Dauphin ; for, we hear, Your greeting is from him, not from the king. 1 Amb. May ’t please your majesty, to give us leave Freely to render what we have in charge ; Or shall we sparingly show you far otf The Dauphin’s meaning, and our embassy ? i. Hen. We are no tyrant, but a Christian king, Unto whose grace our passion is as subject, As are our wretches fetter'd in our prisons : Therefore, with frank and with uncurbed plainness, Tell us the Dauphin’s mind. 1 Amb. Thus then, in few. Your highness, lately sending into France, 240 Did claim some certain dukedoms, in the right Of your great predecessor, King Edward the Third. In answer of which claim, the prince our master Says, that you savour too much of your youth, 250 And bids you be advis'd, there’s naught in France That can be with a nimble galliard won: ‘You cannot revel into dukedoms there, _He therefore sends you, meeter for our spirit, This tun of treasure ; and, in lieu of this, Cees you, let pee dukedoms, una a claim, ear no more of you. This the Dauphin speaks, = Hen, What treasure, a ¥ y re. ennis-balls, my liege, K. Hen. We are glad the Dauphin is so plenanit " with us, His present, and your pains, we thank you for: 260 When we have match‘d our rackets to these balls, K. Hen. “ His present, and your pains, we thank you for.” We will in France, by God’s grace, play a set, Shall strike his father’s crown into the hazard. Tell him, he hath made a match with sucha wrangler, That all the courts of France will be disturb'd With chases. And we understand him well, How he comes o’er us with our wilder days, Not measuring what use we made of them. We never valu’d this poor seat of England ; And therefore, living hence, did give ourself 270 To barbarous license ; as tis ever common, That men are merriest when they are from home. But tell the Dauphin,—I will keep my state ; Be like a king, and show my sail of greatness, When I do rouse me in my throne of France; For that I have laid by my majesty, And plodded like a man for working-days ; But I will rise there with so full a glory, That I will dazzle all the eyes of France, Yea, strike the Dauphin blind to look on us.. 280 And tell the pleasant prince, this mock of his Hath turn’d his balls to gun-stones ; and his soul Shall stand sore charged for the wasteful vengeance That shall. iy with them: for many a thousand widows Shall this his mock mock out of their dear husbands; Mock mothers from their sons, mock castles dcwn ; And some are yet: ungotten and unborn, | That shall have cause to curse the Dauphin’s scorn. But this lies all within the will of God, To whom I do appeal; and in whose name, 290 Tell you the Dauphin, I am coming on, To venge me as I may, and to put forth Scene II.] KING HENRY VP. 499 My rightful hand in a well-hallow’d cause. For we have now no thought in us but France, So, get you hence in peace ; and tell the Dauphin, Save those to God, that run before our business, His jest will savour but of shallow wit, Theretore, let our proportions for these wars When thousands weep, more than did laugh at it.— Be soon collected, and all things thought upon, Convey them with safe conduct.—Fare you well. That may with reasonable swiftness add ; [Exeunt Ambassadors. | More feathers to our wings ; for, God before, Exe. This was a merry message. We'll chide this Dauphin at his father's door. K. Hen. We hope to make the sender blush at it. Therefore, let every man now task his thought, Therefore, my lords, omit no happy hour, 300 | Chat this fair action may on foot be brought. 310 That may give furtherance to our expedition; [Exeunt. eC . Chorus. tt} OW all the youth of England are on fire, { And silken dalliance in the wardrobe ies : Now thrive the armourers, and honour'’s thought Reigns solely in the breast of every man. They oe pasture now to buy the Tse 5 Following the mirror of all Christian ings, . With winged heels, as English Mer- curies. For now sits Expectation in the air; And hides a sword, from hilts unto the point, | ‘ With crowns imperial, coronets, Promis’d to Harry and his followers. The French, advis'd by good intelligence Of this most dreadful preparation, __ Shake in their fear, and with pale policy Seek to divert the English purposes. O England! model to thy inward greatness, Like little body with a mighty heart, What mightst thou do, that honour would thee do, Were all thy children kind and natural ! But see thy fault! France hath in thee found out 20 A nest of hollow bosoms, which he fills With treacherous crowns; and three corrupted men, One, Richard Earl of Cambridge, and the second, Henry Lord Scroop of Masham, and the third, Sir Thomas Grey. nee of Northumberland, Have, for the gilt of France (O It, indeed !), Confirm’d conspiracy with fearful France; __ And by their hands this grace of kings must die, If hell and treason hold their promises, Ere he take ship for France, and in Southampton. 30 Linger your patience on: and we’ll digest The abuse of distance ; force a play. The sum is paid ; the traitors are eed ; The king is set from London; and the scene Is now transported, gentles, to Southampton : | There is the playhouse now, there must you sit, And thence to France shall we convey you safe, And bring you back, charming the narrow seas ‘To give you gentle pass ; for, if we may, We'll not offend one stomach with our play. 40 But, till the king come forth, and not till then, Unto Southampton do we shift our scene. crowns, and 10 Exit. ScreNE I.—London. Eastcheap. Enter NyM and BARDOLPH. Bard, Well met, Corporal Nym. a ACT ITI. Enter Chorus., iVym, Good morrow, Lieutenant Bardolph. fords What, are Ancient Pistol and you friends ye : Nym. For my part, I care not: I say little; but when time shall serve, there shall be smiles ;—but that shall be as it may. Idare not fight; but I will wink, and hold out mine iron, It is a simple one; but what though? it will toast cheese, and it will endure cold as another man’s sword will; and there’s an end. 11 Bard. I will bestow a breakfast to make you friends, and we’ll be all three sworn brothers to France : let it be so, good Corporal N; ve Nym. Faith, I will live so long as I may, that’s the certain of it; and when I cannot live any longer, I will do as I may: that is my rest, that is the rendez- vous of it. Bard. It is certain, corporal, that he is married to Nell Quickly; and, certainly, she did you wrong, for you were troth-plight to her. 21 Nym. I cannot tell; things must be as they may: men may sleep, and they may have their throats about them at that time ; and some say, knives have edges, It must be as it may : though patience bea tircd mare, et she will plod. There must be conclusions, Well, cannot tell. Enter PISTOL and Mistress QUICKLY. Bard. Here comes Ancient Pistol, and his wife.— Good corporal, be patient here.—How now, mine host Pistol? 30 Pist. Base tike, call’st thou me host? Now, by this hand I swear, I scorn the term ; Nor shall my Nell keep lodgers. uick. No, by my troth, not long: for we cannot lodge and board a dozen or fourteen gentlewomen, that live honestly by the prick of their needles, but it will be mone we keep a bawdy-house straight. [Nym draws his sword.] O well-a-day, Lady! if he be not drawn!—Now we shall see wilful adultery and murder committed. 40 Bard. Good lieutenant,—good corporal, offer no- thing here. Nym. Pish! Pist. Pish for thee, Iceland dog! thou prick-ear’d cur of Iceland! Quick. Good Corporal Nym, show thy valour, and put up your sword. ; Nym. Will you shog off? I would have you solus. Sheathing his sword. Pist. Solus, egregious dog? viper vile! The solus in thy most marvellous face ; The solus in thy teeth, and in thy throat, 50 And in thy hateful lungs, yea, in thy maw, perdy ; And, which is worse, within thy nasty mouth! I do retort the solus in thy bowels: 500 KING HENRY V.. fAcr IL For I can take, and Pistol’s cock is up, And flashing tire will follow. 2 Nym. Iam not Barbason ; you cannot conjure me. I have an humour to knbck you indifferently well. If you grow foul with me, Pistol, I will scour you with my rapier, as I may, in fair terms: if you would walk ott, [ would prick your guts a little, in good terms, as Imay; and that’s the humour of it. . __, ol Pist. O braggart vile, and damned furious wight ! The grave doth gape, and doting death is near ; Theretore exhale. [PISTOL and NyM draw. Bard. Hear me, hear me what I say:—he that strikes the first stroke, I’ll run him up to the hilts, as Iamasoldier. ~ (Draws. Pist. An oath of mickle might, and fury shall abate. Give me thy fist, thy fore-foot to me give ; ‘Thy spirits are most tall. . 70 Nym. I will cut thy throat, one time or other, in fair terms ; that is the humour of it. Pist. Coupe le gorge! ; That is the word. I thee defy again. O hound ot Crete, think’st thou my spouse to get? No; to the spital go, | ; And from the powdering-tub of infamy Fetch forth the lazar kite of Cressid’s kind, Doll Tear-shect she by name, and her espouse : Ihave, and I will hold, the guondam Quickly 80 For the only she ; and—pauca, there's enough. Go to. : Enter the Boy. Boy. Mine host Pistol, you must come to my master, and your hostess.— He is very sick, and woul to bed.—Good Bardolph, put thy face between his sheets, and do the office of a warming-pan: ‘faith, he’s very ill. Bard. Away, you rogue! Quick. By my troth, he'll yield the crow a pudding one of these days: the king has killed his heart.— Good husband, come home presently. 90 [Exeunt Mistress QUICKLY and Boy. Bard. Come, shall I make you two friends?) We must to France together. Why, the devil, should we keep knives to cut one another's throats ? Pist. Let floods o’erswell, and fiends for food howlon! Nym, You'll pay me the eight shillings I won of you at betting? Pist. Base is the slave that pays. ae That now I will have; that’s the humour ‘of it. - Pist. As manhood shall compound. Push home. aws. Bard. By this sword, he that makes the first thrust, I'll kill him; by this sword, I will. 102 Pist. Sword is an oath, and oaths must have their course. Bard. sei puch Nym, an thou wilt be friends, be friends : an thou wilt not, why, then be enemies with me too. Pr'ythee, put up. Nym. I shall have my eight shillings I won of you at betting ? Pist. A noble shalt thou have, and present pay ; And liquor likewise will I give to thee, 110 And friendship shall combine, and brotherhood : I’ll live by Nym, and Nym shall live by me. Is not this just ? for I shall sutler be Unto the camp, and profits will accrue. Give me thy hand. Nym. I shall have my noble? Pist. In cash most justly paid. Nym. Well then, that's the humour of it. Re-enter Mistress QUICKLY. Quick, As ever you came of women, come in quickly to Sir John. Ah, poor heart! he is so shaked of a burning quotidian tertian, that it is most lamentable to behold. Sweet men, come to him. 122 Nym. The king hath run bad humours on the knight, that's the even of it. Pist. Nym, thou hast spoke the right ; His heart is fracted, and corroborate. Nym. The king is a good king; but it must be as it may : he passes some humours, and careers. Pist. Let us condole the knight; for, lambkins, we will live, Exeunt, Scene II.—Southampton. A Council-Chamber, Enter EXETER, BEDFORD, and WESTMORELAND. Bed. ’Fore God, his grace is bold to trust these traitors. Exe. They shall be apprehended by-and-by, West. How smooth and even they do bear them- selves, : As if allegiance in their bosom sat, Crowned with faith, and constant loyalty. Bed. The king hath note of all that they intend, By interception which they dream not of. fixe. Nay, but the man that was his bedfellow, Whom he hath dull’d and cloy’d with gracious favours, That he should, for a foreign purse, so sell 10 His sovereign’s life to death and treachery ! Trumpets sound. Enter King HENRY, ScROopP, CAMBRIDGE, GREY, Lords, and Attendants. K. Hen. Now sits the wind fair, and we will aboard. My Lord of Cambridge,—and my kind Lord of Masham,— | And you, my gentle knight, give me your thoughts, Think you not, that the powers we bear with us Will cut their passage through the force of France, ; Doing the execution, and the act, For which we have in head assembled them? Scroop. No doubt, my liege, if each man do his best. K. Hen, I doubt not that: since we are well per- suaded, : 20 We carry not a heart with us from hence, That grows not in a fair concent with ours; Nor leave not one behind, that doth not wish Success and conquest to attend on us. Cam. Never was monarch better fear’d and lov’d Than is your majesty : there's not, I think, a subject, That sits in heart-grief and uneasiness Under the sweet shade of your government. Grey. True: those that were your father’s enemies, Have steep’d their galls in honey, and do serve you 30 With hearts create of duty and of zeal. K. Hen. We therefore have great cause of thank- fulness, And shall forget the office of our hand, . Sooner than quittance of desert and merit, 5 According to the weight and worthiness. Seroop. So service shall with steeled sinews toil, And labour shall refresh itself with hope, To do your grace incessant services. K. Hen. We judge no less.—Uncle of Exeter, Enlarge the man committed yesterday, That rail’d against our person: we consider, It was excess of wine that set him on; And, on his more advice, we pardon him. Scroop. That’s mercy, but too much security: Let him be punish’d, sovereign; lest example Breed, by his sufferance, more of such a kind. K. Hen. O! let us yet be merciful. Cam. So may your highness, and yet punish too.’ Grey. Sir, you show eee mercy, if you give him lit After the taste of much correction. a K. Hen. Alas! your too much love and care of mé Are heavy orisons ‘gainst this poor wretch, If little faults, proceeding on distemper, cl Shall not be wink’d at, how shall we stretch our oye, ! When capital crimes, chew'd, swallow’d, and digested, Appear before us ?—We'll yet enlarge that man, |. Though Cambridge, Scroop, and Grey, in their dear care And tender preservation of our person, Would have him punish’d. And now causes : . Who are the late commissioners ? Cam. Lone, my lord : Your highness bade me ask for it to-day. Scroop. So did you me, my liege. rey, And I, ea ‘al sovereign. K. Hen, Then, Richard Earl 6f Cambridge, there is yours ;— aka to our French & Scene IL] KING HENRY V. 501 There yours, ee Scroop of Masham ;—and, sir night, Grey of Northumberland, this same is yours :— Read them ; and know, I know your worthiness.— My Lord of Westmoreland, and uncle Exeter, We will aboard to-night.—Why, how now, gentlemen? . What see you in those papers, that you lose 71 So much complexion ?—Look ye, how they change : Their cheeks are paper.—Why, what read you tfore: That hath so cowarded and chas’d your blood Out of appearance ? , Cam. I do confess my fault, And do submit me to your highness’ mercy. Grey, Scroop. To which we all appeal. K. Heh e e mercy that was quick in us but a By your own counsel is suppress'd and kill’d: You must not dare, for shame, to talk of mercy ; For your own reasons turn into your bosoms, As dogs upon their masters, worrying you. See you, my princes, and my noble peers, ‘These Hpete monsters! My Lord of Cambridge ere, — You know how apt our love was, to accord To furnish him with all appertinents Belonging to his honour ; and this man Hath, for a few light crowns, lightly conspir’d, And sworn unto the practices of France, To kill us here in Hampton: to the which, This knight, no less for bounty bound to us Than Cambridge is, hath likewise sworn.—But O! What shall I say to thee, Lord Scroop? thou cruel, Ingrateful, savage, and inhuman creature ! _ Thou, that didst bear the key of all my counsels, That knew’st the very bottom of my soul, That almost mightst have coin’d me into gold, Wouldst thou have practis’d on me for thy use! May it be possible, that foreign hire Could out of thee extract one spark of evil, That might annoy my finger? ‘tis so strange, That, though the truth of it stands off as gross As black and white, my eye will scarcely see it. Treason and murder ever kept together, As two yoke-devils sworn to either’s purpose, Working so grossly in a natural cause, That admiration did not whoop at them: But thou, ’gainst all proportion, didst bring in Wonder to wait on treason, and on murder: And whatsoever cunning fiend it was, That wrought upon thee so preposterously, Hath got the voice in hell for excellence : And other devils, that suggest by treasons, Do botch and bungle up damnation With patches, colours, and with forms, being fetch’d From glistering semblances of piety ; But he that temper’d thee bade thee stand up, Gave thee no instance why thou shouldst do treason, Unless to dub thee with the name of traitor. If that same demon, that hath gull’d thee thus, 120 Should with his lion gait walk the whole world, He might return to vasty Tartar back, And tell the legions,—I can never win A soul so easy as that Englishman’s. 0, how hast thou with jealousy infected The sweetness of affiance! Show men dutiful? Why, so didst thou: seem they grave and learned ? Why, so didst thou: come they of noble family ? hy, so didst thou : seem they religious ? Why, so didst thou : or are they spare in diet ; ee from gross passion, or of mirth, or anger ; Constant in Spirits not swerving with the blood ; Garnish’d and deck’d in modest complement ; Not working with the eye without the ear, And but in purged judgment trusting neither ? Such, and so aay. olted, didst thou seem ; And thus thy fall hath left a kind of blot, To mark the full-fraught man, and best indued, _With some suspicion. I will weep for thee ; For this revolt of thine, methinks, is like Another fall of man.—Their faults are open: Arrest them to the answer of the law, And God acquit them of their practices! = 80 90 100 130 140 Exe. I arrest thee of high treason, by the name of eee tee Ot PAmiDE eG: arrest thee of high treason, by the name of H Lord Scroop of finsharen * or Tarrest thee of high treason, bv the name of Thomas Grey, knight of Northumberland. H Ly oo i AK. Hen, “Thelr faults are open: Arrest them to the aaswer of the law.” Scroop. Our purposes God justly hath discover’d, 150 And I repent my fault more than my death ; Which I beseech your highness to torgive, Although my body pay the price of it. Cam. For me,—the gold of France did not seduce, Although I did admit it as a motive, The sooner to effect what I intended. But God be thanked for prevention ; Which I in sufferance heartily will rejoice, Beseeching God and you to pardon me. Grey. Never did faithful subject more rejoice At the discovery of most dangerous treason, Than I do at this hour joy o’er myself, Prevented from a damned enterprise. My fault, but not my body, pardon, sovereign. K. Hen. God quit you in his mercy! ear your sentence. You have conspir’d against our royal person, Join’d with an enemy proclaim’d, and from his coffers Receiv’d the golden earnest of our death ; Wherein you would have sold your king to slaughter, His princes and his peers to servitude, 170 His subjects to oppression and contempt, ‘And his whole kingdom into desolation. Touching our person, seek we no revenge ; But we our kingdom’s safety must so tender, Whose ruin you have sought, that to her laws We do deliver you. Get you therefore hence, Poor miserable wretches, to your death ; The taste whereof, God, of his mercy, give you Patience to endure, and true repentance Of all your dear offences.—Bear them hence 180 [Exeunt CAMBRIDGE, SCROOP, and GREY, guarded. Now, lords, for France ; the enterprise whereof Shall be to you, as us, like glorious. 160 We doubt not of a fair and lucky war, 502 KING HENRY Be {Acr II, Since God so graciously hath brought to light This dangerous treason, Jurking in our way To hinder our beginnings : we doubt not now, But every rub is smoothed on our way. Then forth, dear countrymen : let us deliver Our puissance into the hand of God, Putting it straight in expedition. Cheerly to sea ; the signs of war advance: No King of England, if not King of France. [Exeunt. 190 Mistress QUICKLY’s House in Eastcheap. Enter Pisto., Mistress QUICKLY, NYM, BARDOLPH, and Boy. Quick. Pr'ythee, honey-sweet husband, let me bring thee to Staines. Pist. No; for my manly heart doth yearn.— Bardolph, be blithe; Nym, rouse Ce vaunting veins ; Boy, bristle thy courage up; for Falstaff he is dead, And we must yearn therefore. Bard. ’Would I were with him, wheresome’er he is, either in heaven, or in hell. Quick. Nay, sure, he’s not in hell: he's in Arthur’s bosom, if ever man went to Arthur's bosom. ’A made a finer end, and went away, an it had been any christom child; ’a parted even just between twelve and one, even at the turning o’ the tide: for after I saw him fumble with the sheets, and play with flowers, and smile upon his fingers’ ends, I knew there was but one way; for his nose was as sharp as a pen, and a table of green fields. ‘‘ How now, Sir John?” quoth I: “‘what, man! be of good cheer.” So ’a cried out—“God, God, God!” three or fourtimes: now I, to comfort him, bid him, ’a should not think of God; I hoped, there was no need to trouble himself with any such thoughts yet. So, 'a bade me lay more clothes on his feet: I put my hand into the bed, and felt them, and they were as cold as any stone; then I felt to his knees, and so upward, and upward, and all was as cold as any stone. Nym. They say, he cried out of sack. poe Ay, that ’a did. ard. And of women. Saeeek Nay, that ’a did not. 30 ‘oy. Yes, that ‘a did; and said, they were devils incarnate. Quick. ’A could never abide carnation; ‘twas a colour he never liked. 7 Boy. ’A said once, the devil would have him about women, Quick. ’A did in some sort, indeed, handle women ; but then he was rheumatic, and talked of the whore of Babylon. Boy. Do you not remember, ’a saw a flea stick upon Basiolph’s nose, and ’a said it was a black soul burning in hell? - 42 Bard. Well, the fuel is gone that maintained that fire: that’s all the riches I got in his service. Nym. Shall we shog? the king will be gone from Southampton. Pist. Come, let’s away.—My love, give me thy lips. Look to my chattels, and‘my movables : Let senses rule, the word is, “ Pitch and pay ;” Trust none; For oaths are straws, men’s faiths are wafer-cakes, And hold-fast is the only dog, my duck: Therefore, caveto be thy counsellor. Go, clear thy erystals.— Yoke-fellows in arms, Let us to France: like horse-leeches, my boys, To suck, to suck, the very blood to suck! Boy. And that is but unwholesome food, they say. Pist. Touch her soft mouth, and march. Bard. Farewell, hostess. | Kissing her. Nym. I cannot kiss, that is the humour of it; but ScENE III.--London. 50 adieu. 61 Pist. Let housewifery appear: keep close, I thee command, Quick. Farewell; adieu. [Exeunt. Scene IV.—France. A Room in the French Kine’s Palace. Flourish. Enter the French Kine, attended; t DAUPHIN, the Duke of BURGUNDY, the mtg and others. ; Fr. King. Thus come the English with full power upon us; And more than carefully it us concerns, To answer royally in our defences. Therefore the Dukes of Berry, and of Bretagne, Of Brabant, and of Orleans, shall make forth, And you, Prince Dauphin, with all swift despatch, To line and new-repair our towns of war With men of courage, and with means defendant: For England his approaches makes as fierce : As waters to the sucking of a gulf. It fits us then to be as provident As fear may teach us, out of late examples Left by the fatal and neglected English Upon our fields. Dau. My most redoubted father, It is most meet we arm us ‘gainst the foe; For peace itself should not so dull a kingdom, (Though war, nor no known quarrel, were in question,} But that defences, musters, preparations, Should be maintain’d, assembled, and collected, As were a war in expectation. Therefore, I say, ’tis meet we all go forth, To view the sick and feeble parts of France: And let us do it with no show of fear; No, with no more, than if we heard that England Were busied with a Whitsun morris-dance: For, my good liege, she is so idly king’d, Her sceptre so fantastically borne By a vain, giddy, shallow, humorous youth, That fear attends her not. Con. ‘ O peace, Prince Dauphin! You are too much mistaken in this king. 30 auastion your grace the late ambassadors, Vith what great state he heard their embassy, How well supplied with noble counsellors, How modest in exception, and, withal, How terrible in constant resolution, And you shall find, his vanities forespent Were but the outside of the Roman Brutus, Covering discretion with a coat of folly ; As gardeners do with ordure hide those roots That shall first spring, and be most delicate. Dau. Well, tis not so, my lord high constable; But though we think it so, it is no matter: In cases of defence, tis best to weigh The enemy more au tty, than he seems: So the proportions of defence are fill’d; __ Which, of a weak and niggardly projection, Doth like a miser spoil his coat with scanting A little cloth. Fr. King. Think we Ring Harry strong; | And, princes, look you strongly arm to meet him. The kindred of him hath been flesh’d upon us, And he is bred out of that bloody strain, That haunted us in our familiar paths: Witness our too much memorable shame, When Cressy battle fatally was struck, And all our princes captiv’d, by the hand : Of that black name, Edward Black Prince of Wales; Whiles that his mountain sire,—on mountain standing, Up in the air, crown’d with the golden sun,— Saw his heroical seed, and smil'd to see him Mangle the work of nature, and deface The patterns that by God and by French fathers Had twenty years been made. This is a stem Of that victorious stock ; and let us fear The native mightiness and fate of him. Enter a Messenger. Mess. Ambassadors from Harry King of England Do crave admittance to your majesty. Go » 10 49 50 60 Fr. King. We'll give them present audience. and bring them, . ds Exeunt Messenger and certain Lords. You see, this chase is hotly follow’d, friends. oe a ae ar Runs far before them. Good my sovereign, Take up the English short, and let them know Of what a monarchy you are the head: Self-love, my liege, is not so vile a sin As self-neglecting. Re-enter Lords, with EXETER and Train. Fr. King. From our brother England ? Eze, From him ; and thus he orcs your majesty. He wills you, in the name of God Almighty, That you divest yourself, and lay apart The borrow’d glories, that by gift of Heaven, 80 By law of nature, and of nations, ‘long To him, and to his heirs; namely, the crown, And all wide-stretched honours that pertain, By custom and the ordinance of times, Unto the crown of France. That you may know, ‘Tis no sinister, nor no awkward claim, Pick’d from the worm-holes of long-vanish’d days, Nor from the dust of old oblivion rak’d, He sends you this most memorable line, [Gives a pedigree. In every branch truly demonstrative ; 90 Willing you overlook this pedigree, And when you find him evenly deriv’d From his most fam’d of famous ancestors, Edward the Third, he bids you then resign Your crown and kingdom, indirectly hel From him, the native and true challenger. Fr. King. Or else what follows? - Exe. Bloody constraint; for if you hide the crown Even in your hearts, there will he rake for it: Therefore in fierce tempest is he coming, 100 In thunder, and in earthquake, like a Jove, That, if requiring fail, he will compel; And bids you, in the bowels of the Lord, Deliver up the crown, and to take mercy On the poor souls, for whom this hungry war Opens his vasty jaws; and on your head Turning the widows’ tears, the orphans’ cries, SoENE IV.] KING HENRY VP. 503 Dau. Turn head, and stop pursuit ; for coward dogs | The dead men’s blood, the pining maidens’ groans, Most spend their mouths, when what they seem to | For husbands, fathers, and betrothed lovers, threaten 70 | That shall be swallow d in this controversy. 110 This is his claim, his threat’ning, and my message ; Unless the Dauphin be in presence here, To whom Say I bring greeting too. Fr. King. For us, we will consider of this further: To-morrow shall you bear our full intent Back to our brother England. Dau. For the Dauphin. I stand here for him: what to him from England? Exe. Scorn and defiance, slight regard, contempt, And anything that may not misbecome The mighty sender, doth he prize you at. 120 Thus says my sng : an if your father’s highness, Do not, in grant of all demands at large, Sweeten the bitter mock you sent his majesty, He'll call you to so hot an answer of it, That caves and womby vaultages of France Shall chide your trespass, and return your mock In second accent of his ordinance. Dau. Say, if my father render fair return, It is against my will: for I desire Nothing but odds with England: to that end, As matching to his youth and vanity, I did present him with the Paris balls. Exe. He’! make your Paris Louvre shake for it, Were it the mistress court of mighty Europe: And, be assur’d, you’ll find a difference, As we, his subjects, have in wonder found, Between the promise of his greener days, And these he masters now. Now he weighs time, Even to the utmost grain; that you shall read In your own losses, if he stay in France. 140 Fr, ing. Tommerrew shall you know our mind at ull. Exe. Deeretee us with all speed, lest that our king Come here himself to question our delay ; For he is footed in this land already. Fr, King. You shall be soon despatch’d with fair conditions. A night is but small breath, and little pause, To answer matters of this consequence. 130 [Exeunt. : ls. 0; 5 Ce Cy 3 A (gs We a i ACT Chorus jHUS with imagin’d wing our swift scene ies, In motion of no less celerity Than that of thought. Suppose, that you have seen ; The well-appointed king at Hampton pier Embark his royalty ; and his brave fleet With silken streamers the young Phoebus fanning. ‘ Play wi pa fancies, and in them eho. Upon the hempen tackle ship-boys climb- ing; Hear the shrill whistle, which doth order give To sounds confus’d ; behold the threaden sails, 10 Borne with the invisible and creep wind, Draw the huge bottoms through the furrow’d sea, Breasting the joy surge. O! do but think, You stand upon the rivage, and behold A city on the inconstant illows dancing; IIT. Enter Chorus. . For so oe this fleet majestical, Holding due course to Harfleur. Follow, follow! Grapple your minds to sternage of this navy, And leave your England, as dead midnight still, Guarded with grandsires, babies, and old women, 20 Either past, or not arriv’d to, pith and puissance: For who is he, whose chin is but enrich’d With one appearing hair, that will not follow These cull’d and choice-drawn cavaliers to France ? Work, work your thoughts, and therein see a siege: Behold the ordnance on their carriages, With fatal mouths gaping on girded Harfleur. Suppose, the ambassador from the French comes back ; Tells Harry that the king doth offer him Katharine his daughter ; and with her, todowry, 30 Some petty and unprofitable dukedoms. The offer likes not; and the nimble gunner With linstock now the devilish cannon touches, [Alarum, and chambers go off. And down goes all before them. Still be kind, And eke out our performance with your mind. [EF zit. {Acr II. 504 KING HENRY VF. ScrENE I.—France. Before Harfleur. Hee Fuay thee, corporal, oy i the knocks are too ; and for mine own . Alarums. Enter King HENRY, EXETER, BEDFORD, | Jives: the humour of it $e 4 ave not a case of GLOSTER, and Soldiers, with scaling-ladders. K. Hen. Once more unto the breach, dear friends, once more ; Or close the wall up with our English dead ! In peace, there’s nothing so becomes a man, As modest stillness and humility : But when the blast of war blows in our ears, Then imitate the action of the tiger ; A. Hen, “ Cry—God for Harry! Engiand und Saint George!" Stiffen the sinews, summon up the blood, Disguise fair nature with hard-favour’d rage ; Then lend the cye a terrible aspect ; Let it pry through the portage of the head, Like the brass cannon; let the brow o’erwhelm it, As fearfully as doth a galled rock O’erhang and jutty his confounded base, Swill'd with the wild and: wasteful ocean. Now set the teeth, and stretch the nostril wide; Hold hard the breath, and bend up every spirit To his full height !—On, on, you noblest English ! Whose blood is fet from fathers of war-proof, Fathers, that, like so many Alexanders, Have in these parts from morn till even fought, 20 And sheath’d their swords for lack of argument. Dishonour not your mothers: now attest, That those, whom you call’d fathers, did beget you. Be copy now to men of grosser blood, And teach them how to war.—And you, good yeomen, Whose limbs were made in England, show us here The mettle of your pasture ; let us swear That you are worth your breeding: which I doubt not ; For there is none of you so mean and base, That hath not noble lustre in your eyes. 30 I see you stand like greyhounds in the slips, Straining upon the start. The game’s afoot: Follow your ce aa and upon this charge, Cry—God for Harry! England and Saint George! [Exeunt. Alarum, and chambers go off. Scene II.—The Same. Enter NyM, BARDOLPH, PisToL, and Boy. Bard. On, on, on, on, on! to the breach, to the breach! : r is too hot, that is the very plain-song of it. - Pist. The plain-song is most just, for humours do abound ; Knocks go and come, God’s vassals drop and die; And sword and shield, In bloody field, 10 Doth win immortal fame. Boy. Would I were in an ale-house in London! I would give all my fame for a pot of ale, and safety, Pist. And I: If wishes would prevail with me, My parpise should not fail with me, ut thither would I hie. As duly, But not as truly, As bird doth sing on bough. 20 Enter FLUELLEN. Flu. Up to the breach, you dogs! avaunt, you cullions ! [Driving them forward, Pist. Be merciful, great duke, to men of mould! Abate thy rage, abate thy manly rage ; Abate thy rage, great duke! Good bawcock, bate thy rage; use lenity, sweet chuck! Nym. These be good humours !—your honour wins bad humours. [Exeunt NYM, PISTOL, and BARDOLPH, Sollowed by FLUELLEN. Boy As young as I am, I have observed these three swashers. Iam boy to them all three, but all they three, though they would serve me, could not be man to me; for, indeed, three such anticks do not amount to a man. For Bardolph, he is white-livered, and red-faced ; by the means whereof, ’a faces it out, but fights not. or Pistol, he hath a killing tongue, and a quiet sword ; by the means whereof ’a breaks words, and keeps whole weapons. For Nym, he hath heard, that men of few words are the best men; and there- fore he scorns to say his prayers, lest ’a should _be thought a coward : but his few bad words are match’d with as few good deeds; for’a never broke any man’s head but his own, and that was against a post when he was drunk. They will steal anything, and call it urchase. Bardolph stole a lute-case, bore it twelve eagues, and sold it for three half-pence. Nym and Bardolph are sworn brothers in filching, and in Calais they stole a fire-shovel ; I knew, by that piece of ser- vice, the men would carry coals. They would have me as familiar with men’s pockets, as their gloves or their handkerchiefs: which makes much against my manhood, if I should take from another's pocket, to ut into mine ; for it is plain pocketing up of wrongs. r must leave them, and seek some better service: their villainy goes against my weak stomach, and therefore I must cast it up. [Ezit. Re-enter FLUELLEN, GOWER following. Gow. Captain Fluellen, you must come presently to the mines: the Duke of Gloster would speak with you. Flu. To the mines! tell you the duke, it is not so good to come to the mines. For, look you, the mines is not according to the disciplines of the war; the concavities of it is not sufficient; for, look you, th’athversary (you may discuss unto the duke, look you) is digt himself four yard under the countermines. By Cheshu, I think, ’a will plow up all, if there is not better directions. Gow. The Duke of Gloster, to whom the order of the siege is given, is altogether directed by an Irishman; a very valiant gentleman, i’ faith. Flu. It is Captain Macmorris, is it not? Gow. I think it be. 70 Fiu. By Cheshu, he is an ass, as in the world. I will verify. as much in his peard: he has no more directions in the true disciplines of the wars, look you, of the Roman disciplines, than is a puppy-dog. Enter MacmMornis and JAmy, at a distance. Gow. Here’a comes; and the Scots captain, Captain Jamy, with him. Boy. Scens IV.] KING HENRY VV. 505 Flu. Captain Jamy is a marvellous falorous gentle- man, that is certain; and of great expedition, and knowledge in the ancient wars, upon my particular knowledge of his directions: by Cheshu, he will maintain his ee ee well as any military man in the world, in the disciplines of the pristine wars of the Romans. 83 Jamy. Isay, gud day, Captain Fluellen. Flu. God-den to your worship, good Captain James. Gow. How now, Captain Macmorris! have you quit the mines? have the pioners given o'er? Mac. By Chrish la, tish ill done: the work ish give over, the trumpet sound the retreat. By my hand, I swear, and my father’s soul, the work isn ill done; it ish give over: I would have blowed up the town, so Chrish save me, la, in an hour. O! tish ill done, tish ill done; by my hand, tish ill done. Fiu. Captain Macmorris, I beseech you now, will you vouchsafe me, look you, a few disputations with you, as partly touching or concerning the disciplines of the war, the Roman wars, in the way of argument, look you, and friendly communication; partly to satisfy my opinion, and partly for the satisfaction, look you, of my mind, as touching the direction of the military discipline: that is the point. Jamy. It sall be very gud, gud feith, gud captains bath: and I sall quit you with gud leve, as I may pick occasion ; that sall I, marry. ' Mac. It is no time to discourse, so Chrish save me. The day is hot, and the weather, and the wars, and the king, and the dukes; it is no time to discourse. The town is beseeched, and the trumpet call us to the breach, and we talk, and, be Chrish, do nothing: ’tis shame for us all; so God sa’me, ‘tis shame to stand still ; itis shame, by my hand; and there is throats to be cut, and works to be done, and there ish nothing done, so Chrish sa’ me, la. : Jamy. By the mess, ere theise eyes of mine take themselves to slomber. aile de gud service, or aile lig i’ the grund for it; ay, or go to death; and aile pay it as valorously as Imay, that sal I surely do, that is the brefi and the long. Marry, IJ wad full fain heard some question 'tween you tway. 119 Flu, Captain Macmorris, I think, look you, under your correction, there is not many of your nation— Mac. Of my nation! What ish my nation? Ish a villain, and a bastard, and a knave, and a rascal. What ish my nation? Who talks of my nation? Flw. Look you, if you_take the matter otherwise than is meant, Captain Macmorris, pore ventare. I shall think you do not use me with that affability as in discretion you ought to use me, look you; being as good a man as yourself, both in the disciplines of wars, and in the derivation of my birth, and in other particularities. Mac. I do not know you so good a man as myself: so Chrish save me, I will cut off your head. Gow. Gentlemen both, you will mistake each other. Jamy. Au! that’s a foul fault. [4 parley sounded. Gow. The town sounds a parley. Flu. Captain Macmorris, when there is more better opportunity to be required, look you, I will be so bold as to tell you, I know the disciplines of wars; and there is an end. [Execunt. ScENE III.--TheSame. Before the Gates of Harfleur, The Governor and some Citizens on the walis ; the English Forces below. Enter King HENRY and his Train. : K. Hen. How yet resolves the governor of the town? This is the latest parle we will admit : Therefore, to our best mercy give yourselves ; Or, like to men proud of destruction, : Defy us to our worst: for, as I am a soldier, A name that in my thoughts becomes me best, If begin the battery once again, - Twill not leave the half-achieved Harfleur, Till in her ashes she lie buried. The gates of mercy shall be all shut up; 10 And the flesh’d soldier, rough and hard of heart, fee In liberty of bloody hand shall range With conscience wide as hell, mowing like grass Your fresh-tair virgins, and your flowering infants. What is it then to me, if impious war, Array’d in flames like to the prince of fiends, Do, with his smirch’d complexion, all fell feats Enlink’d to waste and desolation ? What is’t tome, when you yourselves are cause, If your pure maidens fall into the hand 20 Of hot and forcing violation ? What rein can hold licentious wickedness, When down the hill he holds his fierce career? We may as bootless spend our vain command Upon the enraged soldiers in their spoil, As send precepts to the leviathan To come ashore. Therefore, you men of Harfleur, Take pity of your town, and of your people, Whiles yet my soldiers are in my command ; Whiles yet the cool and temperate wind of grace 30 O'erbiows the filthy and contagious clouds Of heady murder, spoil, and villainy. If not, why, in a moment look to see The blind and bloody soldier with foul hand Defile the locks of your shrill-shrieking daughters ; Your fathers taken by the silver beards, And their most reverend heads dash’d to the walls ; Your naked infants spitted upon pikes, Whiles the mad mothers with their howls confus’d Do break the clouds, as did the wives of Jewry _ 40 At Herod’s bloody-hunting slaughtermen. What say you? will you yield, and this avoid? Or, guilty in defence, be thus destroy'd? Gov. Our expectation hath this day an end. The Dauphin, whom of succour we entreated, Returns us, that his powers are yet not ready To raise so great a siege. Therefore, great king, We yield our town and lives to thy soft mercy. Enter our Eales ; dispose of us and ours; For we no longer are defensible. 50 KK. Hen. Open your pales !_Come, uncle Exeter, Go you and enter Harfleur; there remain, And fortify it strongly ’gainst the French: Use mercy to them all. For us, dear uncle, The winter coming on, and sickness growing Upon our soldiers, we will retire to Calais. To-night in Harfleur will we be your guest ; To-morrow for the march are we addrest. [Fiourish. The Kina, &c., enter the town. ScenE IV.—Rouen. A Room in the Palace. inter KATHARINE and ALICE. Kate. Alice, tu as esté en Angleterre, et tu bien parles le langage. Alice. Un peu, madame. Kath. Je te prie, nvenseigniez; il faut que je apprend a parler. Comment appellez vous ie main en Anglots ? Alice. Le main? il est appellé, de hand. Kath. Dehand. £t les doigts ? Alice. Les doigts? ma foy, je oublie les doigts ; mais jeme souviendray. Les doigts ? je pense, qwils sont ge de fingres ; owy, de fingres. ll Kath. Le main, de hand ; les doigts, de fingres. Je pense, que je suis le bon escolier. Jai gagné deux mots d’Anglois vistement. Comment appellez vous les ongles ? Alice. Les ongles ? ics appelions, de nails. Kath. De nails. Escoutez; dites moy, si je parle bien : de hand, de fingres, e¢ de nails. Alice. C'est bien dict, madame; il est fort bon Anglois. 20 Kath. Dites moy l_Anglots pour le bras. Alice. De arm, madame, Kath. Et le coude? Alice. De elbow. Kath. De elbow. Je m’en faitz la repetition de tous les mots, a vous mavez apprins dés a present. Alice. Il est trop difficile, madame, comme Je. pense. : 506 KING HENRY V¥. (Acr TIL Kath. Excuse moy, Alice; escoute: fingre, de nails, de arm, de bilbow, Alice. De elbow, madame. Kath. O Seigneur Diew ! je m’en oublie; de elbow. Comment appellez vous le col? Alice. De nick, madame. Kath. De nick. Et le menton? Alice. De chin. . Kath. De sin. Le col, de nick; le menton, de sin. Alice. Ouy. Sauf vostre honneur, en verité, vous prononcez es mots aussi droict que les natifs ad’ Angleterre. 40 Kath. Je ne doute point dapprendre par la grace de Dieu, et en peu de temps. de hand, de 30 Kath. “ Je rectterar une autre fors ma lecurt ensemble.” Alice, N’avez vous deja oublié ce que je vous ay enseigné 2 Kath. Non, je reciteray a vous promptement. De hand, de fingre, de mails, — Alice. De nails, madame. Kath. De nails, de arme, de ilbow. Alice. Sauf vostre honneur, de elbow. Kath. Ainsi dis je; de elbow, de nick, et de sin. Comment appellez vous le pied et la robe? dl Alice. De foot, madame ; et de coun. Kath. De foot, e¢ de coun? O Seigneur Dieu! ils sont les mots de son mauvais, corruptible, grosse, ct impudique, et non pour les dames de honneur d'user. Je ne voudrois prononcer ces mots devant les Seig- neurs de France, pour tout le monde. Il faut de foot, et de coun, neant-moins. Je recitcrai une autre fois ma lecon ensemble: de hand, de fingre, de nails, de arm, de elbow, de nick, de sin, de foot, de coun. 60 Alice, Excellent, madame. Kath. C'est assez pour une fois: allons nous a disner. [Exewnt. Scene V.—The Same. Another Room in the Same. Enter the French Kina, the _Dauputn, Duke of Bourwon, the Constable of France, and others. n ’T is certain, he hath pass’d the river Somme. Con. And if he be not fought withal, my lord, Let us not live in France ; let us quit all, And give our vineyards to a barbarous people. Dau. O Dieu vivant ! shall a few sprays of us, The emptying of our fathers’ luxury, Our scions, put in wild and savage stock, Spirt up so suddenly into the clouds, And overlook their grafters ? Bour, Normans, but bastard Normans, Norman bastards, 10 Mort de ma vie! if they march alon; Unfought withal, but I will sell my dukedlon, To buy a slobbery and a dirty farm In that nook-shotten isle of Albion. Con. Diew de battailes! where have they this mettle? : Is not their climate foggy, raw, and dull, On whon, as in despite, the sun looks pale, Killing their fruit with frowns? Can sodden water, A drench for suz-rein’d jades, their barley-broth, Decoct their cold blood to such valiant heat? ~ _20 And shall our sue blood, spirited with wine, Seem arene ! for honour of our land, Let us not hang like roping icicles 3 Upon our houses’ thatch, whiles a more frosty neople Sweat drops of salient youth in our rich fields ; Poor we may call them in their native lords. Dau. By faith and honour, Our madams mock at us, and plainly say, Our mettle is bred out ; and they will give Their bodies to the lust of English youth, 30 To new-store France with hastard warriors. Bour. They bid us to the English dancing-schools, And teach lavoltas high, and swift corantos; Saying, our grace is only in our heels, And that we are most lofty runaways. Fr. Ang: Whereis Montjoy, the herald? speed him ence: Let him greet England with our sharp defiance.— Up, princes! and, with spirit of honour edg’d More sharper than your swords, hie to the field: Charles Delabreth, high constable of France; You Dukes of Orleans, Bourbon, and of Berry, Alencon, Brabant, Bar, and Burgundy ; Jaques Chatillon, Rambures, Vaudemont, Beaumont, Grandpré, Roussi, and Fauconberg, Foix, Lestrale, Bouciqualt, and Charolois ; : High dukes, great princes, barons, lords, and knights, For your great seats, now quit you of great shames, Bar Harry England, that eee through our land With pennons painted in the blood of Harfleur: Rush on his host, as doth the melted snow Upon the valleys, whose low vassal seat The Alps doth spit and void his rheum upon: Go, down upon him,—you have power enough,— And in a captive chariot into Roan Bring him our prisoner. Con. This becomes the great. Sorry am I, his numbers are so few, His soldiers sick, and famish’d in their march; For, I am sure, when he shall see our army, He'll drop his heart into the sink of fear, And, for achievement, offer us his ransom. 60 Fr. King. Therefore, lord constable, haste on Mont- JOY, And let him say to England, that we send To know what willing ransom he will give.— Prince Dauphin, you shall stay with us in Roan, Dau. Not so, Ido beseech your majesty. , Fr. King. Be patient, for you shall remain with us.— Now, forth, lord constable, and princes all, And quickly bring us word of England’sfall. [Exeunt. ScENE VI.—The English Camp in Picardy. Enter GOWER and FLUELLEN. Gow. How now, Captain Fluellen? come you from the bridge? r Flu. T assure you, there is very excellent services committed at the pridge. Gow. Is the Duke of Exeter safe? Flu. The Duke of Exeter is as magnanimous 2s Agamemnon ; and a man that I love and honour with my soul, and my heart, and my duty, and my life, and my living, and my uttermost power: he is not ScENE VI.] KING HENRY FV. 507 (God be. praised and blessed !) any hurt in the world, but keeps the pridge most val ly, with excellent discipline. There is an aunchient lieutenant there at the pridge,—I think, in my very conscience, he is as valiant 2 man as Mark Antony ; and he is a man of no estimation in the world: but I did see him do as gallant service. Gow. What do you call him ? Flu. He is called Aunchient Pistol. Gow. I know him not. Enter PIsTo.. Flu. Here is the man. 20 Pist. Captain, I thee beseech to do me favours : The Duke of Exeter doth love thee well. Flu. Ay, I praise God; and I have merited some love at his hands. ; Pist. Bardolph, a soldier firm and sound of heart, And of buxom valour, hath, by cruel fate And giddy Fortune's furious fickle wheel, That goddess blind, That stands upon the rolling restless stone, — 29 Flu. By — patience, Aunchient Pistol. Fortune is painted blind, with a muffler afore his eyes, tosignify to you that Fortune is blind. And she is peihiem ales with a wheel, to signify to you, which is the moral of it, that she is turning, and inconstant, and mutability, and variation: and her foot, look you, is fixed upon a spherical stone, which rolls, and rolls, and rolls. In good truth, the poet makes a most excellent description of it: Fortune ts an excellent moral. Pist, Fortune is Bardolph’s foe, and frowns on him; For he hath stol'n a pax, and hanged must ’a be. 40 A damned death! Let gallows gape for dog, let man go free, And let not hemp his wind-pipe sutfocate. But Exeter hath given the doom of death, For pax of little price. 7 Therefore, go speak, the duke will hear thy voice, And let not Bardolph’s vital thread be cut With edge of penny cord, and vile reproach: Speak, captain, for his life, and I will thee requite. Flu, Aunchient Pistol, I do partly understand your ae 51 Pist, Why then, rejoice therefore. . : Flu. Certainly, aunchient, it is not a thing to rejoice at; for if, look you, he were my brother, I would desire the duke to use his good pleasure, and put him to execution ; for discipline ought to be used, : Pist, Die and be damn’d; and figo for thy friendship ! Flu, It is well. Pist. The fig of Spain! Flu. Very good. : Gow. Why, this is an arrant counterfeit rascal: I remember him now ; a bawd, a cutpurse. Flu. Vl assure you, ’a utter’d as prave words at the pridge, as you shall see in a summer’s day. But it is very well; what he has spoke to me, that is well, I warrant you, when time is serve. Gow. Why, ’tis a gull, afool, arogue; that now and then goes to the wars, to grace himself at his return into London under the form of a soldier. And such fellows are perfect in the great commanders’ names, and they will learn you by rote where services were done ;—at such and such a sconce, at such a breach, at such a convoy ; who came off bravely, who was shot. who disgraced, what terms the enemy stood on; and ' this they con perfectly in the phrase of war, which they trick up with new-tuned oaths : and what a beard of the general's cut, and a horrid suit of the camp, will do among foaming bottles, and ale-washed wits, is wonderful to be thought on. But you must learn to know such slanders of the age, or else you may be marvellously mistook. _ 8 Flu. I tell you what, Captain Gower; I do perceive, e is not the man that he would gladly make show to the world he is: if I find a hole in his coat, I will tell im my mind, [Drum heard.] Hark you, the king is coming, and I must speak with him from the pridge. Enter King HENRY, GLOSTER, and Soldiers. Flu. God pless your majesty ! [Exit. 60 K. Hen. How now, Fluellen? cam’st thou from the bridge? 88 Flu. Ay, 80 please your majesty. The Duke of Exeter has very sollanily maintained the pridge: the French is gone off, look you, and there is gallant and most prave passages. arry, th’ athversary was have possession of the pee BU he is enforced to retire, and the Duke of Exeter is master of the pridge. I can tell your majesty, the duke is a prave man. 4k. Hen. What men have you lost, Fluellen ? Flu. The perdition of th’athversary hath been very ie reasonable great: marry, for my part, I think the uke hath lost never a man, but one that is like to be executed for robbing a church; one Bardolph, if your majesty know the man: his face is all bubukles, and whelks, and knobs, and flames of fire; and his lips blows at his nose, and it is like a coal of fire, some- times plue, and sometimesred; but his nose isexecuted, and his fire’s out. K. Hen. We would have all such offenders so cut off: and we give express charge, that in our marches through the country there be nothing compelled from the villages, nothing taken but paid for; none of the French upbraided, or abused in disdainful language ; for when lenity and cruelty play for a kingdom, one 12 gentler gamester is the soonest winner. Tucket. Enter MontTJoy. Mont. You know me by my habit. kK. Hen. Well then, I know thee: what shall I know of thee? Mont. My master’s mind, KEK. Hen. Unfold it. Mont. Thus says my king :—Say thou to Harry -of England, though we seemed dead, we did but sleep ; advantage is a better soldier than rashness. Tell him, we could have rebuked him at Harfieur; but that we thought not good to bruise an injury, till it were full ripe: now we speak upon our cue, and our voice is imperial. England shall repent his folly, see his weakness, and admire our sufferance. Bid him, there- fore, consider of his ransom; which must proportion the losses we have borne, the subjects we have lost, the disgrace we have digested; which, in weight to re-answer, his pettiness would bow under. For our losses, his exchequer is too poor; for the effusion of our blood, the muster of his kingdom too faint a number ; and for our disgrace, his own person, kneel- ing at our feet, but a weak and worthless satisfaction. To this add defiance ; and tell him, for conclusion, he hath betrayed his followers, whose condemnation is pronounced. So far my king and master, so much my office. KK. Hen. What is thy name? I know thy quality. Mont. Montjoy. AK. dich, Thou dost thy office fairly. ack, And tell thy king,—I do not seek him now, But could be willing to march on to Calais Without impeachment; for, to say the sooth, Though ’t is no wisdom to confess so much Unto an enemy of craft and vantage, My people are with sickness much enfeebled, My numbers lessen’d, and those few I have Almost no better than so many French: Who, when they were in health, I tell thee, herald, I thought upon one pair of English legs Did march three Frenchmen.-— Yet, forgive me, God, That I do brag thus !—this your air of France 151 Hath blown that vice in me: I must repent. Go therefore, tell thy master, here Iam: My ransom is this frail and worthless trunk, My army but a weak and sickly guard ; Yet,’ God before, tell him we will come on, Though France himself, and such another neighbour, Stand in our way. There’s for thy labour, Montjoy. Go, bid thy master well advise himself : If we may pass, we will; if we be hinder'd, 160 We shall your tawny ground with your red blood Discolour : and so, Montjoy, fare you well. The sum of all our answer is but this: We would not seek a battle, as we are; Turn thee 140 508 Nor, as we are, we say, we will not shun it: So tell your master. 4 Mont. I shall deliver so. Thanks to your mr wit, Glo. I hope they will not come upon us now. ; K. a. Ve are in God's hand, brother, not in theirs. March to the bridge ; it now draws toward night : 170 Beyond the river we'll encamp ourselves, And on to-morrow bid them march away. [Excunt. ScENE VII.—The French Camp, near Agincourt. Enter the Constable of France, the Lord RAMBURES, the Duke of ORLEANS, the DAUPHIN, and others. Con. Tut! I have the best armour of the world. ‘Would it were day! 7. You have an excellent armour; but let my horse have his due. Dau. * 1013 a theme as fluent as tle Bea, Con. It is the best horse of Europe. Orl. WillLit never be morning? Dau. My Lord of Orleans, and my lord high con- stable, you talk of horse and armour — Orl. You are as well provided of both as any prince in the world. 10 Dau, What a long night is this !—I will not change my horse with any that treads but on four pasterns. (a, ha! He bounds from the earth, as if his entrails were hairs; le cheval volant, the Pegasus, qui a les narines de feu! When I bestride him, I soar, I am a hawk: he trots the air; the earth sings when he touches it; the basest horn of his hoof is more musical than the pipe of Hermes. Orl. He’s of the colour of the nutmeg. 19 Dau. And of the heat of the ginger. It is a beast for Perseus: he is pure air and fire; and the dull elements of earth and water never appear in him, but only in patient stillness, while his rider mounts him: he is, indeed, a horse; and all other jades you may call beasts. Con. Indeed, my lord, it is a most absolute and et horse. aw. It is the prince of palfreys: his neigh is like the bidding of a monarch, and his countenance en- forces homage. 30 Orl. No more, cousin. Dau, Nay, the man hath no wit that cannot, from the rising of the lark to the lodging of the lamb, vary deserved praise on my palfrey : it is a theme as fluent as the sea; turn the sands into eloquent tongues, and KING HENRY V. > [Aor TIL my horse is argument for them all. ’Tis a subject for a sovereign to reason on, and for a sovereign’s sové: reign to ride on; and for the world (familiar to us, and unknown) to lay apa their particular functions and wonder at him. I once writ a sonnet in his praise and began thus: ‘‘ Wonder of nature !”— 4£ Orl. [have heard a sonnet begin so to one’s mistress; Dau, Then did they imitate that which I composed to my courser ; for my horse is my mistress. Orl, Your mistress bears well. 4 Dau. Me well; which is the prescript praise and perfection of a good and particular mistress, 2 Con, Nay, for methought yesterday, your mistress shrewdly shook your back. ; Dau. So, perhaps, did yours. 50 Con. Mine was not bridled. Dau. O! then, belike, she was old and gentle; and you rode, like a kern of Ireland, your French hose ott, and in your strait strossers. Con. Youw'have good judgment in horsemanship. Dau. Be warned by me, then: they that ride so,- and ride not warily, fall into foul bogs. I had rather have my horse to my mistress. Con. Lhad as liet have my mistress a jade. Dau. I tell thee, constable, my mistress wears his own hair. 5 Con. I could make as true a boast as that, if I hada sow to my mistress. Dau. Le chien est retourné & son propre vomisse- ment, et la truie lavée au bourbier: thou makest use of anything. Con. Yet do I not use my horse for my mistress; or any such proverb, so little kin to the purpose. Ram. My lord constable, the armour, that I saw in your tent to-night, are those stars, or suns, upon it ?70 Con. Stars, my lord. Dau. Some of them will fall to-morrow, I hope. Con. And yet my sky shall not want. Dau. That may be; for you bear a many super- fluously, and ’t were more honour some were away. Con. Even as your horse bears your praises: who would trot as well, were some of your brags — | Mounted. Dau, "Would I were able to load him with his desert! Will it never be day? I will trot to-morrow a mile, and my way shall be paved with English faces, Con. I will not say so, for fear I should be faced out of my way. But I would it were morning, for I would fain he about the ears of the English. Ram. Who will go to hazard with me for twenty prisoners? , Con. You must first go yourself to hazard, ere you have them. . Dau. Tis midnight: I'll go arm myself. [Exit. Orl. The Dauphin longs for morning. 9 Ram. He longs to eat the English. Con. I think he will eat all he kills. . Orl. By the white hand of my lady, he's a gallant prince. cor Swear by her foot, that she may tread out the oath. Orl. He is simply the most active gentleman of France. i L . Con. Doing is activity, and he will still be doing... Orl. He never did harm, that I heard of. 100 Con. Nor will do none to-morrow: he will keep that good name still. . 1, I know him to be valiant. 5 = Con. I was told.that, by one that knows him better than you. Orl, What’s he? Con. Marry, he told me so himself; and he said, he cared not who knew it. os : Orl. He needs not; it is no hidden virtue in him. Con. By my faith, sin, but it is; never anybody ng it, but his lackey: ‘tis a hooded valour; and when i appears, it will bate. 1g Orl, Ill will never said well. . : Con. I will cap that proverb with—There is flattery in pends lay Orl. And I will take up that with—Give the devil his due. ScENE VII.) KING HENRY VP. 509 Con. Well placed : there stands your friend for the devil: have at the very eye of that proverb, with—A pox of the devil. : ' 120 Orl. You are the better at proverbs, by how much— A fool’s bolt is soon shot. Con. You have shot over. Orl, "Tis not the first time you were overshot. Enter a Messenger. Mess. My lord high constable, the English lie within fifteen hundred paces of your tents. Con. Who hath measured the ground? Mess, The Lord Grandpré. Con. A valiant and most expert gentleman.—’ Would it were day!—Alas, poor Harry ot England !—he longs not tor the dawning, as we do. - 131 Orl. What a wretched and peevish fellow is this King of England, to mope with his tat-brained followers so tar out of his knowledge. Con. If the English had any apprehension, they would run away. _ Orl. That they lack; for if their heads had an intellectual armour, they could never wear ae heavy head-pieces. fam. That island of England breeds very valiant creatures: their mastitts are of unmatchable courage. Orl. Foolish curs! that run winking into the mouth of a Russian bear, and have their heads crushed like rotten apples. You may as well say, that’s a valiant flea, that dare eat his breakfast on the lip of a lion. Con. Just, just; and the men do sympathise with the mastitis in robustious and rough coming on, leaving their wits with their wives: and then give them great meals of beef, and iron and steel, they will eat like wolves, and fight like devils. 1 i oe Ay, but these English are shrewdly out of eet. 3 Con. Then shall we find to-morrow, they have only stomachs to eat, and none to fight. Now is it time to arm ; come, shall we about it ? Ort. It is now two o’clock : but, let me see, by ten, We shall have each a hundred Englishmen. [E'xeunt. ACT IV. Enter Chorus. go Chorus H — . ~~ \. OW entertain conjecture ofatime, ' When creeping murmur, and the poring ark, \ Fills the wide vessel of the universe. ‘From camp to camp, through the foul womb of night, * The hum of either army stilly sounds, » That the fix’d sentinels almost receive The secret whispers of each other’s N watch: Fire answers fire, and through their paly flames Each battle sees the other's umber’d face : Steed threatens steed, in high and boast- ful neighs 10 Piercing the night’s dull ear; and from : the tents, The armourers, accomplishing the knights, With busy hammers closing rivets up, Give dreadful note of preparation. The country cocks do crow, the clocks do toll, And the third hour of drowsy morning name. Proud of their numbers, and secure in soul, The confident and over-lusty French Do the low-rated English play at dice; And chide the cripple, tardy-gaited night, 20 Who, like a foul and ugly witch, doth limp. So tediously away.. The poor condemned English, Like sacrifices, by their watchful fires Sit patiently, and inly ruminate € morning’s danger; and their gesture sad, Anyesting lank-lean cheeks, and war-worn coats, Presenteth them unto the gazing moon ‘So many horrid ghosts. O! now, who will behold The royal captain of this ruin’d band, Walking from watch to watch, from tent totent, 30 - Let him ery—Praise and glory on his head! For forth he goes, and visits all his host, Bids them pods aise with a modest smile, ‘And calls them brothers, friends, and countrymen. ‘Upon his royal face there is no note, How dread an army hath enrounded him; Nor doth he dedicate one jot of colour Unto the weary and all-watched night: But freshly looks, and overbears attaint With cheerful semblance, and sweet majesty ; 40 That every wretch, pining and pale before, Beholding him, plucks comfort from his looks. A largess universal, like the sun, His liberal eye doth give to every one, Thawing cold fear, that mean and gentle all, Behold, as may unworthiness define, A little touch of Harry in the night. And so our scene must to the battle fly; Where, O for pity! we shall much disgrace-- With four or five most vile and ragged foils, 50 Right ill dispos’d in brawl ridiculous— The name of Agincourt. Yet, sit and sce; Minding true things by what their mockeries aie rm : it. ScENE I.—The English Camp at Agincourt. Enter King HENRY, BEDFORD, and GLOSTER. K. Hen, Gloster, tis true that we are in great danger ; The greater therefore should our courage be.— Good morrow, brother Bedford.—God ue ea There is some soul of goodness in things evil, Would men observingly distil it out; . For our bad neighbour makes us early stirrers, Which-is both-healthful and. gue husbandry : Besides, they are our outward consciences, And preachers to us all; admonishing, | That we should dress us fairly for our end. 10 Thus may we gather honey from the weed, And make a moral of the devil himself. a _,, . Lnter ERPINGHAM. Good morrow, old Sir Thomas Erpingham: ‘| ‘A good soft pillow for that good white head Were better than a churlish turf of France. 510 KING HENRY YJ. [Act IV, Erp. Not so, my liege: this lodging likes me better, : Since I may say, now lie I like aking. ; K. Hen. ’Tis good for men to love their present pains poe Upon example; so the spirit is eased: And when the mind is quicken’d, out of doubt, 20 The organs, though defunct and dead before, Break up their drowsy grave, and newly move With casted eloue and fresh legerity. Lend me thy cloak, Sir Thomas.—Brothers both, Commend me to the princes in our camp; Do my good-morrow to them; and, anon, Desire them all to my pavilion. Glo. We shall, my liege. Exeunt GLOSTER and BEDFORD. Erp. Shall I atten A. Hen. your grace? fs en. No, my good knight ; Go with my brothers to my lords of England: 30 Iand my bosom must debate awhile, And then I would no other company. Erp. The Lord in heaven bless thee, noble Horry te wit, [ KK. Hen. God-a-mercy, old heart! thou speak’st cheerfully. Enter PISTOL. Pist. Qui va li? K. Hén. A triend. Pist. Discuss unto me; art thou officer? Or art thou base, common, and popular? &K. Hen. Lam a gentleman of a company. Pist. Trail’st thou the puissant pike? 40 K. Hen. Even so. What are you? Pist. As good a gentleman as the emperor. A. Hen. Then you are a better than the king. Pist. The king’s a bawcock, and a heart of gold, A lad of life, an imp of fame; Of parents good, of fist most valiant : I kiss his dirty shoe, and from heartstring I love the lovely bully. What’s thy name? K. Hen. Harry le Roy. Pist. Le Roy! a Cornish name: art thou of Cornish crew? 50 K. Hen. No, lam a Welshman. Pist. Know’st thou Fluellen? K. Hen. Yes. Pist, Tell him, I'll knock his leek about his pate, Upon Saint Davy’s day. 4&. Hen. Do not you wear your dagger in your cap that day, lest he knock that about yours. Pist. Art thou his friend? KK. Hen. And his kinsman too. Pist. The figo for thee then! 60 A. Hen. I thank you. God be with you! Pist. My name is Pistol called. [Exit. KK. Hen. It sorts well with your fierceness. Enter FLUELLEN and GOWER, severally. Gow. Captain Fluellen! lu. So, in the name of Cheshu Christ, speak lower. It is the greatest admiration in the universal world, when the true and aunchient prerogatifes and laws of the wars is not kept. If you would take the pains but to examine the wars of Pompey the Great, you shall find, I warrant you, that there is no tiddle taddle, nor pibble pabble, in Pompey’s camp; I warrant you, you shall find the ceremonies of the wars, and the cares of it, and the forms of it, and the sobriety of it, and the modesty of it, to be otherwise. cee Why, the enemy is loud; you hear him all night. Flu. If the enemy isan ass and a fool, and a prating coxcomb, is it meet, think you, that we should also, look you, be an ass, and a fool, and a prating cox- comb? in your own conscience now? 80 Gow. I will speak lower. Flu. I pray you, and beseech you, that you will. [Exeunt GOWER and FLUELLEN. K. Hen. Though it appear a little out of fashion, There is much care and valour in this Welshman. Enter Bates, Court, and WILLIAMS, Court. Brother John Bates, is not that the morning which breaks yonder? Bates. I think it be; but we have no great cause to ee approach o ath b c ill. We see yonder the beginning of the day, but Echure we shall never see the end of ite Who sues ere K. Hen, A friend. fil Will, Under what captain serve you? KK, Hen. Under Sir Thomas Erpingham. Will, A good old commander, and a most kind gentleman: I pray you, what thinks he of our estate? 4. Hen. Even as men wracked upon a sand, that look to be washed off the next tide. Bates. He hath not told his thought to the king? KK. Hen. No; nor it is not meet he should. For though I speak it to you, I think the king is buta man as Iam: the violet smells to him, as it doth to me; the element shows to him, as it doth to me; all his senses have but human conditions: his ceremonies laid by, in his nakedness he appears but a man, and though his affections are higher mounted than ours, et, When they stoop, they stoop with the like wing. herefore, when he sees reason of fears, as we do, his fears, out of doubt, be of the same relish as ours are: yet, in reason, ho man should possess him with any appearance of fear, lest he, by showing it, should dishearten his army. 12 Bates. He may show what outward courage he will; but, I believe, as cold a night as ’tis, he could wish himself in Thames up to the neck: and I by him, at all adventures, so we were que here. 7 K. Hen. By my troth, I will speak my conscience of the king: I think, he would not wish himself any where but where he is. Bates. Then I would he were here alone; so should he be sure to be ransomed, and a many poor men's lives saved. . 122 K. Hen. I dare say, you love him not so ill, to wish him here alone, howsoever you speak this, to feel other men’s minds. Methinks, I could not die any- where so contented as in the king’s company, his cause being just, and his quarrel honourable, Will. That’s more than we know. Bates. Ay, or more than we should seek after; for we know enough, if we know we are the king’s-.sub- jects. If his cause be wrong, our obedience to the ing wipes the crime of it out of us. . 132 Will. But if the cause be not good, the king him- self hath a heavy reckoning to make: when all those legs, and arms, and heads, chopped off in a battle, shall join together at the latter day, and cry all—“‘We died at such a place ;” some swearing, some cryin, for a surgeon, some upon their wives left poor behinc them, some upon the debts they owe, some upon their children rawly left. I am afeard there are few die well, that die in a battle ; for how can they charitably dispose of anything, when blood is their argument Now, if these men do not die well, it will be a black matter for the king that led them to it, whom to dis- obey were against all proportion of subjection. BR Hea. So, if a son, that is by his father sent about merchandise, do sinfully miscarry upon the S08, the imputation of his wickedness, by your rule, shoul be imposed upon his father that sent him: or if a servant, under his master’s command, transporting a sum of money, be assailed by robbers, and die in many irreconciled iniquities, you may call the busi- ness of the master the author of the servant's damna- tion. But this is not so: the king is not bound to answer the particular endings of his soldiers, the father of his son, nor the master of his servant; for they purpose not their death, when they pe their services. Besides, there is no king, be his cause never so spotless, if it come to the arbitrement ol swords, can try it out with all unspotted soldiers, Some, peradventure, have on them the guilt of pre- meditated and contrived murder ; some, of beguiling virgins with the broken seals of perjury ; some, making the wars their bulwark, that have before gored the —— ScENE I.] —— gentle bosom of peace with pillage and robbery. Now, if these men have defeated the law, and outrun native punishment, though they can outstrip men, they have no wings to fly from God: war is his beadle, war is his vengeance ; so that here men are punished, for before-breach of the king's laws, in now the king’s quarrel: where they feared the death, they have borne life away, and where they would be safe, they pereh Then, if they die unprovided, no more is the ing guilty of their damnation, than he was before guilty of those impieties for the which they are now visited. Every subject's duty is the king’s ; but every subject’s soul is his own. Therefore should ever soldier in the wars do as every sick man in his bed, wash every moth out of his conscience ; and dying so, death is to him advantage ; or not dying, the time was blessedly lost, wherein such preparation was gained : and in him that escapes, it were not sin to think, that making God so free an offer, he let him outlive that day to see his greatness, and to teach others how they should prepare. Will. ’Tis certain, every man that dies ill, the ill upon his own head: the king is not to answer it. Bates. I do not desire he should answer forme; and yet I determine to feat lustily for him. K. Hen. I myself heard the king say, he would not be ransomed. 191 Will. Ay, he said so, to make us fight cheerfully ; but when our throats are cut, he may be ransomed, and we ne’er the wiser. K. Hen. If I live to see it, I will never trust his word after. Will, You pay him then! That’s a perilous shot out of an elder gun, that a poor and a private dis- pleasure can do against a monarch. You mayas well go about to turn the sun to ice with fanning in his ‘ace with a peacock’s feather. You’ll never trust his word after! come, ’tis a foolish saying. 202 K. Hen. Your reproof is something too round: I should be prey with you, if the time were convenient. Will. Let it be a quarrel between us, if you live. K. Hen. I embrace it. Will. How shall I know thee again ? K. Hen. Give me any gage of thine, and I will wear in my bonnet: then, if ever thou darest acknowledge it, I will make it my quarrel. 210 Will, Here’s my glove: give me another of thine. K. Hen. There. Will. This will I also wear in my cap: if ever thou come to me and say, after to-morrow, ‘“ This is my glove,” by this hand, I will take thee a box on theear. K. Hen. If ever I live to see it, I will challenge it. Will. Thou darest as well be hanged. K. Hen. Well, I will do it, though I take thee in the king’s company. Will. Keep thy word : fare thee well. 220 Bates. Be friends, you English fools, be friends: we ive French quarrels enow, if you could tell how to reckon. K. Hen. Indeed, the French may lay twenty French crowns to one, they will beat us; for they bear them on their shoulders : but it is no English treason to cut French crowns, and to-morrow the king himself will be a clipper. [Exeunt Soldiers. Upon the king ! Jet us.our lives, our souls, Our debts, our careful wives, 230 Our children, and our sins, lay on the king !— We must bear all. O hard condition, Twin-born with greatness, subject to the breath Of every fool, whose sense no more can feel | But his own wringing! What infinite heart's ease Must kings neglect, that private men enjoy ! And what have kings, that privates have not too, Save ceremony, save general ceremony ? And what art thou, thou idol ceremony ? What kind of aS art thou, that suffer'st more Of mortal griefs, than do thy worshippers? | : at are thy rents? what are thy comings-in? ceremony, show me but thy worth ! . What is thy soul of adoration ? ‘Art thou aught else but place, degree, and form, | Creating awe and fear in other men? 240 KING HENRY YP. 511 Wherein thou art less happy, being fear’d, Than they in fearing. What drink’st thou oft, instead of homage sweet, But poison’d flattery? O! be sick, great greatness, 250 And bid thy ceremony give thee cure. Think’st thou, the fiery fever will go out With titles blown from adulation? 2 Will it give place to flexure and low bending? ’ . Hen. “What infinite heart's ease Must kings neglect, that private men enjoy!" Canst thou, when thou command'’st the beggar's knee, Command the health of it?) No, thou proud dream, That play’st so subtly with a king's repose: Tamaking, that find thee; and { know, °T is not the balm, the sceptre, and the ball, The sword, the mace, the crown imperial, The inter-tissued robe of gold and pearl, The farced title running ‘fore the king, The throne he sits on, nor the tide of pomp That beats upon the high shore of this world ; No, not all these, thrice-gorgeous ceremony, Not all these, laid in bed majestical, Can sleep so soundly as the wretched slave, Who, with a body fill’d, and vacant mind, Gets him to rest, cramm’d with distressful bread, Never sees horrid night, the child of hell, 270 But, like a lackey, from the rise to set, Sweats in the eye of Pheebus, and all night Sleeps in Elysium; next day, after dawn, Doth rise and help Hyperion to his horse ; And follows so the ever-running year With profitable labour to his grave: And, but for ceremony, such a wretch, » Winding up days with toil, and nights with sleep, Had the forehand and vantage of a king. The slave, a member of the country’s peace, Enjoys it; but in gross brain little wots, What watch the king keeps to maintain the peace, Whose hours the peasant best advantages. Enter ERPINGHAM. Erp. My lord, your nobles, jealous of your absence, Seek through your camp to find you. K. Hen. Good old knight, Collect them all together at my tent: I 11 be before thee. Erp. I shall do’t, my lord. [Exit. K. Hen. O God of battles! steel my soldiers’ hearts ; Possess them not with fear; take from them now The sense of reckoning, if the opposed numbers 290 Pluck their hearts from them !—Not to-day, O Lord! O! not to-day, think not upon the fault My father made in compassing the crown. I Richard’s body have interred new, And on it have bestow’d more contrite tears Than from it issued forced drops of blood. Five hundred poor I have in yearly pay, 260 280 512 KING HENRY V. [Acr IV, Who twice a day their wither'd hands hold up | Toward heaven, to pardon blocd; and I have built Two chantries, where the sad_and solemn priests 300 Sing still for Nichard’s soul. More will I do; Though all that I can do is nothing worth, Since that my penitence comes after all, Imploring pardon. Enter GLOSTER, Glo, My liege! . K. Hen. My brother Gloster’s voice ?—Ay ; I know thy errand, I will go with thee :— The day, my friends, and all things stay for me. [Exeunt. ScENE II.—The French Camp. Enter DAUPHIN, ORLEANS, RAMBURES, and others. Orl. The sun doth gild our armour: up, my lords! Dau. Meee acheval!—My horse! valet! lacquay! a! Orl. O brave spirit! . Dau. Via !—les eaux et la terre! Orl. Rien puis ? lair et le feu! Dau, Ciel! cousin Orleans, Enter Constable. Now, my lord constable ! : Con. Hark, how our steeds for present service neigh. Dau. Mount them, and ‘make incision in their hides, That their hot blood may spin in English eyes, 10 And dout them with superfluous courage : ha! Ram. What, will you have them: weep our horses’ blood ? How shall we then behold their natural tears? Enter a Messenger. Mess. The English are embattled, you French peers. Con. ae horse, you gallant princes! straight to orse ! Do but behold yon poor and starved band, And your fair show shall suck away their souls, Leaving them but the shales and husks of men. There is not work enough for all our hands; Scarce blood enough in all their sickly veins, 20 To give each naked curtle-axe a stain, That our French gallants shall to-day draw out, And sheathe for lack of sport: let us but blow on them, The vapour of our valour will o’erturn them. °T is positive ’gainst all exceptions, lords, That our superfluous lackeys, and our peasants, Who, in unnecessary action, swarm About our squares of battle, were enow To purge this field of such a hilding foe, Though we upon this mountain's basis by 30 Took stand for idle speculation : But that our honours must not. What's to say? A very little little let us do, And allis done. Then, let the trumpets sound The tucket-sonance, and the note to mount: Forour approach shall so much dare the field, That England shall couch down in fear, and yield. Enter GRANDPRE. Grand. Why do you stay so long, my lordsof France? Yon island earrions, desperate of their bones, Iil-favour'dly become the morning field : 40 Their ragged curtains poorly are Tet loose, And our air shakes them passing scornfully. Big Mars seems bankrupt in their beggar’d host, And faintly through a rusty beaver peeps. The horsemen sit like fixed candlesticks, With torch-staves in their hand; and their poor jades Lob down their heads, dropping the hides and hips, The gum dyad ning from their pale-dead eyes, And in their pale dull mouths the gimmal’d bit Lies foul with chew'd grass, still and motionless; 50 And their executors, the knavish crows, Fly o'er them all, impatient for their hour. Description cannot suit itself in words, To demonstrate the life of such a battle, Tn life so lifeless as it shows itself. ' Con. They have said their prayers, and th y pian pray! ey stay for Dau, Shall we go send them dinners, and fresh sui And give their fasting horses provender, Ms And after fight with them ? Con. I stay but for my guard. On, to the field! 60 I will the banner from a trumpet take, And use it for my haste. Come, come, away! The sun is high, and we outwear the day. " [Exeunt, Scene III.—The English Camp, Enter the English Host ; GLOSTER, BEDForRD, EXETER, SALISBURY, and WESTMORELAND, Glo, Where is the king? Bed. The king hurnisel’ is rode to view their battle. West. Of fighting men they have full threescore thousand. Exe. ly five to one; besides, they all are resh. Sal. God’s arm strike with us! ’tis a fearful odds, ‘God be wi’ you, princes all; Ill to my charge: If we no more meet, till we meet in heaven, Then, joyfully,—my noble Lord of Bedford, — My dear Lord Gloster,—and my good Lord Exeter,— And my kind kinsman,—warriors all, adieu ! 10 Bed, Farewell, good Salisbury ; and good luck go with thee! Exe. Farewell, kind lord. Fight valiantly to-day: And yet I do thee wrong, to mind thee of it, For thou art fram’d of the firm truth of valour. [Exit SALISBURY. Bed. He is as full of valour as of kindness ; Princely in bot’ Enter King HENRY. West. O! that we now had here But one ten thousand of those men in England, That do no work to-day! A. Hen. : What’s he, that wishes so? My cousin Westmoreland ?—No, my fair cousin: If we are mark’d to die, we are enow To do our country loss; and if to live, The fewer men, the greater share of honour. God’s will! I pray thee, wish not one man more. By Jove, I am not covetous for gold ; Nor care I who doth feed upon my cost; It yearns me not if men my garments wear; Such outward things dwell not in my desires: But, if it be a sin to covet honour, Iam the most offending soul alive. No, faith, my coz, wish not a man from England: 30 God’s peace! I would not lose so great an honour, As one man more, methinks, would share from me, For the best hope I have. O! donot wish one more: Rather proclaim it, Westmoreland, through my host, That he, which hath no stomach to this fight, Let him depart, his passport shall be made, And crowns for convoy put into his purse: We would not die in that man’s company, That fears his fellowship to die with us. This day is call’d the feast of Crispian : 40 He that outlives this day, and comes safe home, Will stand a tip-toe when this day is nam’d, And rouse him at the name of Crispian. He that shall live this day, and see old age, Will yearly on the vigil feast his neighbours, And say,—To-morrow is Saint Crispian : — Then will he strip his sleeve, and show his scars. Old men forget; yet all shall be forgot, But he ’ll remember with advantages, What feats he didthat day. Then shall our names, 50 Familiar in his mouth as household words,— Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloster,— Be in their flowing cups freshly remember'd. i This story shall the good man teach his son, And Crispin Crispian shall ne’er go by, From this day to the ending of the world, But we in it shall be remembered ; ScENE IV.] KING HENRY YV, 513 We few, we happy few, we band of brothers: For he to-day that sheds his blood with me Shall be my brother; be he ne’er so vile, This day shall gentle his condition : And gentlemen in England, now a-bed, Shall think themselves accurs’d, they were not here, And hold their manhoods cheap, whiles any speaks That fought with us upon Saint Crispin’s day. Enter SALISBURY. Sal. My sovereign lord, bestow yourself with speed: The French are bravely in their battles set, And will with all expedience charge on us. K. Hen. All things are ready, if our minds be so. 70 West. Perish. the man whose mind is backward now! K. Hen. Thou dost not wish more help from Eng- land, cousin ? West. God’s will! my liege, "would you and I 60 alone, Without more help, could fight this royal battle! A. Hen. Why, now thou hast unwish’d five thou- sand men; Which likes me better than to wish us one.— You know your places: God be with you all! Tucket. Enter MONTJOY. Mont. Once more I come to know of thee, King arry, If for thy ransom thou wilt now compound, Before thy most assured overthrow : For, certainly, thou art so near the gulf, Thou needs must be englutted. Besides, in mercy, The constable desires thee, thou wilt mind Thy followers of repentance ; that their souls May make a peaceful and a sweet retire From off these fields, where, wretches, their poor bodies Must lie and fester. 89 . Hen. o hath sent thee now? Mont. The constable of France. K. Hen. I pray thee, bear my former answer back : Bid them achieve me, and then sell my bones. 90 Good God! why should they mock poor fellows thus ? The man, that once did sell the lion’s skin While the beast liv’d, was kill’d with hunting him. A many of our bodies shall, no doubt, Find native graves; upon the which, I trust, Shall witness live in brass of this day’s work; And those that leave their valiant bones in France, Dying like men, though buried in your dunghills, They shall be fam’d: for there the sun shall greet them, And draw their honours reeking up toheaven, — 100 Leaving their earthly parts to choke your clime, The smell whereof shall breed a plague in France. Mark then abounding valour in our English ; That, being dead, like to the bullet’s grazing, Break out into a second course of mischief, Killing in relapse of mete Let me speak proudly :—tell the constable, Weare but warriors for the working-day: Our gayness and our gilt are all besmirch’d With rainy marching in the painful field ; There ’s not a piece of feather in our host (Good argument, I hope, we will not fly), And time hath worn us into slovenry : But, by the mass, our hearts are in the trim; And my poor soldiers tell me, yet ere night ‘They ’li be in fresher robes, or they will pluck 110 ‘The gay new coats o’er the French soldiers’ heads, And turn them out of service. If they do this 4As, if God please, they shall), my ransom then Will soon be levied. erald, save thou thy labour ; ‘Come thou no more for ransom, gentle herald: | 121 They shall have none, I swear,. but these my joints ; ‘Which, if they have.as I will leave ’em them, Shall yield them little, tell the constable. Mont. I shall, King Harry. And so fare thee well: Thou never shalt hear herald any more. [Eait. K, Hen. I fear, thou’lt once more come again for ransom. Enter the Duke of YorK. York. My lord, most humbly on my knee I beg The leading of the vaward. K. Hen, Take it, brave York.—Now, soldiers, march 180 away: And how thou pleasest, God, dispose the day! [Ezxeunt. ScENE IV.—The Field of Battle. Alarums ; Excursions. Enter French Soldier, PisTOL, and Boy. Pist. Yield, cur! Pist. “Yield, cur!” Fr. Sold. Je pense, que vous estes le gentilhomme de bonne qualité. Pist. Quality? Callino, castore me! Art thou a entleman ? What is thy name? discuss. Fr. Sold. O Scigneur Dieu! Pist. O, Signieur Dew should be a gentleman. Perpend my words, O Signieur Dew, and mark :— O Signieur Dew, thou diest on point of fox, Except, O signieur, thou do give to me Egregious ransom. Fr. Sold. O, prenez misericorde! ayez pitié de moy ! Pist. Moy shall not serve, I will have forty moys ; For I will fetch thy rim out at thy throat, In drops of crimson blood. Fr, Sold. Est il impossible d’eschapper la force de ton bras? - Pist. Brass, cur? Thou damned and luxurious mountain goat, Offer’st me brass? Fr. Sold. O pardonne moy ! Pist, Say’st thou me so? is that a ton of moys? Come hither, boy : ask me this slave in French, What is his name. Boy. Escoutez: comment estes vous appellé ? Fr. Sold. Monsieur le Fer, Boy. He says, his name is Master Fer. Pist. Master Fer! I’ll fer him, and firk him, and gerret him.—Discuss the same in French unto him. 30 Boy. Ido not know the French for fer, and ferret, and firk. Pist. Bid him prepare, for I will cut his throat. Fr. Sold. Que dit-il, monsieur ? Boy. Il me commande & vous dire que vous faites vous prest ; car ce soldat icy est disposé tout a cette heure de couper vostre gorge. 10 20 Pist. Ouy, couper le gorge, par ma foy, peasant, bl4 Unless thou give me crowns, brave crowns ; Or mangled shalt thou be by this my sword. _ 40 Fr. Sold. O, je vous supplie pour Lamour de Die, me pardonner! Je suis le gentithomme de bonne maison: gardez ma vie, et je vous donneray deux cents escus. Pist. What are his words ? ‘ G Boy. He prays you to save his life: he is a gentle- man of a good house; and, for his ransom, he will give you two hundred crowns. Pist. Tell him,—my fury shall abate, and I the crowns will take. ns : Fr. Sold. Petit monsieur, que dit-il ? 50 Boy. Encore qwil est contre son jurement, de par- donner aucun prisonicr ; neantmoins, pour les escus ue vous Uavez promis, il est content a vous donner a liberté, le franchisement. f Fr. Sold. Sur mes genour, je vous donne mille remerciemens ; ct ge miestime heureux que je suis tombé entre les mains Cun chevalicr, je pense, le plus brave, valiant, ct trées-distingué seigneur @ Angleterre. Pist. kxpound unto me, boy. 59 Boy. He gives you, upon his knees, a thousand thanks; and he esteems himself happy that he hath fallen into the hands of one (as he thinks) the most ees valorous, and thrice-worthy signieur of Eng- and, Pist. As I suck blood, I will some mercy show. Follow me! [Fzit. Boy. Suivez vous le grand capitaine. (Exit French Soldier.) I did never know so full a voice issue from so empty a heart: but the saying is true,—the empty vessel makes the greatest sound. Bardolph and Nym had ten times more valour than this roaring devil i’ the old play, that every one may pare his nails with a wooden dagger; and they are both hanged ; and so would this be, if he durst steal anything adventu- rously. [must stay with the lackeys, with the luggage of our camp: the French might have a good prey of us, if he knew of it; for there is none to guard it, but boys. [Eat. Scent’ V.—Another Part of the Field of Battle. Alarums. Enter DAUPHIN, ORLEANS, BOURBON, Constable, RAMBURES, and others. Con, O diable! Orl. O setgneur !—le jour est perdu ! tout est perdlu! Dau. Mort de ma vie ! all is confounded, all! Reproach and everlasting shame Sit mocking in our plumes.—O meschante fortune ! Do not run away. [4 short alarum. Con. Why, all our ranks are broke. Dau, O perdurable shane !—let’s stab ourselves, Be these the wretches that we play’d at dice for? Orl. Is this the king we sent to for his ransom ? Bour. Shame, and eternal shame, nothing but shame! 10 Let us die in honour !—Once more back again; And he that will not follow Bourbon now, Let him go hence, and, with his ae in hand, Like a base pander, hold the chamber-door, Whilst by a slave, no gentler than my dog, His fairest daughter is contaminated. Con. Disorder, that hath spoil’d us, friend us now! Let us, in heaps, go offer up our lives. Orl. We are enough, yet living in the field, To smother up the English in our throngs, If any order might be thought upon. Bour, The devil take order now! J’ll to the throng: Let life be short, else shame will be too long. [Excunt. 20 —— ® Scene VI.—Another Part of the Field. Alarums, Enter Iing HENRY and Forces; EXETER, and others. K. Hen. Wellhave we done, thrice-valiant country- sien : / But all’s not done ; yet keep the French the field. KING HENRY V. | [Acr tv, | fixe. The Duke of York commends him to your majesty, IK. sani Lives he, good uncle? thrice within this our f Isaw him down, thrice up again, and fighting; From helmet to the spur all blood he was, = Exe. In which array, brave soldier, doth he li2, Larding the plain; and by his bloody side (Yoke-fellow to his honour-owing wounds) The noble Earl of Suffolk also lies, Suffolk first died ; and York, all haggled over, Comes to him, where in gore he lay insteep‘d, And takes him by the beard, kisses the gashes, That bloodily did yawn upon his face; He cries aloud,—" Tarry, dear cousin Suffolk ! My soul shall thine keep company to heaven: Tarry, sweet soul, for mine; then fly abreast, As in this glorious and well-foughten field We kept together in our chivalry !” Upon these words I came and cheer’d him up: He smil’d me in the face, raught me his hand. And, with a feeble gripe, says, “* Dear my lord, Commend my service to my sovereign.” So did he turn, and over Suffolk’s neck He threw his wounded arm, and kiss’d his lips; And so, espous’d to death, with blood he seal’d A testament of noble-ending love. The pretty and sweet manner of it fore’d Those waters from me, which I would have stopp'd; But I had not so much of man in me, 30 And all my mother came into mine eyes, And gave me up to tears, K. Hen. I blame you not; For, hearing this, I must perforce compound With mistful eyes, or they will issue too.—[Alarum. But, hark ! what new alarum is this same t— The French have reinfore’d their scatter’d men :— Then, every soldier kill his prisoners! Give the word through. [Exeunt. 10 29 ScENE VII.—Another Part of the Field. Alarums. Enter FLUELLEN and GOWER. Flu. Kill the poys and the luggage! ‘tis expressly against the law of arms: ‘tis as arrant a piece of knavery, mark you now, as can be offer’t; in your conscience now, is it not? Gow. ’T is certain, there ’s not a boy left alive; and the cowardly rascals, that ran from the battle, have done this slaughter: besides, vey have burned and carried away all that was in the king’s tent; where- fore the king most worthily hath caused every soldier to cut his prisoner’s throat. O! ‘tis a gallant king. 10 Flu. Ay,he was porn at Monmouth, Captain Gower. What call you the town’s name, where Alexander the Pig was born? Gow. Alexander the Great. g Flu. Why, I pray you, is not pig, great? The pig, or the great, or the mighty, or the huge, or the mag- nanimous, are all one reckonings, save the phrase is a little variations. i Gow. I think, Alexander the Great was born in Macedon: his father was called Philip of Macedon, as I take it. 21 Flu. I think, it is in Macedon, where Alexander is porn. I tell you, captain,—if you look in the maps of the ’orld, I warrant, you shall find, in the comparisons | between Macedon and Monmouth, that the situations, _ look you, is both alike. There is a river in Macedon, and there is also moreover a river at Monmouth: itis | called Wye, at Monmouth; but it is out of my prains, what is the name of the other river; but ’tis all one, tis alike as my fingers is to my fingers, and there is salmons in both. If you mark Alexander's life well, Harry of Monmouth’s life is come after it indifferent well; for there is figures in all things, Alexander, (God knows, and you know,) in his rages, and his furies, and his wraths, and his cholers, and his moods, and his displeasures, and his indignations, and also being a little intoxicates in his prains, did, in his ales and his angers, look you, kill his pest friend, Cleitus. ScENE VIII.] KING HENRY VJ. 515 Gow. Our king is not like him in that: he never killed any of his friends. 40 Flu. It is not well done, mark you now, to take the tales out of my mouth, ere it is made and finished. I speak but in the figures and comparisons of it: as Alexander killed his friend Cleitus, being in his ales and his cups, so also Harry Monmouth, being in his right wits and his good judgments, turned away the fat knight with the great belly-doublet: he was full of jests, and gipes, and knaveries, and mocks; I have forgot his name. Gow. ‘Sir John Falstaff. 50 Flu. Thatishe. I'll tell you, there is good men porn at Monmouth. Gow. Here comes his majesty. Alarum. Enter King HENRY, with a part of the English Forces; WARWICK, GLOSTER, EXETER, and others. K. Hen. I was not angry since I came to France Until this instant.—Take a trumpet, herald ; Ride thou unto the horsemen on yon hill: If they will fight with us, bid them come down, Or void the field; they do otfend our sight. If they ll do neither, we will come to them, And make them skirr away, as swift as stones Enforced from the old Assyrian slings. 5 Besides, we ‘ll cut the throats of those we have 60 | And not a man of them, that we shall take, And gallop o’er the field. _ Mont. Shall taste our mercy.—Go, and tell them so. Enter MontJoy. Ere. Here comes the herald of the French, my liege. Glo. His eyes are humbler than they us’d to be. K. Hen. How now! what means this, herald? know’st thou not, That I have fin’d these bones of mine for ransom? Com’st thou again for ransom ? : Mont. No, great king: I come to thee for charitable license, That we may wander o’er this bloody field, To book our dead, and then to bury them ; To sort our nobles from our common men ; For many of our princes, woe the while ! Lie drown'd and soak’d in mercenary blood (So do our vulgar drench their peasant limbs In blood of princes) ; and their wounded steeds Fret fetlock deep in gore, and with wild rage Yerk out their armed heels at their dead masters, Killing them twice. O! give us leave, great king, 80 To view the field in safety, and dispose Of their dead bodies. K. Hen. I tell thee truly, herald, Iknow not if the day be ours, or no ; For yet_a many of your horsemen peer, 70 ont. The day is yours. ie Bien cat be God, and not our strength, for it!— What is this castle call’d, that stands hard by? Mont. They call it Agincourt. : K. Hen. Then call we this the field of Agincourt, Fought on the day of Crispin Crispianus. 90 Flu. Your grandfather of famous memory, an ’t Please your majesty, and your ereetanele Edward the Plack Prince of Wales, as I have read _in the chronicles, fought a most prave pattle here in France. K. Hen. They did, Fluellen. . Flu. Your majesty says very true. If your majes- ties is remembered of it, the Welshmen did good service in a garden where leeks did grow, wearing leeks in their Monmouth caps; which, your majesty know, to this hour is an honourable badge of the service; and, I do believe, your majesty takes no scorn to wear the leek upon Saint Tavy’s day. 102 Hen. I wear it for a memorable honour: Forlam Welsh, you know, good countryman. u. All the water in ye cannot wash your paesty’s Welsh plood out of your pody, I can tell you 3; Got pless it, and preserve it, as long as it pleases ace, and his majesty too! . Hen, Thanks, good my countryman. ~° Flu. By Jeshu, I am your majesty’s countryman, I care not who know it; I will confess it to all the orld: I need not to be ashamed of your majesty, praised be God, so long as your majesty is an honest man. i. Hen. God keep me so!—Our heralds go with him: Bring me just notice of the numbers dead, On both our parts.—Call yonder fellow hither. [Points to WILLIAMS. Exeunt MontJoy and others. Exe. Soldier, you must come to the king. ix. Hen. Soldier, why wear’st thou that glove in thy cap? Will. An’t please your majesty, ‘tis the gage of one that I should tight withal, if he be alive. 121 4A. Hen. An Englishman? Vill. An’t please your majesty, a rascal that swag- gered with me last night ; who, it’a live and ever daic to challenge this glove, I have sworn to take hima box o’ the ear: or, if [ can see my glove in his cap (which he swore, as he was a soldier, he would wear, if alive), I will strike it out soundly. i. Hen. What think you, Captain Fluellen? is it fit this soidier keep his oath. 130 Flu. He is a craven and a villain else, an ’t please your majesty, in my conscience. AK. Hen. It may be, his enemy is a gentleman of great sort, quite from the answer of his degree. _ &lu._Though he be as good a gentleman as the devil is, as Lucifer and Belzebub himself, it is necessary, look your grace, that he keep his vow and his oath. If he be perjured, see you now, his reputation_is as arrant a villain, and a Jack-sauce, as ever his black shoe trod upon God’s ground and his earth, in my conscience, la. 141 | K. Hen. Then keep thy vow, sirrah, when thou meet’st the fellow. Will. So I will, my liege, as I live. ds. Hen. Who servest thou under? Will. Under Captain Gower, my liege. Flu. Gower is a good captain, and is good know- ledge, and literatured in the wars. ds. Hen. Call him hither to me, soldier. 149 Trill. I will, my liege. [Exit. 4x. Hen. Here, Fluellen; wear thou this favour for me, and stick it in thy cap. When Alencon and my- self were down together, I plucked this glove from his helm: if any man challenge this, he is a friend to Alencon, and an enemy to our person; if thou en- oe any such, apprehend him, an thou cost me ove. Flu. Your grace does me as great honours as can be desired in the hearts of his subjects: I would fain cee the man, that has but two legs, that shall find himself aggriefed at this glove, that is all; but I would fain see it once, and please God of his grace, that I might see. K. Hen. Knowest thou Gower? 163 Fiu. He is my dear friend, an ’t please you. K. Hen. Pray thee, go seek him, and bring him to my tent. Y Flu. I will fetch him. [Exit. K. Hen. My Lord of Warwick, and my brother Gloster, Follow Fluellen closely at the heels. The glove, which I have given him for a favour, Magy hap? purchase him a box o’ the ear: It is the soldier's; I, by bargain, should : Wear it myself. Follow, good cousin Warwick : If that the soldier strike him (as, I judge By his blunt bearing, he will keep his word), Some sudden mischief may arise of it; For I do know Fluellen valiant, And, touch’d with choler, hot as gunpowder, And quickly will return an injury : Follow, and see there be no harm between them.— 180 Go you with me, uncle of Exeter. [Exeunt. 170 ScenE VIII.—Before King HENRY’S Pavilion. Enter GoWER and WILLIAMS. Will. I warrant it is to knight you, captain. 516 KING HENRY Y. [Acr Iv. Enter FLUELLEN. | Gow, How now, sir! you villain! ee ; . | Will. Do you think I’ll be forsworn? Flu, God's will and his pleasure, captain, I beseech | Flu. Stand away, Captain Gower: I will giy you now, come apace to the king: there is more good ' treason his payment into plows, I warrant you. ite toward you, peradventure, than is in your knowledge Will. Iam no traitor. i to dream of. | Flu, That’s a lie in thy throat.—I charge you in his za K. Hen. “OGod! thy arm was here, And not to us, but to thy arm alone, ascribe we all.” Will. Sir, know you this glove? majesty’s name, apprehend him: he is a friend of the eee Know the glove? I know, the glove isaglove. | Duke Alencon’s. Will. I know this, and thus I oumllenee is contin. Enter WARWICK and GLOSTER. War. How now, how now! what’s the matter? 119 Flu. ’Sblood! an arrant traitor, as any’s in the ) , I universal ’orld, or in France, or in England. 110 Flu, My Lord of Warwick, here is (praised be Go Scene VIII] KING HENRY V. R17 for it!) a most contagious treason come to light, look ou, a3 you shall desire in a summer's day. Here is is majesty. Enter King HENRY and EXETER. K. Hen. How now! what’s the matter? Flu. My liege, here is a villain, and a traitor, that, look your grace, has struck the glove which your magesty is take out of the helmet of Alengon. ill. My liege, this was my glove; here is the fellow of it; and he that I gave it to in change pro- mised to wear it in his cap: I promised to strike him if be did. I met this man with my glove in his cap, and I have been as good as my word. 132 Flu. Your majesty hear now, saving your majesty’s manhood, what an arrant, rascally, beggarly, lousy knave it is. I hope, your majesty is pear me testi- mony, and witness, and will avouchment, that this is the giove of Alencon, that your majesty is give me, in your conscience now. . K. Hen. Give me thy glove, soldier: look, here is the fellow of it. 140 T was I, indeed, thou promisedst to strike ; And thou hast given me most bitter terms. Flu. An’t please your majesty, let his neck answer for it, if there is any martial law in the ’orld. K. Hen. How canst thou make me satisfaction ? Wiil. All offences, my lord, come from the heart: never came any from mine, that might offend your majesty. K. Hen. It was ourself thou didst abuse. 149 Will. Your majesty came not like yourself: you appearcd to me but as a common man; witness the night, your garments, your lowliness ; and what your highness suffered under that shape, 1 beseech you, take it for your own fault, and not mine: for had you been as I took you for, I made no offence ; therefore, I beseech your highness, pardon me. Hen. Here, uncle Exeter, fill this glove with crowns, And give it to this fellow.—Keep it, fellow, And wear it for an honour in thy cap, Till I do challenge it.—Give him the crowns.— 160 And, captain, you must needs be friends with him. Flu. By this day and this light, the fellow has mettle enough in his belly.—Hold, there is twelve pence for you, and I pray you to serve God, and keen you out of prawls, and prabbles, and quarrels, an dissensions; and, I warrant you, it is the better for you. Will. I will none of your money. tak Flu. It is with a good will; I can tell you, it will serve you to mend your shoes: come, wherefore should you be so pashful? your shoes is not so good: tis a good silling, I warrant you, or I will change it. Enter an English Herald. K. Hen. Now, herald, are the dead number’d? 172 Her. Here is the number of the slaughter'd French. Delivers a paper. AY Hen. Meat prisoners of good sort are taken, uncle? Exe. Charles Duke of Orleans, nephew to the king ; John Duke of Bourbon, and Lord Bouciqualt : Of other lords, and barons, knights, and squires, Full fifteen hundred, besides common men. K. Hen. This note doth tell me of ten thousand French, That in the field lie slain: of princes, in this number, And nobles bearing banners, there lie dead 181 One hundred twenty-six: added to these, Of knights, esquires, and gallant gentlemen, Eight thousand and four hundred ; of the which, Five hundred were but yesterday dubb’d knights: So that, in these ten thousand they have lost, There are but sixteen hundred mercenaries ; The rest are princes, barons, lords, knights, squires, And gentlemen of blood and quality. The names of those their nobles that liedead,— 190 Charles Delabreth, high constable of France ; Jaques of Chatillon, admiral of France ; The master of the cross-bows, Lord Rambures ; Great-master of France, the brave Sir Guischard Dauphin ; John Duke of Alencon; Antony Duke of Brabant, The brother to the Duke of Burgundy ; And Edward Duke of Bar: of lusty earls, Grandpré, and Roussi, Fauconberg, and Foix, Beaumont, and Marle, Vaudemont, and Lestrale. Here was a royal fellowship of death !— 200 Where is the number of our English dead? [Herald presents another paper. Edward the Duke of York, the Earl of Suffolk, Sir Richard Ketly, Davy Gam, esquire: None else of name; and of all other men, But five-and-twenty. O God! thy arm was here, And not to us, but to thy arm alone, Ascribe we all.—When, without stratagem, But in plain shock and even play of battle, ‘Was ever known so great and little loss, On one part and on the other?Take it, God, For it is none but thine! *T is wonderful! 210 Exe. K. Hen. Come, go we in procession to the village: And be it death proclaimed through our host, To boast of this, or take that praise from God, Which is his only. Flu. Is it not lawful, an’t please your majesty, to tell how many is killed? KK. Hen. Yes, captain; but with this acknowledg- ment, That God fought for us. Flu. Yes, my conscience, he did us great good. 220 KK. Hen. Do we all holy rites: Let there be sung Non nobis, and Te Deum, The dead with charity enclos’d in clay. And then to Calais; and to England then, Where ne'er from France arriv’d more happy men. [Exeunt. , Ee Chorus. Nw? ~ OUCHSAFE to those that have not ? read the story, That I may prompt them: and of such as have, . I humbly pray them to admit the ex- cuse Of time, of numbers, and due course of things, Which cannot in their huge and proper ife Be here presented. Now, we bear the ing Toward Calais: grant him there; there seen, Heave him away upon your winged thoughts, Athwart the sea. ehold, the English beach Pales in the flood with men, with wives, and boys, 10 Whose shouts and claps out-voice the deep-mouth’d sea, Which, like a mighty whiffler ‘fore the king, Seems to prepare his way. So, let him land, And, solemnly, see him set on to London. So swift a pace hath thought, that even now You may imagine him upon Blackheath ; Where that his lords desire him to have borne His bruised helmet, and his bended sword, Before him, through the city: he forbids it, Being free from vainness and self-glorious pride; 20 Giving full trophy, signal, and ostent, Quite from himself, to God. But now behold, In the quick forge and working-house of thought, How London doth pour out her citizens, The mayor, and all his brethren, in best sort, Like to the senators of the antique Rome, With the plebeians swarming at their heels, Go forth, and fetch their conquering Ceesar in: As, by a lower but loving likelihood, Were now the general of our gracious empress 30 (As, in good time, he may) trom Ireland coming, Bringing rebellion broached on his sword, How many would the peaceful city quit, To welcome him! much more (and much more cause) Did they this Harry. Now, in London place him ; As yet the lamentation of the French Invites the King of England’s stay at home (The emperor coming in behalf of France, To order peace between them); and omit All the occurrences, whatever chanc’d, 40 Till Harry’s back-return again to France : There must we bring him ; and myself have play’d The interim, by remembering you ’tis past. Then brook abridgment, and your eyes advance, After your thoughts, straight back again to erat it, ScENE I.—France. An English Court of Guard. Enter FLUELLEN and GOWER. Gow. Nay, that’s right; but why wear you your jeck to-day? Saint Davy’s day is past. Flu. There is occasions, and causes, why and wherefore, in all things: I will tell you, as my friend, ACT V. NP Enter Chorus. Captain Gower. The raseally, scald, beggarly, lousy, pragging knave, Pistol, which you and yourself, and all the ’orld, know to be no petter than a fellow, look you now, of no merits, he is come to me, and prings me pread and salt yesterday, look you, and bid me eat my leek. It was in a place where I couldnot breed no contention with him; but I will be so bold as to wear it in my cap till Isee him once again, and then I will tell him a little piece of my desires. ee Why, here he comes, swelling like a turkey- cock. Enter PIsTou. Flu. ’Tisno matter for his swellings, nor histurkey- cocks.—God pless you, Aunchient Pistol! you scurvy, lousy knave, God pless you! Pist. Ha! art thou Bedlam? dost thou thirst, base Trojan, To have me fold up Parca’s fatal web? 20 Hence! I] am qualmish at the smell of leek. Flu. I peseech you heartily, scurvy lousy knave, at my desires, and my requests, and my petitions, to eat, look you, this leek; because, look you, you do not love it, nor your affections, and your appetites, and your digestions, does not agree with it, 1 woulddesire you to eat it. Pist. Not for Cadwallader, and all his goats. ' Flu. There is one goat for you. [Strikes him.] Will you be so good, scald knave, as eat it? 30 Pist. Base Trojan, thou shalt die. 5, Flu. You say very true, scald knave, when God's will is. I will desire you to live in the meantime, and eat your victuals: come, there is sauce for it. [Striking him again.] You called me yesterday mountain-squire. but I will make you to-day a squire of low degree. I pray you, fall to: if you can mocka leek, you can eat a leek. 2 Gow. Enough, ca pean : you have astonished him. 39 Flu. Tsay, I will make him eat some part of my. leek, or I will peat his pate four days.—Bite, I pray you; it is good for your green wound, and your ploody coxcomb. Pist. Must I bite? Flu. Yes, certainly, and out of doubt, and out of question too, and ambiguities. : Pist. By this leek, I will most horribly revenge. I eat, and eat I swear— Flu. Eat, I pray you. Will you have some more sauce to your leek? there is not enough leek to swear by. 51 Pist. Quiet thy cudgel: thou dost see, leat. Flu. Much good do you, scald knave, heartily. Nay, pray you, throw none away; the skin is good for your broken coxcomb. When you take occasions to see leeks hereafter, I pray you, mock at ’em; at is all. Pist. Good. : ; Flu, Ay, lecks is good.—Hold you, there is a groat i to heal your pate. 60 ; Pist. Me a groat! : ; Flu. Yes, verily, and in truth, you shall take it, or i I have another leek in my pocket, which you shall | eat, ' Pist. I take thy groat, in earnest of revenge. XN Scene IL] KING HENRY VP. 519 Flu. If I owe you anything, I will pay you in Q. Isa. So happy be the issue, brother England, cudgels: you shall be a woodmonger, and buy nothin Of this good day, and of this eis meeting, of me but cudgels. God be wi’ you, and keep you, an As we are now glad to behold your eyes ; heal your pate. 2 ; {Ezit. | Your eyes, which hitherto have borne in them Pist. All hell shall stir for this. 70 | Against the French, that met them in their bent, Gow. Go, go; you are acounterfeit cowardly knave. | ‘he fatal balls of murdering basilisks : Will you mock at'an ancient tradition, begun upon | The venom of such looks, we fairly hope, an honourable respect, and worn as a memorable | Have lost their quality, and that this day trophy of predeceased valour, and dare not avouch | Shall change all griefs and quarrels into love. 20 in your deeds any of your words? J have seen you gleeking and galling et this gentleman twice or Flu. “ Will you have some iuore sauce tv your leek 1” thrice. You thought, because he could not speak English in the native garb, he could not therefore handle an English cudgel: you find it otherwise; and, henceforth, let a Welsh correction teach you a good English condition. Fare ye well. it, “st. Doth Fortune play the huswife with me now? News have I, that my Nell is dead i’ the spital Of malady of France ; And there my rendezvous is quite cut off. Old I do wax, and from my weary limbs Honour is cudgelled. Well, bawd I'll turn, And something lean to cutpurse of quick hand. To England will I steal, and there I'll steal: And patches will I get unto these cudgell’d scars, 90 And swear, I got them in the Gallia wars. [Exit. Scene II.—Troyes in Champagne. An Apartment in the French K1Ne@’s Palace. Enter, at one door, King HENRY, BEDFORD, GLOSTER, EXETER, WARWICK, WESTMORELAND, and other Lords ; at another, the French KinG, Queen ISABEL, the Princess KATHARINE, Lords, Ladies, dc., the Duke of BuRGuNDY, and his Train. K. Hen. Peace to this meeting, wherefore we are met! Unto our brother France. and to our sister, Health and fair time of day ;—joy and good wishes To our most fair and princely cousin Katharine ;— And, as a branch and member of this royalty, : a) whom this great assembly is contriv’d, edo salute you, Duke of Burgundy ;— ; And, princes French, and peers, health to you all! Fr, King. Right joyous are we to behold your face, Most worthy brother agland ; fairly met :— 10 lo are you, princes English, every_one. K. Hen. 'To ery Amen to that, thus we appear. . Isa. You English princes all, I do salute you. ur. My duty to you both, on equal love. Great Kings of France and England, that I have labour’d With all my wits, my pains, and strong endeavours, To bring your most imperial majesties Unto this bar and royal interview, Your mightiness on both parts best can witness. Since then my office hath so far prevail'd, That face to tace, and royal eye to eye, You have congreeted, let it not disgrace me, If I demand before this royal view, What rub, or what impediment, there is, Why that the naked, poor, and mangled Peace, Dear nurse of arts, plenties, and joyful births, Should not in this best garden of the world, Our fertile France, put up her lovely visage? Alas! she hath from France too long been chas’d, And all her husbandry doth lie on heaps, Corrupting in its own fertility. Her vine, the merry cheerer of the heart. Unpruned dies; her edges even-pleached, Like prisoners wildly overgrown with hair, Put forth disorder’d twigs ; her fallow leas The darnel, hemlock, and rank fumitory, Doth root upon, while that the coulter rusts, That should deracinate such savagery ; The even mead, that erst brought sweetly forth The freckled cowslip, burnet, and green clover, Wanting the scythe, all uncorrected, rank, Conceives by idleness, and nothing teems, But hateful docks, rough thistles, Kecksies, burs, Losing both beauty and utility ; And as our vineyards, fallows, meads, wd hedges, Defective in their natures, grow to wildness; , Even’'so our houses, and ourselves, and children, Have lost, or do not learn, for want of time, The sciences that should become our country, But grow, like savages,—as soldiers will, That nothing do but meditate on blood,— To swearing, and stern looks, diffus’d attire, And everything that seems unnatural. Which to reduce into our former favour, You are assembled ; and my speech entreats, That I may know the let, why gentle Peace Should not expel these inconveniencies, And bless us with her former qualities. kK. Hen. If, Duke of Burgundy, you would the peace, 7 Whose want gives growth to the imperfections Which you have cited, you must buy that peace With full accord to all our just demands ; Whose tenors and particular effects You have, enschedul’d briefly, in your hands. Bur. The king hath heard them; to the which, as yet, There is no answer made. K. Hen. Well then, the peace Which you before so urg’d, lies in his answer. 7. King. I have but with a cursorary eye O'erglane’d the articles: pleaseth your grace To appoint some of your council presently To sit with us once more, with better heed To re-survey them, we will suddenly Pass our accept, and peremptory answer. K. Hen. Brother, we shall.—Go, uncle Exeter,— And brother Clarence,—and you, brother Gloster,— Warwick,—and Huntington,—go with the king ; And take with you free power to ratify, Augment, or alter, as your wisdoms best Shall see advantageable for our dignity, Anything in, or out of, our demands, 30 40 50 60 70 80 520 KING HENRY VF. [Acr Vv, And we'll consign thereto.—Will you, fair sister, 90 Go with the princes, or stay here with us? Q. Isa. Our gracious brother, I will go with them. Haply a woman’s voice may do some good, When articles, too nicely urg’d, be stood on. : K. Hen. Yet leave our cousin Katharine here with us: She is our capital demand, compris’d Within the fore-rank of our articles. Q. Isa. She hath good leave. [Exeunt all but King HENRY, KATHARINE, and her Gentlewoman. K. Hen. Fair Katharine, and most fair ! Will you vouchsafe to teach a soldier terms, Such‘as will enter at a lady’s ear, 100 And plead his love-suit to her gentle heart? Kath. Your majesty shall mock at me; I cannot speak your England. . . kK. Hen. O fair Katharine! if you will love me soundly with your French heart, I will be glad to hear you confess it brokenly with your English tongue. Do you like me, Kate? Kath. Pardonnez-moy, I cannot tell vat is—like me. Kk. Hen. An angel is like you, Kate; and you are like an angel. 111 Kath. Que dit-il? que je suis semblable a les anges ? Alice. dit-il. ¥ K. Hen. I said so, dear Katharine, and I must not blush to affirm it. Kath. O bon Dieu! les langues des hommes sont pleines de tromperies. . kK. Hen, What says she, fair one? that the tongues of men are full of deceits ? 12 Alice. Ouy; dat de tongues of de mans is be full of deceits: dat is de princess. KK. Hen. The princess is the better Englishwoman. TY faith, Kate, my wooing is fit for thy understanding : I am glad, thou canst speak no better English ; for, if thou couldst, thou wouldst find me such a plain king, that thou wouldst think, I had sold my farm to buy my crown. I know no ways to mince it in love, but directly to say—I love you: then, if you urge me further than to say—Do you in faith? I wear out my suit. Give me your answer; i’ faith, do, and so clap hands and a bargain. How say you, lady? 132 Kath. Sauf vostre honneur, me understand well. A. Hen. Marry, if you would put me to verses, or to dance for your sake, Kate, why you undid me: for the one, I have neither words nor measure; and for the other, I have no strength in measure, yet a reasonable measure in strength. If I could_ win a lady at leap-frog, or by vaulting into my saddle with my armour on my back, under the correction of bragging be it spoken, I should quickly leap into a wife. Orif I might buffet for my love, or bound my horse for her favours, I could lay on like a butcher, and sit like a jack-an-apes, never off; but, before God, Kate, I cannot look greenly, nor gasp out my eloquence, nor I have no cunning in protestation ; only downright oaths, which I never use till urged, nor never break for urging. If thou canst love a fellow of this temper, Kate, whose face is not worth sun-burning, that never looks in his glass for love of anything he sees there, let thine eye be thy cook. I speak to thee plain soldier: if thou canst love me for this, take me; if not, to say to thee, that I shall die, is true; but for thy love, by the Lord, no; yet I love thee too. And while thou livest, dear Kate, take a fellow of eon and uncoined constancy, for he perforce must do thee right, because he hath not the gift to woo in other places; for these fellows of infinite tongue, that can rhyme themselves into ladies’ favours, they do always reason themselves out again. What! a speaker is but a prater; a rhyme is but a ballad. A good leg will fall, a straight back will stoop, a black beard will turn white, a curled pate will grow bald, a fair face will wither, a full eye will wax hollow; but a good heart, Kate, is the sun and the moon; or, rather, the sun, and not the moon, for it shines bright, and never changes, but keeps his Ouy, vrayment, sauf vostre grace, ainsi | course truly. If thou would have such a one, take me ; and take me, take a soldier; take a soldier, take aking. And what sayest thou then to my love? speak, my fair, and fairly, I pray thee. Kath. Is it possible dat I sould love Fraunce ? ‘ K. Hen. No; it is not possible you should love the enemy of France, Kate ; but, in loving me, you should love the friend of France, for I love France so well, that I will not ee with a village of it ; I will have it all mine: and, Kate, when France is mine and I am yours, then yours is France, and you are 180 mine. Kath. I cannot tell vat is dat. K. Hen. No, Kate? I will tell thee in French, which I am sure will hang ae my tongue like a new- married wife about her husband’s neck, hardly to be shook off.—Quand j’ay le possession de France, et quand vous avez le possession de moy, (let me see, what then? Saint Dennis be my speed !)—done vostre est France, et vous estes mienne. It is as easy for me, Kate, to conquer the kingdom, as to speak so much more French. I shall never move thee in French, unless it be to laugh at me. 191 Kath. Sauf vostre honneur, le Francois que vous parlez est meilleur que lV Anglois lequel je parle. K. Hen. No, ‘faith, is ’t not, Kate; but thy speaking of my tongue, and I thine, most truly falsely, must needs be granted to be much atone. But, Kate, dost thou understand thus much English? Canst thou love me? Kath. I cannot tell. 199 4. Hen. Can any of your neighbours tell, Kate? I'll ask them. Come, I know, thou lovest me: and at night when you come into your closet, you'll uestion this gentlewoman about me; and I know, ate, you will, to her, dispraise those fans in me, that you love with your heart: but, good Kate, mock me mercifully ; the rather, gentle princess, because I love thee cruelly. If ever thou be’st mine, Kate, (as I have a saving faith within me tells me thou shalt) I get thee with scambling, and thou must therefore needs pLoNe a good soldier-breeder. Shall not thou and I, between Saint Dennis and Saint George, com- pound a boy, half French, half English, that shall go to Constantinople, and take the Turk by the beard? eno we not? what sayest thou, my fair flower-de- luce Kath. I do not know dat. Hen. No; ’tis hereu:ter to know, but now to promise: do but now promise, Kate, you will en- deavour for your French part of such a boy, and for my Inglish moiety take the word of a king and a bachelor. How answer you, la plus belle Katharine du monde, mon trés cher et divin déesse ? 222 Kath. Your majesté have fausse French enough to deceive de most sage damoiselle dat is en France. | . Hen. Now, fie upon my false French! By mine honour, in true English, I love thee, Kate: by which honour I dare not swear thou lovest me; yet my blood begins to flatter me that thou dost, notwithstanding the poor and untempering effect of my visage. Now beshrew my father's ambition! he was thinking of civil wars when he got me: therefore was I created with a stubborn outside, with an aspect of iron, that, when I come to woo ladies, I fright them. But, in faith, Kate, the elder I wax, the better I shall appear: my comfort is, that old age, that ill layer-up of beauty, can do no more spoil upon my face: thou hast me, ! thou hast me, at the worst ; and thou shalt wear me, if thou wear me, better and better. And therefore tell me, most fair Katharine, will you have me? Put off your maiden blushes; avouch the thoughts of your heart with the looks of an empress; take me by the hand, and say—Harry of England, I am thine: which word thou shalt no sooner bless mine ear withal, but I will tell thee aloud—England is thine, Ireland is thine, France is thine, and Henry Plantagenet is thine; who, though I speak it before his face, if he be not fellow with the best king, thou shalt find the best king of good fellows. Come, your answer in broken music; for thy voice is music, and thy English 171 de enemy of ScENE IL] KING HENRY V. 521 broken ; therefore, queen of all, Katharine, break thy | K. Hen. hen I will kiss your lips, Kate. mind to me in broken English : wilt thou have me? Kath. Les dames, et damoiselles, pour estre Kath. Dat is, as it shall please de roy mon pére, 252 | baisées devant leur nopces, il n'est pas le costume de ' K. Hen. Nay, it will please him well, Kate: it shall | “’rance. please him, Kate. K. Hen. Madam my interpreter, what says she? K. Hen. *O Kate! nice customs curtesy to great kings.” Kath. Den it sall also content me. Alice. Dat it is not be de fashion pour les ladies of K. Hen. Upon that I kiss your hand, and I call you | France,—I cannot tell what is baiser in English. my queen. | KA. Hen. To kiss. Kath. Laissez, mon scigneur, laissez, laissez ! Alice. Your majesty entendre bettre que moy. Ma foy, je ne veux point que vous abbaissez vostre K, Hen, It is not a fashion for the maids in Peance grandeur, en baisant le main d'une vostre indigne | to kiss before they are married, would she say ? serviteur: excusez moy, je vous supplie, mon trés Alice. Ouy, vraiment. puissant seigneur. 262 | KK. Hen. O Kate! nice customs curtesy to great 522 KING HENRY F. {Act V, kings. Dear Kate, you and I cannot be confined within the weak list of a country’s fashion: we are the makers of manners, Kate; and the liberty that follows our places stops the mouths of all find-taults, as I will do yours, for upholding the nice fashion of your country in denying me a kiss: therefore, patiently, and yielding. [Aissing her.] You have witchcraft in your lips, Kate: there is more elo- quence in a sugar touch of them, than in the tongues of the French council; and they should sooner per- suade Harry of England, than a general petition of monarchs. Here comes your father. Enter the French KinG_and QUEEN, BURGUNDY, BEDFORD, GLOSTER, EXETER, WESTMORELAND, and other French and English Lords. Bur. God save your majesty! My royal cousin, Teach you our princess English ? . Hen. I would have her learn, my fair cousin, how perfectly I love her; and that is good English. Bur. Is she not apt? 292 K. Hen, Our tongue is rough, coz, and my condition is not smooth; so that, having neither the voice nor the heart of flattery about me, I cannot so conjure up the spirit of love in her, that he will appear in his true likeness. Bur. Pardon the frankness of my mirth, if I answer you for that. If you would conjure in her, you must make a circle; if conjure up love in her in his true likeness, he must appear naked, and blind. Can you blame her, then, hee a maid yet rosed over with the virgin crimson of modesty, if she deny the appearance of a naked blind boy in her naked seeing self? It were, my lord, a hard condition for a maid to consign to. AK. Hen. Yet they do wink, and yield, as love is blind, and enforces. Bur. They are then excused, my lord, when they see not what they do. 310 &. Hen. Then, good my lord, teach your cousin to consent winking. Bur. Iwill wink on her to consent, my lord, if you will teach her to know my meaning: for maids, well summered and warm kept, are like flies at Bartholo- mew-tide, blind, though they have their eyes; and then they will endure handling, which before would not abide looking on. K. Hen. This moral ties me over to time, and a hot summer; and so I shall catch the fly, your cousin, in the latter end, and she must be blind too. 321 Bur. As love is, my lord, before it loves. K. Hen. It is so: and you may, some of you, thank love for my blindness, who cannot see many a fair French city, for one fair French maid that stands in my way. Fr. King. Yes, my lord, you see them perspectively: the cities turned into a maid ; for they are all girdled with maiden walls, that war hath never entered. AK. Hen. Shall Kate be my wife? 330 Fr, King. So please you. A. Hen. I am content; so the maiden cities you talk of, may wait on her: so the maid, that stood in Le for my wish, shall show me the way to my will. Fr. King. We have consented to all terms of reason. 4. Hen. Is ’t_ so, my lords of England ? West. The king hath granted every article: His daughter, first; and then, in sequel, all, According to their firm proposed natures. fixe. Only, he hath not yet subscribed this :— Where ae majesty demands,—that the King of France, having any occasion to write for matter of grant, shall name your highness in this form, and with this addition, in French,—Notre trés cher filz Henry roy d Angleterre, heretier de France ; and he in Latin,—Preclarissimus filius noster Henricus, rex Anglie, et heres Francie. Fr, King. Nor this I have not, brother, so denied, But your request shall make me let it pass. 5 K. Hen. I pray you then, in love and dear alliance, Let that one article rank with the rest ; And, thereupon, give me your daughter. . King. Take her, fair son; and from her blood raise up Issue to me, that the contending kingdoms Of France and England, whose very shores look pale With envy of each other's happiness, May cease their hatred ; and this dear conjunction Plant neighbourhood and Christian-like accord In their sweet bosoms, that never war advance 360 His bleeding sword ’twixt England and fair France. All. Amen! 4. Hen. Now welcome, Kate :—and bear me witness all, That here I kiss her as my sovereign queen. [Flourish., Q. Isa. God, the best maker of all marriages, Combine your hearts in one, your realms in one! As man and wife, being two, are one in love, So be there ’twixt your kingdoms such a spousal, That never may ill office, or fell jealousy, Which troubles oft the bed of blessed marriage, 370 Thrust in between the paction of these kingdoms, ‘To make divorce of their incorporate league ; That English may as French, French Englishmen, Receive each other !—God speak this Amen! All. Amen! : ds. Hen. Prepare we for our marriage :—on which ay, 2 My Lord of Burgundy, we 1l take your oath, And all the peers’, for surety of our leagues. Then shall I swear to Kate, and you to me; And may our oaths well kept and poospetout be ! 7 zeunt, Enter Chorus, Chor. Thus far, with rough and all-unable pen, Our bending author hath pursu’d the story ; In little room confining mighty men, . Mangling by starts the full course of their glory. Small time, but in that small most greatly liv'd This star of England. Fortune made his sword, By which the world’s best garden he achiev’d, And of it left his son imperial lord. . Henry the Sixth, in infant bands crown’d king Of France and England, did this king succeed ; 10 Whose state so many had the managing, That they lost France, and made his England bleed: Which oft our stage hath shown; and, for their sake, ' In your fair minds let this acceptance take. [Exit. ELA v3 = \ wp wl be as By THE MERRY WIVES OF WINDSOR. DRAMATIS PERSON. Sir JOHN FALSTAFF, BARDOLPH, PIsTOL, NyM, Followers of Falstaff FENTON. . Rosin, Page to Falstaff. SHALLOW, a Country Justice. SIMPLE, Servant to Slender. Forb, a] ., A PAGE Two Gentlemen dwelling at Windsor. MIsTRESS ForpD. ” MISTRESS PAGE. oP aoe Ee Coe? age. ANNE Pace, her Daughter, in love with Fenton. Docror Catus, a Wrench "Physician. MISTRESS QUICKLY, Servant to Doctor Caius. Host of the Garter Inn. Servants to Page, Ford, &c. SCENE—WInNDsOoR, and the Parts adjacent. | SLENDER, Cousin to Shallow. Ruaesy, Servant to Doctor Caius. | ACT TI. ScENE I.—Windsor. Before Pacr’s House. Enter Justice SHALLOW, SLENDER, and Sir Hucit Evans. a? Shallow. Shal. Ha! o’ my life, if I were young again, the his Hugh, persuade me not; I will | sword should end it. ne / make a Star-chamber matter of it: | | Hva. It is petter that friends is the sword, and end if he were twenty Sir John Falstaffs, ; it: and there is also another device in my prain, which, he shall not abuse Robert Shallow, esquire. Slen. In the county of Gloster, | justice of peace, and coram. ! Shal. Ay, cousin Slender, and cust-alorum. az 9 Slen. Ay, and_ratolorwm too; and a gentleman born, master par- son; who writes himself armigero ; in any bill, warrant, quittance, or obligation, armigcero. Shal. Ay, that I do; and have @; done any time these three hundred x years. Slen. All his successors, gone before him, hath done ’t; and all his ancestors, that come after him, may: they may give the dozen white luces in their coat. 21 hee yy Hy Shal. It is an old coat. i RA Se A/T de, The dozen white louses do bagome an pia coat 3 NG la VEEN) WL We mL WAN well; it agrees well, passant ; it is a familiar beast to Shal. Ha! o' my lite, i ere young i Fer ‘man, and signifies love. ae one o’ my life, if I were young again, the sword should Shal. The luce is the fresh fish; the salt fish is an old coat. peradventure, prings goot discretions with it. There Slen. I may quarter, coz? is Anne Page, which is daughter to Master George Shal. You may, by marrying. Page, which is pretty eye Eva, It is marring, indeed, if he quarter it. 30 Slen. Mistress Anne Page? She has brown hair, Shal. Not a whit. and speaks small, like a woman. 51 Eva. Yes, per-lady : if he hasa quarter of your coat, va, It is that fery person for all the ’orld ; as just there is but three skirts for yourself, in my simple | as you will desire, and seven hundred pounds of conjectures. But that is all one: if Sir John Falstaff | monies, and gold, and silver, is her grandsire, upon have committed disparagements unto you, I am of the | his death’s-bed (Got deliver to a Joyful resurrections i church, and will be glad to do my benevolence, to | give, when she is able to overtake seventeen years make atonements and compromises between you. old, It were a goot motion, if we leave our pribbles Shal. The Council shall hear it : it is a riot. and prabbles, and desire a marriage between Master Eva. It is not meet the Council heara riot ; thereis | Abraham and Mistress Anne Page. no fear of Got ina riot. The Council, look you, shall Shal. Did her grandsire leave her seven hundred desire to hear the fear of Got, and not to hear a riot: | pound? ‘1 take your vizaments in that. 42 | Hva, Ay, and her father is make her a petter penny. 524 THE MERRY WIVES OF WINDSOR. [Act I, Shal. Iknow the young gentlewoman ; she has good gitts. acta ‘ Eva. Seven hundred pounds, and possibilities, is good gifts. Shal. Well, let us see honest Master Page. Is Falstaff there? ; ; 68 Eva. Shall I tell you a lie? Ido despise a liar as I do despise one that is false; or, as I despise one that is not true. The knight, Sir John, is there; and, I beseech you, be ruled by your well-willers. J will peat the door for Master Page. [AKnocks.] What, hoa! Got pless your house here! Page. (Within.] Who's there? Eva. Here is Got's plessing, and your friend, and Justice Shallow; and here young Master Slender, that, peradventures, shall tell you another tale, if mutters grow to your likings. Enter PAGE. Page. J am glad to see your worships well. I thank you for my venison, Master Shallow. 81 Shal. Master Page, I am glad to see you: much ood do it your good heart. I wished your venison Better : it was ill kill’d.—How doth good Mistress Page ?—and I thank you always with my heart, la; with my heart. Page. Sir, I thank you. Shal. Sir, I thank you; by yea and no, I do. Page. Iam glad to see ce good Master Slender. Slen. How does your fallow greyhound, sir? I heard say, he was outrun on Cotsall. 91 age. It could not be judged, sir. Slen. You'll not confess, you'll not confess. Shal. That he will not.—’Tis your fault, tis your fault.—'T is a good dog. Page. A cur, sir. Shal. Sir, he’s a good dog, and a fair dog; can there be more said? he is good, and fair. Is Sir John Falstaff here ? Page. Sir, he is within; and I would I could do a good office between you. 101 Eva. It is spoke as a Christians ought to speak. Shal. He hath wrong’d me, Master Page. Page. Sir, he doth in some sort confess it. Shal. If it be confess’d, it is not redress’d: is not that so, Master Page? He hath wrong'd me; indeed, he hath ;—at a word, he hath ;—believe me :—Robert Shallow, esquire, saith, he is wrong'’d. Page. Here comes Sir John. Enter Sir JOHN FALSTAFF, BARDOLPH, NyM, and PISTOL. Fal, Now, Master Shallow, you'll complain of me to the king? 111 Shal. Knight, you have beaten my men, killed my deer, and broke open my lodge. Fal, But not kiss’d your keeper's daughter? Shal. Tut, a pin! this shall be answered. Fal. J will answer it straight:—I have done all this.—That is now answer'd. Shal. The Council shall know this. Fal. ’T were better for you, if it were known in counsel: you'll be laughed at. 120 Eva. Pauca verba, Sir John ; good worts. Fal. Good worts? good cabbage.—Slender, I broke your head : what matter have you against me ? Slen. Marry, sir, I have matter in my head against you; and against your cony-catching rascals, Bar- dolph, Nym, and Pistol. T ey carried me to the tavern, and made me drunk, and afterwards picked my pocket, Bard. You Banbury cheese ! Slen. Ay, it is no matter. Pist. How now, Mephostophilus ? Slen. Ay, it is no matter. Nym. Slice, I say! pauca, pauca; slice! that’s my humour. Slen. Where’s Simple, my man?—can you tell, cousin? Eva, Peace! I pray you. Now let us understand: there is three umpires in this matter, as I understand ; that is—Master Page, jidclicet, Master Page; and 130 there is myself, fidelicet, myself; and the three party is, lastly and finally, mine host of the Garter. 141 eae We three, to hear it, and end it between chem, Eva. Fery goot: I will make a prief of it in my note-book ; and we will afterwards ‘ork upon the cause, with as great discreetly as we can. Fal. Pistol! Pist. He hears with ears. Eva. The tevil and his tam! what phrase is this, “He hears with ear?” Why, itis affectations. 150 Fal. Pistol, did you pick Master Slender’s purse? Slen. Ay, by these gloves, did he (or I would I might never come in mine own great chamber again else), of seven groats in mill-sixpences, and two Edward shovel-boards, that cost me two shilling and two pence a-piece of Yed Miller, by these gloves. Fal. Is this true, Pistol? Eva. No; it is false, if it is a pick-purse. Pist. Ha, thou mountain-foreigner !—Sir John and master mine, I combat challenge of this latten bilbo: 160 Word of denial in thy labras here ; Word of denial: froth and scum, thou liest. Slen. By these gloves, then ’t was he. Nym. Be avised, sir, and pass good humours. I will say, ‘‘marry trap,” with you, if you run the nuthook’s humour on me; that is the very note of it. Slen. By this hat, then he in the red face had it; for though I cannot remember what I did when you made me drunk, yet I am not altogether an ass. Fal. What say you, Scarlet and John? 170 Bard. Why, sir, for my part, I say, the gentleman had drunk himself out of his five sentences. Eva, It is his five senses: fie, what the ignorance is! Bard. And being fap, sir, was, as they say, cashier’d; and so conclusions pass'd the careires. Slen. Ay, you spake in Latin then too; but ’tis no matter. I'll ne’er be drunk whilst L live again, but in honest, civil, nodly company, for this trick: if I be drunk, I’ll be drunk with those that have the fear of God, and not with drunken knaves. Eva. So Got ’udge me, that is a virtuous mind. Fal. You hear all these matters denied, gentlemen ; you hear it. Enter ANNE PAGE, with wine; Mistress ForD and Mistress PAGE following. Page. Nay, daughter, carry the wine in ; well drink within. [Exit ANNE PaGE. Sten. O Heaven! this is Mistress Anne Page. Page. How now, Mistress Ford? Fal. Mistress Ford, by my troth, you are very well met: by your leave, good mistress. [Kissing her. Page. Wife, bid these gentlemen welcome.—Come, we have a hot venison pasty to dinner: come, gentle- men, I hope we shall drink down all unkindness. 192 [Exeunt all but SHALLOW, SLENDER, and EVANS. Slen. I had rather than forty shillings, I had my Book of Songs and Sonnets here. Enter SIMPLE. How now, Simple! Where have you been? I must wait on myself, must I? You have not the Book of Riddles about you, have you? . Sim. Book of Riddles! why, did you not lend it to Alice Shortcake upon All-hallowmas last, a fortnight afore Michaelmas ? 200 Shal. Come, coz; come, coz; we stay for you. A word with you, coz; marry, this, coz: there is, a8 *t were, a tender, a kind of tender, made afar off by Sir Hugh here: do you understand me? A Slen. Ay, sir, you shall find me reasonable: if it be so, I shall do that that is reason. Shal. Nay, but understand me. Slen. So I do, sir. Eva. Give ear to his motions, Master Slender I will description the matter to you, if you be eanecly of it. Slen. Nay, I will do as my cousin Shallow says. I pray you pardon me; he’s a justice of peace in Mis country, simple though IJ stand here. ScENE I.] THE MERRY WIVES OF WINDSOR. 525 Eva. But that is not the question; the question is | concerning your marriage. Shal. Ay, there’s the point, sir. i Eva, Marry, is it, the very point of it; to Mistress | Anne Page. | Eva. Nay, Got’s lords and his ladies, you must speak ossitable, if you can carry her your desires towards er. 2: Shal. That you must. Will you, upon good dowry, marry her? SARA Anne, * The dinner {fs on the table; my father desires your worships’ company.” Slen. Why, if it beso, I will marry her upon any reasonable demands. 221 Eva. But can you affection the ’oman? Let us com- i mand to know that of your mouth, or of your lips; for divers philosophers hold, that the lips is parcel of the mouth: therefore, precisely, can you carry your good | will to the maid? Shal. Cousin Abraham Slender, can you love her? Slen. I hope, sir, I will do as it shall become one that would do reason. Slen. I will do a greater thing than that, upon your request, cousin, in any reason. Shal. Nay, conceive me, conceive me, sweet coz: what I do, is to pleasure you, coz. Can you love the maid? 239 Sten. I will marry her, sir, at your request; but if there be no great love in the beginning, yet Heaven may decrease it upon better acquaintance, when we are married, and have more occasion to know one another: I hope, upon familiarity will grow more 526 THE MERRY WIVES OF WINDSOR. [Act I, contempt: but if you say, “marry her,” I will marry her; that I am freely dissolved, and dissolutely. Eva. It is a fery discretion answer; save, the faul is in the ort dissolutely: the ’ort is, according to our meaning, resolutely. His meaning is good. Shal. Ay, I think my cousin meant well. 250 Slen. Ay, or else I would I might be hanged, la! Re-enter ANNE PAGE. Shal. Here comes fair Mistress Anne.—’ Would I were young, for your sake, Mistress Anne! . -tnne. The dinner is on the table; my father desires your worships’ company. : Shal. I will wait on him, fair Mistress Anne. Eva. Od's plessed will! I will not be absence at the grace. [Exveunt SHALLOW and EVANs. Anne. Will’t please your worship to come in, sir? Slen. No, I thank you, forsooth, heartily ; Iam very well. 261 .{nne. The dinner attends you, sir. Slen. Tam nota-hungry, I thank you, forsooth.—Go, sirrah, for all you_are my man, go, wait upon my cousin Shallow. [#xit SImPLE.] A justice of peace sometime may be beholding to his friend for a man. —I keep but three men and a boy yet, till my mother be dead; but what though? yet I live like a poor gentleman born. {nne. I may not go in without your worship: they will not sit, till you come. 271 Slen. V faith, [Ul eat nothing ; I thank you as much as though I did. Anne, I pray you, sir, walk in. Slen. [had rather walk here, [thank you. I bruised my shin th’ other day with playing at sword and dagger with a master of fence (three veneys for a dish of stewed prunes), and, by mv troth, I cannot abide the smell of hot meat since.—Why do your dogs bark so? be there bears i’ the town? 280 Anne. I think, there are, sir; I heard them talked of. Slen. love the sport well; but I shall as soon quarrel at itas any man in England. You are afraid, if you see the bear loose, are you not? Anne. Ay, indeed, sir. Slen. That’#*meat and drink to me, now: I have seen Sackerson loose twenty times, and have taken him by the chain; but, I warrant you, the women have so cried and shrick’d at it, that it pass’d: but women, indeed, cannot abide ‘em; they are very ill-favoured rough things. 291 Re-enter PAGE. Page. Come, gentle Master Slender, come; we stay tor you. Sien. I'll eat nothing, I thank you, sir. Page. By cock and pie, you shall not choose, sir. Come, come. Slen. Nay, pray you, lead the way. Page. Come on, sir. Slen. Mistress Anne, yourself shall go first. anne. Not I, sir; pray you, keep on. 300 Slen. Truly, I will not go first: truly, la! I will not do you that wrong. anne. I pray you, sir. Slen. I'll rather be unmannerly, than troublesome. You do yourself wrong, indeed, la! [Ezxeunt. ScENE II.—The Same. Enter Sir HuGH Evans and SIMPLE. Eva. Go your ways, and ask of Doctor Caius’ house, which is the way; and there dwells one Mistress Quickly, which is in the manner of his nurse, or his dry nurse, or his cook, or his laundry, his washer, and his wringer. Sim. Well, sir. Eva. Nay, it is petter yet.—Give her this letter; for it is a ’oman that altogether’s acquaintance with Mistress Anne Page: and the letter 1s, to desire and require her to solicit your master’s desires to Mistress Anne Page: I pray you, be gone. I will mak of my dinner: there’s pippins and cheese to one. [Exeunt, ScENE II.—A Room in the Garter Inn. Enter FAtstarr, Host, BARDOLPH, NyM, PISTOL and RoBIN. f ae Mine host of the Garter! ‘ost. at says my bully-rook ' na wisely. ys my y ? Speak scholarly, Fal. Truly, mine host, I must tur: aa powers: . : nm away Some, of ost. Discard, bully Hercules; cashier: ve trot, trot. % eh tea al. I sit at ten pounds a week. Host. Thou’rt an emperor, Cesar, Keisar, and Pheezar. [ will entertain Bardolph; he shall draw. he shall tap: said I well, bully Hector? i ie me ie good Tlie hes ost. ave spoke; let him follow.—Let me s thee froth, and lime: Iam at a word; follow. ce Exit Host. Fal. Bardolph, follow him. A ta ce is a good trade: an old cloak makes a new derkin: a withered serving-man, a fresh tapster. Go; adieu. Bard. It is a life that I have desired. I will thrive. 7 . Exit. a O base Gongarian wight! wilt thou the ee wield‘ 20 Nym. He was gotten in drink; is not the humour conceited? His mind is not heroic, and there’s the humour of it. Fal. TY am glad I am so acquit of this tinder-box: his thefts were too open; his fileching was like an unskilful singer, he kept not time. Nym. The good humour is to steal at a minim’s rest. Pist. Convey, the wise it call. Steal? foh! a fico for the phrase! Fal. Well, sirs, Iam almost out at heels. 30 Pist, Why, then let kibes ensue. oer There is no remedy ; I must cony-catch, I must shift. Pist. Young ravens must have food. fal. Which of you know Ford of this town? Pist. [ken the wight: he is of substance good. Fal. My honest lads, I will tell you what I am about. Pist. Two yards, and more. 38 Fal. No quips now, Pistol! Indeed, Iam in the waist two yards about; but Tam now about no waste; I am about thrift. Briefly, I do mean to make love to Ford’s wife: I spy entertainment in her; she dis- courses, she carves, she gives the leer of invitation: I can construe the action of her familiar style; and the hardest voice of her behaviour, to be Englished rightly, is, ‘‘I am Sir John Falstaft’s.” Pist. He hath studied her well, and translated her well, out of honesty into English. Nym. The anchor is deep: will that humour pass? Fat. Now, the report goes, she has all the rule of her husband's purse; she hath a legion of angels. 51 Pist. As many devils entertain, and ‘To her, boy, say I. Nym. The humour rises; it is good : humour me the angels. Fal. Ihave writ me here a letter to her; and here another to Page’s wife, who even now gave me good eyes too, examin’d my parts with most judicious @iliads: sometimes the beam of her view gilded my foot, sometimes my portly belly. 60 Pist. Then did the sun on dunghill shine. Nym. I thank thee for that humour. . 5 Fal. O! she did so course o’er my exteriors with such a greedy intention, that the appetite of her eye did seem to scorch me up like a burning-glass. Here's another letter to her: she bears the purse too; she is a region in Guiana, all gold and bounty. I will be cheaters to them both, and they shall be exchequers tome: they shall be my East and West Indies, and will trade to them both. Go, bear thou this letter to ScENE IV.} THE MERRY WIVES OF WINDSOR. 527 Mistress Page; and thou this to Mistress Ford. We will thrive, ads, we will thrive. 72 Pist, Shall I Sir Pandarus of Troy become, And.by my side wear steel? then, Lucifer take all! Nym. I will run no base humour: here, take the humour-letter. I will keep the haviour of reputation. anybody in the house, here will be an old abusing of God’s patience, and the king’s English. Rug. I'll go watch. Quick. Go; and we’ll have a posset for’t soon at night, in faith, at the latter end of a sea-coal fire. | [Exit Ruesy.] An honest, willing, kind fellow, as Fal. ite Roan] Hold, sirrah, bear you these letters | ever servant shall come in house withal; and, I ightly : Sail like my pinnace to these golden shores.— [ | | Rogues, hence! avaunt! vanish like hailstones, go; Trudge, plod away o’ the hoof; seek shelter, pack! 8) Falstaff will learn the humour of the age, | French thrift, you rogues: myself, and skirted page. [Exeunt FaLsTarr and ROBIN. Pist. Let vultures gripe thy guts! for gourd and fullam holds, | : And high and low beguile the rich and poor. Tester I'll have in pouch, when thou shalt lack, Base Pape Turk. : Nym. ave operations, which be humours of revenge. Pist. Wilt thou revenge? Nym. By welkin, and her star. Pist. With wit, or steel? Nym. With both the humours, I: I will discuss the humour of this love to Page. Pist. And I to Ford shall eke unfold, How Falstaff, varlet vile, . His dove will prove, his gold will hold, And his soft couch defile. pat Nym. My humour shall not cool: I will incense a to deal with poison; I will possess him with yellowness, for the revolt of mien is dangerous: that is my true humour. 101 Pist. Thou art the Mars of malcontents: I second thee ; troop on. [Exeunt. 90 Scene IV.—A Room in Doctor Carvus’s House. Enter Mistress QUICKLY, SIMPLE, and RUGBY. Quick. What, John Rugby !—I pray thee, go to the casement, and see if you can see my master, Master Doctor Caius, coming: if he do, i faith, and find ' Pist. “shall | Sir Pandarus of Troy hecome, and by my side wear stcel?” warrant you, no tell-tale, nor no breed-bate ; his worst ! fault is, that he is given to prayer; he is something peevish that way, but nobody but has his fault; but let that pass. Peter Simple you say your name is? Sim. Ay, for fault of a better. uick. And Master Slender ’s your master? im. Ay, forsooth. Quick. Does he not wear a great round beard, like a glover’s paring-knite ? 2) Sim. No, forsooth: he hath but a little wee face, with a little yellow beard, a Cain- coloured beard. . . ick. A bore peated. man, is he not? im, Ay, forsooth; but he is as tall a man of his hands, as any is between this and his head: he hath fought with a warrener. Quick. How_say_ you?—O! I should re- member him: does he not hold up his head, as it were? and strut in his gait? 30 Sim. Yes, indeed, does he. Quick. Well, Heaven send Anne Page no worse fortune! Tell Master Parson Evans, I will do what I can for your master: Anne is a good girl, and I wish— Re-enter RUGBY. Rug. Out, alas! here comes my master. Quick. We shall all be shent. un in here, good young man; go into this closet. [Shuts SIMPLE in the closet.] He will not stay long. —What, John Rugby! John, what, John, I say !—Go, John, go inquire for my master; I doubt, he be not well, that he comes not home. [Sings.] dnd down, down, adown-a, &c. Enter Doctor Carus. Caius. Vat is yousing? I do not like dese toys. Pray you, go and vetch me in my closet un boitier vert ; a box, a green-a box: do intend vat I speak? a green-a box. Quick. Ay, forsooth; I'll fetch it you. [Ldside.] I - am glad he went not in himself: if he had found the young man, he would have been horn-mad. 50 Caius. Fe, fe, fe, fe! ma foi, il fait fort chaud. Je mien vais & la cour,—la grande affaire. Quick. Is it this, sir? Caius. Ouy; mettez le au mon pocket; dépéchez, quickly.—Vere is dat knave Rugby? wick, What, John Rugby! John! ug. Here, sir. Caius. You are John Rugby, and you are Jack Rugby : come, take-a your rapier, and come after my heel to de court. 60 Rug. ’T is ready, sir, here in the porch. Caius. By my trot, I tarry too long.—Od’s me! puee Jj oublié 2 dere is some simples in my closet, dat will not for the varld I shall leave behind. Quick. [Aside.] Ah me! he’ll find the young man there, and be mad. Caius. O diable! diable! vat is in my closet ?— Villainy! larron ! [Pulling SIMPLE out.] Rugby ; my rapier! uick. Good master, be content. 70 ‘aius. Verefore shall I be content-a? ick. The young man is an honest man. ‘aius. Vat shall de honest man do in my closet? dere is no honest man dat shall come in my closet. Quick. I beseech you, be not so phlegmatic; hear the truth of it: he came of an errand to me from Parson Hugh. Caius. Vell. Sim. Ay, forsooth, to desire her to — uick, Peace, I pray you. ‘Jaius. Peace-a your tongue !— Speak-a your tale. 528 THE MERRY WIVES OF WINDSOR. [Acr I, Sim. To desire this honest gentlewoman, your maid, to speak a aoe. word to Mistress Anne Page for my master, in the way of marriage. Quick. This is all, indeed, la; but I'll ne’er put my finger in the fire, and need not. : Yaius. Sir Hugh send-a you?—Rugby, baillez me some paper: tarry you a little-a while. (Writes. Quick, I am gla ; thoroughly moved, you should have heard him so loud, and so melancholy.—But notwithstanding, mar, ee Peat ( Me | Wi ALU a” ai Ht i li va ey a eT i, i ey mv AULA) Cuius. “* You jack’nape, give-a dis letter to Sir Hugh.” T’ll do you your master what good I can: and the very yea and the no is, the French doctor, my master, —I may call him my master, look you, for I keep his house; and I wash, wring, brew, bake, scour, dress meat and drink, make the beds, and do all myself ;— ii Sais *T is a great charge, to come under one body’s and. great charge : and to be up early and down late ;—but notwithstanding, to tell you in your ear (I would have no words of it), my master himself is in love with Mistress Anne Page: but notwithstanding that, I know Anne’s mind; that’s neither here nor there. Caius. You jack’nape, give-a dis letter to Sir Hugh; by gar, it is a shallenge: I will cut his troat in de park; and I vill teach a scurvy jack-a-nape priest. to meddle or make.—You may be gone; it is not good zou tarry here :—by gar, I vill cut all his two stones: y gar, he shall not have a stone to trow at his dog. 110 he is so quiet: if he had been | Quick, Alas! he speaks but for his friend. Caius. It is no matter-a for dat :—do not you tell-a me, dat I shall have Anne Page for myself By gar, I vill kill de Jack priest; and I have appointed mine host of de Jartiere to measure our weapon.—By gar, I will myself have Anne Page. » Quick, Sir, the maid loves you,.and all shall be well, We must give folks leave to prate: what, the good- jer!. Caius. Rugby, come to the court vit me.—By gar, , if [have not Anne Page, I shall turn your head out of my door.—Follow my heels, Rugby. 192 : [Exeunt Caius and Rucpy. Quick. You shall have An fool’s-head of your own. No, I know Anne’s mind for that: never a woman in Windsor knows more of Anne’s mind than I do, nor can do more than I do with her, I thank Heaven. Trent. [Within.] Who’s within there? ho! Quick, Who’s there, I trow? Come near the house, 130 : I pray you. [Exit SIMPLE, * Enter FENTON. Fent. How now, good woman? how dost thou? eh The better, that it pleases your good worship to ask. Fent. What news? how does pretty Mistress Anne? Quick. In truth, sir, and she is pretty. and gentle; and one that is your friend, i that y the yey | I praise Heaven for it. Fent. Shall I do any good, think’st thou? Shall I not lose my suit? Neg ee 140 Quick, 'Troth, sir, all is in his hands above ; but not- withstanding, Master Fenton, I'll be sworn on a book, she loves you.—Have not your worship a wart above your eye? Fent. Yes, marry, have I; what of that? ; Quick. Well, thereby Dane a tale.—Good faith, it is such another Nan ;—but, I detest, an honest maid as ever broke bread :—we had an hour's talk of that wart.—I shall never laugh but in that maid’s com- and honest, can tell you 7 eer ct 98 pany ;—but, indeed, she is given too much to allicholly Quick. Are you avis’d o’ that? you shall find it a | 3 and musing. But for you—well, go to. 13. Fent. Well, I shall see her to-day. Hold, there’s money for thee; let me have thy voice in my behalf: if thou seest her before me, commend me. ‘ Quick. Will 1? 7 faith, that we will; and I will tell your worship more of the wart, the next time we have confidence, and of other wooers. Fent. Well, farewell; I am in great haste atc ‘ at Quick. Farewell to your worship.—Truly, an honest gentleman: but Anne loves him not; for I know Anne’s mind as well as another docs,—Out upon’t! what have I forgot? Exit. ACT IT. \ ScENE I.—Before Pacr’s House. Mrs. Page. “$i1AT! have I scaped love-letters in the f holiday-time of my beauty, and am I now asubject for them? Let me see. \ [Reads. “Ask me no reason why I love you; for though Love use Reason for his physician, he admits him not for his counsellor. You are not young, no more am I: go to then, there’s sympathy; you are merry, so am I: ha! ha! then, there’s more sympathy; you love sack, and so do I: would you desire better sympathy? Let it suffice thee, Mistress Page, (at the least, if the love of a soldier can suffice) that I love thee. I will not say, pity me, ’tis not a soldier-like phrase; but I say, love me. By me, Thine own true knight, By day or night, Or any kind of light, With all his might For thee to fight, JOHN FALSTAFF,” 20 What a Herod of Jewry is this !—O wicked, wicked world !—one that is well nigh worn to pieces with age, Mrs. Page. “I was theu trugal of my mirth.” toshow himself a young gallant ! Whatan unweighed behaviour hath this Flemish drunkard picked (with the devil’s name!) out of my conversation, that he dares in this manner assay me? Why, he hath not been thrice in my company.—What should I say to him?—I was then frugal of my mirth :—Heaven for- ive me!—Why, I 11 exhibit a bill in the parliament or the putting down of men. How shall I be revenged on him? for revenged I will be, as sure as his gutsare made of puddings. 32 Enter Mistress FORD. Mrs. Ford. Mistress Page! trust me, I was going to your house. Enter Mistress Pace, with a letter. Mrs. Page. And, trust me, I was coming to you. You look very ill. Mrs. Ford. Nay, I'll ne’er believe that: I have to show to the contrary. Mrs, Page. Faith, but you do, in my mind. Mrs. Ford. Well, I do then; yet, I say, I could show you to the contrary. O Mistress Page! give me some counsel. 42 Mrs. Page. What’s the matter, woman ? Mrs. Ford. 0 woman! if it were not for one trifling respect, I could come to such honour. Mrs. Page. Hang the trifle, woman; take the honour. What is it?dispense with trifles ;—what is it? Mrs. Ford. If I would but go to hell for an eternal moment or so, I could be knighted. 50 Mrs. Page. What %—thou liest.—Sir Alice Ford !— These knights will hack; and so, thou shouldst not alter the article of thy gentry. Mrs. Ford. We burn daylight :—here, read, read; —perceive how I might be knighted.—I shall think the worse of fat men, as long as I haveaneye tomake difference of men’s liking: and yet he would not swear; praised women’s modesty, and gave such orderly and well-behaved reproof to all uncomeli- ness, that I would have sworn his disposition would have gone to the truth of his words; but they do no more adhere and keep place together, than the Hundredth Psalm to the tune of ‘‘Green Sleeves.” What tempest, I trow, threw this whale, with so many tuns of oilin his belly, ashore at Windsor? How shall I be revenged on him? I think, the best way were to entertain him with hope, till the wicked fire of lust have melted him in his own grease.—Did you ever hear the like? 69 Mrs. Page. Letter for letter, but that the name of Page and Ford differs !—To thy great comfort in this mystery of ill opinions, here’s the twin-brother of thy letter: but let thine inherit first ; for, I protest, mine never shall. I warrant, he hath a thousand of these letters, writ with blank space for different names, (sure more) and these are of the second edition. He will print them, out of doubt; for he cares not what pe pale into the press, when he would put us two: I had rather be a giantess, and lie under Mount Pelion. Well, I will find you twenty lascivious turtles, ere one chaste man. : 81 Mrs. Ford. Why, this is the Ge ‘same; the very hand, the very words. What doth he think of us? Mrs. Page. Nay, I know not: it makes me almost ready to wrangle with mine own honesty. I’ll enter- tain myself like one that Iam not acquainted withal ; for, sure, unless he know some strain in me, that I know not myself, he would never have boarded mein this fury. : 4 Mrs. Ford. Boarding call you it? Ill be sure to keep him above deck. 91 Mrs. Page. So willl: if he come under my hatches, I'll never to sea again. Let’s be revenged on him: let ’s appoint him a meeting ; give him ashow of com- fort in tie suit; and lead him on with a fine-baited delay, till he hath pawned his horses to mine host of the Garter. Mrs. Ford. Nay, I will consent to act any villainy against him, that may not sully the chariness of our 530 THE MERRY WIVES OF WINDSOR. [Acr iL honesty. O, that. my husband saw this letter! it would give eternal food to his jealousy. 101 Mrs. Page. Why, look, where he comes; and my good man too: he’sas far from jealousy, as Iam from giving him cause; and that, I hope, is an unmeasur- able distance. : Mrs. Ford. You are the happier woman. | : Mrs. Page. Let’s consult together against this greasy knight. Come hither. [They retire. Enter Forp, Pistou, PAGE, and NyM. Ford. Well, I hope, it be not so. 4 Pist. Hope is a curtail dog in some affairs : 110 Sir John affects thy wife. Ford. Why, sir, my wife is not young. fy im it ist. “Sir John affects thy wife.” sigan iW Gunny | \} ANY i) Pist. He woos both high and low, both rich and poor, Both young and old, one with another, Ford. He loves the gally-mawfry : Ford, perpend. Ford. Love my wife? Pist. With liver burning hot: prevent, or go thou, Like Sir Acton he, with Ringwood at thy heels. O! odious is the name. Ford. What name, sir? 120 Pist. The horn, Isay. Farewell: Take heed; have open eye, for thieves do foot by night : Take heed, ere summer comes, or cuckoo-birds do sing.— Away, Sir Corporal Nym.— Believe it, Page ; he speaks sense. (Exit. Ford. I will be patient : I will find out this. Nym. [To PaGE.] And this is true; I like not the humour of lying. He hath wronged me in some humours: [should have borne the humoured letter to her; but I have a sword, and it shall bite upon my necessity. He loves your wife; there’s the short and the long. My name is Corporal Nym: I speak, and I avouch ‘tis true :—my name is Nym, and Falstaff loves your wife.—Adicu. I love not the humour of bread and cheese ; and there's the humour of it. Adieu. Exit. Page. The humour of it, quoth ’a! here's a fae frights humour out of his wits. Ford. I will seek out Falstaff, Page. I never heard such a drawling, affecting rogue. 140 Yord. If I do find it :—well. Page. 1 will not believe such a Cataian, though the priest o’ the town commended him for a true man. Ford. "T was a good sensible fellow : well. Page. How now, Meg? Mrs. Page. Whither go you, George +-Hark you. Mrs, Ford. How now, sweet Frank? why art thou melancholy ? ord. J melancholy! I am not melancholy.—Get you home, go. 150 Mrs, Ford. "Faith, thou hast some crotchets in thy head now.—Will you go, Mistress Page? Mrs. Page. Have with you.—You’ll come to dinner, George?—[ Aside to Mrs. Forp.] Look, who comes yonder: she shall be our messenger to this paltry knight. Mrs. Ford. Trust me, I thought on her: she’ll fit it, Enter Mistress QUICKLY. Mrs. Page. You are come to see my daughter Anne? Quick. Ay, forsooth; and, I pray, how does good Mistress Anne ? 160 Mrs. Page. Go in with us, and see; we have an hour’s talk with you. [Excunt Mrs. Pace, Mrs. Forp, and Mrs. QUICKLY. Page. How now, Master Ford ? AO rd. You heard what this knave told me, did you not? Page. Yes; and you heard what the other told me. ford. Do you think there is truth in them? Page. Hang ’em, slaves; I do not think the knight would offer it: but these that accuse him, in his intent towards our wives, are a yoke of his discarded men; very rogues, now they be out of service. 171 Ford. Were they his men? Page. Marry, were ag Ford. 1 like it never the better for that.—Does he lie at the Garter? Page. Ay, marry, does he. If he should intend this voyage towards my wife, I would turn her loose to him; and what he gets more of her than sharp words, let. it lie on my head. 179 Ford. I do not misdoubt my wife, but I would be loath to turn them together. A man may be too con- fident: I would have nothing lie on my head: I cannot be thus satisfied. Page. Look, where my ranting host of the Garter comes. There is either liquor in his pate, or money in We ae when he looks so merrily.—How now, mine ost Enter Host and SHALLOW. Host. How now, bully-rook! thou 'rt a gentleman.— Cavalero-justice, I say. Shal. I follow, mine host, I follow.—Good even, and twenty, good Master Page. Master Page, will you go with us? we have sport in hand. : 192 oo Tell him, cavalero-justice; tell him, bully- rook. ; Shal. Sir, there is a fray to be fought between Sir Hugh, the Welch priest, and Caius, the French doctor. Ford. Good mine host o’ the Garter, a word with you, Host. What say’st thou, my bully-rook? 199 [They go aside. Shal. [To Pace.] Will you go with us to behold it? My merry host hath had the measuring of their weapons, and, I think, hath appointed them contrary places ; for, believe me, I hear, the parson is no jester. Hark, I will tell you what our sport shall be. - ; Host. Hast thou no suit against my knight, my guest-cavalier? : Ford. None, I protest: but Ill give you a pottle of burnt sack to give me recourse to him, and tell him, my name is Brook, only for a jest. j Host. My hand, bully: thou shalt have egress and regress; said I well? and thy name shall be Brook. Itisa merry knight. Will you go, mynheers? Shal. Have with you, mine host. = f Page. 1 have heard, the Frenchman hath good skill in his rapier. : Shal. Tut, sir! I could have told you more: in these times you stand on distance, your passes, stoccadoes, and I know not what: tis the heart, Master Page; tis here, ‘tishere. Ihave seen the time, with my long sword, I would have made you four tall fellows skip like rats. 22 ———_—_— ooo ScENE II.] Host. Here, boys, here, here! shall we wag? Page. Have with you.—I had rather hear them scold than fight. [Kxeunt Host, SHALLOW, and PaGE. Ford. Though Page be a secure fool, and stands so firmly on his wife’s frailty, yet I cannot put off my opinion so easily. She was in his company at Page’s house, and what they made there, I know not. Well, I will look further into ’t; and I have a disguise to sound Falstatf. If I find her honest, I lose not my labour ; if she be otherwise, ’t is labour well bestowed. [Exit. ScENE II.—A Room in the Garter Inn. Enter FALSTAFF and PISTOL. Fal. I will not lend thee a penny. Pist. Why, then the world’s mine oyster, Which I with sword will open. Fal. Not a penny. I have been content, sir, you should lay my countenance to pawn: I have grated upon my good friends for three reprieves for you and your coach-fellow Nym; or else you had looked through the grate, like a geminy of baboons. I am damned in hell for swearing to gentlemen, my friends, ou were good soldiers, and tall fellows; and when Mistress Bridget lost the handle of her fan, I took ‘t upon mine honour thou hadst it not. 1z Pist. Didst thou not share? hadst thou not fifteen pence ? Fal. Reason, you rogue, reason: think’st thou, I ‘ll endanger my soul gratis? At a word, hang no more about me, Iam no gzibbet for you :—go :—a short knife and a throng:—to your manor of Pickt-hatch, go.— You'll not bear a letter for me, you rogue !—you stand upon your honour!—Why, thou unconfinable baseness, it is as much as I can do, to keep the terms of my honour precise. I, I, I myself sometimes, leaving the fear of Heaven on the left hand, and hiding mine honour in my necessity, am fain to shuffle, to hedge, and to lurch; and yet you, rogue, will ensconce your rags, your cat-a-mountain looks, your red-lattice phrases, and your bold-beating oaths, under the shelter of your honour! You will not do it, you? Pist. Ido relent: what would thou more of man? Enter Rosin. Rob. Sir, here’s a woman would speak with you. Fal, Let her approach. Enter Mistress QUICKLY. » Quick, Give your worship good morrow. | #al. Good morrow, good wife. Quick. Not so, an’t please your worship. fal. Good maid, then. Quick. I'll be sworn; as my mother was, the first hour I was born. Fal. I do believe the swearer. What with me? i isel Shall I vouchsafe your worship a word or wo Fal. Twothousand, fair woman; and I’ll vouchsafe thee the hearing. 41 Quick. There is one Mistress Ford, sir:—I pray, come a little nearer this ways.—I myself dwell with Master Doctor Caius. Fal. Well, on: Mistress Ford, you say, — Quick. Your worship says very true:—I pray your _ worship, come a little nearer this ways. Fal. I warrant thee, nobody hears: mine own People, mine own people. | Quick. Are they so? Heaven bless them, and make them his servants! 51 Fal. Well: Mistress Ford ;—what of her? Quick. Why, sir, she’s agoodcreature. Lord, Lord! your worship’s a wanton: well, Heaven forgive you, and all of us, I pray ! |. Fal. Mistress Ford ;—come, Mistress Ford,— , Quick. Marry, this is the short and the long of it. You have brought her into such a canaries, as ‘t is wonderful: the best courtier of them all, when the ‘court lay at Windsor, could never have brought her to s8uch a canary; yet there has been knights, and lords, THE MERRY WIVES OF WINDSOR. 531 and gentlemen, with their coaches; I warrant you, coach after coach, letter after letter, gift after gift; smelling so sweetly, all musk, and so rushling, I warrant you, in silk and gold; and in such alligant terms; andin such wine and sugar of the best, and the fairest, that would have won any woman’s heart, and, I warrant you, they could never get an eye-wink of her.—I had myself twenty angels given me this morning; but I defy all angels, (in any such sort, as they say) but in the way of “honesty :—and, I warrant you, they could never get her so much as sip on a cup with the proudest of them all; and yet there has been me Fal. “ But what says she to me? be brief, my good she-Mercury.” earls, nay, which is more, pensioners ; but, I warrant you, all is one with her. Fal. But what says she to me? be brief, my good she-Mercury. Quick. Marry, she hath received your letter, for the which she thanks youa thousand times ; and she gives ou to notify, that her husband will be absence from lis house between ten and eleven. Fal. Ten and eleven. Quick. Ay, forsooth; and then you may come and see the picture, she says, that you wot of: Master Ford, her husband, will be from home. Alas! the sweet woman leads an ill life with him; he’s a ver jealousy man; she leads a very frampold life with him, good heart. Fal. Ten and eleven.-Woman, commend me to her; I will not fail her. 0. Quick. Why, you say well. But I have another messenger to your worship: Mistress Page hath her hearty commendations to you too;—and let me tell you in your ear, she’s as fartuous a civil modest wife, and one (I tell you) that will not miss you morning nor evening prayer, as any is in Windsor, whoe’er be the other: and she bade me tell your worship, that her husband is seldom from home, but she hopes there will come a time. I never knew a woman so dote upon a man: surely, I think you have charms, la; yes, in truth. 101 Fal. Not I, I assure thee; setting the attraction of my good oe aside, I have no other charms. wick. Blessing on your heart for’t! ‘al. But, I pray thee, tell me this: has Ford’s wife, and Page’s wife, acquainted each other how they love me? : Quick. That were a jest, indeed !—they have not so little grace, I hope :—that were a trick, indeed! But Mistress Page would desire you to send her your 532 THE MERRY WIVES OF WINDSOR. {Act IL. little page, of all loves: her husband has a marvellous infection to the little page; and, truly, Master Page isan honest man. Never a wife in Windsor leads a better life than she does : do what she will, say what she will, take all, pay all, go to bed when she list, rise when she list, all is as she will; and, truly, she de- serves it, for if there be a kind woman in Windsor, she is one. You must send her your page; no remedy. Fal, Why, I will. 120 Quick. Nay, but do so, then: and, look you, he may cone and go between you both; and, in any case, have a nayword, that you may know one another's mind, and the boy never need to understand any- thing : for’tis not good that children should know any wickedness ; old folks, you know, have discretion, as they say, and know the world. Fal. Fare thee well: commend me to them both. There’s my purse; I am yet thy debtor.—Boy, go along with this woman. [E£xcunt QUICKLY and Rosin.]_ This news distracts me. 31 Pist. This punk is one of Cupid’s carriers. — Clap on more sails ; pursue, up with your fights: Give fire! She is my prize, or ocean whelm ere rit. Fal. Say’st thou so, old Jack? go thy ways; I’ll make more of thy old body than I have done. Will they yet look afterthee? Wilt thou, after the expense of so much money, be now a gainer? Good body, I thank thee: let them say, ’tis grossly done; so it be fairly done, no matter. 110 Enter BARDOLPH. Bard. Sir John, there’s one Master Brook below would fain speak with you, and be acquainted with you; and hath sent your worship a morning's draught of sack. fal. Brook is his name? Bard. Ay, sir. fal. Callhimin. [Hit BARDoLPH.] Such Brooks are welcome to me, that o’erflow such liquor. Ah! ha! Mistress Ford and Mistress Page, have I encom- passed you? go to; via! 150 Re-enter BARDOLPH, with ForD disguised. Ford. Bless you, sir. Fal. And you, sir: would you speak with me? Ford. 1 make bold to press with so little prepara- tion upon you. Fal. You’re welcome. What’s your will?—Give us leave, drawer. Hxrit BARDOLPH. Ford. Sir, Tam a gentleman that have spent much: my name is Brook. fal. Good Master Brook, I desire more acquaint- ance of you. 160 ford. Good Sir John, [sue for yours; not to charge you; for I must let you understand, I think myself in etter plight for a lender than you are; the which hath eenteane embolden’d me to this unseasoned intrusion, for, they say, if money go before, all ways do lie open. Fal. Money is a good soldier, sir, and will on. Ford. Troth, and J have a bag of money here troubles me: if you will help to bear it, Sir John, take all, or half, for easing me of the carriage. 170 Fal. Sir, I know not how I may deserve to be your porter. Ford. I will tell you, sir, if you will give me the hearing. Fal, Speak, good Master Brook ; I shall be glad to be your servant. ford, Sir, I hear you are a scholar,—I will be brief with you,—and you have been a man long known to me, though I had never so good means, as desire, to make myself acquainted with you. I shall discover a thing to you, wherein I must very much lay open mine own imperfection; but, good Sir John, as you have one eye upon my follies, as you hear them un- folded, turn another into the register of your own, that I may pass with a reproof the easier, sith you yourself know, how easy it is to be such an offender. Fal. Very well, sir; proceed. Ford. There is a_gentlewoman in this to husband’s name is Ford. ey Men Fal. Well, sir. 190 Ford, I have long loved her, and, I protest to you, bestowed much on her; followed her with a doting observance ; engrossed opportunities to meet her: fee'd every slight occasion, that could but niggardly give me sight of her; not only bought many presents to give her, but have given largely to many, to know what she would have given. Briefly, I have pursued her, as love hath pursued me, which hath een, On the wing of all occasions: but whatsoever I have merited, either in my mind, or in my means, meed, I am sure, I have received none, unless experience be a jewel; that I have purchased at an infinite rate, and that hath taught me to say this: Love like a shadow flies, when substance love pursues; Pursuing that that flies, and flying what pursues, Fal. Have you received no promise of satisfaction at her hands? Ford. Never. Fal. Have you importuned her to such a purpose? lrord, Never, 210 Fal. Of what quality was your love then? Ford. Like a fair house, built upon another man’s ground ; so that I have lost my edifice, by mistaking the place where I erected it. Fal. To what purpose have you unfolded this to me é Ford. When I have told you that, I have told you all. Some say, that though she appear honest to me, yet in other places she enlargeth her mirth so far, that there is shrewd construction made of her. Now, Sir John, here is the heart of my purpose: you are a gentleman of excellent breeding, admirable discourse, of great admittance, authentic in your place and person, generally allowed for your many war-like, court-like, and learned preparations. fal. O, sir! Ford. Believe it, for you know it.—There is money; spend it, spend it: spend more; spend all I have, only give me so much of your time in exchange of it, as to lay an amiable siege to the honesty of this Ford’s wife: use your art of wooing, win her to consent to you; if any man may, you may as soon as ay 233 Fal. Would it apply well to the vehemency of your affection, that I should win what you would enjoy? Methinks, you prescribe to yourself very pre- posterously. Ford. O! understand my drift. She dwells so securely on the excellency of her honour, that the folly of my soul dares not present itself: she is too bright to be looked against. Now, could I come to her with any detection in my hand, my desires had instance and argument to commend themselves; I could drive her then from the ward of her purity, her reputation, her marriage-vow, and a thousand other her defences, which now are too too stron ly enrbatpied against me. What say you to’t, Sir ohn 5 : Fal. Master Brook, I will first make bold with your money ; next, give me your hand; and last, as Tama gentleman, you shall, if you will, enjoy Ford’s wife. Ford. O good sir! 252 Fal. I say you shall. Ford. Want no money, Sir John; you shall want one. Fal. Want no Mistress Ford, Master Brook; you shall want none. I shall be with her (I may tell you) by her own appointment; even as you came in to me, her assistant, or go-between, parted from me: I say, I shall be with her between ten and eleven; for at that time the jealous rascally knave, her husband, will be forth. Come you to me at night; you shall know how I speed. 263 Ford. I am blest in your acquaintance. Do you know Ford, sir? Fal. Hang him, poor cuckoldly knave! [know him not.—Yet I wrong him, to call him poor: they say, the jealous wittolly knave hath masses of money, for the D ScENE III] THE MERRY WIVES OF WINDSOR. 533 which his wife seems to me well-favoured. I will use her as the key of the cuckoldly rogue's coffer, and there’s my harvest-home. 271 Ford. I would you knew Ford, sir, that you might avoid him, if you saw him. Fal. Hang him, mechanical salt-butter rogue! I will stare him out of his wits; I will awe him with my cudgel: it shall hang like a meteor o’er the cuckold’s horns. Master Brook, thou shalt know I will predominate over the peasant, and thou shalt lie with his wife.—Come to me soon at night.—Ford’s a knave, and I will desta te his style; thou, Master Brook, shalt know him for a knave and cuckold.— Come to me soon at night. [Exit. Ford. What a damned Epicurean rascal is this !— My heart is ready to crack with impatience.—Who says, this is improvident jealousy? my wife hath sent to him, the hour is fixed, the match is made. Would any man have thought this?—See the hell of having a false woman! my bed shall be abused, my coffers ransacked, my reputation gnawn at; and I shall not only receive this villainous wrong, but stand under the adoption of abominable terms, and by him that does me this wrong. Terms! names!—Amaimon sounds well; Lucifer, well; Barbason, well; yet they are devils’ additions, the names of fiends: but cuckold! wittol-cuckold! the devil himself hath not such a name. Page is an ass, a secure ass; he will trust his wife, he will not be jealous: I will rather trust a Fleming with my butter, Parson Hugh the Welchman with my cheese, an Irishman with my aqua-vite bottle, or a thief to walk my ambling gelding, than my wife with herself: then she plots, then she ruini- nates, then she devises; and what they think in their hearts they may effect, they will break their hearts but they will effect. Heaven be praised for my jealousy !—Eleven o’clock the hour: I will prevent this, detect my wife, be revenged on Falstaff, and laugh at Page. I will about it; better three hours too soon, than a minute too late. Fie, fie, fie! cuckold! cuckold! cuckold ! Exit. ScENE III.—Windsor Park. : Enter Catus and RuGBY. Caius. Jack Rugby ! Rug. Sir. Caius. Vat is de clock, Jack ? r Rug. ’Tis past the hour, sir, that Sir Hugh promised to meet. Caius. By gar, he has save his soul, dat he is no come: he has ee, his Pible vell, dat he is no come. By gar, Jack Rugby, he is dead already, if he be come. Rug. He is wise, sir; he knew your worship would kill him, if he came. il - Caius. By gar, de herring is no dead, so as I vill kill him, Take your rapier, Jack; I vill tell you how I vill kill him. Rug. Alas, sir! I cannot fence. Caius. Villainy, take your rapier. Rug. Forbear ; here ’s company. Enter Host, SHALLOW, SLENDER, and PAGE. Host. Bless thee, bully doctor. Shal. ’Save you, Master Doctor Caius. Page. Now, good master doctor ! Slen. Give you good morrow, sir. 20 fi cot. Vat be all you, one, two, tree, four, come ‘or ’ Host. To see thee fight, to see thee foin, to see thee | traverse, to see thee here, to see thee there; to see thee pass thy punto, thy stock, thy reverse, thy dis- tance, thy montant. Is he dead, my Ethiopian? is he dead, my Francisco? ha, bully!’ What says my AMsculapius? my Galen? my heart of elder? ha! is he dead, bully-stale? is he dead ? 30 Caius. By gar, he is de coward Jack priest of the vorld ; he is not show his face. Host. Thou art a Castilian, King Urinal: Hector of Greece, my boy. Caius. I pray you, bear vitness that me have stay six or seven, two, tree hours for him, and he is no come. Shal. He is the wiser man, master doctor: he is a curer of souls, and you a curer of bodies; if you should fight, you go against the hair of your pro- fessions. Is it not true, Master Page? Page. Master Shallow, you have yourself been a great fighter, though now a man of peace. Shal. Bodykins, Master Page, though I now be old, and of the peace, if I see a sword out, my finger itches to make one. Though we are justices, and doctors, and churchmen, Master Page, we have some salt of a youth in us; we are the sons of women, Master age, Page. ’T is true, Master Shallow. 50 Shal. It will be found so, Master Page. Master Doctor Caius, I am come to fetch you home. I am sworn of the peace: you have showed yourself a wise physician, and Sir Hugh hath shown himself a wise and patient churchman. You must go with me, master doctor. . Host. Pardon, guest-justice: a word, Monsieur Mock-water. Caius. Mock-vater! vat is dat? Host. Mock-water in our English tongue is valour, bully. 61 Caius. By gar, then I have as much mock-vater as de Englishman.—Scurvy jack-dog priest! by gar, me vill cut his ears. Host. He will clapper-claw thee tightly, bully. Caius. Clapper-de-claw ! vat is dat? Host. That is, he will make thee amends. Caius. By gar, me do look, he shall clapper-de-claw me; for, by gar, me vill have it. Host. And I will provoke him to’t, or let him wag. Caius. Me tank you for dat. 71 Host. And moreover, bully,—but first, master guest, and Master Page, and eke Cavalero Slender, go you through the town to Frogmore. [Aside to them. Page. Sir Hugh is there, is he? Host. He is there: see what humour he is in, and I mall Ding the doctor about by the fields. Will it do well Shal. We will do it. Page, Shal., and Slen, Adieu, good master doctor. Exeunt PAGE, SHALLOW, and SLENDER. Caius. By gar, me vill kill de priest, for he speak for a jack-an-ape to Anne Page. 82 Host. Let him die. Sheathe thy impatience : throw cold water on thy choler. Go about the fields with me through Frogmore; I will bring thee where Mistress Anne Page is, at a farmhouse a-feasting, and thou shalt woo her. Cried I aim? said I well? Caius. By gar, me tank you vor dat: by gar, I love you; and I shall procure-a you de good guest, de earl, de knight, de lords, de gentlemen, my patients. 90 Host. For the which I will be thy adversary toward Anne Page: said I well? Catus. By gar, ‘tis good ; vell said. Host. Let us wag then. Caius. Come at my heels, Jack Rugby [Exeunt. ACT III. ScENE I.—A Field near Frogmore. Evans. serving-man, and friend Simple by your name, which way have oe looked for Master Caius, that calls himself doctor of physic? Sim. Marry, sir, the Pitty-ward, the park-ward, every way; old Windsor way, and every way but the town way. Eva. I most fehemently desire you, you will also look that way. _, 10 Sim. I will, sir. (Retiring. Eva. Pless my soul! how full of cholers I am, and trempling of mind !— I shall be glad, if he have deceived me.—How melancholies I am!—I will knog his urinals about his knave’s cos- tard, when I have good opportunities for the ‘ork :—pless my soul ! (Sings. To shallow rivers, to whose falls ; Melodious birds sing madrigals; 20 There will we make our peds of roses, Anda thousand fragrant posies. To shallow— Mercy on me! I have a great dispositions to cry. Melodious birds sing madrigals ;— When as Isat in Pabylon,— Anita thousand vagram posies, To shallow— Sim. [Coming forward.] Yonder he is coming, this way, Sir Hugh. 30 Eva, He’s welcome.— To shallow rivers, to whose falls— Heaven prosper the right !—~What weapons is he ? Sim. No weapons, sir. There comes my master, Master Shallow, and another gentleman, from Frog- more, over the stile. this way. Eva. Pray you, give me my gown; or else keep it in your arms. Enter PaGrE, SHALLOW, and SLENDER. Shal. How now, master parson? Good morrow, good Sir Hugh. Keep a gamester from the dice, and a good student from his book, and it is wonderful. 41 Slen. Ah, sweet Anne Page! Page. Save you, good Sir Hugh. Eva. ’Pless you from his mercy sake, all of you! Shal. What! the sword and the word? do you study them both, master parson ? Page. And youthful still, in your doublet and hose, this raw rheumatic day ! Eva. There is reasons and causes for it. Page. We are come to you to do a good office, master parson. dl iva. Fery well: what is it? Page, Yonder is a most reverend gentleman, who, belike having received wrong by some person, is at most odds with his own gravity and patience that ever you saw. Shal. I have lived fourscore years, and upward; T never heard aman of his place, gravity, and learning, so wide of his own respect. Eva, What is he? 60 Enter Sir HuGH Evans and SIMPLE. Page. J think you know him; Master Doctor Caius, PRAY you now, good Master Slender’s | the renowned French physician. Eva. Got’s will, and his passion of my heart! I had as lief you would tell me of a mess of porridge. Page. Why? Eva. He has no more knowledge in Hibbocrates and Galen,—and he is a knave besides; a cowardly knave, as you would desires to be acquainted withal. Page. I warrant you, he’s the man should fight with him. 70 Slen. O, sweet Anne Page! Shal. It appears so, by his weapons.—Keep them asunder :--here comes Doctor Caius. Enter Host, Carus, and RueBY. Page. Nay, good master parson, keep in your weapon. Shal. So do you, good master doctor. | Host. Disarm them, and let them question: let them keep their limbs whole, and hack our English. | Caius. I pray you, let-a me speak a word vit your ear: verefore vill you not meet-a me? 80 Eva. Pray you, use your patience : in Caius. By gar, you are de coward, John ape. Eva. Pray you, let us not be laughing-stogs to other men’s humours; I desire you in friendship, and I will one way or other make you amends. —I will knog your urinals about your knave's cogscomb for missing your meetings and appointments. Caius. Diable!—Jack Rugby,—mine host de Jar- tiere, have I not stay for him to kill him? have I not, at de place I did appoint ? 91 Eva. Aslam a Christians soul, now, look you, this is the place appointed. I'll be judgment by mine host of the Garter. Host. Peace, I say ! Gallia and Guallia, French and Welch, soul-curer and body -curer. Caius. Ay, dat is very good: excellent. Host. Peace, I say! hear mine host of ‘ood time. e Jack dog, the Garter. ScENE ITI.) THE MERRY WIVES OF WINDSOR. 535 Am I politic? am I subtle? am Ia Machiavel? Shall I lose my doctor? no; he gives me the potions and the motions. Shall I lose my parson? my priest? my Sir Hugh? no; he gives me the proverbs and the no- verbs.—Give me thy hand, terrestrial ; so.—Give me thy hand, celestial; so.—Boys of art, I have deceived ou both ; I have directed you to wrong places: your hensts are mighty, your skins are whole, and let burnt sack be the issue.—Come, lay their swords to pawn.— Follow me, lad of peace; follow, follow, follow. Shal. Trust me, a mad host.—Follow, gentlemen, follow. . 110 Slen. O, sweet Anne Page! (Ezeunt SHALLOW, SLENDER, PAGE, and Host. Caius. Ha! do I perceive dat? have you make-a de sot of us? ha, ha! Eva. This is well; he has made us his vlouting-stog. —I desire you, that we may be friends, and let us knog our prains together to be revenge on this same scall, scurvy, cogging companion, the host of the Garter. ‘ 118 Caius. By gar, vit all my heart. He promise to bring me vere is Anne Page: by gar, he deceive me too. Eva. Well, I will smite his noddles.—Pray you, follow. [Exeunt. ScENE II.—A Street in Windsor. Enter Mistress Pace and ROBIN. Mrs. Page. Nay, keep your way, little gallant: you were wont to be a follower, but now you are a leader. Whether had you rather lead mine eyes, or eye your master’s heels? Rob. I had rather, forsooth, go before you like a man, than follow him like a dwarf. Mrs. Page. O! you are a flattering boy: now, I see, you'll be a courtier. Enter Forp. Ford. Well met, Mistress Page. Whither go you? Mrs. Page. Truly, sir, to see your wife: is she at home? 11 Ford. ay: and as idle as she may hang together, for want of company. I think, if your husbands were dead, you two would marry. 3, Page. Be sure of that,—two other husbands, Ford. Where had you this pretty weathercock ? Mrs. Page. I cannot tell what the dickens his name is my husband had him of.—What do you call your knight’s name, sirrah ? Rob.~. Sir John Falstaff. 20 Ford, Sir John Falstaff! . Mrs. Page. He, he; I can never hit on’s name.— There is such a league between my good man and he! Is vour wife at home, indeed? Ford. Indeed, she is. . . Mrs. Page. By your leave, sir: I am sick, till I see er. [Hxeunt Mrs. PaGE and RoBIn. Ford. Has Page any brains? hath he any eyes? hath he any thinking? Sure, they sleep ; he hath no use of them. Why, this boy will carry a letter twent, miles, as easy as a cannon will shoot point-blan twelve score. He pieces out his wife's inclination ; he gives her folly motion and advantage : and now she’s going to my wife, and Falstaff’s boy with her. A man may hear this shower sing in the wind :—and Falstaff’s boy with her !—Good plots !—they are laid ; and our revolted wives share damnation together. Well; I will take him, then torture my wife, pluck the borrowed veil of modesty from the so seemin Mistress Page, divulge Page himself for a secure an wilful Actseon ; and to these violent proces nee all iy neighbours shall cry aim. [Clock strikes.] The clock gives me my cue, and my assurance bids me Search ; there I shall find Falstaff. I shall be rather praised for this than mocked; for it is as positive as the earth is firm, that Falstaff is there : I will go. Enter Paar, SHALLOW, SLENDER, Host, Sir HucGH Evans, Caius, and RUGBY. Page, Shal., &c. Well met, Master Ford. Ford. Trust me, a good knot. I have good cheer at home, and I pray you all go with me. Shal. I must excuse myself, Master Ford. 50 Slen. And so must I, sir: we have appointed to dine with Mistress Anne, and I would not area with her for more money than I'll speak of. Shal. We have lingered about a match between Anne Page and my cousin Slender, and this day we shall have our answer. Slen. Lhope, I have your good will, father Page. Page. You have, Master Slender; I stand wholly for you :—but my wife, master doctor, is for you alto- gether. 60 Caius. Ay, by gar; and de maid is love-a me: my nursh-a Quickly tell me so mush. Host. What say you to young Master Fenton? he capers, he dances, he has eyes of youth, he writes verses, he speaks holiday, he smells ae and May: he will carry’t, he will carry ’t ; tis in his buttons; he will carry ’t. Page. Not by my consent, I promise you. The gentleman is of no having: he kept company with the wild prince and Poins; he is of too high a region ; he knows too much. No, he shall not knit a knot in his fortunes with the finger of my substance: if he take her, let him take her simply ; the wealth I have waits on my consent, and my consent goes not that way. Ford. I beseech you, heartily, some of you go home with me to dinner: besides your cheer, you shall have sport; I willshow you a monster.—Master doctor, you shall go:—so shall you, Master Page,—and you, Sir Hugh. 80 Shal. Well, fare you well.—We shall have the freer wooing at Master Page’s. : [Exeunt SHALLOW and SLENDER. Caius. Go home, John Rugby ; I come anon. [Exit Ruasy. Host. Farewell, my hearts. I will to my honest knight Falstaff, and drink canary with him. [Exit. Ford, (Aside.] I think, I shall drink in pipe-wine first with him; I’ll make him dance. Will you go, gentles? All, Have with you, to see this monster. [EHxeunt. ScENE III.—A Room in Forp's House. Enter Mistress ForpD and Mistress PAGE. Mrs. Ford. What, John! what, Robert! Mrs. Page. Quickly, quickly. Is the buck-basket— Mrs. Ford. I warrant.—What, Robin, I say ! Enter Servants with a basket. Mrs. Page. Come, come, come. Mrs. Ford. Here, set it down. : cl Page. Give your men the charge : we must be rief, Mrs. Ford. Marry, as I told you before, John, and Robert, be ready here hard by in the brew-house ; and when I suddenly call you, come forth, and (without any pause, or staggering) take this basket on your shoulders: that done, trudge with it in all haste, and carry it among the whitsters in Datchet-mead, and there empty it in the muddy ditch, close by the Thames side. Mrs. Page. You will do it? Mrs. Ford. I have told them over and over; they lack no direction. Be gone, and come when you are called. : [Hxeunt Servants. Mrs. Page. Here comes little Robin. 20 Enter RoBIN. Mrs. Ford. How now, my eyas-musket? what news with you? Rob. My master, Sir John, is come in at your back- door, Mistress Ford, and requests your company. Mrs. Page. You little Jack-a-Lent, have you been true to us? Rob. Ay, 1’ll be sworn. My master knows not of your being here; and hath threatened to put me into 536 THE MERRY WIVES OF WINDSOR. [Act IIL, everlasting liberty, if I tell you of it, for he swears he'll turn me away. : 30 Mrs, Page. Thou’rt a good boy; this secrecy of thine shall be a tailor to thec, and shall make thee anew doublet and hose.—I’ll go hide me. Mrs, Ford. Do so.—Go tell thy master, Iam alone. [Exit Rosin.]— Mistress Page, remember you your cue. Mrs. Page. I warrant thee: if I do not act it, hiss e. [Ecit. Urs. Ford, Go to then: we’ll use this unwholesome humidity, this gross watery pumpion ;—we’ll teach him to know turtles from jays. 40 Enter FALSTAFF, Fal. Have I caught my heavenly jewel? Why, now let me die, for I have lived long enough: this is the period of my ambition. O this blessed hour ! Mrs. Ford. O sweet Sir John! Fal. Mistress Ford, I cannot cog, I cannot prate, Mistress Ford. Now shall Isin in my wish: I would thy husband were dead. I’ll speak it before the best lord, I would make thee my lady. Mrs. Ford. I your lady, Sir John! alas, I should be a@ pitiful lady. 50 Fal, Let the court of France show me such another. I see how thine eye would emulate the diamond: thou hast the right arched beauty of the brow, that be- comes the ship-tire, the tire-valiant, or any tire of Venetian admittance. Mrs. Ford, A plain kerchief, Sir John: my brows become nothing else ; nor that well neither. Fal. By the Lord, thou art a tyrant to say so: thou wouldst make an absolute courtier; and the firm fixture of thy foot would give an excellent motion to thy gait, in a semi-circled farthingale. I see what thou wert, if Fortune thy foe were not, Nature thy friend: come, thou canst not hide it. Mrs. Ford. Believe me, there's no such thing in m me. Fal. What made me love thee? let that persuade thee, there ’s something extraordinary in thee. Come: I cannot cog, and say thou art this and that, like a many of these lisping hawthorn-buds, that come like women in men’s apparel, and smell like Bucklersbury in simple-time: I cannot; but I love thee, none but thee, and thou deservest it. 72 Mrs. Ford. Do not betray me, sir. I fear, you love Mistress Page. Fal. Thou mightst as well say, I love to walk by the Counter-gate, which is as hateful to me as the reek of a lime-kiln. Mrs. Ford. Well, Heaven knows, how I love you; and you shall one day find it. Fal. Keep in that mind ; I'll deserve it. 80 Mrs. Ford. Nay, I must tell you, so you do, or else I could not be in that mind. Rob. [Within.] Mistress Ford! Mistress Ford! here's Mistress Page at the door, sweating, and blow- ing, and looking wildly, and would needs speak with you presently. Fal. She shall not see me. behind the arras. Mrs. Ford. Pray you, do so: she’sa very tattling woman.— [FaLsTaFF hides himself. Re-enter Mistress PaGE and RosBIn. What’s the matter? how now! 91 Mrs. Page. O Mistress Ford! what have you done? You ’re shamed, you are overthrown, you ’re undone for ever. Mrs. Ford. What's the matter, Page? Mrs. Page. O well-a-day, Mistress Ford ! having an honest man to your husband, to give him such cause of suspicion ! Mrs. Ford, What cause of suspicion 2 100 Mrs. Page. What cause of suspicion ?—Out upon you! how am I mistook in you! Mrs. Ford. Why, alas! what’s the matter? Mrs. Page. Your husband’s coming hither, woman, with all the officers in Windsor, to search for a gentle- man, that, he says, is here now in the house, by your I will ensconce me good Mistress consent, to take an ill advantage of his absence, are undone, Mrs. Ford. ’Tis not so, I hope. 109 Mrs. Page. Pray Heaven it ve not so, that you have sucha man here ; but ’tis most certain your husband’s coming, with half Windsor at his heels, to search for such a one: I come before to tell you. | If you know yourself clear, why, Iam glad of it: but if you havea friend here, convey him out. Be not amazed ; call all your senses to you: defend your reputation, or bid farewell to your good life for ever. Mrs. Ford. What shall I do—Thereisa gentleman my dear friend ; and I fear not mine own shame so much as his peril: I had rather than a thousand pound he were out of the house. 121 Mrs. Page. For shame! never stand “you had rather,” and ‘‘you had rather:” your busband’s here at hand ; bethink you of some conveyance: in the house you cannot hide him.—O, how have you deceived me! —Look, here is a basket: if he be of any reasonable stature, he may creep in here; and throw foul linen upon him, as if it were going to bucking: or, it is ENE ene, send him by your two men to Datchet- mead. 130 ‘ aus Ford. He’s too big to go in there. What shall 0? : Re-enter FALSTAFF. Fal. Let me see ’t, letme see’t! O, let me see’t! I'll in, I'll in.—Follow your friend’s counsel.—I’ll in, Mrs. Page. What! Sir John Falstatf? Are these your letters, knight? Fal. I love thee: help me away; let me creep in here; Ill never— {He gets into the basket ; they cover him with foul linen. Mrs. Page. Help to cover your master, boy. Call your men, Mistress Ford.—You dissembling knight! Mrs. Ford. What, John! Robert! John! 1 [Ezit Rosin. You Re-enter Servants. Go take up these clothes here, quickly; where’s the cowl-staff? look, how you druinble: carry them to the laundress in Datchet-mead ; quickly, come. Enter FORD, PaGE, Carus, and Sir HucH Evans. Ford. Pray you, come near: if I suspect without cause, why, then make sport at me, then let me be your jest ; I deserve it.—How now? whither bear you this? Serv. To the laundress, forsooth. ; 149 Mrs. Ford. Why, what have you to do whither they bear it? You were best meddle with buck-washing. Ford. Buck? I would I could wash myself of the buck! Buck, buck, buck? Ay, buck; I warrant you, buck, and of the season too, it shall appear. [EHzxeunt Servants with the basket.) Gentlemen, I have dreamed to-night: I’ll tell you my dream. Here, here, here be my keys: ascend my chambers, search, seek, find out: I'll warrant, we’ll unkennel the fox.—Let me stop this way first :—so, now uncape. Page. Good Master Ford, be contented : you wrong, yourself too much. 161 Ford. True, Master Page.—Up, gentlemen; you shall see sport anon: follow me, gentlemen. | [Eait. Eva. Thisisfery fantastical humours, and jealousies. Caius. By gar, ’tis no de fashion of France: it is not jealous in France. ‘ Page. Nay, follow him, gentlemen: see the issue of his search. {[Exeunt Pace, Carus, and EVANS, Mrs. Page. Is there not a double excellency in this? Mrs. Ford. I know not which pleases me better, that my husband is deceived, or Sir John. Til Mrs. Page. What a taking was he in, when your husband asked who was in the basket! Mrs. Ford. I am_half afraid he will have need of washing; so, throwing him into the water will do him a benefit. Mrs. Page. Hang him, dishonest rascal! I would all of the same strain were in the same distress. 1 Mrs. Ford. I think, my husband hath some specla ScENE IV.] yet have more tricks with Falstaff: his dissolute disease will scarce obey this medicine. Mrs. Ford. Shall we send that foolish carrion, Mis- tress Quickly, to him, and excuse his throwing into the water ; and give him another hope, to betray him to another punishment ? Mrs. Page. We'll do it: let him be sent for to- morrow eight o’clock, to have amends. 190 Re-enter FORD, PAGE, Catts, and Sir Huau Evans. Ford. I cannot find him: may be, the knave bragged of that he could not compass. Mrs. Page. Heard you that? Mrs. Ford. You use me well, Master Ford, do you? Ford. Ay, Ido so. Mrs. Ford, Heaven make you better than your thoughts! Ford. Amen. Mrs. Page. You do yourself mighty wrong, Master Ford. . 200 Ford. Ay, ay; I must bear it. Eva. If there be anypody in the house, and in the chambers, and in the coffers, and in the presses, Heaven forgive my sins at the day of judgment! Caius. By gar, nor I too, dere is no bodies. Page. Fie, fie, Master Ford! are you not ashamed? What spirit, what devil suggests this imagination? I would not have your distemper in this kind for the wealth of Windsor Castle. Ford. ’Tis my fault, Master Page: I suffer for it. 210 Eva. You suffer for a pad conscience: your wife is as honest a’ omans as I will desires among five thousand, and five hundred too. Caius. By gar, I see 'tis an honest woman. Ford. Well; I promised you a dinner.—Come, come, walk in the park: I pray you, pardon me; I will hereafter make known to you, why I have done this.—Come, wife:—come, Mistress Page: I pray you . pardon me; pray heartily, pardon me. 21 Page. Let’s go in, gentlemen; but, trust me, we ll mock him. I do invite you to-morrow morning to my house to breakfast; after, we ll a-birding together: Ihave a fine hawk for the bush. Shall it be so? Ford. Anything. Eva. If there is one, I shall make two in the com- pany. Caius. If there be one or two, I shall make a deturd. Ford. Pray you, go, Master Page. Eva. I pray you now, remembrance to-morrow on the lousy knave, mine host. 230 Caius. Dat is good; by gar, vit all my heart. Eva. A lousy knave! to have his gibes, and his mockeries! [Excunt. ScENE IV.—A Room in PaGE’s House. Enter FENTON and ANNE PAGE. Fent. I see, I cannot get thy father’s love; Therefore, no more turn me to him, sweet Nan. Anne, Alas! how then? Fent. Why, thou must be thyself. He doth object, I am too great of birth, And that my state being gall’d with my expense, Iseek to heal it only by his wealth. Besides these, other bars he lays before me,— My riots past, my wild societies; And tells me, ’t is a thing impossible Ishould love thee, but as a property. 10 Anne. May be, be tells you true. . Fent. No, Heaved so speed me in my time to come! Albeit, I will confess, thy father’s wealth Was the first motive that I woo’d thee, Anne: Yet, wooing thee, I found thee of more value Than stamps in gold, or sums in sealed bags ; And ’tis the very riches of thyself That now I aim at. ; nne. Gentle Master Fenton, Yet seek my father’s love; still seek it, sir: eo THE MERRY WIVES OF WINDSOR. 537 suspicion of Falstaff’s being here; for I never saw | If opportunity and humblest suit 20 him so gross in his jealousy till now. 181 | Cannot attain it, why, then,—hark you hither. Mrs. Page. I will lay a plot to try that; and we will [They converse apart. «Anne. **Th.s is my father’s choice.” Enter SHALLOW, SLENDER, and Mistress QUICKLY. Shal. Break their talk, Mistress Quickly: my kins- man shall speak for himself. Slen, I'll make a shaft or a bolt on’t. ’Slid, ’tis but venturing. Shal. Be not dismay’d. Slen. No, she shall not dismay me: I care not for that,—but that Iam afearu. Quick. Hark ye; Master Slender would speak a word with you. 0 Anne. I come to him.—This is my father’s choice. O! what a world of vile ill-favour’d faults Looks handsome in three hundred pounds a year! Quick. And how does good Master Fenton? Pray you, a word with you. Shal. She’s coming; to her, coz. a father! Slen. I had a father, Mistress Anne: my uncle can tell you good jests of him.—Pray you, uncle, tell Mistress Anne the jest, how my father stole two geese out of a pen, good uncle. 41 Shal. Mistress Anne, my cousin loves you. Slen. Ay, that Ido; as well as I love any woman in Glostershire. Shal. He will maintain you likea Slen. Ay, that I will, come cut an the degree of a squire. Shal. He will make you a hundred and fifty pounds jointure. 49 Anne. Good Master Shallow, let him woo for himself, Shal. Marry, I thank you for it; I thank you for that good comfort. She calls you, coz: I’ll leave you. Anne. Now, Master Slender. Slen. Now, good Mistress Anne. Anne. What is your will? Slen. My will? od’s heartlings! that’s a pretty jest, indeed. I ne’er made my will yet, I thank Heaven; I am not such a sickly creature, I give Heaven praise. Anne. I mean, Master Slender, what would you with me? 60 Slen. Truly, for mine own part, I would little or nothing with you. Your father, and my uncle, have O boy! thou hadst entlewoman. long-tail, under 533 THE MERRY WIVES OF WINDSOR. [Act IIL made motions: if it be my luck, so; if not, happy man be his dole! They can tell you how things go better than I can: you may ask your father; here he comes. inter PAGE and Mistress PAGE. Page. Now, Master Slender!—Love him, daughter nne.— Why, how now? what does Master Fenton here? You wrong me, sir, thus still to haunt my house: I told you, sir, my daughter is dispos’d of. Fent. Nay, Master Page, be not impatient. 70 Mrs. Page. Good Master Fenton, come not to my child. Page. She is no match for you. Fent. Sir, will you hear me? Page. No, good Master Fenton,— Come, Master Shallow; come, son Slender, in.— Knowing my mind, you wrong me, Master Fenton. [Exeunt PAGE, SHALLOW, and SLENDER. oe Speak to Mistress Page. rent. Good Mistress Page, for that I love your daughter In such a righteous fashion as I do, Perforce, against all checks, rebukes, and manners, I must advance the colours of my love, 81 And not retire: let me have your good will. lnne. Good mother, do not marry me to yond fool. Mrs. Page. I mean it not; I seek you a better husband. Quick, That’s my master, master doctor. «inne. Alas! I had rather be set quick i’ the earth, And bowl d to death with turnips. Mrs. Page. Come, trouble not yourself.—Good Master Fenton, I will not be your friend, nor enemy: 90 My daughter will I question how she loves you, And as I find her, so am I affected. Till then, farewell, sir: she must needs go in; Her father will be angry. [Exreunt Mrs, PAGE and ANNE, Fent. Farewell, gentle mistress.—Farewell, Nan. Quick. This is my doing, now.—Nay, said I, will ou cast away your child on a fool, and a physician? ook on Master Fenton.—This is my doing. Fent. [thank thee; and I pray thee, once to-night Give my sweet Nan this ring. There's for thy pane: Exit. Quick. Now, Heaven send thee good fortune! A kind heart he hath: a woman would run through fire and water for such a kind heart. But yet I would my master had Mistress Anne; or I would Master Slender had her; or, in sooth, I would Master Fenton had her. I will do what I can for them all three, for so I have promised, and I'll be as good as my word; but speciously for Master Fenton. Well, I must of another errand to Sir John Falstaff from my two mistresses: What a beast am I to slack it! 110 [Exit. ScENE V.—A Room in the Garter Inn. Enter FALSTAFF and BARDOLPH. Fal. Bardolph, I say,— Bard. Here, sir. Fal. Go fetch me_a quart of sack; put a toast in’t. [2zit BARbDOLPH.] Have I lived to be carried in a basket, like a barrow of butcher’s offal, and to be thrown in the Thames? Well, if I be served. such another trick, I’ll have my brains ta’en out, and buttered, and give them to a dog for a new year's gift. The rogues slighted me into the river with as little remorse as they would have drowned a blind bitch’s puppies, fifteen i’ the litter; and you may know by my size, that I have a kind of alacrity in sinking: if the bottom were as deep as hell, I should down. I had been drowned, but that the shore was shelvy and shallow; a death that I abhor, for the water swells a man, and what a thing should I have deen, when I had teen swelled! I should have been a mountain of mummy. Re-enter BARDOLPH with the wine. Bard. Here’s Mistress Quickly, sir, to speak with you. Fal. Come, let me pour in some sack to the Thaines water, for my belly ’s as cold, as if I had swallowed snowballs for pills to cool the reins. Call her in, Bard. Come in, woman. Enter Mistress QUICKLY. Quick. By your leave.—I cry you mercy : give your worship good morrow. Fal. Take away these chalices. pottle of sack finely. ee are cues, ars oa al. Simple of itself; no pullet-sperm in m a e. Levit Ee scote | ow now? if uick, Marry, sir, I come to your worship fro Mistress Ford. Ls za Fal. Mistress Ford! I have had ford enough: I was thrown into the ford; I have my belly full of ford, Quick. Alas the day! good heart, that was not her fault : she does so take on with her men; they mistook their erection. Fal. So did I mine, to build upon a foolish woman's promise. 0 Quick, Well, she laments, sir, for it, that it would yearn your heart to see it. Her husband goes this morning a-birding : she desires you once more to come to her between eight and nine. I must carry her word quickly: she ll make you amends, I warrant you. Fal. Well, I will visit her: tell her so; and bid her think, what a man is: let her consider his frailty, and then judge of my merit. ee Iwilltell her. — Fal. Doso. Between nine and ten, say’st thou? 50 uick. Eight and nine, sir. ‘al, Well, be gone: I will not miss her. a Peace be with you, sir. [Erit. fal. I marvel, I hear not of Master Brook: he sent me word to stay within. I like his money well. O! here he comes. Go, brew me a Enter Forp. Ford. Bless you, sir. Fal. Now, Master Brook ; you come to know what hath passed between me and Ford’s wife? Ford. That, indeed, Sir John, is my business. 60 Fal. Master Brook, I will not lie to you. Iwas at her house the hour she appointed me. Ford. And sped you, sir ? Fal. Very ill-favouredly, Master Brook. Ford. How so, sir? id she change her deter- mination? Fal. No, Master Brook; but the peaking Cornuto her husband, Master Brook, dwelling in a continual ‘larum of jealousy, comes me in the instant of our encounter, after we had embraced, kissed, protested, and, as it were, spoke the prologue of our comedy; and at his heels a rabble of his companions, thither provoked and instigated by his distemper, and, for- sooth, to search his house for his wife’s love. Ford. What, while you were there ? Fal. While I was there. Ford, And did he search for you, and could not fing ‘ ou? * Fal. You shall hear. As good luck would have it, comes in one Mistress Page; gives intelligence of Ford’s approach; and in her invention and Ford’s wife’s distraction, they conveyed me into a buck- basket. ford, A buck-basket ! : Fal. By the Lord, a buck-basket : rammed me in with foul shirts and smocks, socks, foul stockings, and greasy napkins; that, Master Brook, there was the rankest. compound of villainous smell, that ever offended nostril. ford, And how long lay you there? 90 Fal. Nay, you shall hear, Master Brook, what I have suffered, to bring this woman to evil for your good. Being thus crammed in the basket, a couple of Ford’s knaves, his hinds, were called forth by their mistress, to carry me in the name of foul clothes to SCENE V.] THE MERRY WIVES OF WINDSOR. 539 Datchet Lane : they took me on their shoulders ; met. the jealous knave their master in the door, who asked them once or twice what they had in their basket. I quaked for fear, lest the lunatic knave would have searched it; but fate, ordaining he should be a cuckold, held his hand. Well; on went he for a search,and away went I for foul clothes. But mark the eautel. Master Brook : I sutfered the pangs of three several deaths: first, an intolerable fright, to be de- tected with a jealous rotten bell-wether; next, to be compassed, like a good bilbo, in the circumference of a peck, hilt to point, heel to head; and then, to be stopped in, like a strong distillation, with stinking clothes that fretted in their own grease: think of that,—a man of my kidney,—think of that; that am as subject to heat as butter; a man of continual dis- solution and thaw: it was a miracle, to scape suttfo- cation. And in the height of this bath, when I was more than half stewed in grease, like a Dutch dish, to be thrown into the Thames, and cooled, glowing hot, in that surge, like a horse-shoe; think of that, —hissing hot,—think of that, Master Brgok. Ford. In good sadness, sir, I am sorry that for my sake you have suffered all this. My suit then is des- perate ; you'll undertake her no more? 120 | Fal. Master Brook, I will be thrown into A’tna, as I have been into Thames, ere I will leave her thus. Her husband is this morning gone a-birding : I have received from her another embassy of meeting ; ’twixt eight and nine is the hour, Master Brook. ford. ’Tis past eight already, sir. Fal. Is it? I will then address me to my appoint- ment. Come to me at your convenient Icisure, and you shall know how I speed, and the conclusion shall be crowned with your enjoying her: adieu. You shall have her, Master Brook; Master Brook, you shall cuckold Ford. it. Ford. Hum: ha! is this a vision? is this a dream? do I sleep? Master Ford, awake! awake, Master Ford! there’s a hole made in your best coat, Master Ford. This ’tis to be married: this ‘tis to have linen, and buck-baskets.—Well, I will proclaim myself what Iam: I will now take the lecher; he is at my house : he cannot scape me; "tis impossible be should: he cannot creep into a halfpenny purse, nor into a pepper-box ; but, lest the devil that guides him should aid him, I will search impossible places. Though what I am I cannot avoid, yet to be what I would not, shall not make me tame: if I have horns to make one mad, let the proverb go with me,—I ll be hom cat. ACT SceNE I.—The Street. Enter Mistress Pace, Mistress QUICKLY, and WILLIAM. Mrs. aoe 3 he at Master Ford’s already, think’st thou? Quick. Sure, he is by this, or will be presently; but truly, he is very coura- geous mad about his throwing into the water. Mistress Ford desires you to come suddenly. Mrs. Page. I'll be with her by-and-by : I’ll but bring my young man here to school. Look, where his master comes ; ‘tis a playing-day, I see. ll Enter Sir HuGH Evans. How now, Sir Hugh? no school to-day ? Eva. No; Master Slender is let the boys leave to play. nick. Blessing of his heart ! rs. Page. Sir Hugh, my husband says, my son profits nothing in the world at his book: I pray you, ask him some questions in his accidence. Eva. Come hither, William; hold up your head; come. 20 Mrs. Page. Come on, sirrah; hold up your head; answer your master, be not afraid. Eva. William, how many numbers is in nouns? Will.. Two. Quick. Truly, I thought there had been one number more, because they say, Od’s nouns. | ; ey, Eva. Peace your tattlings !—What is fair, William? Will, Pulcher. ; . Quick. Polecats! there are fairer things than pole- cats, sure. 30 Eva. You are a very simplicity ‘oman : I pray you, peace.—What is lapis, William ? Will. A stone. 7 Eva.. And what is a stone, William? IV. Will. A pebble. Eva. No, it is lapis: I pray you remember in your prain. Will. Lapis. Eva. That is good, William. that does lend articles? Will. Articles are borrowed of the pronoun; and ie thus declined, Singulariter, nominativo, hic, haec, oc. ‘Eva. Nominativo, hig, hag, hog ;—pray you, mark: genitivo, hujus. Well, what is your accusative case ? Will. Accusativo, hine. Eva. 1 pray you, have your remembrance, child: accusativo, hung, hang, hog. Quick. Hang-hog is Latin for bacon, I warrant you. va. Leave your prabbles, ’oman.—What is the focative case, William ? Will. O—vocativo, O. Eva. Remember, William ; focative is, caret. Quick. And that’s a good root. Eva. ’Oman, forbear. Mrs. Page. Peace! Eva. What is your genitive case plural, William ? Will. Genitive case? Eva, Ay. Will. Genitive,—horum, harum, horum. 60 Quick. Vengeance of Jenny's case! fie on her!— Never name her, child, if she be a whore. va, For shame, ‘oman! Quick. You do ill to teach the child such words.— He teaches him to hick and to hack, which they ‘ll do fast enough of themselves; and to call whorum,—fie upon you! Eva. ’Oman, art thou lunatics? hast thou no under- standings for thy cases, and the numbers of the gen- ders? Thou art as foolish Christian creatures as would desires. What is he, ‘WL I 7 540 THE MERRY WIVES OF WINDSOR. [Act IV, Mrs. Page. Pr’ythee, hold thy peace. ; Eva. Show me now, William, some declensions of your pronouns. Wil. Forsooth, I have forgot. ; Eva. It is qui, que, quod ; if you forget your quies, your quces, and your qguods, you must be preeches. Go your ways, and play ; go. Bed. * wememover, William; focative is, caret,” Mrs. Page. He is a better scholar than I thought he was. va. He is a good sprag memory. Farewell, Mis- tress Page. Mrs. Page. Adieu, good Sir Hugh. [Exit Sir Hueu.] Get you home, boy.—Cume, we stay too long. [Exeunt. ScENE II.—A Room in Forn’s House. Enter Fausta¥r and Mistress Forp. Fal. Mistress Ford, your sorrow hath eaten up my sufferance. I see, you are obsequious in your love, and I profess requital to a hair's breadth: not only, Mistress Ford, in the simple office of love, but in all the accoutrement, complement, and ceremony of it. But are you sure of your husband now ? Mrs. Ford. He's a-birding, sweet Sir John. Mrs. Page. [Within.] What ho! gossip Ford! what 0! Mrs. Ford. Step into the chamber, Sir John. 10 L£xcit FALSTAFF. Enter Mistress PAGE. Mrs. Page. How now, sweetheart? who’s at home besides yourself? Mrs. Ford. Why, none but mine own people. Mrs. Page. Indeed? Mrs. Ford. No, certainly._[Aside.] Speak louder. oo Page. Truly, I am so glad you have nobody ere. Mrs. Ford. Why? 18 Mrs. Page. Why, woman, your husband is in his old lunes again: he so takes on yonder with my hus- band ; so rails against all married mankind ; so curses all Eve's daughters, of what complexion soever ; and so buffets himself on the forehead, crying, ‘‘ Peer out, peer out!” that any madness I ever yet beheld seemed but tameness, civility, and patience, to this his distemper he isin now. I am glad the fat knight is not here. Mrs. Ford. Why, does he talk of him? 28 Mrs. Page. Of none but him; and swears, he was carricd out, the last time he searched for him, in a basket: protests to my husband he is now here, and hath drawn him and the rest of their company from their sport, to make another experiment of his suspicion. But I am glad the knight is not here ; DOW he shall see his own toolery. Mrs, Ford. How near is he, Mistress Page? Mrs. Page. Hard by; at street end : he will be here anon. Mrs. Ford. 1am undone! the knight is here. 39 Mfrs. Faye. Why, then you are utterly shamed, and he’s but a dead man. What a woman are you !— Away with him, away with him : better shame than murder. ; Mrs. Ford. Which way should he go? how should I bestow him? Shall I put him into the basket again? Re-enter FALSTAFF. Fal. No, I’ll come no more i’ the basket. May I not go out, ere he come irs. Page. Alas, three of Master Ford's brothers watch the door with pistols, that none shall issue out; .otherwise you might slip away ere he came. But what make you here ? 51 Fal. What shall I do?—I’ll creep up into the chimney. . Mrs. Ford. There they always use to discharge their birding-pieces. irs. Page. Creep into the kiln-hole. Fal. Where is it ¢ Mrs. Ford. He willseek there, on my word. Neither press, cotter, chest, trunk, well, vault, but he hath an abstract for the remembrance of such places; and goes to them by his note: there is no hiding you mm the house. 62 Fal. I'll go out then. Mrs. Page. It you go out in your own semblance, you die, Sir John. Unless you go out disguised,— Mrs. Ford. How might we disguise him? irs. Page. Alas the day! I know not. There is no woman's gown big enough for him; otherwise he light put on a hat, a muffler, and a kerchiet, and so escape. 70 fal. Good hearts, devise something : any extremity, rather than a mischief. Mrs. Ford. My maid’s aunt, the fat woman of Brentford, has a gown above. Mrs. Page. On my word, it will serve him; she’s as big as he is, and there’s her thrummed hat, and her muffler too.—Run up, Sir John. Mrs. Ford. Go, go, sweet Sir John: Mistress Page and I will look some linen for your head. 79 Mrs. Page. Quick, quick: we’ll come dress you straight; put on the gown the while. [Hzit FaustaFr. Mrs. Ford. J would, my husband would meet him in tuis shape: he cannot abide the old woman of srenttord; he swears, she’s a witch; forbade her my house, and hath threatened to beat her. i Mrs. Page. Heaven guide him to thy husband’s cudgel, and the devil guide his cudgel afterwards! Mrs. Ford. But is my husband coming ? Mrs. Page. Ay, in good sadness, is he ; and talks of the basket too, howsoever he hath had intelligence. 90 Mrs. Ford. We'll try that ; for I’ appoint my men to carry the basket again, to meet him at the door with it, as they did last time. ‘ Mrs. Page. Nay, but he'll be here presently : let’s go dress him like the witch of Brentford. Mrs. Ford. I'll first direct my men, what they shall do with the basket. Go up, I'll bring linen for him straight. Fixit. Mrs. Page. Hang him, dishonest varlet! we cannot misuse him enough. : 100 We 1l leave a proof, by that which we will do, ‘Wives may be merry, and yet honest too: We do not act, that often jest and laugh; fs ’T is old but true, ‘Still swine eat all the drat wit Re-enter Mistress ForD with two Servants. Mrs. Ford. Go, sirs, take the basket again on your shoulders: your master is hard at door; if he bid you set it down, obey him. Quickly; despatch. [Ezit. 1 Serv. Come, come, take it up. ‘ ‘ 2 Serv, Pray Heaven, it be not full of knight again. 1Serv. Lhope not; I had as lief bear so much lead. 110 ScENE IT.) Enter ForD, PaGe, SHALLOW, Carus, and Sir HuGuH Evans. Ford. Ay, but if it prove true, Master Page, have THE MERRY WIVES OF WINDSOR. WZ y= 541 Shal. Indeed, Master Ford, this is not well; indeed. Ford. So say I too, sir. Re-enter Mistress FORD. you any way then to unfold me again ?—Set down the | Come hither, Mistress Ford; Mistress Ford, the honest basket, villains.—Somebody call my wife.—Youth in a basket !- O you panderly rascals! there *3 a knot, a ange a pack, a conspiracy against me: now shall the evil be shamed.—What, wife, I say !—Come, come forth.—Behold what honest clothes you send forth to bleaching. , ae Why, this passes! Master Ford, you are not to go loose any longer ; you must be pinioned. 120 ane ‘Why, this is lunatics; this is mad as a mad log. cee Ford. “ Out of my door, you witch, you nag, you baggage, you polecat, you ronyon: out! out!” woman, the modest wife, the virtuous creature, that hath the jealous fool to her husband !—I suspect with- out cause, mistress, do I? Mrs. Ford. Heaven be my witness, you do, if you suspect me in any dishonesty. 130 Ford. Well said, brazen-face ; hold it out.—Come forth, sirrah. (Pulls the clothes out of the basket. Page. This passes! i Ford. Are you not ashamed? let the clothes alone. 512 THE MERRY WIVES OF WINDSOR. [Act Iv, Ford. J shall find you anon. Eva. ’Tis unreasonable. Will you take up your wite'’s clothes? Come away. Ford, Kmpty the basket, I say. Mrs. Ford. Why, man, why,— 140 Ford. Master Page, as I ama man, there was one conveyed out of my house yesterday in this basket : why may not he be there again? In my house I am sure he is: my intelligence is true; my jealousy is reasonable. —Pluck me out all the linen. : Mrs. Ford. If you find a man there, he shall die a flea’s death. Page. Here’s no man. Shal. By my fidelity, this is not well, Master Ford ; this wrongs you. 150 Eva, Master Ford, you must pray, and not follow the imaginations of your own heart: this is jealousies. Ford. Well, he’s not here I seek for. Page. No, nor nowhere else, but in your brain. Ford. Help to search my house this one time: if I find not what I seck, show no colour for my ex- tremity; Iet me for ever be your table-sport; let them say of me, ‘‘ As jealous as Ford, that searched a hollow walnut for his wife’s leman.” Satisfy me once more ; once more search with me. 160 Mrs. Fort. What ho! Mistress Page! come you and the old woman down; my husband will come into the chamber. Ford. Old woman! What old woman’s that? Mrs. Ford. Why, it is my maid's aunt of Brentford. Ford. A witch, a quean, an old cozening quean! Have I not forbid her my house?) She comes of errands, does she? We are simple men; we do not know what's brought to pass under the profession of fortune-telling. She works by charms, by spells, by the figure, and such daubery as this is, beyond our element: we know nothing.—Come down, you witch, you hay you; come down, [ say. 173 Mrs, lrord. Nay, good, sweet husband.—Good gen- tlemen, let him not strike the old woman. Re-enter FALSTAFF in woman's clothes, led by Mistress PaGe. Mrs. Page. Come, Mother Prat; come, give me your hand. Ford, 1'll prat her.—Out of my door, you witch, [beats him] you hag, yeu baggage, you polecat, you ronyon: out! out! I'll conjure you, I'll fortune-tell you, [Exit FALSTAFF. Mrs. Page. Are you not ashamed? I think, you have killed the poor woman. : Mrs. Ford. Nay, he will do it.—’Tis a goodly credit. for you. Ford, Hang her, witch! Eva. By yea and no, I think, the ’oman is a witch indeed : I like not when a ‘oman has a great peard; I spy_a great peard under her muffler. 189 Ford. Will you follow, gentlemen? I beseech you, follow: see but the issue of my jealousy._ If I cry out thus upon no trail, never trust me when I open again. Page. Let’s obey his humour a little further. Come, gentlemen. [Zccunt ForD, Pace, SHALLOW, and Evans. Mrs. Page. ‘Trust me, he beat him most pitifully. Mrs. Ford. Nay, by the mass, that he dia not; he beat him most unpitifully, methought. Mrs. Page. Ul have the cudgel hallowed, and hung o'er the altar : it hath done meritorious service. Mrs. Ford. What think you? May we, with the warrant of womanhood, and the witness of a good conscience, pursue him with any further revenge ? 202 Mrs. Page. The spirit of wantonness is, sure, scared out of him: if the devil have him not in fee-simple, with fine and recovery, he will never, I think, in the way ot waste, attempt us again. Mrs. Ford. Shall we tell our husbands how we have served him? 208 Mrs. Page. Yes, by all means; if it be but to scrape the figures out of your husband's brains. If they can find in their hearts the poor unvirtuous fat knight shall be any further afflicted we'two will still be the ministers, Mrs. Ford. I'll warrant, they'll have him publi shamed, and, methinks, there Would be no ported the jest, should he not be publicly shamed. __ Mrs. Page. Come, to the forge with it then; shape it: I would not have things cool. (Exeunt. ScENE III.—A Room in the Garter Inn. Enter Host and BARDOLPH. Bard. Sir, the Germans desire to have three of your horses: the duke himself will be to-morrow at court, and they are going to meet him. Host. What duke should that be, comes so secretly? T hear not of him in the court. Let me speak with the gentlemen; they speak English? Bard. Ay, sir; I'll call them to you. Host. 'Chey shall have my horses, but I’ll make them pay ; I’ll sauce them: they have had my house a week at command; I have turned away my other guests: they must come off; I'll sauce them. ‘Come. [Excunt. SceNE IV.—A Room in Forp’s House. Enter Pace, ForD, Mistress Pace, Mistress Forp, and Sir Hueu Evans. Eva. "Tis one of the pest discretions of a ’oman as ever I did look upon. Page. And did he send you both these letters at an instant ? Mrs. Page. Within a quarter of an hour. ord, Fear me, wife. Hencetorth do what thou wilt ; IT rather will suspect the sun with cold Than thee with wantonness: now doth thy honour stand, In him that was of late an heretic, As firm as faith. Page. Tis well, ‘tis well; no more. 10 Be not as extreme in submission As in offence ; But let our plot go forward : let our wives Yet once again, to make us public sport, Appoint a meeting with this old fat fellow; W here we may take him, and disgrace him for it. ford. There is no better way than that they spoke cf. Page. low? to send him word they ’ll meet him in the park at midnight? Fie, fie! he'll never come. 19 Eva. You say, he has been thrown in the rivers, and_has been grievously peaten, as an old ‘oman: methinks, there should be terrors in him, that he should not come ; methinks, his flesh is punished, he shall have no desires. Page. So think I too. Mrs. Ford. Devise but how you'll use him when he comes, And let us two devise to brin Mrs. Page. There is an ol the hunter, Sometime a keeper here in Windsor Forest, Doth all the winter-time, at still midnight, 30 Walk round about an oak, with prea ragg’d horns; And there he blasts the tree, and takes the cattle; | And makes milch-kine yield blood, and shakes a chain In a most hideous and dreadful manner: You have heard of such a spirit ; and well you know, The superstitious idle-headed eld Received, and did deliver to our age, This tale of Herne the hunter for a truth. Page. Why, yet there want. not many, that do fear In deep of night to walk by this Herne’s oak. 40 But. what of this ? Mrs. Ford, Marry, this is our device; That Falstaff at. that oak shall meet with us, Disguis'd like Herne, with huge horns on his head. Page. Well, let it not be doubted but he'll come: . And in this shape when you have brought him thither, What shall be done with him? what is your plot? him thither. tale goes, that Herne SCENE V.] THE MERRY WIVES OF WINDSOR. 543 Mrs. Page. That likewise have we thought upon, and thus: Nan Page my daughter, and my little son, And three or four more of their growth, we'll dress Like urchins, ouphes, and fairies, green and white, 50 With rounds of waxen tapers on their heads. And rattles in their hands. Upon a sudden, , As Falstatt, she, and I, are newly met, Let them from torth a sawpit rush at once With some ditused song: upon their sight, We two in great amazedness will Hy : Then let them all encircle him about, And, fairy-like, to-pinch the unclean knight; And ask him, why, that hour of fairy revel, In their so sacred paths he dares to tread, 60 In shape profane. Mrs. Ford. And till he tell the truth, Let the supposed fairies pinch him sound, And burn him with their tapers. Mrs, Page. The truth being known, We'll all present ourselves, dis-lorn the spirit, And mock him home to Windsor. Ford. The children must Be practised well to this, or they'll ne’er do't. Eva. I will teach the children their behaviours ; I will be like a jack-an-apes also, to burn the knight with my taber. Ford. That will be excellent. vizards. 7 Mrs. Page. My Nan shall be the queen of all the fairies, Finely attired in a robe of white. Page. That silk will I go buy ;—[aside] and in that tire Shall Master Slender steal my Nan away, Andmarry her at Eton.—Go send to Falstaff straight. Ford. Nay, I'll to him again in name of Brook ; He'll tell me all his purpose. Sure, he’ll come. Mrs. Page. Fear not you that. Go, get us pro- perties, And tricking for our fairies. Eva. Let us about it: it is admirable pleasures, and fery honest knaveries. 81 [Exreunt Pace, Forp, and Evans. Mrs. Page. Go, Mistress Ford, Send Quickly to Sir John, to know his mind. [Zxrit Mrs. Forp. Ill to the doctor: he hath my good will, And none but he, to marry with Nan Page. That Slender, though well landed, is an idiot; And he my husband best of all affects: The doctor is well money’d, and his friends Potent at court: he, none but he, shall have her, Though twenty thousand worthier come to eran a ® eit. I'll go buy them 70 SceNE V.—A Room in the Garter Inn. Enter Host and SIMPLE. Host. What wouldst thou have, boor? what, thick- skin? speak, breathe, discuss; brief, short, quick, snap. Sim. Marry, sir, I come to speak with Sir John Falstaff from Master Slender. Host. There’s his chamber, his house, his castle, his standing-bed, and truckle-bed: ’tis painted about with the story of the Prodigal, fresh and new. Go, knock and call: he’ll speak like an Anthropophaginian unto thee: knock, I say. _ Sim. There’s an old woman, a fat woman, gone up into his chamber: I’ll be so bold as stay, sir, till she come down; I come to speak with her, indeed. Host. Ha! afat woman? the knight may be robbed : I'll call.—Bully knight! Bully Sir John! speak from thy lungs military: art thou there? it is thine host, thine Ephesian, calls. Fal, [Above.] How now, mine host! r Host. Here’s a Bohemian-Tartar tarries the coming down of thy fat woman. Let her descend, bully, let her descend; my chambers are honourable: fie! privacy ? fie! 22 Enter FALSTAFF. Fal. There was, mine host, an old fat woman even now with me, but she’s gone. Sim. Pray you, sir, was’t not the wise woman of Brentford ? Fal. Ay, marry, was it, muscle-shell: what would you with her? Sim. My master, sir, Master Slender, sent to her, seeing her go through the strects, to know, sir, whether one Nym, sir, that beguiled him of a chain, had the chain, or no. 32 Fal. I spake with the old woman about it. Sim, And what says she, I pray, sir? Fal. Marry, she says, that the very same man, that neue Master Slender of his chain, cozened him of i ‘Sim. I would, I could have spoken with the woman : i | mi H - Hin ihe > ahi 2» 2 Host. ‘‘ Where be my horses? speak well of them, vatletto.” herself: I had other things to have spoken with her too, from him. 40 Fal. What are they? let us know. Host. Ay, come; quick. Sim. I may not conceal them, sir. Host. Conceal them, or thou diest. Sim. Why, sir, they were nothing but about Mistress Anne Page; to know, if it were my master’s fortune to have her, or no. Fal. "Tis, tis his fortune. Sim. What, sir? Fal. To have her,—or no. Go; say, the woman told me so. bl Sim. May I be bold to say so, sir? Fal. Ay, sir : like who more bold. Sim. I thank your worship. I shall make_my master glad with these tidings. Exit. Host. Thou art clerkly, thou art clerkly, Sir John. Was there a wise woman with thee? Fal. Ay, that there was, mine host; one, that. hath taught me more wit than ever I learned before in my life: and I paid nothing for it neither, but was paid for my learning. 61 Enter BARDOLPH. Rard. Out, alas, sir! cozenage ; mere cozenage ! ‘Host. Where be my horses?! speak well of them, varletto. Bard. Run away with the cozeners; for so soon as I came beyond Eton, they threw me off from behind one of them in a slough of mire; and set spurs, and away, like three German devils, three Doctor Faustuses. Host. They are gone but to meet the duke, villain. Do not say, they be fled: Germans are honest men. 71 SAL THE MERRY WIVES OF WINDSOR. [Act Iv, Enter Sir HuGH Evans. Eva. Where is mine host? Host. What is the matter, sir? 2 Eva. Have a care of your entertainments: there is a friend of mine come to town, tells me, there is three cousin-germans, that has cozened all the hosts of Readings, of Maidenhead, of Colebrook, ot horses and money. I tell you for good will, look you: you are wise, and full of gibes and vlouting-stogs, and 'tis not convenient you should be cozened. Fare you ene, Enter Doctor Catus. Caius. Vere is mine host de Jartiere? Host. Here, master doctor, in perplexity, and doubt- ful dilemma. Caius. I cannot tell vat is dat; but it is tell-a me, dat you make grand preparation for a duke de Jar- many: by my trot, dere is no duke, dat de court is know to come. I tell you for good vill: adieu. [E-rit. Host. Hue and cry, villain! go.—Assist me, knight; I am undone.—Fly, run, hue and ery, villain! I am undone! [E£xeunt Host and BARDOLPH. Fal. I would all the world might be cozened, for I have been cozened, and beaten too. If it should come to the ear of the court how I have been transformed, and how my transformation hath been washed and cudgelled, they would melt me out of my fat, drop by drop, and liquor fishermen’s boots with me: I warrant, they would whip me with their fine wits, till I were as crest-fallen as a dried pear. I never prospered since I forswore myself at primero. Well, if my wind were but long enough to say my prayers, I would repent. 101 Enter Mistress QUICKLY. Now, whence come you? Quick. From the two parties, forsooth. fal. The devil take one party, and his dam the other, and so they shall be both bestowed. I have suffered more for their sakes, more than the villainous inconstancy of man’s disposition is able to bear. Quick. And have not they suffered? Yes, 1 warrant; speciously one of them: Mistress Ford, good heart, is beaten black and blue, that you cannot see a white spot about her. 111 Fal. What tell’st thou meof black and blue? Iwas beaten myself into all the colours of the rainbow ; and I was like to be apprehended for the witch of Brent- ford: but that my admirable dexterity of wit, my counterfeiting the action of an old woman, deliver'd me, the knave constable had set me i’ the stocks, i’ the common stocks, for a witch. 11 Quick, Sir, let me speak with you in yourchamber; you shall hear how things go, and, I warrant, to your content. Here is a letter will say somewhat. Good hearts! what ado here is to bring youtogether! Sure, one of you does not serve Heaven well, that you areso crossed. Fal. Come up into my chamber [Exeunt. ScENE VI.—Another Room in the Garter Inn. Enter FENTON and Host. Host. Master Fenton, talk not to me: my mind is heavy ; I will give over all. dent. Yet hear mespeak. Assist me in my purpose, And, as Iam a gentleman, I’ll give thee «A hundred pound in gold more than your loss, Host. I will hear you, Master Fenton; and I will, at the least, keep your counsel. ent. From time to time I have acquainted you With the dear love I bear to fair Anne Page ; Who, mutually, hath answer'd my attection, 10 So tar forth as herself might be her chooser, iiven to my wish. I have a letter from her Of such contents as you will wonder at ; The mirth whereof so larded with my matter, That neither singly can be manifested, Without the show of both ;—wherein fat Falstaff Hath a great scene: the image of the jest Ill show you here at large. Hark, good mine host: To-night at Herne’s oak, just ’twixt twelve and one, Must my sweet Nan present the fairy queen; 20 The purpose why, is here ; in which disguise, While other jests are something rank on foot, Her father hath commanded her to slip Away with Slender, and with him at Eton Immediately to marry: she hath consented, Now, sir, Her mother, even strong against that match, And firm for Doctor Caius, hath appointed That he shall likewise shuffle her away, | While other sports are tasking of their minds, 30 And at the deanery, where a priest attends, Straight marry her: to this her mother’s plot She, seemingly obedient, likewise hath Made promise to the doctor.—Now, thus it rests: Her father means she shall be all in white ; And in that habit, when Slender sees his time To take her by the hand, and bid her go, | She shall go with him :—her mother hath intended, The better to denote her to the doctor, (For they must all be mask’d and vizarded) 40 That quaint in green she shall be loose enrob’d, With ribands pendent, flaring ’bout her head ; And when the doctor spies his vantage ripe, To pinch her by the hand ; and on that token The maid hath given consent to go with him. Host. Which means she to deceive? father or mother? F Fent. Both, my good host, to go along with me: And here it rests,—that you ll procure the vicar To stay for me at church ‘twixt twelve and one, And, in the lawful name of marrying, To give our hearts united ceremony. 7 Host. Well, husband your device: I'll to the vicar. Bring you the maid, you shall not lack a priest. Fent. So shall I evermore be bound to thee ; Besides, I’ll make a present recompense, [Eaceunt. Falstaff. R'YTHEE, no more prattling 3 go :— I'll hold. This is the third time; TI hope, good luck lies in odd num- bers. Away, go. They say, there is divinity in odd numbers, either in nativity, chance, or death.— Away. Quick. I'll provide you a chain, and I'll do what I can to get you a pair of horns. Fal. Away, I say; time wears: hold up your head, and mince. ll {Exit Mrs, QUICKLY. Enter Forp. = How now, Master Brook? Master Brook, the matter will be known to-night, or never. Be you in the park about midnight, at Herne’s oak, and you shall see wonders. Ford. Went ee not to her yesterday, sir, as you told me you had appointed ? Fal. I went to her, Master Brook, as you see, like a poor old man ; but I came from her, Master Brook, like a poor old.woman. That same knave Ford, her | husband. hath the finest mad devil of jealousy in him, Master Brook, that ever govowed frenzy. I will tell ‘ou :-—he beat me grievously, in the shape of a woman ; for in the shape of man, Master Brook, I fear not Goliah with a weaver’s beam, because I know also, life is a shuttle. Iam in haste: go along with me; I'll tell you all, Master Brook. Since I plucked geese, played truant, and whipped top, I knew not what it was to be beaten, till lately. Follow me: I'll tell you strange things of this knave Ford, on whom to-night I will be revenged, and I will deliver his wife into our hand Follow. Strange things in hand, Master rook : follow. ; {Exeunt. ScENE II.—Windsor Park. Enter PaGE, SHALLOW, and SLENDER. Page. Come, come: we'll couch i’ the castle-ditch, till we see the light of our fairies._Remember, son Slender, my daughter. ‘ Slen. Ay, forsooth ; I have spoke with her, and we have a nay-word, how to know one another. I come to her in white, and cry, ‘‘mum;” she cries, ‘budget ;” and by that we know one another. Shal. That’s good too: but what needs either your “mum,” or her ‘‘ budget?” the white will decipher her well enough.—It hath struck ten o’clock. 10 Page. The night is dark ; light and spirits will be- come it well. Heaven prosper our sport! No man means evil but the dexil and we shall know him by his horns. Let’s away ; follow me. _ [Exeunt. ScENE IJJ.—The Street in Windsor. Enter Mistress Rats Misi reas Forp, and Doctor AIU! Mrs. Page. Master doctor, my daughter is in green: when you see your time, take her by the hand, away ACT Na ScENE J.—A Room in the Garter Inn. Enter FaustaFr and Mistress QUICKLY. with her to the deanery, and dispatch it quickly. Go before into the park : we two must go together. Caius. I know vat Ihave todo. Adieu. Mrs. Page. Fare you well, sir. [Exit Carus.] M husband will not rejoice so much at the abuse of Fal- staff, as he will chate at the doctor’s marrying my daughter: but ’tis no matter; better a little chiding, than a great deal of heart-break. Mrs. Ford. Where is Nan now, and her troop of fairies? and the Welch devil, Hugh? Mrs. oe They are all couched in a pit hard by Herne’s oak, with obscured lights; which, at the very instant of Falstaff's and our meeting, they will at once display to the night. Mrs. Ford. That cannot choose but amaze him. Mrs. Page. If he be not amazed, he will be mocked; if he be amazed, he will every way be mocked. Mrs. Ford. We’ll betray him finely. 20 Mrs. Page. Against such lewdsters, and their lechery, Those that betray them do no treachery. Mrs. Ford. The hour draws on: to the oak, to the oak! [Ezeunt. SceENE IV.—-Windsor Park. Enter Sir HuGH Evans, and Fairies. Eva. Trib, trib, fairies : come : and remember your parts. Se pold, I pray you; follow me into the pit, and when I give the watch-'ords, do as I pid you. Come, come ° trib, trib. Fixeunt. Sceng V.—Another Part of the Park. Enter FAtstaFF disguised, with a buck’s head on. Fal. The Windsor bell hath struck twelve; the minute draws on. Now, the hot-blooded gods assist me!—_Remember, Jove, thou wast a bull for thy Europa; love set on thy horns.—O powerful love! that, in some respects, makes a beast a man; in some other, a man a beast.—You were also, Jupiter, aswan, for the love of Leda ;—O, omnipotent love! how near the god drew to the complexion of a goose !—A fault done first in the form of a beast ;—O Jove, a beastly fault ! and then another fault in the semblance of a fowl]: think on’t, Jove ; a foul fault.—When gods have hot backs, what shall poor men do? For me, I am here a Windsor stag; and the fattest, I think, i’ the forest : send me a cool rut-time, Jove, or who can blame me to piss my tallow? Who comes here? my doe? Enter Mistress FoRD and Mistress Pace. Mrs. Ford. Sir John? art thou there, my deer? my male deer? 18 Fal. My doe with the black scut ?—Let the sky rain otatoes ; let it thunder to the tune of “‘Green Sleeves ;” ail kissing-comfits, and snow eringoes; let there come a tempest of provocation, I will shelter me here. [Embracing her. " Mrs. Ford. Mistress Page is come with me, sweet- . eart. Fal. Divide me like a bribed buck, each a haunch: I will keep my sides to myself, my shoulders for the 35 6 THE MERRY WIVES OF WINDSOR. [Act V, fellow of this walk, and my horns I bequeath your husbands. Am I a woodman? ha! Speak I like Herne the hunter?—Why, now is Cupid a child of conscience ; he makes restitution, As I am a true spirit, welcome. [Noise within. Mrs. Page. Alas! what noise? | 32 Mrs. Ford. Heaven forgive our sins ! Fal. What should this be? Mrs. Ford. \ Mrs. Page. § Away, away ! [They run off. Fal. I think, the devil will not have me damned, Jest the oil that is in me should set hell on fire; he would never else cross me thus. Enter Sir Hucu Evans, like a Satyr; ANNE PAGE, as the Fairy Queen, attended by her Brother and others, dressed like Fairies, with waxen tapers on their heads. Anne. Fairies, black, grey, green, and white, You moonshine revellers, and shades of night, 40 You orphan heirs of fixed destiny, Attend your office, and your quality.— Crier Hobgoblin, make the fairy oyes. Hobgoblin. Elves, list your names: silence, you airy toys! Cricket, to Windsor chimneys shalt thou leap: Where fires thou find’st unrak’d, and hearths unswept, There pinch the maids as blue as bilberry: Our Taiant queen hates sluts, and sluttery. Fal. They are fairies; he that speaks tothem shall die: I’ wink and couch. No man their works must eye. [Lies down upon his face. Eva. Where’s Bead?—Go you, and where you find a maid, Sl That, ere she sleep, has thrice her prayers said, Raise up the organs of her fantasy, Sleep she as sound as careless infancy ; But those as sleep and think not on their sins, Pinch mes arms, legs, backs, shoulders, sides, and shins. Anne. About, about! Search Windsor Castle, elves, within and out: Strew good luck, ouphes, on every sacred room, That it may stand till the perpetual doom, In state as wholesome, as in state ’tis fit, Worthy the owner, and the owner it. The several chairs of order look you scour With juice of balm, and every precious flower: Each fair instalment, coat, and several crest, With loyal blazon, ever more be blest! And nightly, meadow-fairies, look, you sing, Like to the Garter’s compass, in a ring: The expressure that it bears, green let it be, More fertile-fresh than all the field to see ; 70 And Honi soit qui mal y pense, write In emerald tufts, flowers purple, blue, and white ; Like poeRnie pearl, and rich embroidery, Buckled below fair knighthood's bending knee: Fairies use flowers for their charactery. Away! disperse! But, till ’t is one o'clock, Our dance of custom, round about the oak Of Herne the hunter, let us not forget. Eva. Pray you, lock hand in hand: yourselves in order set ; And twenty glow-worms shall our lanterns be 80 To guide our measure round about the tree. But, stay! I smell a man of middle-earth, Fal. Heavens defend me from that Welch lest he transform me to a piece of cheese! Hobgoblin. Vile worm, thou wast o’erlook’d even in thy birth. Anne. With trial-fire touch me his finger-end - If he be chaste, the flame will back descend, And turn him to no pain; but if he start, It is the flesh of a corrupted heart. Hobgoblin. A trial! come. Eva. Come, will this wood take fire? [They burn him with their tapers. Fal. Oh, oh, oh! Anne. Corrupt, corrupt, and tainted in desire ! About him, fairies, sing a scornful rhyme; And, as you trip, still pinch him to your time. Song. Fie on sinful fantasy ! Fie on lust ae eeeuens Lust is but a bloody fire, Kindled with unchaste desire, Fred in heart ; whose flames aspire, As thoughts do blow them higher and higher: 100 Pinch him, fairies, mutually ; Pinch him for his villainy ; Pinch him, and burn him, and turn him about, Till candles, and star-light, and moonshine be out. During this song, the Fairies pinch Fatstarr, Doctor Caius comes one way, and steals away a Fairy in green; SLENDER another way, and takes off a Fairy in white; and FENTON comes, and steals away ANNE PaGE. «A noise of hunting is made within, All the Fairies run away. FALSTAFF pulls off his buck's head, and rises. Enter PaGE, Forp, Mistress Pace, and Mistress Forp. They lay hold on him. Page. Nay, do not fly: I think, we have watch’d you now. Will none but Herne the hunter serve your turn? Mrs. ee pray you, come; hold up the jest no igher.— ‘ Now, good Sir John, how like you Windsor wives? See you these, husband? do not these fair yokes Become the forest better than the town? 110 Ford. Now, sir, who’s a cuckold_ now?—Master Brook, Falstaff’s a knave, a cuckoldly knave; here are his horns, Master Brook: and, Master Brook, he hath enjoyed nothing of Ford’s but his buck-basket, his cudgel, and twenty pounds of money, which must be paid to Master Brook : his horses are arrested for it, Master Brook. Mrs. Ford. Sir John, we have had ill luck; we could never meet. I will never take you for my love again, but I will always count you my deer. 20 fal. I do begin to perceive, that I am made an ass. Ford. Ay,and an ox too; both the proofs are extant. Fal. And these are not fairies? I was three or four times in the thought, they were not fairies ; and yet the guiltiness of my mind, the sudden surprise of my powers, drove the grossness of the foppery into 2 received belief, in despite of the teeth of all rhyme and reason, that they were fairies. See now, how wit may be made a Jack-a-Lent, when ’tis upon ill employment! 130 va. Sir John Falstaff, serve Got, and leave your desires, and fairies will not pinse you. Ford, Well said, fairy Hugh. Eva. And leave you your jealousies too, I pray you. Ford. I will never mistrust my wife again, till thou art able to woo her in good English. say Fal. Have I laid my brain in the sun, and dried it, that it wants matter to prevent so gross o’er-reachin| as this? Am I ridden with a Welch goat too? shall have a coxcomb of frize? ’Tis time I were choked with a piece of toasted cheese. it Eva. Seese is not good to give putter: your pelly is all putter. ‘ Fal. Seese and putter! have I lived to stand at the taunt of one that makes fritters of English? This is enough to be the decay of lust, and Jate-walking through the realm. : Mrs. Page. Why, Sir John, do roe think, though we would have thrust virtue out of our hearts by the head and shoulders, and have given ourselves without scruple to hell, that ever the devil could have made you our delight? 152 Ford. What, a hodge-pudding? a bag of flax? Mrs. Page. A puffed man ? ae Old: cold, withered, and of intolerable en- trails Ford. And one that is as slanderous as Satan? Page. And as poor as Job? Ford. And as wicked as his wife? Eva. And given to fornications, and to taverns, and sack, and wine, and metheglins, and to drinkings, an swearings, and starings, pribbles and prabbles! 162 2 RT Scene V.] THE MERRY WIVES OF WINDSOR. 547 Fal. Well, I am your theme: you have the start of me; Iam dejected; I am not able to answer the Welch flannel. Ignorance itself is a plummet o'er me: use me as you will. Ford. Marry, sir, well bring you to Windsor, to one Master Brook, that you have cozened of money, to whom you should have been a pander: over and above that you have suffered, I think, to repay that money will be a biting affliction. 171 Page. Yet be cheerful, knight: thou shalt eat a posset to-night at my house; where I will desire thee to laugh at my wife, that now laughs at thee. Tell her, Master Slender hath married her daughter. Mrs. Page. [Aside.] Doctors doubt that: if Anne Page be my daughter, she is, by this, Doctor Caius’ wife. Enter SLENDER. Slen. Whoo, ho! ho! father Page! 180 Page. Son, how now? how now, son? have you despatched? Slen. Despatched !—I’ll make the best in Glostershire know on’t; would I were hanged, la, else. Page. Of what, son ? Slen. I came yonder at Eton to marry Mistress Anne Page, and she’s a_ great lubberly boy: if it had not been i’ the church, I would have swinged him, or he should have swinged me. [f I did not think it had been Anne Page, would I might never stir, and ’tis a postmaster’s boy. 9% Page. Upon my life, then, you took th wrong. Slen. What need you tell me that? I think so, when I took a boy for a girl: if I had been married to him, for all he was in woman’s apparel, I would not have had him. Page. Why, this is your own folly. Did not I tell you, how you should know my daughter by her garments? 202 Slen. I went to her in white, and cried, “mum,” and she cried, ‘‘ budget,” as Anne and I had appointed ; and yet it was not Anne, but a postmaster’s boy. Mrs. Page. Good George, be not angry: I knew of your PUEHOEE s turned my daughter into green; and indeed, she is now with the doctor at the deanery, and there married. 209 Enter Doctor Caivs. Caius. Vere is Mistress Page? By gar, I am cozened ; I ha’ married un garcon, a boy ; un paysan, by gar, a boy: it is not Anne Page; by gar, I am cozened, Mrs. Page. Why, did you take her in green? Caius. Ay, bv gar, and’t isa boy: by gar, I’ll raise all Windsor. (Exit. a This is strange. Who hath got the right nne Page. My heart misgives me. Here comes Mabie’ Fenton. Enter FENTON and ANNE PaGE. How now, Master Fenton? anne. ‘‘ Pardon, good father! good my mother, pardon!” Anne. Pardon, good father! good my mother, pardon! Page. Now, mistress; how chance you went not with Master Slender? 4 Mrs. Page yy went you not with master doctor, maid? Fent. You do amaze her: hear the truth of it. i You would have married her most shamefully, ' Where there was no proportion he!d in love. FN K i | mA The truth is, she and I, long since contracted, Are now so sure, that nothing can dissolve us. The offence is holy that she hath committed, And this deceit loses the name of craft, Of disobedience, or unduteous title, Since therein she doth evitate and shun A thousand irreligious cursed hours, Which forced marriage would have brought upon her. Ford. Stand not amaz’d: here is no remedy,— In love, the heavens themselves do guide the state: Money buys lands, and wives are sold by fate. 240 Fal. I am glad, though you have ta’en a special stand to strike at me, that your arrow hath glanced. Page. al what remedy? Fenton, Heaven give thee joy. What cannot be eschew’d, must be embrac’d. Fal. When night-dogs run, all sorts of deer are c ; Mrs. Page. Well, I will muse no further. Master nton, Heaven give you many, many merry days.— Good husband, let us every one go home, And laugh this sport o’er by a country fire ; Sir John and all. | Ford. Let it be so.—Sir John, 250 | To Master Brook you yet shall hold your word ; For he, to-night, shall lie with Mistress Ford. : (Exeunt. ET the bird of loudest lay, On the sole Arabian tree, Herald sad and trumpet be, To whose sound chaste wings obey. But thou shrieking harbinger, Foul precurrer of the fiend, Augur of the fever’s end, To this troop come thou not near. From this session interdict Every fowl of tyrant wine Save the eagle, feather’d hing: Keep the obsequy so strict. 10 Let the priest in surplice white, That defunctive music can, Be the death-divining swan, Lest. the requiem lack his right. And thou, treble-dated crow, That thy sable gender mak’st With the breath thou giv’st and tak’st, ’Mongst our‘mourners shalt thou go. 20 Here the anthem doth commence: Love and constancy is dead ; Pheenix and the turtle fled In a mutual flame from hence. So they lov'd, as love in twain Had the essence but in one; Two distincts, division none: Number there in love was slain. Hearts remote, yet not asunder ; Distance, and no space was seen 30 ’Twixt the turtle and his queen: But in them it were a wonder. So between them love did shine, That the turtle saw his right Flaming in the phenix’ sight : Either was the other's mine. THE PHGNIX AND TURTLE. Property was thus appall’d, That the self was not the same Single nature’s double name Neither two nor one was call’d. Reason, in itself confounded, Saw division grow together ; To themselves yet either neither, Simple were so well compounded, That it cried, how true a twain Seemeth this concordant one! Love hath reason, reason none, If what parts can so remain. Whereupon it made this threne To the phoenix and the dove, Co-supremes and stars of love, As chorus to their tragic scene. THRENOS. Beauty, truth, and rarity, Grace in all simplicity, Here inclos’d in cinders lie. Death is now the phcenix’ nest; And the turtle’s loyal breast To eternity doth rest, Leaving no posterity : "T was not their infirmity, It was married chastity. Truth may seem, but cannot be; Beauty brag, but ’t is not she; ‘Truth and beauty buried be. To this urn let those repair That are either true or fair ; For these dead birds sigh a prayer. 3 FeipriererresrreT rei TWELFTH-NIGHT: OR, WHAT YOU WILL. DRAMATIS PERSONAE. OrsINO, Duke of Illyria. FABIAN, } cane SEBASTIAN, Brother to Viola. Clown,” Sf Servants to Olivia. ANTONIO, @ Sea Captain, Friend to Sebastian. at Sea Captain, Friend to Viola. ; OLIVIA, a rich Countess. CuRiG. TINE, ‘ Gentlemen attending on the Duke. qioEas iy fore ee pi Sir ANDREW AGUE-CHEEK. Lords, Priests, Sailors, Officers, Musicians, and MALVOLIO, Steward to Olivia. | other Attendants. SCENE —A City in ILLYRIA ; and the Sea-coast near it. Sir Tosy BEtcu, Unele to Olivia. | ACT I. ScENE I.—An Apartment in the DUKE'’s Palace. Enter DuKE, CuRto, Lords; Musicians attending. : Duke. \ These sovereign thrones, are all sup lied, and fill’d F music be the food of love, play on ; (Her sweet perfections) with one self king.— Give me excess of it, that, surfeiting, Away, before me to sweet beds of flowers; The appetite may sicken, and so die.— Love-thoughts lie rich, when canopied with bowers. 40 That strain again! it had a dying fall: [Ezeunt. O! it came o’er my ear like the sweet sound = That breathes upon a bank of violets, 3 Stealing and giving odour.—Enough! no ScENE II. —The Sea-coast. more: : : °T is not so sweet now, as it was before. Enter Vious, Captain, and Sailors. O spirit of love! how quick and fresh art Vio. What country, friends, is this? thou, ‘ap. This is Illyria, lady. That, notwithstanding thy capacity 10 Vio, And what should I do in lyria? Receiveth as the sea, nought enters there, My brother he is in Elysium. Of what validity and pitch soe’er, Perchance, he is not drown’d:—what think you, But falls into abatement and low price, sailors? Even in a minute! so full of shapes is fancy, Cap. It is perchance that you yourself were sav’d. That it alone is high-fantastical. Vio. O my poor brother! and so, perchance, may Cur. Will you go hunt, my lord? he be. Duke. What, Curio? Cap. True, madam: and, to comfort you with r. The hart. chance, fs Duke. Why, 80 I do, the noblest that I have. Assure yourself, after your ship did split, O! when mine eyes did see Olivia first, When you, and those poor number saved with you, (Methought she purg’d the air of pestilence) Hung on our driving boat, I saw your brother, 10 That instant was I turn’d into a hart, 20 | Most provident in peril, bind himself And my desires, like fell and cruel hounds, (Courage and hope both teaching him the practice) To a strong mast, that lived upon the sea; Er since pursue me.— t 5 Where, like Arion on the dolphin’s back, Enter VALENTINE. I saw him hold ‘acquaintance with the waves How now? what news from her? | So long as I could see. i Val. So please my lord, I might not be admitted, Vio. For saying so there’s gold. But from her handmaid do return this answer :— Mine own escape unfoldeth to my hope, The element itself, till seven years heat, Whereto thy speech serves for authority, Shall not behold her face at ample view ; The like of him. Know’st thou this country? But, like a cloistress, she will veiled walk, Cap. Ay, madam, well; for I was bred and born 20 And water once a day her chamber round Not three hours’ travel from this very place. With eye-offending brine: all this, to season Vio. Who governs here? ‘| A brother's dead love, which she would keep fresh 30 Cap. A noble duke, in nature as in name. And lasting in her sad remembrance. Vio, What is his name? : Duke. O! she that hath a heart of that fine frame, Cap. | Orsino. ; To pay this debt of love but to a brother, Vio. Orsino! J have heard my father name him: How will she love, when the rich golden shaft He was a bachelor then. Hath kill’d the flock of all affections else Cap. And so is now, or was so very late; That live in her: when liver, brain, and heart, ' For but a month ago I went from hence, 550 TWELFTH-NIGHT: OR, WHAT YOU WILL. [Act lL And then ‘t was fresh in murmur (as, you know, toe like a parish-top. What, wench! Castiliano What great ones do, the less will prattle of), 30 That he did seek the love of fair Olivia. Vio. What’s she? Cap. A virtuous maid, the daughter of a count That died some twelvemonth since; then leaving her In the protection of hisson, her brother, Who shortly also died: for whose dear love, They = she hath abjur’d the company And sight of men. Vio. O! that I serv’d that lady, And might not be deliver'd to the world, Till I had made mine own occasion mellow, What my estate is. Cap. That were hard to compass, Because she will admit no kind of suit, No, not the duke’s. : Vio. There is a fair behaviour in thee, captain ; And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe, thou hast a mind that suits With this thy fair and outward character. I pr'ythee (and I'll pay thee bounteously), Conceal me what Iam, and be my aid 50 For such disguise as haply shall become The form of my intent. I'll serve this duke: Thou shalt present me as an eunuch to him. It may be worth thy pains; for I can sing, And speak to him in many sorts of music, ‘That will allow me very worth his service. What else may hap to time I will commit ; Only, shape thou thy silence to my wit. Cap. Be you his eunuch, and your mute I'll be: When my tongue blabs, then let mine eyes not see. 60 Vio. I thank thee. Lead me on. [Exreunt. 40 ScENE III.—A Room in OLIvia's House. Enter Sir ToBy BELCH and Maria. Sir To. What a plague means my niece, to take the death ot her brother thus?) Iam sure care’san enemy to life. Mar. By my troth, Sir Toby, you must come in earlier o’ nights: your cousin, my lady, takes great exceptions to your ill hours. . Sir To. Why, let her except before excepted. Mar, Ay, but you must confine yourself within the modest limits of order. 9 Sir To. Confine? I'll confine myself no finer than Iam. These clothes are good enough to drink in, and 80 be these boots too; an they be not, let them hang themselves in their own straps. Mar. That quaffing and drinking will undo you: I heard my lady talk of it yesterday, and of a foolish knight, that you brought in one night here, to be her wooer. Sir To. Who? Sir Andrew Ague-cheek ? Mar, Ay, he. Sir To. He’s as tall a man as any’s in Illyria. 20 Mar, What’s that to the purpose? Sir To. Why, he has three thousand ducats a year. Mar. Ay, but he'll have but a year in all these ducats : he’s a very fool, and a prodigal. Sir To. Fie, that you'll say so! he plays o’ the viol- de-gamboys, and speaks three or four languages word for word without book, and hath all the good gifts of nature. 28 _Mar. He hath, indeed,—almost natural; for, be- sides that he’s a fool, he's a great quarreller ; and, but that he hath the gift of a coward to allay the gust he hath in Pl orp ‘tis thought among the prudent. he would quickly have the gift of a grave. Sir To. By this hand, they are scoundrels, and sub- stractors, that say so of him. Who are they? _ Mar, They that add, moreover, he’s drunk nightly in your company. Sir To. With drinking healths to my niece. I'll drink to her as long as there is a passage in my throat, and drink in INyria. He’s a coward, and a coystril, that will not drink to my nicce, till his brains turn o’ the vulyo ; for here comes Sir Andrew Ague-face. Enter Sir ANDREW AGUE-CHEEK. Sir And. Sir Toby Belch! how now, Si Belen? y , Sir Toky Sir To. Sweet Sir Andrew. Sir And. Bless you, fair shrew. Mar. And you too, sir. Sir To. Accost, Sir Andrew, accost. Sir And. What’s that? 50 Sir To. My niece’s chambermaid. Sir And. Good Mistress Accost, I desire better acquaintance. Mar. My name is Mary, sir. Str And. Good Mistress Mary Accost,— Sir And. “ Marry, but you shall have; and here's ty hand.” Sir To. You mistake, knight: accost is front her, board her, woo her, assail her. Sir And. By my troth, I would not undertake her in this company. Is that the meaning of accost? Mar, Fare you well, gentlemen. i 60 Sir To. An thou let part so, Sir Andrew, ‘would thou mightst never draw sword again ! i Sir And. An you part so, mistress, I would I might never draw sword again. Fair lady, do you think you have fools in hand ? Mar. Sir, I have not you by the hand. , Sir And. Marry, but you shall have; and here’s my hand. . Mar. Now, sir, thought is free: I pray you, brin, your hand to the buttery-bar, and let it drink. | 70 Sir And. Wherefore, sweet-heart? what’s your metaphor? Mar. It’s dary, sir. Sir And. Why, I think so: I am_ not such an ass, but I can keep my hand dry. But what's your jest? Mar. A ary jest, sir. Sir And. Are you full of them? : Mar. Ay, sir; I have them at my fingers’ ends: marry, now I let go your hand, I am barren. [Exit MARIA. Sir To. O knight! thou lack’st a cup of canary. When did I see thee so put down? 81 Sir And. Never in your life, I think; unless you see canary putme down. Methinks sometimes I have no more wit than a Christian, or an ordinary man has; but I am a great eater of beef, and, I believe, that does harm to my wit. Sir To. No question. ss ‘ Sir And. An I thought that, I'd forswear it. I'll ride home to-morrow, Sir Toby. Sir To. Pourquoi, my dear knight? 90 Sir_And. What is pour ener ? do or not do? would I had bestowed that time in the tongues, that have in fencing, dancing, and bear-baiting. 0, but followed the arts ! f Sir To. Then hadst thou had an excellent head o hair! ScENE V.] ! TWELFTH-NIGHT: OR, WHAT YOU WILL. 551 ' Sir And, Why, would that have mended my hair? Sir To. Past question; for thou seest it will not curl by nature. i" Sir And, Butit becomes me well enough, does’t not? . Sir To. Excellent: it hangs like flax on a distaff, and I hope to see a housewife take thee between her legs, and spin it off. Sir And, ’Faith, I'll home to-morrow, Sir Toby: your niece will not be seen; or, if she be, it’s four to one she’ll none of me. The count himself, here hard by, woos her. Sir To. She ll none o’ the count; she’ll not match above her degree, neither in estate, years, nor wit ; I have heard ber swear it. Tut, there’s life in’t, man. Sir And. I'll stay a month longer. I ama fellow o’ the strangest mind i’ the world: I delight in masques and revels sometimes altogether. 113 Sir To. Art thou good at these kick-shaws, knight ? Sir And. As any man in Illyria, whatsoever he be, under the degree of my betters: and yet I will not compare with an old man. Sir To. What is thy excellence in a galliard, knight? Sir And. ’Faith, I can cut a caper. Sir To. And I can cut the mutton to’t. 120 Sir And. And,I think, I have the back-trick, simply as strong as any man in Illyria. Sir To. Wherefore are these things hid? wherefore have these gifts a curtain before them? are they like to take dust, like Mistress Mall's picture? why dost thou not go to church in a galliard, and come home in acoranto? My very walk should be a jig: I would not so much as make water, but in a sink-a-pace. What dost thou mean? is it a world to hide virtues in? I did think, by the excellent constitution of thy leg, it was formed under the star of a galliard. 131 Sir And. Ay, tis strong, and it does indifferent well ina yee stock. Shall we set about some revels Sir To. What shall we do else? were we not born under Taurus ? Sir And. Taurus? that’s sides and heart. Sir To. No, sir, it is legs and thighs. Let me see thee caper. Ha! higher: ha, ha!—excellent! [Exeunt. ScENE IV.—A Room in the DuKeE’s Palace. Enter VALENTINE, and VIOLA in man’s attire. Val. If the duke continue these favours towards he Cesario, you are like to be much advanced: he ath known you but three days, and already you are no stranger. Vio. You either fear his humour, or my nee iepnes, that you call in question the continuance of his love. Is he inconstant, sir, in his favours? Val. No, believe me. Vio. Ithank you. Here comes the count. Enter DUKE, CuRI0, and Attendants. Duke. Who saw Cesario, ho? 10 ‘Vio. On your attendance, my lord ; here. Duke. Stand you awhile aloof.—Cesario, Thou know’st no less but all: I have unclasp’d To thee the book even of my secret soul ; ‘Therefore, good youth, address thy gait unto her: . Be not denied access, stand at her doors, And tell them, there thy fixed foot shall grow, Till thou have audience. to. Sure, my noble lord, If she be so abandon‘d to her sorrow, As it is spoke, she never will admit me, Duke. Be clamorous, and leap all civil bounds, Rather than make unprofited return. Vio. Say, I do speak with her, my lord: what then? Duke. O! then unfold the passion of my love; Surprise her with discourse of my dear faith: It shall become thee well to act my woes; She will attend it better in thy youth, Than in a nuncio of more grave aspect. ‘ Vio. I think not so, my lord. uke. . Dear lad, believe it; For they shall yet belie thy happy years, 30 That say thou art a man: Diana’s lip Is not more smooth and rubious ; thy small pipe Is as the maiden’s organ, shrill and sound, And all is semblative a woman’s part. I know, thy constellation is right apt For this affair.—Some four, or five, attend him; All, if you will; for I myself am best, When least in company.—Prosper well in this, And thou shalt live as freely as thy lord To call his fortunes thine. Vio. I'll do my best, 40 To woo your lady: [aside] yet, a barful strife! Whoe’er I woo, myself would be his wife. [Exeunt. ScENE V.—A Room in OLIvi4’s House. Enter MaRiA and Clown. Mar. Nay, either tell me where thou hast been, or T will not open my lips so wide as a bristle may enter, in way of thy excuse. My lady will hang thee for thy absence. Clo. Let her hang me: he that is well hanged in this world needs to fear no colours. Mar. Make that good. Clo. He shall see none to fear. Mar. A good lenten answer. I can tell thee where that saying was born, of, I fear no colours. 10 Clo. Where, good Mistress Mary ? Mar. In the wars; and that may you be bold to say in your foolery. Clo. Well, God give them wisdom that have it; and those that are fools, let them use their talents. .Mar. Yet you will be hanged, for being so long absent; or, to be turned away,—is not that so good as a hanging to you? Clo, Many a good hanging prevents a bad marriage; and for turning away, let summer bear it out. 20 Mar. You are resolute then? Clo. Notso neither ; but lam resolved on two points. Mar. That, if one break, the other will hold; or, if both break, your gaskins fall. Clo. Apt, in good faith; very apt. Well, go thy way: if Sir Toby would leave drinking, thou wert as witty a piece of Eve's flesh as any in Illyria. Mar. Peace, you rogue, no more o’that. Here comes my lady: make your excuse wisely, you were na 29 vit. Clo. Wit, an’t be thy will, put me into good fooling! Those wits that think they have thee, do very oft prove fools; and I, that am sure I lack thee, may pass for a wise man: for what says Quinapalus? Better a witty fool, than a foolish wit. Enter OLivia and MALVOLIO. God bless thee, lady! Oli. Take the fool away. Clo. Do you not hear, fellows? Take away the lady. Oli. Go to, you’re a dry fool; I’llno more of you: besides, you grow dishonest. 39 Clo. Two faults, madonna, that drink and good counsel will amend: for give the dry fool drink, then jis the fool not dry; bid the dishonest man mend himself: if he mend, he is no longer dishonest ; if he cannot, let the botcher mend him, Anything that’s mended is but patched: virtue that transgresses is but patched with sin; and sin that amends is but patched with virtue. If that this simple syllogism will serve, so; if it will not, what remedy? As there is no true cuckold but calamity, so beauty’s a flower. —The lady bade take away the fool; therefore, I say again, take her away. 51 Oli. Sir, I bade them take away you. Clo. Misprision in the highest degree !—Lady, cu- cullus non facit monachum : that’s as much to say as, I wear not motley in my brain. Good madonna, give me leave to prove you a fool. Oli. Can you do it? Clo. .Dexteriously, good madonna. Oli. Make your proof. 552 Clo. I must catechise you for it, madonna. Good my mouse of virtue, answer me. _ 61 Oli. Well, sir, for want of other idleness, Ill bide your proof. Clo. Good madonna, why mourn’st thou? Oli. Good fool, for my brother's death. Clo, I think his soul is in hell, madonna, Oli. I know his soul is in heaven, fool. Clo. The more fool, madonna, to mourn for your brother’s soul being in heaven.—Take away the fool, gentlemen. ‘ 70 Oli. What think you of this fool, Malvolio? doth he not mend? Mal, Yes; and shall do, till the pangs of death eve NS Clo. ** The more foo], madonna, to mourn for your brother's soul being In heaven.” shake him: infirmity, that decays the wise, doth ever make the better fool. Clo. God send you, sir, a speedy infirmity, for the better increasing your folly! Sir Toby will'be sworn that I am no fox, but he will not pass his word for twopence that you are no fool. oli. How say you to that, Malvolio? 380 Mal. I marvel your ladyship takes delight in such a barren rascal: I saw him put down the other day with an ordinary fool, that has no more brain than a stone. Look you now, he’s out of his guard already: unless yon laugh and minister occasion to him, he is gagged. protest, I take these wise men, that crow so at these set kind of fools, no better than the fools’ zanies. Oli. O! youaresick of self-love, Malvolio, and taste with a distempered appetite. To be generous, guilt- Jess, and of free disposition, is to take those things for bird-bolts, that you deem cannon-bullets. There is no slander in an allowed fool, ene he do nothing but rail; nor no railing in a known discreet man, though he do nothing but reprove. Clo. Now, Mercury endue thee with leasing, for thou speakest well of fools! Re-enter MARIA. Mar. Madan, there is at the gate a young gentleman much desires to speak with you. Oli. From the Count Orsino, is it ? Mar. I know not, madam: ’tis a fair young man, and well attended. 101 Oli. Who of my people hold him in delay ? Mar. Sir Toby, madam, your kinsman. Oli. Fetch him off, | pray you: he speaks nothing but madman. Fie on him! [H#zrit Marta.] Go you, Malvolio: if it be a suit from the count, I am sick, or not at home; what you will, to dismiss it. [Exit MALVOLIO.] Now you see, sir, how your fooling grows old, and people dislike it. 109 Clo. Thou hast spoke for us, madonna, as if thy eldest. son should be a fool, whose skull Jove cram with brains ; for here he comes, one of thy kin, has a most weak pia mater. TWELFTH-NIGHT: OR, WHAT YOU WILL. | speak with you. I told him you were asleep: he seems [Act I, Enter Sir Tosy BELCcH. Oli. By mine honour, half drunk.—What is he at the gate, cousin? Sir To. A gentleman. Oli. A gentleman! What gentleman? Sir To. Tis a gentleman here—a plague o’ these pickle-herring !— How now, sot? Clo. Good Sir Toby ! 120 Oli. Cousin, cousin, how have you come so early by this soot ? Sir To. Lechery! I defy lechery. There’s one at the gate. Oli. Ay, marry ; what is he? Sir To. Let him be the devil, an he will, I care not: give me faith, say I. Well, it’s all one. [Exit Oli, What’s a drunken man like, fool? Clo, Like a drown’d man, a fool, and a madman: one draught above heat makes him a fool, the second mads him, and a third drowns him. 131 Oli. Go thou and seek the coroner, and let him sit 0’ my coz; for he’s in the third degree of drink, he’s drown’d: go, look after him. Clo. He is but mad yet, madonna; and the fool shall : look to the madman. (Exit. Re-enter MALVOLIO. Mal. Madam, yond young fellow swears he will speak with you. I told him you were sick : he takes on him to understand so much, and therefore comes to to have a foreknowledge of that too, and therefore comes to speak with you. What is to be said to him, lady? he’s fortified against any denial. Oli, Tell him, he shall not speak with me. Mal. Ha’s been told so; and he says, he'll stand at your door like a sheriff's post, and be the supporter to a bench, but he’ speak with you. Oli. What kind o’ man is he} Mal, Why, of mankind. Oli, What manner of man? 150 Mal. Of very ill manner: he’ll speak with you, will you, or no. Oli. Of what personage and years is he? Mal. Not yet old enough for a man, nor young enough for a boy; as a squash is before ’t isa peascod, or a codling when ’tis almost an apple: ’tis with him in standing water, between boy and man. He is very well-favoured, and he speaks very shrewishly: one would think, his mother’s milk were scarce out of him. Oli. Lethim approach. Callin my gentlewoman. Mal. Gentlewoman, my lady calls. iz a ait, Re-enter MaRIa. Oli, Give me my veil: come, throw it o’er my face. We'll once more hear Orsino’s embassy. Enter Vioua. Vio. The honourable lady of the house, which is she Oli. Speak tome; Ishallanswerforher. Your will? Vio. Most radiant, exquisite, and unmatchable beauty.—I pray you, tell me, if this be the lady of the house, for i never saw her: I would be loath to cast away my speech; for, besides that it is excellently well penned, I have taken great pains to con it. Goo beauties, let me sustain noscorn ; Iam very comptible even to the least sinister usage. 173 Oli. Whence came you, sir? 7 Vio. Ican say little more than I have studied, and that question’s out of my part. Good gentle one, give me modest assurance if you be the lady of the house, that I may proceed in my speech. Oli, Are you a comedian? Vio. No, my profound heart; and yet, by the very fangs of malice I swear, I am not that I play. Are you the lady of the house? 182 Oli. If I do not usurp myself, I am. Vio. Most certain, if you are she, you do usurp yourself ; for what is yours to bestow, is not_yours to reserve. But this is from my commission. I will on with my speech in your praise, and then show you the heart of my message. ScENE V.] TWELFTH-NIGHT: OR, WHAT YOU WILL. 553 Oli. Come to what is important in’t: I forgive you 9 the praise. 190 Vio. Alas! I took great pains to study it, and’tis poetical. Oli. It is the more like to be feigned: I pray you, keep itin. I heard, you were saucy at my gates, and allowed your approach, rather to wonder at you than to hear po If you be not mad, be gone ; if you have reason, be brief: tis not that time of moon with me to make one in so skipping a dialogue. Mar. Will you hoist sail, sir? here lies your way. Vio. No, good swabber; I am to hull here a little longer.—Some mollification for your giant, sweet lady. Oli. Tell me your mind. 203 Vio. Iam a messenger. Oli. Sure, you have some hideous matter to deliver, en the courtesy of it is so fearful. Speak your office. Vio. It alone concerns your ear. I bring no over- Oli. “Took you, sir; such a one I was this present: ist not well done?” ture of war, no taxation of homage. I hold the olive in my hand: my words are as full of peace as matter. Oli. Yet you began rudely. What are you? what would you? : 211 Vio. The rudeness that hath appear’d in me, have I learn’d from my entertainment. What I am, and what I would, are as secret as maidenhead: to your ears, divinity ; to any other’s, profanation. Oli. Give us the place alone. We will hear this divinity. [Exit Marts.] Now, sir; what is your text? Vio. Most sweet ee _ Oli. A comfortable doctrine, and much may be said of it. Where lies your text? \ 22 Vio. In Orsino’s bosom. Oli. In his bosom! In what chapter of his bosom? b Vio. To answer by the method, in the first of his eart. Oli. O!-Ihave read it: it is heresy. more to say? Vio. Good madam, let me see your face. Oli. Have you any commission from your lord to negotiate with my face? you are now out of your text: but we will draw the curtain, and show you the picture. Look you, sir; such a one { was this present : 1s’t not well done? [Unveiling. Vio. Excellently done, if God did all. : 233 Oli. Tis in grain, sir: ‘t will endure wind and weather. : Vio. Tis beauty truly blent, whose red and white Nature’s own sweet and cunning hand laid on. ly, you are the cruell’st she alive, If you will lead these graces to the grave, And leave the world no copy. 240 Have you no Oli. O! sir, I will not be so hard-hearted. I will give out divers schedules of my beauty: it shall be inventoried, and every particle, and utensil, labelled to my will; as, item, two lips indifferent red; item, two grey eyes with lids to them; item, one neck, one chin, and so forth. Were you sent hither to praise me? Vio. I see you what you are: you are too proud; But, if you were the devil, you are fair. My lord and master loves you: O! such love 250 Could be but recompens’d, though you were crown’d The nonpareil of beauty! Oli. How does he love me ? Vio. With adorations, with fertile tears, With groans that thunder love, with sighs of fire. Oli. Your lord does know my mind; I cannot love im: Yet I suppose him virtuous, know him noble, Of great estate, of fresh and stainless youth ; In voices well divulg’d, free, learn’d, and valiant : And in dimension, and the shape of nature, A gracious person ; but yet I cannot love him. He might have took his answer long ago. Vio. If I did love you in my master’s flame, With such a suffering, such a deadly life, In your denial I would find no sense: I would not understand it. 260 Oli. Why, what would you? Vio. Make me a willow cabin at your gate, And call upon my soul within the house; Write loyal cantons of contemned love, And sing them loud even in the dead of night ; Holla your name to the reverberate hills, And make the babbling gossip of the air Cry out, Olivia! O! you should not rest Between the elements of air and earth, But you should pity me. Olt. You might do much. What is your parentage? Vio. Above my fortunes, yet my state is well: I ie gentleman. 7. 270 . Get you to your lord: I cannot love him. Let him send no more, Unless, perchance, you come to me again, To tell me how he takes it. Fare you well: I thank you for your pains. Spend this for me. Vio. 1am no fee’d post, lady ; keep your purse: My master, not myself, lacks recompense. Love make his heart of flint that you shall love, And let your fervour, like my master’s, be Plac’d in contempt! Farewell, fair cruelty. Oli. ‘‘ What is your parentage?” “* Above my fortunes, yet my state is well: I am a gentleman.”—I’ll be sworn thou art: Thy tongue, thy face, thy limbs, actions, and spirit, Do give bi five-fold blazon.—Not too fast :—soft! soft! Unless the master were the man.—How now? Even so quickly may one catch the plague? Methinks, I feel this youth’s perfections With an invisible and subtle stealth To creep in at mine eyes. Well, let it be.— What, ho! Malvolio.— Re-enter MALVOLIO. Mal. Here, madam, at your service. Oli. Run after that same peevien messenger, The county's man: he left this ring behind him, Would I, or not: tell him, I’ll none of it. Desire him not to flatter with his lord, Nor hold him up with hopes: I am not for him. If that the youth will come this way to-morrow, I'll give him reasons for ’t. Hie thee, Malvolio. Mal. Madam, I will. (Exit. Oli. I do I know not what, and fear to find Mine eye too great a flatterer for my mind. Fate, show thy force: ourselves we do not owe; What is decreed must be, and be this so! {Exit. 280 [Exvit. 300 ACT II. ScENE J.—The Sea-coast. Enter ANTONIO and SEBASTIAN. come again in his affairs, unless it be to report your Ba C = 4D) Antonio. TSILL you stay no longer? nor will you not x that I go with you? b Seb. By your patience, no. My stars shine darkly over me: the malignancy of my fate might, perhaps, distemper yours; therefore, I shall crave: of you your leave, that I may bear my evils alone. It were a bad recompense for your love, to lay any of them on you. Ant. Let me yet know of you, whither you are bound. . 11 Seb. No, ’sooth, sir. My determinate voyage is mere extravagancy. But I perceive in you so excel- lent a touch of modesty, that you will not extort from me what Iam willing to keep in: therefore, it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian, which I called Rodorigo. My father was that Sebas- tian of Messaline, whom, I know, you have heard of : he left behind him myself and a sister, both born in an hour. If the heavens had been pleased, ’would we had so ended! but you, sir, altered that; for some hour before you took me from the breach of the sea was my sister drowned. nt. Alas the a Seb. A lady, sir, though it was said she much resem- bled me, was yet of many accounted beautiful: but, though I could not with such estimable wonder over- far believe that, yet thus far I will boldly publish her,—she bore a mind that envy could not but call fair. She is drowned already, sir, with salt water, though I seem to drown her remembrance again with more. 33 Ant. Pardon me, sir, your bad entertainment. Seb. O good Antonio! forgive me your trouble. Ant. If you will not murder me for my love, let me be your servant, Seb. If you will not undo what you have done, that is, kill him whom you have recovered, desire it not. Fare ye well at once: my bosom is full of kindness; and Iam yet so near the manners of my mother, that, upon the least occasion more, mine eyes will tell tales of me. I am bound to the Count Orsino’s court: farewell. (Exit. Ant. The gentleness of all the gods go with thee! Ihave many enemies in Orsino’s court, Else would I very shortly see thee there; But, come what may, I do adore thee so, That danger shall seem sport, and I will go. [Exit ScEeNE IT.—A Street. Enter VioLa; MALVOLIO following. Mal. Were not you even now with the Countess Olivia? Vio. Even now, sir: on a moderate pace I have since arrived but hither. Mal. She returns this ring to you, sir: you might have saved me my pains, to have taken it away your- self. She adds, moreover, that you should put your Jord into a desperate assurance she will none of him. And one thing more: that you be never so hardy to 1 \ | I | { lord’s taking of this. Receive it so. Vio, She took the ring of me ;—I’ll none of it. Mal. Come, sir; you peevishly threw it to her, and her will is, it should be so returned: if it be worth stooping for, there it lies in your eye; if not, be it his that finds it. [Exit. Vio. I left no ring with her: what means this lady? Fortune forbid my outside have not charm’d her! She made good view of me; indeed, so much, That, methought, her eyes had lost her tongue, For she did speak in starts distractedly. She loves me, sure: the cunning of her passion Invites me in this churlish messenger. None of my lord’s ring! why, he sent her none. Iam the man :—if it be so, as tis, ‘ Poor lady, she were better love a dream. Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much. How easy is it for the proper-false In women’s waxen hearts to set their forms! Alas! our frailty is the cause, not we, For such as we are made of, such we be. How will this fadge? My master loves her dearly; And I, poor monster, fond as much on him; And she, mistaken, seems to dote on me. What will become of this?) As I am man, My state is desperate for my master’s love; As [am woman,—now alas the day !— What thriftless sighs shall poor Olivia breathe ! O Time! thou must untangle this, not I; 4 It is too hard a knot for me t’ untie. [Exit 20 30 ScENE III.—A Room in OLIvia’s House. Enter Sir Tosy BrEtcu and Sir ANDREW AGUE-CHEEK. Sir To. Approach, Sir Andrew: not to be a-bed after midnight is to be up betimes; and diluculo surgere, thou know’st,— Sir And. Nay, by my troth, I know not; but I know, to be up late, is to be up late. | Sir To. A false conclusion: I hate it as an unfilled can. To be up after midnight, and to go to bed then, is early ; so that, to go to bed after midnight, is to go to bed betimes. Does not our life consist of the four elements ? : a 10 Sir And. ’Faith, so they say; but I think, it rather consists of eating and cen Sir To. Thou art a scholar; let us therefore eat and drink.—Marian, I say !—a stoop of wine! Enter Clown. Sir And, Here comes the fool, i faith. Clo. How now, my hearts? Did you never see the icture of we three? fi Now let’s have a catch. 18 Sir To. Welcome, ass. Sir And. By my troth, the fool has an excellent breast. I had rather than forty shillings I had such a leg, and so sweet a breath to sing, as the fool has, In sooth, thou wast in very gracious fooling last night, when thou spokest of Pigrogromitus, of the Vapians passing the equinoctial of Queubus: 't was very ‘001 ’ j'faith. I sent thee sixpence for thy leman: hadst it ScENE III.) TWELFTH-NIGHT: OR, WHAT YOU WILL. 555 Clo. I did impeticos thy gratillity, for Malvolio’s nose is no whipstock : my lady has a white hand, and the Myrmidons are no bottle-ale houses. Sir And. Excellent! Why, this is the best fooling, when all is done. Now, asong. d Sir To. Come on: there is sixpence for you; let’s have a song. Sir And. There’s a testril of me too: if one knight give a— ieee Would you have a love-song, or a song of good ife ? : Sir To. A love-song, a love-song. Sir And. Ay, ay; I care not for good life. Sone. Clo. O mistress mine ! where are you roaming ? O! stay and hear; your true love’s coming, 40 That can sing both high and low. Trip no further, pretty sweeting ; Journeys end in lovers’ meeting, Every wise man’s son doth know. Sir And. Excellent good, i’ faith. Sir To. Good, good. Clo. What is love? ’tis not hereafter ; Present mirth hath present laughter ; What's to come is still unsure: In delay there lies no plenty ; 50 Then come kiss me, sweet-and-twenty, Youth's a stuff will not endure. Sir And. A mellifluous voice, as I am true knight. Sir To. A contagious breath. . Sir And. Very sweet and contagious, i’ faith. Sir To. To hear by the nose, it is dulcet in conta- ion. But shall we make the welkin dance indeed ? hall we rouse the night-owl in a catch, that will draw three souls out of one weaver? shall we do that? 60 Sir And. An you love me, let’s do’t: Iam dog ata eatch. Clo. By ’r lady, sir, and some dogs will catch well. ote And. Most certain. Let our catch be, ‘‘Thou nave.” Clo. “Hold thy peace, thou knave,” knight? I shall be constrain’d in’t to call thee knave, knight. Sir And. ’T is not the first time I have constrain’d one to call me knave. Begin, fool: it begins, ‘‘ Hold thy peace.” 70 Clo. I shall never begin, if I hold my peace. Sir And. Good, i’ faith. Come, begin. {They sing a catch. Enter Marta. Mar. What a caterwauling do you keep here! If my lady have not called up her steward Malvolio and bid him turn you out of doors, never trust me. Sir To. My lady’s a Cataian; we are politicians; Malvolio’s a Peg-a-Ramsey, and ‘‘Three merry men be we.” Am not I consanguineous? am I not of her blood? Tilly-valley, lady! [Sings.] “There dwelt a man in Babylon, lady, lady!” 80 Clo. Beshrew me, the knight’s in admirable fooling. Sir And. Ay, he does well enough, if he be dis- pozel. and so do I too: he does it with a better grace, ut I do it more natural. ; . Sir To. [Sings.] “O! the twelfth day of December,”— Mar. For the love o' God, peace! Enter MALvouio. Mal. My masters, are you mad? or what are you? Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of night? Do ye make an ale- house of my lady’s house, that ye squeak out your coziers’ catches without any mitigation or remorse of Voice? Is there no respect of place, persons, nor time, in you? 93 ir To. We did keep time, sir, in our catches. Sneck up! Mal. Sir Toby, I must be round with you. My lady bade me tell you, that, though she harbours you as her kinsman, she’s nothing allied to your disorders. If you can separate yourself and your misdemeanours, you are welcome to the house; if not, an it would pee you to take leave of her, she is very willing to id you farewell. 102 Sir To. ‘Farewell, dear heart, since I must needs be gone.” Mar. Nay, good Sir Toby. Clo. ‘“‘ His eyes do show, his days are almost done.” Mal. Is’t even so? Sir To, ‘‘ But I will never die.” Clo. Sir Toby, there you lie. Mal. This is much credit to you. Sir To. “Shall I bid him go?” Clo. ‘* What an if you do?” Sir To. “Shall I bid him go, and spare not?” Clo. ‘‘O! no, no, no, no, you dare not.” Sir To. Out _o’time? Sir, ye lie. Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale? ; Clo. Yes, by Saint Anne; and ginger shall be hot i’ the mouth too. Sir To. Thou’rt i’ the right.—Go, sir, rub your chain with crumbs.—A stoop of wine, Maria! 121 Mal. Mistress Mary, if you prized my lady’s favour at anything more than contempt, you would not give means for this uncivil rule: she shall know of it, by this hand. (Exit. Mar. Go shake your ears. Sir And. ’T were as good a deed as to drink when a man’s a-hungry, to challenge him to the field, and then to break promise with him, and make a sas m. Sir To. Do’t, knight: I'll write thee a challenge, or I'll deliver thy indignation to him by word of mouth. Mar. Sweet Sir Toby, be patient for to-night. Since the youth of the count’s was to-day with my lady, she is much out of quiet. For Monsieur Mal- volio, let me alone with him: if I do not gull him into a nay-word, and make him a common recreation, do not think I have wit enough to lie straight in my bed. - I know, I can do it. Wee To. Possess us, possess us: tell us something ef im, 1 Mar. Marry, sir, sometimes he is a kind of Puritan. Sir And. O! if I thought that, I’d beat him like a dog. Sir To. What, for being a Puritan? thy exquisite reason, dear knight? Sir And. I have no exquisite reason for’t, but I have reason good enough. Mar. The devil a Puritan that he is, or anything constantly but a time-pleaser; an affectioned ass, that cons state without book, and utters it by great swarths: the best persuaded of himself; so crammed, as he thinks, with excellences, that it is his ground of faith, that all that look on him love him; and on that — him will my revenge find notable cause to work. Sir To. What wilt thou do? Mar. I will drop in his way some obscure epistles of love; wherein, by the colour of his beard, the shape of his Jeg. the manner of his gait, the expressure of his eye, forehead, and complexion, he shall find him- self most feelingly personated. I can write very like my lady, your niece: on a forgotten matter we can hardly make distinction of our hands. Sir To. Excellent! I smell a device. Sir And. IT have’t in my nose too. Sir To. He shall think, by the letters that thou wilt drop, that they come from my niece, and that she is in love with him? ; Mar. My purpose is, indeed, a horse of that colour. Sir And. And your horse, now, would make him anass. Mar. Ass, I doubt not. Sir And. O! ’t will be admirable. Mar. Sport royal, I warrant you: I know, my physic will work with him. I will plant you two, and let the fool make a third, where he shall find the letter: observe his construction of it. For this night, to bed and dream, on the event. Farewell. Sir To. Good night, Penthesilea. [Hoit Marta. Sir And. Before me, she’s a good wench. 180 Sir To. She’s a beagle, true-bred, and one that adores me: what o’ that? 110 556 TWELIFTH-NIGHT: OR, WHAT YOU WILL. (Act II, Sir And. I was adored once too. That old and antique song, we heard last night: Sir To. Let’s to bed, knight.—Thou hadst need send | Methought, it did relieve wy passion sek’ oF for more money More than light airs, and recollected terms, Sir And. If I cannot recover your niece, Iam a foul | Of these most brisk and giddy-paced times: way out. Come; but one verse. . Ti | But Mal, ‘My masters, are you mad? or what are you? Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of night?” Sir To. Send for money, knight: if thou hast her Cur. He is not here, so please your lordship, that not i’the end, call me cut. should sing it. Sir And. If I do not, never trust me; take it how Duke. Who was it? 10 you will. 191 Cur. Feste, the jester, my lord; a fool, that the lady Sir To. Come, come: I'll go burn some sack, ’tis too | Olivia's father took much delight in. He is about the late to go to bed now. Come, knight; come, knight. | house. . . [E£xeunt. Duke, Seek him out, and play the tune the while. | : a . i [Exit CuRIo.—Musie. Scene IV.—A Room in the DuKE's Palace. Come hither, boy: if ever thou shalt love, 2 ; ; In the sweet pangs of it remember me; Enter DUKE, VioLa, CuRIO, and others. ‘ For such as I am all true lovers are: Duke, Give me some music.—Now, good morrow, ' Unstaid and skittish in all motions else, riends,— ‘ Save in the constant image of the creature Now, good Cesario, but that piece of song, | That is belov’d.—How dost thou like this tune? 20 Scene IV.] TWELFTH-NIGHT: OR, WHAT YOU WILL. 557 Vio. It gives a very echo to the seat Where love is thron’d. Duke. Thou dost speak masterly. My life upon’t, young though thou art, thine eye Hath stay’d upon some favour that it loves; Hath it not, boy? : Vio. A little, by your favour. Duke. What kind of woman is’t? Vio. Of your complexion. Duke. Sheisnot worth theethen. Whatyears, i’ faith? Vio. About your years, my lord. Duke. Too old, by Heaven. Let still the woman take An elder than herself; so wears she to him, 3 So sways she level in her husband’s heart : For, boy, however we do praise ourselves, Clo. “I am slain by a fair cruel maid.’” Our fancies are more giddy and unfirm, More longing, wavering, sooner lost and worn, Than women’s are, 70. I think it well, my lord. Duke. Then, let thy love be younger than thyself, Or thy affection cannot hold the bent; For women are as roses, whose fair flower, Being once display’d, doth fall that very hour. Vio. And so they are: alas, that they are so; To die, even when they to perfection grow! Re-enter CURIO and Clown. Duke. O fellow! come, the song we had last night.-- Mark it, Cesario ; it is old, and plain: The spinsters and the knitters in the sun, And the free maids, that weave their thread with bones, Do use to chant it: it is silly sooth, And dallies with the innocence of love, Like the old age. Clo. Are you ready, sir? Duke. Ay ; pr’ythee, sing. Sona. Clo. Come away, come away, death, And in sad cypress let me be laid ; Fly away, fly away, breath ; Iam slain by a fair cruel maid. My shroud of white, stuck all with yew, O! prepare it: My part of death, no one so true id share it. Not a flower, not a flower sweet, On my black coffin let there be strown; Not a friend, not a friend grect My poor corse, where my bones shall be thrown: A thousand thousand sighs to save, Lay me, O! where Sad true lover never find my grave, To weep there. 40 50 [Music. 60 Duke. There’s for thy pains. : Clo. No pains, sir: I take pleasure in singing, sir. Duke. I'l pay thy pleasure then. Clo. Truly, sir, and pleasure will be paid, one time or another. 71 Duke. Give me now leave to leave thee. Clo. Now, the melancholy god protect thee, and the tailor make thy doublet of changeable taffeta, for thy mind is a very opal!—I would have men of such con- stancy put to sea, that their business might be every- thing, and their intent everywhere ; for that’s it, that always makes a good voyage of eres ee wit, Duke. Let all the rest give place.— i ; m citi uh [Excunt CuRIo and Attendants. Once more, Cesario, Get thee to yond same sovereign ] j cruelty: 80 ! i) Tell her, my love, more noble than the world, il Prizes not quantity of dirty lands: | The parts that fortune hath be- stow’d upon her, Tell her, I-hold as giddily as for- tl tune ; But ’tis that miracle and queen of gems, That nature pranks her in, attracts my soul. Vio. But, if she cannot love you, sir Duke. I cannot be so answer’d. Vio. ’Sooth, but you must. Say, that some lady, as perhaps there is, Hath for your love as great a pang of heart 90 As you have for Olivia: you can- not love her; You tell her so ; must she not then be answer’d? Duke. There is no woman’s sides Can bide the beating of so strong a passion As love doth give my heart; no woman’s heart So big to hold so much: they lack retention. Alas! their love may be call’d appetite, — No motion of the liver, but the palate,— That suffer surfeit, cloyment, and revolt ; But mine is all as hungry as the sea, And can digest as much. Make no compare Between that love a woman can bear me, And that I owe Olivia. i Ay, but I know— Vio. Duke. What dost thou know? Vio. Too well what love women to men may owe: In faith, they are as true of heart as we. My father had a daughter lov’d a man, As it might be, perhaps, were I a woman, I should your lordship. Duke, And what’s her history? Vio. A blank, my lord. She never told her love,— 110 But let concealment, like a worm i’ the bud, Feed on her damask cheek : she pin’d in thought: And, with a green and yellow melancholy, She sat like Patience on a monument, Smiling at grief. Was not this love indeed? We en Duly say more, swear more; but, in- eed, Our shows are more than will, for still we prove Much in our vows, but little in our love. ke. put died thy sister of her love, my oy ? Vio. I am all the daughters of my father’s 120 ouse, And all the brothers too; and yet I know not.— Sir, shall I to this lady? Duke, . ae that’s the theme. To her in haste : give her this jewel ; say, My love can give no place, bide nodenay. [EHxeunt. 558 TWELFTH-NIGHT: OR, WHAT YOU WILL. [Act IT. Scene V.—OLIvia’s Garden. Enter Sir ToBy BELCH, Sir ANDREW AGUE-CHEEK, and FABIAN. Sir To. Come thy ways, Signior Fabian. | Fab. Nay, I’ll come: if I lose a scruple of this sport, let_me be boiled to death with melancholy. Sir To. Wouldst thou not be glad to have the niggardly, rasvally sheep-biter come by some notable shame ? Fab. I would exult, man: you know, he brought me out o’ favour with my lady about a bear-baiting here. Sir To. To anger him well have the bear again, and we will fool him black and blue ;—shall we not, Sir Andrew ? ; Sir And. An we do not, it is pity of our lives. Enter Marta. Sir To. Here comes the little villain—How now, my metal of India? Mar. Get ye all three into the box-tree. Mal- volio’s coming down this walk: he has been yonder i’ the sun, practising behaviour to his own shadow, this half-hour. Observe him, for the love of mockery; for, I know, this letter will make a contemplative idiot of him. Close, in the name of jesting! [Zhe men hidc themselves.} Lie thou there [throws down a letter]; for here comes the trout that must be caught with tickling. [Exit. Enter MALVOLIO. Mal. ’Tis but fortune; all is fortune. Maria once told me, she did affect me; and I have heard herself come thus near, that, should she tancy, it should be one of my complexion. Be- sides, she uses me with a more exalted respect than any one else that follows her. What should I think on’t? 31 Sir To. Here’s an overweening rogue ! Fab. O, peace! Contemplation makes a rare turkey-cock of him: how he jets under his ad- vanced plumes! Sir And, ’Slight, I could so beat the rogue,— Sir To. Peace! I say. Mal, To be Count Malvolio ;— Sir To, Ah, rogue! Sir And. Pistol him, pistol him. Sir To. Peace! peace! Mal. There is example for’t: the lady of the Strachy married the yeoman of the wardrobe. Sir And. Fie on him, Jezebel! Fab. O, peace! now he’s deeply in; look how imagination blows him. _Mal. Having been three months married to her, sitting in my state, — Sir To. O, for a stone-bow, to hit him in the eye! Mal. Calling my officers about me, in my branched velvet gown ; having come from a day-bed, where I have left Olivia sleeping :— 52 Sir To. Fire and brimstone! Fab. O, peace! peace! Mal. And then to have the humour of state: and after a demure travel of regard,—telling them, I know my place, as I would they should do theirs,— to ask for my kinsman Toby.— Sir To. Bolts and shackles ! Fab. O, peace, peace, peace! now, now. 60 Mal. Seven of my people, with an obedient start, make out for him. I frown the while; and, perchance, wind up my watch, or play with some rich jewel. Toby approaches ; court’sies there to me. Sir To. Shall this fellow live? Fab. Though our silence be drawn from us with cars, yet peace! Mal. I extend my hand to him thus, quenching my familiar smile with an austere regard of control,— _Sir To. And does not Toby take you a blow o’ the lips then? — 71 Mal. Saying, ‘Cousin Toby, my fortunes, having cast me on your niece, give me this prerogative of speech,”— 40 - oe fe ont what ? al, “‘ You must amend your drunkenness.” Sir To. Out, scab! ae ae Nay, patience, or we break the sinews of our plot. Mal. “Besides, you waste the treasure of y time with a feplish night ba Sir And. That’s me, I warrant you. Mal. “ One Sir Andrew,”— é ed «And, I knew ’twas I; for many do call me ‘ool. " Met, [Seeing the letter.] What employment have we ere Fab. Now is the woodcock near the gin. Mal. ‘* By my life, this is my lady’s hand!” Sir To. O, peace! and the spirit of humours inti- mate reading aloud to him ! s Mal. (Taking up the letter.) By my life, this is my lady’s hand! these be her very C’s, her U’s, and her T’s; and thus makes she her great P’s, It is, in con- tempt of question, her hand. Sir And. Her C’s, her U’s, and her 7’s: why that? Mal. [Reads.] “To the unknown beloved, this, and my good wishes :” her very phrases !—By your leave, wax.—Soft!—and the impressure her Lucrece, with which she uses to seal: ‘tis my lady. To whom should this be ? 100 Fab. This wins him, liver and all. Mal. [Reads.] ‘‘ Jove knows, I love; But who? Lips, do not move: No man must know.” “No man must know.”—What follows? the numbers altered !—‘‘No man must know:’—if this should be thee, Malvolio? Sir To. Marry, hang thee, brock! Mal. [Reads.] “I may command, where I adore; 110 But silence, like a Lucrece’ knife, With bloodless stroke my heart doth gore: M, O, A, I, doth sway my life.” Fab. A fustian riddle. Sir To. Excellent wench, say I. 4 Mal. “M, O, A, I, doth sway my life.”—Nay, but first, let me see,—let me see. 3 . Fab. What a dish of poison has she dressed him! oe To. And with what wing the stannyel ene at it! Mal. “‘I may command, where I adore.” Why, she may command me: I serve her; she is my lady. Why, this is evident to any formal capacity. There is no obstruction in this.—And the end,—what should SCENE V.] TWELFTH-NIGHT: OR, WHAT YOU WILL. 559 that alphabetical position portend? if I could make that resemble something in me,--Softly !—M, O, 4, L— sir To. O! ay, make up that. He is now ata cold scent. Fab. Sowter will cry upon’t, for all this, though it be as rank as a fox. 13 Mal. M,—Malvolio:—M,—why, that begins my name. Fab. Did not I say, he would work it out? the cur is excellent at faults. Mal. M,—but then there is no consonancy in the sequel; that suffers under probation: .4 should follow, but O does. Fab. And O shall end, I hope. Sir To. Ay, or I’'Ilcudgel him, and make him cry, O/ Mal. And then I comes behind. 140 Fab. Ay, an you had an eye behind you, you might see more detraction at your heels, than fortunes before you. Mal. M, O, A, I:—this simulation is not as the former ;—and yet, to crush this a little, it would bow to me, for every one of these letters are in my name. Soft! here follows prose.—[Reads.] “ If this fall into thy hand, revolve. In my stars | am above thee; but be not afraid of greatness : some are born great, some achieve greatness, and some have greatness thrust upon them. Thy Fates open their hands; let thy blood and spirit embrace them. And, to inure thyself to what thou art like to be, cast thy humble slough, and See fresh. Be opposite with a kins- man, surly with servants; let thy tongue tang argu- ments of state; put thyself into the trick of singu- larity. She thus advises thee, that sighs for thee. Remember who commended thy yellow stockings, and wished to see thee ever cross-gartered: I say, remember. Go to, thou art made, if thou desirest to _ be so; if not, let me see thee a steward still, the fellow of servants, and not worthy to touch Fortune’s fingers. Farewell. She that would alter services ‘with thee, THE FORTUNATE-UNHAPPY.” Daylight and champian discovers not more: this is open. I will be proud, I will read politic authors, I will baffle Sir Toby, I will wash off gross acquaint- ance, I will be polnbserice the very man. I do not now fool myself, to let imagination jade me, for every reason excites to this, that my lady loves me. She did commend my yellow stockings of late; she did praise my leg being cross-gartered ; and in this she manifests herself to my love, and with a kind of injunction drives me to these habits of her liking. I ) | thank my stars, lam happy. I will be strange, stout, in yellow stockings, and cross-gartered, even with the swiftness of putting on. Jove and my stars be praised !—Here is yet a postscript. [Reads.] ‘Thou canst not choose but know who I am. If thou en- tertainest my love, let it appear in thy smiling: thy smiles become thee well; therefore in my presence still smile, dear my sweet, I pr’ythee.”’—Jove, I thank thee.—I will smile: I will do everything that thou wilt have me. ; Exit. Fab. I will not give my part of this sport for a pension of thousands to be paid from the Sophy. Sir To. I could marry this wench for this device. Sir And. So could I too, Sir To, And ask no other dowry with her, but such another jest. 191 Sir And. Nor I neither. Fab, Here comes my noble gull-catcher. Re-enter MaRia. Sir To. Wilt thou set thy foot o’ my neck ? Sir And. Oro’ mine either? . Sir To. Shall I play my freedom at tray-trip, and become thy bond-slave? Sir And. I’ taith, or I either ? Sir To. Why, thou hast put him in such a dream, that when the image of it leaves him, he must run mad. 201 Mar. Nay, but say true: does it work upon him? Sir To, Like aqua-vitee with a midwife. Mar. If you will then see the fruits of the sport, mark his first approach before my lady : he will come to her in yellow stockings, and ’tis a colour she abhors; and cross-gartered, a fashion she detests; and he will smile upon her, which will now be so unsuitable to her sretoe On, being addicted to a melancholy as she is, that it cannot but turn him into a notable contempt. If you will see it, follow me. 211 Sir To. To the gates of Tartar, thou most excellent devil of wit! Sir And. I'll make one too. (Exeunt. ACT III. ScENE I.—Otivia’s Garden. N Ye) Ye ys Viola. ie (“AVE thee, friend, and thy music. Dost thou live by. oe tabor? Clo. No, sir, [ live by the church. Vio. Art thou a churchman? - Clo. No such matter, sir: I do live by - the church; for I do live at_my_ house, and my house doth stand by the church. Vio. So thou may’st say, the king lies by a beggar, if a beggar dwell near him ; or, the church stands by thy tabor, if thy tabor stand by the church. uy Clo. You have said, sir.—To see this age! A sentence is but a cheveril glove to a good wit: how quickly the wrong side may be turned outward! Vio. Nay, that’s certain: they, that dally nicely | with words, may quickly make them wanton. Enter Vioua, and Clown with a tabor. _Clo. I would therefore, my sister had had no name, sir. Vio. Why, man? 20 Clo. Why, sir, her name’s a word; and to dally with that word, might make my sister wanton. But, tale words are very rascals, since bonds disgraced them. Vio. Thy reason, man? Clo. Troth, sir, I can yield you none without words ; and words are grown so false, I am loath to prove reason with them. Fio. J warrant, thou art a merry fellow, and carest for nothing. 30 Clo. Not so, sir, I do care for something ; but in my conscience, sir, I do not care for you: if that be to care for nothing, sir, I would it would make. you invisible. 2 Vio, Art not thou the Lady Olivia’s fool? 560 Clo. No, indeed, sir; the Lady Olivia has no folly: she will kee? no fool, sir, till she be married; and fools are as like husbands, as pilchards are to herrings, the husband's the bigger. Iam, indeed, not her fool, but her corrupter of words. 40 Vio. I saw thee late at the Count Orsino’s. Clo. Foolery, sir, does walk about the orb, like the sun: it shines everywhere. I would be sorry, sir, but the fool should be-as oft with your master, as with my mistress. I think I saw your wisdom there. 7 Vio. Nay, an thou pass upon me, I’ll no more with thee. Hold, there ’s expenses for thee. Clo. Now Jove, in his next commodity of hair, send thee a beard. : Vio. By my troth, I'll tell thee: I am almost sick for one, though I would not have it grow on my chin. Is thy lady within? 2 Clo. Would not a pair of these have bred, sir? Vio. Yes, being kept together, and put to use. — Clo. I would play Lord Pandarus ot Phrygia, sir, to bring a Cressida to this Troilus. Vio. L understand you, sir, 't is well begg’d. Clo. The matter, I hope, is not great, sir, begging but a beggar: Cressida was a beggar. My lady is within, sir. I will construe to them whence you come; who you are, and what you would, are out of my welkin: I might say, element, but the word is overworn. [Exit. Vio. This fellow’s wise enough to play the fool, And to do that well craves a kind of wit: He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye. This is a practice As full of labour as a wise man’s art; 70 For folly, that he wisely shows, is fit, But wise men, folly-fallen, quite taint their wit. Enter Sir ToBY BELcH and Sir ANDREW AGUE-CHEEK, Sir To. Save you, gentleman. Vio. And you, sir. Sir And. Dieu vous garde, monsieur. Vio. Et vous aussi: votre serviteur. Sir And. IT hope, sir, you are ; and Iam yours, Sir To. Will you encounter the house? my niece is desirous you should enter, if your trade be to her. “io. 1 am bound to your niece, sir: I mean, she is the list of my voyage. 81 Sir To. Taste your legs, sir: put them to motion. Vio. My legs do better understand me, sir, than I ee what you mean by bidding me taste my egs. Sir To. I mean, to go, sir, to enter. Vio, I will answer you with gait and entrance. But we are prevented. Enter OLIVIA and MARIA. Most excellent accomplished lady, the heavens rain odours on you! : 90 Sir And. That youth’s a rare courtier. ‘Rain odours!” well. Vio. My matter hath no voice, lady, but to yourown most pregnant and vouchsafed ear. Sir And. “ Odours,” areenane and ‘‘vouchsafed :” —I1’ll get’em all three all ready. Oli. Let the garden door be shut, and leave me to my hearing. [Exeunt Sir Tosy, Sir ANDREW, and MariA.] Give me your hand, sir. Vio. My duty, madam, and most humble service. oli. What is your name ? Vio, Cesario is your servant's name, fair princess. Oli. My servant, sir? ’T was never merry world, Since lowly feigning was call’d compliment. You're servant to the Count Orsino, youth. Vio, And he is yours, and his must needs be yours: Your servant's servant is your servant, madam. Oli. For him, I think not on him: for his thoughts, ’W ould they were blanks, rather than fill’a with me! Vio. Madam, I come to whet your gentle thoughts On his behalf :— Oli. O! by your leave, I pray you: 111 TWELFTH-NIGHT: OR, WHAT YOU WILL. {Acr III, I bade you never speak again of him; But, would you undertake another suit, I had rather hear you to solicit that, Than music from the spheres, Vio. | Dear lady,— Oli. Give me leave, “beseech you. I did send After the last enchantment you did here, A a in chase of you: so did I abuse Myself, my servant, and, I fear me, you. Under your hard construction must I sit, 120 To force that on you, in a shameful cunning, Which ao ee none of yours: what might you in Have you not set mine honour at the stake, And baited it with all the unmuzzled thoughts That tyrannous heart can think? To one of your receiving Enough is shown ; a cyprus, not a bosom, Hides my heart. So, let me hear you speak. Vio. I pity you. Oli. _That’s a degree to love. Vio. No, not a grise ; for tis a vulgar proof, That very oft we pity enemies. 30 Oli, Why then, methinks, ’t is time to smile again. O world, how apt the poor are to be proud! If one should be a prey, how much the better To fall before the lion than the wolf! [Clock strikes. The clock upbraids me with the waste of time.— Be not afraid, good youth, I will not have you; And yet, when wit and youth is come to harvest, Your wife is like to reap a proper man. There lies your way due west. Vio. : Then westward-ho! Grace, and good co ai attend your ladyship! 140 You'll nothing, madam, to my lord by me? Oli. Stay: I pr'ythee, tell me what thou think’st of me. Vio. That you do think, you are not what you are. Oli, If I think so, I think the same of you. Vio. Then think you right: I am not what I am. Oli. I would, you were as I would have you be! Vio. Would it be better, madam, than I am? I wish it might ; for now I am your fool. Oli. O! what a deal of scorn Jooks beautiful 150 In the contempt and anger of his lip! A murderous guilt shows not itself more soon, Than love that would seem hid: love's night is noon. Cesario, by the roses of the spring, By maidhood, honour, truth, and everything, I love thee so, that, maugre all thy pride, Nor wit, nor reason, can my passion hide. Do not extort thy reasons from this clause, For that I woo, thou therefore hast no cause ; But rather, reason thus with reason fetter: 160 Love sought is good, but given unsought is better. Vio. By innocence I swear, and by my youth, I have one heart, one bosom, and one truth, And that no woman has; nor never none Shall mistress be of it, save I alone. And so adieu, good madam: never more Will I my master's tears to you deplore. Oli. Yet come again, for thou perhaps may’st move That heart, which now abhors, to like his love. [Exceunt. ScreneE IT.—A Room in OLIvia's House. Enter Sir Tosy BELcH, Sir ANDREW, AGUE-CHEEK, and FABIAN. ; Sir And. No, faith, I'll not stay a jot longer. Sir To, Thy reason, dear venom: give thy reason. Fab. You niust needs yield your reason, Sir Andrew. Sir And. Marry, I saw your niece do more favours to the count’s serving-man, than ever she bestowed upon me: I saw ’t i’ the orchard. ae To. Did she see thee the while, old boy? tell me that. Sir And. As plain as I see you now. : Fab. This was a great argument of love in her toward you. ll Sir And. Slight! will you make an ass o’ me? __—_——/ Scene IV.] TWELFTH-NIGHT: OR, WHAT YOU WILL. 561 Fab. I will prove it legitimate, sir, upon the oaths of judgment and reason. Sir To. And they have been grand-jurymen, since before Noah was a sailor. Fab. She did show favour to the youth in your sight only to exasperate you, toawake your dormouse valour, to put fire in your heart, and brimstone in your liver. You should then have accosted her, and with some excellent jests, fire-new from the mint, you should have banged the youth into dumbness. This was looked for at your hand, and this was balked: the double gilt of this opportunity you let time wash off, and you are now sailed into the north of my lady’s opinion; where yu will bane. like an icicle on a Dutchman’s beard, unless you do redeem it by some laudable attempt, either of valour, or policy. Sir And. An’t be any way, it must be with valour, for policy I hate: I had as lief be a Brownist as a politician. : 31 Sir To. Why then, build me thy fortunes upon the basis of valour: challenge me the count’s youth to fight with him ; hurt him in eleven places: my niece shall take note of it; and assure thyself, there is no love-broker in the world can more prevail in man’s commendation with woman, than report of valour. Fab. There is no way but this, Sir Andrew. Sir And. Will either of you bear me a challenge to him? 40 Sir To. Go, write it ina martial hand ; be curst and brief; it is no matter how witty, so it be eloquent, and full of invention: taunt him with the license of ink: if thou thou’st him some thrice, it shall not be amiss; and as many lies as will lie in thy, sheet of paper, although the sheet were big enough for the bed of Ware in England, set ’em down. Go, about it. Let there be gall enough in thy ink, though thou write with a goose-pen, no matter. About it. Sir And. Where shall I find you? 50 Sir To. We'll call thee at the cubiculo. Go. [Ezit Sir ANDREW. Fab, This is a dear manakin to you, Sir Toby. Sir To. I have been dear to him, lad; some two thousand strong, or so. , Fab. We shall have a rare letter from him; but you ll not deliver it? i Sir To. Never trust me then; and by all means stir on the youth to an answer. I think, oxen and wain- ropes cannot hale them together. For Andrew, if he were opencd, and you find so much blood in his liver as will clog the foot of a flea, I’ll eat the rest of the anatomy. _ 62 Fab. And his opposite, the youth, bears in his visage no great presage of cruelty. Enter Marta. Sir To. Look, where the youngest wren of nine comes. Mar. If you desire the spleen, and will Tap your- selves into stitches, follow me. Yond gull Malvolio is turned heathen, a very renegado ; for there is no Christian, that means to be saved by believing rightly, can ever believe such impossible passages of gross- ness. He’s in yellow eee Sir To. And cross-gartered Mar. Most villainously ; like a pedant that keeps a school i’ the church.—I have dogged him like his mur- derer, He does obey every point of the letter that I dropped to betray him: he does smile his face into more lines, than are in the new map, with the aug- -Mentation of the Indies. You have not seen suc a thing as "tis; I can hardly forbear hurling things at him. I know, my lady will strike him: if she do, he'll smile, and take’t fora great favour. 82 Sir To. Come, pring us, bring us where he is. : [Ezxeunt. ScENE III.—A Street. ; . Enter SEBASTIAN and ANTONIO. ‘Seb. I would not, by my will, have troubled you; | But, since you make your pleasure of your pains, will no further chide you. -Ant. I could not stay behind you: my desire, More sharp than filed steel, did spur me forth ; And not all love to see you (though so much, As might have drawn one to a longer voyage), But jealousy what might befall your travel, Being skilless in these parts; which to a stranger, Unguided, and unfriended, often rome Rough and unhospitable: my willing love, The rather by these argunrents of fear, Set forth in your pursuit. Seb. My kind Antonio, I can no other answer make, but, thanks, And thanks, and ever thanks ; and oft good turns Are shuffied off with such uncurrent pay ; But, were my worth, as is my conscience, firm, You should find better dealing. What’s to do? Shall we go sce the reliques of this town? Ant. To-morrow, sir: best first go see your lodging Seb. Iam not weary, and ’tis long to night. ‘1 I pray you, let us satisfy our eyes With the memorials, and the things of fame, That do renown this city. Ant. ’Would, you’d pardon me: I do not without danger walk these streets. Once, in a sea-fight ’gainst the count his galleys, I did some service; of such note, indeed, That, were I ta’en here, it would scarce be answer’d. Seb. Belike, you slew great number of his people. Ant. The offence is not of such a bloody nature, 30 Albeit the ony of the time, and quarrel, Might well have given us bloody argument. It might have since been answer’d in repaying What we took from them ; which, for traftic’s sake, Most of your city did: only myself stood out; For which, if I be lapsed in this place, I shall pay dear. - Seb. Do not then walk too open. Ant. It doth not fit me. Hold, sir; here’s my purse. In the south suburbs, at the Elephant, Is best to lodge: I will bespeak our diet, 40 Whiles you beguile the time, and feed your knowledge, With viewing of the town: there shall you have me. Seb. Why I your purse? 4 Ant, Haply your eye shall light upon some toy You have desire to purchase; and your store, I think, is not for idle markets, sir. Seb. I’ll be your purse-bearer, and leave you for an our. Ant. To the Elephant.— Seb. I do remember. 50 [EHaxeunt. Scenr IV.—OLtvia’s Garden. Enter OLivia and Marta. Oli. Ihave sent after him : he says, he’Il come; How shall I feast him? what bestow of him? For youth is bought more oft, than begg’d, or bor- row’d. I speak too loud.— Where is Malvolio?—he is sad, and civil, And suits well for a servant with my fortunes.— Where is Malvolio? Mar. He’s coming, madam; but in very strange manner. He is sure possess’d, madam. Oli. Why, what’s the matter? does he rave? 10 Mar. No, madam ; he does nothing but smile: your ladyship were best to have some guard about you, if he come, for sure the man is tainted in his wits. Oli. Go call him hither.—I am as mad as he, If sad and merry madness equal be.— Enter MALVOLIO. How now, Malvolio? Mal. Sweet lady, ho, ho. Oli. Smil’st thou ? I sent for thee upon a sad occasion. 19 Mal. Sad, lady? I could be sad, This does make some obstruction in the blood, this cross-gartering ; but what of that? if it please the eye of one, it is with nea the very true sonnet is, “‘ Please one, and please all. paar 562 TWELFTH-NIGHT: OR, WHAT YOU WILL. [Acr IIL, Oli. Why, how dost thou, man? what is the matter with thee? Mal. Not black in my mind, though yellow in m legs. It did come to his hands, and commands shall - aia I think we do know the sweet Sona and, 3 Oli. Wilt thou go to bed, Malvolio? we To bed? ay, sweet-heart, and I'll come to thee. Oli. God comfort thee! Why dost thou smile so, and kiss thy hand so oft? Mar. How do you, Malvolio? n Mal, At your request? Yes; nightingales answer aws. Oli. ‘* Why dost thou smile so, and kiss thy hand so oft?” Mar, Why appear you wi is ridi betore mp lady? you with this ridiculous boldness al. ** Be not afraid of greatness :”—’t i Oli. What meanest thou by that, Malvolio? ss Mal. ‘Some are born great,”— Oli. Ha? i i H Mal. “Some achieve grepbasss, Oli. What say’st thou Mal._‘ And some have greatness thrust upon them. Oli. Heaven restore thee ! Mal. “Remember, who commended thy yellow stockings,’”— 50 Olt, Thy yellow stockings ? 7 Mal. “ And wished to see thee cross-gartered. —_—— Scunz IV.) TWELFTH-NIGHT: OR, WHAT YOU WILL. 563 Oli. Cross-gartered ? Mal. “Go to, thou art made, if thou desirest to be 80 :”— Oli. Am I made? Mal. “Tf not, let me see thee a servant still.” Oli. Why, this is very midsummer madness. Enter Servant. Serv. Madam, the ee entleman of the Count Orsino’s is returned. I could hardly entreat him back: he attends your ladyship’s pleasure. Oli. I'l come to him. [Hxit Servant.] Good Maria, let this fellow be looked to. Where’s my cousin Toby ? Let some of my people have a special care of him. I would not have him miscarry for the half of 7 dowry. . LEceunt OLIVIA and MARIA. Mal. Oh, ho! do you come near me now? no worse man than Sir Toby to look to me? This concurs directly with the letter: she sends him on purpose, that I may appear stubborn to him ; for she incites me to that in the letter. ‘‘Cast thy humble slough,” says she ;—“‘ be opposite with a kinsman, surly with ser- vants,—let thy tongue tang with arguments of state, put thyself into the trick of eine oy ;”—and conse- quently sets down the manner how;; as, a sad face, a reverend carriage, a slow tongue, in the habit of some sir of note, and so forth. I have limed her; but it is Jove’s doing, and Jove make me thankful! And when she went away now, “Let this fellow be looked to:” fellow ! not Malvolio, nor after my degree, but fellow. Why, everything adheres together, that no drachm of a scruple, no scruple of a scruple, no obstacle, no incredulous or unsafe circumstance.—What can be said? Nothing that can be, can come between me and the full prospect of my hopes. Well, Jove, not I, is the doer ot this, and he is to be thanked. Re-enter MARIA, with Sir ToBy BELCH and FABIAN. Sir To. Which way is he, in the name of sanctity? Ef all the devils in hell be drawn in little, and Legion himself ot him, yet I’ll speak to him. Fab. Here he is, here he is.—How is’t with you, sir? how is’t with you, man? 90 Go off; discard you: let me enjoy my private; go off. Mar. Lo, how hollow the fiend speaks within him! did not I tell you? Sir Toby, my lady prays you to have a care of him. Mal. Ah, ha! does she so? Sir To. Go to, go to: peace! peace! we must deal gently wiv him; let me alone.—How do you, Malvolio? ow ist with you? What, man! defy the devil: con- sider, he’s an enemy to mankind. 100 Mal. Do you know what you say? Mar. La you! an you speak ill of the devil, how he takes it at heart! Pray God, he be not bewitched ! Fab. Carry his water to the wise-woman. Mar. Marry, and it shall be done to-morrow morning, if I live. My lady would not lose him for more than I ll say. Mal. How now, mistress ? Mar. O Lord! 109 Sir To. Pr’ythee, hold thy peace : this is not the way. De you not see you move him? let me alone with him. ‘ab. No way but gentleness; gently, gently: the fiend is Tone, and not be roughly used. Sir To. Why, how now, my bawcock? how dost thou, chuck ? Mal. Sir! Sir To. Ay, Biddy, come with me. What, man! *tis not for gravity to play at cherry-pit with Satan. Hang him, foul coilier ! 7 .. Mar, Get him to say his prayers: good Sir Toby, get.him to pray. 121 Mal. My jroo minx ! Mar. No, warrant you; he will not hear of godliness. Mal. Go, hang yourselves all! you are idle shallow things: I am not of your element, You shall know more hereafter. [Exit. Sir To, Is’t possible? Fab. If this were played upon a stage now, I could condemn it as ah improbable fiction. Sir To. His very genius hath taken the infection of the device, man. Mar. Nay, pursue him now, lest the device take air, and taint. Fab. Why, we shall make him mad, indeed. Mar. The house will be the quieter. Sir To. Come, we’ll have him in a dark room, and bound. My niece is already in the belief that he's mad: we may carry it thus, for our pleasure, and his penance, till our very pastime, tired out of breath, prompt us to have mercy on him; at which time we will bring the device to the bar, and crown thee for a finder of madmen. But see, but see. 142 Enter Sir ANDREW AGUE-CHEEK. Fab. More matter for a May morning. Sir And. Here’s the challenge; read it: I warrant, there’s vinegar and pepper in’t. Fab. Is’t so saucy Sir And. Ay, is’t, I warrant him: do but read. Sir To. Give me. [Reads.] ‘“‘ Youth; whatsoever thou art, thou art but a scurvy fellow.” Fab. Good, and valiant. 150 Sir To. “Wonder not, nor admire not in thy mind, a I do eall thee so, for I will show thee no reason ‘or eee A good note, that keeps you from the blow of e law. Sir To. “Thou eomest to the Lady Olivia; and in my sight she uses thee kindly: but thou liest in thy throat ; that is not the matter J challenge thee for.” Fab. ae brief, and to exceeding good sense—less. Sir To, “I will waylay thee going home; where, if it Be aie chance to kill me,”— 161 . Good. Sir To. “Thou killest me like a rogue and a villain.” ak Still you keep o’ the windy side of the law: good. Sir To, ‘‘ Fare thee well; and God have mercy upon one of our souls! He may have merey upon mine, but my hope is better; and so look to thyself. Thy friend, as thou usest him, and thy sworn enemy, ANDREW AGUE-CHEEK.”—If this letter move him not, his legs cannot. I'll give’t him. 171 Mar. You may have very fit occasion for’t: he is now in some commerce with my lady, and will by-and- by depart. Sir To. Go, Sir Andrew; scout me for him at the corner of the orchard, like a bum-bailie. So soon as ever thou seest him, draw, and, as thou drawest, swear horrible; for it comes to pass oft, that a terrible oath, with a swaggering accent, sharply twanged off, ives manhood more approbation than ever proof itself would have earned him. Away! 181 Sir And. Nay, let me alone for swearing. [Exit. Sir To. Now will not I deliver his letter: for the behaviour of the young gentleman gives him out to be of good capacity and BEE is employment between his lord and my niece confirms no less; there- fore this letter, being so excellently ignorant, will breed no terror in the youth: he will find it comes. from aclodpole. But, sir, I will deliver his challenge by word of mouth; set upon Ague-cheek a notable report of valour, and drive the gentleman (as, I know, his youth will aptly receive it) into a most hideous opinion of his rage, skill, fury, and impetuosity. This will so fright them both, that they will kill one another by the look, like cockatrices. Fab. Here he comes with your niece. Give them way, till he take leave, and presently after him. ir To. I will meditate the while upon some horrid message for a challenge. (Exeunt Sir ToBy, FABIAN, and MARIA. Re-enter OLIViA, with VIOLA. Oli. I have said too much unto a heart of stone, 200 And laid mine honour too unchary out: There’s something in me that reproves my fault, But such a headstrong potent fault it is, That it but mocks reproof, Vio. With the same haviour that your passion bears, Goes on my master’s grief. 564 TWELFTH-NIGHT: OR, WHAT YOU WILL. fAcr OL. Oli. Here; wear this jewel for me: ’tis my picture. Refuse it not, it hath no tongue to vex you; And, I beseech you, come again to-morrow. What shall you ask of me, that I'll deny, 2 That honour, sav’d, may upon asking give ? "io. Nothing but this; your true love for my master. 2 . Oli. How with mine honour may I give him that, Which I have given to you? : ; Vio. I will acquit you. Oli. Well, come again to-morrow. Fare thee well: A fiend like thee might bear my soul tohell. [zit. Re-enter Sir TOBY BELCH, and FABIAN. Sir To. Gentleman, God save thee. Vio. And you, sir. 218 Sir To. That defence thou hast, betake thee to’t: of what nature the wrongs are thou hast done him, I know not; but thy inter- cepter, full of despite, bloody as the hunter, attends thee at the orchard- end. Dismount thy tuck; be yare in thy preparation, for thy assailant is quick, skilful, and deadly. Fio. You mistake, sir: Iam sure, no man hath any quarrel to me. My remembrance is very free and clear from any image of offence done to any man, 23: Sir To. You'll find it otherwise, I assure you: therefore, if you hold your life at any price, betake you to your guard ; for your opposite hath in him what youth, strength, skill, and wrath, can furnish man withal. Vio. I pray you, sir, what is he? Sir To. He is knight, dubbed with unhatch’d rapier, and on carpet consideration; but he is a devil in private brawl; souls and bodies hath he divorced three, and his incensement at this moment is so implacable, that satisfaction can be none but by pangs of death ae sepulchre. Hob, nob, is his word: give ’t, or take ’t. = 0 Vio. I will return again into the house, and desire | some conduct of the lady: Iam no fighter. I have heard of some kind of men, that put quarrels purposely on others to taste their valour; belike, this isa man of that quirk. 252 Sir To. Sir, no; his indignation derives itself out of a very competent injury: therefore, get you on, and give him his desire. Back you shall not to the house, unless you undertake that with me, which with as much safety you might answer him: therefore, on, or strip your sword stark naked; for meddle you must, that’s certain, or forswear to wear iron about you. Vio. This is as uncivil, as strange. I beseech you, do me this courteous office, as to know of the knight what my offence to him is: it is something of a -negligence, nothing of my purpose. Sir To. I will do so. Signior Fabian, stay you br this gentleman till my return. Exit. Vio. Pray you, sir, do you know of this matter? Fab. I know, the knight is incensed against you, even to a mortal arbitrement, but nothing of the circumstance more. Vio. L beseech you, what manner of man is he? 270 | Fab. Nothing of that wonderful promise, to read him by his form, as you are like to find him in the props of his valour. ce is, indeed, sir, the most skilful, loody, and fatal opposite that you could possibl have found in any a of Diyria. Will you wal towards him? I will I can. - Vio. I shall be much bound to you for’t : I'am’ one, that would rather go with sir priest, than sir knight’: I care not who. knows so much of my mettle. z an eeunt, . - Re-enter Sir Tony, with Sir ANDREW. Sir To. Why, man, he’s.a very devil, I have not make your peace with him, if | seen such a firago. I had a scabbard, and all, and he gives me the stuck-in with such a mortal motion, that it is inevitable ; and on the answer, he pays you as surely as- your feet hit the ground they step on. They say, he has been fencer to the Sophy. Sir And. Pox on’t, Ill not meddle with ‘him. . Sir To. Ay, but he will not now be pacified: Fabian can scarce hold him yonder. 290 Sir And, Plague on’t; an I thought he had been valiant, and so cunning in fence, I’d have seen him damned ere I’d have challenged him. Let him let the matter slip, and I’ll give him my horse, grey Capilet, Sir To. I’ll make the motion. Stand here ; make a good show on’t. This shall end without the perdition Sir To. ‘Come, Sir Andrew, there's no remedy.” ' of souls, [Aside.] Marry, I'll ride your horse as well as I ride you. | Re-enter FABIAN and VIOLA. | Ve Fastan.] I have his hoarse to take up the quarrel. | T have persuaded him, the youth’s a devil. Fab. (To Sir Topy,| He is as horribly conceited of him; and pants, and looks pale, as if a bear were at his heels. Sir To. [To Vioua.] There’s no remedy, sir: he will fight with you for ’s oath sake, Marry, he hath ' better bethought him of his quarrel, and he finds that now scarce to be worth talking of : therefore draw for the supportance of his vow: he protests, he will not hurt you. . a Vio. [Aside.] Pray God defend me! A little thing would make me tell them how much I lack of a man. Fab. Give ground, if you see him furious. 312 Sir To. Come, Sir Andrew, there’s no remedy: the gentleman will, for his honour’s sake, have one bout, with you: he cannot by the duello avoid it; but he has promised me, as he is a gentleman and a.soldier, he will not hurt you. Come on; to’t. Sir And. Pray God, he keep his oath! | Draws. Vio. I do assure you, ’t is against my will. [Draws Enter ANTONIO. Ant. Put up your sword.—If this young gentleman Have done offence, I take the fault on. me: 321 If you offend him, Tfor him defy you. [Drawing. Sir To. You, sir? why, what are you? Ant. One, sir, that for his love dares yet do more, Than you have heard him brag to you he will. Sir To. Nay, if you be an undertaker, I am for ths Fab. 0 aed Sir Toby, hold ! here come the officers, Sir To. 111 be with you anon. . x Vio. Pray, sir, put your sword up, if rou lease. Sir And. Marry, will I, sir :—and, for that I pro- | mised you, I’ll be as good as my. word. He will bear ' you easily, and reins well. 332 Enter two Officers. ; 2 Off. This is the man: do thy office. a] 4 pass with him, rapier, Scenz IV.) TWELFTH-NIGHT: OR, WHAT YOU WILL. 2 Off. Antonio, I arrest thee at the suit Of Count Orsino. Ant. g You do mistake me, sir. 1 Off. No, sir, no jot: I know your favour well, Though now you have no sea-cap on your head.— Take him away: he knows, I know him well. Ant. I must obey.—[Jo VioLa.] This comes with | : seeking you ; But there ’s no remed What will you do? ow my ay Makes me to ask you for my purse. It grieves me Much more for what I cannot do for you, Than what befalls myself. You stand amaz’d; But be of comfort. 2 Of. Come, sir, away. Ant. I must entreat of you some of that money. Vio. What money, sir? For the fair kindness you have show’d me here, And part, being prompted by your present trouble, 350 Out of my lean and low ability Ill lend you something. My having is not much: I’ll make division of my present with you. Hold, there is half my coffer. Ant. Will you deny me now? Is’t Possible, that my deserts to you ; Can lack persuasion? Do not tempt my misery, Lest that it make me so unsound a man, _As to,upbraid you with those kindnesses That I have done for you. Vio. I know of none; Nor know I you by voice, or any feature. I hate ingratitude more in a man, Than lying vainness, babbling drunkenness, Or any taint of vice, whose strong corruption Inhabits our frail blood. Ant. O heavens themselves ! 2 Off. Come, sir: I pray you, £0. Ant. le me speak alittle. This youth, that you see . here, : : I shall answer it. 340 360 | Lsnatch’d one half out of the jaws of death, Reliev’d him with such sanctity of love, And to his image, which, methought, did promise Most venerable worth, did I devotion. 1 Of. What’s that to us? The time goes by: away! Ant. But, O, how vile an idol proves this god !— Thou hast, Sebastian, done good feature shame, | In nature there’s no blemish, but the mind; None can be call’d deform’d, but the unkind: Virtue is beauty ; but the beauteous-evil Are empty trunks, o’erflourish’d by the devil. 1 Of. The man grows mad: away with him!: Come, come, sir. Ant. Lead me on. [Exeunt Officers with ANTONIO. Vio. Methinks, his words do trom_such passion fly, That he believes himself ; so do not I. 382 Prove true, ithagination, O, prove true, That I. dear brother, be now ta’en for you! Sir To. Come hither, knight; come hither, Fabian: we'll whisper o’er a couplet or two of most sage saws. Vio. He nam’d Sebastian : I my brother know Yet living in my glass; even such, and so, In favour was my brother ; and he went Still in this fashions colour, ornament, For him I imitate. O! if it prove, Tempests are kind, and salt waves fresh in foves g vit, Sir To. A very dishonest paltry boy, and more a coward than a hare. His dishonesty appears in leaving his friend here in necessity, and denying him; and for his cowardship, ask Fabian. Fab. A coward, a most devout coward, religious in it. Sir And. ’Slid, I'll after him again, and beat him. Sir To. Do; cuff him soundly, but never draw thy sword. 401 [Eait. Sir And. An TI do not,— Sir To. I dare lay any money ’t will be nothing yet. 390 Fab. Come, let’s see the event. [Exeunt. ACT IV. ScENE I.—The Street before OLIVIA’s House. Enter SEBASTIAN and Clown. There ’s money for thee: if you tarry longer, 20 eS Clown. : eC ==——ILL you make me believe ms that I am not sent for you?’ Seb. Go to, go to; thou art a foolish fellow: Let me be clear of thee. Clo. Well held out; i’faith! No, Ido not know you; nor I am not sent to you by my lady to bid you come speak with her; nor your name is not Master Cesario; nor this is not my nose neither. —Nothing, that is so, is so. 10 , Seb. I pr’ythee, vent thy folly some- i, where else: 2 Thou know’st not me. a. Clo. Vent my folly! He has heard that word of | ,Some great man, an: ow applies it to a fool. Vent “ny folly!’ I am afraid this great lubber, the world, | . Will préve a cockney. I pr’ythee now, ungird thy | “strangeness, and tell me what I shall vent to my lady. ‘ Shall I vent to her that thou art coming? 7 | '’ Seb. I pr’ythee, foolish Greek, depart from me. hc Are all the people mad? E shall give worse payment. Clo. By my troth, thou hast an open hand.—These wise men, that give fools money, get themselves a good report after fourteen years’ purchase. Enter Sir ANDREW. Sir And. Now, sir, have I met you again? there’s for you. [Striking SEBASTIAN. Seb. Why, there’s for thee, and there, and there. [Beating Sir ANDREW. Enter Sir ToBy and FABIAN. Sir To. Hold, sir, or1’ll throw your dagger o’er ne ouse. Clo. This will I tell my lady straight.. I would not be in some of your coats for twopence. [Exit. Sir To. Come on, sir: hold. : Sir And. Nay, Tet him alone; Ill go-another way to work with him: I'll have an action of battery against-him, if there be any law in Illyria, Though I ‘struck him first, yet it’s no matter for that. 566 TWELFTH-NIGHT: OR, WHAT YOU WILL. [Act IV, Seb. Let & thy hand. | Sir To. Come, sir, I will not let you go. Come, m young soldier, put up your iron: you are well fleshed. Come on. 41 What wouldst thou Seb. I will es free from thee. now If thou dar’st tempt me further, draw thy sword. Sir To. ‘Come, my young soldier, put up your fron.” Sir To. What, what! Nay, then I must have an ounce or two of this malapert blood from you. [Draws. Enter OLIVIA. Oli. Hold, Toby! on thy life I charge thee, hold! Sir To. Madam! Oli. Will it be ever thus? Ungracious wretch! Fit for the mountains, and the barbarous caves, Where sates ne’er were preach’d. Out of my sight !— 50 Be not offended, dear Cesario.— Rudesby, be gone! [Exeunt Sir Tosy, Sir ANDREW, and FABIAN. I pr’ythee, gentle friend, Let thy fair wisdom, not thy passion, sway In this uncivil and unjust extent Against thy peace. Go with me to my house; And hear thou there how many fruitless pranks This ruffian hath botch’d up, that thou thereby May’st smile at this. Thou shalt not choose but go: Do not deny. Beshrew his soul for me, He started one poor heart of mine in thee. Seb. What relish is in this? how runs the stream? Or I am mad, or else this is a dream. Let fancy still my sense in Lethe steep; If it be thus to dream, still let me sleep. Oli. Nay; come, I pr’ythee. “Would thou’dst be rul’d by me! Seb. Madam, [ will. Oli. O! say so, and so be. [EHxeunt. ScENE II.—A Room in Onivra’s House. Enter Maria and Clown. Mar. Nay,I r’ythee, put on this gown, and this beard: make him believe thou art Sir Topas the curate: do it quickly; I’ll call Sir Toby the w. Vibe - it, Clo. Well, I'll put it on, and I will dissemble my- self in’t: and I would I were the first that eve dissembled in such a gown, I am not tall enough to become the function well, nor lean enough fo be thought a good student; but to be said an. honest man, and a good housekeeper, goes as fairly as to say a oe man, and a great scholar. The competitors enter. Enter Sir ToBy BELCH and Maria. Sir To. Jove bless thee, master parson. Clo. Bonos dies, Sir Toby : for as the old hermit of Prague, that never saw pen and ink, very wittily said to a niece of King Gorbodue, “‘ That, that is, is ;° so I, being master parson, am master parson, for what is that, but that? and is, but is? Sir To. To him, Sir Topas. Clo. What, ho! I say.— Peace in this prison. Sir To, The knave counterfeits well; a good knave, Mal. (Within.] Who calls there? 21 Clo. Sir Topas, the curate, who comes to visit Malvolio the lunatic. 1 a Sir Topas, Sir Topas, good Sir Topas, go to my lady. lo. Out, hyperbolical fiend ! how vexest thou this man! Talkest thou nothing but of ladies? Sir To. Well said, master parson. Mal. Sir Topas, never was man thus wronged. Good Sir Topas, do not think I am mad: they have laid me here in hideous darkness, 31 Clo. Fie, thou dishonest Satan! I call thee by the most modest terms; foram one of those gentle ones, that will use the devil himself with courtesy. Sayest thou, that house is dark? Mal. As hell, Sir Topas. Clo. Why, it. hath bay-windows transparent as barricadoes, and the clear-stories towards the south- north are as lustrous as ebony ; and yet complainest thou of obstruction ? 40 Mal. Iam not mad, Sir Topas. I say to you, this house is dark. Clo. Madman, thou errest: I say, there is no dark- ness but ignorance, in which thou art more puzzled than the Egyptians in their fog. Mal. I say, this house is as dark as ignorance, though ignorance were as dark as hell; and I say, there was never man thus abused. I am no more mad than you are: make the trial of it in any constant question. 50 Clo. What is the opinion of Pythagoras concerning wild-fowl? : Mal. That the soul of our grandam might haply inhabit a bird. Clo. What thinkest thou of his opinion? ie Clo, ** What, ho! I say.—Peace in this prison.” Mal. I think nobly of the soul, and no way approve his opinion. : Clo. Fare thee well: remain, thou still in darkness, Thou shalt hold the opinion of Pythagoras, ere Le allow of thy wits, and fear to kill a woodcock, les! chow. dispossess the soul of thy grandam, Fare thee we , ScENE III.) TWELFTH-NIGHT: OR, WHAT YOU WILL. 567 Mal. Sir Topas! Sir Topas !— Clo. Iam gone, sir, Sir To. My most exquisite Sir Topas! And anon, sir, Clo. Nay, I am for all waters. IU be with you again, Mar. Thou mightst have done this without thy In a trice, beard and gown: he sees thee not. Like to the old Vice, Sir To. To him in thine own voice, and bring Your need to sustain; me word how thou findest him: I would, we were well rid of this knavery. If he may be conveniently Who with dagger of lath delivered, I would he were; for I am now so far in In his rage and his wrath, 130 offence with my niece, that I cannot pursue with any Cries, Ah, ha! to the devil: safety this sport to the upshot. Come by-and-by to Like a mad lad, my chamber. [Exeunt Sir ToBy and MARIA. Pare thy nails, dad, : Adieu, goodman drivel. [ Exit. Clo. [Singing.] ‘‘ Hey Robin, jolly Robin, Teil me how thy lady Maes Mal. F . Fool,— Clo, ‘‘ My lady is unkind, perdy.” Mal. Fool,— Clo. ‘‘ Alas, why is she so?” 80 Mal. Fool, I say ;— . ‘She loves another.”—Who calls, ha? Mal. Good fool, as ever thou wilt deserve well at my hand, help me to a candle, and pen, ink, and paper. As Iam a gentleman, I will live to be thank- ul to thee for’t. Clo. Master Malvolio! Mal. Ay, good fool. Clo. Alas, sir, how fell you besides your five wits? Mal. Fool, there was never man so notoriously abused: I am as well in my wits, fool, as thou art. 91 Clo. But as well? then you are mad indeed, if you be no better in your wits than a fool. Mal. They have here propertied me; keep me in darkness, send ministers: to me, asses! and do all they can to face me out of my wits. Clo, Advise you what you say : the minister is here. —Malvolio, Malvolio, thy wits the heavens restore! endeavour thyself to sleep, and leave thy vain bibble babble. 1 Mal. Sir Topas,— Clo. Maintain no words with him, good fellow.— Who, I, sir? not I, sir. God b’ wi’ you, good Sir Tapas Meany, Amen.—I will, sir, I will. ; ‘al. Fool, fool, fool, I say. Clo. Alas, sir, be patient. What say you,sir? Iam shent for speaking to you. Mal. Good fool, help me to some light, and some paper: I tell thee, I am as well in my wits, as any man in Ilyria. 110 Clo. Well-a-day, that you were, sir! . Mal. By this hand, I am. Good fool, some ink, paper, and light, and convey what I will set down to my lady: it shall advantage thee more than ever the bearing of letter did. Clo. I will help you to’t. But tell me true, are you not mad indeed? or do you but counterfeit? Mal. Believe me, I am not: I tell thee true. : Clo. Nay, I'll ne’er believe a madman, till I see his brains, { will fetch you light, and paper, and ink. 120 Mal. Fool, I’ll requite it in the highest degree: I pr’ythee, be gone. ScENE ITI.—O.ivia’s Garden. Enter SEBASTIAN. Seb. This is the air; that is the glorious sun; This pearl she gave me, I do feel’t and see’t; And though ’t is wonder that enwraps me thus, Yet ‘tis not madness. Where’s Antonio then? I could not find him at the Elephant ; Yet there he was, and there I found this credit, That he did range the town to seek me out. His counsel now might do me golden service: For though my soul disputes well with my sense, That this may be some error, but no madness, 10 Yet doth this accident and flood of fortune So far exceed all instance, all discourse, That I am ready to distrust mine eyes, And wrangle with my reason, that persuades me To any other trust but that Iam mad,— Or else the lady’s mad: yet, if ’t were so, She could not sway her house, command her fol- lowers, Take and give back affairs, and their despatch, With such a smooth, discreet, and stable bearing, As, I perceive, she does. There’s something in'’t, 20 That is deceivable. But here the lady comes. Enter Ouivia and a Priest. Oli, Blame not this haste of mine. If you mean well, Now go with me, and with this holy man, Into the chantry by; there, before him, And underneath that consecrated roof, Plight me the full assurance of your faith: That my most jealous and too doubtful soul May live at peace, He shall conceal it, Whiles you are willing it shall come to note, What time we will our celebration keep 30 According to my birth.—What do you say? Seb, I'll follow this good man, and go with you, And, having sworn truth, ever will be true. Olt. Then lead the way, good father; and heavens so shine, That they may fairly note this act of mine! [Zzeunt. ACT V. Fabian. =H W, as thou lov’st me, let me see his letter. \" Clo. Good Master Fabian, grant me yf another request. Fab. Anything. Clo. Do not desire to see this letter. _ Fab. This is, to give a dog, and in 4 a recompense desire my dog again. fi Se Bader DUKE, VioLa, and Attendants. > Duke. Belong you to the Lady Olivia, friends? 7 Clo. Ay, sir; we are some of her trappings. 10 Duke. I know thee well: how dost thou, my good fellow? Clo. Truly, sir, the better for my foes, and the worse for my friends. Duke, Just the contrary ; the better for thy friends. | Clo. No, sir, the worse. Duke. How can that be? 17 Clo. Marry, sir, ee praise me, and make an ass of me; now, my foes tell me plainly I am an ass: so that by my foes, sir, I profit in the knowledge of myself, and by my friends I am abused: so that, conclusions to be as kisses, if your four negatives make your two affirmatives, why then, the worse for my friends, and the better for my foes. Duke. Why, this is excellent. Clo. By my troth, sir, no; though it please you to be one of my friends. sates Thou shalt not be the worse for me: there's gold. Clo, But that it would be double-dealing, sir, I would you could make it another. 31 Duke. O, you give me ill counsel. Clo, Put your grace in your pocket, sir, for this once; and let your flesh and blood obey it. Duke. Well, I will be so much a sinner to be a double-dealer: there’s another. Clo. Primo, secundo, tertio, is a good play; and the old saying is, the third pays for all: the triplex, sir, is a good tripping measure; or the bells of Saint Bennet, sir, may ae you in mind,—one, two, three. 40 Duke. You can fool no more money out of me at this throw : if you will let your lady know, I am here to speak with her, and bring her along with you, it may awake my bounty further. Clo. Marry, sir, lullaby to your bounty, till I come again. I go, sir; but I would not have you to think, that my desire of having is the sin of covetousness ; but, as you say, sir, let your bounty take a nap, I will awake it anon. [Exit. Vio. Here comes the man, sir, that did rescue me, Enter ANTONIO and Officers. Duke, That face of his I do remember well; Yet when I saw it last, it was besmear’d, As black as Vulcan, in the smoke of war, A bawbling vessel was he captain of, For shallow draught and bulk unprizable, ‘With which such scathful grapple did he make With the most noble bottom of our fleet, That very envy, and the tongue of loss, Cried fame and honour on him.— What’s the matter? 1 Off. Orsino, this is that Antonio, That took the Phoenix and her fraught from Candy ; 51 ScenE L—The Street before OLIv14’s House. Enter Clown and FABIAN. And this is he, that did the Tiger board, When your young nephew Titus lost his leg. Here in the streets, desperate of shame and state, In pevaie brabble did we apprehend him. to. He did me kindness, sir, drew on my side, But, in conclusion, put strange speech upon me; I know not what ’t was but distraction. Duke. Notable pirate, thou salt-water thief, What foolish boldness brought thee to their mercies. Whom thou, in terms so bloody, and so dear, 7 Hast made thine enemies ? Ant. Orsino, noble sir, Be pleas’d that I shake off these names you give me: Antonio never yet was thief, or pirate, Though, I confess, on base and ground enough, Orsino’s enemy. A witchcraft drew me hither: That most ingrateful boy there, by your side, From the rude sea’s enrag’d and foamy mouth Did I redeem ; a wrack past hope he was: His life I gave him, and did thereto add My love, without retention, or restraint, All his in dedication ; for his sake Did I expose myself, pure for his love, Into the danger of this adverse town; Drew to defend him, when he was beset: Where being apprehended, his false cunning (Not meaning to partake with me in danger) Taught him to face me out of his acquaintance, And grew a twenty-years-removed thing, While one would wink, denied me mine own purse, 90 Which IJ had recommended to his use Not half an hour before. Vio, How can this be? Duke. When came he to this town? Ant. To-day, my lord ; and for three months before (No interim, not a minute’s vacancy), Both day and night did we keep company. Enter Ouivia and Attendants. Duke. Here comes the countess: now heaven walks on earth !— But for thee, fellow ; fellow, thy words are madness: Three months this youth hath tended upon me ; But more of that anon.—Take him aside. Oli. What would my lord, but that he may not have, Wherein Olivia may seem serviceable ?— Cesario, you do not keep promise with me. Vio. Madam ? Duke. Gracious Olivia,— Oli. What do you say, Cesario?—Good my lord,— Vio. My lord would speak, my duty hushes me. Oli. If it be aught to the old tune, my lord, It is as fat and fulsome to mine ear, As howling after music. uke. Still so cruel? 110 Oli, Still so constant, lord. a Duke. What, to perverseness? you uncivil lady, To whose ingrate and inauspicious altars : My soul the faithfull’st offerings hath breath’d out, That e’er devotion tender’'d! What shall I do? Oli. Even what it please my lord, that shall become him. : Duke. Why should I not, had I the heart to.do it, Like to the Egyptian thief at point of death, Kill what I love? a savage jealousy, ScENE I.] TWELFTH-NIGHT: OR, WHAT YOU WILL. 569 That sometime savours nobly.—But hear me this : 120 Since you to non-regardance cast my faith, And that I partly know the instrument That screws me from my true place in your favour, Live you, the marble-breasted tyrant, still; But this your minion, whom, I know, you love, And whom, by Heaven I swear, I tender dearly, Him will I tear out of that cruel eye, Where he sits crowned.in his master’s spite.— Come, boy, with me: my thoughts are ripe in mischief: I'll sacrifice the lamb that I do love, 130 To spite a raven’s heart within a dove. Vio. And I, most jocund, apt, and willingly, To do you rest, a thousand deaths would die. Oli. Where goes Cesario ? Vio. After him I love, More than I love these eyes, more than my life, More, by all mores, than e’er I shall love wife. If I do feign, you witnesses above, Punish my life for tainting of my love! Oli. Ah me! detested! how am I beguil’d! Vio. Who does beguile po who does do you wrong? Oli. Hast thou forgot thyself? Is it so long? 141 Call forth the holy father ! [Exit an Attendant. Duke. [To VIOLA.] Come away. Oli. ither, my lord #—Cesario, husband, stay. Duke. Husband ? Oli. Ay, husband: can he that deny? Duke. Her husband, sirrah ? Vio. No, my lord, not I. Oli. Alas! it is the baseness of thy fear, That makes thee strangle thy propriety. Fear not, Cesario, take thy fortunes up; Be that thou know’st thou art, and then thou art As great as that thou fear’st. Re-enter Attendant with the Priest. O, welcome, father! 150 Father, I charge thee, by thy reverence, Here to unfold (though lately we intended To keep in darkness, what occasion now Reveals before ’tis ripe) what thou dost know Hath newly pass’d between this youth and me. Priest. A contract of eternal bond of love, Confirm’d by mutual joinder of your hands, Attested by the holy close of lips, Strengthen’d by interchangement of your rings ; And all the ceremony of this compact Seal’d in my function, by my testimony: Since when, my watch hath told me, toward my grave Ihave travelled but two hours, Duke. O thou dissembling cub! what wilt thou be, When time hath sow’d a grizzle on thy case ? Or will not else thy craft so quickly grow, That thine own trip shall be thine overthrow ? Farewell, and take her; but direct thy feet, Where thou and I henceforth may never meet. Vio. My lord, I do protest,— 160 O! donotswear! 170 Oli. Hold little faith, though thou hast too much fear. inter Sir ANDREW AGUE-CHEER. Sir And. For the love of God, a surgeon! send one presently to Sir Toby. Oli, What’s the matter ? Sir And. He has broke my head across, and has ven Sir Toby a bloody coxcomb too. For the love of od, your help! I had rather than forty pound I were at home. Oli, Who has done this, Sir Andrew? Sir And. The count’s gentleman, one Cesario: we took him for a coward, but he’s the very devil incar- dinate. 182 Duke. My gentleman, Cesario ? Sir And. Od’s lifelings! here he is.—You broke my head for nothing ! and that that I did, I was set on to do’t by Sir Toby. . Vio. Why do you speak to me? I never hurt you: You drew your sword upon me, without cause ; But I Peres you fair, and hurt you not. Sir And. If a bloody coxcomb be a hurt, you have hurt me: I think you set nothing by a bloody coxcomb. Enter Sir ToBy BELcH and Clown. Here comes Sir Toby halting; you shall hear more: but if he had not been in drink, he would have tickled you othergates than he did. Duke. How now, gentleman? how is’t with you? Sir To. That’s all one: he has hurt me, and there’s the end on’t.—Sot, didst see Dick surgeon, sot ? Clo. O! he’s drunk, Sir Toby, an hour agone: his eyes were set at eight i’ the morning. Sir To. Then he’s a rogue, and a passy-measures pavin. I hate a drunken rogue. 201 Oli. Away with him! Who hath made this havoc with them ? Sir And. Ill help you, Sir Toby, because we'll be dressed together. Sir To. Willyou help?—an ass-head, and a coxcomb, and a knave, a thin-faced knave, a gull! Oli, Get him to bed! and let his hurt be look’d to. [Exeunt Clown, Sir ToBy, and Sir ANDREW. Enter SEBASTIAN, Seb. Iam sorry, madam, I have hurt your kinsman; But had it been the brother of my blood, 210 I must have done no less, with wit and safety. You throw a strange regard upon me, and by that I do perceive it hath ottended you: Pardon me, sweet one, even for the vows We made each other but so late ago. Duke. One face, one voice, one habit, and two per- sons ; A natural perspective, that is, and is not! Seb. Antonio? O my dear Antonio! How have the hours rack’d and tortur’d me, Since I have lost thee ! 220 Ant. Sebastian are you? Seb. Fear’st thou that, Antonio ? Ant. How have you made division of yourself + An apple cleft in two is not more twin Than these two creatures. Which is Sebastian? Oli. Most wonderful! Seb. Do I stand there? I never had a brother ; Nor can there be that deity in my nature, Of here and everywhere. I had a sister, Whom the blind waves and surges have devour’d.— ee Vio.a.] Of charity, what kin are youto me? 230 hat countryman? what name? what parentage? Vio. Of Messaline: Sebastian was my father; Such a Sebastian was my brother too, So went he suited to his watery tomb. If spirits can assume both form and suit, You come to fright us. Seb. A spirit Iam indeed ; But am in that dimension grossly clad, Which from the womb I did participate. Were you a woman, as the rest goes even, I should my tears let fall upon your cheek, And say—Thrice welcome, drowned Viola! Vio. My father had a mole upon his brow,— Seb. And so had mine. Vio. And died that day, when Viola from her birth Had number’d thirteen years. Seb. O! that record is lively in my soul. He finished, indeed, his mortal act That day that made my sister thirteen years, Vio. It nothing lets to make us happy both, But this my masculine usurp’d attire, 250 Do not embrace me, till each circumstance Of place, time, fortune, do cohere, and jump, That I am Viola: which to confirm, I'll bring you to a captain in this town, Where lie my maiden weeds: by whose gentle help I was preserv’d, to serve this noble count. All the occurrence of my fortune since Hath been between this lady and this lord. Seb. (To Oxivi1a.] So comes it, lady, you have been mistook ; | But nature to her bias drew in that. 260 You would have been contracted to a maid, Nor are you therein, by my life, deceiv’d. You are betroth’d both to a maid and man. Duke. Be not amaz’d; right noble is his blood.— 240 570 TWELFTH-NIGHT: OR, WHAT YOU WILL. (Act V, If this be so, as yet the glass seems true, Is now in durance at Malvolio’s suit, 1 shall have shure in this most happy wrack. A gentleman, and follower. of my lady’s. [To VioLA.] Boy, thou hast said to me a thousand li. He shall enlarge him.—Fetch Malvolio hither,— times, ; And yet, alas, now I remember me, ; Thou never shouldst love woman like to me. They say, poor gentleman, he’s much distract. 280 Roll gi ie eae or i Ol. “My lord, so please you, these things further thought on, To think mé as well a sister as a wife, One day shall crown the alliance on't, 80 please you, Here at my house, and at my proper cost.” Vio. And all those sayings will I over-swear, A most extracting frenzy of mine own And all those swearings keep as true in soul, From my remembrance clearly banish’d his.— As doth that orbed continent, the fire 270 ‘ That severs day from night. Re-enter Clown, with a letter, and FABIAN. ke. Give me thy hand; How does he, sirrah ? j And let me see thee in thy woman’s weeds. Clo. Truly, madam, he holds Belzebub at the staves Vio. The captain, that did bring me first on shore, end, as well as a man in his case may do. He has Hath my maid's garments: he, upon some action, | here writ a letter to you: I should have given it you Scene I.] TWELFTH-NIGHT: OR, WHAT YOU WILL. 571 to-day morning; but as a madman’s epistles are | Though, I confess, much like the character; no gospels, so it skills not much when they are | But, out of question, ’tis Maria’s hand: delivered. And now I do bethink me, it was she 350 Oli. Open it, and read it. 290 Clo. Look then to be well edified, when the fool delivers the madman.—[Reads.] ‘‘By the Lord, madam,”— Oli. How now! art thou mad? Clo, No, madam, I do but read madness: an your ladyship will have it as it ought to be, you must allow voz. ‘ Oli. Pr’ythee, read i’ thy right wits, Clo. So I do, madonna; but to read his right wits, is to read thus: therefore perpend, my princess, and give ear. 301 Oli. [To een, Read it you, sirrah. Fab. (Reads.] “‘By the Lord, madam, you wrong me, and the world shall know it: though you have put me into darkness, and given your drunken cousin rule over me, yet have I the benefit of my senses as well as sone ladyship. I have your own letter that induced me to the semblance I put on; with the which I doubt not but to do myself much right, or ou much shame. Think of me as you please. I leave my duty a little unthought of, and speak out of my injury. ‘ 312 The madly-used Marvo.io.” Oli. Did he write this ? Clo. Ay, madam. Duke. This savours not much of distraction. Oli. See him deliver’d, Fabian: bring him hither. [Exit FaBran. My lord, so please you, these things further thought on, To think me as well a sister as a wife, : One day shall crown the alliance on’t, so please you, Here at my house, and at my preper cost. 321 ke. Naeem, I am most apt to embrace your offer. — [To Vioua.] Your master quits you; and, for your service done him, So much against the mettle of your sex, So far beneath your soft and tender breeding, . And since you call’d me master for so long, Here is my hand: you shall from this time be Your master’s mistress. Oli. - A sister !—you are she. Re-enter FABIAN, with MALVOLIO. Duke. Is this the madman ? de How now, Malvolio? . Madam, you have done me wrong, 330 mone wrong. Ay, my lord, this same. i. Have I, Malvolio? no. Mal. Lady, you have. Pray you, peruse that letter. You must not now deny it is your hand: Write from it, if you can, in hand, or phrase; Or say, ’tis not your seal, nor your invention : You can say none of this. Well, grant it then, And tell me, in the modesty of honour, Why you have given me such clear lights of favour, Bade me come smiling and cross-garter’d to you, To put on yellow stoc! ings, and to frown Upon Sir Toby, and the lighter eople ? And, acting this in an obedient hope, hy have you suffer’d me to be imprison’d, ret in a dark house, visited by the priest, And made the most notorious geck and gull That e’er invention play’d on? tell me why. Oli, Alas! Malvolio, this is not my writing, First told me thou wast mad ; then cam’st in smiling, And in such forms which here were presuppos’d Upon thee in the letter. Pr’ythee, be content: This practice hath most shrewdly pass'd upon thee; But when we know the grounds and authors of it, Thou shalt be both the plaintiff and the judge Of thine own cause. Fab. Good madam, hear me speak ; And let no quarrel, nor no brawl to come, Taint the condition of this present hour, Which I have wonder'd at. In hope it shall not, Most freely I confess, myself, and Toby, Set this device against Malvolio here, Upon some stubborn and uncourteous parts e had conceiv'’d against him. Maria writ The letter at Sir Toby’s great importance: In recompense whereof, he hath married her. How with a sportful malice it was follow’d, May rather pluck on laughter than revenge, If that the injuries be justly weigh’d, That have on both sides pass’d. 370 Oli. Alas, poor fool, how have they baffled thee! Clo. Why, ‘“‘some are born great, some achieve greatness, and some have greatness thrown upon them.” I was one, sir, in this interlude; one Sir Topas, sir; but that’s all one.—‘‘ By the Lord, fool, I am not mad.’—But do you remember? “ Madam, why laugh you at such a barren rascal? an you smile not, he’s gage’d:” and thus the whirligig of time brings in his revenges. Mal. I'll be reveng’d on the whole pack of yor ay it. 360 Oli. He hath been most notoriously abus’d. Duke. Pursue him, and entreat him to a peace, He hath not told us of the captain yet: When that is known and golden time convents, A solemn combination shall be made Of our dear souls.—Meantime, sweet sister, We will not part from hence.—Cesario, come ; For so you shall be, while you are a man; But when in other habits you are seen, Orsino’s mistress, and his fancy’s queen. 390 [Exeunt all, except Clown. CLOWN sings. When that Iwas and a littic tiny boy, With hey, ho, the wind a id the rain; A foolish thing was but a toy, or the rain it raineth every day. But when Icame to man’s estate, With hey, ho, the wind and the rain, ’Gainst knaves and thieves men shut their gate. For the rain it raineth every day. But when I came, alas! to wive, With hey, ho, the wind and the rain, By swaggering could I never thrive, For the rain it raineth every day. But when I came unto my beds, With hey, ho, the wind and the rain, With toss-pots still had drunken heads, For the rain it raineth every day. A great while ago the world begun, With hey, ho, the wind and the rain, But that’s all one, our play is done, And we'll strive to please you every day. LE at tb. 409 AS YOU LIKE IT. DRAMATIS PERSONE. DUKE, living in exile. FREDERICK, his Brother, Usurper of his dominions. Mliina \ Lords attending upon the exiled Duke. LE BEAU, @ Courtier. CHARLES, a Wrestler. OLIVER, JAQUES, ;Sons of Sir Rowland de Bois. ORLANDO, tennis: \ Servants to Oliver. TOUCHSTONE, a Clown. The SCENE lies, first, near Quivene Hou: : | StR OLIVER MAR-TEXT, a Vicar. CoRIN, SILVIUs, | Shepherds. WILLIAM, a Country Fellow, in love with Audrey. HYMEN. ROSALIND, Daughter to the exiled Duke. CELIA, Daughter to Frederick. PHEBE, a Shepherdess. AUDREY, a Country Wench. Lords, Pages, Foresters, and Attendants. afterwards, in the Usurper’s Court, and in the orest of ARDEN. ACT I. ScENE I.—An Orchard, near OLIVER’s House. Orlando. ‘S Iremember, Adam, it was upon this fashion bequeathed me by will but poor a thousand crowns; and, as thou say’st, i charged my brother on his blessing to » breed me well: and there begins my sad- ness. My brother Jaques he keeps at school, and report speaks goldenly of his profit: for my part, he keeps me rusti- cally at home, or, to speak more properly, stays me here at home unkept; for call , you that keeping for a gentleman of my birth, that differs not from the stalling of an ox? His horses are bred better; for, besides that they are fair with their feeding, they are taught their manage, and to that end riders dearly hired: but I, his brother, gain nothing under him but growth, for the which his animals on his dunghills are as much bound to him as I. Besides this nothing that he so plentifully gives me, the something that Nature gave me, his countenance seems to take from me: he lets me feed with his hinds, bars me the place of a brother, and, as much as in him lies, mines my gentility with my education. This is it, Adam, that grieves me; and the spirit of my father, which I think is within me, begins to mutiny against this servitude. I will no longer .endure it, though yet I know no wise remedy how to avoid it. Adam. Yonder comes my master, your brother. Orl. Go apart, Adam, and thou shalt hear how he will shake me up. 30 a Enter OLIVER. Oli. Now, sir! what make you here? Orl. Nothing: Iam not taught to make anything. Oli. What mar you then,,sir? Orl. Marry, sir, lam helping you to mar that which God made, a poor unworthy brother of yours, with idleness, Oli. Marry, sir, be better employed, and be naught awhile. Enter ORLANDO and ADAM. | .Orl. Shall I keep your hogs, and eat husks with them? What prodigal portion have I spent, that I should conie to such penury ? 41 Oli. Know you where you are, sir? Orl. O! sir, very well: here, in your orchard. Oli. Know you before whom, sir? Orl. Ay, better than him Iam before knows me. I know, you are my eldest brother ; and, in the gentle condition of blood, you should so know me. . The courtesy of nations allows youmy better, in that you are the first-born; but the same tradition takes not away my blood, were there twenty brothers betwixt us. I have as much of my father in me, as you; albeit, I confess, your coming before me is nearer to his reverence. 53 Oli. What, boy! ee Come, come, elder brother, you are too young in this. Oli, Wilt thou lay hands on me, villain? ’ Orl. I am no villain: I am the youngest son of Sir Rowland de Bois ; he was my father, and he is thrice a villain, that says, such a father beaut villains, Wert thou not my brother, I would not take this hand from thy throat, till this other had pulled out thy tongue for saying so : thou hast railed on thyself. 63 Adam. [Coming forward.] Sweet masters, be pa- tient: for your father’s remembrance, be at accord, | Oli. Let me go, I say. ‘ Orl. I will not, till I please : vou shall hear me. My father charged you in his will to give me good edu- cation : you have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities: the spirit of my father grows strong in me, andI will n0 jonger endure it; therefore, allow me such exercises as may become a gentleman, or give me the poor allot- .| tery my father left me by testament: with that I will go buy my fortunes. , Oli. And what wilt thou do? beg, when that is spent? Well, sir, get you in: I will not long be troubled with you; you shall have some part of your will. I pray you, leave me. Sa Scéve IT.] AS YOU LIKE IT. 573° Orl. I will no further offend you, than becomes me for my good. 81 Oli. Get you with him, you old dog. Adam. Is old dog my reward ? ost true, I have lost my teeth in your service.—God be with my old master! he would not have spoke such a word. . [Exeunt ORLANDO and ADAM. Oli. Is it even so? begin you to grow upon me? I will physic your rankness, and yet give no thousand crowns neither. Holla, Dennis! Enter DENNIs. Den. Calls your worship? Oli. Was not Charles, the duke’s wrestler, here to speak with me? ‘ 1 Den. So please you, he is here at the door, and im- portunes access to you. Oli. Call him in. [Exit DENNIS.]—’T will be a good way ; and to-morrow the wrestling is. Enter CHARLES. Cha. Good morrow to your worship. Oli. Good Monsieur Charles, what’s the new news at the new court? 98 Cha. There’s no news at the court, sir, but the old news: that is, the old duke is banished by his younger brother the new duke, and three or four loving lords have put themselves into voluntary exile with him, whose lands and revenues enrich the new duke; therefore, he gives them good leave to wander. Oli. Can you tell, if Rosalind, the duke’s daughter, be banished with her father? Cha. O! no; for the duke’s daughter, her cousin, so loves her,—being ever from their cradles bred to- Fen eat she would have followed her exile, or ave died to stay behind her. She is at the court, and no less beloved of her uncle than his own daughter ; and never two ladies loved as they do. 112 Oli. Where will the old duke live ? Cha. They say, he is already in the forest of Arden, anda may merry men with him; and there they live like the old Robin Hood of England. They say, many young gentlemen flock to him every day, and fleet the time carelessly, as they did in the golden world. Oli. What,—you wrestle to-morrow before the new duke? 120 Cha. Marry, do I, sir; and I came to acquaint you withamatter. Iam given, sir, secretly tounderstand, that your younger brother, Orlando, hath a disposition to come in disguised against me to try a fall. To- morrow, sir, I wrestle for my credit, and he that escapes me without some broken limb shall acquit him well. Your brother is but young, and tender ; and, for your love, I would be loath to foil him, as I must for my own honour if he come in: therefore, out of my love to you, I came hither to acquaint you withal, that either you might stay him from his in- tendment, or brook such disgrace well as he shall run into, in that it is a thing of his own search, and alto- gether against my will. 134 ~ Olt. Charles, I thank thee for thy love to me, which, thou shalt find, I will most kindly requite. I had my- self notice of my brother’s purpose herein, and have by underhand means laboured to dissuade him from it; but he is resolute. I'll tell thee, Charles, it is the stubbornest young fellow of France, full of ambition, an envious emulator of every man’s good parts, a secret and villainous contriver against me his natural brother: therefore, use thy discretion. I had as lief thou didst break his neck as his finger ; and thou wert best look-to’t ; for if thou dost him any slight disgrace, or if he do not mightily grace himself on thee, he will practise against thee 7 poison, aden thee by some treacherous device, and_never leave thee till he hath ta’en thy life by some indirect means or other ; for, I assure t! r not one so young and so villainous this day living. I speak but brotherly of him; but should I anatomise im to thee as he is, I must blush and weep, and thou must look pale and wonder. 154 ha, Lam heartily glad I came hither to you. If he come to-morrow, I’ll give him his payment :.if ever . ee (and almost with tears I speak it), there is - he -e alone again, I’ll never wrestle for prize more; and so, God keep your worship ! [Exit. Oli. Farewell, good Charles.—Now will I stir this gamester. I hope, I shall see an end of him; for my soul, yet I know not why, hates nothing more than he: yet he’s gentle; never schooled, and yet learned; full of noble device; of allsorts enchantingly beloved, and, indeed, so much in the heart of the world, and espe- cially of my own people, who best know him, that I am altogether misprised. But it shall not be so long; this wrestler shall clear all: nothing remains, but that I kindle the boy thither, which now I’ll go a 2 it. Scene II.—A Lawn before the DUKE’s Palace. Enter ROSALIND and CELIA. Cel. I pray thee, Rosalind, sweet my coz, be merry. Ros. Dear Celia, I show more mirth than I am mis- tress of, and would you yet I were merrier? Unless you could teach me to forget a banished father, you must not learn me how to remember any extraordi- nary pleasures. Cel. Herein I see, thou lovest me not with the full weight that I love thee. If my uncle, thy banished father, had banished thy uncle, the duke, my father, so thou hadst been still with me, I could have taught - my love to take thy father for mine: so wouldst thou, if the truth of thy love to me were so righteously tempered, as mine is to thee. = 13 Ros. Well, I will forget the condition of my estate, to rejoice in yours. Cel. You know, my father hath no child but I, nor none is like to have; and, truly, when he dies, thou shalt be his heir: for what he hath taken away from thy father perforce, I will render thee again in affec- tion: by mine honour, I will; and when I break that oath, let meturnmonster. Therefore, my sweet Rose, alee Rose, be eed? R 22 os. From henceforth I will, coz, and devise sports. Let me see; what think.you of falling in love? Cel. Marry, I pr’ythee, do, to make sport withal: but love no man in good earnest; nor no further in sport neither, than with safety of a pure blush thou may’st in honour come off again. Ros. What shall be our sport then? Cel. Let us sit, and mock the good housewife, Fortune, from her wheel, that her gifts may hence- forth be bestowed equally. a 32 _Ros. I would, we could do so; for her benefits are fabely misplaced, and the bountiful blind woman doth most mistake in her gifts to women. Cel. "Lis true, for those that she makes fair, she scarce makes honest; and those that she makes honest, she makes very ill-favouredly. Ros. Nay, now thou goest from Fortune’s office to Nature’s: Fortune reigns in gifts of the world, not in the lineaments of Nature. 41 Cel. No: when Nature hath made a fair creature, may she not. by Fortune fall into the fire?-Though Nature hath given us wit to flout at Fortune, hath not Fortune sent in this fool to cut off the argument ? Enter TOUCHSTONE. Ros. Indeed, there is Fortune too hard for Nature, when Fortune makes Nature’s natural the cutter-off of Nature’s wit. 48 Cel. Peradventure, this is not Fortune’s work neither, but Nature’s; who, peroeiying our natural wits too dull to reason of such goddesses, hath sent this natural for our whetstone: for always the dulness of the fool is the whetstone of the wits.—How now, wit? whither wander you? Touch.. Mistress, you must come away to your father. Cel. Were you made the messenger? r Touch. No, by mine honour; but I was bid to come ‘or you. Ros. Where.learned you that oath, fool? 60 Touch. Of acertain knight, that swore by his honour they were good pancakes, and swore by his honour 574 AS YOU LIKE IT. {Acr L the mustard was naught: now, I'll stand to it, the pancakes were naught, and the mustard was good, and yet was not the knight forsworn. Cel. How prove you that, in the great heap of your knowledge ? Ros. Ay, marry: now unmuzzle your wisdom. _ Touch. Stand you both forth now: stroke your chins, and swear by your beards that I am a knave. 7 == in| Touch. “‘ No, by mine honour; but I was bid to come for you.” Cel. By our beards, if we had them, thou art. _, Touch. By my knavery, if I had it, then I were; but if you swear by that that is not, you are not forsworn : no more was this knight, swearing by his honour, for he never had any; or, if he had, he had sworn it away before ever he saw those pancakes, or that mustard. Cel, Pr’ythee, who is ‘t that thou mean’st ? Touch, One that old Frederick, your father, loves. Cel. My father’s love is enough to honour him enough. Speak no more of him: you'll be whipped for taxation, one of these days. 81 Touch. The more pity, that fools may not speak wisely, what wise men do foolishly. _Cel. By my troth, thou say’st true; for since the little wit that fools have was silenced, the little foolery that wise men have makes a great show. Here comes Monsieur Le Beau. Enter LE BEAU. Ros. With his mouth full of news. Cel, Which he will put on us, as pigeons feed their young. 90 fos. Then shall we be news-cramm’d. Cel. All the better ; we shall be the more market- able. ; Bon jour, Monsicur Le Beau: what’s the news r ee Blea, Fair princess, you have lost much good port. Cel. Sport? Of what colour? Le Beau, What colour, madam? How ghall I answer you? Ros. As wit and fortune will. 100 Touch. Or as the Destinies decree. Cel. Well said : that was laid on with a trowel. Touch. Nay, if Ikeep not my rank,— Ros. Thou losest thy old smell. Le Beau. You amaze me, ladies: I would have told ae of good wrestling, which you have of. Ros. Yet tell us the manner Le Beau. I will tell Jost the sight of the wrestling. tell you the beginning; and, if it pe your Jadyships, a mnay see the end, for the est is yet to do: and here, where you are, they are coming to perform it. _ 112 Cel. Well, the beginning, that is dead and buried. Le Beau. There comes an old man, and his three sons,— Cel. I could match this beginning with an old tale, Le Beau. Three proper young men, of excellent growth and presence ;— Ros. With bills on their necks,—“‘ Be it known unto all men by these presents, ”— 120 Le Beau. The eldest of the three wrestled with Charles, the duke’s wrestler; which Charles in a moment threw him, and broke three of his ribs, that there is little hope. of life in him: so he served the second, and so the third. Yonder they lie, the poor old man, their father, making such pitiful dole over them, that all the beholders take his part with Touch. But what is the sport, monsieur, that the ladies have lost? 131 Le Beau, Why, this that I speak of. Touch. Thus men may grow wiser every day! it is the first time that ever I heard breaking of ribs was sport for ladies. Cel. Or I, I promise thee. Fos. But is there any else longs to see this broken | music in his sides? is there yet another dotes upon rib-breaking ?—Shall we see this wrestling, cousin? ; Le Beau. You must, if you stay here; for here is the place appointed for the wrestling, and they are ready to perform it. L 142 Cel. Yonder, sure, they are coming: let.us now stay and see it. Flourish. Enter Duke FREDERICK, Lords, ORLANDO, CHARLES, and Attendants, Duke F. Come on: since the youth will not be en- treated, his own peril on his forwardness. Ros, Is yonder the man? Le Beau. Even he, madam. Cel. Alas! he is too young: yet he lookssuccessfully. Duke F. How now, daughter, and.cousin! are you crept hither to see the wrestling? _ 151 ‘os. Ay, my liege, so please you give us leave, Duke F, You will take little delight in it, I can tell you, there is such odds in the men. In pity of the challenger’s youth I would fain dissuade him, but he will not be entreated. Speak to him, ladies; see if you can move him. Z Cel. Call him hither, good Monsieur Le Beau. Duke F. Do so: I'll not be by. [DUKE goes apart, Le Beau. Monsieur the challenger, the princess call for you. 161 Orl. I attend them, with all respect and duty. Ros. Young man, have you challenged Charles the wrestler? Orl. No, fair princess ; he is the general challenger: I come but in, as others do, to try with him the strength of my youth. ate Cel. Young gentleman, your spirits.are too bold for You have seen cruel proof of this mans your years. \ strength: if ro saw yourself with your eyes, or knew yourself with your judgment, the fear of your adven- ture would counsel you to a more equal enterprise. We pray you, for your own sake, to embrace your owl safety, and give over this attempt. | Ros. Do, young sir: your reputation shall not there- fore be mis vised. e will make it our suit to the duke, that the wrestling pelpht not go forward. Wr Ori. I beseech you, punish me not with your hard thoughts, wherein I confess me much guilty, to deny so fair and excellent ladies anything. But let your fair eyes and gentle wishes go with me to my trial: wherein if I be foiled, there is but one shamed that but one dead that is was never gracious; if killed, a friends no wrong, for willing to be so. I shall do my ScENE IL] AS YOU J have none to lament me; the world no injury, for | which may be better supplied when I have made it \ | 1 | in it I have nothing; only in the world I fill up a place, | empty. | | | | | | | LIKE IT. 575 Orl. Ready, sir; but his will hath in it a more modest working. Duke F. You shall try but one fall. Cha. No, I warrant your grace, you shall not entreat Ros. Ros. The little strength that I have, I would it were | ) with you. 190 Cel, And mine, to eke out hers. : f Ros, Fare you well. Pray Heaven, I be deceived in ; you Cel. Your heart’s desires be with you. : | | _ Cha. Come, where is this young gallant, that is so . desirous to lie with his mother earth? | E “*Gentleman, Wear this for me, one out of suits with fortune, . That could give more, but that her hand lacks means. " \ him to a second, that have so mightily persuaded him from a first. 2, Orl. You mean to mock me after: you should not have mocked me before ; but come your ways. Ros. Now, Hercules be epee, young man! Cel. I would I were invisible, to catch the strong fellow by the leg. [CHARLES and ORLANDO wrestle. Ros. O excellent young man! 576 AS YOU LIKE IT. [Act L Cel. If I had a thunderbolt in mine eye, I can tell | And pity her for her good father’s sake ; who should down. [CHARLES is thrown. Shout. | And, on my life, his malice ’gainst the lady Duke F. No more, no more. 211 | Will suddenly break forth.—Sir, fare Orl. Yes, I beseech your grace: I am not yet well breathed. Duke F. How dost thou, Charles? Le Beau. He cannot speak, my lord. | Duke F. Bear him away. [CHARLES is borne out.] What is thy name, young man ? : Orl. Orlando, my liege; the youngest son of Sir Rowland de Bois. Duke F. I would thou hadst been son to some man else. The world esteem’d thy father honourable, 220 But I did find him stillmine enemy: |. . Thou shouldst have better pleas’d me with this deed, Hadst thou descended from another house. But fare thee well; thou art a gallant youth. I would thou hadst told me of another father. (Exeunt Duke FREDERICK, Train, and LE BEAU. Cel. Were I my father, coz, would I do this? Ori. Iam more proud to be Sir Rowland’s son, His youngest son ;—and would not change that calling, To be adopted heir to Frederick. : Ros. My father lov’d Sir Rowland as his soul, 230 And all the world was of my father’s mind. Had I before known this young man his son, I should have given him tears unto entreaties, Ere he should thus have ventur'd. Cel. Gentle cousin, Let us go thank him, and encourage him : My father’s rough and envious disposition Sticks me at heart.—Sir, you have well deserv'd: If you do keep your promises in love But justly, as you have exceeded all promise, Your mistress shall be happy. Ros. Gentleman, 240 [Giving him a chain from her neck. Wear this for me, one out of suits with fortune, That could give more, but that her hand lacks means.— Shall we go, coz? Cel. Ay.—Fare you well, fair gentleman. Orl. Can I not say, Ithank you? My better parts Are all thrown down, and that which here stands up Is but a quintain, a mere lifeless block. Ros. He calls us back. My pride fell with my fortunes ; T’ll ask him what he would.—Did you call, sir ?~ Sir, you have wrestled well, and overthrown More than your enemies. Cel, Will you go, coz? Ros. Have with you.—Fare you well. Exeunt ROSALIND and CELIA. Orl. What passion hangs these weights upon my tongue? T cannot speak to her, yet she urg’d conference. O poor Orlando! thou art overthrown. Or Charles, or something weaker, masters thee. Re-enter LE BEAv. Le Beau. Good sir, I do in friendship counsel you To leave this place. Albeit you have deserv'd High commendation, true applause, and love, Yet such is now the duke’s condition, That he misconstrues all that you have done. The duke is humorous: what he is, indeed, More suits you to conceive, than I to speak of. Orl. I thank you, sir; and, pray you, tell me this: Which of the two was daughter of the duke, That here was at the wrestling? Le Beau. Neither his daughter, if we judge by manners : But yet, indeed, the smaller is his daughter : The other is daughter to the banish’d duke, And here detain'd by her usurping uncle, To keep his daughter company ; whose loves Are dearer than the natural bond of sisters. But I can tell you, that of late this duke Hath ta’en displeasure ’gainst his gentle niece, Grounded upon no other argument, But that the people praise her for her virtues, 250 260 270 I you well: Hereafter, in a better world than this, . I shall desire more love and knowledge of you. 280 Orl. I rest much bounden to you: tare. you well, Exit LE BEav, Thus must I from the smoke into the smother; x From tyrant duke unto a tyrant brother.— But heavenly Rosalind ! [Evit. ScENE IIJ.—A Room in the Palace. Enter CELIA and ROSALIND. Cel. Why, cousin, why, Rosalind !—Cupid have mercy !—Not a word ? * ae Why, cousin, why, Rosalind !—Cupid have mercy !—Not Cel. a wor Ros. Not one to throw at a dog. Cel. No, thy words are too precious to be cast away upon curs, throw some of them at me: come, lame me with reasons. Ros. Then there were two cousins laid up, when the one should be lamed with reasons, and the other mad without any. Cel. But is all this for your father? 10 Ros. No, some of it is for my child’s father: O, how full of briars is this working-day world! r Cel. They are but burs, cousin, thrown upon thee in holiday foolery : if we walk not in the trodden paths, our ag petticoats will catch them. Ros. I could shake them off my coat: these burs are in my heart. Cel. Hem them a aT # Ros. I would try, if I could ery hem, and have him. Cel. Come, come; wrestle with thy affections. se O! they take the part of a better wrestler than myself. ie ad set Cel. O, a good wish upon you! you will try in wume, in despite of a fall.—But, turning these jests out 0! service, let us talk in good earnest. Is it possible, 02 such a sudden, you should fall into so strong a liking with old Sir Rowland’s youngest son? Ros, The duke my father lov’d his father dearly. Scene III.] AS YOU LIKE IT. 577 Cel. Doth it therefore ensue, that you should love his son nares By this kind of chase, I should hate him, for my father hated his father dearly ; yet I hate not Orlando. 32 Ros. No, faith, hate him not, for my sake. Cel. Why should I not? doth he not deserve well? Ros. Let me love him for that; and do you love him, because I do.—Look, here comes the duke. Cel. With his eyes full of anger. Enter Duke FREDERICK, with Lords. Duke F. Mistress, despatch you with your safest aste, And get you from our court. Me, uncle? 08. Duke F. You, cousin: Within these ten days if that thou be’st found 40 So near our public court as twenty miles, Thou diest for it. 0s. I do beseech your grace, Let me the Enowledee of my fault bear with me. If with myself I hold intelligence, Or have acquaintance with mine own desires, If that I do not dream, or be not frantic (As I do trust I am not), then, dear uncle, Never so much as in a thought unborn Did I offend your highness. - Duke F. : Thus do all traitors: If their purgation did consist in words, They are as innocent as grace itself. Let it suffice thee, that I trust thee not. s. Yet your mistrust cannot make me a traitor, Tell me, whereon the likelihood depends. Duke F. Thou art thy father’s daughter; there’s : -enough. Ros, a wes I when your highness took his duke- om ; So was I when your highness banish’d him. Treason is not inherited, my lord ; Or, if we did derive it from our friends, What’s that to me? my father was no traitor. 60 . Then, good my liege, mistake me not so much, To think my poverty is treacherous. Cel, Dear sovereign, hear me speak. Duke F. Ay, Celia: we stay’d her for your sake; Else had she with her father rang’d along. Cel. I did-not then entreat to have her stay: It was your pleasure, and your own remorse. I was too young that time to value her; But now I know her: if she be a traitor, Why, soam I; we still have slept together, Rose at an instant, learn’d, play’d, eat together ; 70 And wheresoe’er we went, like Juno’s Swans, Still we went coupled, and inseparable. Duke F. She is too subtle for thee ; and her smooth- ness, Her very silence, and her patience, Speak to the people, and they pity her. hou art a fool: she robs thee of thy name: And thou wilt show more bright, and seem more virtuous, When she is gone. Then, open not thy lips: Firm and irrevocable is my doom 80 Which I have pass’d upon her. She is banish’d. Cel. Pronounce that sentence then on me, my liege: I cannot live out of her company. | Duke F. oe are a fool.—You, niece, provide your- self: ? If you outstay the time, upon mine honour, And in the greatness of my word, you die. Exeunt Duke FREDERICK and Lords. Cel. O my poor Rosalind! whither wilt thou go? Wilt thou change fathers? I will give thee mine. I charge thee, be not thou more griev’d than Iam. Ros. I have more cause. Cel. Thou hast not, cousin. 90 Pr’ythee, be cheerful: know’st thou not, the duke Hath banish’d me, his daughter? That he hath not. 08. Cel. No? hath not? Rosalind lacks then the love Which teacheth thee that thou and I am one, Shall we be sunder’d? shall we part, sweet girl? No: let my father seek another heir. Therefore, devise with me how we may fly, Whither to go, and what to bear with us: And do not seek to take your change upon you, To bear your griefs yourself, and leave me out; For, by this heaven, now at our sorrows pale, Bay what thou canst, I’ll Fo along with thee. ‘os. Why, whither shall we go? Cel. To seek my uncle in the forest of Arden. Ros. Alas, what danger will it be to us, Maids as we are, to travel forth so far! Beauty provoketh thieves sooner than gold. Cel. I’ll put myself in poor and mean attire, And with a kind of umber smirch my face. The like do you: so shall we pass along, And never stir assailants. Were it not better, Ros. Because that Iam more than common tall, That I did suit me all points like a man? A gallant curtle-axe upon my thigh, A_boar-spear in my hand; and, in my heart Lie there what hidden woman’s fear there will, We'll have a swashing and a martial outside; As many other mannish cowards have, That do outface it with their semblances. Cel. What shall I call thee, when thou art a man? 120 Ros. I'll have no worse a name than Jove'’s own 100 110 page, And therefore look you call me Ganymede. But what will you be call’d? Cel. Something that hath a reference to my state: No longer Celia, but Aliena. Ros. But, cousin, what if we essay’d to steal The clownish fool out of your father’s court? Would he not be a comfort to our travel? _ Cel. He'll go along o’er the wide world with me; Leave me alone to woo him. Let’s away, 1 And get our jewels and our wealth together, Devise the fittest time, and safest way To hide us from pursuit that will be made After my flight. Now go we in content To liberty, and not to banishment. [Ezeunt. Duke Senior. : . ‘W, my co-mates, and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the en- vious court ? Here feel we but the penalty of Adam, The seasons’ difference; as the icy fang. 7 And churlish chiding of the winter's wind, Which when it bites, and blows upon my bo eG . Even till I shrink with cold, I smile, and say, This is no flattery: these are coun- sellors 10 That feelingly persuade me what I am. Sweet are the uses of adversity, Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head ; And this our life, ok from public haunt, Finds tongues in trees, books in the running brooks, Sermons in stones, and good in everything. Ami. I would not change it. Happy is your grace, That can translate the stubbornness of fortune Into so a and so sweet a style. 20 Duke S. Come, shall we go and kill us venison? And yet it irks me, the poor dappled fools, Being native burghers of this desert city, Should, in their own confines, with forked heads, Have their round haunches gor’d. 1 Lord. Indeed, my lord, The melancholy Jaques grieves at that; And, in that kind, swears you do more usurp, Than doth your brother that hath banish’d you. To-day ay. Lord of Amiens and myself Did steal behind him, as he lay along 30 Under an oak, whose Be root peeps out Upon the brook that brawls along this wood ; To the which place a poor sequester'd stag, That from the hunter's aim had ta’en a hurt, Did come to languish: and, indeed, my lord, The wretched animal heav’d forth such groans, That their discharge did stretch his leathern coat Almost to bursting; and the big round tears Cours’d one another down his innocent nose In piteous chase: and thus the hairy fool, 40 Much marked of the melancholy Jaques, Stood on the extremest verge of the swift brook, Augmenting it with tears. Duke §. . But what said Jaques? Did he not moralise this spectacle ? 1 Lord. O! yes, into a thousand similes. First, for his weeping into the needless stream ; ‘* Poor deer,” quoth he, ‘thou mak’st a testament As worldlings do, giving thy sum of more To that which had too much.” Then, being there alone, Left and abandon’d of his velvet friends ; “'T is right,” quoth he ; “thus misery doth part The flux of company.” Anon, a careless herd, Full of the pasture, jumps along by him, ACT ITI. SceNE I.—The Forest of Arden. Enter DUKE Senior, AMIENS, and other Lords, like foresters. And never stays to greet him: “ Ay,” quoth Jaques, “* Sweep on, you fat and greasy citizens; *T is just the fashion : wherefore do you look Upon that poor and broken bankrupt there?” Thus most invectively he pierceth through The body of the country, city, court, Yea, and of this our life ; swearing, that we 60 Are mere usurpers, tyrants, and what ’s worse, To fright the animals, and to kill them up In their assign’d and native dwelling-place. Duke S. And did you leave him in this contempla- ion? 2 Lord. We did, my lord, weeping and commenting Upon the sobbing deer. uke S. - : Show me the place. I Jove to cope him in these sullen fits, For then he’s full of matter. 2 Lord. I'll bring you to him straight. [Exeunt. ScENE II.—A Room in the Palace. Enter Duke FREDERICK, Lords, and Attendants. Duke F. Can it bé possible that no man saw them? It cannot be: some villains of my court Are of consent and sufferance in this, 1 Lord. J cannot hear of any that did see her. The ladies, her attendants of her chamber, Saw her a-bed; and, in the morning early, They found the bed untreasur’d of their mistress. 2) Tork My lord, the roynish clown, at whom so oft Your grace was wont to laugh, is also missing. Hesperia, the princess’ gentlewoman, 10 Confesses, that she secretly o’erheard Your daughter and her cousin much commend The parts and graces of the wrestler, That did but lately foil the sinewy Charles ; And she believes, wherever they are gone, That youth is surely in their company. Duke F. Send. to his brother: fetch that gallant hither ; If he be absent, bring his brother to me, Ill make him find him. Do this suddenly, And let not search and inquisition quail 20 To bring again these foolish runaways. [Exeunt. ScENE ITI.—Before OLIVER’s House. Enter ORLANDO and ADAM, meeting. Orl, Who's there? Adam. What! my young master?—O my gentle master! O my sweet master! O you memor: Of old Sir Rowland! why, what make oH here? Why are you virtuous? why do people love you? And wherefore are you gentle, strong, and valiant? Why would you be so fond to overcome The bony priser of the humorous duke? Your praise is come too swiftly home before you. 10 Know you not, master, to some kind of men Their graces serve them but as enemies? No more do yours : your virtues, gentle master, ScENE IV.] Are sanctified and holy traitors to you. O, what a world is this, when what is comely Envenoms him that bears it! Orl. y, What’s the matter? “ Adam O unhappy youth! Come not within these doors: within this roof The enemy of all your graces lives. Your brother—(no, no brother: yet the son— Yet not the son—I will not call him son 20 Of him I-was about to call his father)— Hath heard your praises, and this night he means To burn the lodging where you use to lie, And you within it: if he fail of that, He will have other means to cut you off. I overheard him, and his practices. This is no place; this house is but a butchery; Abhor it, fear it, do not enter it. Orl. Why, whither, Adam, wouldst thou have me go? Adam. No matter whither, so youcome not here. 30 Orl. “Why, whither, Adam, wouldst thou have me go?” c= Orl. weet! wouldst thou have me go and beg my ‘ood, Or with a base and boisterous sword enforce A thievish living on the common road ? This I must do, or know not what to do; Yet this I will not do, do how I can. Irather will subject me to the malice Of a diverted blood, and bloody brother. Adam. But do not so. I have five hundred crowns, The thrifty hire I sav’d under your father, Which I did store, to be my foster-nurse, 40 When service should in my old limbs lie lame, And unregarded age in corners thrown. Take that ; and He that doth the ravens feed, Yea, providently caters for the sparrow, Be comfort to my age! Here is the gold : All this I ae you. Let me be your servant: Though I look old, yet I am strong and lusty; ‘or in my youth I never did apply Hot and rebellious liquors in my blood ; Nor did not with unbashful forehead woo 50 The means of weakness and debility ; Therefore my age is as a lusty winter, Tosty, but kindly. Let me go with you: Tl do the service of a younger man In all your business and necessities. AS YOU LIKE. IT. 579 Orl. O.good old man! how well in thee appears The constant service of the antique world, When service sweat for duty, not for meed ! Thou art not for the fashion of these times, Where none will sweat but for promotion, 60 And having that, do choke their service up Even with the having: it is not so with thee. But, poor old man, thou prun’st a rotten tree, That cannot so much as a blossom yield, In lieu of all thy pains and husbandry. But come thy ways, we ’ll 4 along together, And ere we have thy youthful wages spent, We'll light upon some settled low content. Adam. Master, go on, and I will follow thee To the last gasp with truth and loyalty. 70 From seventeen years, till now almost fourscore, Here lived I, but now live here no more. At seventeen years many their fortunes seek ; But at fourscore it is too late a week: Yet fortune cannot recompense me better, Than to die well, and not my master’s debtor, [Hxeunt. ScEeNE IV.—The Forest of Arden. Enter ROSALIND in boy's clothes, CELIA dressed like a shepherdess, and TOUCHSTONE. Ros. O Jupiter! how weary are my spirits! Touch. I care not for my spirits, if my legs were not weary. Ros. I could find in my heart to disgrace my man’s apparel, and to cry like a woman; but I must comfort the weaker vessel, as doublet and hose ought to show itself courageous to petticoat: therefore, courage, good Aliena! 3 Cel. I pray you, bear with me: I can go no further. Touch. For my part, I had rather bear with you than bear you: yet I should bear no cross, if I did bear you; for I think you have no money in your purse. Ros, Well, this is the forest of Arden. Touch. Ay, now am I in Arden; the more fool I: when I was at home, I was in a better place; but travellers must be content. Ros. Ay, be so, good Touchstone.—Look you; who comes here? a young man, and an old, in solemn talk. Enter Corin and SILVIUS. Cor. That is the way to make her scorn you still. Sil. O Corin, that thou knew’st how I do love her !20 Cor. I partly guess, for I have lov’d ere now. Sil. No, Corin; pene old, thou canst not guess, Though in thy youth thou wast as true a lover As ever sigh’d upon a midnight pillow: But if thy love were ever like to mine, As sure I think did never man love so, How many actions most ridiculous Hast thou been drawn to by thy fantasy ? Cor. Into a thousand that I have forgotten. Sil. O! thou didst then ne’er love so heartily. If thou remember’st not the slightest folly That ever love did make thee run into, Thou hast not lov’d: Or if thou hast not sat, as I do now, ; Wearing thy hearer in thy mistress’ praise, Thou hast not lov’d: | Orif thou hast not broke from company, Abruptly, as my passion now makes me, Thou hast not lov’d.—O Phebe, Phebe, Phebe! [Hzit. Ros. Alas, poor shepherd! searching of thy wound, I have by hard adventure found mine own. 4 Touch. And I mine. I remember, when I was in love I broke my sword upon a stone, and bid him take that for coming a-night to Jane Smile; and Iremember the kissing of her batlet, and the cow’s dugs that her pretty chopped hands had milked; and I remember the wooing of a peascod instead of her, from whom I took two cods, and, giving her them again, said with weeping tears, ‘‘ Wear these for my sake.” We, that are true lovers, run into strange capers; but as all is 580 AS YOU LIKE IT. [Acr IL mortal in nature, so is all nature in love mortal in | Go with me: if you like, upon report, folly. 52 | The soil, the profit, and this kind of life, Ros. Thou speakest wiser than thou art ware of. | I will your very faithful feeder be, Touch. Nay, I shall ne’er beware of mine own wit, | And buy it with your gold right suddenly. [Exewnt, till I break my shins against it. 3 Ros. Jove, Jove! this shepherd’s passion Is much upon my fashion. ! Touch. And mine; but it grows something stale with me. , Cel. I pray you, one of you question yond man, 60 Tf he for gold will give us any food: I faint almost to death. Touch. Holla, you clown ! Sil. “O Corin, that thou knew’st how I do love her!" Ros. Cor. Who calls? Touch. Your betters, sir. Cor. Else are they very wretched. Peace, fool: he’s not thy kinsman. ‘0s. Peace, I say.— Good even to you, friend. Cor. And to you, gentle sir; and to you all. Ros. I pr’ythee, shepherd, if that love, or gold, Can in this desert place buy entertainment, Bring us where we may rest ourselves, and feed. Here’s a young maid with travel much oppress’d, And faints for succour. Cor. : Fair sir, I oe her, And wish, for her sake more than for mine own, My fortunes were more able to relieve her; But I am shepherd to another man, And do not shear the fleeces that I graze ; My master is of churlish disposition, And little recks to find the way to heaven By doing deeds of hospitality. 80 Besides, his cote, his flocks, and bounds of feed, Are now on sale: and at our sheepcote now, By reason of his absence, there is nothing That you will feed on; but what is, come see, And in my voice most welcome shall you be. Ros, What is he that shall buy his flock and pasture? Cor. That young swain that you saw here but ere- while, That little cares for buying anything. Ros. I pray thee, if it stand with honesty, Buy thou the cottage, pasture, and the flock, 90 And thou shalt have to pay for it of us. Cel. And we will mend thy wages. Ilike this place, And willingly could waste my time in it. Cor. Assuredly, the thing is to be sold. ScENE V.—Another Part of the Forest, Enter AMIENS, JaQuES, and others, Sona. Under the greenwood tree, Who loves to lie with me, And turn his me note Unto the sweet bird's throat, Come hither, come hither, come hither: Here shall he see No enemy, But winter and rough weather. Jaq. More, more! I pr’ythee, more. 9 Ami. It will make you melancholy, Monsieur Jaques, Jag. I thank it. More! I pr’ythee more. I can suck melancholy out of a song, as a weasel sucks eggs. More! I pr’ythee, more. Ami. My voice is ragged; I know I cannot please Ami. you. : Jag. I do not desire you to please me; I do desire ou to sing. Come, more; another stanza. Call you em stanzas? . Ami, What you will, Monsieur Jaques. Jaq. Nay, I care not for their names; they owe me nothing. ill you sing? a Ami. More at your request than to please myself. Jaq. Well then, if ever I thank any man, I'll thank you: but that they call compliment is like the en- counter of two dog-apes ; and when a man thanks me heartily, methinks I have seven him a penny, and he renders me the beggarly thanks. Come, sing; and you that will not, hold your tongues. : «fmi, Well, I'll end the song.—Sirs, cover the while; the duke will drink under this tree.— He hath been all this day to look you. : oe 31 | Jaq. And I have been all this day toavoidhim. He is too disputable for my company: I think of as many matters as he, but I give Heaven thanks, and make no boast of them. Come, warble ; come. Sona. Who doth ambition shun, [All together here. And loves to live 7’ the sun, Seeking the food he eats, And pleas’d with what he gets, Come hither, come hither, come hither: 40 Here shall he see No enemy, But winter and rough weather. Jaq. I'll give you a verse to this note, that I made yesterday in despite of my invention. Ami. And I'll sing it. Jag. Thus it goes— If it do come to pass, Lhat any man turn ass, Leaving his wealth and ease, 50 A stubborn will to please, Ducdame, ducdame, ducdame: Here shail he see Gross fools as he, ® An tf he will come to me. Ami. What’s that ducdame ? eee ; Jaq. ’Tis a Greek invocation to call fools intoacircle, I'll go sleep if I can; if I cannot, I'll rail against a the first-born of Egypt. 4 Ami, And I'll go seek the duke: his banquet is prepared. [Exeunt severally. ScENE VI.—Another Part of the Forest. Enter ORLANDO and ADAM. . Adam. Dear master, I can go no further: 0! Idie pe ee? ScENE VII.) for food. Here lie I down, and measure out my grave. Farewell, kind master. Orl. Why, how now, Adam! no greater heart in thee? Live a little; comfort a little; cheer thyself a little. If this uncouth forest yield anything savage, J will either be food for it, or bring it for food to thee. Thy conceit is nearer death than thy powers. For my sake be comfortable, hold death awhile at the arm’s end, I will here be with thee presently, and if I bring thee not something to eat, I will give thee leave to die; but if thou diest before I come, thou art a mocker of my labour. Wellsaid! thou look’st cheerily ; and I’ll be with thee quickly.— Yet thou liest in the bleak air: come, I will bear thee to some shelter, and thou shalt not die for lack of a dinner, if there live anything in this desert. Cheerly, good Adam, [Exeunt. ScENE VII.—Another Part of the Forest. A table set out. Enter DUKE Senior, AMIENS, Lords, and others. Duke S. I think he be transform’d into a beast, “For I can nowhere find him like a man. 1 Lord. My lord, he is but even now gone hence: Here was he merry, hearing of a song. Duke S. If he, compact of jars, grow musical, We shall have shortly discord in the spheres.— Go, seek him: tell him, I would speak with him. 1 Lord. He saves my labour by his own approach. Enter JAQUES. Duke 8. ane how now, monsieur! what a life is this, That your poor friends must woo your company? 10 What, you look merrily. Jaq. A fool, a fool !—I met a fool i’ the forest, A motley fool—a miserable world !— ‘As I do live by food, I met a fool, Who laid him down and bask’d him in the sun, And rail’d on Lady Fortune in good terms, In good set terms, and yet a motley fool. “Good morrow, fool,” quoth I:—*t No, sir,” quoth he, “Call me not fool, till Heaven hath sent me fortune.” And then he drew a dial from his poke, 20 And looking on it with lack-lustre eye, Says very wisely, “It is ten o’clock : Thus may we see,” quoth he, ‘how the world wags: *Tis but an hour ago since it was nine, And after one hour more ’t will be eleven ; ‘And so from hour to hour we ripe and ripe, ‘And then from hour to hour we rot and rot, ‘And thereby hangs a tale.” When I did hear he motley fool thus moral on the time, My lungs began to crow like chanticleer, 30 That fools should be so deep-contemplative ; And I did laugh, sans intermission, An hour by his dial.—O noble fool! A Lia | fool! Motley’s the only wear. Duke S. What fool is this? Jaq. O worthy fool !—One that hath been a courtier, And says, if ladies be but young and fair, They have the gift to know it; and in his brain, Which is as dry as the remainder biscuit After a voyage, he hath strange places cramm’d 40 With observation, the which he vents In mangled forms.—O, that I were a fool! Iam ambitious for a motley coat. Duke S. Thou shalt have one. 7 Jaq. It is my only suit ; Provided that you weed your better judgments Of all opinion that grows rank in them, That Iam wise. I must have liberty Withal, as large a charter as the wind, To blow on whom I please ; for so fools have: And they that are most galled with my folly, 50 They most must langh. And why, sir, must they so? The way is plain as way to parish church: He, that a fool doth very wisely hit, th very foolishly, although he smart, Not to seem senseless of the bob; if not, AS YOU LIKE IT.. 581 The wise man’s folly is anatomis’d Even by the squandering glances of the fool. Invest me in my motley: give me leave To speak my mind, and I will through and through Cleanse the foul body of the infected world, 6 If they will patiently receive my medicine. Duke es Fie on thee! I can tell what thou wouldst oO Jag. What, for a counter, would I do but good? Duke S. Most mischievous foul sin, in chiding sin: For thou thyself hast been a libertine, ‘As sensual as the brutish sting itself ; And all the embossed sores, and headed evils, That thou with license of free foot hast oe Wouldst thou disgorge into the general world Jaq. Why, who cries out on pride, 70 That can therein tax any private party? Doth it not flow as hugely as the sea, Till that the ed very means do ebb? What woman in the city do I name, When that I say, the city-woman bears The cost of princes on unworthy shoulders ? Who can come in, and say that I mean her, When such a one as she, such is her neighbour? Or what is he of basest function, That says, his bravery is not on my cost, 80 Thinking that I mean him, but therein suits His folly to the mettle of my speech? There then; how then? what then? Let me wherein My tongue hath wrong’d him: if it do him right, Then he hath wrong’d himself; if he be free, Why, then my taxing like a wild-goose flies, Unclaim’d of any man.— But who comes here? Enter ORLANDO, with his sword drawn. Orl. Forbear, and eat no more. Jay: Why, Ihave eat none yet. Ori. Nor shalt. not, till necessity be serv’d. Jaq. Of what kind should this cock come of? 90 Duke ae Art thou thus bolden’d, man, by thy dis- ress, . Or else a rude despiser of good manners, That in civility thou seem’st so empty ? Orl. You touch’d my vein at first: the thorny point Of bare distress hath ta’en from me the show Of smooth civility; yet am J inland bred, And know some nurture. But forbear, I say: He dies that touches any of this fruit, Till Iand my affairs are answered. Jag. An you will not be answered with reason, 100 I must die. Duke S. What would you have? Your gentleness shall force, More than your force move us to gentleness. Orl. I almost die for food, and let me have it. Duke = a down and feed, and welcome to our able. Orl. Speak you so gently? Pardon me, I pray you: J thought, that all things had been savage here, And therefore put I on the countenance Of stern commandment. But whate’er you are, That in this desert inaccessible, 110 Under the shade of ee al ec Lose and neglect the creeping hours of time, If ever ‘a have look'd on better days, Tf ever been where bells have knoll’d to church, If ever sat at any good man’s feast, If ever from your eyelids wip’d a tear, ‘And know what ’tis to pity, and be pitied, Let gentleness my strong enforcement be: In the which hope, I blush, and hide my sword. Duke S. True is it that we have seen better days, 120 And have with holy bell been knoll’d to church, ‘And sat at good men’s feasts, and wip’d our eyes Of drops that sacred pity hath engender’d ; And therefore sit you down in gentleness, ‘And take upon command what help we have, That to your wanting may be minister’d. Orl. Then, but forbear your food a little while Whiles, like a doe, I go to find my fawn, And give it food. There is an old poor man, see 582 Who after me hath many a weary step, Limp’d in pure love: till he be first suffic'd,— Oppress’d with two weak evils, age and hunger,— I will not touch a bit. Duke S.., Go find him out, And we will nothing waste till you return. AS YOU LIKE IT. 130 [Act IL They have their exits and their entrances ; And one man in his time plays many parts His acts being seven ages. At first, the infant, Muling and puking in the nurse’s arms. Then, the whining school-boy, with his satchel, And shining morning face, creeping like snail Orl. “ Forbear, and cat no more.” Orl. T ae ye, and be bless’d for your good a com- Exit. Duke S. Thou seest, we are not all alone unhappy : This wide and universal theatre Presents more woful pageants than the scene Wherein we play in. Jaq. All the world’s a stage, And all the men and women merely players: 140. Unwilingly to school. And then, the lover, Sighing like furnace, with a woful ballad ___, Made to his mistress’ eyebrow. Then, a soldier, Full of strange oaths, and bearded like the pard, 150 Jealous in-honour, sudden and quick in quarrel, Seeking the bubble reputation sae Even in the cannon’s mouth. And then, the justic _ In fair round belly, with good capon lin’d, ase Scene VII] With eyes severe, and beard of formal cut, Full of wise saws and modern instances ; And so he plays his part. The sixth age shifts Into the lean and slipper’d pantaloon, With spectacles on nose, and pouch on side; His our hose well sav’d, a world too wide For his shrunk shank ; and his big manly voice, uening seen toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness, and mere oblivion ; Sans teeth, sans eyes, sans taste, sans everything. Re-enter ORLANDO, with ADAM. Duke S. Welcome, Set down your venerabl And let him feed. r sopeaciaal Orl. I thank you most for him. Adam. So had you need: I scarce can speak to thank you for myself. 170 Duke S. Welcome ; fall to: I will not trouble you As yet to question you about your fortunes. Give us some music ; and, good cousin, sing. Sone. Blow, blow, thou winter wind, Thou art not so unkind As man’s ingratitude; 160 Ami. Duke Frederick. = OT see him since? Sir, sir, that cannot be: But were I not the better part made mercy, 5 I should not seek an absent argu- ment Of my revenge, thou present. But Nee Se Re NS are a Sa : SALE IS Find out thy brother, wheresoe’er “ eis; Seek him with candle; bring him, ead or living, Within this twelvemonth, or turn thou no more To seek a living in our territory. ‘ Thy lands, and all things that thou dost call thine, Worth seizure, do we seize into our hands, 10 Till thou canst quit thee by thy brother’s mouth, Of what we think against thee. 2 enh Oli. O, that your penne knew my heart in this! Inever lov’d my brother in my life. ‘ Duke a More villain thou.—Well, push him out of OOrs ; And let my officers of such a nature Make an extent upon his house and lands. Do this expediently, and turn him going. [Exeunt. ScENE II.—The Forest of Arden. : Enter ORLANDO, with a paper. - Orl. Hang there, my verse, in witness of my love: And thou, thrice-crowned queen of night, survey With thy chaste eye, from thy pale sphere above, AS YOU LIKE IT. 583 Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. Heigh, ho! sing, heigh, ho! unto the green holly: Most friendship is feigning, most loving mere folly. Then, heigh, ho! the holly! 182 This life is most jolly. Freeze, freeze, thou bitter sky, That dost not bite so nigh As benefits forgot: Though thou the waters warp, Thy sting is not so shar As friend remember’ Heigh, ho! sing, &c. 190 Duke S. If that you were the good Sir Rowland’s son, As you have whisper’d faithfully, you were, And as mine eye doth his effigies witness Most truly limn’d, and living in your face, Be truly welcome hither. Iam the duke, That lov’d your father. The residue of your fortune, Go to my cave and tell me.—Good old man, Thou art right welcome as thy master is. Support him by the arm.—Give me your hand, And let me all your fortunes understand. not. [Exewnt. ACT ITT. ScENE I.—A Room in the Palace. Enter Duke FREDERICK, OLIVER, and Attendants. Thy huntress’ name, that ay full life doth sway. O Rosalind! these trees shall be my books, And in their barks my thoughts I'll character, That évery eye, which in this forest looks, Shall see thy virtue witness’d everywhere. Run, run, Orlando: carve on every tree The fair, the chaste, and unexpressive she. - 10 : ‘Enter CORIN and TOUCHSTONE. [ew Cor. And how like you this shepherd’s life, Master Touchstone? . Touch. Truly, shepherd, in respect of itself, it is a good life, but in respect that it is a shepherd’s life, it is naught. In respect that it is solitary, I like it very well; but in respect that it is private, it is a very vile life. Now, in respect it is in the fields, it pleaseth me well; but in respect it is not in the court, it is tedious. As it is a spare life, look you, it fits my humour well; but as there is no more plenty in it, it goes much against my stomach. Hast any philosophy in thee, shepherd? 22 Cor. No more, ‘but that I know, the more one sickens, the worse at ease he is; and that. he that wants money, means, and content, is without three good friends ; that the property of rain is to wet, and fire to burn ; that good pasture makes fat sheep, and that a great cause of the night is lack of the sun; that he that hath learned no wit by nature nor art may complain of good breeding, or comes of a very dull kindred. ; 3. Touch. Such a one is a natural philosopher. Wast ever in court, shepherd ? Cor. No, truly. Touch. Then thou art damned. Cor. Nay, Thope,—__. 584 AS YOU LIKE IT. [Act IIL Touch. Truly, thou art damned, like an ill-roasted egg, all on one side. Cor. For not being at court? Your reason. 39 Touch. Why, if thou never wast at court, thou never saw’st good manners; if thou never saw’st good manners, then thy manners must be wicked; and wickedness is sin, and sin is damnation. Thou art in a parlous state, shepherd. Cor. Not a whit, Touchstone: those that are good manners at the court are as ridiculous in the country, as the behaviour of the country is most mockable at the court. You told me, you salute not at the court, but you kiss your hands: that courtesy would be un- cleanly, if courtiers were shepherds. 50 Touch. Instance, pricy come, instance. Cor. Why, we are still handling our ewes, and their fells, you know, are greasy. - Touch. Why, do not your courtier’s hands sweat? and is not the grease of a mutton as wholesome as the sweat ofa man? Shallow, shallow. A better instance, Isay; come. Cor. Besides, our hands are hard. Touch. Your lips will feel them the sooner: shallow again. A more sounder instance ; come. 60 Cor. And they are often tarred over with the | surgery of our ee and would you have us kiss tar? The courtier’s hands are perfumed with civet. Touch. Most shallow man! Thon worms-meat, in respect of a good piece of flesh, indeed !—Learn of the wise, and perpend: civet is of a baser birth than tar; the very uncleanly flux of a cat. Mend the instance, shepherd. Cor. You have too courtly a wit for me: I'll rest. Touch. Wilt thou rest damned? God help thee, shallow man! God make incision in thee! thou art raw. 72 Cor. Sir, I am a true labourer: I earn that I eat, et that I wear; owe no man hate, envy no man’s appiness, glad of other men’s good, content with my harm; and the greatest of my pride is, to see my ewes graze and my lambs suck. Touch. That is another simple sin in you, to bring the ewes and the rams together, and to offer to get your living by the copulation of cattle ; to be bawd to a bell-wether, and to betray a she-lamb of a twelve- month, to a crooked-pated, old, cuckoldly ram, out of all reasonable match. If thou be’st not damned for this, the devil himself will have no shepherds: I cannot see else how thou shouldst scape. Cor. Here comes young Master Ganymede, my new mistress’s brother. Enter ROSALIND, reading a paper. From the east to western Ind, No jewel ts like Rosalind. Her worth, being mounted on the wind, 90 Through all the world bears Rosalind, All the pictures, fairest lin'd, Are but black to Rosalind. Let no face be kept in mind, But the fair of Rosalind, Touch. I'll rhyme you so eight years together, dinners, and suppers, and sleeping hours excepted : it is the right butter-women’'s rank to market. Ros. Out, fool! Touch. For a taste :— “Tf a hart do lack a hind, Let him seek out Rosalind. If the cat will after kind, So, be sure, will Rosalind. Winter garments must be lin’d, So must slender Rosalind. They that reap must sheaf and bind, Then to cart with Rosalind. Sweetest nut hath sourest rind, Such a nut is Rosalind. He that sweetest rose will find, Must find love's prick, and Rosalind.” This is the very false gallop of verses: why do you infect yourself with them? Ros. Peace! you dull fool: I found them on a tree. Ros. 100 110 Touch. Truly, the tree yields bad fruit. Ros. I'll graff it with you, and then I shall graff it with a medlar : then it will be the earliest fruit ? the country ; for you'll. be rotten ere you be half ripe, and that’s the right virtue of the medlar. ‘ Touch, You have said ; but whether wisely or no, let the forest judge. " Ros. Peace! Here comes my sister, reading: stand aside. Touch, ** This is the very talse gallop of verses.” Enter CELIA, reading a paper. Cel. Why should this a desert be ? For itis unpeopled? No; Tongues I'll hang on every tree, That shall civil sayings show. Some, how brief the life of man Runs his erring pilgrimage, 130 That the stretching of a span Buckles in his sum of age. Some, of violated vows ’'Twiat the souls of friend and friend: But upon the fairest boughs, Or qt every sentence end, will ¥ Rosalinda write ; Teaching all that read, to know The quintessence of every sprite Heaven would in little show. 140 Therefore Heaven Nature charg’d That one body should be filld With all graces wide enlargd: Nature presently distill’ Helen’s cheek, but not her heart, Cleopatra’s majesty, Atalanta’s better part, Sad Lucretia’s modesty. Thus Rosalind of many parts f By heavenly synod was devis'd, 160 Of many faces, eyes, and hearts, To have the touches dearest prizd. Heaven would that she these gifts should have, | And I to live and die her slave. Ros. O most gentle Jupiter !—what tedious homil of love have you wearied your parishioners withal, and never cried, ‘‘ Have patience, good people! Cel. How now? back-friends.—Shepherd, go off a little :—go with him, sirrah. 159 Touch. Come, shepherd, let us make an honourable retreat; though not with bag and baggage, yet with scrip and scrippage. [Exeunt CoRIN and TOUCHSTONE. Cel. Didst thou hear these verses ? Ros. O! yes, I heard them all, and more too; for some of them had in them more feet than the verses would bear. ys SceNE II.] AS YOU LIKE IT. 585 Cel. That’s no matter: the feet might bear the verses. Ros. Ay, but the feet were lame, and could not bear themselves without the verse, and therefore stood lamely in the verse. Cel. But didst thou hear without wondering, how thy aoe should be hanged and carved upon these rees Ros. I was seven of the nine days out of the wonder, before you came; for look here what I found on a palm-tree: I was never so be-rhymed since Pythagoras’ time, that I was an Irish rat, which I can hardly remember. Cel. Trow you, who hath done this? 180 Ros. Is it a man? Cel. And a chain, that you once wore, about his neck. Change you colour? Ros. I pr’ythee, who? Cel. O Lord, Lord ! it is a hard matter for friends to meet; but mountains may be removed with earth- quakes, and so encounter. Ros. Nay, but who is it? Cel, Is it possible ? ‘ Ros. Nay, I pr’ythee, now, with most petitionary vehemence, tell me who it is. 191 Cel. O, wonderful, wonderful, and most wonderful wonderful! and yet again wonderful! and after that, out of all whooping! Ros. Good my complexion ! dost thou think, though I am caparison’d like a man, I have a doublet and hose in my disposition? One inch of delay more is a South Sea of discovery ; I pr’ythee, tell me, who is it, quickly, and speak apace. I would thou _couldst stammer, that thou mightst pour this concealed man out of thy mouth, as wine comes out of a narrow- mouth'd bottle ; either too much at once, or none at all, I pr’ythee, take the cork out of thy mouth, that I may drink thy tidings. Cel. So yeu may put a man in your belly. Ros. Is he of God’s making? What manner of man? Is his head worth a hat, or his chin worth a beard? Cel. Nay, he hath but a little beard. Ros. Why, God will send more, if the man will be thankful. Let me stay the growth of his beard, if thou delay me not the knowledge of his chin. 211 Cel. It is young Orlando, that tripp’d up the wrestler’s heels and your heart, both in an instant. Ros. Nay, but the devil take mocking: speak sad row, and true maid. Cel. I’ faith, coz, ’tis he. Ros. Orlando? Cel. Orlando. 218 Ros. Alas the day ! what shall I do with my doublet and hose?—What did he, when thou saw’st him? What said he? How look’d he? Wherein went he? What makes he here? Did he ask for me? Where remains he? How parted he with thee, and when shalt thou see him again? Answer me in one word. Cel. You must borrow me Gargantua’s mouth first: *tis a word too great for any mouth of this age’s size. To say, ay, and no, to these particulars is more than to answer in a catechism. 2 _ fos. But doth he know that I am in this forest, and in man’s apparel? Looks he as freshly as he did the aay he wrestled? ‘ 231 ‘el. It is as easy to count atomies, as to resolve the ropositions of a lover: but take a taste of my findin, im, and relish it with good observance. I foun im under a tree, like a dropped acorn. Ros. It may well be call’d Jove’s tree, when it drops forth such fruit. Cel. Give me audience, good madam. Ros. Proceed. : Cel. There lay he, stretch’d along like a wounded knight. ; 24 Ros. Though it be pity to see such a sight, it well becomes the ground. : Cel. Cry, holla! to thy tongue, I pr’ythee ; it curvets unseasonably. He was furnish’d like a hunter. Ros. O ominous! he comes to kill my heart. ring’st me out of tune. Cel, I would sing my song without a burden: thou Ros. Do you not know I am a woman? when I think, I must speak. Sweet, say on. 50 Cel. You bring me out.—Soft ! comes he not here? Ros. "Tis he: slink by, and note him. [RosaLInpD and CELia retire, Enter ORLANDO and JAQUES. Jaq. I thank youfor your company ; but, good faith, IT had-as lief have been myself alone. Orl. And so had I; but yet, for fashion sake, I thank you too for your society. 3 Jag. Good bye, you: let’s meet as little as we can. Orl. Ido desire we may be better strangers. _ Jag. I pray you, mar no more trees with writing love-songs in their barks. 261 Orl. I pray you, mar no more of my verses with reading them ill-favouredly. Jag. Rosalind.is your love’s name ? Ori. Yes, just. Jaq. I do not like her name, : Orl. There was no thought of pleasing you, when she was christened. Jag. What stature is she of ? Orl, Just as high as my heart. 270 Jag. Youare full of pretty answers. Have you not been acquainted with goldsmiths’ wives, and conn’d them out of rings? Orl. Not so; but I answer you right painted cloth, from whence you have studied your questions. Jaq. You have a nimble wit: I think ’t was made of Atalanta’s heels. Will you sit down with me? and we two will rail against our mistress the world, and all our misery. Orl. I will chide no breather in the world, but my- self, against whom I know most faults. 981 Jag. The worst fault you have, is to be in love. Ori. ’Tis a fault I will not change for your best virtue. Iam weary of you. : Jaq. By my troth, I was seeking for a fool when I found you. . Orl. He is drown’d in the brook: look but in, and you shall see him. Jag. There I shall see mine own figure. Orl. Which I take to be either a fool, or a cypher. 290 Jaq. I’ll tarry no longer with you. Farewell, good Signior Love. Orl. I am glad of your departure. Monsieur Melancholy. [Exit JAQUES.—ROSALIND and CELIA come orward. Ros. [Aside to CeLIA.] I will speak to him like a saucy lackey, and under that habit play the knave with him.—Do you hear, forester? Orl. Very well: what would you? Ros. I pray you, what is ’t o’clock ? Orl. You should ask me, what time o’ day: there’s no clock in the forest. 301 Ros. Then, there is no true lover in the forest; else sighing every minute, and proaminks every hour, would detect the lazy foot of Time as well as a clock. Orl, And why not the swift foot of ime? had not that been as proper? : Ros. By no means, sir. Time travels in divers paces with divers persons, I’ll tell you, who Time ambles withal, who Time trots withal, who Time gallops Adieu, good withal, and who he stands still withal. 310 Orl. I pr’ythee, who doth he trot withal ? ; Ros. Marry, he trots hard with a young maid, be- tween the contract of her marriage, and the day it is solemnised: if the interim be but a se’nnight, Time’s pace is so hard that it seems the length of seven years. Orl. Who ambles Time withal? : Ros. With a priest that lacks Latin, and a rich man that hath not the gout; for the one sleeps easily, because he cannot study ; and the other lives merrily, because he feels no pai : the one lacking the burden of lean and wasteful learning; the other knowing no burden of heavy tedious penury. These Time ambles withal. 323 Orl. Who doth he gallop withal? Ros. With a thief to the gallows; for though he go 586 AS YOU LIKE IT. —___, [Act II, i softly as foot can fall, he thinks himself too soon there. Orl. Who stays it still withal? Ros. With lawyers in the vacation ; for they sleep between term and term, and then they perceive not how Time moves. 331 Orl. Where dwell you, pretty youth? i Ros. With this shepherdess, my sister ; here in the skirts of the forest, like fringe upon a petticoat. Orl. Are you native of this place? . Ros. As the cony, that you see dwell where she is kindled. Orl. Your accent is something finer than you could purchase in so removed a dwelling. i Ros. I have been told so of many: but, indeed, an old religious uncle of mine taught me to speak, who was in his youth an inland man; one that knew court- ship too well, for there he fell in love. I have heard him read many lectures against it ; and I thank God, Iam not a woman, to be touched with so many giddy offences, as he hath generally taxed their whole sex withal. ? Orl. Can you remember any of the principal evils that he laid to the charge of women ? 34 Ros. There were none principal: they were all like one another, as half-pence are; every one fault seem- ing monstrous, till its fellow fault came to match it. rl Apex ihoe, recount some of them. Ros. No; I will not cast away my physic but on those that are sick. There isa man haunts the forest, that abuses our young plants with carving Rosalind on their barks; hangs odes upon hawthorns, and elegies on brambles; all, forsooth, deifying the name of Rosalind: if I could meet that. fancy-monger, I would give him some good counsel, for he seems to have the quotidian of love upon him. 361 Ort. Iam he that is so love-shaked. I pray you, tell me your remedy. tos. There is none of my uncle’s marks upon you: he taught me how to know a man in love; in which cage of rushes, I am sure, you are not prisoner. rl. What were his marks? Ros. A lean cheek, which you have not; a blue eye, and sunken, which you have not; an unquestionable ‘spirit, which you have not; a beard neglected, which | you have not :—but I pardon you for that, for simply, our having in beard is a younger brother’s revenue.— hen, your hose should be ungartered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied, and everything about you demonstrating a careless desolation. But you are nosuch man: you are rather point-device in your accoutrements ; as loving your- self, than seeming the lover of any other. Orl. Fair youth, I would I could make thee believe I love. 380 Ros. Me believe it? you may as soon make her that you love believe it; which, I warrant, she is apter to do, than to confess she does; that is one of the points in the which women still give the lie to their consciences. But, in good sooth, are you he that hangs the verses on the trees, wherein Rosalind is so admired ? Orl. I swear to thee, pot. by the white hand of Rosalind, I am that he, that unfortunate he. fos. But are you so much in love as your rhymes speak ? 391 Ort. Neither rhyme nor reason can express how much. fos. Love is merely a madness; and, I tell you, deserves as Well a dark house and a whip as madmen do; and the reason why they are not so punished and cured, is, that the lunacy_is so ordinary, that the whippers are in love too. counsel, Orl. Did you ever cure any so? 400 Ros. Yes, one; and in this manner. He was to imagine me his love, his mistress, and I set him every day to woo me: at which time would I, being but a@ moonish youth, grieve, be effeminate, changeable, longing, and liking; proud, fantastical, apish, shallow, | inconstant, full of tears, full of smiles; for every passion something, and for no passion truly anything, | Yet I profess curing it by . ‘great reckoning in a little room.—Truly, I would the as boys and women are, for the most part, cattle this colour; would now like him, noe loathe cae then entertain him, then forswear him; now weep for him, then spit at him ; that I drave my suitor from his mad humour of love, to a living humour of mad- ness, which was, to forswear the full stream of the world, and to live in a nook merely monastic. And thus Icured him ; and this way will 1 take upon me to wash your liver as clean as a sound sheep’s heart, that there shall not be one spot of love in ’t. Ros. ‘‘ There is none of my uncte’s marks upon you.” Orl. I would not be cured, youth. ? Ros. I would cure you, if you would but call me Rosalind, and come every day to my cote, and woo me. Orl. Now, by the faith of my love, I will. Tell me where it is. . 422 Ros. Go with me to it, and I'll show it you; and, by the way, you shall tell me where in the forest you live. Will you go? Orl. With all my heart, good youth. : Ros. Nay, you must call me Rosalind.—Come, sister, will you go? [Exeunt. ScENE IJJ.—Another Part of the Forest. Enter TOUCHSTONE and AUDREY; JAQUES behind, observing them. Touch. Come apace, good Audrey : I will fetch up your goats, Audrey. And how, Audrey? am I the man yet? doth my simple feature content you? Aud. Your features? Lord warrant us! what features? Touch. I am here with thee and thy goats, as the ee capricious poet, honest Ovid, was among the oths. ; Jag. [Aside.] O knowledge ill-inhabited, worse than Jove in a thatched house! 10 Touch. When a man’s verses cannot be understood, nor a man’s good wit seconded with the forward chil Understanding, it strikes a man more dead than @ gods had made thee poetical. we Aud. Ido not know what poetical is. Is it honest in deed and word? Is it a true thing? i ScENE V.] AS YOU LIKE IT. 587 Touch. No, truly, for the truest poetry is the most feigning; and lovers are given to poetry, and what they swear in poetry, may be said, as lovers they do feign. > 21 Aud. Do you wish then, that the gods had made me poetical? Touch. I do, truly; for thou swear’st to me, thou art honest: now, if thou wert a poet, I might have some pope thou didst feign. . Aud. Would you not have me honest? Touch. No, truly, unless thou wert hard-favour’d, for honesty coupled to beauty, is to have honey a sauce to sugar. * 30 . Jaq. ae | A material fool. Aud, Well, 1am not fair, and therefore I pray the gods make me honest. Touch. .Truly, and to cast away honesty upon a foul slut were to put good meat into an unclean dish. ; aoe Iam not a slut, though I thank the gods I am ‘oul. “Touch. Well, praised be the gods for thy foulness : sluttishness may come hereafter. But be it as.it may ‘be, I will marry thee; and to that end, I have been with Sir Oliver Mar-text, the vicar of the next village, who hath promised to meet me in this place of me |, forest, and to couple us. Jaq. [Aside.}. I would fain see this meeting. Aud, Well, the gods give us joy! Touch. Amen. A man may, if he were of a fearful heart, stagger in this attempt; for here we have no temple but the wood, no assembly but horn-beasts. But what though? Courage! As horns are odious, they are necessary. It is said,—many a man knows no end of his goods: rene many a man has good horns, and knows no end of them. Well, that is the dowry of his wife: ‘tis none of his own getting. ‘Horns? Even so.—Poor men alone?—No, no; the noblest deer hath them as huge as the rascal. Is the single man therefore blessed? No: as a walled town is more worthier than a village, so is the forehead of a married man more honourable than the bare brow ofa bachelor; and by how much defence is better than no skill, by so much is a horn more precious than to want. Here comes Sir Oliver. 61 Enter Sir OLIVER MAR-TEXT. Sir Oliver Mar-text, you are well met: will you despatch us here under this tree, or shall we go with you to your chapel? Sir Oli. Is there none here to give the woman? Touch. I will not take her on gift of any man. _ Sir Oli. Truly, she must be given, or the marriage is not lawful. : Jaq. [Coming forward.] Proceed, proceed: I'll are er. Touch. Good even, good Master What-ye-call’t: how do you, sir? You are very well met: God ’ild you for your last company. I am very glad to see you.—Even a toy in hand here, sir.—Nay ; pray, be cover'd, Jag. Will you be married, motley? Touch. As the ox hath his bow, sir, the horse his curb, and the falcon her bells, so man hath his desires; and as pigeons bill, so wedlock would be nibbling. 79 Jaq. And will you, being a man of your breeding, be married under a bush, like a beggar? Get you to church, and have a good priest that can tell you what Inarriagé is: this fellow will but join you together as they join wainscot; then one of you will prove a shrunk panel, and, like green timber, warp, warp. Touch. [Aside.] I am not in the mind but I were better to be married of him than of another ; for he is not like to marry me well, and not being well married, it Will be a good excuse for me hereafter to leave my ; e. Jag. Go thou with me, and let me counsel thee. Touch. Come, sweet Audrey : We must be married, or we must live in bawdry. Farewell, good Master Oliver! Not,— O sweet Oliver! O brave Oliver! Leave me not behind thee: but,~ Wind away, Begone, I aay 100 I will not to we ding with thee. ey JAQUES, TOUCHSTONE, and AUDREY. Sir Oli. "Tis no matter: ne’er a fantastical knave of them all shall flout me out of my calling. [Exit. ScenE IV.—Another Part of the Forest. Before a Cottage. Enter RosaLiwD and CELIA. Ros. Never talk to me: I will weep. Cel. Do, I pr’ythee; but yet have the grace to con- sider, that tears do not become a man. Ros. But have I not cause to weep? Cel. As good cause as one would desire: therefore weep. Ros. His very hair is of the dissembling colour. Cel. Something browner than Judas’s. Marry, his kisses are Judas’s own children. Ros. TY faith, his hair is of a good colour. 10 Cel. An excellent colour: your chestnut was ever the only colour. : Ros. And his kissing is as full of sanctity as the touch of holy bread. Cel. He hath bought a ee of cast lips of Diana: a nun of winter’s sisterhood kisses not more religiously ; the very ice of chastity isin them. ‘ : fos. But why did he swear he would come this morning, and comes not ? Cel, Nay, certainly, there is no truth in him. 20 Ros. Do youthink so? * Cel. Yes: I think he is not a pick-purse, nor a horse- stealer; but for his verity in love, I] do think him as concave as a covered goblet, or a worm-eaten nut. Ros. Not true in love? Cel. Yes, when he is in ; but I think he is not in, Ros. You have heard him swear downright, he was. Cel. Was is not is: besides, the oath of aloverisno stronger than the word of a tapster; they are both the confirmers of false reckonings. He attends here in the forest on the duke your father. 31 Ros. I met the duke yesterday, and had much iiesnee with him. He asked me, of what parentage was: I told him, of as good as he; so he laughed, and let me go. But what talk we of fathers, when there is such a man as Orlando? Cel. O, that’s a brave man! he writes brave verses, Speaks brave words, swears brave oaths, and breaks them bravely, quite traverse, athwart the heart of his lover; as a puny tilter, that spurs his horse but on one side, breaks his staff like a noble goose. But all’s brave, that youth mounts, and folly guides.—Who comes here ? 43 Enter Corin. Cor. Mistress, and master, you have oft inquir’d After the shepherd that complain’d of love, Who you saw ee yy me on the turf, Praising the proud disdainful shepherdess ‘hat was his mistress. Cel. Well, and what of him? Cor. If you will see a pageant truly play’d, Between the pale complexion of true love, 50 And the red glow of scorn and proud disdain, Go hence a little, and I shall conduct you, If you will mark it. Ros. O! come, let us remove: The sight of lovers feedeth those in love.— Bring us to this sight, and you shall say Ill prove a busy actor in their play. [Exeunt. SceNnE V.—Another Part of the Forest. Enter Stuvivs and PHEBE. Sil. Sweet Phebe, do not scorn me; do not, Phebe: Say that you love me not; but say not so In bitterness. The common executioner. 588 AS YOU LIKE IT. [Act T1 Whose heart the accustom’d sight of death makes ard, Falls not the axe upon the humbled neck, But first begs pardon : will you sterner be Than he that dies and lives by bloody drops? Enter RoSALIND, CELIA, and CoRIN, behind. Phe. I would not be thy executioner : I fly thee, for I would not injure thee. | Thou tell’st me, there is murder in my mineeye: 10 °T is pretty, sure, and very probable, : That eyes--that are the frail’st and softest things, Who ohat their coward gates on atomies,— Should be call’d tyrants, butchers, murderers ! Now I do frown on thee with all my heart; _ And if mine eyes can wound, now let them kill thee; Now counterfeit to swoon, why, now fall down; Or, if thou canst not, O, for shame, for shame ! Lie not, to say mine eyes are murderers. Now show the wound mine eye hath made in thee : 20 Scratch thee but with a pin, and there remains Some scar of it ; lean upon a rush, The cicatrice and capable impressure r Thy palm some moment keeps, but now mine eyes, Which I have darted at thee, hurt thee not, Nor, I am sure, there is no force in eyes That can do hurt. i O dear Phebe, Sil. If ever (as that ever may be near) You meet in some fresh cheek the power of fancy, Then shall you know the wounds invisible That love’s keen arrows make. But till that time Phe. Come not thou near me; and when that time comes, Affliict me with thy mocks, pity me not, As till that time I shall not pity thee. Ros. [Advancing.] And why, I pray you? Who might be your mother, That you insult, exult, and all at once, Over Bae, mretohed What though you have no eauty (As, by my faith, I see no more in you Than without candle may go dark to bed), Must you be therefore proud and pitiless? 10 Why, what means this?) Why do you look on me? I see no more in you, than in the ordinary Of nature’s sale-work.—Od’s my little life! I think she means to tangle my eyes too. No, ‘faith, proud mistress, hope not after it: ’T is not your inky brows, your black silk hair, Your bugle eye-balls, nor your cheek of cream, That can entame my spirits to your worship,— You foolish a igo wherefore do you follow her, Like foggy south, puffing with wind and rain? 50 You are a thousand times a properer man, Than she a woman: ’t is such fools as you, That make the world full of ill-favour’d children. ’T is not her glass, but you, that flatters her; And out of you she sees herself more proper, Than any of her lineaments can show her.— But, mistress, know yourself: down on your knees, And thank Heaven, fasting, for a good man’s love ; For I must tell you friendly in your ear, Sell when you can: you are not for all markets. 60 Cry the man mercy ; love him; take his offer: Foul is most foul, being foul to be a scoffer So, take her to thee, shepherd.—Fare you well. Phe. Sweet youth, I pray you, chide a year together. IT had rather hear you chide, than this man woo. os. He’s fallen in love with your foulness, and she'll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, I'll sauce her with bitter words.—Why look you so upon me? Phe. For no ill will I bear you. 70 Ros. I pray you, do not fall in love with me, perl mae than vO made in wine: esides, I like you not.—If you will know my house ‘Tis at the tuft of olives, here hard by.— ¥ _ Will you go, sister ?—Shepherd, ply her hard.-- Come, sister.—Shepherdess, look on him better, And be not ou though all the world could see, Noné could be so abus’d in sight as he. Come, to our flock. Exeunt ROSALIND, CELtA, and CorIN. Phe. Dead shepherd! now I find thy saw of might: “Who ever lov'd, that lov’d not at first sight ?” 81 Sil. Sweet Phebe,— Phe. Ha! what say’st thou, Silvius? Sil. Sweet Phebe, pity me. Phe. Why, I am sorry for thee, gentle Silvius, Sil. Wherever sorrow is, relief would be: If you do sorrow at my grief in love, By giving love your sorrow and my grief Were both extermin’d. Phe. Thou hast my love: is not that neighbourly? Sil. I would have you. Phe. Why, that were covetousness, 90 Silvius, the time was that I hated thee, And yet it is not that I bear thee love; But since that thou canst talk of love so well, Thy company, which erst was irksome to me, I will endure, and I’ll employ thee too; But do not look for further recompense, Than thine own gladness that thou art employ’d. Sil. So holy, and so perfect is my love, And I in such a poverty of grace, That I shall think it a most plenteous crop 100 To glean the broken ears after the man . That the main harvest reaps: loose now and then - A scatter’d smile, and that I'll live upon. Phe. ee thou the youth that spoke to me ere- while Sil, Not very well; but I have met him oft; And he hath bought the cottage, and the bounds, That the old carlot once was master of. Phe. Think not I love him, though I ask for him. *T is but a peevish boy :—yet he talks well :— But what care I for words? yet words do well 10 When he that speaks them pleases those that hear. It is a pretty youth :—not very pretty :— . But, sure, he’s proud ; and yet his pride becomes him. He'll make a proper man: the best thing in him Is his complexion ; and faster than his tongue Did make offence, his eye did heal it up, He is not very tall ; yet for his years he’s tall. His leg is but so so; and yet ’tis well. There was a pretty redness in his lip ; A little riper, and more lusty red ; 120 Than that mix’d in his cheek: ’t was just the dif- ference Betwixt the constant red, and mingled damask. There be some women, Silvius, had they mark’d him In parcels, as I did, would have gone near To fall in love with him ; but, for my part, I love him not, nor hate him not; and yet | Have more cause to hate him than to love him: For what had he todotochideatme? He said, mine eyes were black, and my hair black ; And, now I am remember’d, scorn’d at me. 130 I marvel, why I answer’d not again: | But that’s all one; omittance is no quittance. I'll write to him a very taunting letter, And thou shalt bear it ; wilt thou, Silvius? Sil. Phebe, with all my heart. 5 Phe. I'll write it straight; The matter’s in my head, and in my heart: ' I will be bitter with him, and passing short. Go with me, Silvius. [Exeunt. ACT IY. ScENE I.—The Forest of Arden. Enter RoSALIND, CELIA, and JAQUES. Ros. Why, horns; which such as you are fain to be Jaques. PR’YTHEE, pretty youth, let me be better acquainted with thee. Ros. They say, you are w melancholy fellow. Jag, I am so: I do love it better than laughing. Ros. Those that are in extremity of ‘ either are abominable fellows, and betray &=\\ themselves to every modern censure worse than drunkards. 10 Jaq. Why, ’tis good to be sad and say nothing. Ros. Why then, "tis po to be a post. Jag. I have neither the scholar’s melancholy, which is emulation ; nor the musician’s, which is fantastical ; nor the courtier’s, which is proud; nor the soldier's, which is ambitious; nor the lawyer's, which is politic ; nor the lady’s, which is nice; nor the lover’s, which is all these; but it is a melancholy of mine own, compounded of many simples, extracted from many objects, and, indeed, the sundry contemplation of my travels; which, by often rumination, wraps me in a most humorous sadness. 23 Ros. A traveller! By my faith, you have great reason to be sad. I fear, you have sold your own lands, to see other men’s; then, to have seen much, cern have nothing, is to have rich eyes and poor ands, Jag. Yes, I have gained my oxperienee, Ros. And your experience makes you sad. I had rather have a fool to make me merry, than experience to make me sad; and to travel for it too! 32 Enter ORLANDO. Orl. Good day, and Happiness, dear Rosalind. Jaq. Nay then, God be wi’ you, an you talk in blank verse. [Exit. Ros. Farewell, Monsieur Traveller. Look you lisp, and wear strange suits; disable all the benefits of your own country ; be out of love with your nativity ; and almost chide God for making you that coun- tenance you are: or I will scarce think you have swam in a gondola.—Why, how now, Orlando! where have you been all this while? You a lover ?—An you serve me such another trick, never come in my sight more, Orl. My fair Rosalind, I come within an hour of my promise. ; Ros. Break an hour’s promise in love! He that will divide a minute into a thousand. parts, and break but a part of the thousandth part of a minute in the affairs of love, it may be said of him, that Cupid hath clapped him o’ the shoulder, but I’ll warrant him heart-whole. 52 Orl. Pardon me, dear Rosalind. , _Ros..Nay, an you be so tardy, come no more in my sight : I had as lief be woo'd of a snail. Orl. Of a snail ? Ros. Ay, of a snail; for though he comes slowly, he carries his house on his head, abetter jointure, I think, than you make a woman. Besides, he brings his destiny with him. 60 Orl. What’s that? beholding to your wives for: but he comes armed in his fortune, and prevents the slander of his wife. Orl. Virtue is no horn-maker, and my Rosalind is virtuous. fos. And I am your Rosalind. Cel. It pleases him to call you so; but he hath a Rosalind of a better leer than you. 69 Ros. Come, woo me, woo me; for now I am ina holiday humour, and like enough to consent.—What would you say to me now, an I were your very very Rosalind ? Orl. I would kiss before I spoke. Ros. Nay, you were better speak first; and when you were gravelled for lack of matter, you might take occasion to kiss, Wery good orators, when they are out, they will spit ; and for lovers, lacking (God warn us!) matter, the cleanliest shift is to kiss. Orl. How if the kiss be denied ? 80 Ros. Then she puts you to entreaty, and there begins new matter. Orl. Who could be out, being before his beloved mistress ? Ros. Marry, that should you, if I were your mis- Sa or I should think my honesty ranker than my wit. Orl. What, of my suit ? Ros. Not out of your apparel, and yet out of your suit. Am not I your Rosalind? 90 Orl, I take some joy to say you are, because I would be talking of her. Ros. Well, in her person, I say—I will not have you. Orl. Then, in mine own person, I die. Ros. No, faith, die by attorney. ‘The poor world is almost six thousand years old, and in all this time there was not any man died in his own person, vide- licet, in a love-cause. Troilus had his brains dashed out with a Grecian club; yet he did what he could to die before, and he is one of the patterns of love. Leander, he would have lived many a fair year, though Hero had turned nun, if it had not been for a hot midsummer-night ; for, eee youth, he went but forth to wash him in the Hellespont, and, bein taken with the cramp, was drowned, and the foolish chroniclers of that age found it was—Hero of Sestos., But these are all lies: {men have died from time to time, and worms have éaten them, but not for love}. Orl, I would not have my right Rosalind of th mind, for, I protest, her frown might kill me. 110 Ros. By this hand, it will not kill a fly. But come, now I will be your Rosalind in a more coming-on disposition ; and ask me what you will, I will grant it. rl. Then love me, Rosalind. Ros. Yes, faith will I; Fridays, and Saturdays, and all. Orl, And wilt thou have me? Ros. Ay, and twenty such. Orl. What say’st thou? Ros, Are you not good? 120 Orl. I hope so. . Ros. Why then, can one desire too much of a good thing?—Come, sister, you shall be the priest, and marry us.—Give me your hand, Orlando.—What do you say, sister? 590 AS YOU LIKE IT. [Act Iv, Orl. Pray thee, marry us. Cel. Lcannot say the words. Ros. You must begin,—‘* Will you, Orlando,”"— Cel. Go to.—Will you, Orlando, have to wife this Rosalind ? 130 | Orl. Iwill. Ros. Ay, but when? Orl. Why, now, as fast as she can marry us. : Ros. Then you must say,—‘“‘I take thee, Rosalind, for wife.” Orl. I take thee, Rosalind, for wife. es oy ts. wi AINE vee Cel. ‘* Will you, Orlando, have to wife this Rosalind?” Ros. I might ask you for your commission ; but,—I do take thee, Orlando, for my husband :—there’s a girl goes before the priest; and certainly, a woman's thought runs before her actions. 1d Ori. So do all thoughts : they are winged. Ros. Now tell me how long you would have her, after you have possessed her. Orl. For ever, and a day. Ros. Say aday, without the ever. No, no, Orlando: men are April when they woo, December when they wed; maids are May when they are maids, but the sky changes when they are wives. I will be more jealous of thee than a Barbary cock-pigeon over his hen; more clamorous than a parrot against rain; more new-fangled than an ape; more giddy in my desires than a monkey: I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry; I will laugh like a hyen, and that when thou art inclined to sleep. Orl. But will my Rosalind do so? Ros. By my life, she will do as I do. Orl. O! but she is wise. 158 Ros. Or else she could not have the wit to do this: the wiser, the waywarder. Make the doors upon a woman's wit, and it will out at the casement; shut that, and ’t will out at the key-hole; stop that, ’t will fly with the sinoke out at the chimney. Orl. A man that had a wife with such a wit, he might say,—"* Wit, whither wilt?” ‘os. Nay, you might keep that check for it, till you met your wife’s wit going to your neighbour's bed. Orl, And what wit could wit have to excuse that ? Ros. Marry, to say,—she came to seek you there. You shall never take her without her answer, unless you take her without her tongue: O! that woman that cannot make her fault her husband’s occasion, let her never nurse her child herself, for she will breed it like a fool. Orl. For these two hours, Rosalind, I will leave ee. Ros. Alas, dear love! I cannot lack thee two hours, Orl. I must attend the duke at dinner: by two o'clock I will be with thee again. 179 Ros. Ay, go your ways, go your ways.—I knew what you would prove ; my friends told me as much, and I thought no less:—that flattering tongue of yours won me:—tis but one cast away, and so,— come, death !—Two o'clock is your hour? Orl. Ay, sweet Rosalind. Ros. By my troth, and in good earnest, and so God mend me, and by all pretty oaths that are not dan- gerous, if you break one jot of your promise, or come one minute behind your hour, I will think you the most pathetical break-promise, and the most hollow lover, and the most ae of her you call Rosalind, that may be chosen out of the gross band of the un- faithful. Therefore, beware my censure, and keep your promise. Orl, With no less religion, than if thou wert indeed my Rosalind : so, adieu. Ros. Well, Time is the old justice that examines all such offenders, and let ‘lime try. Adieu. 198 [Exit ORLANDO. Cel. You have simply misused our sex in your love- prate. We must have your doublet and hose plucked over your head, and show the world what the bird hath done to her own nest. Ros. O! coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love! But I cannot be sounded: my affection hath an un- known bottom, like the bay of Portugal. Cel. Or, rather, bottomless; that as fast as you pour affection in, it runs out. Ros. No; that same wicked bastard of Venus, that was begot of peony, conceived of spleen, and born of madness, that blind rascally boy, that abuses every one’s eyes, because his own are out, let him be judge how deep I am in love.—I’ll tell thee, Aliena, I cannot be out of the sight of Orlando. I'll go find a shadow, and sigh till he come. Cel. And I'l sleep. [Ezxeunt. ScENE II.—Another Part of the Forest. Enter JAQUES and Lords, like foresters. ag. Which is he that killed the deer? 1 Lord. Sir, it was I. . Jaq. Let’s present him to the duke, like a Roman conqueror; and it would do well to set the deer's horns upon his head for a branch of victory.—Have you no song, forester, for this purpose? 2 Lord. Yes, sir. 3 : Jaq. Sing it: ’tis no matter how it be in tune, so it make noise enough, s ONG. What shall he have, that kill'd the deer? 10 His leather skin, and horns to wear. Then sing him home. Take thou no scorn, to wear the horn; Jt was a crest cre thou wast born, Thy father's father wore it, And thy father bore it: The horn, the horn, the lusty horn, Js not a thing to laugh to scorn. [Exeunt. ScENE III.—Another Part of the Forest. Enter ROSALIND and CELIA. Ros. How say you now? Is it not past two o'clock? and here much Orlando! Cel. I warrant you, with pure love, and troubled Scene IIT.) AS YOU LIKE IT. 591 brain, he hath ta’en his bow and arrows, and is gone torth—to sleep. Look, who comes here. Enter SILvius. Sil. My errand is to you, fair youth.— My gentle Phebe did bid me give you this: (Giving a letter. I know not the contents; but, as I guess By the stern brow, and waspish action, hich she did use as she was writing of it, It bears an angry tenor. Pardon me, Iam but as a guiltless messenger. Ros. Patience herself would startle at this letter, And play the sieer ee : bear this, bear all. She says, I am not fair; that I lack manners; She calls me proud, and that she could not love me, Were man as rare as pheenix. Od’s my will! Her love is not the hare that I do hunt: Why writes she so to me ?—Well, shepherd, well; This is a letter of your own device. Sil. No, I protest; I know not the contents: Phebe did write it. Ros. : Come, come, you are a fool, And turn’d into the extremity of love. I saw her hand: she has a leathern hand, A freestone-colour’d hand: I verily did think That her old gloves were on, but ’t was her hands: She has a housewife’s hand ; but that’s no matter. I say, she never did invent this letter ; This is a man’s invention, and his hand. Sil. Sure, it is hers. Ros. Why, 't is a boisterous and a cruel style, A style for challengers: why, she defies me, Like Turk to Christian. Woman's gentle brain Could not drop forth such giant-rude invention, Such Ethiop words, blacker in their effect Than in their countenance.—Will you hear the letter? Sil. So please you; for I never heard it yet, Yet heard too much of Phebe’s cruelty. Ros. She Phebes me. Mark how the tyrant writes. “Art thou god to shepherd turn’d, 40 That a maiden’s heart hath burn’d?”— Can a woman rail thus ? , Sil. Call you this railing? Ros. “ Why, thy godhead laid apart, Warr'st thou with a woman’s heart?” Did you ever hear such railing ?— ““Whiles the eye of man did woo me, ___ That could do no vengeance to me.”— Meaning me a beast.— “Tf the scorn of your bright eyne Have power to raise such love in mine, Alack! in me what strange effect Would they work in mild aspect ? Whiles you chid me, I did love; How then might your prayers move? He that brings this love to thee, Little knows this love in me: And by him seal up thy mind ;. Whether that thy youth and kind Will the faithful offer take Of me, and all that I can make; Or else by him my love deny, And then I’ll study how to die.” Sil. Call you this chiding ? ! Cel. Alas, poor shepherd ! s Ros. Do you pity him? no; he deserves no pity.— Wilt thou love such a woman?— What, to make thee an instrument, and play false strains upon thee? not to be endured !—Well, go your way to her, (for I see, love hath made thee a tame snake,) and say this to her :—that if she love me, I charge her to love thee ; if she will not, I will never have her, unless thou entreat for her.—If you be a true lover, hence, and not a word, for here comes more company. ‘ [Exit SILVIUS. 10 20 30 Enter OLIVER. Oli. Good morrow, fair ones. Pray you, if you ow, Where in the purlieus of this forest stands sheepcote, fenc’d about with olive-trees? Cel. West of this place, down in the neighbour bottom: The rank of osiers, by the murmuring stream, Left on i right hand, brings you to the place. But at this hour the house doth keep itself ; There ’s none within. Oli. If that an eye may profit by a tongue, Then should I know you by description; Such garments, and such years :—“‘ The boy is fair, Of female favour, and bestows himself Like a ripe sister: the woman low, ‘ And browner than her brother.” Are not you The owner of the house I did inquire for? Cel, It is no boast, being ask’d, to say, we are. Oli. Orlando doth commend him to you both; And to that youth, he calls his Rosalind, He sends this bloody napkin. Are you he? Ros. lam. What must we understand by this? Oli. Some of my shame; if you will know of me, What man I am, and how, and why, and where This handkercher was stain’d. Cel. Oli. When last the young 80 90 I pray you, tell it. Orlando parted from you, He left a promise to return again Within an hour ; and, pacing through the forest, Chewing the food of sweet and bitter fancy, Lo, what befell! he threw his eye aside, And, mark, what object did present itself ! Under an old oak, whose boughs were moss’d with * age, And high top bald with dry antiquity, A wretched ragged man, o’ergrown with hair, Lay sleeping on his back: about his neck A peel and gilded snake had wreath'd itself, Who with her head, nimble in threats, approach’d The opening of his mouth; but suddenly, 1 Seeing Orlando, it unlink’d itself, And with indented glides did slip away Into a bush; under which bush’s shade A lioness, with udders all drawn dry, Lay couching, head on ground, with catlike watch, When that the sleeping man should stir ; for tis The royal disposition of that beast, To prey on ncthing that doth seem as dead. This seen, Orlando did approach the man, And found it was his brother, his elder brother. 120 Cel. O! I have heard him speak of that same brother; And he did render him the most unnatural That liv’d ’mongst men. oli. And well he might so do, For well I know he was unnatural. Ros. But, to Orlando.—Did he leave him there, Food to the suck’d and hungry lioness? Oli. Twice did he turn his back, and purpos’d so ; But kindness, nobler ever than revenge, And nature, stronger than his just occasion, Made him give battle to the lioness, Who quickly fell before him: in which hurtling From miserable slumber I awak’d. Cel. Are you his brother? R Was it you he rescu’d? 08. Cel. Wee t you that did so oft contrive to: kill im Oli. "T was 1; but tis not I. Ido not shame To tell you what I was, since my conversion So sweetly tastes, being the thing I am. Ros. But, for the bloody napkin? zt By-and-by. Oli. When from the first to last, betwixt us two, Tears our recountments had most kindly bath’d, As, how I came into that desert place :— In brief, he led me to the gentle duke, Who gave me fresh array, and entertainment, Committing me unto my brother’s love: Who led me instantly unto his cave, There strapyd himself; and here, upon his arm, The lioness had torn some flesh away, Which all this while had bled ; and now he fainted, 100 140 And cried, in fainting, upon Rosalind. Brief, I recover’d him, bound up his wound; 150 592 AS YOU LIKE IT. {Act V. And, after some small space, being strong at heart, He sent me hither, stranger as I am, A. oli. “He sent me hither, stranger as I am, To tell this story, that you might excuse His broken promise.” To tell this story, that you might excuse His broken promise ; and to give this napkin, | Dy’d in his blood, unto the shepherd youth That he in sport doth call his Rosalind. [ROSALIND swoons, Cel. we how now, Ganymede? sweet Gany- mede! Oli. Many will swoon when they do look on ood. Cel. There is more in it.—Cousin !—Ganymede! Oli. Look, he recovers. Ros. I would I were at home. Cel. ; We 11 lead you thither,— I pray you, will you take him by the arm ? Oli. Be of good cheer, youth.—You a man? You lack a man’s heart. ‘os. I do so, I confess it. Ah, sirrah! a body would think this was well counterfeited. I pray ou, tell your brother how well I counterfeited.— eigh-ho !— Oli. 'This was not counterfeit: there is too great testimony in your complexion, that it was a passion of earnest. 171 Ros. Counterfeit, assure you. Oli. Well then, take a good heart, and counterfeit to be a man. Ros. So I do; but, i’faith, I should have been a woman by right. Cel. Come; you look paler and paler: pray you, draw homewards.—Good sir, go with us. Oli. That will I, for I must bear answer back, How you excuse my brother, Rosalind. Ros. I shall devise something. But, I pray you, commend my counterfeiting to him.—Will you go? , [Exeunt. ACT V. . ScENE I.—The Forest of Arden. Enter TOUCHSTONE and AUDREY. Touchstone. E shall find a time, Audrey: patience, gentle Audrey. Aud. ’Faith, the priest was good enough, for all the old gentleman's saying. Touch. A most wicked Sir Oliver, Audrey; a most vile Mar-text. But, Audrey, there is a youth here in the forest lays claim to you. lud. Ay, I know who ‘tis: he hath no interest in mein the world. Here comes the man you mean. 11 Enter WILLIAM. Touch. It is meat and drink to me to see a clown. By my troth, we that have good wits have much to answer for: we shall be flouting ; we cannot hold. Will. Good even, Audrey. : Aud. God ye good even, William. Will. And good even to you, sir. Touch. Good even, gentle friend. Cover thy head, cover thy head, nay, pr’ythee, be covered. How old are you, friend? 20 Will. Five-and-twenty, sir. Touch. A ripe age. Is thy name William ? Will. William, sir. Touch, A fair name. Wast born i’ the forest here? Will, ay sir, I thank God. Touch, Thank God ;—a good answer. Art rich? Will. ’Faith, sir, so, so, Touch. So, so, is good, very good, very excellent, good: and yet it is not; it is but so, so. Art thou wise? ; 30 Will. Aye sir, I have a pretty wit. Touch. Why, thou say’st well. I do now remember a saying, ‘‘The fool doth think he is wise, but the wise man knows himself to be a fool.” The heathen philosopher, when he had a desire to eat a grape, would open his lips when he put it into his mouth, meaning thereby, that grapes were made to eat, and lips to open. You do love this maid? Will. I do, sir. Touch. Give me your hand. Art thou learned? 40 Will. No, sir. 4 Touch. Then learn this of me. To have, is to have; for it is’a figure in rhetoric, that drink, being poured out of a cup into a glass, by filling the one doth empty the other ; for all your writers do consent, that ipse i8 he: now, you are not 7pse, for I am he. Will. Which he, sir? . 4 Touch. He, sir, that must marry this woman. Therefore, you clown, abandon,—which is in, the vulgar, leave,—the society,—which in the boorish is, company,—of this female,—which in the common 18, woman; which together is, abandon the society of this female, or, clown, thou perishest; or, to thy better understanding, diest; or, to wit, I kill thee, make thee away, translate thy life into death, thy liberty into bondage. I will deal in poreon with thee, or in basti- nado, or in steel: J will bandy with thee in faction; I rc ScENE III.) AS YOU LIKE IT. 593 will o’errun thee with policy; I will kill thee a hundred and fifty ways: therefore tremble, and depart. 60 Aud. Do, good William. Will. God rest you merry, sir. [Exit. Enter Corin. Cor. Our master and mistress seek you: come, away, away! = Touch. 'trip,. Audrey, trip, Audrey.—I attend, I attend. [Exeunt. ScENE II.—Another Part of the Forest. Enter ORLANDO and OLIVER. Orl. Is’t possible, that on so little acquaintance you should like her? that, but seeing, you should love her? and, loving, woo? and, wooing, she should grant? and will you persever to enjoy her? Oli. Neither call the giddiness of it in question, the poverty of her, the small acquaintance, my sudden wooing, nor her sudden consenting ; but say with me, Ilove Aliena ; say with her, that she loves me; con- sent with both, that we may enjoy each other: it shall be to your good; for my father's house, and all the revenue that was old Sir Rowland’s, will I estate upon you, and here live and die a shepherd. 12 Orl. You have my consent. Let your wedding be to-morrow: thither will I invite the duke, and all his contented followers. Go you, and prepare Aliena; tor, look you, here comes my Rosalind. Enter ROSALIND. Ros. God save you, brother. Oli. And you, fair sister. [Eait. Ros. O! my dear Orlando, how it grieves me to see thee wear thy heart in a scarf. 20 Orl. It is my arm. Ros. I thought thy heart had been wounded with the claws of a lion. Orl. Wounded it is, but with the eyes of a lady. ~ Ros. Did your brother tell you how I counterfeited to swoon, when he showed me your handkercher? Orl. Ay, and greater wonders than that. Ros. O! I know where you are.—Nay, ’tis true: there was never anything so sudden, but the fight of two rams, and Ceesar’s thrasonical brag of—‘‘I came, saw, and overcame:” for your brother and my sister no sooner met, but they looked; no sooner looked, but they loved; no sooner loved, but they sighed; no sooner sighed, but they asked one another the reason ; no sooner knew the reason, but they sought the remedy : and in these degrees have they made a pair of stairs to marriage, which they will climb inconti- nent, or else be incontinent before marriage. They are in the very wrath of love, and they will together: clubs cannot part them. 40 ' Orl. They shall be married to-morrow, and I will bid the duke to the nuptial. But, O! how bitter a thing it is to look into happiness through another man’s eyes! By so much the more shall I to-morrow be at the height of heart-heaviness, by how much I shall think my brother happy in having what he wishes for. Ros. Why then, to-morrow I cannot serve your turn for Rosalind ? Orl. I can live no longer by thinking. 80 Ros. I will weary you then no longer with idle ing. Know of me then (for now I speak to some Purpose), that I know you are a gentleman of good conceit. I speak not this, that you should_bear a ee opinion of my knowledge. insomuch I say, I ow you are; neither do I labour for a greater esteem than miay in some little measure draw a belief from you, to do yourself good, and not to grace me. Believe then, if you: please, that I can do strange things, have, since I was three years old, con- versed with a magician, most profound in his art, and yet not damnable. If you do love Rosalind so near the heart as your gesture cries it out, when your brother marries Aliena, shall] you marry her. I know into what straits of fortune she is driven; and it is not impossible to me, if it appear not inconvenient to you, to set her before your eyes to-morrow, human as she is, and without any danger. Orl. Speak’st thou in sober meaning? 69 Ros. By my life, I do; which I tender dearly, though I say Iam a magician. Therefore, put you in your best array, bid your friends, for if you will be married to-morrow, you shall, and to Rosalind, if you aes Look, here comes a lover of mine, and a lover of hers. Enter SILVIUS and PHEBE. Phe. Youth, you have done me much ungentleness, To show the letter that I writ to you. Ros. I care not, if I have: it is my study To seem despiteful and ungentle to you. You are there follow’d by a faithful shepherd : 80 Look upon him, love him ; he worships you. , Phe. Soe shepherd, tell this youth what ‘tis to ove. Sil. It is to be all made of sighs and tears ; And so am I for Phebe. S Phe. And I for Ganymede. Orl. And I for Rosalind. Ros. And I for no woman. Sil. It is to be all made of faith and service ; And so am I for Phebe. Phe. And I for Ganymede. 90 Orl. And I for Rosalind. Ros. And I for no woman. Sil. It is to be all made of fantasy, All made of passion, and all made of wishes ; All adoration, duty, and observance ; All humbleness, all patience, and impatience ; All pee all trial, all observance ; And so am I for Phebe. Phe. And so am I for Ganymede. Orl. And so am I for Rosalind. 100 Ros. And so am I for no woman. Phe. (To RosauinD.] If this be so, why blame you me to love you? Sil. [To PHEBE.] If this be so, why blame you me to love you? Orl. If this be so, why blame you me to love you? Ros. Who do you speak to, “Why blame you me to love you?” Orl. To her, that is not here, nor doth not hear. Ros. ay you, no more of this: ’tis like the howlin, of Irish wolves against the moon.--[ 70 S1Lvius.]I wil help you, if I can :—[Zo PHEBE.] I would love ra) ifI could.—To-morrow meet me alltogether.—[ 70 PHEBE.] I will marry you, if ever J marry woman, and I’]l be married to-morrow :—[Zo0 ORLANDO.]I willsatisfy you, if ever I satisfied man, and you shall be married to- morrow :—[7o SiLvius.] I will content you, if what pleases you contents you, and you shall be married to-morrow.—_{7Zo ORLANDO.] As you love Rosalind, meet :—[7o Sitvius.] As you love Phebe, meet: and as I love no woman, I'll meet.—So, fare you well: I have left you commands. Sil. 1711 not fail, if I live. 120 Phe. Nor I. Orl. Nor I. [Exeunt. Scene III.—Another Part of the Forest. Enter TOUCHSTONE and AUDREY. -Touch. To-morrow is the joyful day, Audrey: to- Morrow will we be married. Aud. I do desire it with all my heart, and I hone it is no dishonest desire, to desire to be a woman of the world. Here come two of the banished duke’s pages. Enter two Pages. 1 Page. Well met, honest gentleman. Touch. By my troth, well met. Come, sit, sit, and asong. - . 2 Page. We are for you: sit i’ the middle. 1 Page. Shall we clap into ’t roundly, without 504 AS YOU LIKE IT. [Act V. hawking, or spitting, or ae we are hoarse, whicl are the only prologues to a bad voice? 2 Page. I’ faith, i’ faith; and both in a tune, like two gipsies on a horse. <— y > g 3 te Between the acres of the rye With a hey, and a ho, and a hey nonino, These pretty country folks would lie, In spring time, &c. Ros. “You are there follow’d by a faithful shepherd: Look upon him, love hin; he worships you.” Sone. It was a lover, and his lass, With a hey, and a ho, and a hey nonino, That o’er the green corn-field did pase In the spring time, the only pretty ring time, When birds do sing, hey ding a ding, ding; Sweet lovers love the spring. This carol they began that hour, ‘ Witha hey. and a ho, and a hey nonino, How that a life was but a flower In spring time, &c. And therefore take the present time, With a hey, and a ho, and a hey nonino, For love is crowned with the prime In spring time, &c. 30 Scene IV.] AS YOU LIKE IT. 595 Touch. Truly, young gentlemen, though there was no great matter in the ditty, yet the note was very untuneable. ; 1 Page. You are deceived, sir: we kept time; we lost not our time. Touch. By my troth, yes; I count it but time lost to hear such a foolish song. God be wi’ you; and God mend your voices. Come, Audrey. 40 [Exewnt. ScENE IV.—Another Part of the Forest. Enter DUKE Senior, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA. Duke S. Dost thou believe, Orlando, that the boy Can do all this that he hath promised? Orl. I sometimes do believe, and sometimes do not, As those that fear; they hope, and know they fear. Enter ROSALIND, SILVIUS, and PHEBE. Ros. Patience once more, whiles our compact is urg’d.— Ve the DUKE.] You say, if I bring in your Rosalind, ou will bestow her on Orlando here? Duke — That would I, had I kingdoms to give with er. Ros. [To ORLANDO.] And you say, you will have her, when I bring her? Orl. That would I, were I of all kingdoms king. 10 Ros. [To PHEBE.] You say, you'll marry me, if I be ad ae a Phe. That will I, should I die the hour after. Ros. But if you do refuse to marry me, You'll give yourself to this most faithful shepherd ? Phe. So is the bargain. Ros. [To Stivius.J You say, that you ll have Phebe, if she will? Sil. Though to have her and death were both one thing. Ros. Ihave promis’d to make all this matter even. Keep you your word, O duke! to give your daughter ;— You yours, Orlando, to receive his daughter ;— 20 poe your word, Phebe, that you'll marry me, Or else, refusing me, to wed this shepherd ;— Keep your word, Silvius, that you ’ll marry her, If she refuse me :—and from hence I go, To make these doubts all even. Exeunt ROSALIND and CELIA. Duke S, I do remember in this shepherd-boy Some aeely touches of my daughter's favour. 1. My lord, the first time that I ever saw him, Methought he was a brother to your daughter ; But, my good lord, this boy is forest-born, ‘And hath been tutor’d in the rudiments Of many desperate studies by his uncle, Whom he reports to be a great magician, Obscured in the circle of this forest. Jag. There is, sure, another flood toward, and these couples are coming to the ark. Here comes a pair of Mas strange beasts, which in all tongues are called ools, 30 Enter TOUCHSTONE and AUDREY. Touch. Salutation and greeting to you all. 2 Jag. Good my lord, bid him welcome. This is the motley-minded gentleman, that I have so often met in the forest: he hath been a courtier, he swears. Touch. If any man doubt that, let him put me to my urgation. I have trod a measure; I have flattered a dy; Ihave been politic with my friend, smooth with Mine enemy; I have undone three tailors; I have had four quarrels. and like to have fought one. Jag. And how was that ta’en up? Touch. Faith, we met, and found the quarrel was upon the seventh cause. 5 tee: How seventh cause ?—Good my lord, like this low. Duke S. I like him very well. ; Touch, God ’ild you, sir; I desire you of the like. Press in here, sir, amongst the rest of the country copulatives, to swear, and to forswear, according as “Marriage binds, and blood breaks.—A poor virgin, eae ke et RN eee sir, an ill-favoured thing, sir, but mine own: a poor humour of mine, sir, to take that no man else will. Rich honesty dwells like a miser, sir, in a poor house, as your pearl in your foul oyster. 61 Duke S. By my faith, he is very swift and sen- tentious. Touch. According to the fool’s bolt, sir, and such dulcet diseases. Jaq. But, for the seventh cause, how did you find the quarrel on the seventh cause? Touch. Upon a lie seven times removed.—Bear your body more seeming, Audrey.—As thus, sir. I did dislike the cut of a certain courtier’s beard: he sent me word, if [ said his beard was not cut well, he was in the mind it was: this is called the “retort courteous.” If I sent him word again it was not well cut, he would send me word he cut it to please him- self: this is called the ‘“‘quip modest.” If again, it was not well cut, he disabled my judgment: this is called the “reply churlish.” If again, it was not well cut, he would answer, I spake not true: this is called the ‘‘reproof valiant.” If again, it was not well cut, he would say, I lie: this is called the ‘‘ countercheck uarrelsome:” and so to the “lie circumstantial,” and the “‘lie direct.” 82 Jag. And how oft did you say, his beard was not well cut? Touch. I durst go no further than the “‘lie circum- stantial,” nor he durst not give me the “‘lie direct ;” and so we measured swords, and parted. Jag. Can you nominate in order now the degrees of the lie ? 89 Touch. O sir, we quarrel in print; by the book, as you have books for good manners: [ will name you the degrees. ‘he first, the retort courteous; the second, the quip modest; the third, the reply churlish; the fourth, the reproof valiant; the fifth, the countercheck quarrelsome; the sixth, the lie with circumstance; the seventh, the lie direct. All these you may avoid, but the lie direct ; and you may avoid that too, with an if. I knew when seven justices could not take up a quarrel; but when the arties were met themselves, one of them thought ut of an if, as if you said so, then I said so; and they shook hands and swore brothers. Your if is the ony peace-maker ; much virtue in if. 103 aq. Is not this a rare fellow, my lord? he’s as good at anything, and yet a fool. Duke S. He uses his folly like a stalking-horse, and under the presentation of that, he shoots his wit. Enter HYMEN, leading ROSALIND in woman's clothes, and CELIA. Still Music. Hym, Then is there mirth in heaven, When earthly things made even Atone together. Good duke, receive thy daughter, Hymen from heaven brought her ; Yea, brought her hither, That thou mightst join her hand with his, Whose heart within her bosom is. Ros. [To DUKE S.] To youl give myself, for lam yours. : [To ORLANDO.] To you I give myself, for Iam yours. Duke S. If there be truth in sight, you are my daughter. of Orl. If there be truth in sight, you are my Rosalind. Phe. If sight and shape be true, 120 Why then, my love adieu! Ros. [To DUKE S.] I’ll have no father, if you be not em [To ORLANDO.] I’ll have no husband, if you be not 110 e:— [To PHEBE.] Nor ne’er wed woman, if you be not she. Hym. Peace, ho! I bar confusion. *T is I must make conclusion Of these most strange events: Here’s eight that must take hands, To join in Hymen’s bands, If truth holds true contents. 130 596 AS YOU LIKE IT. {Act V, [To ORLANDO and ROSALIND.] You and you no cross shall part : [To OLIVER and CrLIA.] You and you are heart in heart: [To PuEBE.] You to his love must accord, Or have a woman to your lord: [Zo TOUCHSTONE and AUDREY.] You and you are sure together, As the winter to foul weather. Whiles a wedlock-hymn we sing, Feed yourselves with questioning, That reason wonder may diminish, J How thus we met, and these things finish. Sona. Wedding is great Juno's crown: O blessed bond of board and bed ! Tis Hymen peoples every town ; High wedlock then be honoured. Honour, high honour, and renown, To Hymen, god of every town ! Duke S. O my dear niece! welcome thou art to me: Even daughter, welcome in no less degree. Phe. (To Sitvius.] I will not cat my word, now thou art mine ; Thy faith my fancy to thee doth combine. 150 Enter JAQUES DE Bois. Jaq. de B. Let me have audience for a word or two. Iam the second son of old Sir Rowland, That bring these tidings to this fair assembly.— Duke Frederick, hearing how that every day Men of great worth resorted to this forest, Address'd a mighty power, which were on foot In his own conduct, purposely to take His brother here, and put him to the sword. And to the skirts of this wild wood he came, Where, meeting with an old religious man, After some question with him, was converted Both from his enterprise, and from the world ; 1 160 | 1 do engage my life. Duke 8. His crown bequeathing to his banish’d brother, And all their lands restor’d to them again, That were with him exil’d. This to be true, a : Welcome, young man; Thou offer’st fairly to thy brothers’ wedding : To one, his lands withheld ; and to the other, A land itself at large, a potent dukedom. First, in this forest, let us do those ends ‘That here were well begun, and well begot ; And after, every of this happy number, That have endur’d shrewd days and nights with us, Shall share the good of our returned fortune, According to the measure of their states, Meantime, forget this new-fall’n dignity, And fall into our rustic revelry.— Play, music! and you brides and bridegrooms all, With measure heap’d in joy, to the measures fall. sine, Sir, by your patience.—If I heard you rightly, The duke hath put on a religious life, 181 And thrown into neglect the pompous court ? Jag. de B. He hath. . Jag. To him will L: out of these convertites There is much matter to be heard and learn’d,— [Yo DuKE S.] You to your former honour I bequeath; Your patience, and your virtue, well deserve it :— [Zo ORLANDO.] You toa love, that your true faith doth merit :-— [To Guyen] You to your land, and love, and great allies: 17) To Sitvius.] You to a long and well-deserved bed :— Yo TOUCHSTONE.] And you to wrangling; for thy loving voyage I9l Is but for two months victuall'd.—So, to your pleasures: Iam for other than for dancing measures. Duke S. Stay, Jaques, stay. Jaq. To see no pastime, I:—what you would have, I'll stay to know at your abandon’d cave. ait, Duke S. Proceed, proceed: we will begin these rites, As we do trust they ’ll end in true delights. [4 dance. EPILOGUE. Ros. It is not the fashion to sec the lady the epilogue; but it is no more unhandsome, than to see the lord the prologue. If it be true that good wine needs no bush, ‘tis true that a good play needs no epilogue; yet to good wine they do use good bushes, and good weve prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue, nor cannot insinuate with you in the behalf of a good play? Iam not furnished like a beggar, therefore to eg will not become me: my way is, to conjure you; and I’ll begin with the women. I charge you, O women! for the love you bear to men, to like as much of this play as please you: and I charge you, O men! for the love you bear to women (as I perceive by your simpering, none of you hates them), that between you and the women, the play may please. If I were a woman, I would kiss as many of you as had beards that plesbed. me, complexions that liked me, and breaths that I defied not; and, Iam sure, as many as have good beards, or good faces, or sweet breaths, will, for my kind offer, when I make curtsy, bid me farewell. [Exeunt. HAMLET, PRINCE OF DENMARK. DRAMATIS PERSONA. CLaupius, King of Denmark. HAMLET, Son to the former, and Nephew to the present King. Horatio, Friend to Hamlet. Potonius, Lord Chamberlain. LAERTES, his Son. VOLTIMAND, y FRANCISCO, a Soldier. REYNALDO, Servant to Polonius. A Captain. English Ambassadors, Ghost of Hamlet's Father. FORTINBRAS, Prince of Norway. Players. ee Two Clowns, Grave-diggers. OSENCRANTZ, . ’ Coe naNetES, p Courtiers. GERTRUDE, Queen of Denmark, and Mother to SRICK, ‘amlet. 4 Pte OPHELIA, Daughter to Polonius. A Priest. MARCELLUS, ) Officers Lords, Ladies, Officers, Soldiers, Sailors, Messengers, BERNARDO, § : : and Attendants, SCENE—DENMARK. ACT I. ScENE I.—Elsinore. A Platform before the Castle. FRANCISCO on his post. Enter to him BERNARDO. Bernardo. HO’s there? Fran. Nay, answer me: stand, and unfold yourself. Ber. Long live the king! Fran. Bernardo? Ber. He. : Fran. You come most carefully upon your hour. Ber. ’T is now struck twelve : get thee to-bed, Francisco. Fran. Forthis relief much thanks: ’tis bitter cold, And I am sick at heart. — Ber, Have you had quiet guard? Shes Fran. Not a mouse stirring. 10 Ber, Well, good night. If you do meet Horatio and. Marcellus, The rivals of my watch, bid them make haste. Fran. I think I hear them.—Stand! Who’s there? Enter HoRATIO and MARCELLUS. Hor. Friends to this ground, Mar. And liegemen to the Dane. Fran. Give you good night. 7 ar. 6 ! farewell, honest soldier : Who hath reliev’d you? | Fran, Bernardo has my place. __ Give you good night. [Exit. Mar. Holla! Bernardo! Ber, Say. What ! is Horatio there? : lor. A piece of him. Ber. Welcome, Horatio: welcome, good Marcellus. Mar, What, has this thing appear’d again to-night? Ber. T have seen nothing. 22 Mar. Horatio says, tis but our fantasy, And will not let belief take hold of him, ‘Touching this dreaded sight twice seen of us. Therefore, I have entreated him along With us to watch the minutes of this night, That, if again this apparition come, He may approve our eyes, and speak to it. Hor. Tush, tush ! ’t will not appear. Ber. Sit down awhile, 30 And let us once again assail your ears, That are so fortified against our story, What we two nights have seen. or. Well, sit we down, And let us hear Bernardo speak of this. Ber. Last night of all, When yond same star, that’s westward from the pole, Had made his course to illume that part of heaven Where now it burns, Marcellus, and myself, The bell then beating one,— Mar. Peace! break thee off: look, where it comes again ! 40 Enter Ghost. Ber. In the same figure, like the king that’s dead. Mar. Thou art a scholar; speak to it, Horatio. _ Ber. Looks it not like the king? mark it, Horatio. Hor. Most like :—it harrows me with fear and wonder. Ber. It would be spoke to. ; ar. Question it, Horatio. Hor. What art thou, that usurp’st this time of night, Together oils that fair and warlike form, In which the majesty of buried Denmark Did sometimes march? by Heaven, I charge thee, _ speak! Mar. It is offended. Ber. See! it stalks away. Hor. Stay! speak: speak, I charge thee, speak! [Exit Ghost. 598 HAMLET, PRINCE OF DENMARK. [Act L Mar. ’T is gone, and will not answer. If thou hast any sound, or use of voi Ber. How now, Horatio? youtremble, and look pale: , Speak to me: " OF MOI Is not this something more than fantasy ? 130 What think you on ’t? Hor. Before my God, I might not this believe, Without the sensible and true avouch Of mine own eyes. Mar. Is it not like the king? Hor. As thou art to thyself. Such was the very armour he had on, co When he the ambitious Norway combated. So frown’d he once, when, in an angry parle, He smote the sledded Polacks on the ice. Tis strange. Mar. Thus, twice before, and just at this dead hour, With martial stalk hath he gone by our watch. Hor. In what particular thought to work, I know not; But in the gross and scope of my opinion, This bodes some strange eruption to our state. Mar. Good now, sit down, and tell me, he that knows, Why this same strict and most observant watch So nightly toils the subject of the land? And why such daily cast of brazen cannon, And foreign mart for implements of war? Why such impress of shipwrights, whose sore task Does not divide the Sunday from the week ? What might be toward, that this sweaty haste Doth make the night joint-labourer with the day, Who is’t, that can inform me? Hor. That can I; At least, the whisper goes so. Our last king, 80 Whose image even but now appear’d to us, Was, as you know, by Fortinbras of Norway, Thereto prick’d on by a most emulate pride, Dar'd to the combat; in which our valiant Hamlet (For so this side of our known world esteem'd him) Did slay this Fortinbras ; who, by a seal’d compact, Well ratified by law and heraldry, Did forfeit with his life all those his lands, Which he stood seiz’d of, to the conqueror: Against the which, a moiety competent 90 Was gaged by our king; which had return’d To the inheritance of Fortinbras, Had he been vanquisher; as, by the same cov’nant, And carriage of the article design’d, His fellto Hamlet. Now, sir, young Fortinbras, Of unimproved mettle hot and full, Hath in the skirts of Norway, here and there, Shark’d up a list of landless resolutes, For food and diet, to some enterprise That hath a stomach in ’t: which is no other (As it doth well appear unto our state) But to recover of us, by strong hand And terms compulsative, those ‘foresaid lands So by his father lost. And this, I take it, Is the main motive of our preparations, The source of this our watch, and the chief head Of this past hate and romage in the land. Ber. I think, it be no other, but e’en so: Well may it sort, that this portentous figure Comes armed through our watch, so like the king 110 That was, and is, the question of these wars. Hor. A moth it is to trouble the mind’s eye. In the most high and palmy state of Rome, A little ere the mightiest Julius fell, The graves stood tenantless, and the sheeted dead Did squeak and gibber in the Roman streets : As stars with trains of fire and dews of blood, Disasters in the sun; and the moist star, Upon whose influence Neptune’s empire stands, as sick almost to doomsday with eclipse: 120 And even the like precurse of fierce events— As harbingers preceding still the fates, And prologue to the omen coming on— Have heaven and earth together demonstrated Unto our climatures and countrymen.— But, soft! behold! lo, where it comes again! Re-enter Ghost. T’ll cross it, though it blast me.—Stay, illusion! 100 It there be any good thing to be done, That may to th f . : ha tome: 10u art privy to thy country’s fate, Which happily foreknowing may avoid, O, speak ! thou hast uphoarded in thy life ee do ease, and grace to me, Or i Hor. “* Stay, illusion ! If thou hast any suund, or use of voice, Speak to me.” Extorted treasure in the womb of earth, | For which, they say, you spirits oft walk in death, Cock crows, Speak of it :—stay, and speak !—Stop it, Marcellus. Mar. Shall I strike at it with my partisan? 140 Hor. Do, if it will not stand. Ber. *T is here!, Hor. °T is here! Mar. ’Tis gone! [Exit Ghost. We do it wrong, being so majestical, To offer it the show of violence ; For it is, as the air, invulnerable, And our vain blows malicious mockery. Ber. It was about to speak, when the cock crew. Hor. And then it started, like a pualty thing Upon a fearful summons. I have heard, The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day; and, at his warning, Whether in sea or fire, in earth or air, The extravagant and erring spirit hies To his confine; and of the truth herein This present object made probation. Mar. It faded on the. crowing of the cock. Some say, that ever ’gainst that season comes Wherein our Saviour's birth is celebrated, The bird of dawning singeth all night long: And then, they say, no spirit can walk abroad ;, The nights are wholesome; then no planets strike, No fairy takes, nor witch hath pores to charm, So hallow’d and so gracious is the time. ig Hor. So have I heard, and do in part believe i But, look, the morn, in russet mantle clad, Walks o’er the dew of yon high eastern hill. Break we our watch up; and, by my advice, 150 160 ScENE II.] HAMLET, PRINCE OF DENMARK. 599 Let us impart what we have seen to-night Unto young Hamlet ; for, upon my lite, ‘his spirit, dumb to us, will speak to him. Do you consent we shall acquaint him with it, As needful in our loves, fitting our duty ? Mar, Let’s do’t, I pray; and I this morning know Where we shall find him most conveniently. |Hxeunt. ScENE II.—The Same. A Room of State. Enter the KinG, QUEEN, HAMLET, POLONIUS, LAERTES, VOLTIMAND, CORNELIUS, Lords, and Attendants. : King. Though yet of Hamlet our dear brother's death The memory be green, and that it us befitted To bear our hearts in grief, and our whoie kingdom 'To be contracted in one brow of woe; Yet so far hath discretion fought with nature, That we with wisest sorrow think on him, ‘Together with remembrance of ourselves. - Therefore, our sometime sister, now our queen, The imperial jointress of this warlike state,. Have.we, as ’t were, with a defeated joy,— 10 With one auspicious, and one dropping eye, With mirth in funeral, and with dirge in marriage, In equal scale weighing delight and dole,— ‘taken to wife: nor have we herein barr’d Your better wisdoms, which have freely gone With this affair along: for all, our thanks. Now follows, that you know, young Fortinbras, Holding a weak supposal of our worth, Or thinking, by our late dear brother’s death, Our state to be disjoint and out of frame, 20 Colleagued with the dream of his advantage, He hath not tail’d to pester us with message, importing the surrender of those lands Lost. by his father, with all bonds of law, ‘To our most valiant brother.—So much for him. Now for ourself, and for this time of meeting. Thus much the business is, We have here writ To Norway, uncle of young Fortinbras,— Who, impotent and bed-rid, scarcely hears Of this his nephew’s purpose, —to suppress 30 His further gait herein, in that the levies, The lists, and full proportions, are all made Out of his subject: and we here despatch You, good Cornelius, and you, Voltiiand, For bearers of this greeting to old Norway; Giving to you no further personal power To business with the king, more than the scope Of these dilated articles allow. : Farewell ; and let your haste commend your duty. Cor., rae In that, and all things, will we show oF uty. King. We doubt it nothing : heartily farewell. [Exeunt VOLTIMAND and CORNELIUS. And now, Laertes, what ’s the news with you? You told us of some suit ; what is ’t, Laertes? You cannot speak of reason to the Dane, And lose your voice: what wouldst thou beg, Laertes, That shall not be my offer, not thy asking ? The head is not more native to the heart, The hand more instrumental to the mouth, Than is the throne of Denmark to thy father. What wouldst thou have, Laertes? . Dread my lord, 50 er. Your leave and favour to return to France ; From whence though willingly I came to Denmark, To show my duty in your coronation, Yet now, I must confess, that duty done, . My thoughts and wishes bend again toward France, And bow them to your gracious leave and Pe nees King, Have you your father’s leave? hat says Polonius ? Pol. aS hath, my lord, wrung from me my slow leave, By laboursome petition ; and, at last, oon his will I seal’d my hard consent: 60 IT do beseech you, give him leave to go. King. Take thy fair hour, Laertes ; time be thine, And thy best graces spend it at thy will.— ut now, my cousin Hamlet, and my son,— Ham. aa A little more than kin, and less than ind. King. How is it that the clouds still hang on you? Ham. Not so, my lord; I am too much i’ the sun. Queen. Good Hamlet, cast thy nighted colour off, And let thine eye look like a friend on Denmark. Do nut, for ever, with thy vailed lids 70 seek for thy noble father in the dust : ‘Lhou know’st, tis common ; all that lives must die, Passing through nature to eternity. Flam. Ay, madam, it is common. Queen. If it be, Why seems it so particular with thee? am. Seems, madam ! nay, itis; Iknow not seems. "Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of fore’d breath, No, nor the fruitful river in the eye, 80 Nor the dejected haviour of the visage, ‘logether with all forms, modes, shows of grief, ‘hat can denote me truly: these, indeed, seem, Yor they are actions that a man might play ; But I have that within, which passeth show, These but the trappings and the suits of woe. King. Tis sweet and commendable in your nature, Hamlet, To give these mourning duties to your father: But, you must know, your father lost a futher; That tather lost, lost his; and the survivor bound 90 In filial obligation, for some term, ‘'o do obsequious sorrow : but to persever In obstinate condolement, is a course Of impious stubbornness ; ’t is unmanly grief ; It shows a will most incorrect to Heaven, A heart unfortified, a mind impatient, An understanding simple and unschool'd: For what, we know, must be, and is as common As any the most vulgar thing to sense, Why should we, in our peevish opposition, Take it to heart? Fie! ‘tis a fault to Heaven, A fauit against the dead, a fault to nature, ‘lo reason most absurd, whose common theme Is death of fathers, and who still hath cried, From the first corse till he that died to-day, ““This must be so.” We pray you, throw to earth This unprevailing woe, and think of us As of a father ; for let the world take note, You are the most immediate to our throne; And, with no less nobility of love, ‘Than that which dearest father bears his son, Dolimpart toward you. For your intent In going back to school in Wittenberg, It is most retrograde to our desire ; And we beseech you, bend you to remain Here, in the cheer and comfort of our eye, Our chiefest courtier, cousin, and our son. Queen. ut not thy mother lose her prayers, Ham- et: 100 110 I pray thee, stay with us ; go not to Wittenberg. Ham. I shall in all my best obey you, madam. King. Why, ’tis a loving and a fair reply : Be as ourself in Denmark.—Madam, come; This gentle and unforc’d accord of Hamlet Sits smiling to my heart: in grace whereof, No secund health that Denmark drinks to-day, But the great cannon to the clouds shall tell, . And the king’s rouse the heavens shall bruit again, Re-speaking earthly thunder. Come away. [Flourish. Exeunt Kinc, QUEEN, Lords, &c., PoLonius, and LAERTES. Ham. O! that this too too solid flesh would melt, Thaw, and resolve itself into a dew; 13D Or that the Everlasting had not fix’d His canon ’gainst self-slaughter! O God! 0 God! How weary, stale, flat, and unprofitable, Seem to me all the uses of this world ! Fie on’t! O fie! ’tis an unweeded garden, That grows to seed ; things rank, and gross in nature, Possess it merely. That it should come to this! 120 G00 HAMLET, PRINCE OF DENMARK. [Act I, But two months dead !—nay, not so much, not two: So excellent a king ; that was, to this, Hyperion to a satyr; so loving to my mother, 140 That he might not beteem the winds of heaven Visit her face too pougn Heaven and earth ! Must I remember? why, she would hang on him, As if increase of appetite had grown By what it fed on; and yet, within a month,— . Let me not think on’t:—Frailty, thy name is woman !— A little month ; or ere those shoes were old, With which she follow’d my poor father’s body, Like Niobe, all tears ;—why she, even she, (O God! a beast, that wants discourse of reason, 150 Would have mourn’d longer,)—married with my . uncle, My father's brother, but no more like my father Than I to Hercules: within a month ; Ere yet the salt of most unrighteous tears Had left the flushing in her galled eyes, She married.—O most wicked speed, to post With such dexterity to incestuous sheets! It is not, nor it cannot come to, oot ¢ But break, my heart, for I must hold my tongue ! Enter HoRATIO, BERNARDO, and MARCELLUS. Hor. Hail to your lerdahan? Ham. am glad to see you well : Horatio,—or I do forget myself. 161 Hor. The same, my lord, and your poor servant ever. Ham. Sir, my good friend; I’ll change that name with you. And what make you from Wittenberg, Horatio ?— Marcellus? Mar. My good lord,— Ham. Lam very glad to see you.—Good even, sir. — But what, in faith, make you from Wittenberg? Hor. A truant disposition, good my lord. Ham. I would not hear your enemy say so; 170 Nor shall you do mine ear that violence, To make it truster of your own report Against yourself : I know, you are no truant, But what is your affair in Elsinore? We 1l teach you to drink deep, ere you depart. Hor. My lord, I came to see your father's funeral. Ham. I pray thee, do not mock me, fellow-student ; I think, it was to see my mother’s wedding. Hor. Indeed, my lord, it follow’d hard upon. Ham. Thrift, thrift, Horatio! the funeral bak'd 1 meats 80 Did coldly furnish forth the marriage tables. "Would I had met my dearest foe in heaven Ere I had ever seen that day, Horatio !— My father,—methinks, I see my father. or. O! where, my lord? Ham. In my mind's eye, Horatio. Hor. I saw him once: he was a goodly a Ham. He was a man, take him for all in all, I shall not look upon his like again. Hor. My lord, I think I saw him yesternight. Ham. Saw who? Hor. My lord, the king your father. Ham. The king my father! Hor. Season your admiration for a while With an attent ear, till I may deliver, Upon the witness of these gentlemen, This marvel to you. Ham. ‘ For God’s love, let me hear. Hor. Two nights together had these gentlemen, Marcellus and Bernardo, on their sratch, In the dead waste and middle of the night, Been thus encounter'’d: a figure like your father, Armed at point, exactly, cap-a-pe, Appears before them, and with solemn march Goes slow and stately by them: thrice he walk'd, By. their oppress'd and fear-surprised eyes, ithin his truncheon’s length ; whilst they, distill’d Almost to jelly with the act of fear, Stand dumb, and speak not tohim. This tome In dreadful secrecy impart they did, And I with them the third night kept the watch ; Where, as they had deliver'd, both in time, Form of the thing, each word made true and good, 210 The apparition comes. I knew your tather: These hands are not more like. am. . But where was this? . Mar. My lord, upon the platform where we watch’d, Ham. Did you not speak to it? Hor. é My lord, I did; But answer made it none: yet once, methought, It lifted up its head, and did address Itself to motion, like as it would speak ; But, even then, the morning cock crew loud, ‘And at the sound it shrunk in haste away, And vanish’d from our sight. ; Ham. : ’Tis very strange. 220 Hor. AsI do live, my honour'd lord, ‘tis true ; And we did think it writ down in our duty, Yo let you know of it. Ham. Indeed, indeed, sirs, but this troubles me. Hold you the watch to-night ? Mar., Ber. We do, my lord. Ham. Arm’d, say you? Mar., Ber. Arm’d, my lord. Ham. From top to toe? Mar., Ber. My lord, from head to foot. Ham, - Then, saw you not his face? Hor. O! yes, my lord; he wore his-beaver up. - Ham. What, look’d he frowningly ? Hor. A countenance more in sorrow than in enger. Ham. Pale, or red? 231 Hor. Nay, very pale. Ham. And fix’d his eyes upon you? hoe Most constantly. ‘am. I would I had been there. Hor, It would have much amaz’d you. Ham. Very like, very like. Stay’d it long? Hor. While one with moderate haste might tell a hundred. Mar., Ber. Longer, longer. Hor. Not when 1 saw’t. Ham. His beard was grizzled ? no? Hor. It was, as I have seen it in his lite, A sable silver'd. Ham. I will watch to-night : 240 Perchance, ’t will walk again. Hor. I warrant it will. Ham. If it assume aay noble father’s person, I’ spealt to it, though hell itself should gape, And bid me hold my peace. I pay you all, If you have hitherto conceal'd this sight, Let it be tenable in your silence still ; And whatsoever else shall hap to-night, Give it an understanding, but no tongue: I will requite your loves. So, fare you well. : Upon the platform, ’twixt eleven and twelve, 250 Ill visit you. All. Our duty to your honour. Ham. Your loves, as mine to you. Farewell. [Hxeunt HoRATIO, MARCELLUS, and BERNARDO. My father’s spirit in arms! all is not well ; I doubt some foul play : ‘would, the night were come! Till then sit still, my soul. Foul deeds will rise, Though all the earth o’erwhelm them, to men’s is ScENE III.—A Room in Potontvus’ House. Enter LAERTES and OPHELIA. t Laer. My necessaries are embark’d: farewell ; And, sister, 4s the winds give benefit, And convoy is assistant, do not sleep, . But let me hear from you. i Oph. : Do you doubt that? Laer. For Hamlet, and the trifling of his favour; Hold it a fashion, and a toy in blood; A violet in the youth of primy nature, Forward, not permanent, sweet, not lasting, The perfume and suppliance of a minute ; No more, Oph. No more but so? Laer. Think it no more: 10 For nature, crescent, does not grow alone SCENE IV.] HAMLET, PRINCE OF DENMARK. 601 Grows wide withal. *Too oft before their buttons be disclos’d ; In thews, and bulk ; but, as this temple waxes, ‘The inward service of the mind and soul. it Perhaps, he loves you now; And now no soil, nor cautel, doth besmirch The virtue of his will: but you must fear, His greatness weigh’d, his will is not his own, For he himself is subject to his birth: He may not, as unvalu’d persons do, Carve for himself ; for on his choice depends 20 'The safety and the health of the whole state; And therefore must his choice be circumscrib’d Unto the voice and yielding of that body, Whereof he isthe head. Then, if he says he loves you, It fits your wisdom so far to believe it, As he in his particular act and place May give his saying deed ; which is no further, ‘Than the main voice of Denmark goes withal. Then weigh what loss your honour may sustain, If with too credent ear you list his songs, Or lose your heart, or your chaste treasure open To his unmaster’d importunity. Fear it, Ophelia, fear it, my dear sister ; And keep within the rear of your affection, Out of the shot and danger of desire. The chariest maid is prodigal enough, If she unmask her beauty to the moon. Virtue itself ’scapes not calumnious strokes: The canker galls the infants of the spring, 40 And in the morn and liquid dew of youth Contagious blastments are most imminent. Be wary then; best safety lies in fear: Youth to itself rebels, though none else near. Oph. I shall the effect of this good lesson keep, As watchman to my heart. But, good my brother, Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven, Whilst like a puff’d and reckless libertine, Himself the primrose path of dalliance treads, 50 And recks not his own read. Laer. Q! fear me not. Istay too long ;—but here my tather comes. Enter POLONIuS. A double blessing is a double grace ; Occasion smiles upon a second leave. Pol. Yet here, Laertes? aboard, aboard, for shame! The wind sits in the shoulder of your sail, And you are stay’d for. There,—my blessing with you; [Laying his hand on LAERTES’ head. And these few precepts in thy memory See thou character. Give thy thoughts no tongue, Nor any unproportion’d thought his act. 60 Be thou familiar, but by no means vulgar : The friends thou hast, and their adoption tried, popple them to thy soul with hoops of steel ; But do not dull thy palm with entertainment Of each new-hatch’d, unfledg’d comrade. Beware Of entrance to a quarrel ; but, being in, Bear’t, that the opposed may beware of thee. Give every man thine ear, but few thy voice ; Take each man’s censure, but reserve thy judgment. Costly thy habit as thy purse can buy, 70 But not express’d in fancy ; rich, not gaudy : For the apparel oft proclaims the man ; ; And they in France, of the best rank and station, Are most select and generous, chief in that. Neither a borrower, nor a lender be ; For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry. This above all,—to thine own self be true ; And it must follow, as the night the day, Thou canst not then be false to any man. Farewell; my blessing season this in thee! Laer. Most humbly do I take my leave, my lord. Pol. The time invites you: go, your servants tend. Laer. Farewell, Ophelia ; and remember well What I have said to you. hh. *T is in my memory lock’d, And you yourself shall keep the key of it. i Laer, Barewell. ‘i [Exit. Pol. What is ’t. Ophelia, he hath said to you? 80° Oph. So please you, something touching the Lord Hamlet. Pol. Marry, well bethought : 90 °T is told me, be hath very oft of late Given private time to you; and you yourself Have of your audience been most free and bountcous. If it be so, (as so ’tis put on me, And that in way of caution,) I must tell you, You do not understand yourself so clearly, As it behoves my catenee, and your honour. What is between you? give me up the truth. hh. He hath, my lord, of late made many tenders Of his affection to me. 100 Pol. Attection? pooh! you speak like a green girl, Unsifted in such perilous circumstance. Do you believe his tenders, as you call them ? Oph. I do not know, my lord, what I should think. Pol. Marry, I’ll teach you: think yourself a baby ; That yeu have ta’en these tenders for true pay, Which are not sterling. Tender yourself more dearly ; Or, not to crack the wind of the poor phrase, Sue thus, you’ll tender me a fool. Oph. My lord, he hath importun’d me with love, 11¢ In honourable fashion. Pol. Ay, fashion you may call it; go to, go to. Oph, And haw given countenance to his speech, my lord, With almost all the holy vows of heaven. Pol. Ay, springes to catch woodcocks. I do know, When the blood burns, how prodigal the soul Lends the tongue vows: these blazes, daughter, Giving more light than heat,—extinct in both, Even in their promise, as it is a-making,— You must not take for fire. From this time, Be somewhat scanter of your maiden presence : Set your entreatments at a higher rate, Than a command to parley. For Lord Hamlet, Believe so much in him, that he is young; And with a larger tether may he walk, Than may be given you. In few, Ophelia, Do not believe his vows, for they are brokers Not of that dye which their investments show, But mere implorators of unholy suits, Breathing like sanctified and pious bawds, The better to beguile. This is for all,— I would not, in plain terms, from this time forth, Have you so slander any moment leisure, As to give words or talk with the Lord Hamlet. Look to’t, I charge you; come your ways. Oph. I shall obey, my lord. 129 150 [Exeunt. ScenE IV.—The Platform. Enter HAMLET, HoRATIO, and MARCELLUS. Ham. The air bites shrewdly ; it is very cold. Hor. It is a nipping and an eager air. Ham. What hour now? Hor. Mar. No, it is struck. Hor. Indeed? I heard it not: it then draws near the season, Wherein the spirit held his wont to walk. A flourish of trumpets, and ordnance shot off, within. What does this mean, my lord? Ham. The king doth wake to-night, and takes his rouse, Keeps wassail, and the swaggering up-spring reels ; And as he drains his draughts of Rhenish down, 10 The kettle-drum and trumpet thus bray out The triumph of his pledge. - Hor. : Ham. Ay, marry, is’t: But to my mind,—though I am native here, And to the manner born,—it is a custom More honour’d in the breach than the observance. This heavy-headed revel, east and west, Makes us traduc’d and tax’d of other nations: They clepe us drunkards, and with swinish phrase Soil our addition ; and, indeed, it takes I think, it lacks of twelve. Is it a custom? 602 HAMLET, PRINCE OF DENMARK. [Act L From. our achievements, though perform’d at height, The pith and marrow of our attribute. So, oft it chances in particular men, That for some vicious mole of nature in them, As, in their birth, (wherein they are not guilty, Since nature cannot choose his origin,) By their o'ergrowth of some complexion, Oft breaking down the pales and forts of reason ; Or by some habit, that too much o’er-leavens The form of plausive manners ;—that these men,— 30 Carrying, I say, the stamp of one defect, Being nature’s livery, or fortune’s star, — Their virtues else, be they as pure as grace, As infinite as man may undergo, > Shall in the general censure take corruption From that particular fault : the dram of bale Doth all the noble substance off and out To his own scandal. Enter Ghost. Hor. Look, my lord! it comes. Ham. Angels and ministers of grace defend us! Be thou a spirit of health, or goblin damn’d, 40 Bring with thee airs from heaven, or blasts from hell, Be thy intents wicked, or charitable, Thou com’st in such a questionable shape, That I will speak to thee. I'll call thee Hamlet, King, father, royal Dane: O! answer me: Let me not burst in ignorance ; but tell, Why thy canonis’d bones, hearsed in death, Have burst their cerements ; why the sepulchre, Wherein we saw thee quietly in-urn’d, Hath op'd his ponderous and marble jaws, 50 To cast thee up again. What may this mean, That thou, dead corse, again, in complete steel, Revisit’st thus the glimpses of the moon, Making night hideous; and we fools of nature, So horridly to shake our disposition, With thoughts beyond the reaches of our souls ? Say, why is this? wherefore? what should we do? The Ghost beckons HAMLET. Hor. It beckons you to go away with it, As if it some impartment did desire ‘To you alone. Mar. Look, with what courteous action 60 It waves you to a more removed ground: But do not go with it. Hor. No, by no means, Ham. It will not speak ; then will I follow it. Hor. Do not, my lord. Ham. Why, what should be the fear? I do not set my life at a pin's fee; And, for my soul, what can it do to that, Being a thing immortal as itself? It waves me forth again :—I’ll follow it. Hor. What, if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff, 70 That beetles o’er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness? think of it: ‘he very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea, And hears it roar beneath. Ham. It waves me still :—go on, Ill follow thee. Mar. You shall not go, my lord. ‘am. Hold off your hands. dm. Be rul'd: you shall not go. am. And makes each etty artery in this body As hardy as the emean lion's nerve.— [Ghost beckons. Still am I call’'d.—Unhand me, gentlemen,— [Breaking from them. By Heaven, I'll make a ghost of him that lets me :— I say, away !—Go on, I’ll follow thee. Exeunt Ghost and HAMLET. Hor. He waxes desperate with imagination, Mar, let's follow; ’t is not fit thus fo obey him. Hor. Have after.—To what issue will this come? 89 My fate cries out, 81 Mar. Something is rotten in the state of Denmark. Hor. Heaven will direct it. far. Nay, let’s follow him. [Ezeunt, ScENE V.—A more remote Part of the Platform. Enter Ghost and HAMLET. Ham. Where wilt thou lead me? speak, I’ll go no further. Ghost. Mark me. diam. I will. ie ost. y hour is almost come When I to sulphurous and tormenting flames : Must render up myself. Ham, | Alas, poor ghost! Ghost. Pity me not ; but lend thy serious hearing To what I shall unfold. Ham, Speak, I am bound to hear. Ghost. 3o art thou to revenge, when thou shalt ear. Ham. What? Ghost. Iam thy father’s spirit ; Doom’d for a certain term to walk the night, 10 And for the day confin’d to fast in fires, Till the foul crimes, done in my days of nature, Are burnt and purg’d away. But that I am forbid To tell the secrets of my prison-house, I could a tale unfold, whose lightest word ~ Would harrow up thy soul, freeze thy young blood, Make thy two eyes, like stars, start from their spheres, ‘Thy knotted and combined locks to part, And each particular hair to stand an-end, Like quills upon the fretful porpentine ; 20 But this eternal blazon must not be To ears of flesh and blood.—List, Hamlet, O list !— If thou didst ever thy dear father love,— Ham, O God! Ghost. Revenge his foul and most unnatural murder. Ham, Murder? Ghost. Murder most foul, as in the best it is; But this most foul, strange, and unnatural. Ham. pois me to know’t, that I, with wings as sW As meditation, or the thoughts of love, 30 May sweep to my revenge. Ghost. I find thee apt; And duller shouldst thou be than the fat weed ‘That rots itself in ease on Lethe wharf, Wouldst thou not stir in this. Now, Hamlet, hear. "Tis given out, that, sleeping in mine orchard, A serpent stung me; so the whole ear of Denmark Is by a forged process of my death Rankly abus’d ; but know, thou noble youth, The serpent that did sting thy father’s life Now wears his crown. Ham. Mine uncle! Ghost. Ay, that incestuous, that adulterate beast, With witchcraft of his wit, with traitorous gifts, (O wicked wit, and gifts, that have the power So to seduce !) won to his shameful lust The will of my most seeming-virtuous queen. O Hamlet, what a falling-off was there ! From me, whose love was of that dignity, That it went hand in hand even with the vow I made to her in marriage; and to decline Upon a wretch, whose natural gifts were poor ‘To those of mine! But virtue, as it never will be mov’'d, Though lewdness court it in a shape of heaven, So lust, though to a radiant angel link’d, Will sate itself in a celestial bed, And prey on garbage. But, soft ! methinks, I scent the morning air: Brief let me be.—Sleeping within mine orchard, My custom always in the afternoon, 60 U pon my secure hour thy uncle stole, With juice of cursed hebenon in a vial, And in the porches of mine ears did pour ‘The leperous distilment ; whose effect O my prophetic soul! 40 SCENE V.] HAMLET, PRINCE OF DENMARK. G03 Holds such an enmity with blood of man, That, swift as quicksilver, it courses through The natural gates and alleys of the body ; And with a sudden vigour it doth posset And curd, like eager droppings into milk, The thin and wholesome blood: so did it mine ; 70 And a most instant tetter bark’d about, Most lazar-like, with vile and loathsome crust, All my smooth body. Thus was I, sleeping, by a brother’s hand, Of life, of crown, and queen, at once despatch’d ; Cut off even in the blossoms of my sin, Unhousel’d, disappointed, unanel’d ; No reckoning made, but sent to my account With all my imperfections on my head: O, horrible! O, horrible! most horrible! If thou hast nature in thee, bear it not; Let not the royal bed of Denmark be A couch for luxury and damned incest. But, howsoever thou pursu’st this act, Taint not thy mind, nor let thy soul contrive Against thy mother aught: leave her to Heaven, And to those thorns that in her bosom lodge, ‘To prick and sting her. Fare thee well at once. ‘rhe glow-worm shows the matin to be near, And ’gins to pale his uneffectual fire: 90 Adieu, adieu! Hamlet, remember me. [Exit. Ham. o at you host of heaven! Oearth! What else 80 And shall I couple hell? O fie !—Hold, hold, my heart; | And you, my sinews, grow not instant old, But bear me stitHly up !—Remember thee ! Ay, thou poor ghost, while memory holds a seat In this distracted globe. Remember thee ! Yea, from the table of my memory I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past, That youth and observation copied there ; And thy commandment all alone shall live Within the book and volume of my brain, Unmix'd with baser matter: yes, by Heaven! O most pernicious woman ! O villain, villain, smiling, damned villain ! My tables,—meet it is, I set it down, That one may smile, and smile, and be a villain; At least, Iam sure, it may be so in Denmark: (Writing. So, uncle, there you are. Now to my word; 110 It is, “‘ Adieu, adieu! remember me.” I have sworn’t. Hor. Taken 109 My lord! my lord! Lord Hamlet ! Heaven secure him! Mar. [Within Hor. [Within.] Mar. [Within.] So be it! Hor. [Within.] Ilo, ho, ho, my lord! Ham. Hillo, ho, ho, boy ! come, bird, come. Enter HoRATIO and MARCELLUS. Mar. How is’t, my noble lord ? or. What news, my lord? Ham. O, wonderful! Hor. Good my lord, tell it. Ham. No; you will reveal it. ne Not I, my lord, by Heaven. ‘ar. Ham. How say you, then ; would heart of man once think it ?— But you'll be secret ? Hor., Mar. Ay, by Heaven, my lord. Ham. There’s ne’er a villain dwelling in all Den- mark, But he’s an arrant knave. Hor. There needs no ghost, my lord, come from the grave, To tell us this. am. Why, right ; you are’i’ the right ; And so, without more circumstance at all, Lhold it fit that we shake hands, and part: You, as your business and desire shall point you, For every man hath business and desire, Such as it is; and, for mine own poor part, Look you, I’ll go pray. 130 Nor I, my lord. 120 - Hor. These are but wild and whirling words, my ord. Ham. I am sorry they offend you, heartily; yes, Faith, heartily. Hor. There’s no offence, my lord. Ham. Yes, by Saint Patrick, but there is, Horatio, And much offence too. Touching this vision here, It is an honest ghost, that let me tell you: For your desire to know what is between us, O'ermaster’t as you may. And now, good friends, 140 As you are friends, scholars, and soldiers, Give me one poor request. Hor. What is’t, my lord? we will. Ham. Never make known what you have seen to- night. Hor., Mar. My lord, we will not. Ham. Nay, but swear’t. Hor. ln taith, My lord, not L Mar. Nor I, my lord, in faith. Ham. Upon my sword. Mar. We have sworn, my lord, already. Ham. Indeed, upon my sword, indeed. Ghost. [Beneath.] Swear. Ham. Ha, ha, boy! say’st thou so? art thou ve true-penny ? Ham. ‘ Ha,ha, boy! say’st thou so? art thou there, true-penny 2?” Come on,—you hear this fellow in the cellarage,— Consent to swear. Hor. Propose the oath, my lord. Ham. Never to sous of this that you have seen, Swear by my sword. Ghost. [Beneath.] Swear. Ham. Hic et ubique ? then, we'll shift our ground.— Come hither, gentlemen, And lay your hands again upon my sword: Never to speak of this that you have heard, Swear by my sword. 160 Ghost. [Beneath.] Swear. Ham. Well said, old mole! canst work i’ the earth so fast ? A worthy pioner !—Once more remove, good friends. Hor. O day and night, but this is wondrous strange! Ham. And therefore as a stranger gixe it welcome. There are more things in heaven and ear Than are dreamt of in your philosophy. But come ;— Here, as before, never, so help you mercy, “~ How strange or odd soe’er I bear myself,— 170 As I, perchance, hereafter shall.think meet To put an antick disposition on,— That you, at such times seeing me, never shall, With arms encumber’d thus, or this head-shake, Or by pronouncing of some doubtful phrase, Horatio, 604 HAMLET, PRINCE OF DENMARK. [Acr IL As, “ Well, well, we know ;”—or, ‘‘ We could, an if we would ;”.— ‘ Or, ‘If we list to speak;"—or, ‘‘ There be, an if they might ;”— ; ' Or such ambiguous giving out, to note That you know aught of me :—this not to do, So grace and mercy at your most need help you, Swear. Ghost. [Beneath.] Swear. 180 Ham. Rest, rest, perturbed spirit !_So, gentlemen, With all my love I AG commend me to ae } | And what so poor a man as Hamlet is | May do, to express his love and friending to you, | God willing, shall not lack. Let us go in together; | And still your fingers on your lips, I pray. | ‘The time is out of joint :—O cursed spite, | That ever I was born to set it right! iY 190 ' Nay, come ; let’s go together. [Exeunt. ACT II. ScENE J.—A Room in PoLonivus’ House. Enter PoLoNnius and REYNALDO. r Polonius. IVE him this money, and these y notes, Reynaldo, Rey. I will, my lord. Pol. You shall do marvellous wisely, good Reynaldo, Before you visit him, to make ANS inquiry EN Of his behaviour. : Rey. My lord, I did intend it. Pol. Marry, wellsaid: very well.said. Look you, sir, Inquire me first what Danskers are in Paris ; And how, and who, what means, and where they keep, : What company, at what expense ; and finding, By this encompassment and drift of question, 10 That they do know my son, come you more nearer Than your particular demands will touch it: Take you, as ’t were, some distant knowledge of him; ‘As thus,—‘ I know his father, and his friends, And, in part, him:”—do you mark this, Reynaldo? Rey. Ay, very well, my lord. Pol. vans in part, him ; but,”.you may say, “‘ not well: ‘ But if ’t be he I mean, he’s very wild, Addicted so and so;”—and there put on him What forgeries you please; marry, none so rank As may dishonour him: take heed of that ; But, sir, such wanton, wild, and usual slips, As are companions noted and most known Ts youn and liberty. 20 Ye As gaming, my lord. Pol. Ay, or drinking, fencing, swearing, quarrelling, Drabbing: you may go so far. Rey. My ord, that would dishonour him. Pol. Faith, no; as you may season it in the charge. You must not put another scandal on him, ‘That he is open to incontinency : 30 That’s not my meaning; but breathe his faults so ; quaintly, That they may seem the taints of liberty ; The flash and outbreak of a fiery mind ; A savageness in unreclaimed blood, of general assault. Rey. But, my good lord,— Pol. Wherefore should you do this? ey. Ay, my lord, I would know that. Pol. Marry, sir, here ’s my drift 2 And, I believe, it is a fetch of warrant: You laying these shout sullies on my son, As ’t were a thing a little soil’d i the working, Mark you, : Your party in converse, him you would sound, Having ever seen in the prenominate crimes The youth you breathe of guilty, be assur’d, He closes with you in this consequence : “*Good sir,” or so; or ‘‘ friend,” or ‘‘ gentleman,”— According to the phrase, or the addition, Of man, and country. 40 Hey. Very good, my lord. Pol. And then, sir, does he this,—he does— What was I about to say? By the mass, I was About to say something :—where did I leave? Rey. At “closes in the consequence,” At “friend or so,” and ‘‘ gentleman.” Pol. At, closes in the consequence,—ay, marry: He closes with you thus :—“‘ I know the gentieman; I saw him yesterday, or t’ other day, Or then, or then; with such, or such; and, as you say, There was he gaming; there o’ertook in’s rouse ; There falling out at tennis;” or, perchance, “‘I saw him enter such a house of sale,” Videlicet, a brothel, or so forth.— See you now ; Your bait-of falsehood takes this carp of truth: And thus do we of wisdom and of reach, With windlaces, and with assays of bias, By indirections find directions out : So, by my former lecture and advice, Shall you my son. You have me, have you not? Aey. My lord, I have. Pol. God be wi' you; fare you well. eee Good my lord! 70 Pol. Observe his inclination in yourself. . Rey. I shall, my lord. Pol. And let him ply his music. Pol, Farewell! Enter OPHELIA. 2 How now, Ophelia? what’s the matter? pet Alas, my lord, I have been so affrighted! ‘ol. With what, in the name of God? \ Oph. My lord, as I was sewing in my chamber, Lord Hamlet,—with his doublet all unbrac’d; No hat upon is head ; his stockings foul'd, Ungarter’d, and down-gyved to his ancle ; Pale as his shirt ; his knees knocking each other 5 And with a look so piteous in purport, 50 60 Well, my lord. [Exit REYNALDO, 80 ScENE II.) HAMLET, PRINCE OF DENMARK. 605 As if he had been loosed out of hell, To speak of horrors,—he comes before me. Pol. Mad for thy love? 7 Oph. ¥ My lord, I do not know ; But, truly, I do fear it. Pol. What said he? Oph. He took me by the wrist, and held me hard; Then goes he to the length of all his arm, And, with his other hand thus o’er his brow, He falls to such perusal of my face, As he would draw it. Long stay’d he so: At last,—a little shaking of mine arm, And thrice his head thus waving up and down,— He rais’d a sigh so piteous and protound, That it did seem to shatter all his bulk, And end his being. That done, he lets me go, And, with his head over his shoulder jue, He seem’d to find his way without his eyes; For out o’ doors he went without their help, And to the last bended their light on me. Pol. Come, go with me: I will go seek the king. This is the very ecstacy of love, Whose violent property fordoes itself, And leads the will to desperate undertakings, As oft as any passion under heaven, That does afflict our natures. I am sorry— What! have you given him any hard words of late? Oph. No, my good lord; but, as you did command, I did repel his letters, and denied His access to me. Pol. That hath made him mad. Iam sorry that with better heed and judgment I had not quoted him: I fear’d he did but trifle, And meant to wrack thee; but, beshrew my jealousy! It seems, it is as proper to our age To cast beyond ourselves in our opinions, As it is common for the younger sort To lack discretion. Come, gi we to the king: This must be known; which, being kept close, might move More grief to hide, than hate to utter love. Come. 90 100 110 120 [Ezeunt. ScENE II.—A Room in the Castle. Enter KinG, QUEEN, ROSENCRANTZ, GUILDENSTERN, and Attendants. King. Welcome, dear Rosencrantz, and Guilden- stern ! Moreover that we much did long to see you, The need we have to use you did provoke Our hasty sending. Something have you heard Of Hamlet’s transformation ; so I call it, Since not the exterior nor the inward man Resembles that it was. What it should be, ; More than his father’s death, that thus hath put him So much from the understanding of himself, Icannot dream of: I entreat you both, ‘ 10 That, being of so young days brought up with him, And since so neighbour’d to his ycuth and humour, That you vouchsafe your rest here in our court Some little time ; so by your companies To draw him on to pleasures, and to gather, So much as from occasions you may glean, Whether aught, to us unknown, afflicts him thus, That, open’d, lies within our remedy. . Queen. Good gentlemen, he hath much talk’d of you, And, sure I am, two men there are not living, To whom he more adheres. If it will please you To show us so much gentry, and good will, As to expend your time with us awhile, For the supply and profit of our hope, Your visitation shall receive such thanks As fits a king’s remembrance. Ble Ros. Both your majesties Might, by the sqvereign power you have of us, Put your dread pleasures more into command Than to entreaty. Guil We both obey 3” il, ; And here give up ourselves, in the full bent, 30 9° To lay our services freely at your feet, To be commanded. King. Thanks, Rosencrantz, and gentle Guilden- stern. Queen. Thanks, Guildenstern, and gentle Rosen- erantz: And I beseech pou instantly to visit My too much changed son.—Go, some of you, And bring these gentlemen where Hamlet is. Guil. Heavens make our presence, and our prac- tices, Pleasant and helpful to him! Queen. y, Amen! [Exeunt ROSENCRANTZ, GUILDENSTERN, and some Attendants. Enier POLONIvs. Pol. The ambassadors from Norway, my good lord, Are joyfully return’d. 41 King. Thou still hast been the father of good news. Pol. Have I, my lord? Assure you, my good liege, IT hold my duty, as I hold my soul, Both to my God, and to my gracious king: And IJ do think (or else this brain of mine Hunts not the trail of policy so sure As it hath us’d to do), that I have found The very cause of Hamlet’s lunacy. King. O! phot of that; that do I long to hear. Pol. Give first admittance to the ambassadors ; My news shall be the fruit to that great feast. ing. Thyself do grace to them, and bring them in.— Exit POLONIUS. He tells me, my sweet queen, that he hath found The head and source of all your son’s distemper. Queen. I doubt, it is no other but the main ; His father’s death, and our o’erhasty marriage. King. Well, we shall sift him.— Zte-enter POLONIUvS, with VOLTIMAND, and CORNELIUS. Welcome, my ceed friends. say. Voltimand, what from our brother Norway ? olt. Most fair return of greetings and desires. 60 Upon our first, he sent out to suppress His nephew’s levies ; which to him appear'd To be a preparation ’gainst the Polack : But, better look’d into, he truly found It was a eH your highness: whereat griev’d,— That so his sickness, age, and impotence, Was falsely borne in hand,—sends out arrests On Fortinbras; which he, in brief, obeys, Receives rebuke from Norway, and, in fine, Makes vow before his uncle, never more To give the assay of arms against your majesty. Whereon old Norway, overcome with joy, Gives him three thousand crowns in annual fec, And his commission to employ those soldiers, So levied as before, against the Polack ; With an entreaty, herein further shown. _ [Giving a paper. That it might please you to give quiet pass Through your dominions for this enterprise ; On such regards of safety, and allowance, As therein are set down. King. It likes us well ; And, at our more consider’d time, we’ll read, Answer, and think upon this business : Meantime, we thank you for your well-took labour. Go to your rest; at night we ll feast together: Most welcome home! [Exeunt VOLTIMAND and CORNELIUS. Pol. This business is well ended. My liege, and madam, to expostulate What majesty should be, what duty is, Why day is day, night, night, and time is time, Were nothing but to waste night, day, and time. Therefore, since brevity is the soul of wit, And tediousness the limbs and outward flourishes, J will be brief. Your noble son is mad: Mad call I it; for, to define true madness, What is ’t, but to be nothing else but mad ? But let that go. , 50 70 £0 606 HAMLET, PRINCE OF DENMARK. (Act II, gueen, More matter, with less art. ol. Madam, I swear, I use no art at all. That he is mad, ’tis true: ’tis true ’tis pity ; And pity ‘tis ‘tis true: a foolish figure ; But farewell it, for I will use no art. Mad let us grant him, then; and now remains, That we find out the cause of this effect ; Or rather say, the cause of this defect, For this effect defective comes by cause: Thus it remains, and the remainder thus. Perpend. IT have a daughter ; have, whilst she is mine; Who, in her duty and obedience, mark, Hath given me this. Now gather, and surmise. —‘*To the celestial, and my soul's idol, the most beau- tified Ophelia,” — 110 That’s an ill phrase, a vile phrase: ‘“‘ beautified” is a vile phrase; but you shall hear.—Thus : “In her excellent-white bosom, these,” &¢c.— Queen. Came this from Hamlet to her? Pol. Good madam, stay awhile ; I will be faithful.— [Reads.] ‘‘ Doubt thou, the stars are fire ; Doubt, that the sun doth move ; Doubt truth to be a liar ; But never doubt, I love. ‘©O dear Ophelia! I am ill at these numbers: I have not art to reckon my groans ; but that I love thee best, O most best ! believe it. Adieu. 122 “Thine evermore, most dear lady, whilst this machine is to him, HAMLET.” This in obedience hath my daughter show’d me; And more above, hath his solicitings, As they fell out by time, by means, and place, All given to mine ear. i But how hath she 100 King. Receiv’d his love? Pol. What do you think of me? King. As of a man faithful and honourable. 139 Pol. I would fain prove so. But what might you thi ink, When I had seen this hot love on the wing, (As I perceiv'd it, I must tell you that, Before my daughter told me,) what might poms Or my dear majesty, your queen here, think, If I had play’d the desk, or table-book ; Or given my heart a winking, mute and dumb; Or ipod. upon this love with idle sight: What might you think? No, I went round to work, And my young mistress thus I did bespeak : 140 *“*Lord Hamlet is a prince, out of thy star; This must not be:” and then I precepts gave her, That she should lock herself from his resort, Admit no messengers, receive no tokens, Which done, she took the fruits of my advice ; And he, repulsed,—a short tale to make,— Fell into a sadness ; then into a fast ; Thence to a watch; thence into a weakness 3 Thence to a lightness ; and, by this declension, Into the madness wherein now he raves, And all we wail for. King. Do you think ’t is this? ween. It may be, very likely. ol. ae ee been such a time, I’d fain know that, That I have positively said, ‘‘’T is so,” When it prov’d otherwise ? i Not that I know. King. Pol. Take this from this, if this be otherwise. If circumstances lead me, I will find Where truth is hid, though it were hid indeed Within the centre. King. How may we try it further? Pol. You know, sometimes he walks four hours to- gether, 160 Here in the lobby. een, So he does, indeed. ‘ol. At such a time I'll loose my daughter to him: Be you and I behind an arras then ; Mark the encounter : if he love her not, And he not from his reason fall’n thereon, Let me be no assistant for a state, But keep a farm, and carters. 150 King. We will try it. Queen. TOs where sadly the poor wretch comes reading. Pol. Away ! I do beseech you, both away. I'll board him presently :—O! give me leave.— 170 [Exeunt KING, QUEEN, and Attendants, Enter HAMLET, reading. How does my good Lord Hamlet? Ham. Well, God-a-mercy. Pol. Do you know me, my lord? Ham. Excellent well; you are a fishmonger. Pol. Not I, my lord. Ham. Then I would you were so honest a man. Pol. Honest, my lord ? Ham. Ay, sir: to be honest, as this world goes, isto be one man picked out of ten thousand. Pol. That’s very true, my lord. 180 Ham. For if the sun breed maggots in a dead dog, being a god kissing carrion,—Have you a daughter Pol. I have, my lord. . Ham. Let her not walk i’ the sun: conception is a blessing ; but not as your daughter may conceive.— Friend, look to ’t. Pol. How say you by that ?—[Aside.] Still harping on my daughter :—yet he knew me not at first; he said, I was a fishmonger. He is far gone, far gone: and truly in my youth I suffered much extremity for love ; very near this. I'll speak to him anain—4Vihal do you read, my lord? 192 Ham. Words, words, words. Pol, What is the matter, my lord? Ham. Between who? Pol. I mean, the matter that you read, my lord. Ham. Slanders, sir: for the satirical slave says here, that old men have grey beards; that their faces are wrinkled; their eyes purging thick amber and plum-tree gum ; and that they have a plentiful lack of wit, together with most weak hams: all of which, sir, though I most powerfully and _ potently believe, yet I hold it not honesty to have it thus set down; for you yourself, sir, should be old as I am, if like a crab you could go backward. Pol, et ca this be madness, yet there is method in ’t.—Will you walk out of the air, my lord? Ham. Into my grave? 208 Pol. Indeed, that is out o’ the air.—[Aside.] How pregnant sometimes his replies are! a happiness that often madness hits on, which reason and sanity could not so prosperously be delivered of. JI will leave him, and suddenly contrive the means of meeting between him and my daughter.—My honourable lord, I will most humbly take my leave of you. Ham. You cannot, sir, take from me anything that I will more willingly part withal; except my life, except my life, pecene my life. Pol. Fare you well, my lord. Ham. These tedious old fools! 220 Enter ROSENCRANTZ and GUILDENSTERNS Pol. You go to seek the Lord Hamlet ; there he is. Ros. [To PoLONIvs.] God save you, sir! [Exit PoLoNtvs. Guil. Mine honour’d lord !— Ros. My most dear lord ! Ham. My excellent good friends! Guildenstern? Ah, Rosencrantz! do ye both? ‘os. As the indifferent children of the earth. Guild. Happy, in that we are not overhappy ; On Fortune’s cap we are not the very button. 230 Ham. Nor the soles of her shoe? How dost thou, Good lads, how Ros. Neither, my lord. E 2 ‘Ham. Then you live about her waist, or in the middle of her favours? Guwil, ’Faith, her privates we. ‘ Ham. In the secret parts of Fortune? O! most true; she isa strumpet. What news? Ros. None, my lord, but that the world’s grown honest. 239 Ham. Then is doomsday near; but your news is not true. Let me question more in particular: what have Scene II.] HAMLET, PRINCE OF DENMARK. 607 you, ee good friends, deserved at the hands of For- tune, that she sends you to prison hither ? Guil. Prison, my lord? Ham. Denmark’s a prison. Ros. Then is the world one. Ham. A goodly one; in which there are many confines, wards, and dungeons, Denmark being one of the worst. Ros. We think not so, my lord. 250 Ham. Why, then ’tis none to you; for there is nothing either good or bad, but thinking makes it so: to me it is a prison. Ros. Why, then your ambition makes it one: ’tis too narrow for your mind. Ham. O God! I could be bounded in a nut-shell, and count myself a king of infinite space, were it not that I have bad dreams. Guil. Which dreams, indeed, are ambition ; for the very substance of the ambitious is merely the shadow of a dream. 261 Ham. A dream itself is but a shadow. Ros. Truly, and I hold ambition of so airy and light a quality, that it is but a shadow’s shadow. am. Then are our beggars bodies, and our monarchs, and outstretched heroes, the beggars’ shadows. Shall we to the court? for, by my fay, I cannot reason. Ros., Guil. We’ll wait upon you. 269 Ham. No such matter: I will not sort you with the rest of my servants ; for, tospeak to you like an honest man, I am most ey attended. But, in the beaten way of friendship, what make you at Elsinore? Ros. To visit you, my lord; no other occasion. Ham. Beggar that I am, I am even poor in thanks ; but I thank you: and sure, dear friends, my thanks are too dear, a halfpenny. Were you not sent for? Is it your own inclining? Is it a free visitation? Come, come ; deal justly with me: come, come ; nay, speak. Guil. What should we say, my lord ? 2 Ham. Why, anything,—but to the purpose. You were sent for; and there is a kind of confession in your looks, which your modesties have not craft enough to colour; I know, the good king and queen have sent for you. Ros. To what end, my lord? Ham. That you must teach me. But let me conjure you, by the rights of our fellowship, by the conso- nancy of our youth, by the obligation of our ever- preserved love, and by what more dear a better proposer could charge you withal, be even and direct with me, whether you were sent for, or no. 292 Ros. What say you? Ham. Nay, then I have an eye of you.—If you love me, hold not off. QGuil. My lord, we were sent for. Ham. I will tell you why; so shall my anticipation prevent your discovery, and your secrecy to the king and queen moult no feather. I have of late (but wherefore I know not) lost all my mirth, forgone all custom of exercises; and, indeed, it goes so heavily with my disposition, that this goonly frame, the earth, seems to me a steril promontory ; this most excellent canopy, the air, look you, this brave o’erhanging firmament, this majestical roof fretted with golden fire, why, it appeareth no other thing to me than a foul and pestilent congregation of vapours. What a piece of work isa man! how noble in reason! how infinite in faculty ! in form and moving, how express and admirable! in action, how like an angel! in apprehension, how like a god! the beauty of the world! the paragon of animals! And yet, to me, what is this quintessence of dust? man delights not Mme; no, nor woman neither, though by your smiling you seem to say so. : ; 3s. My lord, there was no such stuff in my thoughts. Ham. Why did you laugh then, wher I said, man delights not me? 319 Ros. To think, my lord, if you delight not in man, what lenten entertainment the players shall receive ‘om you: we coted them on the way, and hither are they coming to offer you service. Ham. He that plays the king shall be welcome; his majesty shall have tribute of me: the adventurous knight shall use his foil and target: the lover shall not sigh gratis: the humorous man shall end his part in peace: the clown shall make those laugh, whose lungs are tickled o’ the sere: and the lady shall say her mind freely, or the blank verse shall halt for’t. What players are they ? _ 331 Ros. Even those you were wont to take such delight in, the tragedians of the city. ; : ‘am. How chances it they travel? their residence, both in reputation and profit, was better both ways. Ros. I think, their inhibition comes by the means of the late innovation, : . Ham. Do they hold the same estimation they did when I was in the city? Are they so followed ? Ros. No, indeed, they are not. 310 Ham, How comes it? Do they grow rusty? Ros. Nay, their endeavour keeps in the wonted pace: but there is, sir, an aery of children, little eyases, that cry out on the top of question, and are most tyrannically clapped for’t: these are now the fashion ; and so berattle the common stages (so they call them), that many wearing rapiers are afraid of goose-quills, and dare scarce come thither. . ¢ Ham. What! are they children? who maintains them? how are they escoted? Will they pursue the quality no longer than they can sing? will they not say afterwards, if they should grow themselves to common players, (as it is most like, if their means are not better,) their writers do them wrong, to make them exclaim against their own succession ? Ros. ’Faith, there has been much to do on both sides ; and the nation holds it no sin, to tarre them to controversy : there was, for a while, no money bid for argument, unless the poet and the player went to cuffs in the question. 360 Ham. Is it possible ? Guil. O! there has been much throwing about of brains. : Ham. Do the boys carry it away ? Ros. Ay, that they do, my lord; Hercules, and his load too. Ham. It is not strange; for my uncle is ing of Denmark, and those that would make mows at him while my father lived, give twenty, forty, fifty, an hundred ducats a-piece, for his picture in little. *Sblood, there is something in this more than natural, if philosophy could find it out. 2 [Flourish of trumpets within. Guil. There are the players. Ham. Gentlemen, you are welcome to Elsinore. Your hands. Come, then; the appurtenance of wel- come is fashion and ceremony: let me comply with you in this garb, lest my extent to the players (which, I tell you, must show fairly outward) should more appear like entertainment than yours. You are welcome; but my uncle-father, and aunt-mother, are deceived. 381 Guil. In what, my dear lord? Ham. I am but_mad north-north-west: when the wind is southerly, I know a hawk trom a handsaw. Re-enter POLONIUS. Pol. Well be with you, gentlemen ! ‘Ham. Mark you, Guildenstern ;—and you too ;—at each ear a hearer: that great baby, you see there, is not yet out of his swathing-clouts, Ros. Happily he’s the second time come to them; for, they say, an old man is twice a child. 390 Ham. I will prophesy, he comes to tell me of the players ; mark it.—You say right, sir: for 0’ Monday morning: ’t was so indeed. Pol. My lord, I have news to tell you. Ham. My lord, I have news to tell you. When Roscius was an actor in Rome,— Pol. The actors are come hither, my lord. Ham. Buz, buz! Pol. Upon my honour, — Ham. Then came each actor on his ass,— 400 Pol. The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, 603 historical-pastoral, tragical-historical, tragical-comi- cal-historical-pastoral, scene individable, or poem HAMLET, PRINCE OF DENMARK. unlimited : Seneca cannot be too heavy, nor Plautus © too light. are the only men. } : Ham. ‘‘O Jephthah, judge of Israel,” what a treasure hadst thou! Pol, What a treasure had he, my lord? 410 Ham. Why,’ “One fair diughter, and no more, The which he loved passing well.” Pol. [Aside.] Still on my sure Ham. Am [not i’ the right, old Jephthah? Pol. If you call me Jephthah, my lord, I have a daughter that I love passing well. Ham. Nay, that follows not. Pol. What follows then, my lord ? Ham, Why, ‘As by lot, God wot,” and then, you know, “Tt came to pass, as most like it was,”"— the first row of the pious chanson will show you more ; for look, where my abridgment comes. 420 Enter four or five Players. You are welcome, masters ; welcome, all.—I am glad to see thee well :—welcomé, good friends.—O, my old friend! Why, thy face is valanced since I saw thee last: com’st thou to beard me in Denmark?— What! my young lady and mistress! By'r lady, your lady- ship is nearer to heaven, than when I saw you last, by the altitude of achopine. Pray God, your voice, like a piece of uncurrent gold, be not cracked within the ring. Masters, you are all welcome. Welle’en to't like French falconers, fly at anything we see: we’ll have a speech straight. Come, give us a taste of your quality ; come, a passionate speech. 1 Play. What speech, my good lord? 138 Ham. J heard thee speak me a speech once,—but it For the law of writ, and the liberty, these | was never acted; or, if it was, not above once; for | the play, Iremember, pleased not the million; ’t was caviare to the general: but it was (as I received it, and others, whose judgments in such matters cried in the top of mine) an excellent play, well digested in the scenes, set down with as much modesty as cunning. I remember, one said, there were no sallets in the lines to make the matter savoury, nor no matter in the phrase that might indite the author of atfecta- tion, but called it an honest method, as wholesome - sweet, and by very much more handsome than ne. tale to Dido; and thereabout of it especially, where he speaks of Priam’s slaughter. If it live in your memory, begin at this line: —Ict me sce, let me see ;— “The rugged Pyrrhus, like the Hyrcanian beast,” —'tis not so; it begins with Pyrrhus :— “The rugged Pyrrhus,—he, whose sable arms, Black as his purpose, did the night resemble When he lay couched in the ominous horse, 460 Hath now this dread and black complexion smear’d With heraldry more dismal ; head to foot Now is he total gules; horridly trick’d With blood of fathers, mothers, daughters, sons; Bak’d and impasted with the parching streets, That lend a tyrannous and a damned fight To their vile murders: roasted in wrath and fire, And thus o’er-sized with coagulate gore, With eyes like carbuncles, the hellish Pyrrhus Old grandsire Priam seeks.”— 7 So, proceed you. Pol. ’Fore God, my lord, well spoken; with good accent, and good discretion. 1 Play. “‘ Anon he finds him Striking too short at Greeks: his antique sword, Rebellious to his arm, lies where it falls, Repugnant to command. Unequal match’d, Pyrrhus at Priam drives; in rage, strikes wide; . But with the whiff and wind of his fell sword. The unnerved father falls. Then senseless Ilium, Seeming to feel this blow, with flaming top 481 One speech in it I chiefly loved: ’t was Atnea;' | [Act II, Stoops to his base ; and with a hideous crash Takes prisoner Pyrrhus’ ear : for, lo! his sword, Which was declining on the milky head Of reverend Priam, seem’d i’ the air to stick: So, as a painted tyrant, Pyrrhus stood ; And, like a neutral to his will and matter, Did nothing. But, as we often see, against some storm, A silence in the heavens, the rack stand still, ' 499 The bold winds speechless, and the orb below As hush as death, anon the dreadful thunder Doth rend the region : so, after Pyrrhus’ pause, Aroused vengeance sets him new a-work ; And never did the Cyclops’ hammers fall On Mars his armour, forg’d for proof eterne, With less remorse than Pyrrhus’ bleeding sword Now falls on Priam.— Out, out, thou strumpet, Fortune! Al you gods, In general synod, take ener her power ; Break all the spokes and fellies from her wheel, And bowl the round nave down the hill of heaven. As low as to the fiends!” Pol. This is too Done. Ham. It shall to the barber's, with your beard.— Pr'ythee, say on:—he’s for a jig, or a tale of bawdry, or he sleeps.—Say on: come to Hecuba. 1 Play. ** But, who, O! who had seen the mobled gucen — Ham. The mobled queen? ’ Pol. That’s good; mobled queen is good. 510 1 Play. ‘‘Run barefoot up and down, threat'ning the flames With bisson rheum ; a clout upon that head, Where late the diadem stood ; and, for a robe, About her lank and all o’er-teemed loins, A blanket, in the alarm of fear caught up; Who this had seen, With tongue in venom steep’d, ’Gainst Fortune's state would treason have pro- nounc’d: But if the gods themselves did see her then, When she saw Pyrrhus make malicious sport In mincing with his sword her husband’s limbs, 520 ‘The instant burst of clamour that she made, (Unless things mortal move them not at all,) Would have made milch the burning eyes of heaven, And passion in the gods.” Pol. Look, whe’er he has not turned his colour, and has tears in ’s eyes!—Pr'ythee, no more. Ham. ’Tis well; I'll have thee speak out the rest of this soon.—Good my lord, will you see the players well bestowed? Do you hear, let them be well used; for they are the abstracts, and brief chronicles, of the time: after your death you were better have a bad cmeph, than their ill report while you lived. 582 z Pol. My lord, I will use them according to their esert. : Ham. God’s bodikin, man, much better: use ever man after his desert, and who should ’scape whipping? Use them after your own honour and dignity: the less they deserve, the more merit is in your bounty. Take them in. Pol. Come, sirs. 540 Ham. Follow him, friends: we’ll hear a play to- morrow. [Hzxit PoLonius, with all the Players ex- cept the First.) Dost thou hear me, old friend? can you play the Murder of Gonzago? 1 Play. Ay, my lord. Ham. We'll have it to-morrow night. You could,- for a need, study a speech of some dozen or sixtecn lines, which I would set down and insert in't, could you not? oe 1 Play. Ay, my lord. 550) Ham. Very well.—Follow that lord; and look you mock him not. [Exit First Player.]_My good friends [to Ros. and GuI1.], I’ll leave you till night: you are welcome to Elsinore. Ros. Good my lord! Ham. Ay, so, God be wi’ ye.--- [EZzeunt ROSENCRANTZ and GUILDENSTERN: ae Now Iam alone. O, what a rogue and peasant slave am I! ScENE II.] HAMLET, PRINCE OF DENMARK. 609 Is it not monstrous, that this player here, But in a fiction, in a dream of passion, Could force his soul so to his whole conceit, That, from her working, all his visage wann’d; Tears in his eyes, distraction in’s aspect, A broken voice, and his whole function suiting With forms to his conceit? and all for nothing ! For Hecuba! What’s Hecuba to him, or he to Hecuba, That he should weep for her? What would he do, Had he the motive and the cue for passion, That Ihave? He would drown the stage with tears, And cleave the general ear with horrid speech; 570 Make mad the guilty, and appa! the free, Confound the ignorant ; and amaze, indeed, ie rer faculties of eyes and ears. et I, A dull and muddy-mettled rascal, peak, Like John-a-dreams, unpregnant of my cause, And can say nothing; no, not for a king, Upon whose property, and most dear lite, A damn’d defeat was made. Am Ia coward? Who calls me villain? breaks my pate across? Plucks off my beard, and blows it in my face? Tweaks me by the nose? gives me the lie i’ the throat, a deep as to the lungs? Who does me this? a! : *Swounds! I should take it ; for it cannot be, But I am pigeon-liver'd, and lack gall 560 580 To make oppression bitter, or, ere this, I should have fatted all the region kites _ With this slave’s offal. Bloody, bawdy villain! Remorseless, treacherous, lecherous, Kindless villain! O, vengeance ! he 591 Why, what anassamI! Ay, sure, this is most brave ; That I, the son of a dear father murder’d Prompted to my revenge by heaven and hell, Must, like a whore, unpack my heart with words, And fall a-cursing, like a very drab, A scullion ! : Fie upon ’t! foh! About, my brain !—I have heard, That guilty creatures, sitting at a play, Have by the very cunning of the scene 600 Been struck so to the soul, that presently They have proclaim’d their malefactions3 For murder, though it have no tongue, will speak With most miraculous organ. I'll have these players Play something like the murder of my father, Before mine uncle: I’ll observe his looks ; I’ tent him to the quick: if he but blench, I know my course. The spirit that I have seen May be the devil: and the devil hath power To assume a pleasing shape; yea, and, perhaps, Out of my weakness, and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I'll have grounds More relative than this :—the play’s the thing, Wherein I'll catch the conscience of the king. {Ezit. 610 ACT IIl. ScENE I.—A Room in the Castle. Enter K1nG, QUEEN, POLONIUS, OPHELIA, ROSENCRANTZ, and GUILDENSTERN. King. ND can you, by no drift of circumstance, | Get from him, why he puts on this confusion, Grating so harshly all his days of quiet With turbulent and dangerous lunacy ? Ros. He does confess, he feels himself SZT I distracted ; : v et But from what cause he will by no means Aa speak. {© Quit. Nor do we find him forward to be \ sounded, But, with a crafty madness, keeps aloof, When we would bring him on to some confession Of his true state. een. Did he receive you well? 10 ‘os. Most like a gentleman. ee hy matt Or Guil. But with much forcing of his disposition. Ros. Niggard of question ; but, of our demands, Most free in his reply. en. To any pastime ? . Ros. Madam, it so fell out, that certain players We o’er-raught on the way: of these we told him ; And there did seem in him a kind of joy To hear of it. They are about the court; And, as I think, they have already order 20 This pight to play before him. Did you assay him ‘ol. *T is most true: And he beseech’d me to entreat your majesties, To hear and see the matter. : King. With all my heart; and it doth much content me ; To hear him so inclin’d. Good gentlemen, give him a further edge, And drive his purpose on to these delights. Ros. We shall, my lord. [Eneunt ROSENCRANTZ and GUILDENSTERN. King. Sweet Gertrude, leave us too; For we have closely sent for Hamlet hither, That he, as ’t were by accident, may here 30 Affront Ophelia. Her father, and myself, (lawful espials,) Will 50 bestow ourselves, that, seeing, unseen, We may of their encounter frankly judge; And gather by him, as he is behav’d, If't be the affliction of his love, or no, That thus he suffers for. Queen. I shall obey you.— And, for your pert, Ophelia, I do wish, That your good beauties be the happy cause Of Hamlet's wildness ; so shall I hope, your virtues 40 Will bring him to his wonted way again, To both your honours. h. Madam, I wish it may. [Exit QUEEN. Pol. Ophelia, walk you here.—Gracious, so please you, We will bestow ourselves.—_[7o OPHELIA.] Read on this book ; That show of such an exercise may colour Your loneliness.—We are oft to blame in this,— *T is too much prov’d, that, with devotion’s visage, And pious action, we do sugar o’er The devil himself. 39 610 HAMLET, PRINCE OF DENMARK. [Act III. King. (Aside.] O! ’tis too true! Howsmart a lash that speech doth give my conscience! The harlot’s cheek, beautied with eek art, bl Is not more ugly to the thing that helps it, Than is my deed to my most painted word. O heavy burden! , Pol. {hear him coming: let’s withdraw, my lord. [Hxreunt Kine and PoLonivus. Enter HAMLET. Ham. To be, or not to be, that is the question :— Whether tis nobler in the mind, to suffer Ham. “To be, or not to be, that is the question.” The slings and arrows of outrageous fortune ; Or to take arms against a sea of troubles, And by opposing end them ?—To die,—to sleep, No more ;—and, by a sleep, to say we end The heart-ache, and the thousand natural shocks That flesh is heir to,—’t is a consummation Devoutly to be wish’d. To die,—to sleep :— To sleep! perchance to dream :—ay, there’s the rub; For in that sleep of death dreams may come, When we have shufHed off this mortal coil, 60 Must give us pause. There’s the respect, (7, »~0 ¢ alech That makes calamity of so long life: For who would bear the whips and scorns of time, 70 The oppressor’s wrong, the proud man’s contumely, The pangs of despis’d love, the law's delay, The insolence of office, and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would these fardels bear, To grunt and sweat under a weary life, But that the dread of something after death,— The undiscover’d country, from whose bourn No traveller returns,—puzzles the will, And makes us rather bear those ills we have, Than fly to others that we know not of? Thus conscience does make cowards of us all ; And thus the native hue of resolution Is sicklied o’er with the pale cast of thought; And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.—Soft you, now! The fair Ophelia.—Nymph, in thy orisons Be all my sins remember’d. Oph. Good my lord, How does your honour for this many a day ? Ham. [humbly thank you ; well, well, well. Oph. My lord, I have remembrances of yours, That I have longed long to re-deliver; I pray you, now receive them. Tam, No, not I; I never gave you aught. Oph. My honour’d lord, you know right well you 1d ; And, with them, words of so sweet breath compos’d, As made the things more rich : their perfume lost, Take these again ; for, to the noble mind, Rich gifts wax poor when givers prove unkind, There, my lord. Ham. Ha, ha! are you honest? Oph. My lord! Ham. Are you fair? Oph, What means your lordship? Ham. That if you be honest, and fair, your honesty should admit no discourse to your beauty. Oph. Could beauty, my lord, have better commerce than with HONGSET f Ham, Ay, tru y ; for the power of beauty will sooner transform honesty from what it is to a bawd, than the force of honesty can translate beauty into his likeness: this was sometime a paradox, but now the time gives it proof. I did love you once. Oph. Indeed, my lord, you made me believe so. Ham. You should not have believed me; for virtue cannot so inoculate our old stock, but we shall relish of it. I loved you not. 120 Oph. I was the more deceived. am. Get thee to a nunnery: why wouldst thou be a breeder of sinners? Iam myself indifferent honest; but yet I could accuse me of such things, that it were better, my mother had not borne me. I am very proud, revengeful, am- bitious; with more offences at my beck, than I have thoughts to put them in, imagination to give them shape, or time to act-them_in. What should such fellows as_I do crawling between heaven and earth? We are arrant knaves, all; believe none of us. Go thy ways to a nunnery. Where’s your father ? h. At home, my lord. am. Let the doors be shut upon him, that he may play the fool nowhere but in’s own house. Farewell. A. O! help him, you sweet heavens! 140 am. If thou dost marry, I’ll give thee this plague for thy dowry: be thou as chaste as ice, as pure as snow, thou shalt not escape calumny, Get thee toa nunnery; go, farewell. Or, if thou wilt needs marry, marry a fool; for wise men know well enough what monsters you make of them. Toa nunnery, go; and uickly too. Farewell. A. O heavenly powers, restore him ! 148 am. I have heard of your paintings too, well enough: God hath given you one face, and you make yourselves another: you jig, you amble, and you lisp, and nickname God’s creatures, and make your wan- tonness your ignorance. Goto; I’ll no more on’t: it hath made me mad. I say, we will have no more Marriages: those that are married already, all but one, shall live ; the rest shall keep as they are. Toa nunnery, go. Exit. Oph. O, what a noble mind is here o’erthrown! The courtier’s, soldier’s, scholar’s, eye, tongue, sword; The expectancy and rose of the fair state, 160 The glass of fashion, and the mould of form, The observ’d of all observers, quite, quite down! And I, of ladies most deject and wretched, That suck’d the honey of his music vows, Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh ; That unmatch’d form and feature of blown youth Blasted with ecstacy. O, woe is me, To have seen what I have seen, see what I see! Re-enter Kina and PoLonius. King. Love! his affections do not that way tend ; 170 Nor what he spake, though it lack’d form a little, _ Was not like madness. There’s something in his soul, O’er which his melancholy sits on brood ; And, I do doubt, the hatch, and the disclose, Will be some danger: which for to prevent, I have, in quick determination, Thus set it dawn. He shall with speed to England, For the demand of our neglected tribute : Haply, the seas, and countries different, With variable objects, shall expel This something-settled_ matter in his heart; Whereon his brains still beating puts him thus 180 From fashion af himself. What think you on’t? ScENE II.] HAMLET, PRINCE OF DENMARK. 611 Pol. It shall do well: but yet do I believe, The origin and commencement of his grief Sprung from neglected love.—How now, Ophelia! ou need not tell us what Lord Hamlet said ; We heard it all.—My lord, do as you please ; But, if you hold it fit, after the play, Let his queen mother all alone entreat him To show his Fricis : let her be round with him ; And I'll be plac’d, so please you, in the ear Ofall their conference. If she find him not, To England send him ; or confine him, where Your wisdom best shall think. King. It shall be so: Madness in great ones must not unwatch'd go. [Exewnt. 190 ScENE II.—A Hall in the Same. Enter HAMLET and certain Players. Ham. Speak the speech, I pray you, asI pronounced it to you, trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town- crier spoke my lines. Nor do not saw the air too much with your hand, thus; but use all gently: for in the very torrent, tempest, and (as J may say) the whirlwind of passion, you must acquire and beget a temperance, that may give it smoothness. O! it offends me to the soul, to hear a robustious periwig- pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings; who, for the most part, are capable of nothing but inexplicable dumb- shows, and noise: I would have such a fellow whipped for o’erdoing Termagant ; it out-herods Herod: pray you, avoid it. 1 Play. I warrant your honour. 16 Ham. Be ‘not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action, with this special observance, that you o’erstep not the modesty of nature; for any- thing so overdone is from the purpose of playing, whose end, both at the first, and now, was, and is, to hold, as ’t were, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time, his form and pressure. Now, this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of the which one must, in your allowance, o’erweigh a whole theatre of others. O! there be players, that I have seen play,—and heard others praise, and that highly,—not to speak it pro- fanely, that, neither having the accent of Christians, nor the gait of Christian, pagan, nor man, have so strutted, and bellowed, that I have thought some of nature’s journeymen had made men, and not made them well, they imitated humanity so abominably. 1 Play. Ihope, we have reformed that indifferently with us. 38 Ham. O! reform it altogether. And let those that Ylay your clowns speak no more than is set down for them: for there he of them, that will themselves laugh, to set on some quantity of barren spectators to iaugh too; though, in the meantime, some necessary question of the play be then to be considered : that’s villainous, and shows a most pitiful ambition in the rool that uses it. Go, make you ready.— ° [Exeunt Piayers. Enter PoLONIUS, ROSENCRANTZ, and GUILDENSTERN. How now, milena will the king hear this piece of wor Pol. And the queen too, and that presently. Ham. Bid the players make haste.— . [Eait POLONIvs. Will you two help to hasten them? 50 Ros., Guil. We will, my lord. Exeunt ROSENCRANTZ and GUILDENSTERN. Ham. What, ho! Horatio! Enter HORATIO. Hor. Here, sweet lord, at your service. Ham. Horatio, thou art e’en as just a man As e’er my conversation cop’d withal, Hor. O! my dear lord,— Ham. Nay, do not think I flatter ; For what advancement may hope from thee, That no revenue hast but thy good spirits, To teed and clothe thee? Why should the poor be flatter’d? No; let the candied tongue lick absurd pomp, 60 And crook the pregnant hinges of the knee, Where thrift may follow fawning. Dost thou hear? Since my dear soul was mistress of her choice, And could of men distinguish, her election Hath seal’d thee for herself: for thou hast been As one, in suffering all, that suffers nothing A man, that Fortune’s buffets and rewards Hast ta’en with equal thanks: and bless’d are those, Whose blood and judgment are so well co-mingled, That they are not a pipe for Fortune’s finger To sound what stop she please. Give me that man That is not passion’s slave, and I will wear him In my heart’s core, ay, in my heart of heart, As I do thee.—Something too much of this,— There is a play to-night before the king; One scene of it comes near the circumstance, Which I have told thee, of my father's death: I pr’ythee, when thou seest that act afoot, Even with the very comment of thy soul Observe mine uncle: if his occulted guilt 80 Do not itself unkennel in one speech, It is a damned ghost that we have seen, And my imaginations are as foul As Vulcan’s stithy. Give him heedful note: For I mine eyes will rivet to his face ; And, after, we will both our judgments join In censure of his seeming. Well, my lord: Hor. If he steal aught, the whilst this play is playing, And ’scape detecting, I will pay the theft. Ham, They are coming to the play: I must be idle ; Get you a place. Danish march. A flourish. Enter KING, QUEEN, POLONIUS, OPHELIA, ROSENCRANTZ, GUILDEN- STERN, and others. - King. How fares our cousin Hamlet? Ham. Excellent, i’ faith; of the chameleon’s dish: I eat the air, promise-crammed. You cannot feed capons so. ing. I have nothing with this answer, Hamlet: these words are not mine. Ham. No, nor mine now.—[To PoLonivus.] My lord, you played once in the university, you say? ol. That did I, my lord ; and was accounted a good actor. 101 Ham. And what did you enact? Pol. I did enact Julius Cesar: I was killed i’ the Capitol; Brutus killed me. Ham. It was a brute part of him to kill so capital a calf there.—Be the players ready ? Ros. Ay, my lord; they stay upon your patience, Queen. Come hither, my good Hamlet, sit by me. _Ham. No, good mother, here’s metal more attrac- tive. Pol. Oho! do you mark that? Ham. Lady, shall I lie in your lap? Lying down at OPHELIA’S feet. ee No, my lord. ‘am. I mean, my head upon your lap? Oph.. Ay, my lord. Ham. Do you think, I meant country matters? Oph. I think nothing, my lord. i Ham. That’s a fair thought to lie between maids’ egs. Oph. What is, my lord? 120 Hamm. Nothing. Oph. You are merry, my lord. ‘am. Who, I? Oph. Ay, my lord. Ham. O God! your only jig-maker. What should a man do, but -be merry? for, look you, how cheerfully 612 HAMLET, PRINCE OF DENMARK. [Act IIT, my mother looks, and my father died within’s two hours, h. Nay, ‘tis twice two months, my lord. 129 Ham. So long? Nay then, let the devil wear black, for I'll have a suit of sables. O heavens! die two months ago, and not forgotten yet? Then there’s hope, a great man’s memory may outlive his life half a year; but, by ’r lady, he must build churches then, or else shall he suffer not thinking on, with the hobby- horse ; whose epitaph is, ‘‘ For, O! for, O! the hobby- horse is forgot.’ Hautboys play. The dwimb-show enters. Enter a King and a Queen, very lovingly ; the Queen embracing him, and he her. She kneels, and makes show of protestation unto him. He takes her up, and declines his head upon her neck; lays him down upon a bank of flowers; she, seeing him asleep, leaves him. Anon comes in a fellow, takes off his crown, kisses it, and pours poison in the King’s ears, and exit. The Queen returns, finds the King dead, and makes passionate action. The Poisoner, with some two or three Mutes, comes in again, seeming to lament with her. The dead body is carried away. The Poisoner woos the Queen with gifts: she seems loath and unwilling awhile ; but in the end accepts his love. [Exeunt. Oph. What means this, pr lord? Ham. Marry, this is miching mallecho; it means mischief. 140 oe Belike, this show imports the argument of the play. Enter Prologue. Ham. We shall know by this fellow: the players cannot keep counsel; they 'll tell all. opt Will he tell us what this show meant ? am, Ay, or any show that dae will show him: be not you ashamed to show, he’ll not shame to tell you what it means. Oph. You are naught, you are naught. I’ll mark the play. 150 Pro. For us, and for our tragedy. Here sroopuie te your clemency, ‘We beg your hearing patiently. (Exit. Ham. Ts this a prologue, or the posy of a ring? Oph. ’T is brief, my lord. Ham. AS woman's love. Enter a King and a Queen. P. King. eu thirty times hath Phebus’ cart gone roun Neptune's salt wash, and Tellus’ orbed ground ; And thirty dozen moons, with borrow’d sheen, About the world have times twelve thirties been ; 160 Since love our hearts, and Hymen did our hands, Unite commutual in most sacred bands. P. Queen, So many journeys may the sun and moon Make us again count o’er, ere love be done. But, woe is me! you are so sick of late, So far from cheer, and from your former state, That I distrust you. Yet, though I distrust, Discomfort you, my lord, it nothing must; For women’s fear and love holds quantity, In neither aught, or in extremity. 170 Now, what my love is, proof hath made you know; And as my love is siz’d, my fear is so. Where love is great, the littlest doubts are fear; Where little fears grow great, great love grows there. P. King. ’Faith, I must leave thee, love, and shortly too ; My operant powers their functions leave to do: And thou shalt live in this fair world behind, Honour'd, belov’d ; and, haply, one as kind For husband shalt thou— P. Queen. O, confound the rest ! Such love must needs be treason in my breast: 180 In second husband let me be accurst ; None wed the second, but who kill’d the first. Ham. [Aside.) Wormwood, wormwood. : P. Queen. The instances, that second marriage move, Are base respects of thrift, but none of love: A second time I kill my husband dead, ‘When second husband kisses me in bed. P. King. I do believe you think what now you speak ; But what we do determine oft we break. Purpose is but the slave to memory, 190 Of violent birth, but poor validity ; Which now, like fruit unripe, sticks on the tree, But fall unshaken, when they mellow be. Most necessary ’tis, that we forget To pay ourselves what to ourselves is debt : What to ourselves in passion we propose, The passion ending, doth the purpose lose. The violence of either grief or joy Their own enactures with themselves destroy : Where joy most revels, grief doth most lament; 200 Grief joys, joy grieves, on slender accident. This world is not for aye; nor ‘tis not strange, That even our loves should with our fortunes change: For ‘tis a question left us yet to prove, Whether love lead fortune, or else fortune love. The great man down, you mark, his favourite flies ; The poor advanc’d makes friends of enemies, And hitherto doth love on fortune tend: For who not needs shall never lack a friend ; And who in want a hollow friend doth try, 210 Directly seasons him his enemy. But, orderly to end where I begun, Our wills and fates do so contrary run, That our devices still are overthrown ; Our thoughts are ours, their ends none of our own: So think thou wilt no second husband wed; But die thy thoughts, when thy first lord is dead. P. nee, Bee earth to me give food, nor heaven ight! Sport and repose lock from me, day and night! To desperation turn my trust and hope! An anchor’s cheer in privet be my scope ! Each opposite, that blanks the face of joy, Meet what I would have well, and it destroy! Both here, and hence, pursue me lasting strife, If, once a widow, ever I be wife! Ham. If she should break it now? P. King. ’T Ae deeply sworn. Sweet, leave me here awhile : My spirits grow dull, and fain I would beguile The tedious day with sleep. [Sleeps, P. Queen. Sleep rock thy brain ; And never conte mischance between us twain! [Exii. Ham, Madam, how like you this play? ae The lady protests too much, methinks. ‘am. O! but she’ll keep her word. King. Have you heard the argument? Is there no offence in’t ? . : Ham. No, no; they do but jest, poison in jest: no offence i’ the world. King. What do you call the play 2 _ 238 Ham. The Mouse-trap. Marry, how? Tropically. This play is the image of a murder done in Vienna: Gonzago is the duke’s name; his wife, Baptista. You shall see anon; tis a knavish piece of work: but what of that? your majesty, and we, that have free souls, it touches us not: let the galled jade wince, our withers are unwrung. Enter LucIaAnus. This is one Lucianus, nephew to the king. Oph. You are a good chorus, my lord. Ham. J could interpret between you and your love, if I could see the puppets dallying. e Oph. You are keen, my lord, you are keen. 250 Ham. It would cost you a groaning to take off my edge. Oph. Still better, and worse. P am. So you must take your husbands.—Begin, murderer: pox, leave thy damnable faces, and begin. Come :—the croaking raven doth bellow for revenge. Luc. Thoughts black, hands apt, drugs fit, and time agreeing ; Confederate season, else no creature sant Thou mixture rank, of midnight weeds collected, With Hecate’s ban thrice blasted, thrice infected, 260 ScENE IL] HAMLET, PRINCE OF DENMARK. 613 Thy natural magic and dire property, Ham. Why, let the strucken deer go weep, On wholesome life usurp immediately. Tne hart ungalled play; Pours the poison into the Sleeper’s ears. | For some must Watch, while some must sleep: IIam. He poisons him i’ the garden for’s estate. | Thus runs the world away. His name’s Gonzago: the story is extant, and writ in | Would not this, sir, and a forest of feathers, (if the Marry, this is miching mallecho; it means mischief." Ham. choice Italian. Youshall see anon, how the murderer rest of my fortunes turn Turk with me,) with two gets ay nage Gonzago’s wife. Prayer chee ie i my ae shoes, get mea ier i e king rises. ship in a cry of players, sir ‘am. What! frighted with false fire? | or. Half a share. een. How fares my lord? | Ham. A whole one, I. ‘ol. Give o’er the play. 270 | For thou dost know, O Damon dear, King. Give me some light !—away! This realm dismantled was All. Lights, lights, lights ! Of Jove himself; and now reigns here Exeunt all but HAMLET and HoRATIO. A very, very—pajock. 614 HAMLET, PRINCE OF DENMARK. {Act ITI, Hor. You might have rhymed. Ham. O good Horatio! I'll take the ghost’s word for a thousand pound. Didst perceive? Flor. Very well, my lord. 290 Ham. Upon the talk of the poisoning,— Hor. I did very well note him. Ham. Ah, ha!—Come, some music! come, the re- corders ! For if the king like not the comedy, Why then, belike,—he likes it not, perdy.— Come, some music! Enter ROSENCRANTZ and GUILDENSTERN. Guil. Good my lord, vouchsafe me a word with you. Ham. Sir, a whole history. Guil. The king, sir, — Ham. Ay, sir, what of him? 300 Guil. Is, in his retirement, marvellous distem- pered. Ham. With drink, sir? Guil. No, my lord, rather with choler. Ham. Your wisdom should show itself more richer, to signify this to his doctor; for, for me to put him to his purgation, would, perhaps, plunge him into far more choler. Guil. Good my lord, put your discourse into some frame, and start not so wildly from my affair. 310 ‘am. I am tame, sir ;—pronounce. Guil. The queen, your mother, in most great afflic- tion of spirit, hath sent me to you. Ham. Youare welcome. Guil. Nay, good my lord, this courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s command- ment; if not, your pardon and my return shall be the end of my business. a ‘0 Ham. Sir, I cannot. Guil. What, my lord? Ham. Make you a wholesome answer; my wit’s diseased ; but, sir, such answer as I can make, you shall command; or, rather, as you say, my mother: therefore no more, but tothe matter. My mother, you say,— Ros. Then, thus she says. Your behaviour hath struck her into amazement and admiration. Ham, O wonderful son, that can so astonish a mother !—But is there no sequel at the heels of this mother’s admiration? impart. 1 Ros. She desires to speak with you in her closet, ere 0 to bed. am. eshall obey, were she ten times our mother. Have you any further trade with us? Ros. My lord, you once did love me. Ham. And do still, by these pickers and stealers. Ros. Good my lord, what is your cause of dis- temper? you do freely bar the door of your own liberty, if you deny your griefs to your friend. 3410 Ham. Sir, I lack advancement. Ros. How can that be, when you have the voice of the king himself for your succession in Denmark? Ham. Ay, sir, but “While the grass grows;”—the proverb is something musty. Enter Players with recorders. O! the recorders: let me see one.—To withdraw with you.—Why do you go about to recover the wind of me, as if you would drive me into a toil? Guil. O, my lord, if my duty be too bold, my love is too unmannerly. Ham. I do not well understand that. Will you play upon this pipe? Guil. My lord, I cannot. Ham. I pray you. Guil. Believe me, I cannot. Ham. 1 do beseech you. Guil. I know no touch of it, my lord. Ham. It is as easy as lying: govern these ventages with po finger and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops. 361 Guil. But these cannot I command to any utterance of harmony : I have not the skill. Ham. Why, look you now, how unworthy a thing you make of me. ou would play upon me; you would seem to know my stops ; you wonld pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass; and there is much music, excellent voice, in this little organ, yet cannot you make it speak. ‘Sblood! do you think Iam easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.— 373 Enter POLONIUS. God bless you, sir! Pol. My lord, the queen would speak with you, and presently. Ham. Do you see yonder cloud, that’s almost in shape of a camel? Pol. By the mass, and ’tis like a camel, indeed. Ham. Methinks, it is like a weasel. Pol. It is backed like a weasel. Ham. Or, like a whale? Pol. Very like a whale. Ham. Then will I come to my mother by-and-by.— rhe fool me to the top of my bent.—I will come by- and-by. Pol. J will say so. [Exit. Ham. By-and-by is easily said._Leave me, friends. [Exeunt ROoSENCRANTZ, GUILDENSTERN, Horatio, cc. °T is now the very witching time of night, When churchyards yawn, and hell itself breathes out Contagion to this world: now could I drink hot blood, And do such bitter business as the day 392 Would quake to look on. Soft! now to my mother,— O heart! lose not thy nature; let not ever The soul of Nero enter this firm bosom: Let me be cruel, not unnatural. I will speak daggers to her, but use none; My tongue and soul in this be hypocrites: How in my words soever she be shent, : To give them seals never, my soul, consent! iz 400 cit. ScENE III.—A Room in the Same. Enter KING, ROSENCRANTZ, and GUILDENSTERN. King. I like him not; nor stands it safe with us, To let his madness range. Therefore, prepare you: I your commission will forthwith despatch, And he to England shall along with you. The terms of our estate may not endure Hazard so dangerous, as doth hourly grow Out of his lunacies. Guil. We will ourselves provide. Most holy and religious fear it is, To keep those many many bodies safe, That live and feed upon your majesty. 10 Ros. The single and peculiar life is bound, With all the strength and armour of the mind, To keep itself from noyance ; but much more That spirit, upon whose weal depends and rests The lives of many. The cease of majesty Dies not alone; but, like a gulf, doth draw What’s near it with it: it is a massy wheel, Fix’d on the summit of the highest mount, _ To whose huge spokes ten thousand lesser things Are mortis’d and adjoin’d; which, when it falls, 20 Each small annexment, petty consequence, Attends the boisterous ruin. Never alone Did the king sigh, but with a general groan. King. Arm you, I pray you, to this speedy voyage; For we will fetters put upon this fear, Which now goes too free-footed. Ros., Guil. We will haste us. [Exeunt ROSENCRANTZ and GUILDENSTERN. Enter PoLonivus. Pol. My lord, he’s going to his mother’s closet. Behind the arras I'll convey myself, To hear the process: I’ll warrant, she’ll tax him home j And, as you said, and wisely was it said, 3 Scene IV.] *T ig meet that some more audience than a mother, Since nature makes them partial, should o’erhear The speech, of vantage. Fare you well, my liege: I'll call upon you ere you go to bed, And tell you what I know. King. Thanks, dear my lord. . P [/xcit POLONIUS. O! my offence is rank, it smells to heaven; 1t hath the primal eldest curse upon ’t, A brother's murder !—Pray can I not, Though inclination be as sharp as will: My stronger guilt defeats my strong intent ; And, like a man to double business bound, I stand in pause where I shall first begin, And both neglect. What if this cursed hand Were thicker than itself with brother's blood, Is there not rain enough in the sweet heavens, To wash it white as snow? Whereto serves mercy, But to confront the visage of offence ? And what’s in prayer, but this two-fold force,— 'To be forestalled, ere we come to fall, Or pardon’d, being down? Then, I'll look up: 50 My fault is past. But, O! what form of prayer Can serve my turn? Forgive me my foul murder !— ‘hat cannot be; since I am still possess‘d Of those effects for which I did the murder, My crown, mine own ambition, and my queen. May one be pardon’d, and retain the offence? In the corrupted currents of this world, Offence’s gilded hand may shove by justice ; And oft ’tis seen, the wicked prize itself Buys out the law: but ’tis not so above; There is no shuffling, there the action lies In his true nature; and we ourselves compell’d, Even to the teeth and forehead of our faults, To give in evidence. What then? what rests? Try what repentance can: what can it not? Yet what can it, when one can not repent? O wretched state! O bosom, black as death! O limed soul, that, struggling to be free, Art more engaged! Help, angels! make assay : Bow, stubborn knees; and, heart, with strings of steel, Be soft as sinews of the new-born babe. All may be well. [Retires and kneels. Enter HAMLET. Ham. Now might I do it, pat, now he is praying ; And now I’ll do’t:—and so he goes to heaven ; And so am I reveng’d? That would be scann’d: A villain kills my father; and, for that, I, his sole son, do this same villain sen 40 To heaven. Why, this is hire and salary, not revenge. He took my father grossly, full of bread ; 80 sh With all his crimes Tenad | blown, as flush as May ; And how his audit stands, who knows, save Heaven? But, in our circumstance and course of thought, "Tis heavy with him.: And am I then reveng’d, To take him in ‘he purging of his soul, When he is fit and season’d for his passage ? No. UPR sword; and know thou a more horrid hent: hen he is drunk, asleep, or in his rage ; Or in the incestuous pleasures of his bed ; At gaming, swearing; or about some act, That has no relish of salvation in’t ; Then trip him, that his heels may kick at heaven, And that his soul may be as damn’d, and black, As hell, whereto it goes. My mother stays: This physic but prolongs thy sickly days. (Exit. The KinG rises and advances. King. My words fly up, my thoughts remain below: Words without thoughts never to heaven go. [Evwit. ScreNnE IV.—A Room in the Same. Enter QUEEN and POLONIUS. Pol. He will come: straight. Look, you lay home to him ; s HAMLET, PRINCE OF DENMARK. 615 Tell him, his pranks have been too broad to bear with, And that your grace hath screen’d and stood between Much heat and him. I[’ll silence me e’en here, Pray you, be round with him. ‘am. [Within.] Mother, mother, mother! Queen. I’ll warrant you ; fear me not: Withdraw, I hear him coming. [PoLonius hides himself behind the arras. Ham. “Now might I do it, pat, now he 1s praying.” Enter HAMLET. Ham. Now, mother, what’s the matter? Queen. Hamlet, thou hast thy father much offended. Ham. Mother, you have my father much offended. Queen. Come, come; you answer with an idle tongue. 12 Ham. Go, go; you question with a wicked tongue. oe Why, how now, Hamlet? am. What’s the matter now? Queen. Have you forgot me? ‘am. No, by the rood, not so: You are the queen, your husband’s brother’s wife ; But—would you were not so !—you are my mother. Queen. N S then, I’ll set those to you that can speak. Ham. Come, come, and sit you down ; you shall not udge : r You go not, till I set you up a glass 20 Where you may see the inmost part of you. Queen. eae wilt thou do? thou wilt not murder me Help, help, ho! Pol. (Behind.] What, ho! help, help, help! Ham. How now! arat? [Draws.] Dead! for a ducat, dead! (Makes a pass through the arras. Pol. [Behind.] O! Iam slain. [Falls, and dies. Queen. O me! what hast thou done? Ham. Nay, I know not: Is it the king? Queen. what a rash and bloody deed is this! 0. Ham. A bloody deed ; almost as bad, good mother, As kill a king, and marry with his brother. 30 Queen. As killa king! am. : Ay, lady, *t was my word. [Lifts up the arras, and draws forth POLONIUS. Thou wretched, rash, intruding fool, farewell! I took thee for thy better ; take thy fortune: 616 HAMLET, PRINCE OF DENMARK. [Act If, Thou find’st, to be too busy is some danger.— Leave wringing of your hands, Peace! sit you down, And let me wring your heart: for so I shall, If it be made of penetrable stuff; If damned custom have not braz’d it so, That it is proof and bulwark against sense. Queen. What have I done, that thou dar’st wag thy tongue dU In noise so rude against me? Ham. Such an act, That blurs the grace and blush of modesty ; Calls virtue, hypocrite ; takes off the rose From the fair forehead of an innocent love, And sets a blister there; makes marriage vows As false as dicers’ oaths: O! such a deed, As from the body of contraction plucks The very soul; and sweet religion makes A rhapsody of words: heaven’s tace doth glow; : Yea, this solidity and compound mass, 50 With tristful visage, as against the doom, Is thought-sick at the act. Ham. “ Look here, upon this picture, and on this.” Queen. Ah me! what act, That roars so loud, and thunders in the index? Ham. Look here, upon this picture, and on this; The counterfeit presentment of two brothers. See, what a grace was seated on this brow: Hyperion’s curls; the front of Jove himself ; An eye like Mars, to threaten and command; A station like the herald Mercury, New-lighted on a heaven-kissing hill ; 60 A combination, and a form, indeed, Where every god did seem to set his seal, To give the world assurance of a man. This was your husband : look you now, what follows. Here is your husband; like a mildew’d ear, Blasting his wholesome brother. Have you eyes? Could you on this fair mountain leave to feed, And batten on this moor? Ha! have you eyes? You cannot call it love; for, at your age, The hey-day in the blood is tame, it’s humble, 70 And waits upon the judgment ; and what judgment ‘Would step from this to this? Sense, sure, you have, Else could you not have motion ; but, sure, that sense Is apoplex’d ; for madness would not err, Nor sense to ecstacy was ne’er so thrall’d, But it reserv’d some quantity of choice, To serve in such a difference. What devil was’t, That thus hath cozen’d you at hoodman-blind? Eyes without feeling, feeling without sight, Ears without hands or eyes, smelling sans all, 80 Or but a sickly part of one true sense Could not so mope. O shame! where is thy blush? Rebellious hell, If thou canst mutine in a matron’s bones, ‘To flaming youth let virtue be as wax, And melt in her own fire: proclaim no shame, When the compulsive ardour gives the charge; Since frost itself as actively doth burn, And reason panders will. Queen. O Hamlet! speak no more! Thou turn’st mine eyes into my very soul ; And there I see such black and grained spots, As will not leave their tinct. lam. Nay, but to live In the rank sweat of an enseamed bed ; Stew’d in corruption ; honeying, and making love Over the nasty sty ;— Queen. O, speak to me no more! These words like daggers enter in mine ears: No more, sweet Hamlet! Ham. A murderer, and a Villain ; A slave, that is not twentieth part the tithe Of your precedent lord :—a Vice of kings ; A cutpurse of the empire and the rule, That from a shelf the precious diadem stole, And put it in his pocket! Queen. No more! Ham. A king of shreds and patches.— Enter Ghost. Save me, and hover o’er me with your wings, You heavenly euands !—What would your gracious gure ¢ Queen. Alas! he’s mad. Ham. Do you not come your tardy son to chide, That, laps’d in time and passion, lets go by The important acting of your dread command? O, say! ; 110 Ghost. Do not forget. This visitation Is but to whet thy almost blunted purpose. But, look ! amazement on thy mother sits; O, step between her and her fighting soul ; Conceit in weakest bodies strongest works: Speak to her, Hamlet. iy 4 Ham. How is it with you, lady? Queen. Alas! how is ’t with you, That you do bend your eye on vacancy, And with the incorporal air do hold discourse? Forth at your eyes your spirits wildly peep ; And, as the sleeping soldiers in the alarm, Your bedded hair, like life in excrements, Starts up, and stands on end. O gentle son! Upon the heat and flame of thy distemper Sprinkle cool patience. Whereon do you look? Ham. On him, on him!—Look you, how pale he glares! His form and cause conjoin’d, preaching to stones, Would make them capable.—Do not look upon me; Lest with this piteous action you convert My stern effects: then, what I have to do Wall want true colour; tears, perchance, for blood. een. To whom do you ne this? am. 0 ro see nothing there? Sects, Nothing at all; yet all, that is, I see. ‘am. Nor did you nothing hear? ween. No, nothing but ourselves. ‘am. Why, look you there! look, how it steals away ! My father, in his habit as he liv’d! Look, where he goes, even now, out at the portal ! [Exit Ghost. Queen. This is the very coinage of your brain: This bodiless creation ecstacy Is very cunning in. Ham Ecstacy ! z My pulse, as yours, doth temperately keep time, And makes as healthful music. It is not madness That I have utter’d : bring me to the test, And I the matter will re-word ; which madness Would gambol from. Mother, for love of grace, Lay not that flattering unction to your soul, That not your trespass, but my madness speaks: It will but skin and film the ulcprous place ; Whilst rank corruption, minin: : all within, 120 140 ScENnE IV.] HAMLET, PRINCE OF DENMARK. 617 Infects unseen. Confess yourself to Heaven; Repent what's past; avoid what is to come ; And do not spread the compost on the weeds, To make them ranker. Forgive me this my virtue ; For, in the fatness of these pursy times, Virtue itself of vice must pardon beg, Yea, curb and woo, for leave to do him good. Queen. O Hamlet! thou hast cleft my heart in twain. Ham. O, throw away the worser part of it, And live the pier with the other half. Good night ; but go not to mine uncle’s bed: Assume a virtue, if you have it not. That monster, custom, who all sense doth eat, Oft habits’ devil, is angel yet in this, That to the use of actions fair and good He likewise gives a frock, or livery, That aptly is put on. Refrain to-night ; And that shall lend a kind of easiness To the next abstinence: the next more easy ; For use almost can change the stamp of nature, And master the devil, or throw him out 170 With wondrous potency. Once more, Eos night: And when you are desirous to be bless'd, I'll blessing beg of you.—For this same lord, [Pointing to POLONIvS. I do repent: but Heaven hath pleas‘d it so,— To punish me with this, and this with me,— That I must be their scourge and minister. I will bestow him, and will answer well The death I gave him. So, again, good night.— I must be cruel, only to be kind: Thus bad begins, and worse remains behind.— One word more, good lady. . Queen. What shall I do? ‘am. Not this, by no means, that I bid you do: Let the bloat king tempt you again to bed; Pinch wanton on your cheek; call you his mouse ; 150 160 180 And let him, for a pair of reechy kisses, Or peeve in your neck with his damn’d fingers, Make you to ravel all this matter out, That I essentially am not in madness, But mad in craft. "I were good, you let him know ; For who, that’s but a queen, fair, sober, wise, 19 Would from a paddock, from a bat, a gib, Such dear concernings hide? who would do so? No, in despite of sense, and secrecy, Unpeg the basket on the house’s top, Let the birds fly, and, like the famous ape, To try conclusions, in the basket creep, And break your own neck down. Queen. Be thou assur’d, if words be made of breath, And breath of life, I have no life to breathe What thou hast said to me. 200 Ham. I must to England; you know that. Queen. Alack ! Thad forgot: ’t is so concluded on. Ham. There’s letters seal’d: and my two school- fellows,— Whom I will trust, as I will adders fang’d,— They bear the mandate ; they must sweep my way, And marshal me to knavery. Let it work ; For ’t is the sport, to have the enginer Hoist with his own petar: and ’t shall go hard, But I will delve one yard below their mines, And blow them at the moon. O! ’tis most sweet, 210 When in one line two crafts directly meet. — This man shall set me packing : I'll lug the guts into the neighbour room.— Mother, good night.—Indeed, this counsellor Is now most still, most secret, and most grave, Who was in life a foolish ae knave. Come, sir, to draw toward an end with you. Good night, mother. [Excunt severally; HAMLET dragging in POLONIUS. King: \ RE’S matter in these sighs: these pro- \ found heaves | (You must translate ; tis fit we understand | , them. | = Where is your son? ’ ' ‘ Queen. Bestow this place on us a little | while.— ' [Exeunt ROSENCRANTZ and | GUILDENSTERN. | Ah, my good lord, what have I seen to-night! King. What, Gertrude?) How does Hamlet ? Queen. Sad as the sea, and wind, when both con- ten Which is the mightier. In his lawless fit, Behind the arras hearing something stir, He whips his rapier out, and cries, * A rat! arat!” 10 And, in this brainish apprehension, kills The unseen good old man. ing. O heavy deed! It had been so with us, had we becn there. His liberty is full of threats to all; ScENE I.—-The Same. Enter KING, QUEEN, ROSENCRANTZ, and GUILDENSTERN. To you yourself, to us, to every one. Alas! how shall this bloody deed be answer’d? It will be laid to us, whose providence Should have kept short, restrain’d, and out of haunt, This mad young man; but so much was our love, We would not understand what was most fit; But, like the owner of a foul disease, To keep it trom divulging, let it feed Even on the pith of life. Where is he gone? Queen. To draw apart the body he hath kill’d; O’er whom his very madness, like some ore Among a mineral} of metals base, Shows itself pure : he weeps for what is done. King. O Gertrude! come away. The sun no sooner shall the mountains touch, But we will ship him hence; and this vile deed We must, with all our majesty and skill, Both countenance and excuse.—Ho! Guildenstern ! Re-enter ROSENCRANTZ and GUILDENSTERN. Friends both, go join you with some further aid. Hamlet in madness hath Polonius slain, . And from his mother’s closet hath he drase him: Go, seek him out; speak fair, and bring the body 20 30 618 HAMLET, PRINCE OF DENMARK. [Act Iv, Into the chapel. I pray you, haste in this. [Exeunt ROSENCRANTZ and GUILDENSTERN. Come, Gertrude, we’ll call up our wisest friends ; And let them know, both what we mean to do, And what’s untimely done: so, haply, slander— 40 Whose whisper o’er the world’s diameter, As level as the cannon to his blank, | Transports his poison’d shot—may miss our name, And hit the woundless air. O, come away! My soul is full of discord, and dismay. [Exeunt. ScreNnE II.—Another Room in the Same. Enter HAMLET. stowed. Within.] Hamlet! Lord Hamlet! O! here Ham. Safel, Ros., Guil. Ham. What noise? who calls on Hamlet? they come. Enter ROSENCRANTZ and GUILDENSTERN, Ros. bite a you done, my lord, with the dead 0 y Ham. Compounded it with dust, whereto ’tis kin. Ros. Tell us where ’tis; that we may take it thence, And bear it to the chapel. Ham. Do not believe it. Ros. Believe what? 10 Ham. That I can keep your counsel, and not mine own. Besides, to be demanded of a sponge, what replication should be made by the son of a king? Ros. Take you me for a sponge, my lord? Ham. Ay, sir; that soaks up the king’s countenance, his rewards, his authorities. But such officers do the king best service in the end: he keeps them, like an ape, in the corner of his jaw ; first mouthed, to be last swallowed: when he needs what you have gleaned, it is but squeezing you, and, sponge, you shall be dry again. 21 Ros. I understand you not, my lord. Ham. 1am glad of it: a knavish speech sleeps in a foolish ear. Ros. My lord, you must tell us where the body is, and go with us to the king. . Ham. The body is with the king, but the king is not with the body. The king is a thing— Guil. A thing, my lord! Ham. Of nothing: bring me tohim. Hide fox, and all after. eunt, ScENE III.—Another Room in the Same. Enter Kine, attended. King. T have sent toseek him, and to find the body. How dangerous is it, that this man goes loose! Yet must not we put the strong law on him: He’s lov’d of the distracted multitude, Who like not in their judgment, but their eyes; And where ’tis so, the offender’s scourge is weigh’d, But never the offence. To bear all smooth and even, This sudden sending him away must seem Deliberate pause : diseases, desperate grown, By desperate appliance are reliev’d, 10 Or not at all.— Enter ROSENCRANTZ. How now! what hath befallen? Ros. Where the dead body is bestow’d, my lord, We cannot get from him. King. But where is he? Ros. Without, my lord; guarded, to know your ee King. Bvirg him before us. fos. Ho, Guildenstern! bring in my lord. Enter HAMLET and GUILDENSTERN. King. Now, Hamlet, where’s Polonius? Ham, At supper. King. At supper! Where? 19 Ham. Not where he eats, but where he is eaten: a certain convocation of politic worms are e’en at him. Your worm is your only emperor for diet: w all creatures else, to fat us, and we fat ourselves a maggots: your fat king, and your lean beggar, is but variable service ; two dishes, but to one table: that’s the end. ‘King. Alas, alas! Ham. A man may fish with the worm that hath eat of a king; and eat of the fish that hath fed of that worm. King. What dost thou mean by this? = i Ham. Nothing, but to show you how a king may go a progress through the guts of a beggar. King. Where is Polonius? Ham. In heaven: send thither to see; if your mes- senger find him not there, seek him i’ the other place yourself. But, indeed, if you find him not within this month, you shall nose him as you go up the stairs into we ace ing. [To some Attendants.] Go seek him there. Ham. ch will stay till you come. o ‘ . [Excunt Attendants, King. Hamlet, this deed, for thine especial safety,— Which we do tender, as we dearly grieve For that which thou hast done,—must send thee hence With fiery quickness ; therefore, prepare thyself. The bark is ready, and the wind at help, The associates tend, and everything is bent 2 For England. For England? Ay, Hamlet. Good. King. So is it, if thou knew’st our purposes. Ham. I see a cherub that sees them.—But, come: for England !—Farewell, dear mother. jl King. Thy loving father, Hamlet. Ham. My mother: father and mother is man and wife, man and wife is one flesh ; and so, my mother, Come, for England ! [Exit King. Follow him at foot; tempt him with speed aboard : Delay it not, 1 ll have him hence to-night. Away, for everything is seal’d and done, That else leans on the affair : pray you, make haste. [Exeunt ROSENCRANTZ and GUILDENSTERN. And, England, if my love thou hold’st at aught, 60 (As my great power thereof may give thee sense, Since yet thy cicatrice looks raw and red After the Danish sword, and thy free awe Pays homage to us,) thou may’st not coldly set Our sovereign process, which imports at FR By letters conjuring to that effect, The present death of Hamlet. Do it, England; For like the hectic in my blood he rages, And thou must cure me. Till I know ’tis done, Howe’er my haps, my joys were ne’er begun. iz - rit, SceENE IV.—A Plain in Denmark. Enter FoRTINBRAS, a Captain, and Soldiers, marching. For. Go, captain; from me per the Danish king; Tell him, that, by his license, Fortinbras Claims the conveyance of a promis’d march Over his kingdom. You know the rendezvous. If that his majesty would aught with us, We shall express our duty in his eye, And let him know so. Cap. I will do ’t, my lord. For, Go softly on. : [Exeunt ForTINBRAS and Soldiers. Enter HAMLET, ROSENCRANTZ, GUILDENSTERN, £¢. Ham. Good sir, whose powers are these? Cap. They are of Norway, sir. 10 Ham. How purpos’d, sir, I pray you? Cap. a some part of Poland. Ham. Who commands them, sir? Cap. The nephew to old Norway, Fortinbras. Ham. Goes it against the main of Poland, sir, Or for some frontier ? ScENE V.] HAMLET, PRINCE OF DENMARK. 619 Cap. Truly to speak, sir, and with no addition, So full of artless jealousy is guilt, We go to gain a little eee of ground, ’ It spills itself in tearing to te alk 20 That hath in it no profit but the name. To pay five ducats, five, I would not farm it ; 20 Nor will it yield to Norway, or the Pole, A ranker rate, should it be sold in fee. Ham. Why, then the Polack never will defend it. Cap. Yes, ‘tis already garrison’d. Ham. Two thousand souls, and twenty thousand ducats, Will not debate the question of this straw : This is the imposthume of much wealth and peace, That inward breaks, and shows no cause without Why the man dies.—I humbly thank you, sir. Cap. God be wi’ you, sir. [Exit. r . Will’t please you go, my lord? ‘Ham.\1’ll be with you straight. Goa little before. [Exeunt ROSENCRANTZ, GUILDENSTERN, cc. How all occasions do inform against me, 32 And spur my dull revenge ! hat is a man, If his chief good, and market of his time, Be but to sleep, and feed ? a beast, no more. Sure, He, that made us with such large discourse, Looking before and after, gave us not That capability and godlike reason To fust in us unus’d. Now, whether it be Bestial oblivion, or some craven scruple 40 Of thinking too precisely on the event,— A thought, which, quarter’d, hath but one part wisdom, And ever three parts coward,—I do not know Why yet I live to say, “This thing’s to do ;” Sith [have cause, and will, and strength, and means, Todo’t. Examples, pros: as earth, exhort me: Witness this army, of such mass and charge, Led by a delicate and tender prince, Whose spirit. with divine ambition puff’d, Makes mouths at the invisible event ; Exposing what is mortal, and unsure, To all that fortune, death, and danger, dare, Even for an egg-shell. Rightly to be great Is not to stir without great argument, But greatly to find quarrel in a straw, When honour’s at the stake. How stand I then, That have a father kill’d, a mother stain’d, Excitements of my reason, and my blood, ‘And let all sleep? while, to my shame, I see The imminent death of twenty thousand men, 60 That, for a fantasy and trick of fame, Go to their graves like beds ; fight for a plot Whereon the numbers cannot try the cause ; Which is not tomb enough, and continent, To hide the slain?~O! from this time forth, My thoughts be bloody, or be nothing worth! [Ezit. Scenr V.—Elsinore. A Room in the Castle. Enter QUEEN and HoRATIO. ween. I will not speak with her. or. She is importunate ; indeed, distract: Her mood will needs be pitied. ueen. What would she have? ‘or. She speaks much of her father; says, she ears, There’s wok i’ the world; and hems, and beats her eart ; Spurns enviously at straws ; speaks things in doubt, at carry but half sense: her speech is nothing, Yet the unshaped use of it doth move | The hearers to collection ; they aim at it, And botch the words up fit to their own thoughts; 10 Which, as her winks, and nods, and gestures yield ’ them, Indeed would make one think, there might be thought, Though nothing sure, yet much unhappily. T were good she were spoken with, for she may strew Dangerous conjectures in ill-breeding minds. Queen, Let her come in. [Exit Horatio. To my sick soul, as sin’s true nature is, . h toy seems prologue to some great amiss : as Re-enter HoRATIO, with OPHELIA. Oph. Where is the beauteous majesty of Denmark ? Queen. How now, Ophelia ? Oph. [Sings.] How should I your true love know ‘om another one? By his cockle hat and staff, And his sandal shoon. Queen. Alas, sweet lady, what imports this song? Oph, Say you? nay, pray you, mark. He is dead and gone, lady, He is dead and gone; 30 At his head a grass-green turf, At his heels a stone. O, ho! Queen. Nay, but, Ophelia,— Oph. Pray you, mark. White his shroud as the mountain snow,— Enter Kine. Queen. Alas! look here, my lord. Oph. Larded with sweet flowers ; Which bewept to the grave did go, With true-love showers. King. How do fon. pretty lady ? 40 Oph. Well, God’ield you! They say, the owl was a baker’s daughter. Lord! we know what we are, but know not what we may be. God be at your table! King. Conceit upon her father. Oph. Pray you, let’s have no words of this; but when they ask you what it means, say you this: To-morrow is Saint Valentine's day, Allin the morning betime, And Ia maid at your window, To be your Valentine: _ Then up he rose, and donn’d his clothes, And dupp’d the chamber door ; Let in the maid, that out a maid Never departed more. King. Pretty Ophelia! Oph. Indeed, la! without an oath, Ill make an end on’t: By Gis, and by Saint Charity, Alack, and fie for shame! Young men will do’t, if they come to’t; 60 By cock, they are to blame. Quoth she, before you tumbled me, You promis’d me to wed: So would I ha’ done, by yonder sun, An thou hadst not come to my bed. King. How long hath she been thus ? Oph. I hope, all will be well. We must be patient: but I cannot choose but weep, to think, they should Jay him i’ the cold ground. y brother shall know of it, and so I thank you for your good counsel. Come, my coach! Good night, ladies; good night, sweet Jadies ; good night, good night. Exi King. Follow her close; give her good watch, I _ pray you. [Exit HoRATIO. O! this is the poison of deep grief ; it springs All from her father’s death. And now, behold, O Gertrude, Gertrude ! When sorrows come, they come not single spies, But in battalions. First, her father slain: Next, your son gone ; and he most violent author Of his own just remove: the people muddied, 80 Thick and unwholesome in their thoughts and whis- pers, For good Polonius’ death; and we have done but greenly, : : In hug; eregEey to inter him: poor Ophelia Divided from herself, and her fair judgment, Without the which we are pictures, or mere beasts: Last, and as much containing as all these, Her brother is in secret come from France, Feeds on his wonder, keeps himself in clouds, And wants not buzzers to infect his ear 620 HAMLET, PRINCE OF DENMARK. fAct Iv, With pestilent speeches of his father’s death ; 99 Wherein necessity, of matter beggar’d, Will nothing stick onr person to arraign In ear and ear. O my dear Gertrude! this, Like to a murdering-piece, in many places Gives me superfluous death. [4 noise within. Queen. Alack! what noise is this? Enter a Gentleman, King. Where are my Switzers? Let them guard the door. What is the matter? Gent. Save yourself, my lord; The ocean, overpeering of his list, Eats not the flats with more impetuous haste, Than young Laertes, in a riotous head, O’erbears your officers. The rabble call him lord ; And, as the world were now but to begin, Antiquity forgot, custom not known, The ratifiers and props of every word, They cry, ‘‘Choose we; Laertes shall be king !” Caps, hands, and tongues, applaud it to the clouds, “Laertes shall be king, Laertes king!” Queen. How cheerfully on the false trail they cry! O! this is counter, you false Danish dogs. King. The doors are broke. [Noise within. Enter LAERTES, armed; Danes following. Laer. Where is this king?—sirs, stand you all without. 111 Dan. No, let’s come in. Laer. Dan, We will, we will. eed retire without the door. Laer. I thank you: keep the door.—O thou vile I pray you, give me leave. ing, Give me my father. Queen. Calmly, good Laertes. Laer. That drop of blood that’s calm proclaims me bastard ; Cries, cuckold, to my father; brands the harlot Even here, between the chaste unsmirched brow Of my true mother. King. What is the cause, Laertes, That thy rebellion looks so giant-like ?— Let him go, Gertrude ; do not fear our person: There’s such divinity doth hedge a king, That treason can but peep to what it would, Acts little of his will.—Tell me, Laertes, Why thou art thus incens’d.—Let him go, Gertrude.— Speak, man. Laer, Where is my father? King. ween. ; Ying. Let him demand his fill. Laer. How came he dead? with. To hell, allegiance ! vows, to the blackest devil ! Conscience, and grace, to the profoundest pit ! I dare damnation. To this point I stand, That both the worlds I give to negligence ; Let come what comes, only I'll be reveng’d Most throughly for my father. King. Who shall stay you? Laer. My will, not.all the world: And, for my means, I’ll husband them so well, They shall go far with little. ad. But not by him. I'll not be juggled 130 ing. Good Laertes, If you desire to know the certainty : Of your dear father’s death, is’t writ in your revenge, That, swoopstake, you will draw both friend and foe, Winner and loser ?% Laer. None but his enemies. King. Will you know them then? Laer. To his good friends thus wide I’ll ope my arms; And, like the kind life-rendering pelican, Repast them with my blood. King. Why, now you speak Like a good child, and a true gentleman. That Iam guiltless of your father’s death, And am most sensibly in grief for it. It shall as level to your judgment pier As day does to your eve. ae Mae Danes. [Within.] Let her come in. Laer. How now! what noise is that? Re-enter OPHELIA. O heat, dry up my brains! tears seven times salt, Burn out the sense and virtue of mine eye !— By Heaven, thy madness shall be paid by weight, Till our scale turn the beam. O rose of May! , Dear maid, kind sister, sweet Ophelia !— O heavens! is’t possible, a young maid's wits Should be as mortal as an old man’s life? Nature is fine in love; and, where ’t is fine, 160 It sends some precious instance of itself After the thing it loves. Oph. They bore him barefac'd on the bier ; Hey non nonny, nonny, hey nonny : And in his grave raind many a tear ;— Fare you well, my dove! Laer, Hadst thou thy wits, and didst persuade revenge, It could not move thus. Oph. You must sing, Down a-down, an you call him a-down-a. QO, how the wheel becomes it! It is the false steward, that stole his master’s daughter. 171 Laer, This nothing ’s more than matter. Oph. There’s rosemary, that’s for remembrance; pray you, love, remember: and there is pansies, that’s for thoughts. Laer. A document in madness; thoughts and re- membrance fitted. Oph, There’s fennel for you, and columbines;— there ’s rue for you; and here’s some for me : we may call it herb-grace o’ Sundays :—O, you must wear your rue with a difference.—There’s a daisy: I would give you some violets; but they withered all when my tather died.—They say, he made a good end,— 183 For bonny sweet Robin is all my joy,— Laer, Thought and affliction, passion, hell itself, She turns to favour, and to prettiness. Oph. And will he not come again? aind will he not come again ? No, no, heis dead: Go to thy death-bed: 190 He never will come again. His beard as white as snow, All flaxen was his poll ; He is gone, he is gone, And we cast away moan: God ha@ mercy on his soul! And of all Christian souls, I pray God. God be wae wxit, Laer. Do you see this? O God! 5 King. Laertes, I must commune with your grief, Or you deny me right. Go but apart, : Make choice of whom your wisest friends you will, And they shall hear and judge ’twixt you and me. If by direct, or by collateral hand : They find us touch’d, we will our kingdom give, Our crown, our life, and all that we call ours, To you in satisfaction ; but if not, Be you content to lend your patience to us, ‘Ane we shall jointly labour with your soul To give it due content. Laer. Let this be so: His means of death, his obscure burial,— 210 No trophy, sword, nor hatchment, o’er his bones, No noble rite, nor formal ostentation,—- Cry to be heard, as t were from heaven to earth, That I must call’t in question. i So you shall; king. And, where the offence is, let the great axe fall. I pray you, go with me. [Ex ScEeNE VI.—Another Room in the Same. Enter HorATIo and a Servant. Hor. What are they, that would speak with me? ea ScENE VI] Serv. Sailors, sir: they say, they have letters for you. Hor. Let them come in.— [Exit Servant. I do not know from what part of the world Ishould be greeted, if not from Lord Hamlet. HAMLET, PRINCE OF DENMARK. 621 king: they have letters for him. Ere we were two days old at sea, a pirete of very warlike appointment gave uschase. Finding ourselves too slow of sail, we put on a compelled valour; in the grapple 1 boarded Enter Sailors. 1 Sail. God bless you, sir. Hor. Let him bless thee too. letter for you, sir: it comes from the ambassador that was bound for England, if your name be Horatio, as iam iet to know it is. 11 Hor. [Reads.} ‘“‘ Horatio, when thou shalt have over- looked this, give these fellows some means to the 1 Sail. He shall, sir, an’t please him. There's a ! Oph. “ There’s fennel for you, and columbines ;—there’s rue for you ; and here’s some for me.” them : on the instant they got clear of our ship, so I alone became their prisoner. They have dealt with me like thieves of mercy; but they knew what they did; I am to do a good turn for them. Let the king have the letters I have sent; and repair thou to me with as much haste as thou wouldst fly death. I have words to speak in thine ear, will make thee dumb; yet are they much too light for the bore of the matter. These good fellows will bring thee where I am. Rosencrantz and Guildenstern hold their course for 622 HAMLET, PRINCE OF DENMARK. {Acr rv, | England : of them I have much to tell thee. Farewell, He that thou knowest thine, HAMLET. Come, I will give you way for these your letters; 30 And do 't the speedier, that you may direct me To him from whom you brought them. [Exeunt. ScENE VII.—Another Room in the Same. Enter Kine and LAERTES. King. Now must your conscience my acquittance seal, And you must put me in your heart for friend, Sith you have heard, and with a knowing ear, That he, which hath your noble father slain, Pursu'd my life. Laer. It well appears: but tell me Why you proceeded not against these feats, So crimeful and so capital in nature, As by your safety, wisdom, all things else, You mainly were stirr’d up. King. O! for two special reasons ; Which may to you, perhaps, seem much unsinew’d, 10 And yet to me they are strong. The queen, his mother, Lives almost by his looks; and for myself, (My virtue, or my plague, be it either which,) She’s so conjunctive to my life and soul, That, as the star moves not but in his sphere, I could not but by her. The other motive, Why to a public count I might not go, Is the great love the general gender bear him ; Who, dipping all his faults in their affection, Would, Eke the spring that turneth wood to stone, 20 Convert his gyves to graces; so that m: Too slightly timber’d for so loud a wind, Would have reverted to my bow again, And not where I had aim’d them. Laer. And so have I a noble father lost; A sister driven into desperate terms; Whose worth, if praises may go back again, Stood challenger on mount of all the age For her perfections. But my revenge will come. King. Break not your sleeps for that ; you must not think, 30 That we are made of stuff so flat and dull, That we can let our beard be shook with danger, And think it pastime. You shortly shall hear more: Tlov'’d your father, and we love ourself ; And that, I hope, will teach you to imagine, — Enter a Messenger. How now! what news? Mess. Letters, my lord, from Hamlet. This to your majesty : this to the queen. King. From Hamlet! who brought them? Mess. Sailors, my lord, they say; I saw them not: They were given me by Claudio, he receiv’d them 40 Of him that brought them. King. Laertes, you shall hear them.— Leave us. Exit Messenger. [Reads.] ‘‘High and mighty, you shall know, I am set naked on your kingdom. ‘To-morrow shall I beg leave to see your kingly eyes; when I shall, first asking your pardon thereunto, recount the occasions of my sudden and more strange return. HaMLET.” What should this mean? Are all the rest come back? Or is it some abuse, and no such thing? Laer. Know you the hand? King. ’T is Hamlet’s character. ‘Naked. And, in a postscript. here, he says, ‘‘ alone.” Can you advise me? Laer. I’m lost in it, my lord. But let him come: . It warms the very sickness in my heart, That I shall live and tell him to his teeth, “Thus diddest thou.” King. If it be so, Laertes, (As how should it be so? how otherwise?) Will you be ruled by me? Laer. Ay, my lord ; So you will not o’er-rule me to a peace. King. To thine own peace. If he be now return’d,— arrows, "61 As checking at his voyage, and that he means 61 No more to undertake it,—I will work him To an exploit, now ripe in my device, Under the which he shall not choose but fall; And for his death no wind of blame shall breathe, But even his mother shall uncharge the practice, And call it accident. Laer. 7 My lord, I will be rul’d; The rather, if you could devise it so, That I might be the organ, i It falls right. King. * You have been talk’d of since your travel much, 70 And that in Hamlet’s hearing, for a quality Wherein, ee say, you shine: your sum of parts Did not together pluck such envy from him, As did that one; and that, in my regard, Of the unworthiest siege. Laer. What part is that, my lord? King. A very riband in the cap of youth, Yet needful too; for youth no less becomes The light and careless livery that it wears, Than settled age his sables, and his weeds, Importing health and graveness.—Two months since, Here was a gentleman of Normandy :— I have seen myself, and serv’d against, the French, And they can well on horseback ; but this gallant Had witchcraft in ’t; he grew unto his seat; And to such wondrous doing brought his horse, As he had been incorps’d and demi-natur’d With the brave beast: so far he tonpid my thought, That I, in forgery of shapes and tricks, Come short of what he did. Laer. King. A Norman. Laer. Upon my life, Lamord. King. | _ _ The very same. Laer. I know him well: he is the brooch, indeed, And gem of all the nation. King. He made confession of you; And gave you such a masterly report, For art and exercise in your defence, And for your rapier most especially, That he cried out, ’t would be a sight indeed, If one could match you: the scrimers of their nation, He swore, had neither motion, guard, nor eye, 100 If you popes @ them. Sir, this report of his Did Hamlet so envenom with his envy, That he could nothing do, but wish and beg Your sudden coming o’er, to play with him. Now, out of this, — Laer. What out of this, my lord? King. Laertes, was your father dear to you? Or are you like the painting of a sorrow, A face without a heart? Laer. Why ask you this? King. Not that I think you did not love your father; But that I know love is begun by time; 110 And that I see, in passages of proof, Time qualifies the spark and fire of it. There lives within the very flame of love A kind of wick, or snuff, that will abate it ; And nothing is at a like goodness still ; For goodness, growing to a plurisy, Dies in his own too-much. That we would do, e We should do when we would; for this “ would changes, And hath abatements and delays as many, As there are tongues, are hands, are accidents, 120 ‘And then this “should” is like a spendthrift sigh, That hurts by easing. But, to the quick o’ the ulcer: Hamlet comes back: what would you undertake, To show yourself your father’s son in deed, More than in words? Laer. To cut his throat i’ the chureh. King. No place, indeed, should murder sanctuarise; Revenge should have no bounds. But, good Laertes, Will you do this, keep close within your chamber. Hamlet, return’d, shall know you are come home: We'll put on those shall praise your excellence, 130 And set a double varnish on the fame The Frenchman gave you; bring you, in fine, together, And wager on your heads: he, being remiss, A Norman, was’t? ScENE VII] HAMLET, PRINCE OF DENMARK. 623 Most generous, and free from all contriving, Will not peruse the foils ; so that with ease, Or with a little shufHing, you may choose A sword unbated, and, in a pass of practice, Requite him for your father. | With this contagion, that, if I gall him slight] It may be death. = poe ing. Let’s further think of this; Weigh, what convenience, both of time and means, May fit us to our shape. If this should fail, OPHELIA ON THE WILLOW. Laer. I will do’t; And, for that purpose, I’ll anoint my.sword. I bought an unction of a mountebank, So mortal, that but dip a knife in it, ere it draws blood, no cataplasm so rare, Collected from all simples that have virtue Under the moon, can save the thing from death, 140 That is but scrateh’d withal : I’ll touch my point And that our drift look through our bad performance, *T were better not assay’d: therefore, this project 151 Should have a back, or second, that might hold, If this should blast in proof. Soft !—let me see :— ae ‘11 make a solemn wager on your cunnings,— at: When in your motion you are hot and dry, (As make your bouts more violent to that end,) HAMLET, PRINCE OF DENMARK. [Act Vv, And that he calls for drink, I’ll have prepar’d him A chalice for the nonce ; whereon but sipping, If he by chance feat your venom’d stuck, | Our purpose may hold there. But stay! what noise? Enter QUEEN. How now, sweet queen ? Queen, One woe doth tread upon another’s heel, So fast they follow.—Your sister’s drown'd, Laertes. Laer. Drown’d !—O, where? Queen. There is a willow grows aslant a brook, That shows his hoar leaves in the glassy stream ; There with fantastic garlands did she come, Of crow-flowers, nettles, daisies, and long purples, That liberal shepherds give a grosser name, 1 But our cold maids do dead men’s fingers call them : There, on the pendant boughs her coronet weeds Clambering to hang, an envious sliver broke, When down her weedy trophies, and herself, Fell in ae weeping brook. Her clothes spread wide, And, mermaid-like, awhile ee bore her up: Which time, she chanted snatches of old tunes, As one incapable of her own distress, Or like a creature native and indu’d Unto that element: but long it could not be, Till that her garments, heavy with their drink, Pulld the poor wretch from her melodious lay To muddy death. Laer. Alas! then, is she drown’d ? ueen. Drown’d, drown’d. aer, Too much of water hast thou, poor Ophelia, And therefore I forbid my tears: but yet It is our trick ; nature her custom holds, Let shame say what it will: when these are gone, The woman will be out.—Adieu, my lord! Ihave a speech of fire, that fain would blaze, But that this folly douts it. cit, King. Let’s follow, Gertrude. How much I had to do to calm his rage! Now fear I, this will give it start again ; | Therefore, let’s follow. 180 190 Hxeunt, ACT V. ScENE I.—A Churchyard. Enter two Clowns, with spades and mattocks. Rats tt 1 Clown. LS %S she to be buried in Christian burial, that wilfully seeks her own salvation ? 2 Clo. I tell thee, she is; and therefore make her grave straight : the crowner hath sat on her, and finds it Christian burial. 1 Clo. How can that be, unless she drowned herself in her own defence ? 2 Clo. Why, ’tis found so. 8 1 Clo. It must be se offendendo ; it cannot be else. For here lies the point: if I drown myself wittingly, it argues an act, and an act hath three branches; it is, to act, to do, and to perform: argal, she drowned herself wittingly. 2 Clo. Nay, but hear you, goodman delver.— 1 Clo. Give me leave. Here lies the water; good: here stands the man; good: if the man go to this water, and drown himself, it is, will he, nill he, he goes; mark you that: but if the water come to him, and drown him, he drowns not himself: argal, he that is not guilty of his own death shortens not his own life. 21 2 Clo. But is this law ? 1 Clo. Ay, marry, is't, crowner’s quest-law. 2 Clo. Will you ha’ the truth on’t? If this had not been a gentlewoman, she should have been buried out of Christian burial. 1 Clo. ee there thou say’st; and the more pity, that great folk shall have countenance in this world to drown or hang themselves, more than their even- Christian. Come, my spade. There is no ancient gentlemen but gardeners, ditchers, and grave-makers; they hold up Adam’s profession. 32 2 Clo. Was he a gentleman? 1 Clo. He was the first that ever bore arms. 2 Clo. Why, he had none. 1 Clo. What, art a heathen? How dost thou under- stand the Scripture? The Scripture says, Adam digged : could he dig without arms? I’ll put another question to thee: if thou answerest me not to the purpose, confess thyself— 40 2 Clo. Go to. 1 Clo. What is he, that builds stronger than cither the mason, the shipwright, or the carpenter? 2 Clo. The gallows-maker ; for that frame outlives a thousand tenants. 1 Clo. I like thy wit well, in good faith : the gallows does well ; but how does it well? it does well to those that do ill: now, thou dost ill to say the gallows is built stronger than the church: argal, the gallows may do well to thee. To’t again; come. 50 2 Clo. Who builds stronger than a mason, a ship- wright, or a carpenter ? 1 Clo. Ay, tell me that, and unyoke. 2 Clo. Marry, now I can tell. 1 Clo. To't. 2 Clo. Mass, I cannot tell. Enter HAMLET and Horatio, at a distance. 1 Clo. Cudgel thy brains no more about it, for your dull ass will not mend his pace with beating; and, when you are asked this question next, say, a grave- maker: the houses that he makes last till doomsday. Go, get thee to Yaughan ; fetch me a stoop of He Oke [Exit 2 Clown. 1 Clown digs, and sings. In youth, when I did love, did love, Methought it was very sweet, To contract, O! the time, for-a ! my behove, O, methought, there was nothing-a meet. Ham. Hath this fellow no feeling of his business, that he sings at grave-making ? Hor. Custom hath made it in him a property of easiness, Ham. ’Tis e’en so: the hand of little employment hath the daintier sense. 7 1Clo. But age, with his stealing sieee, Hath claw'd me in his clutch, And hath shipped me intil the land. As tf Thad never been such. [Throws up a skull. ee ScENE I.] HAMLET, PRINCE OF DENMARK. 625 Ham, That skull had a tongue in it, and could sing once : how the knave jowls it to the ground, as if it were Cain’s jaw-bone, that did the first murder! This might be the pate of a politician, which this ass now par orioes, one that would circumvent God, might it not. 81 Hor. It might, my lord. Ham. Or of a courtier, which could say, ‘Good morrow, sweet lord! How dost thou, good lord?” This might be my Lord Such-a-one, that praised my Lord Such-a-one’s horse, when he meant to beg 1 Clo. Why, because he was mad: he shall recover his wits there; or, if he do not, ‘tis no great matter there. Ham. Why? 1 Clo. ’T will not be seen in him there; there the men are as mad as he. 161 Ham. How came he mad? 1 Clo. Very strangely, they say. Ham. How strangely ? ; 1 Clo, ’Faith, e’en with losing his wits. it, might it not? Hor. Ay, my lord. 8s Ham. Why, een so, and now my Lady Worm’s; chapless, and knocked about the mazzard with a sexton’s spade. Here’s fine revolution, an we had the trick to see’t. Did these bones cost no more the breeding, but to play at loggats with ’em? mine ache to think on ’t, 1Clo. A pick-axe, and a spade, a spade, For and a shrouding sheet : O! a pit of clay for to be made For such a guest is meet. 99 Throws up another skull. Ham. There’s another: why may not that be the skull of a lawyer? Where be his quiddits now, his quillets, his cases, his tenures, and his tricks ? why does he suffer this rude knave now to knock him about the sconce with a dirty shovel, and_will not tell him of his action of battery? Humph! This fellow might be in’s time a great buyer of land, with his statutes, his recognisances, his fines, his double vouchers, his recoveries : is this the fine of his fines, and the recovery of his recoveries, to have his fine ate full of fine dirt? will his vouchers vouch im no more of his purchases, and double ones too, than the length and breadth of a pair of indentures? The very conveyances of his lands | will hardly lie in this box, and must the inheritor himself have no more? ha? Hor. Not a jot more, my lord. Ham. Is not parchment made of sheep-skins? Hor. Ay, my lord, and of calf-skins too. Ham. They are Se and calves, which seek out assurance in that. I will speak to this fellow.—Whose grave’s this, sir? 122 1 Clo. Mine, sir.— O! a pit of clay for to be made for such a guest is meet. Ham. I think it be thine, indeed ; for thou liest in’t. 1 Clo. You lie out on’t, sir, and therefore it is not yours; for my part, I do not lie in’t, and yet it is mine. Ham. Thou dost lie in’t, to be in’t, and say it is thine: ’tis for the dead, not for the quick; therefore, thou liest. 2 1 Clo. ’Tis a quick lie, sir; *t will away again, from me to you. Ham. What man dost thou dig it for? 1 Clo. For no man, sir. Ham. What woman, then? 1 Clo. For none, neither. Ham. Who is to be buried in ’t? 1Clo. One, that was a woman, sir; but, rest her soul, she’s dead. 11 Ham. How absolute the knave is! we must speak by the card, or equivocation will undo us. By the Lord, Horatio, this three years I have taken note of it; the age is grown so picked, that the toe of the peasant comes so near the heel of the courtier, he galls his kibe.—How long hast thou been a grave- maker ? 1 Clo. Of all the days i’ the year, I came to’t that day that our last King Hamlet o’ercame Fortinbras. lam. How long is that since? 151 1 Clo. Cannot ou tell that? every fool can tell that. It was the very day that young Hamlet was born ; he that is mad, and sent into England. Ham, Ay, marry ; why was he sent into England? Pe Ham. “ Alas, poor Yorick !” Ham. Upon what ground? 1 Clo. Why, here in Denmark: I have been sexton here, man, and boy, thirty years. Ham. How long will a man lie i’ the earth ere he 170 rot? 1 Clo. ’Faith, if he be not rotten before he die, (as we have many pocky corses now-a-days, that will scarce hold the laying in,) he will last you some eight year, or nine year: a tanner will last you nine year. Ham. Why he more than another? 1 Clo. Why, sir, his hide is so tanned with his trade, that he will keep out water a great while; and your water is a sore decayer of your whoreson dead body. Here’s a skull now; this skull hath lain i’ the earth three-and-twenty years. Ham. Whose was it? 1 Clo. A whoreson mad fellow’s it was: whose do you think it was? Ham. Nay, I know not. 1 Clo. A pestilence on him for a mad rogue! ’a poured a flagon of Rhenish on my head once. This same skull, sir, this same skull, sir, was Yorick’s skull, the king’s jester. Ham. This? 1 Clo. E’en that. 190 Ham. Let me see. [Takes the skull.] Alas, poor Yorick !—I knew him, Horatio: a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times; and now, how abhorred my imagination is! my gorge rises at it. Here hung those lips, that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on aroar? Not one now, to mock your own grinning? quite chap-fallen? Now, get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that.—Pr’ythee, Horatio, tell me one thing. 203 Hor. What’s that, my lord? Ham. Dost thou think, Alexander looked o’ this fashion 7 the earth? Hor. E’en so. 40 626 HAMLET, PRINCE OF DENMARK. [Act Vv, Ham. And smelt so? pah! [Puts down the skull. Hor. K’en so, my lord. | Ham. To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander, till he find it stopping’a bung-hole? 212 Hor. ’! were to consider too curiously, to con- sider so. : Ham. No, faith, not a jot; but to follow him thither with modesty enough, and likelihood to lead it: as thus: Alexander died, Alexander was buried, Alexan- der returneth into dust; the dust is earth; of earth we make loam; and why of that loam, whereto he was converted, might they not stop a beer-barrel? 220 Imperious Cesar, dead, and turn’d to clay, Might stop a hole to keep the wind away : O! that that earth, which kept the world in awe, Should patch a wall to expel the winter's flaw! But soft! but soft! aside :—here comes the king, Enter Priests, &c., in procession; the Corse of OPHELIA, LAERTES and Mourners following ; KING, QUEEN, their Trains, dc. The queen, the courtiers. Who is that they follow, And with such maimed rites?) This doth betoken, The corse they follow did with desperate hand Fordo its own life; ’t was of some estate. Couch we awhile, and mark. 230 [Retiring with HORATIO. Laer. What ceremony else? lam. That is Laertes, A very noble youth: mark. Lacr. What ceremony else? Priest. Her obsequies have been as far enlarg’d As we have warrantise: her death was doubtful ; And, but that great command o’ersways the order, She should in ground unsanctified have lody’d, Till the last Lecmpet ; for charitable prayers, Shards, flints, and pebbles, should be thrown on her; Yet here she is allow’d her virgin crants, 240 Her maiden strewments, and the bringing home Of bell and burial. Laer. Must there no more be done ? Priest. No more be done: We should profane the service of the dead, To sing a requiem, and such rest to her, As to peace-parted souls. Laer, Lay her i’ the earth; And from her fair and unpolluted flesh May violets spring !—I tell thee, churlish priest, A ministering angel shall my sister be, When thou liest howling. Ham. What! the fair Ophelia ? 250 Queen. Sweets to the sweet: farewell. [Scattering flowers. IT hop’d thou shouldst have been my Hamlet’s wife : I thought thy bride-bed to have deck’d, sweet maid, And not bave strew'd thy grave. Laer. O! treble woe Fall ten times treble on that cursed head, Whose wicked deed thy most ingenious sense Depriv’d thee of !~ Hold off the earth awhile, Till I have caught her once more in mine arms. [Leaping into the grave. Now pile your dust upon the quick and dead, Till of this flat a mountain you have made, 260 To o'er-top old Pelion, or the skyish head Of blue Olympus. Ham, (Advancing.] What is he, whose grief Bears such an emphasis? whose phrase of sorrow Conjures the wandering stars, and makes them stand, Like wonder-wounded hearers? This is I, Hamlet the Dane. [Leaping into the grave. Laer, The devil take thy soul! (Grappling with him. Ham. Thou pray'st not well. I pr’ythee, take thy fingers from my throat; For though I am not splenitive and rash, Yet have I something in me dangerous, Which let thy wiseness fear. Away thy hand! King. Pluck them asunder. Queen. All. Gentlemen,— 270 Hamlet! Hamlet ! Hor. Good my lord, be quiet. [The Attendants part them, and they come out of the grave. Ham. Why, I will fight with him upon this theme, Until my eyelids will no longer wag. Queen. _O my son! what theme? Ham. J lov’d Ophelia: forty thousand brothers Could not, with all their quantity of love, Make up my sum.—What wilt thou do for her? 280 King. O! he is mad, Laertes. ee For love of God, forbear him. am. ’Swounds! show me what thou lt do: Woo't ween? woo't fight? woo't fast? woo't tear thy- self? Woo't drink up Esill? eat a crocodile? I'll do ’t.—Dost thou come here to whine? To outface me with leaping in her grave? Be buried quick with her, and so willl: And, if thou prate of mountains, let them throw Millions of acres on us, till our ground, Singeing his pate against the burning zone, Make Ossa like a wart! Nay, an thou ’lt mouth, I'll rant as well as thou. Queen. . This is mere madness : And thus awhile the fit will work on him; Anon, as patient as the female dove, When that her golden couplet are disclos’d, His silence will sit drooping. Ham. Hear you, sir: What is the reason that you use me thus? I lov’d you ever: but it is no matter ; Let Hercules himself do what he may, 300 The cat will mew, and dog will have his day. [Exit King. I pray you, good Horatio, wait upon him.— {Exit Horatio, [To LaERTEs.] Strengthen your patience in our last Diente speech ; We ’ll put the matter to the present push.— Good Gertrude, set some watch over your son. This grave shall have a living monument: An hour of quiet shortly shall we see ; Till then, in patience our proceeding be. [Ezeunt. ScENE II.—A Hall in the Castle. Enter HAMLET and Horatio. Ham. So much for this, sir: now let me see the other ;— You do remember all the circumstance ? Hor. Remember it, my lord! . Ham. Sir, in my heart there was a kind of fighting, That would not let me sleep : methought, I lay Worse than the mutines in the bilboes. Rashly,— And prais’d be rashness for it,—let us know, Our indiscretion sometimes serves us well, When our dear plots do pall; and that should teach us, There’s a divinity that shapes our ends, 10 Rough-hew them how we will,— : or. That is most certain. Ham. Up from my cabin, My sea-gown scarf’d about me, in the dark Grop’d I to find out them ; had my desire ; Finger’d their packet ; and, in fine, withdrew To mine own room again: making so bold, My fears forgetting manners, to unseal 2 Their grand commission ; where I found, Horatio, O royal knavery ! an exact command,— . Larded with many several sorts of reasons, 20 Importing Denmark's health, and England's too, With, ho! such bugs and goblins in my life,— That, on the supervise, no leisure bated, No, not to stay the grinding of the axe, My head should be struck off. . Tor. Is't possible? Ham. Here’s the commission: read it at more leisure. But wilt thou hear me how I did proceed? Hor. Ay *beseech you. hatha Ham. Being thus benetted round with villainies,— ScENE II.] HAMLET, PRINCE OF DENMARK. 627 Ere I could make a prologue to my brains, 30 They had begun the play,—_I sat me down, - Devis’d a new commission ; wrote it fair : T once did hoid it, as our statists do, A baseness to write fair, and labour’d much How to forget that learning; but, sir, now It did me yeoman’s service. Wilt thou know The effect of what I wrote ? Hor. Ay, good my lord. Ham. An earnest conjuration from the king,— As England was his faithful tributary, As love between them as the palm should flourish, 40 AS pees should still her wheaten garland wear, And stand a comma ’tween their amities, And many such-like as’s of great charge,— That, on the view and know of these contents, Without debatement further, more or less, He should the bearers put to sudden death, Not shriving-time allow’d. Hor. How was this seal’d? Ham. Why even in that was Heaven ordinant. I had my father’s signet in my purse, Which was the model of that Danish seal ; 50 Folded the writ up in form of the other ; Subscrib’d it; gave ’t the impression ; plac’d it safely, The changeling never known. Now, the next day Was our sea-fight ; and what to this was sequent Thou know’st already. Hor. So Guildenstern and Rosencrantz go to 't. Ham. Why, man, they did make love to this employment: They are not near my conscience: their defeat Does by their own insinuation grow. *T is dangerous, when the baser nature comes 60 Between the pass and fell-incensed points Of mighty opposites. Hor. Why, what a king is this! Ham. Does it not, thinks’t thee, stand me now upon — He that hath kill’d my king, and whor’d my mother ; Popp'd in between the election and my hopes ; Thrown out his angle for my proper life, And with such cozenage—is ’t not perfect conscience, To guit him with this arm? and is ’t not to be damn’d. To let this canker of our nature come In further evil? 70 Hor. Ty must be shortly known to him from Eng- and, What is the issue of the business there. Ham. It will be short : the interim is mine; And a man’s life no more than to say, one. But Iam very sorry, good Horatio, That to Laertes I forgot myself ; For, by the image of my cause, I see The portraiture of his: I’]l court his favours: But, sure, the bravery of his grief did put me Into a towering passion. or. Peace! who comes here? 80 Enter OSRICK. Osr. Your lordship is right welcome back to Den- mark. Ham. I humbly thank you, sir.—Dost know this water-fly ? Hor. No, my good lord. . Ham. Thy state is the more gracious; for ‘tis a vice to know him. He hath much land, and fertile: let a beast be lord of beasts, and his crib shall stand at the king’s mess: ‘tis a chough; but, as I say, spacious in the possession of dirt. 90 Osr. Sweet lord, if your lordship were at leisure, I should impart a thing to you from his majesty. Ham._I will receive it, sir, with all diligence of spirit, Your bonnet to his right use; ‘tis for the ea Osr. I thank your lordship, ’t is very hot. . 7 Ham. No, believe me, ’tis very cold; the wind is northerly. Osr. It is indifferent cold, my lord, indeed. Ham. But yet, methinks, it is very sultry and hot, for my complexion. ha 101 sr. Exceedingly, my lord; it is very sultry,—as nr a ee ‘t were,—I cannot tell how.—But, my lord, his majesty bade me signify to you, that he has laid a great wager on your head. Sir, this is the matter,— Ham. I beseech you, remember— (HAMLET moves him to put on his hat. Osr. Nay, in good faith; for mine ease, in good faith. Sir, here is newly come to court, Laertes; believe me, an absolute gentleman, full of most excel- lent differences, of very soft society, and great show- ing: indeed, to speak feelingly of him, he is the card or calendar of gentry, for you shall find in him the continent of what part a gentleman would sec. 113 Ham. Sir, his definement sutfers no perdition in you; though, I know, to divide him inventorially, would dizzy the arithmetic of Tae and it but yaw neither, in respect of his quick sale. But, in the verity of extolment, I take him to be a soul of great article ; and his infusion of such dearth and rareness, as, to make true diction of him, his semblable is his mirror; and who else would trace him, his umbrage, nothing more. 122 Osr. Your lordship speaks most infallibly of him. Ham. The concernancy, sir? why do we wrap the gentleman in our more rawer breath? Osr. Sir? Hor. 1s't not possible to understand in another tongue? You will do't, sir, really. - Ham. What imports the nomination of this gentle- man? 130 Osr. Of Laertes? Hor. His purse is empty already; all’s golden word: are spent. Ham. Of him, sir. Osr. I know, you are not ignorant— Ham. I would, you did, sir; yet, in faith, if you did, it would not much approve me.—Well, sir. Osr. You are not ignorant of what excellence Laertes is— 139 Ham. I dare not confess that, lest Ishould compare with him in excellence; but, to know a man well, were to know himself. Osr, I mean, sir, for his weapon; but in the im- putation laid on him by them, in his meed he’s un- tellowed. Ham. What’s his weapon? Osr. Rapier and dagger. Ham, That’s two of his weapons: but, well. 148 Osr. The king, sir, hath wagered with him six Bar- bary horses: against the which he has imponed, as I take it, six French rapiers and poniards, with their assigns, as girdle, hangers, and so. Three of the car- riages, in faith, are very dear to fancy, very responsive tothe hilts, most delicate carriages, and of very liberal conceit. Ham. What call you the carriages? Hor. I knew, you must be edified by the margent ere you had done. Osr. The carriages, sir, are the hangers. 159 Ham. The phrase would be more german to the matter, if we could carry cannon by our sides: I would it might be hangers till then. But, on: six Barbary horses sane six French swords, their assigns, and three Jiberal-conceited carriages; that’s the French bet against the Danish. Why is this imponed, as you call it? Osr. The king, sir, hath laid, sir, that in a dozen passes between yourself and him, he shall not exceed you three hits: he hath laid on twelve for nine; and that would come to immediate trial, if your lordship would vouchsafe the answer. 171 Ham. How, if I answer no? ; Oa mean, my lord, the opposition of your person in trial. Ham. Sir, I will walk here in the hall: if it please his majesty, it is the breathing time of day with me; let the foils be brought, the gentleman willing, and the king hold his purpose, I will win for him, if I can; i not, I will gain nothing but my shame, and the odd its. Osr. Shall I re-deliver you e’en so? Ham. To this effect, sir; after what flourish your nature will. 628 Osr. Icommend my duty to your lordship. Ham. Yours, yours. (Exit Osrick.]—He does well to commend it himself; there are no tongues else for’s turn. Hor. This lapwing runs away with the shell on his head. 189 Ham. He did comply with his dug before he sucked it. Thus has he (and many more of the same bevy, that, I know, the drossy age dotes on) only got the tune of the time, and outward habit of encounter, a kind of yesty collection, which carries them through and through the most fond and winnowed opinions: and do but blow them HAMLET, PRINCE OF DENMARK. [Act V. Till by some elder masters, of known honour, I have z voice and precedent of peace, To keep my name ungor’d. But till that time, I do receive your offer'd love like love, And will not wrong it. I embrace it freely ; Ham. And will this brother’s wager frankly play.— Give us the foils.—Come on. 260 Laer, , Come, one for me. Ham. 111 be your foil, Laertes: in mine ignorance, to their trial, the bubbles are out. Enter a Lord, Lord. My lord, his majesty commended him to you by young Osrick, who brings back to him, that you attend him inthe hall: he sends to know, if your pleasure hold to pee with Laertes, or that you will take onger time. 203 Ham. Jam constant to my purposes; they follow the king's pleasure: if his fitness speaks, mine is ready; now, or whensoever, provided I be so able as now. Lord. The king, «nd queen, and all are coming down. Ham. In happy time. 210 Lord. The queen desires you to use some gentle entertainment to Lacrtes, before you fall to play. Ham. She wellinstructs me. [Hit Lord. Hor. You will lose this wager, my lord. Ham. I do not think so: since he went into France, I have been in continual practice ; I shall win at the odds. Thou wouldst not think, how ill all’s here about my heart; but it is no matter. 2: Hor. Nay, good my lord,— Ham. It is but foolery; but it is such a kind of gain-giving, as would, perhaps, trouble a woman. Hor. If your mind dislike anything, obey it: I will forestall their repair hither, and say, you are not fit. Ham. Not a whit, we defy augury: there is a special providence in the fall of a sparrow. If it be now, ’tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is’t to leave betimes? Let be. 232 Enter KING, QUEEN, LAERTES, Lords, OSRICK, and Attendants with foils, dc. Come, Hamlet, come, and take this hand from me. [The Ki1nG puts the hand of LAERTES into that of HAMLET. Give me your pardon, sir: I’ve done you wrong 3 But pardon ’t, as you are a gentleman. This presence knows, And you must needs have heard, how I am punish’d With sore distraction. What I have done, That might your nature, honour, and exception, Roughly awake, I here proclaim was madness. Was't Hamlet wrong’d Laertes?) Never Hamlet: If Hamlet from himself be ta’en away, And, when he’s not himself, does wrong Laertes, Then Hamlet does it not; Hamlet denies it. Who does it then? His madness. If't be so, Hamlet is of the faction that is wrong’d; His madness is poor Hamlet’s enemy. Sir, in this audience, Let my disclaiming from a purpos’d evil Free me so far in your most generous thoughts, That I have shot mine arrow o’er the house, And hurt my brother. Laer. IT am satisfied in nature, Whose motive, in this case, should stir me most To my revenge: but.in my terms of honour, I stand aloof, and will no reconcilement, King. Ham. 240 250 King. “Stay; give me drink. Hamlet, this pearl is thine; Here's to thy health.” Your skill shall, like a star i’ the darkest night, Stick fiery off indeed. Laer. ‘You mock me, sir. Ham. No, by this hand. . King. Give them the foils, young Osrick.—Cousin Hamlet, You know the wager? Ham. Very well, my lord; Your grace hath laid the odds o’ the weaker side. King. Ido not fear it: I have seen you both; But since he’s better'd, we have therefore odds. Laer. This is too heavy ; let me see another. Ham. This likes me well. These foils have all a length ? [They prepare to play. Osr. Ay, my good lord. King. Set me the stoops of wine upon that table.— If Hamlet give the first or second hit, Or quit in answer of the third exchange, Let all the battlements their ordnance fire ; The king shall drink to Hamlet's better breath: And in the cup an union shall he throw, — Richer than that which four successive kings In Denmark’s crown have worn. Give me the cups; And let the kettle to the trumpet speak, The trumpet to the cannoneer without, The cannons to the heavens, the heavens to earth, “Now the king drinks to Hamlet!”—Come, begin ;— And you, the judges, bear a wary eye. Ham. Come on, sir. 270 Laer. Come, my lord. [They play. Ham. One. Laer. No, Ham. Judgment. Osr. A hit, a very palpable hit. “ Laer. Well :—again. King. Stay; give me drink. Hamlet, this pearl + thine ; Here’s to thy health.—Give him the cup, [Trumpets sound; and cannon shot off within. ScENE IL.] HAMLET, PRINCE OF DENMARK. 629 Ham. I'll play this bout first : set it by awhile. Come.—_[They play.] Another hit; what say you? Laer. A touch, a touch, I do confess. King. Our son shall win. Qucen. He’s fat, and scant of breath.— Here, Hamlet, take my napkin, rub thy brows: The queen carouses to thy Posten, Hamlet. Ham. Good madam ! King. 3 Gertrude, do not drink. Qucen. I will, my lord: I pray you, pardon me. 299 King. [Aside.] It is the poison’d cup! it is too late. Ham. I dare not drink yet, madam ; by-and-by, Qucen. Come, let me wipe thy face. Laer. My lord, I'll hit him now. King. : cope T do not think it. Laer, [Aside.]) And yet it is almost against my conscience. Ham. Come, for the third, Laertes. You but dally : I pray fon pass with your best violence. Iam afeard, you make a wanton of me. Laer. Say you so? come on. Osr. Nothing, neither way. Lacr. Have at you now. (LAERTES wounds HAMLET; then, in scuffling, they change rapiers, and HAMLET wounds LAERTES. [They play. 309 King. Part them ! they are incens’d. Ham. Nay, come again. [The QUEEN falls. Osr. Look to the queen there.—Ho ! Hor. They bleed on both sides.—How is it, my lord? Osr. How is’t, Laertes? Laer. Why, as a woodcock to mine own springe, Osrick ; Iam justly kill’d with mine own treachery. Ham. How does the queen ? King. She swoonds to see them bleed. Queen. No, no, the drink, the drink,—O my dear Hamlet ! The drink, the drink : I am poison’d. [Dies. Ham. O villainy !—Ho! let the door be lock’d: Treachery ! seek it out. [LAERTES falls. Laer. It is here, Hamlet. Hamlet, thou art slain; No medicine in the world can do thee good ; 322, In thee there is not half an hour of life ; The treacherous instrument is in thy hand, Unbated and envenom'd. The foul practice Hath turn’d itself on me: lo! here I lie, Never to rise again. Thy mother’s poison’d. Icannomore. The king, the king’s to blame. Ham. The point—envenom’d too! Then, venom, to thy work. [Stabs the KING. All. Treason! treason ! : 331 King. O! yet defend me, friends, I am but hurt. Ham. Here, thou incestuous, murderous, damned Dane, Drink off this potion :—is thy union here? Follow my mother. Laer, He is justly serv’d ; It is a poison temper’d by himself.— Exchange forgiveness with me, noble Hamlet ; Mine and my father’s death come not upon thee, Nor thine on me! Ham. Heaven make thee free of it! Iam dead, Horatio.—Wretched queen, adieu !— You that look pale and tremble at this chance, That are but mutes or audience to this act, Had I but time, (as this fell sergeant, death, Is strict in his arrest,) O! I could tell you,— But let it be.—Horatio, I am dead ; : Thou liv’st: report me and my cause aright To the unsatistied. or. Never believe it: Iam more an antique Roman than a Dane: Here’s yet some liquor left. Ham. [Kine dies. Dies. I follow thee. 341 As thou rt a man, Give me the cup: let go; by Heaven, I’l] have it.-- O good Horatio, what a wounded name, Things standing thus unknown, shall live behind me! If thou didst ever hold me in thy heart, Absent thee from felicity awhile, And inthis harsh world draw thy breath in pain, To tell my story. Wee afar off, and shot within. hat warlike noise is this? Osr. Young Fortinbras, with conquest come from Poland. To the ambassadors of England gives This warlike volley. am. O! I die, Horatio ; The potent poison quite o’er-crows my spirit: I cannot live to hear the news from England ; But I do prophesy the election lights On Fortinbras: he has my dying voice; So tell him, with the occurrents, more and less, Which have solicited.—The rest is silence. [Dies. Hor. Now cracks a noble heart.—Good night, sweet prince ; And flights of angels sing thee to thy rest !— Why does the drum come hither ? [March within. Fintcr FORTINBRAS, the Fengtish Ambassadors, and others. For. Where is this sight ? 360 Hor, What is it ye would see? If aught of woe, or wonder, cease your search. 371 For. This quarry cries on havock.—O proud death ! What feast is toward in chine eternal coll. That thou so many princes at a shot So bloodily hast struck ? 1 Amb. The sight is dismal, And our affairs from England come too late: The ears are senseless that should give us hearing, To tell him his commandment is fulfill’a, That Rosencrantz and Guildenstern are dead. Where should we have our thanks? Hor. Not from his mouth, Had it the ability of life to thank you: 381 He never gave commandment for their death. But since, so jump upon this bloody question, You from the Polack wars, and you from England, Are here arriv’d, give order that these bodies High on a stage be placed to the view; And let me speak to the yet unknowing world, How these things came about: so shall you hear Of carnal, bloody, and unnatural acts, Of accidental judgments, casual slaughters, Of deaths put on by cunning, and forc’d cause, And, in this upshot, purposes mistook Fall’n on the inventors’ heads: all this can I Truly deliver. 390 For. Let us haste to hear it, And call the noblest to the audience. For me, with sorrow I embrace my fortune: I have some rights of memory in this kingdom, Which now to claim my vantage doth invite me. Hor. Of that I shall have also cause te speak, And from his mouth whose voice will draw on more: But let this same be presently perform’d, 401 Even while men’s minds are wild, lest more mischance, On ats and errors, happen. or. Let four captains Bear Hamlet, like a soldier, to the stage ; For he was likely, had he been put on, To have prov’d most royally: and for his passage, The soldiers’ music, and the rites of war, Speak loudly for him. Take up the bodies:—such a sight as this Becomes the field, but here shows much amiss. _ 110 Go, bid the soldiers shoot. [Exeunt, bearing off the bodies ; after which, a peal of ordnance is shot off. JULIUS CASAR. DRAMATIS PERSON. FLAVIUS and MARULLUS, Tribunes. ARTEMIDORUS, a@ Sophist of Cnidos. JULIUS Czsar. Cee A ee ) Triumrirs after the death of ; BN TONIUB: Julius Cesar M. AeMIL. Lepivus’ ) F CICERO, PUBLIUS, > Senators. Portuius Lena, } Marcus BRutTvs, Cassius, Casca, TREBONIUS, LIGARIUs, 3 z Decrius BrUTUs, | METELLUS CIMBER, } CINNA, a‘ Conspirators ayainst Julius Cesar. «l Soothsaycr. Cinna, a loet. Another Poet. Luciiius, TrTintus, Mrssata, Young Cato, and VoLuMNIvS, Friends to Brutus and Cassius. VaARRO, CLiTus, CLAUDIUS, STRATO, Lucius, Dar- DANIUS, Servants to Brutus. Pinbarus, Servant to Cassius. CALPHURNIA, Wee to Cesar. Portia, Wife to Brutus. | Senators, Citizens, Guards, Attendants, cc. SCENE—During a great part of the Play, at RoME: afterwards at SaRDIS, and near PHILIPPI. ACT TI. SceNnE I.—Rome. Enter FLAVIvUs, MARULLUS, and a rabble of Citizens. Flavius. ENCE! home, you idle creatures, get you home. Tsthisa holiday? What! know younot, Being mechanical, you ought not walk, Upon a labouring day, without the sign Of your profession ?—Speak, what trade art thou? 1 Cit. Why, sir, a carpenter. Mar, Where is thy leather apron, and thy rule? What dost vie with thy best apparel on ?— You, sir, what trade are you? 2 Cit. Truly, sir, in respect of a fine workman, I am but, as you would say, a cobbler. 2 Mar, But what trade art thou? An- swer me directly. 2 Cit. A trade, sir, that, I hope, I may use with a safe conscience; which is, indeed, sir, a mender of bad soles. Mar. What trade, thou knave? thou naughty knave, what trade? 2 Cit. Nay, I beseech you, sir, be not out with me: yet, if you be out, sir, [can mend you. Mar, What mean'st thou by that? Mend me, thou saucy fellow? 21 2 Cit. Why, sir, cobble you. Flav. Thou art a cobbler, art thou? 2 Cit, Truly, sir, all that I live by is with the awl: T meddle with no tradesman’s matters, nor women’s matters, but with all. I am, indeed, sir, a surgeon to old shoes ; when they are in great danger, I re-cover A Street. them. As proper men as ever trod upon neat’s-leather, have gone upon my handiwork. Flav. But wherefore art not in thy shop to-day? 30 Why dost thou lead these men about the streets? 2 Cit. Truly, sir, to wear out their shoes, to get myself into more work. But, indeed, sir, we make holiday, to see Ceesar, and to rejoice in his triumph. Mar. Wherefore rejoice? What conquest brings he home? What tributaries follow him to Rome, To grace in captive bonds his chariot wheels? You blocks, you stones, you worse than senseless things! O you hard hearts, you cruel men of Rome, Knew you not Pompey? Many a time and oft Have you climb’d up to walls and battlements, To towers and windows, yea, to chimney-tops, Your infants in your arms, and there have sat The livelong day, with patient expectation, To see great Pompey pass the streets of Rome: And when you saw his chariot but appear, Have you not made an universal shout, That Tiber trembled underneath her banks, To hear the replication of your sounds Made in her concave shores? And do you now put on your best attire? And do you now cull out a holiday? And do you now strew flowers in his way, That comes in triumph over Pompey’s blood ? Be gone! Run to your houses, fall upon your knees, Pray to the gods to intermit the plague That needs must light on this ingratitude. 40 ; Flav. Go, go, good countrymen, and for this fault Scene Ii.) JULIUS CAESAR. 631 Assemble all the poor men of your sort: 60 Draw them to Tiber banks, and weep your tears Into the channel, till the lowest stream Do kiss the most exalted shores of all. [Exeunt Citizens. See, whe’r their basest metal be not mov’d; They vanish tongue-tied in their guiltiness. Go you down that way towards the Capitol : This way willI. Disrobe the images, If you do find them deck’d with ceremonies. Mar. May we do so? You know, it is the feast of Lupercal. 70 Flav. It is no matter ; let no images Be hung with Ceesar’s trophies. I’ll about, And drive away the vulgar from the streets : So do you too, where you perceive them thick. These growing feathers pluck’d from Ceesar’s wing Will make him fly an ordinary pitch ; Who else would soar above the view of men. And keep us all in servile fearfulness. ‘[Exeunt. ScENE II.—The Same. So [Drinks. RUA Bru. “In this I bury all unkindness, Cassius.” Re-enter TITINIus, with MESSALA. Welcome, good Messala,— Now sit we close about this taper here, And call in question our necessities. Cas. Portia, art thou gone ? Bru, No more, I pray you.— Messala, I have here received letters, That young Octavius and Mark Antony Come down upon us with a mighty power, Bending their expedition toward Philippi. Mes. Myselt have letters of the selfsame tenor. 170 Bru. With what addition? Mes. That by proscription, and bills of outlawry, Octavius, Antony, and Lepidus, Have put to death an hundred senators. Bru. Therein our letters do not well agree: Mine speak of seventy senators, that died By their proscriptions, Cicero being one. Cas. Cicero one? Les. Cicero is dead, And by that order of proscription.— . Had you your letters trom your wife, my lord? Bru. No, Messala. Mes. Nor nothing in your letters writ of her? Bru. Nothing, Messala. Mes. That, methinks, is strange. Bru. Why ask you? Hear you aught of her in yours? Mes. No, my lord. Bru. Now, as you are a Roman, tell me true. Mes. Then like a Roman bear the truth I tell: For certain she is dead, and by strange manner. Bru. Why, farewell, Portia.—We must die, Messala: With meditating that she must die once, 190 Ihave the patience to endure it now. Mes. Even so great men great losses should endure. Cas. I have as much of this in art as you, But yet my nature could not bear it so. Bru. Well, to our work alive.—What do you think Of marching to Philippi presently ? Cas. I do not think it good. 180 ’T is better that the enemy seek us: So shall he waste his means, weary his soldiers, Doing himself offence ; whilst we, lying still, 200 Are tull of rest, defence, and nimbleness. Bru. Good reasons must, of force, give place to better. : The people, ‘twixt Philippi and this ground, Do stand but in a fore’d atfection ; For they have grudg’d us contribution : The enemy, marching along by them, By them shall make a fuller number up, [Z£zit Lucius. | Come on refresh’d, new-added, and encourag’d: From which advantage shall we cut him on, If at Philippi we do face him there, 210 ‘These people at our back. Cas. Hear me, good brother. Bru. Under your pardon.—You must note beside, That we have tried the utmost of our friends, Our legions are brim-full, our cause is ripe: The enemy increaseth every day ; We, at the height, are ready to decline. There is a tide in the affairs of men, Which, taken at the flood, leads on to fortune ; Omitted, all the voyage of their life 220 Is bound in shallows and in miseries. On such a full sea are we now afloat; And we must take the current when it serves, Or lose our ventures. Cas. Then, with your will, go on: We'll along ourselves, and meet them at Philippi. Bru. The deep of night is crept upon 7 our talk, And nature must obey necessity ; Which we will niggard with a little rest. There is no more to say? Cas. No more. Good night: Early to-morrow will we rise, and hence. Bru. Lucius! [Re-enter Luctus.] My gown. [Ezit Lucivs.|—Farewell, good Messala :— Good night, ‘Titinius.—Noble, noble Cassius, Good night, and good repose. Cas. O my dear brother! This was an ill beginning of the night. Never come such division ’tween our souls! Let it not, Brutus. Bru. Everything is well. Cas, Good night, my lord. . Bru. Good night, good brother. Tit., Mes. Good night, Lord Brutus. Bru. Farewell, every one. [Exeunt Cassius, TITENIUS, and MESSALA. Re-enter Lucius, with the gown. Give me the gown. Where is thy instrument? 240 Luc. Here in the tent. . Bru. What! thou speak’st drowsily ? Poor knave, I blame thee not; thou art o’er-watch'd. Call Claudius, and some other of my men; I'll have them sleep on cushions in my tent. Luc. Varro, and Claudius ! Enter VARRO and CLAUDIUS. Far. Calls my lord? Bru. I pray you, sirs, lie in my tent, and sleep: 1t may be, I shall raise you by-and-by - On business to my brother Cassius. Far, So please you, we will stand, and watch your pleasure. ___ 230 Bru. I will not have it so; lie down, good sirs: It nay be, I shall otherwise bethink me. Look, Lucius, here’s the book I sought for so ; I put it in the pocket of my gown. - : [VaRRo and CLaunIvs lie down. ScENE III.] JULIUS CESAR. 6419 Lue, I was sure, your lordship did not give it me. Bru. Bear with me, good boy, I am much forgetful. Canst thou hold up thy heavy eyes awhile, And touch thy instrument a strain or two? That plays thee music ?—Gentle knave, good night ; I will not do thee so much wrong to wake thee. 271 If thou dost nod, thou break’st thy instrument: I Il take it from thee; and, good boy, good night.— Bru. “ Art thou some god, some angel, or some devil, That mak’st my blood cold, and my hair to stare?” Luc. Ay, my lord, an’t please you. Bru. It does, my boy. I trouble thee too much, but thou art willing. 260 Lue. It is my duty, sir. Bru. I should not urge thy duty past thy might: Iknow, young bloods look for a time of rest. Luc. Thave slept, my lord, already. Bru. It was well done, and thou shalt sleep again; I will not hold thee long: if I do live, I will be good to thee. [Afusic, and a Song. This is a sleepy tune :—O murderous slumber ! Lay’st thou thy leaden mace upon my boy, Let me see, let me see :—is not the leaf turn’d down, Where I left reading? Here it is, I think. [He sits down. Enter the Ghost of CSar. How ill this taper burns !—Ha! who comes here? I think, it is the weakness of mine eyes That shapes this monstrous apparition. It comes upon me.—Art thou anything ? Art thou some god, some angel, or some devil, That mak’st my blood cold, and my hair to stare ? Speak to me, what thou art. 280 650 JULIUS CAESAR. [Act V. Ghost. Thy evil spirit, Brutus. Bru. Why com’st thou ? Ghost. To tell thee, thou shalt see me at Philippi. Bru. Well; then I shall see thee again? Ghost. Ay, at Philippi. eet Bru, Why, I will see thee at Philippi then.— | Ghost vanishes. Now TI have taken heart, thou vanishest : Ill spirit, I would hold more talk with thee.— Boy! Lucius !—Varro! Claudius! sirs, awake !— Claudius! Luc. The strings, my lord, are false. Bru. He thinks he still is at his instrument.— Lucius, awake! Luc, My lord? ; Bru. Didst thou dream, Lucius, that thouso criedst 290 | Luc. My lord, I do not know that I did ery. | Bru, Yes, that thou didst. Didst thou see any- thing? Luc, Nothing, my lord. Bru. Sleep again, Lucius.—Sirrah, Claudius! 300 [Z'o Varro] Fellow thou! cwake ! Var. My lord? Clau. My lord? Bru, Why did as so cry out, sirs, in your sleep? Var., Clau. Did we, my lord? Bru. : AY: saw you anything? Var. No, my lord, I saw nothing. Clau. Nor I, my lord. Bru. Go, and commend me to my brother Cassius: Bid him set on his powers betimes before, And we will follow. 7ar., Clau. It shall be done, my lord. [Ezcunt. ACT VY. ScENE I.—The Plains of Philippi. Enter OcTAVIUS, ANTONY, and their Army. out? or Octavius. Z _pOW, Antony, our hopes are answered: ¥ You said, the enemy would not come down, But keep the hills and upper regions ; It proves not so: their battles are at hand; They mean to warn us at Philippi here, Answering before we do demand of them. Ant. Tut! Iam in their bosoms, and I ow Wherefore they do it: they could be content To visit other places ; and come down With fearful bravery, thinking by this face ( To fasten in our thoughts that they have courage ; ll But ‘tis not so. Enter a Messenger. Mess. Prepare you, generals : The enemy comes on in gallant show ; Their bloody sign of battle is hung out, And something to be done immediately. Ant. Octavius, lead your battle softly on, Upon the left hand of the even field. Oct. Upon the right hand I; keep thou the left. «int. Why do you cross me in this exigent? Oct. Ido not cross you; but I willdoso. [March. Drum. Enter Brutus, Cassius, and their Army; Luciuius, TITINIUS, MEssALa, and others. Bru. They stand, and would have parley. Cas, Stand fast, Titinius: we must out and talk. Oct. Mark Antony, shall we give sign of battle? Ant. No, Ceesar, we will answer on their charge. Make forth ; the generals would have some words. Oct, Stir not until the signal. Bru. Words before blows : is it so, countrymen ? Oct. Not that we love words better, as you do. Bru. Good words are bettcr than bad strokes, Octavius. 21 | Ant. In your bad strokes, Brutus, you give good words: 30 Witness the hole you made in Ceesar’s heart, Crying, ‘‘ Long live! hail, Caesar!” Cas. Antony, The posture of your blows are yet unknown; But tor your words, they rob the Hybla bees, And leave them honeyless, Ant. Not stingless too. Bru. O! yes, and soundless too ; For you have stol’n their buzzing, Antony, And very wisely threat before you sting. _ Ant, Villains! you did not so, when your vile daggers Hack’d one another in the sides of Cesar: 10 You show’d your teeth like apes, and fawn’d like hounds, And bow’d like bondmen, kissing Cesar’s feet ; Whilst damned Casca, like a cur, behind, Struck Ceesar on the neck. O you flatterers! Cas. Flattcrers !—Now, Brutus, thank yourself: This tongue had not offended so to-day, If Cassius might have rul’d. 3 Oct. Come, come, the cause :if arguing make us sweat, The proof of it will turn to redder drops. 3 ook ; 50 I draw a sword against conspirators: ; When think you that the sword goes up again ?—- Never, till Ceesar’s three-and-thirty wounds Be well aveng’d; or till another Csesar Have added slaughter to the sword of traitors. Bru. Ceesar, thou canst not die by traitors’ hands, Unless thou bring’st them with thee. ct. So I hope, I was not born to die on Brutus’ sword. : Bru, O! if thou wert the noblest of thy strain, Young man, thou couldst not die more honourable. 60 Cas. A peevishschool-boy, worthless of such honour, Join’d with a masker and a reveller. SceNE IT] JULIUS CAHSAR. 651 Ant. Old Cassius still! The end of this day’s business, ere it come! Oct. ; Come, Antony; away !— But it sufficeth, that the day will end, Defiance, traitors, hurl we in your teeth. And then the end is known.—Come, ho! away! If you dare fight to-day, come to the field ; [Exeunt. If not, when you have stomachs. [Ezeunt OcTAVIUS, ANTONY, and their Army. Cas. Why now, blow, wind; swell, bilow; and swim, bark! The storm is up, and all is on the hazard. Bru. Ho! Lucilius, hark, a word with you. Lucil. My lord? 70 (Brutus and Luci.ius talk apart. Cas. Messala,— Mes. What says my general? Cas. Messala, This is my birth-day ; as this very day Was Cassius born. Give me thy hand, Messala : Be thou Bay UCR that against my will, As Pompey was, am I compell’d to set Upon one battle all our liberties. You know, that I held Kpicurus strong, And his opinion: now, I change my mind, And partly credit things that do pre- sage. Coming from Sardis, on our former ensign Two mighty eagles fell; and there they perch'd, Gorging and feeding from our soldiers’ hands; Who to Philippi here consorted us: This morning are they fled away, and gone, And in their steads do ravens, crows, and kites, Fly o’er our heads, and downward look on us, As we were sickly prey : their shadows seem A canopy most fatal, under which Our army lies, ready to give up the ghost. Mes. Believe not so. Cas. I but believe it partly, For I am fresh of spirit, and resolv’d To meet all perils very constantly. Bru. Even so, Lucilius. 90 Cas. Now, most noble Brutus, The gods to-day stand friendly, that we may, Lovers in peace, lead on our days to age! But since the affairs of men rest still incertain, Let’s reason with the worst that may befall. If we do lose this battle, then is this The very last time we shall speak together : What are you then determined to do? Bru. Even by the rule of that Ente: By which I did blame Cato for the deat: hich he did give himself :—I know not how, But I do find it cowardly and vile, For fear of what might fall, so to prevent. The time of life :—arming myself with patience, To stay the providence of some high powers, That govern us below. Cas. Then, if we lose this battle, You are contented to be Jed in triumph Thorough the streets of Rome? 110 Bru. No, Cassius, no: think not, thou noble Roman, That ever Brutus will go bound to Rome; He bears too great a mind: but this same day Must end that work the ides of March begun ; And, whether we shall meet again, I know not. Therefore, our everlasting farewell take :— For ever, and for ever, farewell, Cassius ! If we do meet again, why, we shall smile; If not, why then, this parting was well made. Cas, For ever, and for ever, farewell, Brutus! If we do meet again, we’ll smile indeed ; If not, ’tis true, this parting was well made. Bru. Why then, lead on.—O, that a man might know 120 The Field of Battle. Enter BRUTUS and MESSALA. ScENE II.—The Same. Alarum. Bru. Ride, ride, Messala, ride, and give these bills Unto the legions on the other side. Let them set on at once ; for I perceive But cold demeanour in Octavius’ wing, Loud alarum, IN ue Pin. (Above.] ‘‘ Titinius is enclosed round about With horsemen, that make to Lim on the spur.” And sudden push gives them the overthrow. Ride, ride, Messala: let themallcome down. [Exeunt. ScENE III.—The Same. Another Part of the Field. Alarum. Enter Cassius and TITINIUS. Cas. O, look, Titinius, look, the villains fly! Myself have to mine own turn’d enemy : ‘This ensign here of mine was turning back ; I slew the coward, and did take it from him. Tit. O Cassius! Brutus gave the word too early ; Who, having some advantage on Octavius, Took it too eagerly : his soldiers fell to spoil, Whilst we by Antony are all enclos’d. Enter PINDARUS. Pin. Fly further off, my lord, fly further off; Mark Antony is in your tents, my lord! Fly, therefore, noble Cassius, fly far off. Cas. This hill is far enough Look, look, Titinius ; Are those my tents where I perceive the fire ? Tit. They are, my lord. Cas. Titinius, if thou lov’st me, Mount thou my horse, and hide thy spurs in him, Till he have brought thee up to yonder troops, And here again ; that I may rest assur’d, Whether yond troops are friend or enemy. Tit. Iwill be here again, even with a thought. Cas. Go, Pindarus, get higher on that hill: My sight was ever thick ; regard Titinius, And tell me what thou not’st about the field.— [Exit PINDARUS, This day I breathed first : time is come round, And where I did begin, there shall I end; My life is run his compass.—Sirrah, what news? Pin. {Above.] Omy lord! Cas. What news? [Exit. 20 Pin. Titinius is enclosed round about 652 JULIUS CAESAR, [Act V, With horsemen, that make to him on the spur ; Yet he spurs on :—now they are almost on him. 30 Now, Titinius !—now some light :—O ! he lights too:— He's ta’en: [Shout.] and, hark ! they shout for joy. Cas. Come down; behold no more.— O, coward that I am, to live so long, ‘lo see my best friend ta’en before my face! Re-entcr PINDARUS. Come hither, sirrah. In Parthia did I take thee prisoner ; And then I swore thee, saving ot thy life, That whatsoever I did bid thee do, Thou shouldst' attempt it. Come now, keep thine oath: 4U Now be a freeman; and with this good sword, That ran through Ceesar’s bowels, search this bosom. Stand not to answer : here, take thou the hilts ; And, when my face is cover'’d, as tis now, Guide thou the sword.—Ceesar, thou art reveng’d, Even with the sword that kill'd thee. Dies. Pin. So, Iam free; yet would not so have been, Durst I have done my will. O Cassius! Far from this country Pindarus shall run, Where never Roman shall take note of him. 50 [E£xit. Re-enter Tivintus, with MESSALA. Mes. It is but change, Titinius ; for Octavius Is overthrown by noble Brutus’ power, As Cassius’ legions are by Antony. Tit. These tidings will well comfort Cassius, Mes. Where did you leave him? Tit. All disconsolate, With Pindarus, his bondman, on this hill. Mes. Is not that he, that lies upon the ground ? Tit. He lies not like the living. O my heart! Mes. Is not that he? Tit. No, this was he, Messala, But Cassius is no more.—O setting sun! As in thy red rays thou dost sink to night, So in his red blood Cassius’ day is set : The sun of Rome is set. Our day is gone; Clouds, dews, and dangers come ; our deeds are done. Mistrust of my success hath done this deed. Mes. Mistrust of good success hath done this deed. O hateful error, melancholy’s child ! Why dost thou show to the apt thoughts of men The things that are not? O error! soon conceiv’d, Thou never com’st unto a happy birth, 70 But kill’st the mother that engender'd thee. Tit. What, Pindarus! Where art thou, Pindarus? Mes. Seek him, Titinius, whilst I go to ineet The noble Brutus, thrusting this report Into his ears: I may say, thrusting it; For piercing steel, and darts envenomed, Shall be as welcome to the ears of Brutus, «As tidings of this sight. Tit. Hie you, Messala, And I will seek for Pindarus the while. [Exit MESSALA. Why didst thou send me forth, brave Cassius ? Did I not meet thy friends? and did not they Put_on my brows this wreath of victory, And bid me give it thee? Didst thou not hear their shouts? Alas! thou hast misconstrued everything. But hold thee, take this garland on thy brow: Thy Brutus bid me give it thee, and I Will do his bidding.—Brutus, come apace, And see how I regarded Caius Cassius.— By your leave, gods :—this is a Roman's part: Come, Cassius’ sword, and find Titinius’ heart. [Dies. Alarum, Re-enter MESSALA, with Brutus, Young CATO, STRATO, VOLUMNIUS, and LUCILIUS. Bru. Where, where, Messala, doth his body lie? 91 Mes. Lo, yonder; and Titinius mourning it. Bru. Vitinius’ face is upward. Cato. Bru. O Julius Cesar! thou art mighty yet: Thy spirit walks abroad, and turns our swords ln our own proper entrails. [Low alaruns. He is slain. Cato. Brave Titinius! Look, whe’r he have not crown’d dead Cassius ! Bru. Are yet two Romans living such as these ~~ The last of all the Romans, fare thee well! 1t is impossible that ever Rome 100 Should breed thy fellow.—Friends, I owe more tears To this dead man than you shall see me pay.— I shall find time, Cassius, I shall find time.— Come, therefore, and to Thassos send his body: His funerals shall not be in our camp, Lest it discomfort us.—Lucilius, come ;— And come, young Cato; let us to the field.— Labeo, and Flavius, set our battles on :— Tis three o'clock ; and, Romans, yet ere night We shall try fortune in a second fight. [Exeunt, ScENE IV.—Another Part of the Field. Alarum. Enter, fighting, Soldiers of both Armies; then Brutus, Cato, LUCILIUS, and others, Bru. Yet, countrymen, O! yet hold up your heads. Cato. What bastard doth not? Who will go with me? I will proclaim my name about the field :— Iam the son of Marcus Cato, ho! A foe to tyrants, and my country’s friend ; I am the son of Marcus Cato, ho! [Charges the enemy. Bru. And Iam Brutus, Marcus Brutus, I; Brutus, my country’s friend: know me for Brutus. [£zit, charging the enemy. Catois overpowered, and falls. Lucil. O young and noble Cato! art thou down? Why, now thou diest as bravely as Titinius, And may’st be honour’d, being Cato’s son. 1 Sold. Yield, or thou diest. Lucil, Only I yield to die: There is so much that thou wilt kill me straight. [Offering money. Kill Brutus, and be honour’d in his death, 1 Sold. We must not.—A noble prisoner ! 2Sold. Room, ho! Tell Antony, Brutus is ta’en. 1 Sold. I'll tell the news.— Here comes the general.— Enter ANTONY. Brutus is ta’en, Brutus is ta'en, my lord. Ant. Where is he? Lueil. Safe, Antony; Brutus is safe enough. 20 I dare assure thee, that no enemy Shall ever take alive the noble Brutus: The gods defend him from so great a shame! When you do find him, or alive, or dead, He will be found like Brutus, like himself. int. This is not Brutus, friend; but, I assure you, A prize no less in worth. Keep this man safe ; Give him all kindness : I had rather have Such men my friends, than enemies. Go on, And see whe’r Brutus be alive, or dead ; 30 And bring us word, unto Octavius’ tent, How everything is chane’d. [Excunt. ScENE V.—Another Part of the Field. Enter Brutus, DaRDANIUS, CLITUS, STRATO, and VOLUMNIUS. ; Bru. Somes poor remains of friends, rest on this rock. Cli. Statilius show’d the torch-light ; but, my lord, He came not back: he is or ta’en, or slain. Bru. Sit thee down, Clitus: slaying is the word ; It isa deed in fashion. Hark thee, Clitus.— _ . es ispering. Cli, What! I, my lord? No, not for all the world. Bru. Peace then! no words. i I'll rather kill myself. li. e Bru. Hark thee, Dardanius.— [Whispers him. ar. Shall I do such a deed? Cli. O Dardanius! SCENE V.] JULIUS CESAR. 633 Dar. O Clitus! Cli. What ill request did Brutus make to thee? Dar. To kill him, Clitus. Look, he meditates. Cli. Now is that noble vessel full of grief, That it runs over even at his eyes. Bru. Come hither, good Volumnius: list a word. Vol. What says my lord ? Bru. hy, this, Volumnius: The ghost of Cesar hath appear’d to me Two several times by night: at Sardis once ; And, this last night, here in Philippi fields. I know my hour is come. Vol. Not so, my lord. Bru. Nay, Iam sure it is, Volumnius. Thou seest the world, Volumnius, how it goes ; 22 Our enemies have beat us to the pit : Low alarums. It is more worthy to leap in ourselves, Than tarry till they push us. Good Volumnius, Thou know’'st, that we two went to school together ; Even for that our love of old, I pray thee, Hold thou my sword-hilts, whilst I run on it. Vol. That’s not an office for a friend, my lord. [Alarum still. cli. Fly, fly, my lord! there is no tarrying here. 30 Bru. Farewell to you;—and you ;—and you, Volumnius.— Strato, thou hast been all this while asleep ; Farewell to thee too, Strato.—Countrymen, My heart doth joy, that yet in all my life Itound no man, but he was true to me. I shall have glory by this losing day, More than Octavius and Mark Antony By this vile conquest shall attain unto. So, fare you well at once ; for Brutus’ tongue Hath almost ended his life’s history. 40 Night hangs upon mine eyes; my bones would rest, That have but labour’d to attain this hour. [dlarum. Cry within, ‘Fly, fly, fly!” cli. Fly, my lord, fly! Bru. Hence! I will follow. [Exeunt CLITUS, DaRDANIUS, and VOLUMNIUS. I pr vibes Strato, stay thou by thy lord. Thou art a fellow of a good respect ; : Thy life hath had some smatch of honour in it: Hold then my sword, and turn away thy face, While I do run upon it. Wilt thou, Strato? Stra. Gave. me your hand first: fare you well, my lord. Bru. Farewell, good Strato.—Cesar, now be ei 5 still : I kill’d not thee with half so good a will. [He runs on his sword, and dies. Alarum: Retreat. Enter OCTAVIUS, ANTONY, Messaxa, Luciuius, and their Army. Oct. What man is that ? : Mes. My master’s man.—Strato, where is thy master? Stra. Free from the bondage you are in, Messala ; Ant. “This was the noblest Roman of thei all. The conquerors can but make a fire of him ; For Brutus only overcame himself, And no man else hath honour by his death. Lucil.. So Brutus should be found,—I thank thee, Brutus, That thou hast prov’d Lucilius’ ye true. Oct. All that serv’d Brutus, I will entertain them. 60 Fellow, wilt thou bestow thy time with me? Stra. Ay; if Messala will prefer me to you. Oct. Do so, good Messala. Mes. How died my master, Strato? Stra, I held the sword, and he did run on it. Mes. Octavius, then take him to follow thee, That did the latest service to my master. Ant. This was the noblest Roman of them all: All the conspirators, save only he, Did that they did in envy of great Ceesar ; 70 He only, in a general honest thought And common good to all, made one of them. His life was gentle; and the elements So mix’d in him that Nature might stand up, And say to all the world, ‘‘ This was a man!” Oct. According to his virtue let us use him, With all respect, and rites of burial. Within my tent his bones to-night shall lic, Most like a soldier, order’d honourably.— So, call the field to rest; and let’s away, 80 To part the glories of this happy day. [Excunt. MEASURE FOR MEASURE. DRAMATIS PERSON. VINCENTIO, the Duke. FROTH, a foolish Gentleman. ANGELO, the Deputy. Clown. . ESca.us, an ancient Lord. ABHORSON, an Executioner. CLAUDIO, a young Gentleman. BARNARDINE, «@ dissolute Prisoner. Lucio, a Fantastic. : : Two other like Gentlemen. ISABELLA, Sister to Claudio. Provost. MARIANA, ce os an ngelo. THOMAS, . ULIET, beloved o, audio. PETER, i Two Friars. FRANCISCA, a Nun. A Justice. MISTRESS OVERDONE, uv Bawd. VARRIUS. .™ ELBow, a simple Constable. Lords, Officers, Citizens, Boy, and Attendants, SCENE— VIENNA. AGT 4, ScENE IL—An Apartment in the DUKE’s Palace. Enter DUKE, Escauus, Lords, and Attendants. ‘ Duke. Heaven doth with us, as we with torches do. BSCALUS ! Not light them for themselves; for if our virtues Fscal. My lord. Did not go forth of us, ’t were all alike Duke. Of government the properties to | As if we had them not. Spirits are not finely touch’d, unfold, But to fine issues ; nor Nature never lends Would seem in mc to affect speech and discourse ; y ? = 4 Mi Since I am put to know, that your own / SA HH ; science 2 2. ( " 4 a Exceeds, in that, the lists of all advice My strength can give you: then no more remains, But that, to your sufficiency, as your worth is able, And let them work. The nature of our people, Our city’s institutions, and the terms : 10 For common justice, you’re as pregnant in, As art and practice hath enriched any That we remember. There is our commission, From which we would not have you warp.—Call hither, Isay, bid come before us Angelo.—[E zit an Attendant. What figure of us think you he will bear? For, you must know, we have with special soul Elected him our absence to supply, Lent him our terror, dress’d him with our love, And given his deputation all the organs Of our own power. What think you of it? Escal. If any in Vienna be of worth To undergo such ample grace and honour, Duke, “In our remove, be thou at full ourself.” It is Lord Angelo. Duke. Look, where he comes. The smallest scruple of her excellence, ‘ But, like a thrifty goddess, she determines Enter ANGELO, Herseif the glory of a creditor, Ang. Always obedient to your grace’s will, Both thanks and use. ButIdo bend my speech 4¢ I come to know your pleasure. To one that can my part in him advertise ; Duke. Angelo, Hold, therefore, Angelo :— There is a kind of character in thy life, In our remove, be thou at full ourself ; That, to the observer, doth thy history Mortality and mercy in Vienna Fully unfold. Thyself and thy belongings Live in thy tongue and heart. Old Escalus, Are not thine own so proper, as to waste 30 | Though first in question, is thy secondary. Thyself upon thy virtues, they on thee. Take thy commission. ScENE II.] MEASURE FOR MEASURE. 655 Ang. Now, good my lord, Let there be some more test made of my metal, Before so noble and so great a figure Be stamp’d upon it. Duke. No more evasion : 50 We have with a leaven’d and prepared choice Proceeded to you; therefore take your honours. Our haste from hence is of so quick condition, That it prefers itself, and leaves unquestion’d Matters of needful value. We shall write to you, As time and our concernings shall importune, How it goes with us; and do look to know What doth befall you here. So, fare you well: To the hopetul execution do I leave you Of your commissions. Ang. Yet, give leave, my lord, 60 That we may bring you something on the way. Duke. My haste may not admit it ; Nor need you, on mine honour, have to do With any scruple: your scope is as mine own, So to entorce, or qualify the laws As to your soul seems good. Give me your hand; I'll privily away: I love the people, But do not like to stage me to their eyes. ‘Though it do well, I do not relish well Their loud applause, and Aves vehement, 70 Nor do J think the man of safe discretion, That does affect it. Once more, fare you well. Any. The heavens give safety to your purposes! Escal. Lead forth, and bring you back in happi- ness ! Duke. [thank you. Fare you well. [Exit. Escal. I shall desire you, sir, to give me leave To have free speech with you; and it concerns me To look into the bottom of my place: A power I have, but of what strength and nature Iam not yet instructed. Ang. "Tis so with me. Let us withdraw together, And we may soon our satisfaction have Touching that point. Escal. I’ll wait upon your honour. [Ereunt. ScENE II.—A Street. Enter Lucio and two Gentlemen. Lucio. If the duke, with the other dukes, come not to composition with the King of Hungary, why then, all the dukes fall upon the king. ‘ 1 Gent. Heaven grant us its peace, but not the King of Hungary's ! 2 Gent. Amen. Lucio. pirate, that went to sea with the Ten Command- ments, but scraped one out of the table. 2 Gent. ‘Thou shalt not steal?” 10 Lucio. Ay, that he razed. 1 Gent. Why, ’t was a commandment to command the captain and all the rest from their functions: they put forth to steal. There’s not a soldier of us all, that, in the thanksgiving before meat, doth relish the petition: well that prays for peace. 2 Gent. I never heard any soldier dislike it. Lucio. I believe thee ; for, I think, thou never wast where grace was said. - 2 Gent. No? a dozen times at least. 20 1 Gent. What, in metre? Lucio. In any proportion, or in any language. 1 Gent. I think, or in any religion. Lucio. Ay; why not? Grace is grace, despite of all controversy : as for example, thou thyselfarta wicked villain, despite of all grace. 1 Gent. ell, there went but a pair of shears between us. : Lucio. I grant; as there may between the lists and the velvet: thou art the list. 30 1 Gent. And thou the velvet: thou art good velvet: thou art a three-pil’d piece, I warrant thee. I had as lief be a list of an English kersey, as be pil’d, as thou Ln pita, for a French velvet. Do I speak feelingly ow es Thou concludest like the sanctimonious Lucio. I think thou dost; and, indeed, with most painful feeling of thy speech: I will, out of thine own confession, learn to begin thy health; but, whilst 1 live, forget to drink after thee. 1 Gent. I think, [have done myself wrong, have I not? 2 Gent. Yes, that thou hast, whether thou art tainted, or free. 42 Lucio. Behold, behold, where Madam Mitigation comes ! 1 Gent. I have purchased as many diseases under her roof, as come to— 2 Gent. To what, I pray? Lucio. Judge. 2 Gent. To three thousand dollars a year. 1 Gent. Ay, and more. 50 Lucio. A French crown more. 1 Gent. Thou art always figuring diseases in me; put thou art full of error : Iam sound. Lucio. Nay, not as one would say, healthy; but so sound as things that are hollow: thy bones are hollow ; impiety has made a feast of thee. Enter Bawd. 1 Gent. How now? Which of your hips has the most profound sciatica ? Bawd. Well, well; there’s one yonder arrested, and carried to prison, was worth five thousand of you all. 61 2 Gent. Who's that, I pray thee? Bawd. Marry, sir, that’s Claudio; Signior Claudio. 1 Gent. Claudio to prison ! ‘tis not so. Bawd. Nay, but I know, ’t isso: Isaw himarrested ; saw him carried away; and, which is more, within these three days his head to be chopped off. Lucio. But, after all this fooling, [ would not have itso. Art thou sure of this? Bawd. I am too sure of it; Madam Julietta with child. Lucio. Believe me, this may be: he promised to meet me two hours since, and he was ever precise in promise-keeping. ; 2 Gent. Besides, you know, it draws something near to the speech we had to such a purpose, 1 Gent. But most of all, agreeing with the procla- mation. Lucio. Away: let’s go learn the truth of it. (Exewnt Lucio and Gentlemen. Bawd. Thus: what with the war, what with the sweat, what with the gallows, and what with poverty, Iam custom-shrunk, 82 and it is for getting 71 Enter Clown. How now? what’s the news with you? Clo. Yonder man is carried to prison. Bawd: Well: what has he done? Clo. A woman. Bawd. But what’s his offence ? Clo. Groping for trouts in a peculiar river. Bawd. What, is there a maid with child by him? Clo. No; but there’s a woman with maid by him. You have not heard of the proclamation, have you? Bawd. What proclamation, man? 92 Clo. All houses in the suburbs of Vienna must be pluck’d down. Bawd. And what shall become of those in the city ? Clo. They shall stand for seed: they had gone down too, but that a wise burgher put in for them. Bawd. But shall all our houses of resort in the suburbs be pull’d down? Clo. To the ground, mistress. 100 Bawd. Why, here’s a change, indeed, in the com- monwealth! what shall become of me? Clo. Come; fear not you: good counsellors lack no clients: though you change your place, you need not change your trade ; I’ll be your tapster still. Courage! there will be pity taken on you; you that have worn your eyes almost out in the service, you will be con- sidered. Bawd. What’s to do here, Thomas Tapster? Le’ withdraw. F Clo. Here comes Signior Claudio, led by the to prison: and there’s Madam Juliet. [ t’s 110 rovost. xeunt. MEASURE FOR MEASURE. {Act I. Scenr III.—The Same. Enter Provost, CLAUDIO, JULIET, and Officers. Claud. Felli why dost thou show me thus to the world? Bear me to prison, where I am committed. Prov. 1 do it not in evil disposition, But from Lord Angelo by special charge. Claud. Thus can the demi-god Authority Make us pay down for our offence by weight.— The words of Heaven ;—on whom it will, it will; . On whom it will not, so: yet still tis just. Enter Lucio and two Gentlemen. Luci. Why, how now, Claudio? whence comes this restraint? Claud. From too much liberty, my Lucio, liberty : 10 As surfeit is the father of much fast, So every scope by the immoderate use Turns to restraint. Our natures do pursue, . Like rats that ravin down their proper ane, A thirsty cas and when we drink, we aie. Lucio. If I could speak so wisely under an arrest, I would send for certain of my creditors. And yet, to say the truth, I had as licf have the foppery of freedom, as the morality of imprison- ment.—What’s thy offence, Claudio? Claud. What but to speak of would offend again. 2 Lucio. What, is it murder? Claud. No. Lucio. Lechery? Claud. Call it so. Prov. Away, sir; you must go. Acquaint her with the danger of my state; Implore her, in my voice, that she make friends ‘To the strict deputy ; bid herself assay him: I have great hope in that ; for in her youth There is a prone and speechless dialect, Such as moves men; beside, she hath prosperous art, When she will play with reason and discourse, n° And well she can peteade. Lucio. I pray, she may: as well for the encourage- ment of the like, which else would stand under Claud. One word, good friend.— Lucio, a word with you. [Takes him aside. Lucio. A hundred, if they ll do you any good. Is lechery so look'd after? Claud. Thus stands it with me: upon a true con- tract, I got possession of Julietta’s bed : You know the lady ; she is fast my wife, Save that we do the denunciation lack Of outward order: this we came not to, Only for propagation of a dower Remaining in the coffer of her friends, From whom we thought it meet to hide our love, Till time had made them for us. But it chances, The stealth of our most mutual entertainment _ With character too gross is writ on Juliet. ~~ Lucio. With child, perhaps? Claud. Unhappily, even so. And the new deputy now for the duke, — Whether it be the fault and glimpse of newness, Or whether that the body public be A horse whereon the governor doth ride, Who, newly in the seat, that it may know He can command, lets it straight feel the spur ; Whether the tyranny be in his place, Or in his eminence that fills it up, I stagger in,—but this new governor Awakes me all the enrolled penalties, Which have, like unscour’d armour, hung by the wall So long, that nineteen zodiacs have gone round, And none of them been worn; and, for a name, Now puts the drowsy and neglected act Freshly on me: ’tis surely for a name. Lucio, I warrant, it is: and thy head stands so tickle on thy shoulders, that a milkmaid, if she be in love, may sigh it off. Send after the duke, and appeal to him. Claud. I have done so, but he’s not to be found, 61 I pes, Lucio, do me this kind service. This day iny sister should the cloister enter, And there receive her approbation : 40 50 Claud. “I pr'ythee, Lucio, do me this kind service.” grievous imposition, as for the enjoying of thy life, who I would be sorry should be thus foolishly lost at a game of tick-tack. [’ll to her. Claud. I thank you, good friend Lucio. Lucio. Within two hours,— . Claud. Come, officer; away ! [Exeunt. ScENE IV.—A Monastery. Enter DUKE and Friar THOMAS. Duke. No, holy father; throw away that thought: Believe not that the dribbling dart of love Can pierce a complete bosom. Why I desire thee To give me secret harbour, hath a purpose More grave and wrinkled, than the aims and ends Of burning youth. : Fri. May your grace speak of it? Duke, My holy sir, none better knows than you How I have ever lov’d the life remov’d, And held in idle price to haunt assemblies, Where youth, and cost, and witless bravery I have deliver’d to Lord Angelo (A man of stricture and firm abstinence) My absolute power and place here in Vienna, And he supposes me travell'd to Poland ; For so Lhave strew'd it in the common ear, And so it is receiv’d. Now, pious sir, You will demand of me, why I do this? Fri, Gladly, my lord. 3 Duke. We have strict statutes, and most biting laws, (The needful bits and curbs to headstrong steeds) Which for this fourteen years we have let sleep; Even like an o’ergrown lion in a cave, That goes not out to prey. Now, as fond fathers, Having bound up the threat’ning twigs of birch, Only to stick it in their children’s sight keeps. 10 ScENE V.] MEASURE FOR MEASURE. ‘657 For terror, not to use, in time the rod Becomes more mock’d than fear'd ; so our decrees, Dead to infliction, to themselves are dead, And liberty plucks justice by the nose ; The baby beats the nurse, and quite athwart 30 | Goes all decorum. Fri. _ _, .It rested in your grace To unloose this tied-up justice, when you pleas’d; And it in you more dreadful would have seem’d, Than in Lord Angelo. Duke. “ And to behold bis sway, I will, as ’t were a brother of your order, Visit both prince and people.” Duke. I do fear, too dreadful: Sith ’t was my fault to give the people scope, *T would be my tyranny to strike and gall them For what I bid them do: for we bid this be done, When evil deeds have their permissive pass, And nob. is punishment. Therefore, indeed, my ather, Thave on ‘Angelo impos’d the office, 40 Who may, in the ambush of my name, strike home, And yet my nature never in the fight, To doit slander. And to behold his sway, I will, as ’t were a brother of your order, Visit both prince and people: therefore, I pr’ythee, Supply me with the habit, and instruct me How I may formally in person bear me F Like a true friar. More reasons for this action, At our more leisure shall I render you ; Only, this one :—Lord Angelo is precise ; 50 Stands at a guard with envy; scarce confesses That his blood flows, or that his appetite Is more to bread than stone: hence shall we see, If power change purpose, what our seemers be. [Exeunt. Scene V.—A Nunnery. Enter ISABELLA and FRANCISCA, Isab. And have you nuns no further privileges? Fran. Are not these large enough? Isab. Yes, truly: I speak not as desiring more, But rather wishing a more strict restraint Upon the sisterhood, the votarists of Saint Clare. Lucio. [Within.] Ho! Peace be in this place ! Isab. Who’s that which calls? Fran. It is a man’s voice. Gentle Isabella, Turn you the key, and know his business of him: You may, I may not; you are yet unsworn. en you have vow'd, you must not speak with men, But in the presence of the prioress: 11 Then, if you speak, you must not show your face, Or, if you show aus face, you must not speak. . e calls again: I pray you, answer him. [Exit. Isab. Peace and prosperity: Who is’t that calls? Enter Lucto. Lucio. Hail, virgin, if you be, as those cheek-roses Proclaim you are no less! Can you so stead me, As bring me to the sight of Isabella, A novice of this place, and the fair sister To her Hap y rother Claudio? 20 Isab. Why her unhappy brother? let me ask, The rather, for I now must make you know Iam that Isabella, and his sister. Lucio, Gentle and fair, your brother kindly greets you. 7 Not to be weary with you, he’s in prison. Isab, Woe me! for what? Lucio. per that, which, if myself might be his juage, He should receive his punishment in thanks: He hath got his friend with child. Jsab, Sir, make me not your story. Lucio. It is true. 30 I would not, though ‘tis my familiar sin With maids to seem the lapwing, and to jest, vengre far from heart, play with all virgins so: _ [hold you as a thing ensky’d, and sainted - By your renouncement, an immortal spirit, And to be talk’d with in sincerity, As with a saint. Isab. You do blaspheme the good in mocking me. Lucio. Do not believeit. Fewness and truth, ’tis ase Se Your brother and his lover have embrac’d: 40 As those that feed grow full; as blossoming time, That from the seedness the bare fallow brings To teeming foison, even so her plenteous womb Expresseth his full tilth and husbandry. ‘sab. Some one with child by him?—My cousin Juliet ? Lucio. Is she your cousin ? Isab. Adoptedly ;asschool-maids change theirnames By vain, though apt, affection. i She it is. Lucio. Isab. O! let him marry her. Lucio. This is the point. The duke is very strangely gone from hence, Bore many Sonata, myself being one, In hand, and hope of action ; but we do learn, By those that know the very nerves of state, His givings-out were of an infinite distance From his true-meant design. Upon his place, And with full line of his authority, Governs Lord Angelo; a man whose blood Is very snow-broth ; one who never feels The wanton stings and motions of the sense, But doth rebate and blunt his natural edge 60 With profits of the mind, study and fast. He (to give fear to use and liberty, Which have, for long, run by the hideous law, ‘As mice by lions) hath pick’d out an act, Under whose heavy sense your brother’s life Falls into forfeit: he arrests him on it, And follows close the rigour of the statute, To make him an example. All hope is gone, Unless you have the grace by your fair prayer To soften Angelo; and that’s my pith of business 70 *Twixt you and your poor brother. Isab. Doth he so seek his life? Lucio. Has censur’d him Already ; and, as I hear, the provost hath A warrant for his execution. . Isab. Alas! what poor ability ’s in me To do him good? Lucio. Assay the power you have. Isab. My power, alas! I doubt,— Lucio. Our doubts are traitors, And make us lose the good we oft might win, By fearing to attempt. Go to Lord Angelo, And let him learn to know, when maidens sue, 80 Men give like gods; but when they weep and kneel, All their petitions are as freely theirs As they themselves would owe them. et 658 MEASURE FOR MEASURE. [Acr u. | Isab. I’ll see what I can do. Lucio. Isab. I will about it straight, No longer staying but to give the mother Notice of my atfair. I humbly thank you: But speedily. Commend me to my brother; soon at night I'll send him certain word of my success. . Lnucio, I take my leave of you. | Isab. Good sir, adieu. 90 Exeunt, ACT II. ScENE I.—A Hall in Angelo’s House. Enter ANGELO, Escauus, a Justice, Provost, Officers, and other Attendants. - Angelo. 4E must not make a scarecrow of the law, Wid” Setting it up to fear the birds of prey, ; And let it keep one shape, till custom make it Their perch, and not their terror. aes A Escal. Ay, but yet SORINS Let us be keen, and rather cut a little, ~h “” Than fall, and bruise to death. Alas! y this gentleman, Whom I would save, had a most noble father. Let but your honour know (Whom I believe to be most strait in virtue), That, in the working of your own affections, P Had time coher’d with place, or place with wishing, Or that the resolute acting of your blood Could have attain’d the effect of your own purpose, Whether you had not, sometime in your life, Err’d in this point, which now you censure him, And pull’d the law upon you. Ang. ’Tis one thing to be tempted, Escalus, Amathes thing to fall. I not deny, The jury, passing on the prisoner’s life, May in the sworn twelve have a thief or two 20 Guiltier than him they try; what’s open made to justice, That justice seizes : what know the laws, That thieves do pass on thieves? “Tis very pregnant, The jewel that we find, we stoop and take it, Because we see it ; but what we do not see, We tread upon, and never think of it. You may not so extenuate his offence For I have had such faults ; but rather tell me, When I, that censure him, do so offend, Let mine own judgment pattern out my death, And nothing come in partial. Sir, he must die. FEscal. Be it as your wisdom will. Ang. Where is the provost ? Prov. Here, if it like your honour. Ang. See that Claudio Be executed by nine to-morrow morning. Bring him his confessor, let him be prepar’d ; For that’s the utmost of his pilgrimage. [Exit Provost. Escal. Well, Heaven forgive him, and forgive usall! Some rise by sin, and some by virtue fall: Some run from brakes of vice, and answer none, And some condemned for a fault alone. Enter ELBow and Officers, with FRoTH and Clown. Elb. Come, bring them away. If these be good people in a commonweal, that do nothing but use their abuses in common houses, I know no law: bring them away. , Ang. How now, sir! What’s your name, and what’s the matter? Elb. If it please your honour, I am the poor duke’s constable, and my name is Elbow: I do lean upon 10 30 justice, sir; and do bring in here before your good onour two notorious benefactors. Ang. Benefactors! Well; what benefactors are they? are they not malefactors? 4b. If it please your honour, I know not well what they are; but precise villains they are, that 1 am sure of, and void of all profanation in the world, that good Christians ought to have. Escal. This comes off well: here’s a wise officer. Ang. Go to: what quality are they of? Elbow is your name: why dost thou not speak, Elbow? Clo. He cannot, sir: he’s out at elbow. Ang. What are you, sir? Elb. He, sir? a tapster, sir; parcel-bawd; one that serves a bad woman, whose house, sir. was, as they say, pluck’d down in the suburbs; and now she professes a hot-house, which, I think, is a very ill house too. Escal. How know you that? Elb. My wife, sir, whom I detest before Heaven and your honour, — fscal. How! thy wife? Eilb. Ay, sir; whom, I thank Heaven, is an honest woman,— 71 Escal. Dost thou detest her therefore? Elb. I say, sir, I will detest myself also, as well as she, that this house, if it be not a bawd’s house, it is pity of her life, for it is a naughty house. fiscal. How dost thou know that, constable? lb. Marry, sir, by my wife; who, if she had been a woman cardinally given, might have been accused in fornication, adultery, and all uncleanliness there. Escal. By the woman’s means? Elb. Ay, sir, by Mistress Overdone’s means ; but as she spit in his face, so she defied him. Clo. Sir, if it please your honour, this is ‘not so. Elb. Prove it before these varlets here, thou honour- able man, prove it. Escal. { ‘0 ANGELO.] Do you hear how he misplaces? Clo. Sir, she came in great with child, and longing (saving your honour’s reverence) for stew’d prunes. Sir, we had but two in the house, which at that very distant time stood, as it were, in a fruit-dish, a dish of some three-pence: your honours have seen such dishes; they are not China dishes, but very good dishes. 93 Escal. Go to, go to: no matter for the dish, sir. | Clo. No, indeed, sir, not of a pin; you are therein in the right; but to the point. As I say, this Mistress Elbow, being, as I say, with child, and being great- bellied, and longing, as I said, for prunes, and having but two in the dish, as I said, Master Froth here, this very man, having eaten the rest, as I said, and, a8 I say, paying for them very honestly ;—for, a8 you know, Master Froth, I could not give you three-pence again. ; 103 Froth. No, indeed. Clo. Very well: you being then, if you be remem- _ ber’d, cracking the stones of the foresaid prunes,—_. Scene I] MEASURE FOR MEASURE. 659 Froth. Ay, so I did, indeed. ' Clo. Why, very well: I telling you then, if you be remember’d, that such a one, and such a one, were past cure of the thing you wot of, unless they kept wer good diet, as I told you,— 111 oth. All this is true. Clo, Why, very well then,— Escal, Come ; you are a tedious fool: to the purpose. —What was done to Elbow’s wife, that he hath cause i complain of? Come me to what was done to er. Clo. Sir, your honour cannot come to that yet. Escal. No, sir, nor I mean it not. Clo. Sir, but you shall come to it, by your honour’s leave. And, I beseech you, look into Master Froth here, sir; a man of fourscore pound a year, whose father died at Hallowmas.—Was’t not at Hallowmas, Master Froth? Froth. All-Hallownd eve. _Clo. Why, very well: I hope here be truths. He, sir, sitting, as I say, in a lower chair, sir ;—’t was in the Bunch of Grapes, where, indeed, you have a delight to sit; have you not? Froth. I have so, because it is an open room, and good for winter. . Clo. Why, very well then: I hope here be truths, Ang. This will last out a night in Russia, When nights are longest there. I’ll take my leave, And leave you to the hearing of the cause, Hoping you ll find good cause to whip them all. scal. I think no Jess. Good morrow to your lord- ship. [Exit ANGELO.] Now, sir, come on: what was done to Elbow’s wife, once more? Clo. Once, sir? there was nothing done to her once. Elb. L beseech you, sir, ask him what this man did to my wife. 142 Clo. I beseech your honour, ask me. Escal. Well, sir, what did this gentleman to her? Clo.. 1 beseech you, sir, look in this gentleman’s face. —Good Master Froth, look upon his honour; ’tis for a good purpose. Doth your honour mark his face? Escal. Ay, sir, very well. Clo. Nay, I beseech you, mark it well. Escal. Well, I do so. 150 Clo. Doth your honour see any harm in his face? Escal. Why, no. Clo. I'll be supposed upon a book, his face is the worst thing about him. Good then; if his face be the worst thing about him, how could Master Froth do the constable’s wife any harm? I would know that of your honour. . Escal. He’s in the right. Constable, what say you 0 it? lb, First, an it like you, the house is a respected house; next, this isa respected fellow, and his mistress is a respected woman. Clo. By this hand, sir, his wife is a more respected person than any of us all. Elb. Variet, thou liest: thou liest, wicked varlet. The time is yet to come that she was ever respected with man, woman, or child. Clo, Sir, she was respected with him, before he married with her. Escal. Which is the wiser here? Justice, or gay 2LIs this true ? 171 b._O thou caitiff! O thou varlet! O thou wicked Hannibal! I i se with her, before I was married to her?If ever I was respected with her, or she with me, let not your worship think me the poor duke’s Officer. Prove this, thou wicked Hannibal, or I'll have mine action of battery on thee. Escal. If he took you_a box o’ th’ ear, you might have your action of slander too. _ Hlb. Marry, I thank your pond. worship for it. What is’t your worship’s pleasure caitiff? _ Escal. Truly, officer, because he hath some offences in him, that thou wouldst discover if thou couldst, let him continue in his courses, till thou know’st what they are. lb, Marry, I thank-your worship for it.—Thou seest, thou wicked varlet, now, what’s come upon shall do with this eet thee: thou art to continue; now, thou varlet, thou art to continue. 190 Escal. Where were you born, friend ? Froth. Here in Vienna, sir. £Escal. Are you of fourscore pounds a year ? Froth. Yes, an’t please you, sir. Escal. So.—What trade are you of, sir? Clo. A tapster ; a poor widow's tapster. £scal. Your mistress’ name ? Clo. Mistress Overdone. £scal. Hath she had any more than one husband? Clo. Nine, sir; Overdone by the last. Escal. Nine!—Come hither to me, Master Froth. Master Froth, I would not have you acquainted with tapsters ; they will draw you, Master Froth, and you will hang them. Get you gone, and let me hear no more of you. . Froth. I thank your worship. For mine own part, I never come into any room in a taphouse, but J am drawn in, Escal. Well: no more of it, Master Froth: farewell. [Exit Frotu.J]—Come you hither to me, master tap- ster. What’s your name, master tapster? 211 Clo. Pompey. Escal. What else? Clo. Bum, sir. ' : Escal. ’Troth, and your bum is the greatest thing about you, so that, in the beastliest sense, you are Pompey the Great. Pompey, you are partly a bawd, Pompey, howsoever you colour it in being a tapster. Are you not? come, tell me true: it shall be the better for you. 220 Clo. Truly, sir, 1am a poor fellow that would live. Escal. How would you live, Pompey? by being a bawd? What do you think of the trade, Pompey? is it a lawful trade? Clo. If the law would allow it, sir. £scal. But the law will not allow it, Pompey ; nor it shall not be allowed in Vienna. Clo. Does your worship mean to geld and splay all the youth of the city. Escal. No, Pompey. 230 Clo. Truly, sir, in my poor opinion, they will to’t then. If your worship will take order for the drabs and the knaves, you need not to fear the bawds. Escal. There are pretty orders beginning, I can tell you: it is but heading and hanging. Clo. If you head and hang all that offend that way but for ten year together, you’ll be glad to give out a commission for more heads. If this law hold in ‘Vienna ten year,.I’ll rent the fairest house in it after three-pence a bay. If you live to see this come to pass, say, Pompey told you so. 241 fiscal. Thank you, good Pompey; and, in requital of your prophecy, hark you :—I advise you, let me not find you before me again upon any complaint what- soever ; no, not for dwelling where you do: if I do, Pompey, I shall beat you to your tent, and prove a shrewd Cesar to you. In plain dealing, Pompey, I shall have you whipt. So, for this time, Pompey, tare you well. : Clo. I thank your worship for your good counsel; [aside] but I shall follow it, as the flesh and fortune shall better determine. net 252 hip me? No, no; let carman whip his jade ; The valiant heart’s not whipt out of his trade. i rt. Escal. Come hither to me, Master Elbow; come hither, master constable. How long have you been in this place of constable ? . Elv. Seven year and a half, sir. ‘Escal. I thought, by the readiness in the office, you had continued in it some time. You say, seven years together? : 261 lb. And a half, sir. : Escal. Alas! it hath been great pains to you. They do you wrong to et you so oft upon ’t. Are there not men in your ward sufficient to serve it? Elb. Faith, sir, few of any wit in such matters. As they are chosen, they are glad to choose me for them: I do it for some piece of money, and go through with all. 660 MEASURE FOR MEASURE. fAct I. Escal. Look you bring me in the names of some six or seven, the most sufficient of your parish. 271 Elb. To your worship’s house, sir? M Escal. To my house. Fare you well. [Exit ELBow. What’s o’clock, think you? Just. Eleven, sir. ; as ee ao home to dinner with me. Just. um ank you. Escal. It eriehee me for the death of Claudio ; But iy i) po remem . Lor elo is severe. meee: , = It is but needful: 280 Mercy is not itself, that oft looks so ; Pardon is still the nurse of second woe. But yet, poor Claudio !—There is no remedy. Come, sir. [Exeunt. ScEeNE II.—Another Room in the Same. Enter Provost, and a Servant. Serv. He's hearing of a cause: he will come straight. I’ll tell him of you. ; : Prov. Pray pea, do. [Exit Servant.] I'll know His pleasure ; may be, he will relent. Alas! He hath but as offended in a dream : ‘All sects, all ages smack of this vice, and he To die for it !— Enter ANGELO, Ang. Now, what’s the matter, provost ? Prov. Is it your will Claudio shall die to-morrow ? Ang. Did I not tell thee, yea? hadst thou not order? Why dost thou ask again ? Prov. Lest I might be too rash. Under your good correction, I have seen, 10 When, after execution, judgment hath Repented o’er his doom. . Ang. Go to; let that be mine: Do you your office, or give up your place, And you shall well be spar'd. Prov. I crave your honour’s pardon. What shall be done, sir, with the groaning Juliet ? She’s very near her hour, Ang. Dispose of her To some more fitter place, and that with speed. Re-enter Servant. Serv. Here is the sister of the man condemn ’‘d, Desires access to you. Hath he a sister? Ang. Prov. Ay, my good lord; a very virtuous maid, 20 And to be shorily of a sisterhood, If not already. aing. Well, let her be admitted. [Hxit Servant. See you the fornicatress be remov’d: Let her have needful, but not lavish, means; There shall be order for’t. Enter Lucio and ISABELLA. Prov. God save your honour! Ang. Stay a little while._[To IsaB.] You’re wel- come: what’s your will? Isab. Tam a woful suitor to your honour, Please but your honour hear me. Ang. Well; what’s your suit ? Isab. There is a vice, that most I do abhor, And most desire should meet the blow of justice, 30 For which I would not plead, but that I must ; For which I must not plead, but that Iam At war ’twixt will and will not. Well; the matter? Ang. Isab. I have a brother is condemn’d to die: I do beseech you, let it be his fault, And not my brother. Prov. [Aside.] Heaven give thee moving graces! Ang. Condemn the fault, and not the actor of it? Why, every fault ’s condemn’d ere it be done. Mine were the very cipher of a function, To fine the faults, whose fine stands in record, 40 And let go by the actor. Isab. O just, but severe law! Thad a brother then.—Heaven keep your honour ! Lucio. [To Isau.] Give’t not o’er so: to him again, entreat him ; Kneel down before him, hang upon his gown; You are too cold: if you should need a pin, You could not with more tame a tongue desire it. To him, I say! Isab. Must he needs die? are: 7 Maiden, no remedy. Isab. Yes; I do think that you might pardon him, And neither Heaven, nor man, grieve at the mercy, 50 Ang. I will not do’t. Isab. But can you, if you would? Ang. Look; what I will not, that I cannot do. Isab. But might you do’t, and do the world no wrong, If so your heart were touch’d with that remorse As mine is to him? Ang. He’s sentenc’d: ’t is too late. Lucio. [To IsaB.] You are too cold. Isab. Too late? why, no; I, that do speak a word, May call it back again. Well, believe this, No ceremony that to great ones ‘longs, Not the king’s crown, nor the deputed sword, 60 The marshal’s truncheon, nor the judge’s robe, Become them with one half so good a grace As mercy does. If he had been as you, and you as he, You would have slipp'd like him ; but he, like you, Would not have been so stern. ng Pray you, be gone. Isab. I would to Heaven I had your potency, And you were Isabel! should it then be thus? No; I would tell what ’t were to be a judge, And what a prisoner. Lucio. [To IsaB.] Ay, touch him; there’s the vein. 70 Ang. Your brother is a forfeit of the law, And you but waste your words. Isab. ‘ Alas! alas! Why, all the souls that were were forfeit once; And He that might the vantage best have took, Found out the remedy. How would‘you be, If.He, which is the top of judgment, should But judge you as youare? O, think on that, And mercy then will breathe within your lips Like man new-made! arte Be you content, fair maid, It is the law, not I, condemns your brother: Were he my kinsman, brother, or my son, It should be thus with him : he must die to-morrow. Isab. To-morrow? O, that’s sudden! Spare him, spare him! He’s not prepar’d for death. Even for our kitchens We kill the fowl of season: shall we serve Heaven With less respect than we do minister : To our gross selves? Good, good my lord, bethink you: Who is it that hath died for this offence? There’s many have committed it. Lucio, {To IsaB.] Ay, well said. Ang. The law hath not been dead, though it ae slept: Those many had not dar’d to do that evil, If the first, that did the edict infringe, Had answer’d for his deed : now,’t is awake, Takes note of what is done, and, like a prophet, Looks in a glass, that shows what future evils, Either new, or by remissness new-conceiv’d, And so in progress to be hatch’d and born, Are now to have no successive degrees, But, ere they live, to end. : Isab. Yet show some pity. ‘Ang. I show it most of all, when I show justice ; 100 For then I pity those I do not know, Which a dismiss'd offence would after gall, And do him right, that, answering one foul wrong, Lives not to act another. Be satisfied: Your brother dies to-morrow : be content. 7 Zsab. So you must be the first that gives this seh- ence, And he that suffers. O! it is excellent To havea pone strength, but it is tyrannous To use it like a giant. Scene II.) MEASURE FOR MEASURE. 661 Lucio. [To IsaB.] That’s well said. Isab. Could great men thunder As Jove himself does, Jove would ne’er be quiet, For every pelting, petty ofticer As make the angels weep; who, wit. o His glassy essence,—like an angry ape, 120 Plays such fantastic tricks before high heaven, our spleens, Would all themselves laugh mortal. Isab. “To-morrow? O, that’s sudden! Spare bim, spare him!” Would a his heaven for thunder ; nothing but thun- er.— Merciful Heaven! Thou rather with thy sharp and sulphurous bolt Splitt’st the unwedgeable and gnarled oak, an the soft myrtle; but man, proud man! Drest in a little brief authority, ost ignorant of what he’s most assur’d, Lucio. [To IsaB.] O, to him, to him, wench! He will relent: He’s coming ; I perceive’t. Prov. (Aside.] _Pray Heaven, she win him! Jsab. £ cannot weigh our brother with our- self: Great men may jest with saints: ’t is wit in them, But in the less foul vrofanation. 662 Lucio. Le IsaB.] Thou’rt in the right, girl: more o’ tha Isab, That in the captain's but.a choleric word, 130 Which in the soldier is flat. blasphemy. \ Lucio. [To IsaB.] Art avis’d o’ that? more on't. «ing. Why do you put these sayings upon me? Isab. Because authority, though it err like others, Hath yet a kind of medicine in itself, That skins the vice o’ the top. Go to your bosom; Knock there, and ask your heart, what it doth know That’s like my brother's fault : if it confess A natural guiltiness, such as is his, Let it not sound a thought upon your tongue 140 Against my brother's life. i Ang. [Aside.] She speaks, and’tis Such sense, jah my sense breeds with it. Fare you well, . Isab. Gentle eh lord, turnback. Ang. I will bethink me.—Come again to-morrow. Isab. Hark, how I'll bribe you. Good my lord, turn back. Ang. How, bribe me? Isab. Ay, with such gifts, that Heaven shall share with you. Lucio. [To IsaB.] You had marr’d all else. Isab. Not with fond shekels of the tested gold, Or stones, whose rates are either rich or poor As fancy values them; but with true prayers, That shall be up at heaven, and enter there Ere sunrise : prayers from preserved souls, From fasting maids, whose minds are dedicate To nothing temporal. 150 Ang. Well; come to me to-morrow. Lucio. [To IsaB.] Go to; ’tis well: away! Isab. Heaven keep your honour sate! Ang. [Aside.] For I am that way going to temptation, ‘Where prayers cross. Amen: Isab. At what hour to-morrow Shall I attend your lordship? Ang. At any time ‘fore noon. 160 fsab. ’Save your honour! [Ezeunt Lucio, ISABELLA, and Provost. Ang. From thee; even from thy virtue !— What’s this? what’s this? Is this her fault, or mine? pe tempter, or the tempted, who sins most? a Not she, nor doth she tempt; but it is I, That, lying by the violet in the sun Do, as the carrion does, not as the flower, Corrupt with virtuous season. Can it be, That modesty may more betray our sense 170 Than spscet es lightness? Having waste ground enough, Shall we desire to raze the sanctuary, And pitch our evils there? O, fie, fie, fie! What dost thou, or what art thou, Angelo? Dost thou desire her foully for those things That make her good? O, let her brother live! Thieves for their robbery have authority, When judges steal themselves. What! do I love her, That I desire to hear her speak again, And feast upon her eyes? What is't I dream on? 180 O cunning enemy, that, to catch a saint, With saints dost bait thy hook! Most dangerous Is that temptation, that doth goad us on ‘To sin in loving virtue. Never could the strumpet, With all her double vigour, art and nature, Once stir my temper; but this virtuous maid Subdues me quite.—Ever, till now, When men were fond, I smil’d, and wonder’d poe i. ait, Scenxr III.—A Room in a Prison. Enter DukE, disguised as a Friar, and Provost. Duke. Hail to you, provost; so I think you are. Prov. q am * provost. What’s your will, good riar Duke. Bound by my charity, and my bless’d order, I come to visit the afflicted spirits MEASURE FOR MEASURE. [Acr I. Here in the prison: do me the common right To let me see them, and to make me know The nature of their crimes, that I may minister ‘To them accordingly. ~ Prov. I would do more than that, if more were needful. Look, here comes one: a gentlewoman of mine, 10 Who, falling in the flames of her own youth, Hath blister’d her report. She is with child, And he that got it, sentenc’d—a young man More fit to do another such offence, Than die for this, Enter JULIET. Duke. When must he die? Prov. As I do think, to-morrow.— [Yo JULIET.] T have provided for you: stay awhile, And you shall be conducted. Duke. Repent you, fair one, of the sin you carry? Juliet. I do, and bear the shame most patiently. 20 Duke. I'll teach you how you shall arraign your conscience, And try your penitence, if it be sound, Or hollowly put on. , Juliet. I'll gladly learn. Duke. Love you the man that wrong’d you? Juliet. Yes, as I love the woman that wrong’d him. Duke. So then, it seems, your most offenceful act Was mutually committed ? Juliet. Mutually. Duke. Then was your sin of heavier kind than his, Juliet. I do confess it, and repent it, father. Duke. 'T is meet so, daughter : but lest you do repent, As that the sin hath brought you to this shame; 31 Which sorrow is always toward ourselves, not Heaven, Showing, we would not spare Heaven as we love it, But as we stand in fear- Juliet. I do repent me, as it is an evil, And take the shame with joy. Duke. There rest. Your partner, as I hear, must die to-morrow, And I am going with instruction to him. Grace go with you! Benedicite! (Exit. Juliet. Must die to-morrow! O, injurious love, 40 That respites me a life, whose very comfort Is still a dying horror! Prov. [Exeunt. ?T is pity of him. ScEeNE IV.—A Room in ANGELO’s House. Enter ANGELO. Ang. When I would pray and think, I think and pray To several subjects: Heaven hath my empty words, Whilst my invention, hearing not my tongue, Anchors on Isabel: Heaven in my mouth As if I did but orc hisname, __ And in my heart the strong and swellin, Of my conception. The state, whereon Is like a good thing, being oftenread, Grown sear’d and tedious; yea, my gravity, Wherein (let no man hear me) I take pride, 10 Could I, with boot, change for an idle plume, Which the air beats for vain. O place! O form! How often dost thou with thy case, thy habit, Wrench awe from fools, and tie the wiser souls To thy false seeming !— Blood, thou art blood: Let’s write good angel on the devil’s horn, ’T is not the devil’s crest. evil studied, Enter a Servant. How now! who’s there? Serv. One Isabel, a sister, Desires access to you. 2 : Ang. Teach her the way. [Exit Servant, O heavens! Why does my blood thus muster to my heart, Making both it unable for itself, And dispossessing all my other parts Of necessary fitness? So play the foolish throngs with one that swoons; ScENE IV.] MEASURE FOR MEASURE. 663 Come all to help him, and so stop the air Be which he should revive: and even so The general, subject to a well-wish’d king, Quit their own part, and in obsequious fondness Crowd to his presence, where their untaught love 30 Must needs appear offence. Enter ISABELLA. How now, fair maid? Isab. Jam come to know your pleasure. Ang. That you might know it, onl much better please me, Than to ene what ‘tis. Your brother cannot live. Isab. Even so.—Heaven keep your honour! : [Retiring. Ang. Yet may he live awhile; and, it may be, As long as you, or I: yet he must die. Isab. Under your sentence ? Ang. Yea. Isab. When, I beseech you? that in his reprieve, 40 Longer or shorter, he may be so fitted, That his soul sicken not. Ang. Ha! fie, these filthy vices! It were as good To pardon him, that hath from nature stolen A man already made, as to remit Their saucy sweetness, that do coin Heaven's image In stamps that are forbid: ’t is all as easy Falsely to take away a life true made, As to put metal in restrained means, To make a false one. 50 Isab. ’T is set down so in heaven, but not in earth. Ang. Say you so? then, I shall pose you quickly. Which had you rather, that the most just law Now took your brother’s life, or, to redeem him, Give up your body to such sweet uncleanness As she that he hath stain’d? Isab. Sir, believe this, Thad rather give my body than my soul. Ang. I talk not of your soul. Our compell’d sins Stand more for number than for ae Isab. ow say you? Ang. Nay, I'll not warrant that; for I can speak 60 Against the thing I say. Answer to this :— I, now the voice of the recorded law, Pronounce a sentence on your brother's life: Might there not be a charity in sin, To save this brother’s life ? Isab. Please you to do’t, T'll take it asa pert to my soul: It is no sin at all, but charity. Ang. Pleas’d you to do’t, at peril of your soul, Were equal poise of sin and charity. Isab. That I do beg his life, if it be sin, 70 Heaven let me bear it! you granting of my suit, If that be sin, I’ll make it my morn-prayer To have it added to the faults of mine, And nothing of your answer. Ang. Nay, but hear me. Your sense pursues not mine: either you are ignorant, Or seem so, craftily ; and that’s not good. Zsab. Let me be ignorant, and in nothing good, But graciously to know I am no better. Ang. Thus wisdom wishes to appear most bright, When it doth tax itself : as these black masks 0 Proclaim an enshield beauty ten times louder Than beauty could, display’d.—But mark me ; To be received plain, I'll speak more gross : Your brother is to die. Isab. So. Ang. And his offence is so, as it appears Accountant to the law upon that pain. Isab, True. Ang. Admit no other way to save his life, (As I subscribe not that, nor any other, 90 But in the loss of question) that you, his sister, Finding yourself desir’d of such a person, Whose credit with the judge, or own great place, Could fetch your brother from the manacles Of the all-building law, and that there were No earthly mean to save him, but that either You must lay down the treasures of your body a To this suppos’d, or else to let him suffer, What would you do? Isab. As much for my poor brother, as myself: -100 That is, were I under the terms of death, The impression of keen whips I’d wear as rubies, And strip myself to death, as to a bed : That longing have been sick for, ere I’d yield My body up to shame. . Ang. “ He shall not, Isabel, if you give me love.” ging. Then must your brother die. Isab. And ’t were the cheaper way. Better it were, a brother died at once, Than that a sister, by redeeming him, Should die for ever. Ang. Were not you then as cruel as the sentence That you have slander’d so? 111 Isab. Ignomy in ransom, and free pardon, Are of two houses : lawful mercy Is nothing kin to foul redemption. Ang. Youseem’d of late to make the law a tyrant; And rather prov’d the sliding of your brother A merriment, than a vice. Isab. O, pardon me, my lord! it oft falls out, To have what we would have, we speak not what we mean. I something do excuse the thing I hate, 120 For his advantage that I dearly love. Ang. We are all frail. Isab. Else let my brother die, If not a fedary, but only he, Owe and succeed thy weakness. Ang. Nay, women are frail too. Isao. AY as the glasses where they view them- selves, Which are as easy broke as they make forms. Women !—Help Heaven! men their creation mar In profiting by them. Nay, call us ten times frail, For we are soft as our complexions are, 130 And credulous to false prints. I think it well; ng. And Baa this testimony of your own sex, (Since, I suppose, we are made to be no stronger, Than faults may shake our frames) let me be bold: I do arrest your words. Be that you are, 664 MEASURE FOR MEASURE. fAcr IIL That is, a woman ; if you be more, you re none; If you be one (as you are well express’d By all external warrants), show it now, By putting on the destin’d livery. Isab. I have no tongue but one: gentle my lord, 140 Let me entreat you speak the former language. Ang. Plainly conceive, I love you. Isab. My brother did love Juliet ; and you tell me, That he shall die for ’t. Ang. He shall not, Isabel, if you give me love. Isab. I know, your virtue hath a license in’t, Which seems a little fouler than it is, To pluck on others. Ang. Believe me, on mine honour, My words express my purpose. U Taau. Ha! little honour to be much believ’d, —-150 And most pernicious purpose !—Seeming, seeming !— I will proclaim thee, Angelo; look fort: Sign me a present pardon for my brother, Or with an outstretch’d throat I’ll tell the world Aloud what man thou art. Ang. Who will believe thee, Isabel? My unsoil’d name, the austereness of ny life, My vouch against you, and my place i’ the state, Will so your accusation overweigh, That you shall stifle in your own report, And smell of calumny, I have begun, 160 And now I give my sensual race the rein: | Fit thy consent to my sharp appetite ; Lay by all nicety, and prolixious blushes, That banish what they sue for ; redeem thy brother By yielding up thy body to my will, Or else he must not only die the death, But thy unkindness shall his death draw out To lingering sufferance. Answer me to-morrow, Or, by the affection that now guides me most, I'll prove a tyrant to him. As for you, Say what you can, my false o’erweighs your true. Exit, Isab. To whom should I complain? Did I tell this, Who would believe me? O pertlous mouths! That bear in them one and the selfsame tongue, Either of condemnation or approof, Bidding the law make court'sy to their will, Hooking both right and wrong to the appetite, To follow as it draws. I’ll to my brother: Though he hath fallen by prompture of the blood, Yet hath he in him such a mind of honour, That, had he twenty heads to tender down On twenty bloody blocks, he ’d yield them up, Before his sister should her body stoop To such abhorr’d pollution. Then, Isabel, live chaste, and, brother, die: More than our brother is our chastity. | I’ll tell him yet of Angelo’s request, ' And fit his mind to death, for his soul’s rest. [Erit, 170 ” 180 ACT Ifl. ScENE I.—A Room in the Prison. d Duke, vu, then you hore of pardon from Lord Angelo? € Claud. The miserable have no other medicine, But only hope. I have me to live, and am prepar’d to e. 1€. Duke. Be absolute for death; either death, or life, Shall thereby be the sweeter. Reason thus with life :— If I do lose thee, I do lose a thing That none but fools would keep; a breath thou art, Servile to all the skyey influences, That do this habitation, where thou keep’st, 10 Hourly afflict. Merely, thou art death’s fool; For him thou labour’st by thy flight to shun, And yet yw aee toward him still. Thou art not noble ; For all the accommodations that thou bear’st : Are nurs’d by baseness. Thou art by no means valiant ; For thou dost fear the soft and tender fork Of a poor worm. Thy best of rest is sleep, And that thou oft provok’st ; yet grossly fear’st Thy death, which is no more. Thou art not thyself; For thou exist’st on many a thousand grains 20 That issue out of dust. appy thou art not; For what thou hast not, still thou striv’st to get, And what thou hast, forgett’st. Thou art not certain; For thy complexion shifts to strange effects, Enter DUKE, as a Friar, CLAUDIO, and Provost. After the moon. If thou art rich, thou’rt poor; For, like an ass, whose back with ingots bows, Thou bear’st thy heavy riches but a journey, And death unloads thee. Friend hast thou none; For thine own bowels, which do call thee sire, The mere effusion of thy proper loins, Do curse the gout, serpigo, and the rheum, For ending thee no sooner. Thou hast nor youth, nor age, But, as it were, an after-dinner’s ee Dreaming on both ; for all thy blessed youth Becomes as aged, and doth beg the alms : Of palsied eld : and when thou art old and rich, Thou hast neither heat, affection, limb, nor beauty, To make thy riches pleasant. What’s yet in this, That bears the name of life? Yet in this life Lie hid more thousand deaths, yet death we fear, 40 That makes these odds all even. Claud, I humbly thank you. To sue to live, I find I seek to die, And, seeking death, find life : let it come on. Isab. [Without.] What, ho! Peace here; grace and Sood company ! Prov. Who’s there? come in: the wish deserves & welcome. Duke. Dear sir, ere lon Claud. Most holy sir, Enter ISABELLA. Isab. My business is a word or two with Claudio. | Prov. And very welcome. Look, signior; here’s your sister. Duke. Provost, a word with you. Prov. As many as you please. 50 I'll visit you again. thank you. Scene I.] Duke. Bring me to hear them speak, where I may be conceal’d. [Hxeunt DUKE and Provost. Claud. Now, sister, what's the comfort ? ; Isab. Why, as all comforts are; most good, most good, indeed. Lord Angelo, having affairs to heaven, Intends you for his swift ambassador, Where you shall be an everlasting leiger : Therefore, your best appointment make with speed; To-morrow you set on. Claud. Is there no remedy ? Isab. None, but such remedy, as to save a head To cleave a heart in twain. Claud. But is there any? 60 Isab. Yes, brother, you may live: There is a devilish mercy in the judge, If youll implore it, that will free your life, But fetter you till death. Claud. Perpetual durance? Isab. Ay, just; perpetual durance: a restraint, Though all the world’s vastidity you had, To a determin’d scope. Claud. But in what nature ? Isab. In such a one as, you consenting to ’t, Would bark your honour from that trunk you bear, And leave you naked. Claud. Let me know the point. 70 Isab. O, I do fear thee, Claudio; and I quake, Lest thou a feverous life shouldst entertain, And six or seven winters more respect Than a perpetual honour. Dar’st thou die? The sense of death is most in apprehension, And the poor beetle, that we tread upon, In corporal sufferance finds a pang as great As when a giant dies. : Claud. Why give you me this shamc? Think you I can a resolution fetch From flowery tenderness? If I must die, 80 I will encounter darkness as a bride, And hug it in mine arms. Isab. There spake my brother: there my father’s grave Did utter forth a voice. Yes, thou must die: Thou art too noble to conserve a life In base appliances. This outward-sainted deputy, Whose settled visage and deliberate word Nips youth i’ the head, and follies doth emmew, As falcon doth the fowl, is yet a devil ; His filth within being cast, he would appear 90 A pond as deep as hell. \ laud. The princely Angelo? Isab. O, ‘tis the cunning livery of hell, The damned'st body to invest and cover d In Panedy guards! Dost thou think, Claudio ?— If I would yield him my virginity, Thou mightst be freed. Claud. O heavens! it cannot be. Isab. Yes, he would give it thee, from this rank offence, So to offend him still. This night’s the time That I should do what I abhor to name, Or else thou diest to-morrow. Claud. Thou shalt not do ’t. 100 Isab. O! were it but my life, I’d throw it down for your deliverance As frankly as a pin. laud. Thanks, dear Isabel. Isab. Be ready, Claudio, for your death to-morrow. Claud. Yes. Has he atfections in him, That thus can make him bite the law by the nose, When he would force it? Sure, it is no sin; Or of the deadly seven it is the least. Isab. Which is the least ? Claud. If it were damnable, he, being so wise, 110 Why would he for the momentary trick Be perdurably fin’d ?—O Isabel ! Isab. What says my brother? : Claud. Death is a fearful thing. Jsab. And shamed life a hateful. Claud. Ay, but to die, and _go we know not where ; To lie in cold obstruction, and to rot; This sensible warm motion to become MEASURE FOR MEASURE. / 665 A kneaded clod; and the delighted spirit} 'Lo bathe in fiery floods, or to reside In thrilling regions of thick-ribbed ice ; ‘To be imprison’d in the viewless winds, And blown with restless violence round about The pendant world ; or to be worse than worst Of those that lawless and incertain thoughts Imagine howling !—’t is too horrible. The weariest and most loathed worldly life, 120 N\ N Isab. “I'll pray a thousand prayers for thy death, No word to save thee.” That age, ache, penury, and imprisonment Can lay on nature, is a paradise To what we fear of death. Isab. Alas! alas! Claud. Sweet sister, let me live. What sin you do to save a brother's lite, Nature dispenses with the deed so far, That it becomes a virtue. Isab. O you beast! O faithless coward! O dishonest wretch! Wilt thou be made a man out of my vice? Is't not a kind of incest, to take life From thine own sister's shame? What should I think ? Heaven shield, my mother play’d my father fair ; For such a warped slip of wilderness Neer issu’d from his blood. Take my defiance: Die; perish! Might but my bending down Reprieve thee from thy fate, it should proceed. I'll pray a thousand prayers for thy death, No word to save thee. Claud. Nay, hear me, Isabel. Isab. O, fie, fie, fie! Thy sin’s not accidental, but a trade. Mercy to thee would prove itself a bawd: "lis best that thou diest quickly. Claud. 130 140 [Going. O hear me, Isabeiia ! Re-enter Dur. Duke. Vouchsafe a word, young sister; but one word. 150 Isab,. What is your will? Duke. Might you dispense with your leisure, I would by-and-by have some speech with you: the 666 satisfaction I would require, is likewise your own benetit. Isab. I have no superfluous leisure: my stay must be stolen out of other affairs; but I will attend you awhile. 158 Duke. [Aside to CLAUDIO.] Son, I have overheard what hath passed between you and your sister. Angelo had never the purpose to corrupt her; only ne hath made an assay of her virtue, to practise his judgment with the disposition of natures. She, having the truth of honour in her, hath made him that racious denial which he is most glad to receive: f am confessor to Angelo, and I know this to be true; therefore prepare yourself to death. Do not satisfy your resolution with hopes that are fallible : to-morrow you must die. Go; to your knees, and make ready. 170 Claud. Det me ask my sister pardon. I am so out of love with life, that I will sue to be rid of it. Duke. Hold you there: farewell. [Exit CLAUDIO. Re-enter Provost. Provost, a word with you. Prov. What's your will, father ? Duke. That now you are come, you will be gone. Leave me awhile with the maid: my mind promises with my habit, no loss shall touch her by my company. Prov. In good time. : rut, Duke. The hand that hath made you fair hath made you good: the goodness that is cheap in beauty makes beauty brief in goodness; but grace, being the soul of your complexion, shall keep the body of it ever fair. The assault, that Angelo hath made to yous fortune hath convey'd to my understanding ; and, but that frailty hath examples for his falling, I should wonderat Angelo. How will you do tocontent this substitute, and to save your brother? 1 Jsab. Tam now going toresolve him. I had rather my brother die by the law, than my son should be unlawfully born. But O, how much is the good duke deceived in Angelo! If ever he return, and I can speak to him, I will open my lips in vain, or discover his government. Duke. That shall not be much amiss; yet, as the matter now stands, he will avoid your accusation: he made trial of you only.—Therefore, fasten your ear on my advisings: to the love I have in doing good a remedy presents itself. I do make myself believe, that you may most uprighteously do a poor wronged lady a merited benefit, redeem your brother from the any law, do no stain to your own gracious person, and much please the absent duke, if, peradventure, he shall ever return to have hearing of this business. Isab. Let me hear you speak further. I have spirit to do anything that appears not foul in the truth of my spirit. Duke. Virtue is bold, and goodness never fearful. Have you not heard speak of Mariana, the sister of Frederick, the great soldier who miscarried at sea? 211 Isab. I have heard of the lady, and good words went with her name. Duke. She should this Angelo have married; was affianced to her by oath, and the nuptial appointed : between which time of the contract, and limit of the solemnity, her brother Frederick was wrecked at sea, having in that perish’d vessel the dowry of his sister. But mark how heavily this befell to the poor gentle- woman: there she lost a noble and renowned brother, in his love toward her ever most kind and natural ; with him the portion and sinew of her fortune, her marriage-dowry ; with both, her combinate husband, this well-seeming Angelo. Isab. Can this be so? Did Angelo so leave her? Duke, Left her in her tears, and dried not one of them with his comfort; swallowed his vows whole, pretending in her discoveries of dishonour: in few, oestowed her on her own lamentation, which she yet wears for his sake, and he, a marble to her tears, is washed with them, but relents not. 231 Isab. What a merit were it in death to take this poor maid from the world! What corruption in this MEASURE FOR MEASURE. [Act IIL. life, that it will let this man live !—But how out of this can she avail? Duke, It is a rupture that you may easily heal; and the cure of it not only saves your brother, but keeps you from dishonour in doing it. Isab. Show me how, good father. 239 Duke. This fore-named maid hath yet in her the continuance of her first affection : his unjust unkind- ness, that in all reason should have quenched her love, hath, like an impediment in the current, made it more violent and unruly. Go you to Angelo: answer his requiring with a plausible obedience: agree with his demands to the point; only refer your- self to this advantage,—first, that your stay with him may not be long, that the time may have all shadow and silence in it, and the place answer to convenience, This being granted in course,—and now follows all,— we shall advise this wronged maid to stead up your appointment, go in your place; if the encounter acknowledge itself hereafter, it may compel him to her recompense; and here by this is your brother: saved, your honour untainted, the poor Mariana. advantaged, and the corrupt deputy scaled. The maid will I frame, and make fit for his attempt. If you think well to carry this, as you may, the double- ness of the benefit defends the deceit from reproof, What think you of it? Isab. The image of it gives me content already, and, I trust, it will grow to a most prosperous per- fection. Duke. It lies much in your holding up. Haste you speedily to Angelo: if for this night he entreat you to his bed, give him promise of satisfaction. I will presently to Saint Luke’s; there, at the moated grange, resides this dejected Mariana: at that place call upon me, and despatch with Angelo, that it may be quickly. 270 Isab. I thank you for this comfort. good father. Fare you well, zceunt, ScENE II.—The Street before the Prison. Enter DuKE, asa Friar ; to him ELBow, Clown, and Officers. Elb. Nay, if there be no remedy for it, but that you will needs buy and sell men and women like beasts, we shall have all the world drink brown and white bastard. ; Duke. O heavens! what stuff is here? 4 Clo. "IT was never merry world, since, of two usuries, the merriest was put down, and the worser allow’d by order of law a furr’d gown to keep him warm; and furr’d with fox and lamb-skins too, to signify that craft, being richer than innocency, stands tor the facing. ll - lb, Come your way, sir.—’Bless you, good father riar. : Duke. And you, good brother father. What offence hath this man made you, sir? : Elb. Marry, sir, he hath offended the law: and, sir, we take him to be a thief too, sir; for we have foun upon him, sir, a strange picklock, which we have sent to the eee Duke, Fie, sirrah: a bawd, a wicked bawd! 20 The evil that thou causest to be done, 7 That is thy means to live. Do thou but think What ’t is to cram a maw, or clothe a back, From such a filthy vice : say to thyself, From their abominable and beastly touches I drink, I eat, array myself, and live. Canst thou believe thy living is a life, So stinkingly depending? Go mend, go mend. Clo. Indeed, it does stink in some sort, sir ; but yel sir, I would prove— Duke. Nay, if the devil have given thee proofs for. sin, Thou wilt prove his. Take him to prison, officer ; Correction and instruction must both work, Ere this rude beast will profit. Bi Elb. He must before the deputy, sir; he has given him warning. The deputy cannot abide a whore Scene II.) MEASURE FOR MEASURE. 667 master: if he be a whoremonger, and comes before him, he were as good go a mile on his errand. Duke. That we were all, as some would seem to be, From our faults, as faults from seeming, free ! 10 £ib. His neck will come to your waist,—a cord, sir. Clo. I spy comfort: I cry, bail. Here’s a gentle- man, and a friend of mine. Enter Lucio. Incio. How now, noble Pompey? What, at the wheels of Caesar? Art thou led in triumph? What, is there none of Pygmalion’s images, newly made woman, to be had now, for putting the hand in the ocket and extracting it clutch’d? What reply? Ha? hat say’st thou to this tune, matter, and method? Is t not drown’d i’ the last rain? Ha? What say’st thou, trot? Is the world as it was, man? Which is the way? Is it sad, and few words, or how? The trick of it? 53 Duke. Still thus, and thus: still worse ! Lucio. How doth my dear morsel, thy mistress? Procures she still? Ha? Clo. Troth, sir, she hath eaten up all her beef, and she is herself in the tub. Lucio. Why, ’tis good; it is the right of it; it must be so: ever your fresh whore, and your powder’d bawd: an unshunn’d consequence; it must be so. . Art going to prison, Pompey? 62 Clo. Yes, faith, sir. Lucio. Why, ’tis not amiss, Pompey. Farewell. ae Bays I sent thee thither. For debt, Pompey, or ow Elb. For being a bawd, for being a bawd. Lucio. Well, then imprison him. If imprisonment be the due of a bawd, why, ’tis his right: bawd is he, doubtless, andof antiquity too; bawd-born. Farewell, ot Pompey. Commend me to the prison, Pompey. ou will turn good husband now, Pompey ; you will keep the house. ie Clo, Thope, sir, your good worship will be my bail. Lucio. No, indeed, will I not, Pompey ; it is not the wear. I will pray, Pompey, to increase your bondage : if you take it not patiently, i your mettle is the more. Adieu, trusty Pompey.— Bless you, friar. Duke. And you. Lucio. Does Bridget paint still, Pompey? Ha? 980 , lb. Come your ways, sir; come. Clo. You will not bail me then, sir? sl io. Then, Pompey, nor now. — What news abroad, friar? What news? lb. Come your ways, sir; come. io. Go to kennel, Pompey ; go. [Exeunt ELBow, Clown, and Officers.] What news, friar, of the duke? Duke. I know none. Can youtellmeofany? | Lucio. Some say, he is with the emperor of Russia ; other some, he is in Rome: but where is he, tei you? 1 Duke. I know not where; but wheresoever, I wish him well. : Lucio. It was a mad fantastical trick of him, to steal from the state, and usurp the beggary he was never born to. Lord Angelo dukes it well in his absence : he puts transgression to ’t. Duke. He does well in ’t. Lucio. A little more lenity to Jechery would do no harm in him : something too crabbed that way, friar. Duke. It is too general a vice, and severity must cure it. - 102 Lucio. Yes, in good sooth, the vice is of a great kindred: it is well allied; but it is impossible to extirp it quite, friar, till eating and drinking be put down. They say, this Angelo was not made by man and woman, after this downright way of creation: js it true, think you? Duke. How should he be made, then? 109 Lucio. Some report, a sea-maid spawn’d him ; some, that he was begot between two stock-fishes. But it is certain, that when he makes water, his urine is congeal’d ice: that I know to be true; and he is a Motion generative, that’s infallible. | Duke. You are pleasant, sir, and speak apace. | Lucio. Why, what a ruthless thing is this in him, for the rebellion of a codpiece to take away the life of a man? Would the duke, that is absent, have done this? Ere he would have hang’d a man for the getting a hundred bastards, he would have paid for the nursing a thousand. He had some feeling of the sport : he knew the service, and that instructed him to mercy. 123 Lucio. “A very superficial, ignorant, unweighing fellow.” Duke. Inever heard the absent duke much detected for women: he was not inclined that way. Lucio. O, sir, you are deceived. Duke. '! is not possible, Lucio. Who? not the duke? yes, your beggar ov fifty, and his use was to put a ducat in her clack-dish. The duke had crotchets in him: he would be drunk too; that let me inform you. Duke. You do him wrong, surely. Lucio. Sir, I was an inward of his. A shy fellow was the duke; and, I believe, I know the cause of his withdrawing. Duke. What, I pr’ythee, might be the cause ? Lucio. No,—pardon :—’tis a secret must be lock’d within the teeth and the lips; but this I can let you understand,—the greater file of the subject held the duke to be wise. 140 Duke. Wise? why, no question but he was. 4 ny A very superficial, ignorant, unweighing ellow. Duke. Either this is envy in you, folly, or mistaking: the very stream of his life, and the business he hath helmed, must, upon a warranted need, give him a better proclamation. Let him be but testimonied in his own bringings-forth, and he shall appear to the envious a scholar, a statesman, and a soldier. There- fore, you speak unskilfully ; or, if your knowledge be more, it is much darken’d in your malice. 151 Lucio. Sir, I know him, and I love him. Duke. Love talks with better knowledge, and know- ledge with dearer love. : Lucio. Come, sir, I know what I know. Duke. I can hardly believe that, since you know not what you speak. But, if ever the duke return (as our prayers are he may), let me desire you to make your answer before him: if it be honest you have spoke, you have courage to maintain it. I am bound to call upon you; and, I pray you, your name? 161 668 MEASURE FOR MEASURE. Lucio. Sir, myname is Lucio, well known tothe duke. Duke. He shall know you better, sir, if I may live to | report you. ucio. I fear you not. Duke. O! you hope the duke will return no more, or you imagine me too unhurtful an opposite. But, indeed, I can do you little harm: you’ll forswear this again. | Lucio. I'll be hang’d first: thou art deceived in me, friar. Butnomore of this. Canst thou tell, if Claudio die to-morrow, or no? Duke. Why should he die, sir? . : Lucio. Why? for filling a bottle with a tun-dish. I would, the duke we talk of were return’d again: this ungenitur’d agent will unpeople the province with continency ; sparrows must not build in his house- eaves, because they are lecherous. The duke yet would have dark deeds darkly answer’d; he would never bring them to light: would he were return'd! Marry, this Claudio is condemn’d for untrussing. Farewell, good friar; I pr’'ythee, pray for me. The duke, I say to thee again, would eat mutton on Fridays. He’s now past it; yet, and I say to thee, he would mouth with a beggar, though she smelt brown bread and garlic: say, that [said so, Farewell. | [Exit. Duke. No might nor greatness in mortality Can censure scape : Pen calumny The whitest virtue strikes. What king so strong. Can tie the gall up in the slanderous tongue? But who comes here ? Enter Escatus, Provost, Baw, and Officers. Escal. Go: away with her to prison ! Bawd. Good my lord, be good to me; your honour is accounted a merciful man; good my lord. Escal. Double and treble admonition, and still forfeit in the same kind? This would make mercy swear, and play the tyrant. Prov. A bawd of eleven years’ continuance, may it please your honour. 199 Bawd, My lord, this is one Lucio’s information againstme. Mistress Kate Keepdown was with child by him in the duke’s time: he promised her marriage ; his child is a year and a quarter old, come Philip and Jacob; I have kept it myself, and see how he goes about to abuse me! Escal. That fellow is a fellow of much license :—let him be called before us.—Away with her to prison! Go to; no more words. [Excunt Bawd and Oficers.} Provost, my brother Angelo will not be alter'’d; Claudio must die to-morrow. Let him be furnished with divines, and have all charitable preparation : if my brother wrought by my pity, it should not be so with him. 213 Prov. So please you, this friar hath been with him, and advised him for the entertainment of death. £scal. Good even, good father. Duke, Bliss and goodness on you. Fiscal. Of whence are you? Duke. Not of this country, though my chance is now To usc it for my time: Iam a brother 220 Of gracious order, late come from the See, In special business from his holiness. 190 [Acr um. | | Escal. What news abroad i’ the world? Duke, None, but that there is so great a fever on - goodness, that the dissolution of it must cure it: novelty is only in request; and it is as dangerous to be aged in any kind of course, as it is virtuous to be constant in any undertaking. There is scarce truth enough alive to make societies secure, but security enough to make fellowships accurs’d. Much upon this riddle runs the wisdom of the world. This news is old enough, yet it is every day’s news. I pray you, sir, of what disposition was the duke? Escal. One that, above all other strifes, contended es, eee know himself. uke. What pleasure was he given to? Escal. Rather rejoicing to see another merry, than merry at anything which profess’d to make him rejoice: a gentleman of all temperance. But leave we him to his events, with a prayer they may prove prosperous, and let me desire to know how you find Claudio prepared. I am made to understand, that you have lent him visitation. 243 Duke. He professes to have received no sinister measure from his judge, but most willingly humbles himself to the determination of justice ; yet had he framed to himself, by the instruction of his frailty, many deceiving promises of life, which I, by my good leisure, have discredited to him, and now is he resolved to die. 250 Escal. You have paid the heavens your function, and the prisoner the very debt of your calling. I have labour'd for the poor gentleman to the extremest shore . of my modesty; but my brother justice have I found so severe, that he hath forced me to tell him, he is indeed—Justice. Duke. If his own life answer the straitness of his proceeding, it shall become him well; wherein if he chance to fail, he hath sentenced himself. Escal. I am going to visit the prisoner. Fare you well. 261 Duke. Peace be with you! [Exeunt EscaLus and Provost. He who the sword of heaven will bear Should be as holy as severe ; Pattern in himself to know, Grace to stand, and virtue go; More nor less to others paying, Than by self-offences weighing. _ Shame to him, whose cruel striking Kills for faults of his own liking! Twice treble shame on Angelo, To weed my vice, and let his grow! O, what may man within him hide, Though angel on the outward side! How may likeness made in crimes, Making practice on the times, To draw with idle spiders’ strings. Most pond'rous and substantial things ! Craft against vice I must apply. With Angelo to-night shall he His old betrothed, but despised : So disguise shall, by the disguised, Pay with falsehood false exacting, : And perform an old contracting. 270 [Ezit. ACT IV. Sone. AKE, O! take those lips away, That so sweetly were forsworn; And those eyes, the break of day, Lights that do mislead the morn: = But my kisses bring again, bring again, Seals of love, but seal’d in vain, seal'd in vain. Mari. Break off thysong, and haste thee quick away: Here comes a man of comfort, whose advice 10 Hath often still’d my brawling discontent._[Exit Boy. Enter DuKE, disguised as before. Iecry you mercy, sir; and well could wish You had not found me here so musical: Let me excuse me, and believe me so, My mirth it much displeas’d, but pleas’d my woe. Duke, "Tis good: though music oft hath such a charm, To make bad good, and good provoke to harm. I pray you, tell me, hath anybody inquired for me here to-day? much upon this time have I promis’d here to meet. 20 Mari. You have not been inquired after: I have sat here all day. ee hs Duke. I do constantly believe you.—The time is come, even now. I shall crave your forbearance a little: may be, I will call upon you anon, for some advantage to yourself. : Mari. Iam always bound to you. [Excit. Enter ISABELLA. Duke. Very well met, and welcome. What is the news from this good deputy? 3 Isab. He hath a garden circummur’d with brick, 30 Whose western side is with a vineyard back’d ; And to that vineyard is a planched gate, That makes his opening with this bigger key ; This other doth command a little door, Which from the vineyard to the garden leads; | there have I made my promise upon the heavy middle of the night to call upon him. . Duke. But shall you on your knowledge find this way? Isab. I have ta’en a due and wary note upon’t: With whispering and most guilty diligence, 40 Tn action all of precept, he did show me The way twice o’er. Duke. Are there no other tokens Between you ’greed, concerning her observance? Isab. No, none, but only a repair i’ the dark ; And that I have possess’d him my most stay Can be but brief: for I have made him know, Ihave a servant comes with me along, | That Sey upon me; whose persuasion is, Icome about my brother. .. Duke. *T is well borne up. Thave not yet made known to Mariana 50 A word of this.—What, ho! within! come forth. Re-enter MARIANA. I pray you, be acquainted with this maid: She comes to do you good, Scene I.—A Room in Mariana’s House. MARIANA discovered sitting; a Boy singing. Isab. I do desire the like. Duke, Do you persuade yourself that I respect you? Mari. Good friar, I know you do, and have found it. Duke. Take then this your companion by the hand, Who hath a story ready for your ear. I shall attend your leisure: but make haste ; The vaporous night approaches. Mari. Will ’t please you walk aside? [Exeunt Mariana and ISABELLA. Duke, O place and greatness! millions of false eyes 60 Are stuck upon thee. Volumes of report Run with these false and most contrarious quests Upon thy doings: thousand escapes of wit Make thee the father of their idle dream, , And rack thee in their fancies! Re-enter MARIANA and ISABELLA. Welcome! How agreed? , Isab. She'll take the enterprise upon her, father, If you advise it. uke, It is not my consent, But my entreaty too. Isab. Little have you to say, When you depart from him, but, soft and low, ““Remember now my brother.” Mari. Fear me not. 70 Duke. Nor, gentle daughter, fear you not at all. He is your husband on a pre-contract: To bring you thus together, ’tis no sin, Sith that the justice of your title to him Doth flourish the deceit. Come, let us go: Our corn’s to reap, for yet our tithe’s to sow. [Exeunt. ScENE II.—A Room in the Prison. Enter Provost and Clown. _ oe Come hither, sirrah. Can you cut off a man’s ea Clo. If the man be a bachelor, sir, I can; but if he be a married man, he is his wife’s head, and I can never cut off a woman’s head. Prov. Come, sir: leave me your snatches, and yield me a direct answer. To-morrow morning are to die Claudio and Barnardine. Here is in our prison a common executioner, who in his office lacks a helper: if you will take it on you to assist him, it shall redeem you from your gyves; if not, you shall have your full time of imprisonment, and your deliverance with an Tne. whipping, for you have been a notorious awd. Clo. Sir, I have been an unlawful bawd, time out of mind; but yet I will be content to be a lawful hang- man. I would be glad to receive some instruction from my fellow paren Prov. What ho, Abhorson! Where’s Abhorson, there? 20 Enter ABHORSON. Abhor. Do you call, sir? Prov. Sirrah, here’s a fellow will help you to- morrow in your execution. If you think it meet, compound with him by the year, and let him abide here with you; if not, use him for the present, and dismiss him. He cannot plead bis estimation with you: he hath been a bawd. 670 MEASURE FOR MEASURE. [Act IV. Abhor. A bawd, sir? Fie upon him! he will dis- credit our mystery. “ Prov. Go to, sir; you weigh equally: a feather will turn the scale. Exit. Clo. Pray, sir, by your good favour (for, surely, sir, a good favour you have, but that you have a hanging look), do you call, sir, your occupation a mystery ? abhor. Ay, sir; a mystery. : Clo. Painting, sir, I have heard say, is a mystery ; and your whores, sir, being members of my occu- pation, using painting, do prove my occupation a Inystery; but what mystery_there should be in hanging, if I should be hang’d, I cannot imagine. 40 Abhor. Sir, it isa mystery. Clo. Proof? Abhor. Every true man’s apparel fits your thief. Clo. If it be too little for your thief, your true man thinks it big enough; if it be too big for your thief, your thief thinks it little enough: so, every true man’s apparel fits your thief. Re-enter Provost. Prov, Are you agreed? Clo, Sir, I will serve him; for I do find, your hang- man is a more penitent trade than your bawd: he dot. oftener ask forgiveness, 51 Prov. You, sirrah, provide your block and your axe to-morrow, four o'clock. Abhor. Come on, bawd; I will instruct thee in my trade: follow. Clo. I do desire to learn, sir; and, I hope, if you have occasion to use me for your own turn, you shall find me yare; for, truly, sir, for your kindness I owe you a good turn. Prov. Call hither Barnardine and Claudio: 60 [Exeunt Clown and ABHORSON, The one has my pity; not a jot the other, Being a murderer, though he were my brother. Enter CLAUDIO, Look, here’s the warrant, Claudio, for thy death: ’T is now dead midnight, and by eight to-morrow Thou must be made immortal. Where’s Barnardine? Claud. As fast lock’d up in sleep, as guiltless labour, When it lies starkly in the traveller’s bones: He will not wake. Prov. Who can do good on him? Weill, go; prepare yourself. But hark, what noise? [Knocking within, Heaven give your spirits comfort! [Hxrit CLAUDIO.) y-and-by.— 70 I hope it is some pardon, or reprieve, For the most gentle Claudio,— Enter DUKE, disguised as before. = Welcome, father. Duke. The best and wholesom’st spirits of the night Envelop you, good provost! Who call’d here of late? rov. None, since the curfew rung. Duke. Not Isabel? Prov. No. Duke. They will, then, ere ’t be long. Prov. What comfort is for Claudio? Duke. There’s some in hope. Prov. It is a bitter deputy. Duke. Not so, not so: his life is parallel’d Even with the stroke and line of his great justice. 80 He doth with holy abstinence subdue That in himself, which he spurs on his power To qualify in others: were he meal’d with that Which he corrects, then were he tyrannous; But this being so, he’sjust.—[Knocking within.] Now are they come.— [Baxit Provost. This is a gentle provost: seldom, when The steeled gaoler is the friend of men. _ [Knocking. How now? What noise? That spirit’s possessed with haste, That wounds the unsisting postern with these strokes. Re-enter Provost. Prov. There he must stay, until the officer 90 Arise to let him in; he is call’d up. Duke. Have you no countermand for Claudio yet, But he must die to-morrow? Prov. None, sir, none. Duke, As near the dawning, provost, as it is, You shall hear more ere morning. Prov. . Happily You something know;; yet, I believe, there comes No countermand: no such example have we. Besides, upon the very siege of justice, Lord Angelo hath to the public ear Profess’d the contrary. Enter a Messenger. This is his lordship’s man. 100 Duke. And here comes Claudio’s pardon. Mess. My lord hath sent you this note; and by me this further charge, that you swerve not from the smallest article of it, neither in time, matter, or other circumstance. Good morrow; for, as I take it, it is almost day. . Prov. I shall obey him. [Exit Messenger. Duke. [Aside.] This is his pardon, purchas'd by such sin, For which the pardoner himself is in; Hence hath offence his quick celerity, 110 When it is borne in high authority. When vice makes mercy, mercy ’s so extended, That for the fault’s love is the offender friended.— Now, sir, what news? Prov. I told you: Lord Angelo, belike thinking me remiss in mine office, awakens me with this unwonted putting-on ; methinks strangely, for he hath not used it before. : Duke. Pray you, let’s hear. 119 Prov. [Reads.] ‘‘Whatsoever you may hear to the contrary, let Claudio be executed by four of the clock; and, in the afternoon, Barnardine. For my better satisfaction, let me have Claudio’s head sent me by five. Let this be duly performed; with a thought, that more depends on it than we must yet deliver. Thus fail not to do your office, as you will answer it at your peril.”— What say you to this, sir? Duke. What is that Barnardine, who is to be executed in the afternoon? Prov. A Bohemian born, but here nursed up and bred ; one that is a prisoner nine years old. 131 Duke. How came it, that the absent duke had not either deliver’d him to his liberty, or executed him? I have heard, it was ever his manner to do so. Prov. His friends still wrought reprieves for him: and, indeed, his fact, till now in the government of Lord Angelo, came not to an undoubtful proof. Duke. It is now apparent? Prov. Most manifest, and not denied by himself. Duke. Hath he borne himself penitently in prison? How seems he to be touch’d? 141 Prov. A man that apprehends death no more dread- fully, but as a drunken sleep; careless, reckless, and fearless of what’s past, present, or to come: insensible of mortality, and desperately mortal. ke. He wants advice. Prov. He will hear none. He hath evermore had the liberty of the prison: give him leave to escape hence, he would not: drunk many times a day, if not many days entirely drunk. We have very oft awaked him, as if to carry him to execution, and show’d him a seeming warrant for it: it hath not moved him at all. _ 183 Duke. More of him anon. There is written in your brow, provost, honesty and constancy: if I read it not truly, ‘my ancient skill beguiles me; but in the boldness of my cunning I will lay myself in hazard. Claudio, whom here you have warrant to execute, is no greater forfeit to the law, than Angelo who hath sentenced him. To make you understand this in a manifested effect, I crave but four days’ respite, for, the which you are to do me both a present and a dangerous courtesy. 163 Prov. Pray, sir, in what? Duke. In the delaying death. Prov. Alack! how may I do it, having the hour limited, and an express command, under penalty, to Scene III.) MEASURE FOR MEASURE. 671 deliver his head in the view of Angelo? I may make my case as Claudio’s, to cross this in the smallest. 169 ke. By the vow of mine order, I warrant you: if my instructions may be your guide, let this Barnar- dine be this morning executed, and his head borne to Angelo. Prov. Angelo hath seen them both, and will dis- cover the favour. Duke. O! death’s a add to it. Shave the Treat disguiser, and you may ead, and tie the beard; and Duke. “This is a thing that Angelo knows not, for he this very day receives letters of strange tenor.” say, it was the desire of the penitent to be so bared before his death: you know, the course is common. If anything fall to you upon this, more than thanks and good fortune, by the saint whom I profess, I will plead against it with my life. 18: - Pardon me, good father: it is against my oath, Duke. Were you sworn to the duke, or to the deputy ? rov. To him, and to his substitutes. . Duke. You will think you have made no offence, if the duke avouch the justice of your dealing. Prov. But what likelihood isin that? 190 _Duke. Not a resemblance, but a certainty. Yet since I see you fearful, that neither my coat, integ- uy nor my persuasion, can with ease attempt you, I go further than I meant, to pluck all fears out of ' you. Look you, sir; here is the hand and seal of the’ duke : you know the character, I doubt not, and the signet is not strange to you. ov. I know them both. 198 Duke. The contents of this is the return of the duke: you shall anon over-read it at your pleasure, where you shall find, within these two days he will behere. This is a thing that Angelo knows not, for he this very day receives letters of strange tenor; perchance, of the duke’s death ; perchance, entering into some monas- tery; but, by i ouee: nothing of what is writ. Look, the unfolding star calls up the shepherd. Put not yourself into amazement how these things should be: all difficulties are but easy when they are known. Call your executioner, and off with Barnardine’s head: I will give him a present shrift, and advise him for a better place. Yet you are amazed, but this. shall absolutely resolve you. Come away; it is-almost clear dawn. [Ezeunt. ScENE ITI.—Another Room in the Same. Enter Clown. Clo. I am as well acquainted here, as I was in our house of profession: one would think, it were Mistress Overdone’s own house, for here be many of her old customers. First, here’s young Master Rash; he’s in for a commodity of brown pubes and old ginger, nine- score and seventeen pounds, of which he made five marks, ready money: marry, then, ginger was not much in request, for the old women were all dead. Then is there here one Master Caper, at the suit of Master Three-pile the mercer, for some four suits of each-colour’d satin, which now peaches him a eggar. Then have we here young Dizzy, and yuan Master Deep-vow, and Master Copper-spur, an Master Starve-lackey the rapier-an ee and young Drop-heir that kill’d lusty Pudding, and Master Forthright the tilter, and brave Master Shoe- tie the great traveller, and wild Half-can that stabb’d Pots, and, I think, forty more; all great doers in our trade, and are now for the Lord’s sake. Enter ABHORSON. Abhor. Sirrah, bring Barnadine hither. 20 Clo. Master Barnardine! you must rise and be hang’d, Master Barnardine. Abhor. What, ho, Barnardine! Bar. [Within.] A pox o’ your throats! Who makes that noise there? What are you? Clo. Your friends, sir; the hangman. You must be so good, sir, to rise and be put to death. ioe [Within.] Away, you rogue, away! I am sleepy. , Abhor. Tell him, he must awake, and that quickly 1 00. Clo. Pray, Master Barnardine, awake till you are executed, and sleep afterwards, Abhor. Go in to him, and fetch him out. Clo. He is coming, sir, he is coming: I hear his straw rustle. Abhor. Is the axe upon the block, sirrah ? Clo. Very ready, sir. Enter BARNARDINE. Bar, How now, Abhorson? what’s the news with 40 you? Abhor. Truly, sir, I would desire you to clap into your prayers ; for, look you, the warrant’s come. Bar. You rogue, I have been drinking all night: I ani not fitted for ’t. Clo. O, the better, sir ; for he that drinks all night, and is hang’d betimes in the morning, may sleep the sounder all the next day. Abhor. Look you, sir; here comes your ghostly father. Do we jest now, think you? 49 Enter DUKE, disguised as before. Duke. Sir, induced by my charity, and hearing how hastily you are to depart, I am come to advise you, comfort you, and pray with you. Bar. Friar, not I: I have been drinking hard all night, and I will have more time to prepare me, or they shall beat out my brains with billets. I will not consent to die this day, that’s certain. < Duke. O, sir, you must; and, therefore, I beseech you, Look forward on the journey you shall go. Bar. I swear, I will not die to-day for any man’s persuasion. 60 Duke. But hear you,— Bar. Not a word: if you have anything to say to me, come to my ward; for thence will not I to-day. [Evit. Enter Provost. Duke. Unfit to live, or die. O gravel heart !— After him, fellows: bring him to the block. [Exeunt ABHORSON and Clown. 672 MEASURE FOR MEASURE. [Act IV, Prov. Now, sir, how do you find the prisoner? Duke. A creature unprepar’d, unmeet for death ; And, to transport him in the mind he is, Were damnable. Prov. Here in the prison, father, There died this morning of a cruel fever 70 One Ragozine, a most notorious pirate, A man of Claudio’s years ; his beard and head Just of his colour. What if we do omit This reprobate, till he were well inclin’d, And satisfy the deputy with the visage Of Ragozine, more like to Claudio? . Duke. O, ’tis an accident that Heaven provides! Teepe it presently : the hour draws on Prefix’d by Angelo. See this be done, And sent according to command, whiles I 80 Persuade this rude wretch willingly to die. Prov. This shall be done, good father, presently. But Barnardine must die this afternoon ; And how shall we continue Claudio, To save me from the danger that might come, If he were known alive? Duke. Let this be done,— Put them in secret holds, both Barnardine and Claudio: Ere twice the sun hath made his journal greeting To yonder generation, you shall fin Your safety manifested. 90 Prov. lam your tree dependant. Duke. Quick, despatch. And send the head to Angelo. Now will I write letters to Angelo, (The provost, he shall bear them) whose contents Shall witness to him,I am near at home, And that, by great injunctions, Iam bound To enter publicly : him I'll desire To meet me at the consecrated fount, A league below the city ; and from thence, By cold gradation and well-balane'd form, We shall proceed with Angelo. [Exit Provost. 100 Re-enter Provost. Prov. Here is the head ; I'll carry it myself. Duke. Convenient is it. Make a swift return, For I would commune with you of such things That want no ear but yours. Prov. I'll make all speed. [Exit. Isab. [Within.] Peace, ho, be here! ke. The tongue of Isabel.—She’s come to know, If yet her brother's pardon be come hither ; But I will keep her ignorant of her good, To make her heavenly comforts of despair, When it is least expected. Enter ISABELLA. Isab. Ho! by your leave. Duke. Good morning to you, fair and gracious daughter, Isab. The better, given me by so holy a man. Hath yet the deputy sent my brother’s pardon? Duke. He hath releas’d him, Isabel, from the world. His head is off, and sent to Angelo. Isab. Nay, but it is not so. Duke. It is no other: show your wisdom, daughter, In your close patience. Isab. O, I will to him, and pluck out hiseyes! 120 Duke. You shall not be admitted to his sight. Isab. Unhappy Claudio! Wretched Isabel! Injurious world! Most damned Angelo! Duke. This nor hurts him, nor profits you a jot: Forbear it therefore; give your cause to Heaven. Mark what I say, which you shall find ry every syllable a faithful verity. The duke comes home to-morrow ;—nay, dry your eyes: One of our covent, and his confessor, Gives me this instance : already he hath carried 130 Notice to Escalus and Angelo, Who do prepare to meet him at the gates, There to give up their power. If you can, pace your wisdom In that good path that I would wish it go; 110 And you shall have your bosom on this wretch, Grace of the duke, revenges to your heart, And general honour. Isab. : Iam directed by you. Duke. This letter then to Friar Peter give ; ’T is that he sent me of the duke’s return : Say, by this token, I desire his company 140 At Mariana’s house to-night. Her cause, and yours, I'll perfect him withal, and he shall bring you Before the duke ; and to the head of Angelo Accuse him home, and home. For my poor self, I am combined by a sacred vow, And shall be absent. Wend you with this letter, Command these fretting waters from your eyes With a light heart: trust not my holy order, If I pervert your course.—Who’s here? Enter Lucto. Lucio. Good even. Friar, where is the provost? 15 Duke. Not within, sir. i - ~ Lucio. O pretty Isabella, I am pale at mine heart, to see thine eyes so red: thou must be patient. I am fain to dine and sup with water and bran; I dare not for my head fill my belly.: one fruitful meal would set me to’t. But, they say, the duke will be here to- morrow. By my troth, Isabel, I loved thy brother: if the old fantastical duke of dark corners had been at home, he had lived. [Exit ISABELLA. Duke. Sir, the duke is marvellous little beholding to cue reports ; but the best is, he lives not in them. acio. Friar, thou knowest not the duke so well as I do: he’s a better woodman than thou takest him for. Julie Well, youll answer this one day. Fare ye well. Lucio. Nay, tarry; I'll go along with thee. I can tell thee pretty tales of the duke. Duke. You have told me too many of him already, sir, if they be true; if not true, none were enough. 170 Lucio. I was once before him for getting a wench with child. Duke. Did you such a thing? Lucio. Yes, marry, did I; but I was fain to forswear it: they would else have married me to the rotten medlar. Duke. Sir, your company is fairer than honest. Rest you well. 178 Lucio. By my troth, I’ll go with thee to the lane's end. If bawdy talk offend you, we’ll have very little of it. Nay, friar, Iam a kind of burr; I shall stick. [Exeunt. ScENE IV.—A Room in ANGELO’s House. Enter ANGELO and ESCALus. ese. Every letter he hath writ hath disvouch’d other. Ang. In most uneven and distracted manner. His actions show much like to madness: pray Heaven, his wisdom be not tainted! and why meet him at the gates, and re-deliver our authorities there? Escal. I guess not. 7 Ang. And why should we proclaim it in an hour before his entering, that if any crave redress of injustice, they should exhibit their petitions in the street ? il Escal. He shows his reason for that: to have a despatch of complaints and to deliver us from devices hereafter, which shall then have no power to stand against us. 7 Zl ‘Ang. Well, I beseech you, let it be proclaim’d: Betimes i’ the morn, I'll call you at your house. Give notice to such men of sort and suit, As are to meet him. . ' Escal. I shall, sir: fare you well. [Ezit. Ang. Good night.— 2 This deed unshapes me quite, makes me obec And dull to all proceedings. A deflower’d maid, And by an eminent body, that enfore’d The law against it !—But that her tender shame Will not proclaim against her maiden loss, Scene VI.] MEASURE FOR MEASURE. 673 How might she tongue me! Yet reason dares her no: Mari. Be rul‘d by him. For my authority bears a credent bulk, Isab. Besides, he tells me, that, if peradventure That no particular scandal once can touch, He speak against me on the adverse side, But it confounds the breather. He should have liv’d, | I should not think it strange ; for tis a physic, Save that his riotous youth, with dangerous sense, 30 | That’s bitter to sweet end. Might in the times to come have ta’en revenge, By so receiving a dishonour’d life With snort of such shame. “Would yet he had iv’'d! Alack ! when once our grace we have forgot, Nothing goes right; we would, and we would net ‘i cit. ScENE V.—Fields without the Town. Enter DUKE, in his own habit, and Friar PETER. Duke. These letters at fit time deliver me. [Giving letters. The provost knows our purpose, and our plot. The matter being afoot, keep your instruction, And hold you ever to your special drift, Though sometimes you do blench from this to that, As cause doth minister. Go, call at Flavius’ house, And tell him where I stay: give the like notice To Valentius, Rowland, and to Crassus, And bid them bring the trumpets to the gate; But send me Flavius first. Fri. Pet. It shall be speeded well. 10 Enter V ARRIUS. [Boait. Duke. I thank thee, Varrius ; thou hast made good Fri. Pet. “ Come, I have found you out a stand most fit.” aste. Come, we will walk : there’s other of our friends Mari. I would, Friar Peter— Will greet us here anon, my gentle Varrius, [Hxeunt. Tsab. O, peace! the friar is come. pcan tn Enter Friar PETER. Fri. Pet. Come, I have found you out a stand most Scene VI.—Street near the City Gate. f fit, : » Where you may have such vantage on the duke, Enter ISABELLA and MARIANA. He shall not pass you, Twice have the trumpets Isab. To speak so indirectly I am loath: sounded : I would say the truth ; but to accuse him so, The generous and gravest citizens That is your part : yet I’m advis’d to do it, Have hent the gates, and very near upon He says, to ’vailful purpose. The duke is ent’'ring : therefore hence, away. [Exeunt. ACT V. ScENE J.—A Public Place near the City Gate. MARIANA (veiled), ISABELLA, and PETER, at a distance. Enter DUKE, VaRRIUS, Lords; ANGELO, EscaLus, Lucio, Provost, Officers and Citizens, at several doors. Duke. Duke. O! your desert speaks loud; and I should Y very worthy cousin, fairly met :— wrong it, Our old and faithful friend, we are glad to | To lock it in the wards of covert bosom, 10 see you. When it deserves with characters of brass Ang. and Escal. Happy return be to | A forted residence ’gainst the tooth of time your royal grace! And razure of oblivion. Give me your hand, Duke. Many and hearty thankings to | And let the subject see, to make them know you both. That outward courtesies would fain proclaim We have made inquiry of you; and we | Favours that keep within.—Come, Escalus ; ear You must walk by us on our other hand, Such goodness of your justice, that our | And good supporters are you. soul 7 Cannot but yield you forth to public Friar PETER and ISABELLA come forward. F . thanks, Fri Pet. Now is your time. Speak loud, and kneel Forerunning more reel ; | before him. Ang. ou make my bondsstill greater. | Jsab. Justice, O royal duke! Vail your regard 20 43 674 Upon a wrong’d, I would fain have said, a maid! O worthy prince! dishonour not your eye By throwing it on any other object, Till you have heard me in my true complaint, And given me justice, justice, justice, justice ! Duke. Relate gous wrongs: in what? by whom? Be brief. Here is Lord Angelo shall give you justice: Reveal yourself to him. Isab. O worthy duke! You bid me seek redemption of the devil. Hear me yourself; for that which I must speak 30 Must either pee me, not being believ’d, Or wring redress from you. Hear me, O, hear me, here! Ang. My lord! her wits, I fear me, are not firm : She hath been a suitor to me for her brother, Cut off by course of justice, — Isab. By course of justice ! ae And she will speak most bitterly and strange. Isab. Most strange, but yet most truly, will I speak. That Angelo’s forsworn, is it not strange ? That Angelo’s a murderer, is ’t not strange? That Angelo is an adulterous thief, An hypocrite, a virgin-violator, Is it not strange, and strange? ke. ay, it is ten times strange. Isab. It is not truer he is Angelo, Than this is all as true as it is strange ; Nay, it is ten times true; for truth is truth To the end of reckoning. Duke. Away with her.— Poor soul! She poe this in the infirmity of sense. Isab. O prince, I conjure thee, as thou believ’st There is another comfort than this world, That thou neglect me not, with that opinion 50 That I am touch’d with madness, Make not im- possible That which but seems unlike. ’Tis not aneporsibls, But one, the wicked’st caitiff on the ground, May seem as shy, as grave, as just, as absolute, As Angelo; even so may Angelo, In all his dressings, characts, titles, forms, Be an arch-villain. Believe it, royal prince: If he be less, he’s nothing ; but he’s more, Had I more name for badness. Duke. By mine honesty, If she be mad, as I believe no other, Her madness hath the oddest frame of sense, Such a dependency of thing on thing, As e’er I heard in madness. Isab. O gracious duke! Hlarp not on that ; nor do not banish reason For inequality ; but let your reason serve To make the truth appear, where it seems hid, And hide the false, seems true. Duke. Many that are not mad, Have, sure, more lack of reason.—What would you 40 say Tsab, I am the sister of one Claudio, Condemn’d upon the act of fornication 70 To lose his head ; condemn’d by Angelo. I, in probation of a sisterhood, Was sent to by my brother ; one Lucio As then the messenger— Lucio. That’s I, an’t like your grace. I came to her from Claudio, and desir’d her To try her gracious fortune with Lord Angelo, For her poor brother’s pardon. Isab. That ’s he, indeed. Duke. You were not bid to speak. Lucio. 0, my good lord ; Nor wish'd to hold my peace. ve. I wish you now then: Pray you, take note of it; and when you have 80 A business for yourself, pray Heaven, you then Be perfect. Lucio. | warrant your honour. F Duke. The warrant’s for yourself: take heed to it. Isab. This gentleman told somewhat of my tale,— Lucio. Right. _ Duke. It may be right; but you are in the wrong ‘To speak before your time.—Proceed. MEASURE FOR MEASURE. [Acr v. | Isab. I went To this pernicious caitiff deputy. Duke, That ’s somewhat madly spoken. Isab. Pardon it: The phrase is to the matter. 91 Duke. Mended again: the matter ;—proceed. Isab. In briet,—to set the needless process by, How I persuaded, how I pray’d, and kneel'd, How he refell’d me, and how I replied ; For this was of much length) the vile conclusion now begin with grief and shame to utter. He would not, but by gift of my chaste body To his concupiscible intemperate lust, Release my brother; and, after much debatement, 100 My sisterly remorse confutes mine honour, And I did yield to him. But the next morn betimes, His purpose surfeiting, he sends a warrant For my poor brother's head. uke. This is most likely! Isab, O, that it were as like as it is true! Duke. By Heaven, fond wretch! thou know’st not what thou speak’st, Or else thou art suborn’d against his honour, In hateful practice. First, his integrity Stands without blemish; next, it imports no reason, That with such vehemency he should pursue 110 Faults proper to himself: if he had so offended, He would have weigh’d thy brother by himself, And not have cut him off. Some one hath set you on: Confess the truth, and say by whose advice Thou cam’st here to complain. Tsab. And is this all? Then, O! you blessed ministers above, Keep me in patience; and, with ripen’d time, Unfold the evil which is here wrapt up In countenance !—Heaven shield your grace from woe, As I, thus wrong’d, hence unbelieved go! 120 Duke. I know, you’d fain be gone.—An officer! To prison with her.—Shall we thus permit A blasting and a scandalous breath to fall On him so near us? This needs must be a practice. Who knew of your intent, and coming hither? Isab. One that I would were here, Friar Lodowick. Duke. A ghostly father, belike.—Who knows that Lodowick ? : Lucio. My lord, I know him: ’tis a meddling friar ; I do not like the man: had he been lay, my lord, For certain words he spake against your grace 130 In your retirement, I had swing’d him soundly. uke. Words against me? This’ a good friar, belike! And to set on this wretched woman here Against our substitute !—Let this friar be found. | ‘ cio. But yesternight, my lord, she and that friar, I saw them at the prison. A saucy friar, A very scurvy fellow. i. Pet. Blessed be your royal grace! I have stood by, my lord, and I have hear Your royal ear abus’d. First, hath this woman Most wrongfully accus’d your substitute, 140 Who is as tree from touch or soil with her, As she from one ungot. . Duke. We did believe no less. Know you that Friar Lodowick, that she speaks of? Fri. Pet. I know him for a man divine and holy; Not scurvy, nor a temporary meddler, As he’s reported by this gentleman ; And, on my trust, a man that never yet Did, as he vouches, misreport your grace. Lucio. My lord, most villainously : believe it. , Fri. Pet. Well; he in time may come to clear a self, But at this instant he is sick, my lord, Of a strange fever. Upon his mere request, i Being come to knowledge that there was complaint Intended ’gainst Lord Angelo, came I hither, To speak, as from his mouth, what he doth know Is true, and false ; and what he with his oath, And all probation, will make up full clear, , Whensoever he’s convented. First, for this woman, To justify this worthy nobleman, ScENE I.] MEASURE FOR MEASURE... 675 So vulgarly and personally accus'd, 160 Her shall you hear disproved to her eyes, Till she herself contess it. ke. Good friar, let’s hear it. [IsaBELLA is carried off guarded; and MARIANA comes forward. Do you not smile at this, Lord Angelo ?— O heaven, the vanity of wretched fools !— Give us some seats. —Come, cousin Angelo ; In this I’ be impartial: be you judge Of your own cause.—Is this.the witness, friar ? First, let her show her face, and after speak, Mari. Pardon, my lord, I will not show my face, Until my husband bid me. Duke. What, are you married ? 170 Mari. No, my lord. Duke. Are you a maid? Mari. No, my lord. Duke. A widow then? Mari. Neither, my lord. Duke. Why, you Are nothing then: neither maid, widow, nor wife. Lucio. My lord, she may be a punk ; for many of them are neither maid, widow, nor wife? Duke. Silence that fellow: 1 would, he had some cause To prattle for himself. Lucio. Well, my lord. Mari. My lord, I do confess I ne’er was married ; And, I confess, besides, I am no maid: 18. Ihave known my husband, yet my husband knows not That ever he knew me. Lucio. He was drunk then, my lord: it can be no better. oe For the benefit of silence, ’would thou wert 80 too! Lucio. Well, my lord. Duke. This is no witness for Lord Angelo. Mari. Now I come to ’t, my lord. She that accuses him of fornication, In selfsame manner doth accuse my husband; And charges him, my lord, with such a time, When, I'll depose, I had him in mine arms, With all the effect of love. Ang. Charges she more than me? Mari. Duke. No? you say, your husband. Mari. Why, just, my lord, and that is Angelo, Who thinks, he knows, that he ne’er knew my body, But knows, he thinks, that he knows Isabel’s. 200 ' Ang. This is a strange abuse.—Let’s see thy face. Mari. My husband bids me; now I will unmask. [Unveiling. 190 Not that I know. This is that face, thou cruel Angelo, . Which once, thou swor’st, was worth the looking on : This is the hand, which, with a vow'd contract, Was fast belock’d in thine: this is the body That took away the match from Isabel, And did supply thee at thy garden-house In her imagin’d person. ke. Know you this woman? Lucio, Carnally, she says. Duke. Lucio, Enough, my lord. ; ie. My lord, I must confess, I know this woman ; And five yearssince there was some speech of marriage Betwixt myself and her, which was broke off, artly, for that her promised proportions Came short of composition ; but, in chief, Sirrah, no more. 210 For that her reputation was disvalued In levity: since which time of five years I never spake with her, saw her, nor heard from her, Upon my faith and honour. ari. Noble prince, 220 As there comes light from heaven, and words from breath, As there is sense in truth, and truth in virtue, | Tam attiane’d this man’s wife, as strongly Mari. Let me in safety raise me from my knees, Or else for ever be confixed here, a marble monument.” “As this fs true, As words could make up vows: and, my good lord, But Tuesday night last gone, in his garden-house, He knew me as a wife. As this is true, Let me in safety raise me from my knees, Or else for ever be confixed here, A marble monument. Ang. I did but smile till now: Now, good my lord, give me the scope of justice ; 230 My patience here is touch’d. I do perceive, These poor informal women are no more But instruments of some more mightier member, That sets them on. Let me have way, my lord, To find this practice out. Duke. Ay, with my heart ; And punish them to your height of pleasure.— Thou foolish friar, and thou pernicious woman, Compact with her that’s gone, think’st thou, thy oaths, Though they would swear down each particular saint, Were testimonies against his worth and credit, 240 That’s seal’d in approbation ?—You, Lord Escalus, Sit with my cousin: lend him your kind pains To find out this abuse, whence ’t is deriv’d.— There is another friar that set them on; Let him be sent for. Fri. Pet.’Would he were here, my lord; for he, indeed, Hath set the women on to this complaint. Your provost knows the place where he abides, And he may fetch him. Duke. Go, do it instantly.— [Eait Provost. And you, my noble and well-warranted cousin, 251 ‘Whom it concerns to hear this matter forth, Do with your injuries as seems you best, In any chastisement : I for a while will leave you; 676 MEASURE FOR MEASURE. . [Acr =| But stir not you, till you have well determin’d Upon these slanderers. Escal. My lord, we'll do it thoroughly. [Hzit DUKE.]--Signior Lucio, did not you say, you knew that Friar Lodowick to be a dishonest person ? Lucio. Cucullus non facit monachum: honest in nothing, but in his clothes; and one that hath spoke inost villainous speeches of the duke. | 262 Escal. We shall entreat you to abide here till he come, and enforce them against him. We shall find this friar a notable fellow. Lucio. As any in Vienna, on my word. Escal. Call that same Isabel here once again: I would speak with her. [Hit an Attendant.| Pray you, my lord, give me leave to question ; you shall see ow I'll handle her. 270 Lucio. Not better than he, by her own report. Escal. Say you? Lucio. Marry, sir, I think, if you handled her privately, she would sooner confess: perchance, publicly she'll be ashamed. Escal. I will go darkly to work with her. Lucio. That’s the way; for women are light at midnight. Re-enter Officers, with ISABELLA. Escal. [To IsaB.] Come on, mistress. gentlewoman denies all that you have said. Lucio. My lord, here comes the rascal I spoke of ; here, with the provost. Escal. In very good time :—speak not you to him, till we call upon you. Lucio. Mum. Here’s a 280 Enter DUKE, disguised as a Friar, and Provost. Escal. Come, sir. Did you set these women on to slander Lord Angelo? they have confess’d you did. Duke. ’Tis false. Escal. How ! know you where you are? Duke. Respect to your great place! and let the devil Be sometime honour’d for his burning throne.— 291 Where is the duke? ‘tis he should hear me speak. Escal. The duke’s in us, and we will hear you speak : Look you speak justly. : Duke. Boldly, at least.—But, O, poor souls ! Come you to seek the lamb here of the fox? Good night to your redress. Is the duke gone? Then is your cause gone too. The duke’s unjust, Thus to retort your manifest appeal, And put your trial in the villain’s mouth, Which here you come tovaccuse. Lucio. This is the rascal: this is he I spoke of. Fiscal. Why, thou unreverend and unhallow’d friar! Is ’t not enough, thou hast suborn’d these women To accuse this worthy man, but, in foul mouth, And in the witness of his proper ear, To call him villain? And then to glance from him to the duke himself, To tax him with injustice?—Take him hence; | To the rack with him :—we ’ll touse you joint by joint, But we will know his purpose.—What! unjust? 310 Duke. Be not so hot ; the duke Dare no more stretch this finger of mine, than he Dare rack his own : his subject am I not, Nor here provincial. My business in this state Made me a looker-on here in Vienna, Where I have seen corruption boil and bubble, Till it o’er-run the stew : laws for all faults, But faults so countenanc’d, that the strong statutes Stand like the forfeits in a barber’s shop, As much in mock as mark. Escal. Slander to the state! 300 320 Away with him to sep eet Ang. hat can you vouch against him, Signior Lucio? Is this the man that you did tell us of 2 Lucio. ’Tis he, my lord.—Come hither, goodman baldpate : do you know me? Duke. IT remember you, sir, by the sound of your oles I met you at the prison, in the absence of the e. Lucio, O! did you so? And do youremember what you said of the duke? 330 Duke. Most notedly, sir. Lucio. Do you so, sir? And was the duke a flesh- monger, a fool, and a coward, as you then rcported him to be? Duke. You must, sir, change persons with me, ere 7 make that my report: you, indeed, spoke so of im; and much more, much worse. Lucio. O thou damnable fellow! Did not I pluck thee by the nose, for thy speeches? Duke. I protest, [love the duke as I love myself, 340 Ang. Hark, how the villain would close now, after his treasonable abuses. scal. Such a fellow is not to be talk’d withal:— away with him to prison.—Where is the provost?— puny with him to prison. Lay bolts enough upon him, let him speak no more.—A way with those eiglots too, and with the other confederate companion. [The Provost lays hand on the Duxs. Duke. Stay, sir; stay awhile. Ang, What! resists he? Help him, Lucio. 349 Lucio. Come, sir; come, sir; come, sir; foh! sir, Why, you bald-pated, lying rascal! you must be hooded, must you? show your knave’s visage, with a pox to you! show your sheep-biting face, and be hang’d an hour. Will 't not off? [Pulls off the Friar’s hood, and discovers the DUKE. Duke. Thou art the first knave that e’er made a e.— First, provost, let me bail these gentle three.— . [Zo Lucio.] Sneak not away, sir; for the friar and you Must have a word anon.—Lay hold on him. Lucio. This may prove worse than hanging. Duke. [To Esose) What you have spoke, T nani: sit you down. 360 We'll Rotew place of him.—[To ANna.] Sir, by your leave. Hast thou or word, or wit, or impudence, That yet can do thee office? If thou hast, Rely upon it till my tale be heard, And hold no longer out. Ang. O my dread lord! I should be guiltier than my guiltiness, To think I can be undiscernible, When I perceive your grace, like power divine, Hath look’d upon my passes. Then, good prince, No longer session hold upon my shame, 370 But let my trial be mine own confession: Immediate sentence then, and sequent death, Is all the grace I beg. Duke. Come hither, Mariana.— Say, wast thou e’er contracted to this woman? A mi I was, my lord. Duke. Go take her hence, and marry her instantly.— Do you the oflice, friar; which consummate, Return him here again.—Go with him, provost. [Exeunt ANGELO, MaRtaNna, Friar PETER, and Provost. Escal. My lord, Iam more amaz’d at his dishonour, Than at the strangeness of it. Duke, Come hither, Isabel. 380 Your friar is now your prince: as I was then Advertising and holy to your business, Not changing heart with habit, I am still Attorney’d at your service. Isab. O, give me pardon, That I, your vassal, have employ’d and pain’d Your unknown sovereignty ! Duke. You are pardon’d, Isabel: And now, dear maid, be you as free to us. Your brother’s death, I know, sits at your heart; And you may marvel, why I obscur’d myself, Labouring to save his life, and would not rather 390 Make rash remonstrance of my hidden power, Than let him so be lost. O most kind maid! It was the swift celerity of his death, Which I did think with slower foot came on, |, That brain'd my purpose: but, peace be with him! That life is better life, past fearing death, ScENE I.] MEASURE FOR MEASURE. 677 Than that, which lives to fear. Make it your comfort, So happy is your brother. Isai I do, my lord. Re-enter ANGELO, MARIANA, Friar PETER, and ‘rovost. Duke. For this new-married man, approaching here, “An Angelo for Claudio, death for death!” Haste still pays haste, and leisure answers leisure, Like doth quit like, and Measure still for Measure. 410 Then, Angelo, thy fault thus manifested,— Which, though thou wouldst deny, denies thee van- Lom We do condemn thee to the very block Due. “ Thou art the first knave that e’er made a duke.” Whose salt imagination yet hath wrong’d 400 ; Your well-defended honour, you must pardon For Mariana’s sake. But, as he adjudg’d your brother, | (Being criminal, in double violation i f sacred chastity, and of promise-breach, | Thereon dependent, for your brother's life) | The very mercy of the law cries out Most audible, even from his proper tongue, | Where Claudio stoop’d to death, and with like haste.— Away with him. Mari. ; O my most gracious lord! I hope you will not mock me with a husband. Duke. It is your husband mock’d you with a husband. Consenting to the safeguard of your honour, I thought your marriage fit; else imputation, For that he knew you, might reproach your lifo, 420 678 MEASURE FOR MEASURE. [Acr v. | And choke your good to come. For his possessions, Although by confiscation they are ours, We do instate and widow you withal, To buy you a better husband, Mari. O my dear lord! I crave no other, nor no better man. sh ke. Never crave him: we are definitive. 5 Mari. Gentle my liege,— (Kneeling. Duke. You do but lose your labour. Away with him to death.—[7’0 Lucio.] Now, sir, to you. Mari. O my good lord!—Sweet Isabel, take my part: Lend me your knees, and all my ut to come I'll lend you, all my life to do you service. Duke. Against all sense you do im- portune her: Should she kneel down in mercy of this fact, Her brother’s ghost his paved bed would break, And take her hence in horror. Mari. Isabel, Sweet Isabel, do yet but kneel by me: Hold up your hands, say nothing, I'll speak all. They say, best men are moulded out of faults, And, for the most, become much more the better For being a little bad: so may my usband. 440 O Isabel! will you not lend a knee? Duke. He dies for Claudio’s death. Isab. Most bounteous sir, Kneeling. Look, if it please for on this man condemn'd, As if my brother iv'd. I partly think, A due sincerity govern’d his deeds, Till he did look on me: since it is so, Let him not die. My brother had but justice, In that he did the thing for which he died : For Angelo, His act did not o’ertake his bad intent ; And must be buried but as an intent | That perish’d by the way. Thoughts are no sub- 450 jects, Intents but merely thoughts. t Merely, my lord. Mari. Duke. Your suit ’s unprofitable: stand up, I say.— I have bethought me of another fault.— Provost, how came it Claudio was beheaded At an unusual hour? Prov, It was commanded so, Duke. Had you a special warrant for the deed? Prov. No, my good lord: it was by private message. Duke. For which I do discharge you of your Give up your keys. office: rv. Pardon me, noble lord : T thought it was a fault, but knew it not, Yet did repent me, after more advice ; For testimony whereof, one in the prison, That should by private order else have died, I have reserv’d alive. Duke. What’s he? Prov. His name is Barnardine. Duke. T would thou hadst done so by Claudio.— Go fetch him hither: let me look upon him. Exit Provost. Escal. I am sorry, one so learned and so wise As you, Lord Angelo, have still appear’d, 470 Should slip so grossly, both in the heat of blood, And lack of temper’d judgment afterward. Ang. Iam sorry that such sorrow I procure; And so deep sticks it in my ene heart, That I crave death more willingly than mercy: ’Y is my deserving, and I do entreat it. ; Thy slanders I forgive; and therewithal Re-enter Provost, BARNARDINE, CLAUDIO, mufied, and JULIET. Duke, Which is that Barnardine? Prov. : This, my lord. Duke, There was a friar told me of this man.— Sirrah, thou art said to have a stubborn soul, That apprehends no further than this world, 48) And squar’st thy life according. Thou’rt condemned; Duke, “ Dear Isabel, I have a motion much imports your good.” But, for those earthly faults, I quit them all, ‘And pray thee, take this mercy to provide For better times to come.—Friar, advise him: I leave ain i your hand.—What muttled fellow’s that Prov. This is another prisoner that I sav’d, That should have died when Claudio lost his head, As like almost to Claudio as himself. [Unmufles CLAUDIO, Duke. ie IsaB.] If he be like your brother, for his sake Is he pardon’d; and for your lovely sake 490 Give me your hand, and say you will be mine, He is my brother too. But fitter time for that. a this Lord Angelo perceives he’s safe : ethinks, I see a quick’ning in his eye.— Well, Angelo, your evil quits you well: Look that you love your wife; her worth, worth yours,— I find an apt remission in myself, And yet here’s one in place I cannot pardon.— [Yo Lucto.] You, sirrah, that knew me for a fool, u coward, One all of luxury, an ass, a madman: 500 Wherein have I so deserv'd of you, That you extol me thus? , Lucio. ’Faith, my lord, I spoke it but according to the trick. If you will hang me for it, you may; Le I pe rather it would please you, I might be whipp’d. Duke. Whipp'd first, sir, and hang’d after.— Proclaim it, provost, round about the city, If any woman’s wrong’d by this lewd fellow (As have heard him swear himself there’s one 510 Whom he begot with child), let her appear, And he shall marry her: the nuptial finish’d, Let him be whipp’d and hang’d. Lucio. I beseech your highness, do not marry me to a whore! Your highness said even now, I made you a duke: good my lord, do not recompense me in making me a cuckold. Duke. Upon mine honour, thou shalt marry her. ScENE I.] MEASURE FOR MEASURE. 679 Remit thy other forfeits.—Take him to prison, 520 And see our pleasure herein executed. Lucio. Marrying a punk, my lord, is pressing to death, whipping, and hanging. Duke. Slandering a prince Roneiues it.— She, Claudio, that you wrong’d, look you restore. Joy to you, Mariana !—love her, Angelo: I have confess’d her, and I know her virtue.—. Thanks, good friend Escalus, for thy much goodness : There ’s more behind that is more gratulate. Thanks, provost, for thy care, and secrecy ; 530 We shall employ thee in a worthier place.— Forgive him, Angelo, that brought you home The head of Pasar for Claudio's : The offence pardons itself.—Dear Isabel, Ihave a motion much imports your good ; Whereto if you'll a willing ear incline, What’s mine is yours, and what is yours is mine.— So, bring us to our palace; where we’ll show What’s yet behind, that’s meet you al] should know, [Exeunt, OTHELLO, THE MOOR OF VENICE. DRAMATIS PERSON. DUKE OF VENICE. BRABANTIO, a Senator. Other Senators. GRATIANO, Brother to Brabantio. Lovovico, Kinsman to Brabantio. RHEE: a noble Moor in the service of the Venetian state. Cassio, his Lieutenant. Jaco, his Ancient. RODERIGO, a Venetian Gentleman. Montano, Governor of Cyprus. Clown, Servant to Othello. eee Daughter to Brabantio, and Wife to ello. Emi.ia, Wife to Iago. Branca, Mistress to Cassio. Sailor, Messengers, Herald, Offcers, Gentlemen, Musicians, and Attendants. SCENE—For the First Act, in VENICE; during the rest of the Play, at a Sea-port in CyPRus. ACT IT. A Roderigo. USH! never tell me; I take it much un- indly, That thou, Iago, who hast had my purse, As if the strings were thine, shouldst know of this. Tago. ’Sblood, but you will not hear me: If ever I did dream of such a matter, Abhor me. Rod. Thou toldst me, thou didst hold him in thy hate. Iago. Despise me, if I do not. reat ones of the city, In personal suit to make me his lieutenant, Off-capp’d to him; and, by the faith of man, 10 I know my price: Iam worth no worse a place ; But he, as loving his own pride and purposes, Evades them, with a bombast circumstance, Horribly stuff’d with epithets of war; And, in conclusion, Nonsuits my mediators ; for, ‘‘ Certes,” says he, “T have already chose my officer.” And what was he? Forsooth, a preak arithmetician, One Michael Cassio, a Florentine, 20 A fellow almost damn’'d in a fair wife ; That never set a squadron in the field, Nor the division of a battle knows More than a spinster ; unless the bookish theoric, Wherein the tongued consuls can propose As masterly as he: mere prattle, without practice, Is all his soldiership. But he, sir, had the election : And I,—of whom his eyes had seen the proof At Rhodes, at Cyprus, and on other grounds Christen’d and heathen,—must be be-lee’d and calm’d By debitor-and-creditor; this counter-caster, 31 He, in good time, must his lieutenant be, And I (God bless the mark !) his Moorship’s ancient. od. By Heaven, I rather would have been his hangman. Jago. But there’s no remedy: ’tis the curse of ser- Three vice, Preferment goes by letter, and affection, ScENE I.—Venice. Enter RODERIGO and Tago. ' And not by old gradation, where each second A Street. Stood heir to the first. Now, sir, be judge yourself, Whether I in any just term am affin’d To love the Moor. Rod. : I would not follow him then. 40 Iago. O, sir, content you: . I follow him to serve my turn aber him: We cannot all be masters, nor all masters Cannot be truly follow’d. You shall mark Many a duteous and knee-crooking knave, That, doting on his own obsequious bondage, Wears out his time, much like his master’s ass, For nought but provender; and when he’s old, cashier’d : Whip me such honest knaves. Others there are, Who, trimm’d in forms and visages of duty, Keep yet their hearts attending on themselves, And, throwing but shows of service on their lords, | Do well thrive by them, and, when they have lin’d their coats, Do themselves homage: these fellows have some soul; And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor, I would not be Iago: In following him, I follow but myself ; Heaven is my judge, not I for love and duty, 60 But seeming so, for ay peculiar end: For when my outward action doth demonstrate The native act and figure of my heart In complement extern, ’tis not long after But I will wear my heart upon my sleeve For daws to peck at : Iam not what Iam. | Rod. What a full fortune does the thick-lips owe, If he can carry ’t thus! Iago. Call up her father; Rouse him: make after him, poison his delight, J Proclaim him in the streets: incense her kinsmen, 70 And, though he in a fertile climate dwell, 5 Plague him with flies : though that his joy be joy, Yet throw such chances of vexation on ’t, As it may lose some colour. Rod. Here is her father’s house : I'll call aloud. ScENE IL] Jago. Do; with like timorous accent, and dire yell As when, by night and negligence, the fire sci Is spied in populous cities. fod. What, ho! Brabantio! Signior Brabantio, ho! Jago. Awake! what, ho! Brabantio! thieves! thieves! thieves! Look to ro house, your daughter, and your bags . Thieves! thieves! Enter BRABANTIO, above, at a window. Bra. What is the reason of this terrible summons What is the matter there ? ; Rod. Signior, is all your family within ? Jago. Are your doors lock’d ? 7A. ._, .Why? wherefore ask you this? Jago. ’Zounds, sir! you are robb’d; for shame, put on your gown ; Your heart is burst, you have lost half your soul : . Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise ! 90 Awaxe the snorting citizens with the bell, Or else the devil will make a grandsire of you. Arise, I say. Bra. What! have you lost your wits? Rod. Most reverend signior, do you know my voice? Bra. Not I: what are you? Rod, My name is Roderigo. Bra. The worser welcome : I have charg’d thee not to haunt about my doors. In honest plainness thou hast heard me say, My daughter is not for thee ; and now, in madness, Being full of supper and distempering draughts, 100 Upon malicious knavery dost thou come To start my quiet. Rod. Sir, sir, sir,— Bra. But thou must needs be sure, My spirit, and my place, have in them power To make this bitter to thee. Rod. Patience, good sir. Bra. What tell’st thou me of robbing? this is Venice ; My house is not a grange. ‘od. Most grave Brabantio, In simple and pute soul I come to you. Iago. ’Zounds, sir! you are one of those that will not serve God, if the devil bid you. Because we come to do you service, and you think we are ruffians, you ll have your daughter covered with a Barbary horse; you'll have your nephews neigh to you; you'll have coursers for cousins, and gennets for germans. Bra, What profane wretch art thou? Iago. I am one, sir, that comes to téll you, your daughter and the Moor are now making the beast with two backs. Bra. Thou art a villain. Iago. ou are—a senator. Bra, This thou shalt answer: I know thee, Roderigo. Rod, Sir, I will answer anything. But I beseech you, If’t be your pleasure, and most wise consent, (As partl , 1 find, it is,) that your fair daughter, At this odd-even and dull watch o’ the night, Transported with no worse nor better guard, But with a knave of common hire, a gondolier, To the gross clasps of a lascivious Moor,— If this be known to you, and your allowance, We then have done you bold and saucy wrongs ; But if you know not this, my manners tell me, We have your wrong rebuke. Do not believe That, from the sense of all civility, Ithus would play and trifle with your reverence: Your daughter, if you have not given her leave, Isay again, hath made a gross revolt ; Tying her duty, beauty, wit, and fortunes, In an extravagant and wheeling stranger, Of here and everywhere. Straight satisfy yourself : If she be in her chamber, or your house, Let loose on me the justice of the state 140 For thus deluding you. : Bra, Strike on the tinder, ho! Give me a taper !—call up all my people !— This accident is not unlike my dream ; 130 OTHELLO, THE MOOR OF VENICE. 681 Belief of it ppprecees me already.— Light, I say ! light !. [eae From above. ago. Farewell; for I must leave you: It seems not meet, nor wholesome to my place, To be produe’d (as, if I stay, I shall) Against the Moor: for, I do know, the state (However this may gall him with some check) Cannot with safety cast him; for he’s embark’d 150 With such loud reason to the Cyprus wars (Which even now stands in act), that, for their souls, Another of his fathom they have none, To lead their business: in which regard, Though I do hate him as I do hell-pains, Yet, for necessity of present life, I must show out a flag and sign of love, Which is indeed but sign. That you shall surely find him, Lead to the Sagittary the raided search; And there willI be with him. So, farewell. [Evit. Enter, below, BRABANTIO and Servants with torches. Bra. It is too true an evil: gone she is; 161 And what’s to come of my despised time, Is nought but bitterness.—Now, Roderigo, Where didst thou see her?_O une y girl !— With the Moor, say’st thou?— o would be a father ?— How didst thou know ’t was she?—O! she deceives me Past br ail said she to you? Get more apers ! Raise all my kindred !—Are they married, think you? Rod. Truly, I think, they are. Bra. O Heaven !—How got she out ?—0, treason of » the blood !— 170 Fathers, from hence trust not your daughters’ minds By what you see them act.—Is there not charms, Boren the property of youth and maidhood y be abus’d?’ Have you not read, Roderigo, Of some such thing? Rod. Yes, sir; I have, indeed. Bra. call up my brother.—O, would you had had er !— Some one way, some another.—Do you know Where we may apprehend her and the Moor? Rod. I think, I can discover him, if you please To get good guard, and go along with me. 180 Bra. Pray you, lead on. At every house I'll call; I may command at most.—Get weapons, ho! And raise some special officers of might.— On, good Roderigo ;—I’l deserve your pains. [Excunt. ScENE II.—The Same. Another Street. Enter OTHELLO, [AGo, and Attendants, with torches. Jago. Though in the trade of war I have slain men, Yet do I hold it very stuff o’ the conscience, To do no contriv’d murder: I lack iniquity Sometimes, to do me service. Nine or ten times I had thought to have yerk’d him here, under the ribs. Oth. "Vis better as it is. Iago. Nay, but he prated, And spoke such scurvy and provoking terms Against your honour, F That, with the little godliness I have, I did full hard forbear him. But, I pray you, sir, 10 Are you fast married? Be assur’d of this, That the magnifico is much beloved ; And hath, in his effect, a voice potential As double as the duke’s: he will divorce you; Or put upon you what restraint, or grievance, The law (with all his might to enforce it on) Will give him cable. Oth. Let him do his spite: My services, which I have done the signiory, Shall out-tongue his complaints. ’Tis yet to know, (Which, when I know that boasting isan honour, 20 I shall promulgate,) I fetch my life and being From men of royal siege ; and my demerits May speak, unbonneted, to as proud a fortune As this that I have reach’d: for know, Iago, 682 OTHELLO, THE MOOR OF VENICE. ‘ [Act I. But that I love the gentle Desdemona, I would not my unhoused free condition Put into circumscription and confine For the sea’s worth. But, look! what lights come ond ? Iago. Those are the raised father, and his friends: You were best go in. Oth. My pa my title, and my perfect soul, Shall manifest me rightly. Is it they? Iago. By Janus, I think no. Enter Cassio and certain Officers with torches. Oth, The servants of the duke, and my lieutenant. We + \ & Not I; I must be found: 30 | Enter BRABANTIO, RODERIGO, and Officers, with torches and weapons. Oth, Holla! stand there! Rod. Signior, it is the Moor. Bra. Down with him, thief ! . [They draw on both sides, Iago. You, Roderigo! come, sir, I am for you. Oth. Keep up your bright swords, for the dew will _ Tust them,— ; Good signior, you shall more command with years, 60 | Than with your weapons. Bra, O thou foul thief! where hast thou stow’d my daughter ?— Oth. ‘ Good signior, you shall more command with years, Than with your weapons, The goodness of the night upon you, friends! What is the news? Cas. The duke does greet you, general ; And he requires your haste-post-haste appearance, Even on the instant. Oth. What is the matter, think you? Cas. Something from Cyprus, as I may divine. It is a business of some heat: the galleys 40 Have sent a dozen sequent messengers This very night at one another’s heels ; And many of the consuls, rais’d and met, Are at the duke’s already. You have been hotly call’d or; When, being not at your lodging to be found, The senate hath sent about three several quests, To search you out. h. *T is well I am found by you. I will but epee a word here in the house, And go with you. [Exit. Cas. Ancient, what makes he here? Tago. ’Faith, he to-night hath boarded a lan d- carack : 50 If it prove lawful prize, he’s made for ever. Cas. I do not understand. tago. Cas. He’s married. To who? Re-enter OTHELLO. Iago. Marry, to—Come, captain, will you go? Oth. Have with you. Cas. Here comes another troop to seek for you. Jago, It is Brabantio.—General, be advis’d : He comes to bad intent. Damn’d as thou art, thou hast enchanted her ; For I'll refer me to all things of sense, If she in chains of magic were not bound, Whether a maid so tender, fair, and happy, So opposite to marriage, that she shunn The wealthy curled darlings of our nation, Would e¥ ave, to incur a general mock, Run from her guardage to the sooty bosom 70 Of such a thing as thou ; to fear, not to delight. Judge me the world, if ’t is not gross in sense, That thou hast practis’d on her with foul charms ;. Abus’d her delicate youth with drugs, or minerals, That weaken motion.—I ’ll have’t disputed on ; *Tis probable, and palpable to thinking. I therefore apprehend and do attach thee, For an abuser of the world, a practiser Of arts inhibited and out of warrant.— Lay hold upon him! if he do resist, 80 Subdue him at his peril. Oth, Hold your hands, Both you of my inclining, and the rest: \ Were it my cue to fight, T should have known it Without a prompter.—Where will you that I go To answer this your charge? Bra. To prison; till fit time Of law, and course of direct session, Call thee to answer. Oth. What if I do obey? How may the duke be therewith satisfied, Whose messengers are here about my side, Upon some present business of the state, 90 To bring me to him? basa Of. ’T is true, most worthy signior: Scene III.) OTHELLO, THE MOOR OF VENICE. 683 The duke’s in council, and your noble self, Iam sure, is sent for. Bra. _ , How! the duke in council! In this time of the night !—Bring him away. Mine’s not an idle cause: the duke himself, Or any of my brothers of the state, Cannot but feel this wrong as ’t were their own; For if such actions may have passage free, Bond-slaves and pagans shall our statesmen be. te [Hxeunt. SceNE III.—The Same. A Council Chamber. The DuKE, and Senators, sitting at a table; Officers ing. Duke. There is no composition in these news, That gives them credit. Sen. Indeed, they are disproportion’d: My letters say, a hundred and seven galleys. ke, And mine, a hundred and forty. 2 Sen. And mine, two hundred: But though they jump not on a just account, (As in these cases, where the aim reports, "Tis oft with difference,) yet do they all confirm A Turkish fleet, and bearing up to Cyprus. Duke. Nay, it is possible enough to judgment. Ido not so secure me in the error, But the main article I do approve In fearful sense. Sailor. [Within.] What, ho! what, ho! what, ho! of. A messenger from the galleys. Enter a Sailor. Duke. Now, what’s the business? Sail. The Turkish preparation makes for Rhodes: So was I bid report here to the state, By Signior Angelo. 7 ‘Duke. How say you by this change ? 1 Sen. This cannot be, By no assay of reason: ’tisapageant, _ To keep us in false gaze. When we consider 20 The importancy of Cyprus to the Turk ; And let ourselves again but understand, That, as it more concerns the Turk than Rhodes, So may he with more facile question bear it, For that it stands not in such warlike brace, But altogether lacks the abilities That Rhodes is dress’d in :—if we make thought of this, We must not think the Turk is so unskilful, To leave that latest which concerns him first, Neglecting an attempt of ease and gain, 30 To wake and wage a danger profitless. Duke. Nay, in all confidence, he’s not for Rhodes. 1 Of. Here is more news. Enter a Messenger. Mess. The Ottomites, reverend and gracious, Steering with due course toward the isle of Rhodes, Have there injointed them with an after fleet. 1Sen. Ay, so I thought.—How many, as you guess? Mess. Of thirty sail; and now do they re-stem Their backward course, bearing with frank appear- ance Their purposes toward Cyprus.—Signior Montano, 40 Your trusty and most valiant servitor, With his free duty, recommends you thus, And prays you to believe him. Duke. ’T is certain then for Cyprus.— Marcus Luccicos, is not he in town? 1 Sen. He’s now in Florence. Duke. Write from us to him: post-post-haste despatch. . 1Sen. Here comes Brabantio, and the valiant Moor. Enter BRABANTIO, On ies Iago, RODERIGO, and cers. Duke. Valiant Othello, we must straight employ you Against the general enemy Ottoman.— 50 [Zo BRABANTIO.] I did not see you; welcome, gentle signior ; We lack’d your counsel and your help to-night. Bra. Sodid I yours. Good your grace, pardon me; Neither my place, nor aught I heard of business, Hath rais’d me from my bed; nor doth the general care Take hold on me, for my particular grief Is of so flood-gate and oerbearing nature, That it engluts and swallows other sorrows, And it is still itself. ( Duke. Why, what’s the matter ? Bra. My daughter! O, my daughter! Sen. Dead? Bra. Ay, tome; She is abus’d, stol’n from me, and corrupted 1 By spells and medicines bought of mountebanks ; For nature so preposterously to err, Being not deficient, blind, or lame of sense, Sans witchcraft could not. Duke. Whoe’er he be, that in this foul proceeding Hath thus beguil’d your daughter of herself, And you of her, the bloody book of law You shall yourself read in the bitter letter, After your own sense; yea, though our proper son 70 Stood in your action. Bra. Humbly I thank your grace. Here is the man, this Moor; whom now, it seems, Your special mandate, for the state affairs, Hath hither brought. Duke and Sen. Weare very sorry for it. Duke. [To OTHELLO.] What, in your own part, can you say to this? Bra. Nothing, but this is so. Oth. Most potent, grave, and reverend signiors, My very noble and approv’d good masters, That I have ta’en away this old man’s daughter, It is most true; true, I have married her: ‘The very head and front of my offendin Hath this extent, no more. Rude am Jin my speech, And little bless’d with the soft phrase of peace ; For since these arms of mine had seven years’ pith, ‘Cill now, some nine moons wasted, they have us’d Their dearest action in the tented field ; And little of this great world can I speak, More than pertains to feats of broil and battle; And, theretore, little shall I grace my cause, ln speaking for myself. yet, by your gracious patience, 90 I will a round unvarnish’d tale deliver Of my whole course of love; what drugs, what charms, What conjuration, and what mighty magic, (For such proceeding I am charg’d withal,) I won his daughter. Bra. A maiden never bold; Of spirit so still and quiet, that her motion Blush’d at herself ; and she—in spite of nature, Of years, of country, credit, everything— To fall in love with what she fear’d to look on! It is a judgment maim’d, and most imperfect, That, will confess, perfection so could err Against all rules of nature ; and must be driven To find out practices of cunning hell, Why this should be. I, therefore, vouch again, That with some mixtures powerful o'er the blood, Or with some dram conjur'd to this etfect, Be een upon her. 100 e. To vouch this, is no proof: Without more wider and more overt test, Than these thin habits, and poor likelihoods Of modern seeming, do prefer against him. 1 Sen. But, Othello, speak: Did you by indirect and forced courses Subdue and poison this young maid's affections ; Or came it by request, and such fair question As soul to soul affordeth ? Oth. I do beseech you, Send for the lady to the Sagittary, And let her speak of me before her father : If you do find me foul in her report, The trust, the office, I do hold of you, 110 681 OTHELLO, THE MOOR OF VENICE. [Act lL Not only take away, but let your sentence 120 Even fall upon my life. : Duke. : Fetch Desdemona hither. Oth. Ancient, conduct them; you best know the place.— [Hxeunt 1AGo and Attendants. And, till she come, as truly as to Heaven I do confess the vices of my blood, So justly to your grave ears I'll present How I did thrive in this fair lady’s love, And she in mine. Duke. Say it, Othello. Oth. Her father lov’d me; oft invited me ; Still question’d me the story of my life, From oot to year ; the battles, sieges, fortunes, That I have pass’d. . Iran it through, even from my boyish days, To the very moment that he bade me tell it: Wherein { spake of most disastrous chances, Of moving accidents by flood and field ; Of hair-breadth capes i’ the imminent-deadly breach; Of being taken by the insolent foe, _ And sold to slavery ; of my redemption thence, And portance in my trayeller’s history tS 140 Wherein of antres vast; and deserts idle, Rough quarries, rocks, and hills whose heads touch heaven, It was my hint to speak,—such was the process ;— And of the Cannibals that each other eat, The Anthropophagi, and men whose heads Do grow beneath their shoulders. This to hear, Would Desdemona seriously incline: But still the house-attairs would draw her hence ; Which ever as she could with haste despatch, She'd come again, and with a greedy ear 150 Devour up my discourse. Which I observing, Took once a pliant hour ; and found good means To draw from her a prayer of earnest heart, That I would all my pilgrimage dilate, Whereof by parcels she had something heard, But not intentively : I did consent ; And often did beguile her of her tears, When I did speak of some distressful stroke, That my youth suffer'd. My story being done, She gave me for my pains a world of sighs: 160 She swore,—in faith, ‘twas strange, ‘twas passing strange ; °T was pitiful, ‘t was wondrous pitiful : She wish'd she had not heard it ; yet she wish’d That Heaven had made her such a man: she thank’d me; And bade me, if I had a friend that lov’d her, I should but teach him how to tell my story, And that would woo her. Upon this hint Lapuke She lov’d me for the dangers I had pass’d, And I lov’d her, that she did pity them. ‘This only is the witchcraft I have us’d: Here comes the lady ; let her witness it. Enter DESDEMONA, IAGo, and Attendants. Duke. 1 think, this tale would win my daughter too. Good Brabantio, Take up this mangled matter at the best: Men do their broken weapons rather use, Than their bare hands. Bra. I pray you, hear her speak: If she confess that she was half the wooer, Destruction on my head, if my bad blame Light on the man!—Come hither, gentle mistress : Do you perceive in all this noble company, Where most you owe obedience ? Des. My noble father, I do perecive here a divided duty: To you I am bound for life and education ; My life and education, both do learn me How to respect you; you are the lord of cue : Iam hitherto your daughter: but here’s my husband; And so much duty as my mother show’d To you, preferring you before her father, So much I challenge that I may profess Due tothe Moor, my lord. ra. God be with you !—I have done.— Please it your grace, on to the state affairs : 191 130 170 ' For she is with me. Thad rather to adopt a child than get it.— Come hither, Moor: Lhere do give thee that with all my heart, Which, but thou hast already, with all my heart I would keep from thee.—For your sake, jewel, Iam glad at soul I have no other child ; For thy escape would teach me tyranny, To hang clogs on them.—I have done, my lord. Duke. Let me speak like yourself, and lay a sen- tence, 200 Which, as a grise, orstep, may help these lovers Into your favour. ‘When remedies are past, the griefs are ended By seeing the worst, which late on hopes depended. To mourn a mischief that is past and gone Is the next way to draw new mischiet on. What cannot be preserv’d when fortune takes, Patience her injury a mockery makes. The robb’d, that smiles, steals something from the thief: He robs himself, that spends a bootless grief. 210 Bra. So let the Turk of Cyprus us beguile: We lose it not, so long as we can smile. He bears the sentence well, that nothing bears But the free comfort which from thence he hears; But he bears both the sentence and the sorrow, That, to pay grief, must of poor patience borrow. These sentences, to sugar, or to gall, Being strong on both sides, are equivocal: But words are words; I never yet did hear, 219 That the bruis’d heart was pierced through the ear. I humbly beseech you, proceed to the affairs of state. Duke. The Turk with a most mighty preparation makes for Cyprus.—Othello, the fortitude of the place is best known to you; and though we have there a substitute of most allowed sufficiency, yet opinion, a sovereign mistress of effects, throws a more safer voice on you: you must, therefore, be content to slubber the gloss of your new fortunes with this more stubborn and boisterous expedition. Oth. The tyrant custom, most grave senators, 230 Hath made the flinty and steel couch of war My thrice-driven bed of down: I do agnise A natural and prompt alacrity, I find in hardness; and do undertake These present wars against the Ottomites. Most humbly, therefore, bending to your state, I crave fit disposition for my wife; Due reference of place, and exhibition ; With such accommodation, and besort, As levels with her breeding. 240 Duke. Why; at her father’s. Bra. Oth, Nor I. Des. Nor I; I would not there reside, To put my father in impatient thoughts, By being in his eye. ost gracious duke, To my unfolding lend your prosperous ear ; And let me find a charter in your voice, To assist my simpleness. Duke, What would you, Desdemona? Des. That I did love the Moor to live with him, My downright violence and storm of fortunes May trumpet to the world: my heart's subdued Even to the very quality of my lord: I saw Othello’s visage in his mind; And to his honours, and his valiant parts, Did I my soul and fortunes consecrate. So that, dear lords, if I be left behind, A moth of peace, and he go to the war, The rites for why I love him are bereft me, And Ia heavy interim shall support . By his dear absence. Let me go with him. 260 Oth. Let her have your voice. ‘ Vouch with me, Heaven, I therefore beg it not, To please the palate of my appetite; Nor to comply with heat, the young affects, In my defunct and proper satisfaction ; But to be free and bounteous to her mind: cos And Heaven defend your good souls, that you think I will your serious and great business scant, No, when light-wing’d toys I’ll not have it so. ScENE III.] OTHELLO, THE MOOR OF VENICE. 685 Of feather’d Cupid seel with wanton dulness My speculative and oftic’d instrument, That my disports corrupt and taint my business, Let housewives make a skillet of my helm, And all indign and base adversities Make head against my estimation. Duke. Be it as you shall privately determine, Either for her stay, or going. The affair cries haste, And speed must answer it. 1Sen. You must away to-night. 270 Oth. : With all my heart. Duke. At nine i’ the morning here we’ll meet again. 280 Othello, leave some officer behind, And he shall our commission bring to you; With such things else of quality and respect, As doth import you. Oth. 7 So please your grace, my ancient; A man he is of honesty, and trust: To his conveyance I assign my wife, With what else ncedful your good grace shall think To be sent after me. Duke. Let it be so.— Good night to every one.—[To BRABANTIO.] And, noble signior, If virtue no delighted beauty lack, 290 Your son-in-law is far more fair than black. 1 Sen. Adieu, brave Moor! use Desdemona well. Bra, Look to her, Moor, if thou hast eyes to see: She has deceiv’d her father, and may thee. [Zxeunt DUKE, Senators, Officers, &c. Oth. My life upon her faith !—Honest Jago, My Desdemona must I leave to thee: I pr’ythee, let thy wife attend on her; And bring them after in the best advantage. Come, Desdemona; I have but an hour Of love, of worldly matters and direction, 300 To spend with thee: we must obey the time. [Ezxeunt OTHELLO and DESDEMONA. Rod. Iago! Iago. What say’st thou, noble heart? Rod. What will I do, think’st thou? Iago. Why, go to bed, and sleep. Rod. I will incontinently drown myself. fago. Well, if thou dost, I shall never love thee after it. hy, thou silly gentleman ! Rod. It is silliness to live, when to live isa torment; and then have we a prescription to die, when death is our physician. 311 Jago. O, villainous! I have looked upon the world for four times seven years, and since I could dis- tinguish betwixt a benefit and an injury, Inever found aman that knew how to love himself. Ere I would say, I would drown myself for the love of a Guinea- hen, I would change my humanity with a baboon. Rod. What should Ido? I confess, it is my shame to be so fond ; but it is not in my virtue to amend it. Jago. Virtue? a fig! tis in ourselves that we are thus, or thus. Our bodies are our gardens, to the which our wills are gardeners: so that if we will plant nettles, or sow lettuce ; set hyssop, and weed up thyme ; supply it with one gender of herbs, or distract it with many ; either to haveit steril with idleness, or manured with industry ; why, the power and corri- gible authority of this lies in our wills. Ifthe balance of our lives not one scale of reason to poise another of sensuality, the blood and baseness of our natures would conduct us to most preposterous con- clusions: but we have reason to cool our raging motions, our carnal stings, our unbitted lusts ; whereof I take this, that you call love, to be a sect, or scion. Rod. It cannot be. 334 _tago. It is merely a lust of the blood, and a permis- sion of the will. Come, be a man: drown t yself ? drown cats, and blind puppies. I have professd me thy friend, and I confess me knit to thy deserving with cables of perdurable toughness : I could never better stead thee than now. Put money in thy purse; follow these wars ; defeat thy favour with an usurped beard; I say, put money in thy purse. It cannot be, that Desdemona should long continue her love to the oor,—put money in thy purse,—nor he his to her: it was a violent commencement in her, and thou shalt see an answerable sequestration ;—put but money in thy purse.—These Moors are changeable in their wills; —fill thy purse with money :—the food that to him now is as luscious as locusts, shall be to him shortly as bitter as coloquintida. She must change for youth: when she is sated with his body, she will find the error of her choice.—She must have change, she must : therefore, put money in thy purse.—If thou wilt needs damn thyself, do it a more delicate way than drown- ing. Make all the money thou canst. If sanctimony Jago, ‘These Moors are changeable in their wills ;—flll thy purse with money.” and a frail vow, betwixt an erring barbarian and a super-subtle Venetian, be not too hard for my wits, and all the tribe of hell, thou shalt enjoy her; there- fore, make money. A pox of drowning thyself! it is clean out of the way: seek thou rather to be hanged in compassing thy joy, than to be drowned and go without her. 362 Rod. Wilt thou be fast to my hopes, if I depend on the issue? Iago. Thou art sure of me.—Go, make money.—I have told thee often, and I re-tell thee again and again, I hate the Moor: my cause is hearted ; thine hath no less reason. Let us be conjunctive in our revenge against him: if thou canst cuckold him, thou dost thyself a pleasure, me a sport. There are man events in the womb of time, which will be delivered. Traverse; go: provide thy money. We will have more of this to-morrow. Adieu. 373 Rod. Where shall we meet i’ the morning? Iago. At my lodging. Rod. I'll be with thee betimes. Iago. Go to; farewell. Do you hear, Roderigo? Rod. What say you? Jago. No more of drowning, do you hear? Rod. lam changed. I’ll sell all my land. 380 Iago. Go to; farewell! put money enough in your purse. [Exit RoDERIGO. ‘Thus do I ever make my fool my purse ; For I mine own gain’d knowledge should profane, If I would time expend with such a snipe But for my sport and profit. I hate the Moor; And it is thought abroad, that ’twixt my sheets He has done my office : I know not if ’t be true ; Yet I, for mere suspicion in that kind, Will do as if for surety. He holds me well; The better shall my purpose work on him. Cassio’s a proper man: let me see now; To get his place, and to plume up my will, In double knavery,—How, how ?—Let’s see :— After some time, to abuse Othello’s ear, That he is too familiar with his wife: 390 686 QTHELLO, THE MOOR OF VENICE. [Act II. He hath a person, and a smooth dispose, To be suspected ; fram’d to make women false. The Moor is of a free and open nature, That thinks men honest, that but seem to be so, 400 And will as tenderly be led by the nose, As asses are.— I have ’t ;—it is engender’d :—hell and night Must bring this monstrous birth to the world’s light. (Lxit ACT II. ScEeNnE I.—A Sea-port Town in Cyprus. Enter MONTANO and two Gentlemen. That so anrese the Moor.—O ! let the heavens = Montano. 7 HAT from the cape can you discern at sea 1 Gent. Nothing at all: it is a high- wrought flood : I cannot, ’twixt the heaven and the main, “Che a we Descry a sail. ot wy Mon. Methinks, the wind hath spoke * a aloud at land; A fuller blast ne’er shook our battle- ments ; If it hath ruffian’d so upon the sea, What ribs of oak, when mountains melt on them, Can hold the mortise? What shall we hear of this? 2 Gent. A segregation of the Turkish ficet : 10 For do but stand upon the foaming shore, ‘The chidden billow seems to pelt the clouds ; The wind-shak’d surge, with high and monstrous mane, Seems to cast water on the burning bear, And quench the guards of the ever-fixed pole: I never did like molestation view On the enchafed flood. ‘on. If that the Turkish fleet Be not enshelter’d and embay’d, they are drown’d; It is impossible to bear it out. Enter a third Gentleman. 3 Gent. News, lads! our wars are done. 20 The desperate tempest hath so bang’d the Turks, That their designment halts: a noble ship of Venice Hath seen a grievous wrack and suffcrance On most part of their fleet. Mon. How ! is this true? 3 Gent. The ship is here put in, A Veronessa ; Michael Cassio, Lieutenant to the warlike Moor, Othello, Is come on shore: the Moor himself at sea, And is in full commission here for Cyprus. Mon. Tam glad on't; tis a worthy governor. 30 3 Gent. But this same Cassio, though he speak of _ comfort, Touching the Turkish loss, yet he looks sadly, And prays the Moor be safe; for they were parted With foul and violent tempest. on. etd ’Pray heavens he be; For I have serv’d him, and the man commands Like a full soldier. Let’s to the sea-side, ho! As well to see the vessel that’s come in, As to throw out our eyes for brave Othello, Even till we make the main, and the acrial blue, An indistinct regard. 3 Gent. . Come, let’s do so; For every minute is expectancy Of more arrivance. Enter Cassio. Cas. Thanks, you the valiant of this warlike isle, 40 A Platform. Give him defence against the elements, For I have lost him on a dangerous sea. Mon. Is he well shipp’d? Oa ae Cas. His bark is stoutly timber’d, and his pilot Of very expert and approv’d allowance ; Therefore my hopes, not surfeited to death, Stand in bold cure. [Within.] 50 A sail, a sail, a sail! Enter a Messenger. Cas. What noise? Mess. The town is empty ; on the brow o’ the sea Stand ranks of people, and they cry, ‘‘ A sail!” Cas. My hopes do shape him for the governor. Guns heard. 2 Gent. They do discharge their shot of courtesy ; Our friends, at least. Cas. I pray you, sir, go forth, And give us truth who ’tis that is arriv’d. 2 Gent. I shall. . . [Exit. Mon. But, good lieutenant, is your general wiv'd? 60 Cas. Most fortunately : he hath achiev’d a maid hat paren description and wild fame ; me that excels the quirks of blazoning pens, And, in the essential vesture of creation, Does tire the ingener. Re-enter second Gentleman. How now! who has put in? 2 Gent. ’Tis one Iago, ancient to the general. Cas. He has had most favourable and happy speed: Tempests themselves, high seas, and howling winds, The gutter’d rocks, and congregated sands, Traitors ensteep’d to enclog the guiltless keel, 70 As having sense of beauty, do omit Their mortal natures, letting go safely by The divine Desdemona. What is she? Mon. Cas. She that Ispake of, our Frent captain’s captain, Left in the conduct of the bold Iago; Whose footing here anticipates our thoughts A se’nnight’s speed.—Great Jove! Othello guard, And swell his sail with thine own powerful breath, That he may bless this bay with his tall ship, Make love's quick pants in Desdemona’s arms, Give renew’d fire to our extincted spirits, And bring all Cyprus comfort !— 80 Enter DESDEMONA, EmILtA, IAGO, RODERIGO, and Attendants, O, behold, The riches of the ship is come on shore! Ye men of Cyprus let her have your knees.— Hail to thee, rhe and the grace of Heaven, Before, behind thee, and on every hand, Enwheel thee round! ScENE I.] OTHELLO, THE MOOR OF VENICE. 637 Des. . I thank you, valiant Cassio. | Let it not gall your patience, good Iago, What tidings can you tell me of my lor That I extend my manners: ’tis my breeding Cas. He is not That gives me this bold show of courtesy. 100 ba: arriv’d: nor know I aught But that he’s well, and will be shortly here. Des. O! but I fear—How lost you company ? (Kissing her. dago. Sir, would she give you so much of her lips, mera (| men — SS Cas. “ Hail to thee, lady! and the grace of Heaven, Before, behind thee, and on every hand, Enwheel thee round!” Cas. The great contention of the sea and skies Parted our fellowship. But, hark! a sail. [Wein A sail, a sail! (Guns heard. Gent. They give their greeting to the citadel : This likewise is a friend. ‘as. See for the news !— pee Gentleman. Good ancient, you are welcome.—_[To Emizi4.] Wel- come, mistress.— : | As of her tongue she oft bestows on me, You’d have enough. Des. Alas! she has no speech, Iago. In faith, too much ; T find it still, when I have list to sleep: Marry, before your ladyship, I grant, She puts her tongue a little in her heart, | ‘And chides with thinking. ; Emil.. You have little cause to say so. 688 OTHELLO, THE MOOR OF VENICE. (Act II. Jago. Come on, come on; you are pictures out of doors, 110 Bells in your parlours, wild cats in your kitchens, Saints in your injuries, devils being offended, Players a oe housewifery, and housewives in your eds. Des. O, fie upon thee, slanderer ! Jago. Nay, it is true, or else I am a Turk: You rise to play, and go to bed to work. Emil. You shall not write my praise. Tago. No, let me not. Des. What wouldst thou write of me, if thou shouldst praise me? dete; O gentle lady, do not put me to’t; or [am nothing, if not critical. 120 Des. Come on; assay.—There’s one gone to the harbour? Iago. Ay, madam. Des. Yam not merry ; but I do beguile The thing I am, by seeming otherwise.— Come, how wouldst thou praise me? Jago. 1 am about it; but, indeed, my invention _ Comes from my pate, as birdlime does from frize ; It plucks out brains and all: but my Muse labours, And thus she is deliver’d. If she be fair and wise,—fairness, and wit, 130 The one’s for use, the other useth it. Des. Well prais'd! How, if she be black and witty? Jago. If she be black, and thereto have a wit, She'll find a white that shall her blackness fit. Des. Worse and worse. Emil. How, if fair and foolish? Iago. She never yet was foolish that was fair ; For even her folly help'd her to an heir. Des. These are old fond paradoxes, to make fools laugh i’ the ale-house. What miserable praise hast thou for her that’s foul and foolish ? 141 Iago. There’s none so foul, and foolish thereunto, But does foul pranks which fair and wise ones do. Des. O heavy ignorance! thou praisest the worst best. But what praise couldst thou bestow on a deserving woman indeed? one, that, in the authority of her merit, did justly put on the vouch of very malice itself? Iago. She that was ever fair, and never proud . Had tongue at will, and yet was never loud ; Never lack’d gold, and yet went never gay Fled from her wish, and yet said, ‘‘Now I may;” She that, being anger'd, her revenge being nigh, Bade her wrong stay, and her ae easure fly ; She that in wisdom never was so frail, To change the cod’s head for the salmon’s tail ; She that could think, and ne’er disclose her mind, See suitors following, and not look behind : She was a wight,—if ever such wights were,— Des. To do what? 160 Jago. To suckle fools, and chronicle small beer. Des. O most lame and impotent conclusion !—Do not learn of him, Emilia, though he be thy husband.— How say you, Cassio? is he not a most profane and liberal counsellor ? Cas. He speaks home, madam : you may relish him more in the soldier, than in the scholar. 167 Iago. [Aside.] He takes her by the palm: ay, well said, whisper : with as little a web as this will I ensnare as great a fly as Cassio. Ay,smile upon her, do; I will gyve thee in thine own courtship. You say true, ’tis so, indeed, If such tricks as these strip you out of ee lieutenantry, it had been better you had not issed your three fingers so oft, which now again you are most apt to play the sir in. Very good; well kissed, an excellent SOUrteny ‘tis so, indeed. Yet again your fingers to your lips? would, they_were clyster-pipes for your sake !—[A trumpet heard.] The Moor! I know his trumpet. Cas. ’"T is truly so. 180 Des. Let's meet him, and receive him. . Cas. Lo, where he comes! 150 Enter OTHELLO and Attendants. [ Oth. O my fair warrior! Des. My dear Othello! Oth. It gives me wonder great as my content, To sce you here before me. O my soul’s joy ! If after every tempest come such calms, May the winds blow till they have waken’d death; And let the labouring bark climb hills of seas, Olympus-high, and duck again as low As hell’s from heaven! If it were now to die, 190 T were now to be most happy ; for, I fear, My soul hath her content so absolute, That not another comfort like to this Succeeds in unknown fate. Des. The heavens forbid, But that our loves and comforts should increase, Even as our days do grow! Oth. Amen to that, sweet powers! I cannot speak enough of this content ; It stops me here; it is too much of joy: And this, and this, the greatest discords be, [Kissing her. That e’er our hearts shall make ! Lago. [Aside.} O! you are well tun’d now; 200 But I'll set down the pegs that make this music, As honest as I am. Oth. Come, let us to the castle.— News, friends: our wars are done, the Turks are drown’'d. How does my old acquaintance of this isle ? Honey, you shall be well-desir’d in Cyprus ; Ihave found great love amongst them. O my sweet, I prattle out of fashion, and I dote In mine own comforts.—I pr’ythee, good Iago, Go to the bay, and disembark my coffers. Bring thou the master to the citadel ; 210 He is a good one, and his worthiness Does challenge much respect.—Come, Desdemona, Once more well met at Cyprus. [£xreunt OTHELLO, DESDEMONA, and Attendants. Iago. Do thou meet me presently at the harbour. —Come hither. If thou be’st valiant,—as they say, base men being in love have then a nobility in their natures more than is native to them,—list me. The lieutenant to-night watches on the court of guard.— First, I must tell thee this,—Desdemona is directly in love with him. g 220 Rod. With him! why, ’t is not possible. ; fago. Lay thy finger thus, and let thy soul be in- structed. Mark me with what violence she first loved the Moor, but for bragging, and telling her fantastical lies; and will she love himn still for prating? let not thy discreet heart think it. Her eye must be fed ; and what delight shall she have to look on the devil? When the blood is made dull with the act. of sport, there should be, again to inflame it, and to give satiety a fresh appetite, loveliness in favour, sympathy in years, manners, and beauties ; all which the Moor is defective in. Now, for want of these required conveniences, her delicate tenderness will find itself abused, begin to heave the Forge, disrelish and abhor the Moor; very nature will instruct her in it, and compel her to some second choice. Now, sir, this granted (as it is a most pregnant and unforced posi- tion), who stands so eminent in the degree of this fortune, as Cassio does? a knave very voluble, no further conscionable than in putting on the mere form of civil and humane BeeDUns, for the better com- passing of his salt and most hidden-loose affection? why, none; why, none: a slipper and subtle knave; a finder-out of occasions; that has an eye can stamp and counterfeit advantages, though true i never present itself: a devilish knave! Besides, the knave is handsome, young, and hath all those re- quisites in him, that folly and green minds look after; a pestilent Sov iniens knave: and the woman hath feund him already. Rod. I cannot believe that in her: she is full of most blessed condition. ; : Jago. Blessed fig’s end ! the wine she drinks is made of grapes: if she had been blessed, she would never have loved the Moor: bless'd pudding! Didst thou not see her paddle with the palm of his hand? didst not mark that Rod. Yes, that I did; but that was but courtesy. ScENE IITI.] OTHELLO, THE MOOR OF VENICE. 689 Tago. Techery, by this hand! an index, and obscure prologue to the history of lust and foulthoughts. They inet so near with their lips, that their breaths embraced together. Villainous thoughts, Roderigo ! when these mutualities so marshal the way, hard at hand comes the master and main exercise, the incorporate conclu- sion. Pish!—But, sir, be you ruled by me: I have brought you from Venice. Watch you to-night; for the command, I’ll lay’t upon you: Cassio knows you not :—-I'll not be far from you: do you find some occasion to anger Cassio, either by speaking too loud, or tainting his discipline ; or from what other course you please, which the time shall more favourably minister. 272 Rod. Well, Jago. Sir, he is rash, and very sudden in choler, and, haply, may strike at you: provoke him, that he may ; for even out of that will I cause these of Cyprus to mutiny, whose qualification shall come into no true taste again, but by the displanting of Cassio. So shall you have a shorter journey to your desires, by the means I shall then have to prefer them; and the impediment most profitably removed, without the which there were no expectation of our prosperity. 282 Rod. I will do this, if you can bring it to any oppor- tunity. Ta, s I warrant thee. Meet me by-and-by at the citadel: I must fetch his necessaries ashore. Farewell. Rod. Adieu. [Eait. Iago. That Cassio loves her, I do well believe it ; That she loves him, ’tis apt and of great credit: The Moor—howbeit that I endure him not— Is of a constant, joving noble nature ; And, I dare think, he ‘ll prove to Desdemona A most dear husband. Now, I do love her too; Not out of absolute lust, (though, peradventure, Istand accountant for as great a sin,) But ery led to diet my revenge, For that I do suspect the lusty Moor Hath leap’d into my seat ; the thought whereof Doth like a poisonous mineral gnaw my inwards; And nothing can, or shall, content my soul, 300 Till Iam even’d with him, wife for wife ; Or, failing so, yet that I put the Moor At least into a jealousy so Sn ‘That judgment cannot cure. Which thing to do,— If this poor trash of Venice, whom I trash ‘ For his quick hunting, stand the putting-on,— T’ll have our Michael Cassio on the hip; Abuse him to the Moor in the rank garb ;— For I fear Cassio with my night-cap too ;— Make the Moor thank me, love me, and reward me, For making him egregiously an ass, _ 3 And practising upon his peace and quiet, Even to madness, “T'is here, but yet confus’d : Knavery’s plain face is never seen, till us’d. 290 [Exit. ScENE II.—A Street. Enter a Herald, with a proclamation; people following. Her. It is Othello’s pleasure, our noble and valiant general, that, upon certain tidings now arrived, im- porting the mere perdition of the Turkish fleet, every man put himself into triumph; some to dance, some to make bonfires, each man to what sport and revels his addiction leads him; for, besides these beneficial news, it is the celebration of his nuptial. So much was his pleasure should be proclaimed. All offices are open ; and there is full liberty of feasting, from this present our of five, till the bell have told eleven. Heaven bless the isle of Cyprus, and our noble general, Othello! 5 [Eacurt. ScENE III.—A Hall in the Castle. Enter OTHELLO, DESDEMONA, CASSIO, and Attendants. Cth, Good Michael, look you to the guard to-night: Let’s teach ourselves that honourable stop, Not to out-sport discretion. Cas. Iago hath direction what to do; But, notwithstanding, with my personal eye Will I look to’t. Oth, Iago is most honest. Michael, good night: to-morrow, with your earliest, Let me have speech with you.—[To DrspEMoNA.] Come, my dear love: The purchase made, the fruits are to ensue ; That profit’s yet to come ’twixt me and you.— 10 Good night. [Exeunt OTHELLO, DESDEMONA, and Altcendants. Enter Taco. Cas. Welcome, Iago: we must to the watch. fago. Not this hour, lieutenant; ‘tis not yet ten o'clock. Our general cast us thus early for the love of his Desdemona, who let us not therefore blame: he hath not yet made wanton the night with her, and she is sport for Jove. Cas. She's a most exquisite lady. fago. And, I’ll warrant her, full of game. Cas. Indeed, she is a most fresh and delicate oy ture. fago. What an eye she has! methinks it sounds a parley to provocation. Cas. An inviting eye, and yet methinks right modest. ‘i ' oe And, when she speaks, is it not an alarum to ove! Cas. She is, indeed, perfection. Iago. Well, happiness to their sheets! Come, lieutenant, I have a stoop of wine, and here without are a brace of Cyprus gallants, that would fain have a measure to the.health of black Othello. 32 Cas. Not to-night, good Iago. I have very poor and unhappy brains for drinking: I could- well wish courtesy would invent some other custom of enter- tainment. Jago. O!} they are our friends; but one cup: Ill drink for you. Cas. I have drunk but one cup to-night, and that was craftily qualified too, and, behold, what innova- tion it makes here. Iam untortunate in the infirmity, and dare not task my weakness with any more. 42 Iago. What, man! ’tis a night of revels: the gal- lants desire it. Cas. Where are they ? Iago. Here at the door; I pray you, call them in. Cas. Ill do’t; but it dislikes me. [Exit. Iago. If I can fasten but one cup upon him, With that which he hath drunk to-night already, He’ll be as full of quarrel and offence 50 As my young mistress’ dog. Now, my sick fool, Roderigo, Whom love has turn’d almost the wrong side out, To Desdemona hath to-night carous’d Potations pottle-deep ; and he’s to watch. Three lads of Cyprus—noble, swelling spirits, That hold their honours in‘a wary distance, The very elements of this warlike isle— Have I to-night fluster’d with flowing cups, And they watch too. Now, ’mongst this flock of drunkards, Am I to put our Cassio in some action 69 ‘That may offend the isle.—But here they come. If consequence do but approve my dream, My boat sails freely, both with wind and stream. Re-enter Cassio, with him MONTANO, and Gentlemen. Cas. "Fore Heaven, they have given me a rouse already. ; ; Mon. Good faith, a little one; not past a pint, as I am a soldier. Iago. Some wine, ho! [Sings.] And let me the canakin clink, clink ; and let me the canakin clink: 70 A soldier’s aman; O, man's life’s but a span; Why then let a sojdier drink. Some wine, boys! [TVine brought in. 690 OTHELLO, THE MOOR OF VENICE. {Act Ii. Cas. ’Fore Heaven, an excellent song. Iago. I learned it in England, where, indeed, they are most potent in potting ; your Dane, your German, and your swag-bellied Hollander, — drink, ho!—are nothing to your English. 79 Cas. Is your Englishman so expert in his drinking ? Iago. Why, he drinks you, with facility, your Dane dead drunk; he sweats not to overthrow your Almain; he gives your Hollander a vomit, ere the next pottle can be filled. ‘ Cas. To the health of our general! | i HA ll i Cas. “To the health of our gencral!” Mon. J am for it, lieutenant; and I'll do you justice. fago. O sweet England! King Stephen was a worthy peer, His breeches cost him but a crown; He held them sixpence all too dear, 90 With that he call’d the tailor—lown. He was a wight of high renown, And thou art but of low degree: ’Tis pride that pulls the country down, Then take thine auld cloak about thee. Some wine, ho! ae Why, this is a more exquisite song than the other. Tago. Will you hear’t again? 99 Cas. No; for I hold him to be unworthy of his place, that does those things.—Well, Heaven’s above all; and there be souls must be saved, and there be souls must not be saved. Tago. It is true, good licutenant. Cas. For mine own part,—no offence to the general, nor any man of quality,—I hope to be saved. fago. And so do I too, lieutenant. 107 Cas. Ay; but, by your leave, not before me: the lieutenant is to be saved before the ancient. Let's have no more of this; Jet’s to our affairs.—God for- give us our sins !—Gentlemen, let’s look to our busi- ness. Do not think, gentlemen, I am drunk: this is my ancient ;—this is my right hand, and this is m left hand.—I am_not drunk now; I can stand well enough, and speak well enough. All. Excellent well. Cas. Why, very well then; you must not think then, that Iam drunk. cit. Mon. To the platform, masters: come, let’s set the watch. 120 Jago. You see this fellow, that is gone before: He is a soldier, fit to stand by Ceesar And give direction ; and do but sec his vice. *T is to his virtue a just equinox, The one as long as the other: ’t is pity of him. I fear, the trust Othello puts him in, On some odd time of his infirmity, Will shake this island. fon. vhs But is he often thus? Zayo. Tis evermore the prologue to his sleep: He'll watch the horologe a double set, 130 If drink rock not his cradle. Mon. It were well, The general were put in mind of it. Perhaps, he sees it not ; or his good nature Prizes the virtue that appears in Cassio, And looks not on his evils. Is not this true? Enter RopERIGo. Iago. [Aside to him.] How now, Roderigo? I pray you, after the lieutenant; go. . [Exit RoDERIGo. Mon. And ’tis great pity, that the noble Moor Should hazard such a place, as his own second, : With one of an ingraft infirmity : It were an honest action to say 111 So to the Moor. Jago. NotI, for this fair island: I do love Cassio well, and would do much To cure him of this evil. But hark! what noise? [Cry within: “ Help! help!” Re-enter Cassio, pursuing RODERIGO. Cas. You rogue! you rascal! Mon. What’s the matter, lieutenant? Cas. A knave teach me my duty! I'll beat the knave into a twiggen bottle. Rod. Beat me! Cas. Dost thou prate, rogue? [Striking RopERIGo. Mon. Nay, good lieutenant ; [Staying him. I pray you, sir, hold your hand. as. Let me go, sir, 149 Or I'll knock you o’er the mazzard. ‘on. Come, come ; you’re drunk. Cas. Drunk! [They fight. Iago. [Aside to RoDERIGO.] Away, I say! go out, and cry—a mutiny. [Exit RoDERIGO. Nay ! good lieutenant,—God’s will, gentlemen !— Help, ho !—Lieutenant,—sir,— Montano,—sir ;— Help, masters !—Here's a goodly watch, indeed! _ [Bell rings. Who’s that which rings the bell? Diablo, ho! The town will rise : God’s will! lieutenant, hold! You will be sham’d for ever. Enter OTHELLO and Attendants. Oth. What is the matter here? Mon. Pe still: I am hurt to the death.—He ies! Oth. Hold, for your lives! 169 Iago. Hold, ho! Lieutenant, — sir, — Montano, — gentlemen !— Have you forgot all sense of place and duty? Hold! the general speaks to you: hold, for shame! _ Oth. Why, how now, ho! from whence ariseth this ? Are we turn’d Turks, and to ourselves do that, Which Heaven hath forbid the Ottomites? For Christian shame, put by this barbarous brawl: He that stirs next to carve for his own rage, Holds his soul light ; he dies upon his motion. Silence that dreadful bell! it frights the isle 170 From her propriety. What is the matter, masters ?— Honest Iago, that look’st dead with grieving, Speak, who began this? on thy love, I charge thee. Iago. I do not know :—friends all but now, even now, In quarter, and in terms like bride and groom Devesting them for bed ; and then, but now, ‘Scene IIL] OTHELLO, THE MOOR OF VENICE. 691 (As if some planet had unwitted men,) Swords out, and tilting one at other's breast, In opposite bloody. I cannot speak Any beginning to this peevish odds; And would in action glorious I had lost 180 Those legs, that brought me to a part of it! al ow came it, Michael, you are thus forgot? ‘as. Tipe you, pardon me; I cannot speak. Oth. Worthy Montano, you were wont be civil ; The gravity and stillness of your youth The world hath noted, and your name is great In mouths of wisest censure: what’s the matter, That you unlace your reputation thus, And spend your rich opinion, for the name Of a night-brawler? give me answer to it. Mon. Worthy Othello, I am hurt to danger: Your officer, lago, can inform you— While I spare speech, which something now offends 190 me,— Of all that I do know ; nor know I aught By me that’s said or done amiss this night, Unless self-charity be sometime a vice, And to defend ourselves it be a sin, When violence assails us. Oth. Now, by Heaven, My blood begins my safer guides to rule; And passion, having my best judgment collied, Assays to lead the way. IfI once stir, Or do but lift this arm, the best of you Shall sink in my rebuke. Give me to know How this foul rout began, who set it on; And he that is approv'd in this offence, Though he had twinn’d with me, both at a birth, Shall lose me.—What! in a town of war, ° Yet wild, the people’s hearts brimful of fear, To manage private and domestic quarrel, In night, and on the court and guard of safety ! *T is monstrous.—Iago, who began it ? Mon. If bertially affin’d, or leagu’d in office, Thou dost deliver more or less than truth, Thou art no soldier. 200 210 Jaye. Touch me not so near: I had rather have this tongue cut from my mouth, Than it should do offence to Michael Cassio ; Yet, I persuade myself, to speak the truth Shall nothing wrong him.—Thus it is, general. Montano and myself being in speech, 220 There comes a fellow, crying out for help, And Cassio following him with determin'd sword To execute upon him. Sir, this gentleman Steps in to Cassio, and entreats his pause: Myself the crying fellow did pueaues Lest by his clamour (as it so fell out) The town might fall in fright : he, swift of foot, Outran my purpose ; and I return’d, the rather ‘For that T heart the clink and fall of swords, And Cassio high in oath, which till to-night Ine’er might say before. When I came back (For this was brief), I found them close together, At blow and thrust, even as again they were When you yourself did part them. More of this matter can I not report :— But men are men ; the best sometimes forget: Though Cassio did some little wrong to him, ‘As men in rage strike those that wish them best, ‘Yet surely Cassio, I believe, received From him that fled some strange indignity, Wael patience could not pass. 230 240 A I know, Iago, Thy honesty and love doth mince this matter, Making it light to Cassio.—Cassio, I love thee ; But never more be officer of mine.— Re-enter DESDEMONA, attended. Look, if my gentle love be not rais’d up !— I'll make thee an example. What’s the matter ? Des. Oth. All’s well now, sweeting; come away to ed.— Sir, for your hurts, myself will mae surgeon.— ead him off.— ONTANO is led off. Tago, look with care about the town, - 250 And silence those whom this vile brawl distracted.— Come, Desdemona; ’tis the soldiers’ lite, To have their balmy slumbers wak’d with strife. [Exeunt all but Taco and Cassio. Iago. What, are you hurt, lieutenant ? Cas. Ay; past all surgery. Jago. Marry, Heaven forbid! Cas. Reputation, reputation, reputation! O! Ihave lost my reputation, I have lost the immortal part of myself, and what remains is bestial.—_My reputation Iago, my reputation! 260 ‘ago. As I am an honest man, I thought you had received some bodily wound; there is more sense in that than in reputation. Reputation is an idle and most false imposition ; oft got without merit, and lost without deserving: you have lost no reputation at all, unless you repute yourself such a loser. What, man! there are ways to recover the general again: you are but now cast in his mood, a punishment more in policy than in malice; even so as one would beat his offenceless dog, to affright an imperious lion. Sue to him again, and he’s yours. 271 Cas. I will rather sue to be despised, than to deceive so good a commander with so slight, so drunken, and so indiscreet an officer. Drunk? and speak parrot? and squabble ? swagger ? swear ? and discourse fustian with one’s own shadow ?—O thou invisible spirit of wine! if thou hast no name to be known by, let us call thee devil. - : lago. What was he that you followed with your sword? What had he done to you? 280 Cas. I know not. Iago. 1s’t possible? . Cas. I remember a mass of things, but nothing dis- tinctly ; a quarrel, but nothing wherefore.—O God! that men should put an enemy in their mouths, to steal away their brains! that we should, with joy, pleasance, revel, and applause, transform ourselves into beasts! Iago. Why, but you are now well enough: how came you thus recovered? 290 Cas. It hath pleased the devil drunkenness, to give place to the devil wrath: one unperfectness shows me another, to make me frankly despise myself. Iago. Come, you are too severe a moraler. As the time, the place, and the condition of this country stands, I could heartily wish this had not befallen; but, since it is as it is, mend it for your own good. Cas. I will ask him for my piste again: he shall tell me, I am a drunkard. Had I as many mouths as Hydra, such an answer would stop them all. To be now a sensible man, by-and-by a fool, and presently a beast! O, strange!—Every inordinate cup is un- blessed, and the ingredient is a devil. 3 Iago. Come, come; good wine is a good familiar creature, if it be well used: exclaim no more against it. And, good lieutenant, I think you think I love you. Cas. I have well approved it, sir.—I drunk! Iago. You, or any man living, may be drunk at some time, man. I’ll tell you what you shall do. Our eneral’s wife is now the general :--I may say so in this respect, for that he hath devoted and given up himself to the contemplation, mark, and denotement of her parts and graces:—confess yourself freely to her; importune her; she’ll help to put you in your lace again. She is of so free, so kind, so apt, so blesesd a disposition, that she holds it a vice in her ‘oodness, not to do more than she is requested. This Broken joint, between you and her husband, entreat her tosplinter ; and my fortunes against any lay worth naming, this crack of your love shall grow stronger than it was before. 32: Cas. You advise me well. Jago. I protest, in the sincerity of love, and honest kindness. Cas. I think it freely ; and, betimes in the morning, I will beseech the virtuous Desdemona to undertake forme. Iam desperate of my fortunes, if they check me here. . 7 Jago. You are in theright. Good night, lieutenant; I must to the watch. 331 oS Ss ws OTHELLO, THE MOOR OF VENICE. {Act III, Cas. Good night, honest lago. [Fwit. Jago. And what’s he then, that says I play the villain ¢ When this advice is free, I give, and honest, Probal to thinking, and, indeed, the course To win the Moor again? For ’tis most easy, The inclining Desdemona to subdue In any honest suit: she’s fram’d as fruitful As the free elements. And then for her To win the Moor,—were ‘t to renounce his baptism, 340 All seals and symbols of redeemed sin, — His soul is so enfetter’d to her love, That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function. ow am I then a villain, To counsel Cassio to this parallel course, Directly to his good? Divinity of hell! When devils will their blackest sins put on, They do suggest at first with heavenly shows, As Ido now; for whiles this honest fool Plies Desdemona to repair his fortunes, And she for him pleads strongly to the Moor, I'll pour this pestilence into his ear, That she repeals him for her body’s lust ; And, by how much she strives to do him good, She shall undo her credit with the Moor. So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all. 330 358 Re-enter RODERIGO. How now, Roderigo? Rod. I do follow here in the chase, not like a hound that hunts, but one that fills up the cry. My money is almost spent : I have been to-night exceedingly well cudgelled; and, I think, the issue will be, I shall have so much experience for my pains; and so, with no money at all, and a little more wit, return again to Venice. Jago. How poor are they, that have not patience ! What wound did ever heal, but by degrees? Thou know’st, we work by wit, and not by witchcraft; And wit depends on dilatory time. Does ’t not go well? Cassio hath beaten thee, 370 And thou, by that small hurt, hast cashier’d Cassio. Though other things grow fair against the sun, Yet fruits that blossom first will first be ripe: Content thyself awhile.—By the mass, ’tis morning; Pleasure and action make the hours seem short. Retire thee ; go where thou art billeted: Away, I say ; thou shalt know more hereafter: Nay, get thee gone. [Hxit RODERIGO.] Two things are to be done,— My wife must move for Cassio to her mistress; I'll set her on; 380 Myself, the while, to draw the Moor apart, And bring him jump when he may Cassio find Soliciting his wife :— iy that’s the way: n Dull not device by coldness and delay. (Exit. Cassio. PO ASTERS, play here; I will content your » pains: Someihing that’s briet; and bid, ‘‘Good morrow, general.” [Mausic. Enter Clown. Clo. Why, masters, have your instru- ments been in Naples, that they speak 7 the nose thus? \, 1 Afus. How, sir, how? Clo. Are these, I pray you, called wind- instruments? \S 1 Aqus. Ay, marry, are they, sir. Clo. O! thereby hangs a tail. 1 Mus, Whereby hangs a tale, sir? Clo. Marry, sir, by many a wind-instrument that I know. But, masters, here’s money for you ; and the general so likes your music, that he desires you, for love’s sake, to make no more noise with it. 1 Mus. Well, sir, we will not. Clo. If you have any music that may not be heard, to’t again ; but, as they say, to hear music the general does not greatly care. 1 Mus. We have none such, sir. 20 Clo. Then put up your pipes in your bag, for I'll away. Go; vanish into air, away ! {Hxcunt Musicians. s. Dost thou hear, mine honest friend . No, Lhear not your honest friend; I hear you. Cas. Pr'ythee, keep up thy quillets. There’s a poor piece of yold for thee. If the gentlewoman that 10 o s wm | ACT LL. SceENE I.—Beforc the Castle. Enter Cassio and some Musicians. attends the general’s wife be stirring, tell her there’s one Cassio entreats her a little favour of speech: wilt thou do this? Clo. She is stirring, sir: if she will stir hither, I shall seem to notify unto her. 1 Cas. Do, good my friend. [Exit Clown. Enter Tago. In happy time, Iago. Iago. You have not been a-bed, then? Cas. Why, no; the day had broke Before we parted. I have made bold, Iago, To send in to your wife: my suit to her Ts, that she will to virtuous Desdemona Procure me some access. Lago. I'll send her to you And I'll devise a mean to draw the Moor Out of the way, that your converse and business ed be more free. ‘a3. I humbly thank you for’t. [Exit Laco.] I never resently ; " 40 new A Florentine more kind and honest. Enter EMILtIA. Emil. Good morrow, good lieutenant: I am sorry For your displeasure ; but all will sure be well. The general and his wife are talking of it, . And she speaks for you stoutly : the Moor replies, That he you hurt is of great fame in Cyprus, And great affinity, and that in wholesome wisdom 50 He might not but refuse you; but he protests he loves you, ScENE III.) OTHELLO, THE MOOR OF VENICE. 693 And needs no other suitor but his likings, To take the saf’st occasion by the front, To bring you in again. Cas. | Yet, I beseech you, — If you think fit, or that it may be done,— Give me advantage of some brief discourse With Desdemon alone. Emil. Pray you, come in: Clo. “And the general so likes your music, that he desires sou, for love's sake, tu make no more uvise with it.” I will bestow you where you shall have time ‘To speak your bosom freely. Cas. Iam much bound to you. [Fxreunt. ScENE II.—A Room in the Castle. Enter OTHELLO, IAGO, and Gentlemen. Oth. These letters give, Iago, to the pilot, And by him do my duties to the senate : That done, I will be walking on the works ; Repair there to me. ‘ago. Well, my good lord ; I'll do’t. Oth. This fortification, gentlemen,—shall we see ’t? Gent. We'll wait upon your lordship. [Exeunt. Scene JII.—The Garden of the Castle. Enter DESDEMONA, Cassio, and EMILIA. Des. Be thou assur’d, good Cassio, I will do All my abilities in thy behalf. Emil. Good madam, do: I warrant it grieves my husband, As if the cause were his. Des. O! that’s an honest fellow.—Do not doubt, . Cassio, But I will have my lord and you again As friendly as you were. Cas. Bounteous madam, Whatever shall become of Michael Cassio, He's never anything but your true servant. Des. I know’t: I thank you. You do love a lord; ° You have known him long: and be you well assur'd, He shall in strangeness stand no further off Than in a politic distance. Cas. Ay. but, lady, That policy may either last so long, Or feed upon such nice and waterish diet, Or breed itself so out of circumstance, That, 1 being absent, and my place supplied, My general will forget my love and service. Des. Vo not doubt that: before Emilia here, I give thee warrant of thy place. Assure thee, 20 If I do vow a friendship, I’ll perform it To the last article: my lord shall never rest; I'll watch him tame, and talk him out of patience; His bed shall seem a school, his board a shrift: I'll intermingle everything he does With Cassio’s suit. Therefore, be merry, Cassio ; For thy solicitor shall rather die, Than give thy cause away. Enter OTHELLO and Jaco, at a distance. Emil. Madam, here comes my lord. Cas. Madam, I'll take my leave. 30 Des. Why, stay, and hear me speak. Cas. Madam, not now: Iam very ill at ease, Unfit for mine own purposes. Des. Well, do your discretion. Tago. Ha! I like not that. Oth. What dost thou say ? Iago. Nothing, my lord: or if—I know not what. Oth. Was not that Cassio, parted from my wife? Iago. Cassio, my lord? Ne, sure, I cannot think it, That he would steal away so guilty-like, 40 Seeing you coming. Oth. I do believe ’t was he. Des. How now, my lord? I have been talking with a suitor here, A man that languishes in your displeasure. Oth. Who is’t you mean ? Des. Why, your lieutenant Cassio. Good my lord, If I have any grace, or power to move you, His present reconciliation take ; For, if he be not one that truly loves you, That errs in ignorance, and not in cunning, 50 I have no judgment in an honest face. I By gees call him back. [Exit Cassio. h Went he hence now? Des. Ay, sooth ; so humbled, That he hath left part of his grief with me, To sutfer with him. Good love, call him back. Oth. Not now, sweet Desdemon; some other time. Des. But shall ’t be shortly? Oth. The sooner, sweet, for you. Des. Shall’t be to-night at supper? Oth. No, not to-night. Des. To-morrow dinner then? Oth. I shall not dine at home; I meet the captains at the citadel. : 60 Des. Why then, to-morrow night; or Tuesday morn; On Tuesday noon, or night; on Wednesday morn: I pr’ythee, name the time, but let it not Exceed three days: in faith, he’s penitent ; And yet his trespass, in our common reason, (Save that, they say, the wars must make examples Out of her best,) is not almost a fault To incur a private check. When shall he come? Tell me, Othello. I wonder in my soul, What you could ask me that I should deny, 70 Or stand so mammering on. What! Michael Cassio, That came a-wooing with you, and so many a time, When I have spoke of you dispraisingly, Hath ta’en your part; to have so much to do To bring himin! Trust me, I could do much,— Oth. Pr'ythee, no more: let him come when he will; I will deny thee nothing. es. Why, this is not a boon; ’T is as I should entreat you wear your gloves, Or feed on nourishing dishes, or keep you warm, Or sue to you to do a peculiar profit 80 To your own person: nay, when I have a suit Wherein I mean to touch your love indeed, It shall be full of poise and difficult weight, And fearful to be granted. Oth. I will deny thee nothing: 694 OTHELLO, THE MOOR OF VENICE. [Act III. Whereon, I do beseech thee, grant me this, To leave me but a little to myself. Des. Shall I deny you? no, Farewell, my lord. Oth. Farewell, my Desdemona: I’ll come to thee straight. Des. Emilia, come.—Be as your fancies teach you ; Whate'’er you be, Iam obedient. [Hxrit, with EMILIA. Oth. Excellent wretch! Perdition catch my soul, 91 But I do love thee! and when I love thee not, Chaos is come again. Iago. My noble lord,— Oth, What dost thou say, Iago? Iago. Did Michael Cassio, when you woo'd my lady, Know of your love? Oth. He did, from first to last: why dost thou ask ? Jago. But for a satisfaction of my thought ; No further harm. Oth. Why of thy thought, Iago? ; Iago. I did not think, he had been acquainted with her. p 100 Oth. O, yes; and went between us very oft. Iago. Indeed? : Oth. Indeed! ay, indeed :—discern’st thou aught in 2 that Is he not honest? Lago. Honest, my lord? Oth. Honest! ay, honest. Jago. My lord, for aught I know. Oth. What dost thou think ? Tago. Think, my lord? Oth. Think, my lord! By Heaven, he echoes me, As if there were some monster in his thought Too hideous to be shown.—Thou dost mean something. I heard thee say even now,—thou lik’dst not that, 110 When Cassio left my wife: what didst not like? And, when I told thee, he was of my counsel In my whole course of wooing, thou criedst, ‘‘Indeed?” And didst contract and purse thy brow together, As if thou then hadst shut up in thy brain Some horrible conceit. If thou dost love me, Show me a thought. Tago. My lord, you know I love you. th. I think, thou dost ; And,—for I know thou art full of love and honesty, And ‘wellh st thy words before thou giv’st them. reath,— 120 Therefore, these stops of thine fright me the more : For such things, in a false disloyal knave, Are tricks of custom; but in a man that’s just, They ’re close delations, working from the heart, That passion cannot rule. Tago. For Michael Cassio, — I dare be sworn, I think that he is honest. Oth. I think so too. Iago. Men should be what they seem ; Or, those that be not, would they might seem none! Oth. Certain, men should be what they seem. Jae. Why then, I think Cassio ’san honest man. 130 Oth. Nay, yet there ’s more in this. I pray thee, speak to me as to thy thinkings, As thou dost ruminate ; and give thy worst of thoughts The worst of words. dago. Good my lord, pardon me: Though I am bound to every act of duty, Iam not bound to that all slaves are free to. Utter my fnougatss Why, say, they are vile and ‘alse,— As where’s that palace, whereinto foul things Sometimes intrude not? who has a breast so pure, But some uncleanly apprehensions 1 Keep leets, and law-days, and in sessions sit With meditations lawful? Oth. Thou dost conspire against thy friend, Iago, If thou but think’st him wrong'd, and mak’st his ear A stranger to thy thoughts. Iago. I do beseech you,— pee I, perchance, am vicious in my guess, (As, I confess, it is my nature’s plague To spy into abuses, and oft my Jealousy _ Shapes faults that are not,)—that your wisdom yet, _ From one that so imperfectly conceits, 150 Would take no notice; nor build yourself a trouble Out of his scattering and unsure observance. It were not for your quiet, nor your good, Nor for my manhood, honesty, and wisdom, To let you know my thoughts, Oth. What dost thou mean? \ Jago, Good name in man and woman, dear my lord, Is the immediate jewel of their souls: ‘Who steals my purse, steals trash; ‘tis something, ' nothing *T was mine, ’t is his, and has been slave to thousands; But he that filches from me my good name, 160 Robs me of that which not enriches him, And makes me poor indeed. Oth. By Heaven, I’ll know thy thoughts. Jago. You cannot, if my heart were in your hand; Nor a not, whilst ’tis in my custody. al Tago. O! beware, my lord, of jealousy ; It is the green-ey'd monster, which doth mock The meat it feeds on: that cuckold lives in bliss, Who, certain of his fate, loves not his wronger ; But, O! what damned minutes tells he o’er, 170 Who dotes, yet doubts ; suspects, yet soundly loves! Oth, O misery ! Jago. Poor, and content, is rich, and rich enough ; But riches, fineless, is as poor as winter, To him that ever fears he shall be poor.— Good Heaven, the souls of all my tribe defend From jealousy! Oth. Why? why is this? Think’st thou, I’d make a life of jealousy, Yo follow still the changes of the moon With fresh suspicions? No: to be once in doubt, 180 Is once to be resolv’d. Exchange me for a goat, When I shall turn the business of my soul To such exsuffiicate and blown surmises, * Matching thy inference. ’T isnot to make me jealous, To say—my wife is fair, feeds well, loves company, Is free of speech, sings, plays, and dances well; Where virtue is, these are more virtuous: Nor from mine own weak merits will I draw The smallest fear, or doubt of her revolt ; For she had eyes, and chose me. No, Iago; I'll see, before I doubt; when I doubt, prove; And, on the proof, there is no more but this,— Away at once with love, or jealousy. Iago. I am glad of it: for now I shall have reason To show the love and duty that I bear you With franker spirit: therefore, as I am bound, Receive it from me. I speak not yet of proof. _ Look to your wife ; observe her well with Cassio ; Wear your eye thus, not jealous, nor secure : I would not have your free and noble nature, Out of self-bounty, be abus’d ; look to ’t. I know our oy disposition well: In Venice they do let Heaven see the pranks They dare not show their husbands; their best con- science Is, not to leave ’t undone, but keep ’t unknown. Oth. Dost thou say so? ¥ Iago. She did deceive her father, marrying you; And, when she seem’d to shake and fear your looks, She lov’d them most. Oth. And so she did. Tago. Why, go to, then; She that so young could give out such a seeming, 210 To seel her father’s eyes up, close as oak,— He HOHE ‘twas witchcraft :—but 1 am much to lame ; I humbly do beseech you of your pardon, For too much loving you. 190 200 Oth. I am bound to thee for ever. Jaye: I see, this hath a little dash’d your spirits. Oth. Not a jot, not a jot. P Tago. Trust me, I fear it has. I hope, you will consider what is spoke ‘ Comes from my love.—But, I do see you're mov’d: Iam to pray you, not to strain my speech To grosser issues, nor to larger reach, Than to suspicion. Oth. I will not. 220 Scene IIL] OTHELLO, THE MOOR OF VENICE. 695 Iago. Should you do so, my lord, My speech should fall into such vile success As my thoughts aim not at. Cassio’s my worthy friend— My lord, I see you’re mov’d. . No, not much mov'd.— I do not think but Desdemona’s honest. dome Long live she so! and long live you to think so! Oth. And yet, how nature erring from itself,— Iugo. Ay, there’s the point :—as,—to be bold with you, — ; Not to affect many proposed matches, 230 Of her own clime, pores On and degree, Whereto, we see, in all things nature tends: Foh! one may smell, in such, a will most rank, Foul disproportion, thoughts unnatural.— But pardon me; I do not in position Distinctly speak of her, though I may fear, Her will, recoiling to her better judgment, May fall to match you with her country forms, And, happily, repent. Oth. Farewell, farewell. If more thou dost perceive, let me know more; 240 Set on thy wife to observe. Leave me, Iago. i Kd lord, I take my leave. [Going. Oth. Why did I marry?—This honest creature, doubtless, Sees and knows more, much more, than he unfolds. Tago. [Returning.] My lord, I would I might entreat our honour - To scan this thing no further ; leave it to time. Although ’t is fit that Cassio have his place, (For, sure, he fills it up with great ability,) Yet, if you please to hold him off awhile, You shall by that perceive him and his means: 250 Note, if your lady strain his entertainment With awy strong or vehement importunity ; Much will be seen in that. In the meantime, Let me be thought too busy in my fears (As worthy cause I have to fear I am), And hold her free, I do beseech your honour. Oth. Fear not my government. Iago. I once more take my leave. (Exit. Oth. This fellow’s of exceeding honesty, And knows all qualities, with a learned spirit, _ 260 Of human dealings ; if I do prove her haggard, ee that her jesses were my dear heart-strings, I’d whistle her off, and let her down the wind, To ea at fortune. Haply, for Iam black, And have not those soft parts of conversation That chamberers have; or, for I am declin’d Into the vale of years ;—yet that ’s not much: She ’s gone, I am abus’d ; and my relief Must be to loathe her. O curse of marriage! That we can call these delicate creatures ours, 270 And not their appetites. I had rather be a toad, And live upon ihe vapour of a dungeon, Than keep a corner in the thing I love For others’ uses. Yet, ‘tis the plague of great ones; Prerogativ’d are they less than the base ; *T is destiny unshunnable, like death : Even then this forked plague is fated to us, When we do quicken. Look, where she comes. If she be false, O! then Heaven mocks itself. I'll not believe it. Re-enter DESDEMONA and EMILIA. Des. How now, my dear Othello? 280 Your dinner and the generous islanders, By you invited, do attend your presence. Oth. I am to blame. Des. Why do you speak so faintly ? Are you not well? h. Ihave a pain upon my forehead here. Des. Faith, that’s with watching; ’t will away again: Let me but bind it hard, within this hour It will be well: Oth. Your napkin is too little ; Let it alone. Come, I’ll go in with you. Des. Iam very sorry that you are not well. 290 {#xeunt OTHELLO and DESDEMONA. Emil. Iam glad I have found this napkin. This was her first remembrance from the Moor: ae wayward husband hath a hundred times oo'd me to steal it ; but she so loves the token, (For he conjur’d her she should ever keep it,) That she reserves it evermore about her, To kiss, and talk to. I’ll have the work ta’en out, And give ’t Iago: What he will do with it, Heaven knows, not I; I nothing, but to please his fantasy. 350 | Re-enter IaGo. Iago. How now! what do you here alone? Emil. Do not you chide; I have a thing for you. Emil. “ What will you do with't, that you have been su earnest To have me filch it?” Iago. A thing for me?—it is a common thing— Emil. Ha? Iago. To have a foolish wife. Emil. O! is that all? What will you give me now For that same handkerchief ? Iago. What handkerchief? Emil. What handkerchief ! Why, that the Moor first gave to Desdemona; That which so often you did bid me steal. 310 Jago. Hast stol’n itfrom her? . Emil. No, ’faith: she let it drop by negligence ; And, to the advantage, I, being here, took ’t up. Look, here it is. Iago. A good wench ; give it me. Emil. What will you do with’t, that you have been so earnest To have me filch it? Iago. Why, what’s that to you? [Snatching it. Emil. If it be not for some purpose of import, Give’t me again: poor lady ! she’ll run mad, When she shall lack it. Iago. Be not acknown on’t; Ihave use for it. 320 Go, leave me. (Exit Emi. I will in Cassio’s lodging lose this napkin, And let him find it: trifles, light as air, Are, to the jealous, confirmations strong As proofs of holy writ. This may do something. The Moor already changes with my poison : 696 OTHELLO, THE MOOR OF VENICE. (Act TIL Dangerous conccits are in their natures poisons, Which at the first are scarce found to distaste ; But, with a little act upon the blood, Burn like the mines of sulphur.—I did say so:— — 330 Look, where he comes ! Re-enter OTHELLO. Not poppy, nor mandragora, Nor all the drowsy syrups of the world, Shall ever medicine thee to that sweet sleep Which thou ow’dst yesterday. Oth. Ha! ha! false to me? Iago. Why, how now, general? no more of that. Oth. Avaunt! be gone! thou hast set me on the rack.— I swear, ’tis better to be much abus’d, Than but to know’t a little. Jago. How now, my lord? Oth. What sense had I of her stol'n hours of lust ? I saw it not, thought it not, it harm’d not me: 340 I slept the next night well, fed well, was free and merry ; I found not Cassio’s kisses on her lips: He that is robb'd, not wanting what is stolen, Let him not know’t, and he’s not robb’d at all. fago. I am sorry to hear this. Oth. Thad been happy, if the general camp, Pioners and all, had tasted her sweet body, So I had nothing known. O now, for ever, Farewell the tranquil mind! farewell content ! Farewell the plumed troops, and the big wars, 350 That make ambition virtue! O, farewell! Farewell the neighing steed, and the shrill trump, The spirit-stirring drum, the ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war! And O you mortal engines, whose rude throats The immortal Jove’s dread clamours counterfeit, Farewell! Othello’s occupation's gone ! fago. Is it possible ?—My lord,— Oth. Villain, be sure thou prove my love a whore: Be sure of it: give me the ocular proof ; 36. Or, by the worth of mine eternal soul, Thou hadst been better have been born a dog, Than answer my wak’d wrath. fago. Ts it come to this ? Oth. Make me to see’t; or, at the least, so prove it, That the probation bear no hinge, nor loop, To hang a doubt on: or woe upon thy life! Iago. My noble lord,— Oth. If thou dost slander her, and torture me, Never pray more ; abandon all remorse ; 370 On horror’s head horrors accumulate ; Do deeds to make heaven weep, all earth amaz‘d: For nothing canst thou to damnation add, Greater than that. Tago. O grace! O Heaven forgive me! Are you a man? have you a soul, or sense ?— God be wi’ you; take mine oftice.—O wretched fool, That liv’st to make thine honesty a vice !— O monstrous world! Take note, take note, O world! To be direct and honest is not safe.— I thank you for this profit ; and, from hence, 380 I'll love no friend, sith love breeds such offence. Oth. Nay, stay.—Thou shouldst be honest. Iago. I should be wise; for honesty ’s a fool, And loses that it works for. Oth. By the world, I think my wife be honest, and think she is not ; I think that thou art just, and think thou art not. I'll have some proof. Her name, that was as fresh As Dian’s visage, is now begrim'd and black As mine own face.—If there be cords, or knives, Poison, or fire, or suffocating streams, 390 Ill not endure it.—Would I were satisfied ! Jago. I see, sir, you are eaten up with passion. Ido repent me that I put it to you. You would be satisfied ? Oth. Would! nay, I will. Jago. And may ; but how? how satisfied, my lord? Would eee the supervisor, grossly gape on,— Behold her tupp’d? Oth. Death and damnation! O! Iago. It were a tedious Seat I think, To bring them to that prospect. Damn them then, If ever mortal eyes do see them bolster, More than theirown! What then? how then? What shall I say? Where’s satisfaction? Oth. ‘Make me to see't; or, at the least, 30 prove it, That the probation bears no hinge, nor loop, To hang a doubt on: or woe upon thy life!” It is impossible you should see this, Were they as prime as goats, as hot as monkeys, As saltas wolves in pride, and fools as gross As ignorance made drunk: but yet, I say, If imputation, and strong circumstances, Which lead directly to the door of truth, Will give you satisfaction, you might have it. Oth. Give me a living reason she’s disloyal. 410 Iago. I do not like the office ; But, sith Iam enter’d in this cause so far, Prick’d to’t by foolish honesty and love, I will goon. I lay with Cassio lately ; And, being troubled with a raging tooth, I could not sleep. There are a kind of men so loose of soul, That in their sleeps will mutter their affairs : One of this kind is Cassio. In sleep I heard him say,—“‘Sweet Desdemona; 420 Let us be wary, let us hide our loves!” And then, sir, would he gripe, and wring my hand, Cry,—“O sweet creature!” and then kiss me hard, As if he pluck’d up kisses by the roots, That grew upon my lips: then laid his leg Over my thigh, and sigh’d, and kiss’d; and then . Cried,—‘‘ Cursed fate, that gave thee to the Moor! Oth. O monstrous! monstrous ! "hago. Nay, this was but his dream. Oth. But this denoted a foregone conclusion : ’Tis a shrewd doubt, though it be buta dream. _ 130 Iago. And this may help to thicken other proofs, That do demonstrate thinly. : Oth. I'll tear her all to pieces, Iago. Nay, but be wise: yet we see nothing done; She may be honest yet. Tell me but this: Have you not sometimes seen a handkerchief, Spotted with strawberries, in your wife’s hand? Oth. Lgave her such a one: ’t was my first gift. Iago. I know not that: but such a handkerchief Scene IV.) OTHELLO, THE MOOR OF VENICE. 6u7 . Tam sure it was your wife’s) did I to-day ee Cassio wipe his beard with. Oth. . If it be that,- Iago. If it be that, or any that was hers, It ppeale against her, with the other proofs. Oth. O, that the slave had forty thousand lives! One is too poor, too weak for my revenge. Now do I see ’t is true.—Look here, Iago; All my fond love thus do I blow to heaven: Tis gone.— Arise, black vengeance, from the hollow hell! Yield up, O love, thy crown and hearted throne To tyrannous hate! Swell, bosom, with thy fraught, Yor 'tis of aspics’ tongues! 451 440 Jeg Yet be content. Oth. O, blood, blood, blood ! Jago. Patience, I say; your mind perhaps may change. Oth. Never, Iago. Like to the Pontic sea, Whose icy current and compulsive course Ne’er feels retiring ebb, but keeps due on 'To the Propontic and the Hellespont: Even so my bloody thoughts, with violent pace, Shall ne’er look back, ne’er ebb to humble love, Till that a capable and wide revenge 460 Swallow them up.—[Kneeling.] Now, by yond marble heaven, In the due reverence of a sacred vow I here engage my words. Iago. _ Donot rise yet.—[Kneeling. Witness, you ever-burning lights above ! You elements that clip us round about! Witness, that here Iago doth give up The execution of his wit, hands, heart, To wrong’d Othello’s service! Let him command, And to obey shall be in me remorse, What bloody business ever. Oth. I greet thy love, 70 Not with vain thanks, but with acceptance bounteous, And will upon the instant put thee to’t: Within these three days let me hear thee say, That Cassio’s not alive. cake My friend is dead; ’t is done at your request: But let her live. Oth. Damn her, lewd minx! O, damn her! Come, go with me apart; I will withdraw, To furnish me with some swift means of death For the fair devil. Now art thou my lieutenant. Iago. 1am your own for ever. 480 [Ezeunt. Scene IV.—Before the Castle. Enter DESDEMONA, EMILIA, and Clown. if Des. Do you know, sirrah, where Lieutenant Cassio ies? Clo, I dare not say he lies anywhere. Des. Why, man? _ Clo. He is a soldier ; and for one to say a soldier liés, is stabbing. Des. Goto. Where lodges he? ; fee To tell you where he lodges, is to tell you where ie. Des. Can anything be made of this? 10 Clo. I know not where he lodges; and for me to devise a lodging, and say, he lies here, or he lies there, were to lie in mine own throat. fe, Can you inquire him out, and be edified by report lo. I will catechise the world for him; that is, make questions, and by them answer. Des. Seek him; bid him come hither; tell him, I have moved my lord in his behalf, and hope, all will be well. : 20 Clo, To do this is within the compass of man’s wit ; and therefore I will attempt the doing it. [Fait. Des. Where should I lose that handkerchief, Emilia? Emil. I know not, madam. Des. Believe me. I had rather have lost my purse Full of cruzadoes;.and but my noble Moor Is true of mind, and made of no such baseneg3 As jealous creatures are, it were enougu Te put him to ill thinking. Emil. Is he not jealous? 30 Des. Whothe! I think the sun, where he was born, Drew all such humours from him, Emil. Look, where he comes. Des. I will not leave him now, till Cassio Be call’d to him.— Enter OTHELLO. How is’t with you, my lord? Oth. Well, my good lady.—[.Aside.] O, hardness to dissemble !— How do you, Desdemona? es. Well, my good lord, Oth. Give me your hand. This hand is moist, my lady. Des. It yet has felt no age, nor known no sorrow. Oth. This argues fruitfulness, and liberal heart : Hot, hot, and moist : this hand of yours requires A sequester from liberty, fasting and prayer, Much castigation, exercise devout ; For here’s a young and sweating devil here, That commonly rebels. “Tis a good hand, «A frank one. Des. You may, indeed, say so; For 't was that hand that gave away my heart. Oth. A liberal hand : the hearts.of old gave hands; But our new heraldy is—hands, not hearts. Des. I cannot speak of this. Come now, your romise. Oth. What promise, chuck? 50 Des. T have sent to bid Cassio come speak with you. Oth. T have a salt and sorry rheum offends me. Lend me thy handkerchief. Des. Here, my lord. Oth. That which I gave you. Des. T have it not about me. Oth. Not? Des. No, indeed, my lord. é Oth. That’sa fault. That handkerchief Did an Egyptian to my mother give; 60 She was a charmer, and could almost read The thoughts of people: she told her, while she kept it, *T would make her amiable, and subdue my father Entirely to her love; but if she lost it, Or made a ee ot it, my father's eye Should hold her loathed, and his spirits should hunt After new fancies. She, dying, gave it me; And bid me, when my fate would have me wived, To give it her. I did so: and take heed on’t; Make it a darling like your precious eye; 70 To lose’t or give ’t away, were such perdition, As nothing else could match. es. Is’t possible ? Oth. ’T is true: there’s magic in the web of it. A sibyl, that had number’d in the world 40 ‘The sun to course two hundred compasses, . In her prophetic fury sew’d the work ; The worms were hallow’d that did breed the silk, And it was dy’d in mummy, which the skilful Conserv’d of maidens’ hearts. Des. Indeed! is’t true? Oth. Most veritable ; therefore look to’t well. 80 Des. Then would to Heaven that I had never seen 't. Oth. Ha! wherefore ? Des. Why do you speak so startingly and rash ? Oth. Is’t lost? is’t gone? speak, is it out o' the way ? Des. Heaven bless us! Oth. Say you? ke Des. It is not lost; but what an if it were? Oth. How? Des. I say, it is not lost. Oth. Fetch ’t, let me see ’t. 90 * Des. Why, so 1 can, sir; but I will not now. This is a trick, to put me from my suit: I pray, let Cassio be receiv’d again. Oth. Fetch me that handkerchief: my mind mis gives. Des. Come, come ; You'll never meet a more sufficient man. 698 OTHELLO, THE MOOR OF VENICE. Oth, The handkerchief ! Des. 5 Oth. The handkerchief ! ask | Des. : A man that, all his time, | Hath founded his good fortunes on your love; { Shar’d dangers with you ;— 100 I pray, talk me of Cassio. “ Bian. This is some token from ar Oth, The handkerchief ! Des. Oth. Away! Emil. Is not this man jealous? Des. I ne’er saw this before. Sure, there ’s some wonder in this handkerchief : Iam most unhappy in the loss of it. ; Emil. "T is not a year or two shows us a man: They are all but stomachs, and we all. but food ; In sooth, you are to blame. i [Bxit. | They eat us hungerly, and when they are full, 1 They belch us.—Look you! Cassio, and my husband, Enter Iaco and Cassio. Iago. There is‘no other way ; ’t is she must do’t: And, lo, the happiness! go, and importune her, aos of TF] ey uit PAT O Cassio, whence came this? newer friend.” Des. How HOW good Cassio? what’s the news with a you Cas. Madam, my former suit. I do beseech you, | That by your virtuous means I may again Exist, and be a member of his love, Whom I, with all the office of my heart, Entirely honour: I would not be delay’d. It my, offence be of such mortal kind, That nor my service past, nor present sorrows, 120 {Acr. TL ‘SCENE IV.] OTHELLO, THE MOOR OF VENICE. 699 Nor purpos’d merit in futurity, Can ransom me into his love again, But to know so must be my benefit ; So shall I clothe me in a fore’d content, And shut myself up in some other course, To fortune’s alms. Des. ._,. Alas! thrice-gentle Cassio, My advocation is not now in tune ; My lord is not my lord ; nor should I know him, Were he in favour, as in humour, alter’d. So help me every spirit sanctified, As I have spoken for you all my best, And stood within the blank of his displeasure, For mY free speech, You must awhile be patient : What I can do, I will; and more I will, Than for myself I dare : let that suffice you. Iago. Is my lord angry ? Emil. ‘ He went hence but now, And, certainly, in strange unquietness. Iago. Can he be angry? I have seen the cannon, When it hath blown his ranks into the air, And, like the devil, from his very arm 140 uff’d his own brother ;—and can he be angry? Something of moment, then: I will go meet him. There ’s matter in ’t, indeed, if he be angry. Des. I pr’ythee, do so. [Exit lage | Somethitries : sure, of state— Either from Venice, or some unhatch’d practice, Made demonstrable here in Cyprus to him— Hath puddled his clear spirit ; and, in such cases, Men’s natures wrangle with inferior things, Though great ones are their object. ’Tis even so; For let our finger ache, and it indues 1 Our other healthful members ev'n to that sense Of pain. Nay, we must think, men are not gods; Nor of them look for such observance As fits the bridal.—Beshrew me much, Emilia, I was (unhandsome warrior as I am) Arraigning his unkindness with my soul: But now I find, I had suborn’d the witness, And he’s indited falsely. Emil. Pray Heaven it be state-matters, as you set 130 And no conception, nor no jealous toy, Concerning you. Des. Alas the day! I never gave him cause. Emil. But jealous souls will not be answer’d so ; They are not ever jealous for the cause, But jealous for they are jealous: ’t is a monster Begot upon itself, born on itself. es, Heaven keep that monsterfrom Othello’smind! Emil. Lady, Amen. Des. I will go seek him.—Cassio, walk hereabout : If I do find him fit, I’ll move your suit, 170 And seek to effect it to my uttermost. Cas. I humbly thank your ladyship. [Exeunt DESDEMONA and EMILIA. Zinter BIANCA. Bian. Save you, friend Cassio ! Cas. What make you from home? How is it with you, my most fair Bianca ? T faith, sweet love, I was coming to your house. Bian. And I was going to your lodging, Cassio. What! keep a week away? seven days and nights? Eight score eight hours? and lovers’ absent hours, More tedious than the dial eight score times? O weary reckoning ! : Cas. Pardon me, Bianca ; 180 I have this while with leaden thoughts been press’d ; But I shall, in a more continuate time, Strike off this score of absence. Sweet Bianca, Giving her DESDEMONA’s handkerchief. Take me this work out. ; Bian. O Cassio, whence came this? This is some token from a newer friend. To the felt absence now I feel a cause. Is it come to this? Well, well. Cas. ; Go to, woman! Throw your vile guesses in the devil’s teeth, From whence you have them. You are jealous now, That this is from some mistress, some remembrance : No, in good troth, Bianca. tan. Why, whose is it ? 191 Cas. I know not neither : I found it in my chamber. I like the work well: ere it be demanded (As like enough it will), I’d have it copied: Take it, and do ’t; and leave me for this time. Bian. Leave you! wherefore? Cas. I do attend here on the general, And think it no addition, nor my wish, To have him see me woman’d. Bian. Cas. Not that Ilove you not. Bian. But that you do not love me. I pray you, bring me on the way a little; 201 And say, it I shall see you soon at night. Cas. ’T is but a little way, that I can bring you, For I attend here; but I’ll see you soon. Bian. ’Lis very good: I must be circumstance’d. [Exeunt. Why, I pray you? UU iy OW PAZ Dif ACT IV. ScENE I.—Before the Castle. Z A) Tago. CaP te LLL you think so? { Oth. Think so, Iago? Tago. What! To kiss in private? he An unauthoris’d kiss. Iago. Or to be naked with her friend it \ a-bed, ee An hour, or more, not meaning any harm ? a Oth. N ae posits Iago, and not mean arm. It is hypocrisy against the devil: -They that mean virtuously, and yet do so, The devil their virtue tempts, and they tempt Heaven. Enter OTHELLO and IaGo. Iago. If they do nothing, ’tis a venial slip: But if I give my wife a handkerchief,— 10 Oth. What then? . Iago. Why, then’tis hers, my lord; and, being hers, She may, I think, bestow ’t on any man. Oth. She is protectress of her honour too: May she give that? Iago. Her honour is an essence that’s not seen ; They have it very oft, they have it not: But, for the handkerchief,— Oth. By Heaven, I would most gladly have forgot it. Thou saidst,—O! it comes o'er my memory, 20 As doth the raven o’er the infectious house, Boding to all,—he had my handkerchief. 700 OTHELLO, THE MOOR OF VENICE. {Act IV. Tago. Ay, what of that? Oth. That’s not so good, now. Iago. What, if I had said, I had seen him do you wrong ?% Or heard him say,—as knaves be such abroad, Who, having, by their own importunate suit, Or voluntary dotage of some mistress, Convinced or supplied them, cannot choose But they must blab. th. Hath he said anything? Jago. He hath, my lord; but, be you well assur’d, 30 No more than he'll unswear. What hath he said ? Oth. Iago. Faith, that he did—I know not what he did. Oth. What? what? Iago. Lie— Oth. With her? . fago. With her, on her; what you will. Oth. Lie with her! lie on her !—We say, lie on her, when they belie her. Lie with her! that’s fulsome.— Handkerchiet,—confessions,—handkerchief.—To con- fess, and be hanged for his labour.—First, to be hanged, and then to confess :—I tremble at it. Nature would not invest herself in such shadowing passion, without some instruction. It is not words, that shakes me thus.—Pish!--Noses, ears, and lips.—Is it possible ?—Confess !— Handkerchief !—O devil !— 43 [Falls in a trance. Iago. Work on, My medicine, work ! Thus credulous fools are caught ; And many worthy and chaste dames, even thus, All guiltless, meet reproach.—What, ho! my lord! My lord, I say! Othello !— Entcr Cassio. How now, Cassio? Cas. What's the matter ? Iago. My lord is fall'’n into an epilepsy: 59 This is his second fit ; he had one yesterday. Cas. Rub him about the temples. Iago. No, forbear. The lethargy must have his quiet course ; If not, he foams at mouth ; and, by-and-by, Breaks out to savage madness. Look, he stirs : Do you withdraw yourself a little while, He will recover straight : when he is gone, I would on great occasion speak with you.— [vit Cassio. How is it, general? have you hurt your head ? Oth. Dost thou mock me ? Lago. I mock you! no, by Heaven. ’Would you would bear your fortune likea man. 61 Oth. A horned man’s a monster, and a beast. Jago. There's many a beast then in a populous city, And many a civil monster. Oth. Did he confess it ? Iago. Good sir, be a man; ‘Think, every bearded fellow, that’s but yok’d, May draw with you: there’s millions now alive, That nightly lie in those unproper beds, Which they dare swear peculiar: your case is better. O! ‘tis the spite of hell, the fiend’s arch-mock, 70 To lip a wanton in a secure couch, And to suppose her chaste. No, let me know ; And, knowing what Iam, I know what she shall be, Oth. O! thou art wise; ‘tis certain. Jago. Stand you awhile apart ; Confine yourself but in a patient list. Whilst you were here, o’erwhelmed with your grief (A passion most unsuiting such a man), Cassio came hither: I shifted him away, And laid good 'scuse upon your ecstacy ; 80 Bade him anon return, and here speak with me; The which he promis’d. Do but encave yourself, And mark the fleers, the gibes, and notable scorns, That dwell in every region of his face ; For I will make him tell the tale anew, Where, how, how oft, how long ago, and when He hath, and is again to cope your wife: I at but mark his gesture.—Marry, patience ; Or I shall say, you are all in all in spleen, And nothing of a man, Oth. Dost thou hear, Iago? 90 I will be found most cunning in my patience; But (dost thou hear?) most bloody. Tago. hoe ; That’s not amiss; But yet keep time in all. Will you withdraw? : OTHELLO withdraws, . Now will I question Cassio of Bianca, A housewife, that by selling her desires Buys herself bread and clothes: it is a creature, That dotes on Cassio, as 't is the strumpets’ plague, To beguile many, and be beguil’d by one. He, when he hears of her, cannot refrain From the excess of laughter.—Here he comes.— _ 100 Re-enter Cassio. As he shall smile, Othello shall go mad; And his unbookish jealousy must construe Poor Cassio’s smiles, gestures, and light behaviour Quite in the wrong.—How do you now, lieutenant? Cas. The worser, that you give me the addition, Whose want even kills me. Iago. Ply Desdemona well, and you are sure on ’t. [Speaking lower.] Now, if this suit lay in Bianca’s dower, How quickly should you speed ! ‘as. Alas, poor caitiff! Oth. [Aside.] Look, how he laughs already ! 110 fago. I never knew woman love man so. Cas. Alas, poor rogue! I think, i’ faith, she loves me. Oth. eel Now he denies it faintly, and laughs it out. Jago. Do you hear, Cassio? Oth. [Aside.] Now he importunes him To tell it o'er. Goto; well said, well said. Tago. She gives it out, that you shall marry her: Do you intend it? Cas. Ha, ha, ha! Oth. [Aside.] Do triumph? Cas. I marry her!—what! a customer? I pr'ythee, bear some charity to my wit; do not think it so unwholesome. Ha, ha, ha! Oth. LAside.] So, so, so, so. They Jaugh that win. Tago. bei the cry goes, that you shall marry her.— Cas. Pr'ythee, say true. rig Iam a very villain else. Oth. LAside.] Have you scored me? Well. Cas, This is the monkey’s own giving out : she is persuaded I will marry her, out of her own love and flattery, not out of my promise. 131 Oth. [Aside.] Iago beckons me: now he begins the story. : Cas. She was here even now; she haunts me in every place. I was, the other day, talking on the sea- bank with certain Venetians, and thither comes the bauble; and, by this hand, she falls me thus about my neck; . Oth. [Asidc.] Crying, O dear Cassio! as it were: his gesture imports it. 140 Cas. So hangs, and lolls, and weeps upon me; so hales and pulls me: ha, ha, ha !— . Oth. (Aside.] Now he tells, how she plucked him to my chamber. O! I see that nose of yours, but not that dog I shall throw it to. Cas. Well, I must leave her company. Tago. Before me! look, where she comes. Cas. ’T is such another fitchew! marry, a perfumed one. you triumph, Roman! do Be Enter BIANca. What do you mean by this haunting of me? 150 Bian. Let the devil and his dam haunt you! What did you mean by that same handkerchief, you gave me even now? I was a fine fool to take it. I must take out the work !-—A likely piece of work, that you should find it in your chamber, and know not wholeft it there! This is some minx’s token, and I must take out the work! There, give it your hobby-horse : wheresoever you had it, I ‘ll take out no work on ’t. Cas. How now, my sweet Bianca! how now, ae now! ScENE ITI.] OTHELLO, THE MOOR OF VENICE. 761 Oth. [Aside.] By Heaven, that should be my hand- Oth. Fire and brimstone! kerchief ! Des. My lord? Bian. An you’ll come to supper to-night, you may; Oth. Are you wise? 240 an you will not, come when you are next prepared for. Lait. Iago. After her, after her. Cas. Faith, I must; she'll rail in the strect else. Iago. Will you sup there? Cas. ’Faith, I intend so. Iago. Well, I may chance to see you, for I would very fain speak with you. 171 Cas. Pr’ythee, come; will you? Iago. Go to; say no more, [Exit Cassio. Oth. [Advancing.] How shall I murder him, Iago? Iago. Did you perceive how he laughed at his vice? Oth. O, Iago! Iago, And did you see the handkerchief? Oth. Was that mine ? Iago. Yours, by this hand: and to see how he prizes the foolish woman, your wife! she gave it him, and he hath given it his whore. 181 Oth. I would have him nine years a-killing.—A fine woman! a fair woman! a sweet woman ! Iago. Nay, you must forget that. Oth. Ay, let her rot, and perish, and be damned to- night ; for she shall not live. No, my heart is turned to stone ; I strike it, and it hurts my hand. O! the world hath not a sweeter creature: she might lie by an emperor’s side, and command him tasks, Iago. Nay, that’s not your way. 190 4 Oth. Hang her! Ido but say what she is.—So deli- cate with her needle !—An admirable musician! O! she will sing the savageness out of a bear.—Of so high and plenteous wit and invention !— Iago. She’s the worse for all this. Oth. O! a thousand, a thousand times. of so gentle a condition ! Iago. Ay, too gentle. Oth. Nay, that’s certain:—but yet the pity of it, Iago !—O, lago ! the pity of it, Iago! 200 Jago. If you are so fond over her iniquity, give her patent to offend: for, if it touch not you, it comes near nobody. Oth. I will chop her into messes.—Cuckold me ! Iago. O! ’tis foul in her. Oth. With mine officer! Iago. That’s fouler. Oth. Get me some poison, Iago; this night :—I ll not expostulate with her, lest her body and beauty unpro- vide my mind again.—This might, Iago. 210 Jago. Do it not with poison, strangle her in her bed, even the bed she hath contaminated. * el Good, good: the justice of it pleases; very good. Tago. And for Cassio, let me be his undertaker: you shall hear more by midnight. [4 trumpet within. Oth. Excellent good.—W hat trumpet is that same ? Jago. Something from Venice, sure. *T is Lodovico, Come from the duke; and, see, your wife is with him. And then, Enter Lopovico, DESDEMONA, and Attendants. Lod. God save the worthy general! Oth. With all my heart, sir. Lod. The duke and senators of Venice greet you. Giving him a packet. Oth. I kiss the instrument of their pleasures. 222 pens the packet, and reads. Des. And what’s the news, good cousin Lodovico? Tago. 1 am very glad to see you, signior : Welcome to Cyprus. : Lod. I thank you. How does Lieutenant Cassio? Tago. Lives, sir. Des, Cousin, there’s fall’n between him and my lord An unkind breach, but you shall make all well. Oth, Are you sure of that? 230 Des. My lord? ee [Readiny.] ‘This fail you not to do, as you will ”— Lod. He did not call; he’s busy in the paper. Is there division 'twixt my lord and Cassio ? Des. A most unhappy one: I would do much To atone them, for the love I bear to Cassio. Des. What! is hé angry? Lod. May be, the letter mov’d him ; For, as I think, they do command him home, Deputing Cassio in his government. Des. Trust me 1 am glad on’t. Oth. Indeed? Des. My lord? Oth. Iam glad to see you mad. ‘ Des. How, sweet Othello ? Oth. Devil! [Striking her. Des. Ihave not deserv'd this. Lod. My lord, this would not be belicv’d in Venice, Though I should swear I saw it. *“Tis very much: Make her amends, she weeps. O devil, devil! Oth. Tf that the earth could teem with woman’s tears, Fach drop she falls would prove a crocodile.— Out of my sight! Des. I will not stay to offend you. [Goiig. Lod. Truly, an obedient lady.— I do beseech your lordship, call her back. Oth. Mistress ! Des. My lord? Oth. What would you with her, sir? Lod. Who, I, my lord? Oth. Ay; you did wish, that I would make her turn: Sir, she can turn, and turn, and yet go on, And turn again; and she can weep, sir, weep ; 260 And she’s obedient, as you say,—obedient, — Very obedient.—Proceed you in your tears.— Concerning this, sir,—O well-painted passion !— I am commanded home.—Get you away ; 1'l1l send for you anon.—Sir, I obey the mandate, And will return to Venice.—Hence ! avaunt !— : {Exit DesDEMONA. Cassio shall have my place. And,—sir, to-night, I do entreat that we may sup together: You are welcome, sir, to Cyprus. — Goats and monkeys ! Exit. Lod. Is this the noble‘Moor whom our full senate Call all-in-all sufficient ?—Is this the nature 2 Whom passion could not shake? whose solid virtue The shot of accident, nor dart of chance, Could neither graze, nor pierce? Iago. He is much chang’d. Lod. Are his wits safe? is he not light of brain? Jago. He’s that he is: I may not breathe my censure, What he might be,—if, what he might, he is not,— I would to Heaven, he were! Lod. What! strike his wife! Jago. Faith, that was not so well; yet ’would I 230 new, That stroke would prove the worst. Lod. Is it his use? Or did the letters work upon his blood, 281 And new-create this fault ? Tago. Alas, alas! It is not honesty in me, to speak What I haveseen andknown. You shall observe him, And his own courses will denote him so, That I may save my speech. Do but go after, And mark how he continues. Lod. Lam sorry, that I am deceiv’d in him. [Exeunt. ScENE II.—A. Room in the Castle, Enter OTHELLO and EMILIA. Oth. You have seen nothing then ? Emil. Nor ever heard; nor ever did suspect. Oth. Yes, you have seen Cassio and she together. Emil. But then I saw no harm; and then I heard Each syllable that breath made up between them. Oth. What, did they never whisper ? Emil. Never, my lord. Oth. Nor send you out o’ the way? Emil, Never. OTHELLO, THE MOOR OF VENICE. . [Act IV, 702 Oth. To fetch her fan, her gloves, her mask, nor nothing ? Emil. Never, my lord. Oth. That’s strange. 10 Emil. I durst, my lord, to wager she is honest, Lay down my soul at stake: if you think other, Remove your thought ; it doth abuse your bosom. If any wretch have put this in your head, Let Heaven requite it with the serpent’s curse ! For, if she be not honest, chaste, and true, There's no man happy ; the purest of their wives Is foul as slander. Bid her come hither :—go.— [Eat IEMILIA. Lay not your blame on me; if you have lost him, Why, [ have lost him too. Oth. : Had it pleas’d Heaven To try me with affliction ; had they rain’d All kinds of sores, and shames, on my bare head ; Steep’d me in poverty to the very lips; Given to captivity me and my utmost hopes; I should have found in some place of my soul A drop of patience : but, alas! to make me The fixed figure, for the time of scorn To point his slow and moving finger at,— Yet could I bear that too; well, very well: But there, where I have garner’d up my heart, Where either I must live, or bear no life, ‘The fountain from the which my current runs, Or else dries up ; to be discarded thence, 60 Or keep it as a cistern, for foul toads To knot and gender in!—turn thy com- plexion there, thou. young and rose-lipp’d cherubin ; Ay, there, look grim as hell! Des. I hope, my noble lord esteems me Patience, honest. Oth. O! ay; as summer flies are in the shambles, That quicken even with blowing. O thou wee Who art so lovely fair, and smell’st sosweet, That the sense aches at thee,—’would thou hadst ne'er been born! Des. Alas! what ignorant sin have I committed ? 70 Oth. Was this fair paper, this most goodly book, Made to write whore upon? What com- mitted ? Committed !—O thou public commoner ! I should make very forges of my cheeks, ‘That would to cinders burn up modesty, Did I but speak thy deeds.—What com- Des. ‘‘Upon my knees, what doth your speech linport?” She says enough ;—yet she’s a simple bawd, That cannot say as much. This is a subtle whore, 20 A closet-lock-and-key of villainous secrets: And yet she’ll kneel, and pray ; I have seen her do't. Re-enter EMILIA, with DESDEMONA. Des. My lord, what is your will ? s Pray, chuck, come hither. Des, What is your pleasure ? Oth Let me sce your eyes: S. What horrible fancy’s this? Oth. [To ht aa Some of your function, mistress; Leave procreants alone, and shut the door ; Cough, or cry hem, if anybody come: Your mystery, your mystery ;—nay, despatch. Exit EMILIA. Des. what doth your ee Look in my face. De Upon my knees, j import? IT understand a fury in your words, But not the words. Oth. Why, what art thou? Des. Your wife, my lord; your true and loyal wife. Oth. Come, swear it, damn thyself; Lest, being like one of heaven, the devils themsclves Should fear to seize thee: therefore, be double- amn + Swear thou art honest. Des. Heaven doth truly know it. Oth. Heaven truly knows, that thou art false as hell. Des. To whom, my lord? with whom? how am I false ? 40 Oth. Ah, Desdemon !—away, away, away ! Des. Alas, the heavy day !—Why cee weep? Am I the motive of these tears, my lord? If, haply, you my father do suspect An instrument of this your calling back, mitted ? Heaven stops the nose at it, and the moon winks; The bawdy wind, that kisses all it meets, Is hush’d within the hollow mine of earth, And will not hear it. What committed ?— 80 Iinpudent strumpet! Des. a By Heaven, you do me wrong. Oth. Are not you a strumpet ? or Des. No, as I am a Christian. If to preserve this vessel for my lord, ‘ From any other foul unlawtul touch, Be not to be a strumpet, I am none. Oth. What, not a whore? Des. No, as I shall be saved. Oth. Is it possible? Des. O, Heaven forgive us! Oth. I cry you mercy then: I took you for that cunning whore of Venice, That married with Othello.—You, mistress, 9 That have the oftice opposite to Saint Peter, And keep the gate of hell! Re-enter EMILIA. You, you, ay, you: We have done our course; there’s money for your pains. . I pray you, turn the key, and keep our counsel. [Ecit. Emil. Alas! what does this gentleman conceive ?— How do you, madam? how do you, my good lady? Des. Faith, half asleep. . Emil, coed madam, what’s the matter with my or Des. With who? Emil. Why, with my lord, madam. 100 Des. Who is thy lord? Emil. He that is yours, sweet Jady. Des. [have none: do not talk to me, Emilia: I cannot weep; nor answer have I none, ' But what should go by water. Pr’ythee, to-night SCENE II.] OTHELLO, THE MOOR OF VENICE. 703 Lay.on my bed my wedding sheets,—remember ;— And call thy husband hither. Emil. Here’s a change, indeed ! it. Des. ’T is meet I should be us’d so, very meet. How have I been behav'd, that he might stick The small'st opinion on my least misuse? Re-enter EMIia, with Taco. Jago. What is your pleasure, madam? How is’t with you? 110 Des. I ooo tell. Those, that do teach young abes, . Do it with gentle means and easy tasks: He might have chid me so; for, in good faith, fam a child to chiding. Jago. What’s the matter, lady? Emil. Alas, Iago, my lord hath so bewhor'd her, Thrown such despite and heavy terms upon her, As true hearts cannot bear. Des. Am I that name, Iago? Tago. What name, fair lady ? Des. Such as she says my lord did say I was. Emil. He call’d her whore: a beggar in his drink 120 Could not have laid such terms upon his callat. Iago. Why did he so? Des. Ido not know; Iam sure, I am none such. Jago. Do not weep, do not weep. Alas the day! Emil. Hath she forsook so iaeay noble matches, Her father, and her country, and her friends, To be call’d whore? would it not make one weep? Des. It is my wretched fortune. Iago. Beshrew him for’t! How comes this trick upon him? Des. Nay, Heaven doth know. Emil. T will be hang’d, if some eternal villain, 130 Some busy and insinuating rogue, Some cogging cozening slave, to get some office, Have not devis’d this slander ; I’ll be hang’d else. Jago. Fie! there is no such man: it is impossible. Des. If any such there be, Heaven pardon him! Emil. é halter pardon him, and hell gnaw his ones ! Why should he call her whore? who keeps her com- pany ? What pleat abe time? what form? what likeli- 00 The Moor’s abus’d by some most villainous knave, Some base notorious knave, some scurvy fellow.— 140 O Heaven! that such companions thou ‘dst unfold, And put in every honest hand a whip, To lash the rascals naked through the world, Even from the east to the west ! Tago. Emil. O, fie upon them! Speak within door. Some such squire he was, That turn'd your wit the seamy side without, And made you to suspect me with the Moor. Jago. You are a fool; go to. es. O good Jago! What shall Ido to win my lord again ? Good friend, go to him; for, by this light of heaven, I know not how I lost him. Here I kneel :— 151 If.e’er my will did trespass ’gainst his love, Either in discourse of thought, or actual deed; Or that mine eyes, mine ears, or any sense, el shied them in any other form ; Or that I do not yet, and ever did, And ever will,—though he do shake me off To beggarly divorcement,—love him dearly, Comfort forswear me! Unkindness may do much ; And his unkindness may defeat my life, 160 But never taint my love. I cannot say whore: It does abhor me, now I speak the word; To do the act that might the addition earn, Not the world’s mass of vanity could make me. gion. I pray you, be content; ’tis but his humour: The business of the state does him offence, And he does chide with you. es. If ’t were no other,— Jago. *T is but so, I warrant. (Trumpets. Poe Hark, how these instruments summon to supper ! The messengers of Venice stay the meat. 70 Go in, and weep not ; all things shall be well. [Exveunt DESDEMONA and EMILIA. Enter RODERIGO. How now, Roderigo? Rod. I do not find that thou deal’st justly with me. Jago, What in the contrary ? Rod. Every day thou daff’st me with some device, Iago; and rather, as it seems to me now, keep’st from me all conveniency, than suppliest me with the least advantage of hope. I will, indeed, no longer endure it; nor am I yet persuaded, to gue up in peace what already I have foolishly suffered. 181 Iago. Will you hear me, Roderigo? Rod. "Faith, [have heard too much; for your words, and performances, are no kin together. Jago. You charge me most unjustly. Rod. With nought but truth. Ihave wasted myself out of my means. The jewels you have had from me, to deliver to Desdemona, would half have corrupted a votarist: you have told me, she hath received them, and returned me expectations and comforts of sudden respect and acquaintance ; but J find none. fago. Well; go to; very well. Rod. Very well! go to! I cannot go to, man: nor ’*tis not very well: by this hand, I say, it is very scurvy ; and begin to find myself fopped in it. Iago. Very well. . Rod. I tell you, ’t is not very well. I will make myself known to Desdemona: if she will return me my jewels, I will give over my suit, and repent m unlawful solicitation ; if not, assure yourself, I will seek satisfaction of you. 201 fago. You have said now. Rod. Ay, and I have said nothing, but what I protest intendment of doing. Iago. Why, pow I see there’s mettle in thee; and even, from this instant, do build on thee a better opinion than ever before. Give me thy hand, Roderigo: thou hast taken against me a most just exception; but yet, I protest I have dealt most directly in thy affair. Rod. It hath not appeared. fago. I grant, indeed, it hath not appeared, and our suspicion is not without wit and judgment. But, Roderigo, if thou hast that within thee indeed, which I have greater reason to believe now than ever,—I mean, purpose, courage, and valour,—this night show it: if thou the next night following enjoyest not Desdemona, take me from this world with treachery, and devise engines for my life. Rod. Well, what is it? is it within reason and compass ? 221 Jago. Sir, there is especial commission come from Venice, to depute Cassio in Othello’s place. Rod. Is that true? why, then Othello and Desde- mona return again to Venice. Iago. O, no! he goes into Mauritania, and takes away with him the fair Desdemona, unless his abode be lingered here by some accident; wherein none can be so determinate, as the removing of Cassio. Rod. How do you mean, removing him ? 30 Tago. Why, by Tpting hin uncapable of Othello’s place ; knocking out his brains. Rod, And that you would have me do? Jago. Ay; if you dare do yourself a profit, and a right. He sups to-night with a harlotry, and thither will I go to him: he knows not yet of his honourable fortune. If you will watch his going thence (which I will fashion to fall out between twelve and one), you may take him at your pleasure: I will be near to second your attempt, and he shall fall between us. Come, stand not amazed at it, but go along with me; I will show you such a necessity in his death, that you shall think yourself bound to put it on him. It is now high supper-time, and the night grows to waste: about it. Rod. I will hear further reason for this. Jago. And you shall be satisfied. [Exeunt. OTHELLO, THE MOOR OF VENICE. ‘ [Act IV, Scenr ilIl.—Another Room in the Castle. Enter OTIELLO, Lopovico, DESDEMONA, EMILIA, and attendants. Lod. I do beseech you, sir, trouble yourself no further. Oth. O! pardon me; ’t will do me good to walk. Lod. Madam, good night; I humbly thank your ladyship. Des. Your honour is most welcome. Oth. Will you walk, sir ?— O !—Desdemona,— Des. My lord? Oth. Get you to bed on the instant; I will be returned forthwith: dismiss your attendant there: look it be done. Des. I will, my lord. 10 [Exeunt OTHELLO, LODOVICO, and Attendants. Emil. ee goes it now? he looks gentler than he4 did. Des. He says, he will return incontinent ; He hath commanded me to go to bed, And bade me to dismiss you. Fimil, Dismiss me! Des, It was his bidding; therefore, good Emilia, Give me my nightly wearing, and adieu: We must not now displease him. Emil. I would you had never seen him. Des. So would not I: my love doth so approve him, That even his stubbornness, his checks, and frowns,— Pr'ythee, unpin me,—have grace and favour in them. Eimil. [have laid those sheets you bade me on the ed, 22 Des. All’s one.—Good father! how foolish are our minds !— If I do die before thee, pr’ythee, shroud me In one of those same sheets. Emil. Come, come, you talk. Des. My mother had a maid call'd Barbara: She was in love; and he she lov'd prov'd mad, And did forsake her: she had a song of—willow; An old thing 't was, but it express’d her fortune, And she died singing it: that song, to-night, Will not go from my mind ; I have much to do, But to go hang my head all at one side, And sing it like poor Barbara. Pr'ythee, despatch. Emil, Shall I go fetch your Blea Omats No, unpin me here.— 30 Des. This Lodovico is a proper man. Emil. A very handsome man. Des. He speaks well. Emil, I know a lady in Venice would have walked barefoot to Palestine, for a touch of his nether lip. Des. [Singing.] The poor soul sat sighing by a sycamore tree; 40 Sing all a green willow ; Her hand on her bosom, her head on her knee ; Sing willow, willow, willow : The fresh streams ran by her, and murmur'd her moans ; Sing willow, willow, willow ; Her salt tears fell from her, and soften'd the stones ; Lay by these.— Sing willow, willow, willow, Pr’ythee, hie thee : he'll come anon.— Sing all a green willow must be my garland. Let nobody blame him, his scorn I anprove,— Nay, that’s not next..-Hark! who is it that knocks? dimil. It is the wind. Des. bead wy love, false love; but what said he hen Sing willow, willow, willow : If I court moe women, you'll couch with moe men. So, get thee gone; good night. Mine eyes do itch; Doth that bode weeping? Emil. ’T is neither here nor there, Des. I have heard it said so,—O, these men, these men !— Dost thou in conscience think,—tell me, Emilia,— 60 That there be women do abuse their husbands In such gross kind ? Fmil. There be some such, no question. c-Des. Wouldst thou do such a deed for all the world? Emil, Why, would not you? Des, No, by this heavenly light! Emil. Nor I neither by this heavenly light : I might do ’t as well i’ the dark. Des. Wouldst thou do such a deed for all the world? Emil. The world is a huge thing: ’tis a great price For a small vice. Des. In troth, I think thou wouldst not. ¢9 Emil. In troth, I think I should, and undo ’t when I had done. Marry, I would not do such a thing fora joint-ring, nor for measures of lawn, nor for gowns, petticoats, nor caps, nor any petty exhibition; but, for the whole world,—why, who would not make her husband a cuckold, to make him a monarch? Ishould venture purgatory for ’t. Des. Beshrew me, if I would do such a wrong | For the whole world. Emil. Why, the wrong is but a wrong i’ the world; and, having the world for your labour, ‘tis a wrong in pene own world, and you might quickly make = right. Des. I do not think there is any such woman. Emil, Yes, a dozen; and as many to the vantage, As would store the world they played for. But, I do think, it is their husbands’ faults, If wives do fall. Say, that they slack their duties, And pour our treasures into foreign laps ; Or else break out in peevish jealousies, Throwing restraint upon us; or, say, they strike us, $0 Or scant our former having in despite: Why, we have galls; and, though we have some grace, ? Yet have we some revenge. Let husbands know, Their wives have sense like them: they see, and smell, And have their palates, both for sweet and sour, As husbands have. What is it that they do, When they change us for others? Is it sport? I think, it is. And doth affection breed it? I think, it doth. Is’t frailty, that thus errs? It is so too. And have not we affections, Desires for sport, and frailty, as men have? Then, let them use us well; else let them know, The ills we do, their ills instruct us so. Des. Good night, good night: Heaven me such uses 50 100 send, Not to pick bad from bad, but by bad mend! [Exeunt. : GOAT NN ne ACT V. Iago. . ERE, stand behind this bulk; straight = will he come: Wear Ty good rapier bare, and put it ome. Quick, quick; fear nothing; I’ll be at thy elbow. It makes us, or it mars us; think on And fix most firm thy resolution. Rod. Be near at hand; I may mis- carry in’t. IP Tago. Here, at thy hand: be bold, \ and take thy stand. [Retires. \ Rod. I have no great devotion to the And yet he has given me satisfying reasons.— *T is but a man gone :—forth, my sword; he dies. 10 Iago. I have rubb’d this young quat almost to the sense, And he grows angry. Now, whether he kill Cassio, Or Cassio him, or each do kill the other, Every way makes my gain: live Roderigo, He calls me to a restitution large Of gold, and jewels, that I bobb’d from him, As gifts to Desdemona; It must not be: if Cassio do remain, He hath a daily beauty in his life, That makes me ugly ; and, besides, the Moor 20 May unfold me to him: there stand I in much peril. No, he must die :—but, so I hear him coming. Enter Cassio. Rod, I know his gait; ’tis he.—Villain, thou diest. Rushing out, and making a pass at CASSIO. Cas. That thrust had been mine enemy indeed, But that my coat is better than thou know’st: I will make proof of thine. [Draws, and wounds RODERIGO. Rod. O, Iam slain! [Iaco rushes from his post, cuts Cassio behind in the leg, and exit. Cas. I am maim’d for ever.—Help, ho! murder! murder! [Falls. Enter OTHELLO, at a distance. Oth. The voice of Cassio :—Iago keeps his word. Rod. O, villain that Iam! Oth. It is even so. Cas. O, help! ho! light! a surgeon! 30 Oth. ’T is he.—O brave Iago, honest, and just, That hast such noble sense of thy friend’s wrong ! Thou teachest me,—Minion, your dear lies dead, And your unblest fate hies :—strumpet, I come! Forth of my heart those charms, thine eyes, are , blotted ; Thy bed, lust-stain’d, shall with lust’s blood be sported: UE. .. Enter Lopovico and GRATIANO, at a distance. Cas. What, ho! no watch? no passage? murder! murder! . Gra. "Tis some mischance; the cry is very direful. Cas. O, help! Lod. Hark! 40 Scene I.—A Street. y Enter IaGo and RoDERIGO. Rod. O wretched villain! E ; Lod. Two or three groan.—It is a heavy night! These may be counterfeits ; let’s think ’t unsafe To come in to the cry without more zoe Rod. Nobody come? then shall I bleed to death. Lod. Hark! Re-enter IAGO, with a light. Gra. Here’s one comes in his shirt, with light and weapons. aes : . Iago. Who’s there? whose noise is this, that cries on murder ? Lod. We do not know. 3 Lago. Did not you hear acry? Cas. Here, here! for Heaven’s sake, help mc! fago. , hat’s the matter? Gra. This is Othello’s ancient, as I take it. b1 Lod. The same, indeed; a very valiant fellow. Iago. What are you here, that cry so grievously? Cas. Iago? O! I am spoil’d, undone by villains: Give me some help. Iago. oan lieutenant! what villains have done is? Cas. I think that one of them is hereabout, And cannot make away. Tago. O treacherous villains !— [To LoDovico and GRATIANO.] What are you there? come in, and give some help. Rod. O, help me here! 60 Cas. That’s one of them. fago. O murderous slave! O villain ! ; [Stabs RoDERIGO. Rod. O damn'd Iago! O inhuman dog! fago. Kill men i’ the dark !—Where be these bloody thieves ?— How silent is this town !—Ho! murder! murder! What may you be? are you of good, or evil? Lod. As you shall prove us, praise us. fago. Signior Lodovico? Lod. He, sir. Tago. I cry you mercy. Here’s Cassio hurt by villains. Gra. Cassio? 70 fago. How is’t, brother? Cas. My leg is cut in two. Tago. Marry, Heaven forbid !— Light, gentlemen ; I'll bind it with my shirt, Enter BIANCA. Bian. What is the matter, ho? who is’t that cried 2 Iago. Who is’t that cried ? Bian. O my dear Cassio! my sweet Cassio! O Cassio, Cassio, Cassio! Jago. O notable strumpet !—Cassio, may you suspect Who they should be, that have thus mangled you? Cas. No. 80 Gra. I am sorry to find you thus: I have been to seek you. Iago. Lend me a garter :—so.—O, for a chair, To bear him easily hence! Bian. Alas! he faints.—O Cassio, Cassio, Cassio! Iago. Gentlemen all, I do suspect this trash To be a party in this injury.— Patience awhile, good Cassio.—Come, come. Lend me a light.—Know we this face, or no? 4 706 OTHELLO, THE MOOR OF VENICE. [Act Vv. Alas! my friend, and my dear countryman, | Roderigo? no:—yes, sure. O Heaven! Roderigo. 90 Gra. What, of Venice? i Iago. Even he, sir; did you know him ? 5 ra. Know him? ay. Iago. Signor Gratiano? I cry you gentle pardon: These bloody accidents must excuse my manners, That so neglected you. Gra, Iam glad tosee you. | Jago. How do you, Cassio ?—O, a chair, a chair! Gra. Roderigo! : Tago. He, he, tis he.—[4 chair brought in.] O! that’s well said ;—the chair.— em Some good man bear him carefully from hence; _* I’ll fetch the general's surgeon.—_[To B1anca.] For you, mistress, : . 10 Save you your labour. —He that lies slain here, Cassio, Was my dear friend. What malice was between you? Cas. None in the world; nor do J know the man. Iago. [To B1ANcA.] What, look you pale ?—O, bear him out o’ the air. — [Cassio and RODERIGO are borne of. Stay you, good gentlemen.—Look you pale, mistress ?— Do you perceive the ghastness of her eye }- Nay, if you stare, we shall hear more anon.-— Behold ee well; I pray you, look upon her: Do you see, gentlemen ? nay, guiltiness will speak, Though tongues were out of use. 110 Enter EMILIA. Emil. "Las! what’s the matter? what ’s the matter, husband? Iago. Cassio hath here been set on in the dark By Roderigo, and fellows that are ’scap'd. He’s almost slain, and Roderigo dead. mil. Alas, good gentleman! alas, good Cassio! Tago. This is the fruits of whoring.—Pr’ythee, I:milia, Go know of Cassio where he supp’d to-night. — What! do you shake at that? Bian. He supp’d at my house ; but I therefore shake not. Iago. O, did he so? Icharge you, go with me. 120 Emil. Fie, fie upon thee, strumpet ! Bian. Iam no strumpet; but of life as honest, As you that thus abuse me. Emil. As I? foh! fie upon thee ! Tago. Kind Pentlemien let ’s go see poor Cassio ress’d.— Come, mistress, you must tell ’s another tale.— Emilia, run you to the citadel, And tell my lord and lady what hath pape Will you go on afore ?—[Aside.] This is the night, That either makes me, or fordoes me quite. [Hxreunt. ScENE II.—A Bedchamber. DEspEMoNA in bed asleep. A light burning. Linter OTHELLO. Oth. It is the cause, it is the cause, my soul,—+ Let me not name it to you, you chaste stars! — It is the cause.—Yet I'll not shed her blood ; Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster. Yet she must die, else she ‘ll betray more men. Put out the light, and then put out the light: If I quench thee, thou flaming minister, I can again thy former light restore, Should I repent me; but once put out thy light, 10 Thou cunning’st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume. When I have pluck’d thy rose, I cannot give it vital growth again, It needs must wither :—I'll smell it on the tree.— [Kissing her. O balmy breath, that dost almost persuade Justice to break her sword !—One more, one more.— Be thus when thou art dead, and I will kill thee, And love thee after.—One more, and this the last: So sweet was ne’er so fatal. I must weep, But they are cruel tears: this sorrow ’s heavenly ; It strikes where it doth love.—She wakes. Des. Who’s there? Othello? Ay, Desdemona. Des. Will you come to bed, my lord ? Oth. Have you pray’d to-night, Desdemon? Des. . Ay, my lord, Oth. Tf you bethink yourself of any crime, Unreconcil’d as yet to Heaven and grace, | Solicit for it straight. | Des. Alas, my lord! what may you mean by that? | Oth. Well, do it, and be brief; I will walk by: 30 I would not kill thy unprepared spirit ; No,—Heaven forfend !—I would not kill thy soul. Des. Talk you of killing? | Oth. Ay, Ido. | Des. Then, Heaven | Have mercy on me! Oth. Amen, with all my heart! Des. If you say so, I hope you will not kill me. Oth. Hum! : Des. And yet I fear you; for you are fatal then, When youreyesrollso. WhyI dhould fear, [know not, Since guiltiness I know not; but yet, I feel I fear. Oth, Think on thy sins. Des. They are loves I bear to you. Oth. Ay, and for that thou diest. 4 Des. That death’s unnatural, that kills for loving.— | Alas! why gnaw you so your nether lip? Some bloody passion shakes ger rey frame: These are portents ; but yet I hope, I hope, They do not point on me. th. Peace, and be still! Des. I willso. What’s the matter? Oth, ge handkerchief, which I so lov’d and gave ee, Thou gav’st to Cassio. es. No, by my life and soul! Send for the man, and ask him. s Sweet soul, take heed, Take heed of perjury: thou art on thy death-bed. 51 Des. Ay, but not yet to die. Oth. Yes, presently: Therefore, confess thee freely of thy sin; For to deny each article with oath Cannot remove, nor choke, the strong conception, That I do groan withal. Thou art to die. Des. Then Lord have mercy on me! Oth I say, Amen. Des. And have you mercy too !—I never did Offend you in my life ; never lov’d Cassio, j But with such general warranty of Heaven 60 As I might love: I never gave him token. Oth. By Heaven, I saw my handkerchief in’s hand. O perjur’d woman! thou dost stone my heart, And mak’st me call what I intend to do, A murder, which I thought a sacrifice: Isaw the handkerchief. Des. He found it then; I never gave it him.—Send for him hither; Let him confess a truth. Oth. He hath confess’d. Des. What, my lord? Oth. That he hath us’d thee. Des. Oth. Ay. Des. He will not say so. How? unlawfully? 70 | Oth. No; his mouth is stopp’d: Honest Iago hath ta’en order for ’t. Des. O, my fear interprets.—What, is he dead? Oth. Had all his hairs been lives, my great revenge Had stomach for them all. Des. Alas! he is betray’d, and Iundone. | Oth. Ong spear Yeep’st thou for him to my ‘ace Des. O! banish me, my lord, but kill me not. Oth. Down, strumpet ! . . Kill me to-morrow ; let me live to-night. . Nay, if you strive,— . But half an hour! : , : Being done, there is no pause, . But while I say one prayer. Scene Ii.J OTHELLO, THE MOOR OF VENICE. 107 Oth, It is too late. He smothers her. Emil. (Within.] My lord, my in what, ho! my lord, my lord! Oth. What pease is this?—Not dead? not yet quite ea Still as the grave.—Shallshe come in? Were’t good ?~ I think she stirs again :—no.—What’s best to do? If she come in, she’ll sure speak to my wife: My wife! my wife! what wife?—I have no wife: O, insupportable! O heavy hour! Oth. * Yet she must die, else she’ll betray more men.” I, that am cruel, am yet merciful ; : I would not have thee linger in thy pain.— a 0, SO. Emil. [Within.] What, ho! my lord, my lord! Oth. ho’s there ? Emil. [Within.] O, good my lord! I would speak a word with you. Oth. Yes ;—’t is Emilia :—by-and-by.—She’s dead.— ‘Tis like she comes to speak of Cassio’s death ; The noise was high.—Ha! no more moving? Methinks it should be now a huge eclipse Of sun and moon, and that the affrighted globe Should yawn at alteration. Emil. [Within.] I do beseech you, I may speak with you. O, good my lord! Oth. I had forgot thee. O! come in, Emilia.— Soft,—by-and-by :—let me the curtains draw.— Where art thou? What’s the matter with thee now? [Unlocks the door. 708 OTHELLO, THE MOOR OF VENICE. [Acr V. Enter EMILTA. Emil. O, my good lord! yonder’s foul murder done. Oth. What! now? 110 Emil, But now, my lord. Oth. It is the very error of the moon ; She comes more nearer earth than she was wont, And makes men mad. : Emil. Cassio, my lord, has kill’d a young Venetian, Call'd Roderigo. Roderigo kill’d! Oth. And Cassio kill’d! : mil, No; Cassio is not kill'd. Oth. Not Cassio kill’d? Then murder’s out of tune, And sweet revenge grows harsh, Des. O, falsely, falsely murder'd ! ! Emil. Alas! what cry is that? Oth. That! what? 3 121 Emil. Out, and alas! that was my lady’s voice :— Help! help, ho! help !—O lady, speak again! Sweet Desdemona! O, sweet mistress, speak ! Des. A guiltless death I die. Emil. O, who hath done this deed? Des. Nobody ; I myself: farewell: Commend me to my kind lord. O, farewell! [Dies. Oth. Why, how should she be murder'd ? Emil. Alas, who knows? Oth. You heard her say herself, it was not I. 130 Emil. She said so: I must needs report the truth. Oth. She’s like a liar gone to burning hell: "T was J that kill’d her. Emil. O! the more angel she, And you the blacker devil! Oth. She turn’d to folly, and she was a whore. Emil. Thou dost belie her, and thou art a devil. Oth. She was false as water. Emil. Thou art rash as fire, to say That she was false : O! she was heavenly true. Oth. Cassio did tup her; ask thy husband else. O! 3 were damn’d beneath all depth in hell, 140 But that I did proceed upon just grounds To this extremity. Thy husband knew it all. Fimil, My husband ? Oth. Thy husband. Emil. That she was false to wedlock ? Oth. Ay, with Cassio. Nay, had she been true, If Heaven would make me such another world Of one entire and pertect chrysolite, I'd not have sold her for it. Emil. My husband? Oth. Ay, ’t was he that told me first : An honest man he is, and hates the slime 151 That sticks on filthy deeds. Emil. oy, My husband? Oth. What needs this iterance, woman? I say, thy husband. Emil. O mistress! villainy hath made mocks with love.— My husband say, that she was false? Oth. He, woman; I say, thy husband : dost understand the word ? Te thy husband, honest, honest Iago. mil. If he say so, may his pernicious soul Rot half a grain a day ! he lies to the heart: She was too fond of her most filthy bargain. 160 Oth. Ha! Emil. Do thy worst: This deed of thine is no more worthy heaven, Than thou wast worthy her. Oth. Peace! you were best. Emil. Thee hast not half that power to do me arm, As [have to be hurt. O gull! O dolt! As ignorant as dirt! thou hast done a deed,— I care not for thy sword; I’ll make thee known, Though I lost twenty lives.—Help! help, ho! help! The Moor has kill’d my mistress! Murder ! HUBER Enter MONTANO, GRATIANO, and Iago. Mon, What is the matter ?—How now, general? 171 Emil. O! are you come, Iago? you have done well, That men must lay their murders on your neck. Gra, What is the matter? Emil. Disprove this villain, if thou be’st a man: He says, thou told’st him that his wife was false. I know, thou didst not, thou ‘rt not such a villain, Speak, for my heart is full. Jago. I told him what I thought; and told no more Than what he found himself was apt and true. 180 mil. But did you ever tell him, she was false? Jago, I did. Emil. You told a lie; an odious, damned lie; Upon my soul, a lie; a wicked lie.— She false with Cassio !—Did you say with Cassio? fago. With Cassio, mistress. Go to, charm your tongue. Emil, 1 will not charm my tongue; I am bound te speak. My mistress here lies murder’d in her bed. All. O heavens forfend ! mil. And your reports have set the murder on. 190 Oth. Nay, stare not, masters: it is true, indeed. Gra, ’T is a strange truth. Mon. O monstrous act! ; Emil, Villainy! villainy! villainy! I think upon ’t,—I think,—I smell ’t :—O villainy! I thought so then :—I’U kill myself for grief.— O villainy, villainy ! dago. a ! are youmad? I charge you, get you ome. Emil. Good gentlemen, let me have leave tospeak: ’T is proper I obey him, but not now.— Perchance, lago, I will ne’er go home. 200 Oth. O! 0! 0! [Falling on the bed. Emil. Nay, Jay thee down, and roar; For thou hast kill’d the sweetest innocent, That e’er did lift up eye. Oth. [Rising.] O! she was foul.— I scarce did know you, uncle. There lies your niece, Whose bret, indeed, these hands have newly stopp‘d. I know, this act shows horrible and grim. Gra. Poor Desdemon! J am glad thy father’s dead. Thy match was mortal to him, and pure grief Shore his old thread in twain: did he live now, This sight would make him do a desperate turn, 210 ‘Yea, curse his better angel from his side, And fall to reprobance. Oth. "Tis pitiful; but yet Iago knows, That she with Cassio hath the act of shame A thousand times committed : Cassio confess'd it ; And she did gratify his amorous works With that recognisance and pledge of love Which I first gave her. I saw it in his hand; It was a handkerchief, an antique token My father gave my mother. 220 Boel O Heaven! O heavenly powers! Tago. : Come, hold your peace. Hmil. "T will cut, ’t will out :—I hold my peace, sir? no; No, I will speak as liberal as the north: Let Heaven, and men, and devils, let them all, All, all, ery shame against me, yet I’ll speak. Jago. Be wise, and get you home. Emil. Iwillnot. | [laco offers to stab his ne ie! Gra. Your sword upon a woman? Emil. O thou dull Moor! that handkerchief thou speak'st of, I found by fortune, and did give my husband; For often, with a solemn earnestness, 230 (More than, indeed, belong’d to such a trifle,) He begg’d of me to steal it. Lago. Villainous whore! Emil, She give it Cassio! no, alas! I found it, And I did give ’t my husband. ’ Jago. Filth,. thou liest! Emil. By Heaven, I do not; I do not, gentlemen.— O murderous coxcomb! what should such a fool Do with so good a wife? [Iago stabs EmILtA, then runs out. Oth. ‘ Are there no stones in heaven, But what serve for the thunder ?~Precious villain! - ScEngz II.j OTHELLO, THE MOOR OF VENICE. 709 Gra, The woman falls: sure, he hath kill’d his wife. Emil. Ay, ay. O, lay me by my mistress’ side! 240 Gra. He's gone, but his wife’s kill'd. Mon. ’Tis a notorious villain. Take you this j weapon, Which I have here recover’d from the Moor. Come, guard the door without : let him not pass, But kill him rather. I’ll after that same villain, For ’t is a damned slave. (Exit. Oth, ; Iam not valiant neither, But every puny whipster gets my sword. But why should honour outlive honesty ? Let it go all. \ Ay = i i ja wohl Gra. ‘The woman falls: sure, he bath kill'd his wife.” Emil. What did thy song bode, lady ? Iwill play the swan, 250 Hark, canst thou hear me? Willow, willow, And die in music.—[Singing.] willow, — Moor, she was chaste ; she lov’d thee, cruel Moor: So come my soul to bliss, as I speak true; So speaking as I think, I die,—I die. [Dies. h. I have another weapon in this chamber ; It is asword of Spain, the ice-brook’s temper. O! here it is.—Uncle, I must come forth. Gra. If thou attempt it, it will cost thee dear: Thou hast no weapon, and perforce must suffer. Oth. Look in upon me then, and speak with me, 260 Or, naked as I am, I will assault thee. Gra, What is the matter? Oth. Behold! I have a weapon ; A better never did itself sustain Upon a soldier’s thigh: I have seen the day, That with this little arm, and this good sword, Ihave made my way through more impediments Than twenty times your stop.—But, O vain boast ! Who can control his fate? ’t is not so now.— Be not afraid, though you do see me weapon’d: Here is my journey’s end, here is my butt, And very sea-mark of my utmost sail. Do you go back dismay’d? ’tis a lost fear ; Man but a rush against Othello’s breast, And he retires.—Where should Othello go ?#— Now, how dost thou look now? O ill-starr’d wench! Pale.as thy smock! when we shall meet at compt, This look of thine will hurl my soul from heaven, And fiends will snatch at it. Cold, cold, my girl! Even like thy chastity. 7 0, cursed, cursed slave !—Whip me, ye devils, 270 280 Why he hath thus ensnar’d my soul and body ? From the possession of this heavenly sight ! Blow me about in winds ! roast me in sulphur ! Wash me in steep-down gulfs of liquid fire! O Desdemon! dead, Desdemon! dead! O! ’ Enter Lopovico, MonTano, Cassio, carried in @ chair, and Officers, with Taco, prisoner. Lod. Where is this rash and most unfortunate ‘ man? Oth, That’s he that was Othello ;—here I am. Lod. Where is that viper? bring the villain forth. Cth. I donk down towards his feet ;—but that’s a able : | f SS AY RNS IRAN 7 AY NS If that thou be’st a devil, I cannot kill thee. [Wounds Taco. Lod. Wrench his sword from him. Jago: I bleed, sir; but not kill’d. Oth. Tam not sorry neither: I’d have thee live ; 291 For, in my sense, ’tis happiness to die. Lod. O thou Othello! that wert once so good, Fall'n in the practice of a damned slave, What shall be said to thee? Oth. Why, anything: An honourable murderer, if you will; For nought did I in hate, but all in honour. Lod. This wretch hath part confessed his villainy : Did meu and he consent in Cassio’s death ? Oth. A 300 y- Cas. Dear general, I never gave you cause. Oth. I do believe it, and I ask you pardon. Will you, I pray, demand that demi-devil, Jago. Demand me nothing: what you know, you know: From this time forth I never will speak word. Lod. What! not to pray? . Gra. Torments will ope your lips, Oth. Well, thou dost best. Lod. Sir, you shall understand what hath befall’n, Which, as I think, you know not. Here is a letter, 310 Found in the pocket of the slain Roderigo ; And here another: the one of them imports The death of Cassio to be undertook By Roderigo. Oth. O villain! Cas. Most heathenish, and most gross ! Lod. Now, here’s another discontented paper, 710 OTHELLO, THE MOOR OF VENICE. Found in his pocket too; and this, it seems, Roderigo meant to have sent this damned villain ; But that, belike, Iago in the interim Came in and satisfied him. th. O thou pernicious caitiff !— How came you, Cassio, by that handkerchief, 321 That was my wife's ? ‘as. I found it in my chamber : And he himself confess’d, but even now, That there he dropp’d it, for a special purpose, Which wrought to his desire. Oth. O fool! fool! fool! Cas. There is, besides, in Roderigo’s letter, How he upbraids Iago, that he made him Brave me upon the watch ; whereon it came That I was cast: and even but now he spake, After long seeming dead,—Iago hurt him, 330 Tago set him on. i od. You must forsake this room, and go with us: Your power and your command is taken off, And Cassio rules in Cyprus. For this slave,— If there be any cunning cruelty, That can torment him much, and hold him long, It shall be his. You shall close prisoner rest, Till that the nature of your fault be known To the Venetian state.—Come, bring him away. Oth. Soft you; a word or two, belore you go. 340 T have done the state some service, and they know No more of that.—I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as Iam; nothing extenuate, Nor set down aught in malice: then must you speak Of one that lov’d not wisely, but too well ; Of one not easily jealous, but, being wrought, Perplex’d in the extreme; of one, whose hand, Like the base Indian, threw a pearl away, Richer than all his tribe; of one, whose subdu’d eyes, Albeit unused to the melting mood, 351 Drop tears as fast as the Arabian trees Their medicinable gum. Set you down this; And say, besides, that in Aleppo once, Where a malignant and a turban’d Turk Beat a Venetian, and traduc’d the state, I took by the throat the circumcised dog, And smote him—thus. [Stabs himself. Lod. O bloody period ! Gra. All that’s spoke is marr’d. Oth, I kiss’d thee, ere I kill’d thee :—no way but a this, [Falling upon DESDEMONA, Killing myself to die upon a kiss. (Dies, Cas. This did I fear, but thought he had no weapon; For he was great of heart. Lod. ee Taco.] O Spartan dog! 363 More fell than anguish, hunger, or the sea! Look on the tragic loading of this bed ; This is thy work : the object poisons sight ; Let it be hid.—Gratiano, keep the house, And seize upon the fortunes of the Moor, For they succeed on you.—To you, lord governor, Remains the censure of this hellish villain ; 37 The time, the place, the torture :—O, enforce it! Myself will straight aboard, and to the state This heavy act with heavy heart relate. [Fzeunt. [Act V, g) a : “nee \ ROM off a hill whose concave womb i re-worded A plaintful story from a sistering vale, My spirits to attend this double voice accorded, And ace I laid to list the sad-tun’d ale ; Ere long espied a fickle maid full pale, Tearing of papers, breaking rings _ a-twain, : : Storming her world with sorrow’s wind and rain, Upon her head a platted hive of straw, Which fortified her visage from the sun, Whereon the thought might think sometime it saw 10 The carcass of a beauty spent and done: Time had not scythed all that youth begun, Nor youth all quit ; but, spite of Heaven's fell rage, Some beauty peep'd through lattice of sear’d age. Oft did she heave her napkin to her eyne, Which on it had conceited characters, Laundering the silken figures in the brine That season’d woe had pelleted in tears, And often reading what content it bears; As often shrieking undistinguish’d woe 20 In clamours of all size, both high and low. Sometimes her levell’d eyes their pare iee ride, As they did battery to the spheres intend ; Sometime, diverted, their poor balls are tied To the orbed earth ; sometimes they do extend Their view right on; anon their gazes lend To every place at once, and nowhere fix’d, The mind and sight distractedly commix’d. Her hair, nor loose, nor tied in formal plat, Proclaim’d in her a careless hand of pride ; 30 For some, untuck’d, descended her sheav'd hat, Hanging her pale and pined cheek beside ; Some in her darenaer llet still bid bide, And, true to bondage, would not break from thence, Though slackly braided in loose negligence. A thousand favours from a maund she drew Of amber, crystal, and of beaded jet, Which one’ by one she in a river threw, Upon whose weeping margent she was set; Like usury, applying wet to wet, 40 Or monarchs’ hands, that let not bounty fall Where want cries some, but where excess begs all. Of folded schedules had she many a one, Which she perus’d, sigh’d, tore, and gave the flood ; tack’d many a ring of posied gold and bone, Bidding them find their eens res in mud ; “ound yet more letters sadly penn’d in blood, Vith sleided silk feat and affectedly inswath’d, and seal’d to curious secrecy. A LOVER’S COMPLAINT. These often bath’d she in her fluxive eyes, 50 And often kiss’d, and often ’gan to tear; Cried, ‘‘ O false blood, thou register of lies, What unapproved witness dost thou bear! Ink would have seem’d more black and damned here.” This said, in top of rage the lines she rents, Big discontent so breaking their contents. A reverend man that*graz’d his cattle nigh,— Sometime a blusterer, that the ruffle knew Of court, of city, and had let go by The swiftest hours, observed as they flew,— 60 Towards this afflicted fancy fastly drew ; And, privileged by age, desires to know In brief the grounds and motives of her woe. So slides he down upon his grained bat, And comely-distant sits he by her side; When he again desires her, being sat, Her grievance with his hearing to divide: If that from him there may be aught applied, Which may her suffering ecstacy assuage, °T is promis’d in the charity of age. 70 “‘ Father,” she says, “though in me you behold The injury of many a blasting hour, Let it not tell your judgment I am old; Not age, but sorrow, over me hath power: I might as yet have been a spreading flower, Fresh to myself, if I had self-applied Love to myself, and to no love beside. “But woe is me! too early I attended A youthful suit,—it was to gain my grace,— Of one by nature’s outwards so commended, 80 That maidens’ eyes stuck over all his face. Love lack’d a dwelling, and made him her place; And when in his fair parts she did abide, She was new lodg’d, and newly deified. “His browny locks did hang in crooked curls, And every light occasion of the wind Upon his lips their silken parcels hurls. hat’s sweet to do, to do will aptly find : Each eye that saw him did enchant the mind; For on his visage was in little drawn, 90 What largeness thinks in Paradise was sawn. ‘*Small show of man was yet upon his chin: His phcenix down began but to appear, Like unshorn velvet, on that termless skin, Whose bare out-bragg’d the web it seem’d to wear; Yet show’d his visage by that cost most dear, And nice affections wavering stood in doubt If best were as it was, or best without. “His qualities were beauteous as his form, For maiden-tongu’d he was, and thereof free ; Yet, if men mov’d him, was he such a storm . As oft ’twixt May and April is to see, When winds breathe sweet, unruly though they be. His rudeness so, with his authoris’d youth, Did livery falseness in a pride of truth. 100 72 A LOVER’S COMPLAINT. “Well could he ride, and often men would say, ‘That. horse his mettle from his rider takes: Proud of subjection, noble by the sway, What rounds, what bounds, what course, what stop he makes!’ And controversy hence a question takes, 110 Whether the horse by him became his deed, Or he his manage by the well-doing steed. “But quickly on this side the verdict went: His real habitude gave life and grace To appertainings and to ornament, Accomplish'd in himself, not in his case: All aids, themselves made fairer by their place, Came for additions, yet their purpos'‘d trim Piec’d not his grace, but were all grac’d by him. “So on the tip of his subduing tongue 120 All kind of arguments and question deep, All replication prompt, and reason strong, For his advantage still did wake and sleep: To make the weeper laugh, the laugher weep, He had the dialect and different skill, Catching all passions in his craft of will: “That he did in the general bosom reign Of young, of old, and sexes both enchanted, To dwell with him in thoughts, or to remain In personal duty, folowing where he haunted: 130 Consents be witch’d, ere he desire, have granted, And dialogu’d for him what he would say, Ask’d their own wills, and made their wills obey. “Many there were that did his picture get, To serve their eyes, and in it put their mind ; Like fools that in the imagination set The goodly objects which abroad they find Of lands and mansions, theirs in thought assign’d; And labouring in moe pleasures to bestow them, Than the true gouty landlord which doth owe them. ““So many have, that never touch’d his hand, 141 Sweetly suppos’d them mistress of his heart. My woful self, that did in freedom stand, And was my own fee-simple (not in part), What with his art in youth, and youth in art, Threw my affections in his charmed power, Reserv’d the stalk, and gave him all my flower. “Yet did I not, as some my equals did, Demand of him, nor, being desired, yielded ; Finding myself in honour so forbid, 150 With safest distance I mine honour shielded. Experience for me many bulwarks builded Of proofs new-bleeding, which remain’d the foil Of this false jewel, and his amorous spoil. “But, ah! who ever shunn'd by precedent The destin’d ill she must herself assay ? Or fore’d examples, ‘gainst her own content, To put the by-pass’d perils in her way? Counsel may stop awhile what will not stay ; For when we rage, advice is often seen 160 By blunting us to make our wits more keen. “Nor gives it satisfaction to our blood, That we must curb it upon others’ proof ; To be forbod the sweets that seem so good, For fear of harms that preach in our behoof. O appetite, from judgment stand aloof! The one a palate hath that needs will taste, Though Reason weep, and cry, ‘It is thy last.’ “For further I could say, ‘This man’s untrue,’ And knew the patterns of his foul beguiling ; 170 Heard where his plants in others’ orchards grew, Saw how deceits were gilded in his smiling ; Knew vows were ever brokers to defiling ; Thought characters, and words, merely but art, And bastards of his foul adulterate heart. “ And long upon these terms I held my city, Till thus he ’gan besiege me: ‘Gentle maid, Have of my suffering youth some feeling pity, And be not of my holy vows afraid: That’s to ye sworn, to none was ever said; 180 For feasts of love I have been call’d unto, Till now did ne’er invite, nor never woo. ““* All my offences that abroad you sec, Are errors of the blood, none of the mind; Love made them not: with acture they may be, Where neither party is nor truc nor kind: They sought their shame that so their shame did find, And so much less of shame in me remains, By how much of me their reproach contains. “* Among the many that mine eyes have seen, 190 Not one whose flame my heart so much as warm'd, Or my affection put to the smallest teen, Or any of 7a leisures ever charm’d: Harm have | done to them, but ne’er was harm’d; Kept hearts in liveries, but mine own was free, And reign’d, commanding in his monarchy. “Look here, what tributes wounded fancies sent me, Of paled pearls, and rubies red as blood ; Figuring that they their passions likewise lent me Of grief and blushes, aptly understood 2 In bloodless white and the encrimson’d mood ; Effects of terror and dear modesty, Encamp’d in hearts, but fighting outwardly. ‘““* And, lo! behold these talents of their hair, With twisted metal amorously impleach’d, I have receiv’d from many a several fair (Their kind acceptance weepingly beseech’d), With the annexions of fair gems enrich’d, And deep-brain’d sonnets, that did amplity Each stone’s dear nature, worth, and quality. 210 “ Corn. Fie, sir, fie! . Lear. You nimble lightnings, dart your blinding flames Into her scornful eyes! Infect her beauty, You fen-suck’d fogs, drawn by the powerful sun, Yo fall and blast her pride! Reg. O the blest gods! so will you wish on me, When the rash mood is on. 170 Lear. No, Regan; thou shalt never have my curse: Thy tender-hefted nature shall not give Thee o’er to harshness: her eyes are fierce ; but thine Do comfort, and not burn. ‘Tis not in thee To grudge my pleasures, to cut off my train, To bandy hasty words, to scant my sizes, And, in conclusion, to oppose the bolt Against my coming in: thou better know’st The offices of nature, bond of childhood, Effects of courtesy, dues of gratitude ; 180 Thy half o’ the kingdom hast thou not forgot, Wherein I thee endow’d, Reg. ; Good sir, to the purpose. Lear. Who put my man i’ the stocks? [Tucket within. Corn. What trumpet ’s that? Reg. I know't, my sister’s: this approves her letter, That she would soon be here.— Enter OSWALD. Is your lady come? Lear. This is a slave, whose easy-borrow’d pride Dwells in the fickle grace ot her he follows,— Out, varlet, from my sight! Corn. What means your grace? Lear. Who stock’d my servant? Regan, [have good ope Thou didst not know on’t.—Who comes here? O heavens, 190 inter GONERIL. If you do love old men, if your sweet sway Allow obedience, if yourselves are old, Make it your cause ; send down, and take my part !— [To GONERIL, ‘5 Art not asham’d to look upon this eard ?— O Regan! wilt thou take her by the hand ? Gon. Why not by the hand, sir? How have I offended ? All’s not offence that indiscretion finds, And dotage terms so. Lear. O sides! you are too tough: Will you yet hold?—How came my man i’ the stocks? Corn. I set him there, sir; but hisown disorders 200 Deserv’d much less advancement. Lear. You! did you? Reg. I pray you, father, being weak, seem so. Tf, till the expiration of your month, You will return and sojourn with my sister, Dismissing half your train, come then to me: I am now from home, and out of that provision Which shall be needful for your entertainment. Lear, Return to her? and fifty men dismiss’d? No, rather I abjure all roofs, and choose To wage against the enmity o’ the air: To be a comrade with the wolf and owl,— Necessity’s sharp pinch !--Return with her? Why, the hot-blooded France, that dowerless took Our youngest-born, I could as well be brought 210 To knee his throne, and, squire-like, pension beg ‘To keep base life afoot.—Return with her? Persuade me rather to be slave and sumpter ‘To this detested groom. [Pointing at OSwaLp, Gon. At your choice, sir. Lear. I pr’ythee, daughter, do not make me mad: I will not trouble thee, my child ; farewell. 220 We'll no more meet, no more see one another; But yet thou art my flesh, my blood, my daughter ; Or, rather, a disease that’s in my flesh, Which I must needs call mine: thou art a bile, A plague-sore, an embossed carbuncle, In my corrupted blood. But I'll not chide thee ; Let shame come when it will, I do not call it: I do not bid the thunder-bearer shoot, Nor tell tales of thee to high-judging Jove. Mend, when thou canst ; be better, at thy leisure: 230 I can be patient; I can stay with Regan, I, and my hundred knights. Reg. Not altogether so: I look’d not for you yet, nor am provide For your fit welcome. Give ear, sir, to my sister; For those that mingle reason with your passion, Must be content to think you old, and so— But she knows what she does. Lear. Is this well spoken? Reg. I dare avouch it, sir. What! fifty followers? Is it not well? What should you need of more? Yea, or so many, sith that both charge and danger 240 Speak 'gainst so great a number? How, in one house, Should many people, under two commands, Hold amity? "Tis hard ; almost impossible. Gon. Why might not you, my lord, receive atten- dance From those that she calls servants, or from mine? fteg. Why not, my lord? If then they chane’d to slack you, We could control them. If you will come to me (For now I spy a danger), I entreat you To bring but tive-and-twenty : to no more Will I give place, or notice. 250 Lear. I gave you all-- Reg. And in good time you gave it. Lear. Made you my guardians, my depositaries ; But kept a reservation to be follow’d With sucha number. What! must I come to you With five-and-twenty? Regan, said you so? Reg. And speak ’t again, my lord; no more with me. Lear. Those wicked creatures yet do look well- favour’d! When others are more wicked, not being the worst Stands in some rank of praise.—[Zo GONERIL.] I'll go with thee: Thy fifty yet doth double five-and-twenty, 260 And thou art twice her love. Gon. Hear me, my lord. What need you five-and-twenty, ten, or five, To follow in a house, where twice so many Have a command to tend you? What need one? Reg. Lear. O! reason not the need; our basest beggars Are in the poorest thing superfluous: Allow not nature more than nature needs, Man's life is cheap as beast’s. Thou art a lady; If only to go warm were gorgeous, Why, nature needs not what thou gorgeous wear'st, Which scarcely keeps thee warm. But, for true need,— 271 You heavens, give me that patience, patience I need! You see me here, you gods, a poor old man, As full of grief as age; wretched in both: If it be you that stir these daughters’ hearts Against their father, fool me not so much To bear it tamely ; touch me with noble anger. QO! let not women’s weapons, water-drops, Stain my man’s cheeks.—No, you unnatural hags, T will have such revenges on you both, 280 That all the world shall-—I will do such things,— What they are, yet I know not; but they shall be The terrors of the earth. You think, I'll weep; No, I’ll not weep :— T have full cause of weeping ; but this heart ScENE IV.] KING LEAR. 27 Shall break into a hundred thousand flaws, Or ere I'll weep.—O fool, I shall go mad! (Exeunt LEAR, GLOSTER, KENT, and Fool. Corn, Let us withdraw, 't will be a storm. [Storm heard at a distance. Re-enter GLOSTER, Corn, Follow’d the old man forth.—He is return’d. Glo. The king is in high rage. Corn. Whither is he going? Lear. “O fool, 1 shall go mad!” Reg. This youre is little: the old man and his people Cannot be well bestow’d. F 290 Gon. ’Tis his own blame; hath put himself from rest, And must needs taste his folly. : Reg. For his particular, I’ll receive him gladly, But not one follower. Gon. So am I purpos’d, Where is my Lord of Gloster? Glo. He calls to horse ; but will I know not whither. Corn, ’Tis best to give him way ; he leads himself. Gon. My lord, entreat him by no means to stay. 30) Glo. sek the night comes on, and the high - winds Do sorely ruffle ; for many miles about There’s scarce a bush. Reg. O, sir, to wilful men, The injuries that they themselves procure Must be their schoolmasters, Shut up your doors: 728 KING LEAR. [Act IIL. He is attended with a desperate train ; _ And what they may incense him to, being apt To have his ear abus’d, wisdom bids fear. Corn. Shut up your doors, my lord; ’tis a wild night: My Regan counsels well. Come out 0’ the storm. 310 [Ezeunt. A storm, with thunder and lightning. Kent. >sHO’S there, beside foul weather? | Gent. One minded like the weather, most ate Kent. [know you. Where's the king? Gent. Contending with the fretful elements ; Bids the wind blow the earth into the : sea, ° Or swell the curled waters ’bove the main, That things might change or cease ; tears his white air, Which the impetuous blasts, with eyeless rage, Catch in their fury, and make nothing of : i Strives in his little world of man to out-scorn 10 The to-and-fro conflicting wind and rain. This night, wherein the cub-drawn bear would couch, The lion and the belly-pinched wolf Keep their fur dry, unbonneted he runs, And bids what will take all. Kent. But who is with him? Gent. None but the fool, who labours to out-jest His heart-struck injuries. Kent. Sir, I do know you; And dare, upon the warrant of my note, Commend a dear thing to you. There is division, Although as yet the face of it be cover’d With mutual cunning, ’twixt Albany and Cornwall; Who have (as who have not, that their great stars Thron’d and set high ?) servants, who seem no less, Which are to France the ES al and speculations Intelligent of our state ; what hath been seen, Either in snuffs and packings of the dukes, Or the hard rein which both of them have borne Against the old kind king; or something deeper, hereof, perchance, these are but furnishings ;--- (But, true it is, from France there comes a power Into this scatter’d kingdom ; who already, Wise in our negligence, have secret feet In some of our best ports, and are at point To show their open banner.—Now to you: If on my credit you dare build so far To make your speed to Dover, you shall find Some that w‘ll thank you, making just report Of how unnatural and bemaddins sorrow The king hath cause to plain. Iam a gentleman of blood and breeding, And trom some knowledge and assurance offer This office to you.) Gent. I will talk further with you. Kent. No, do not. For confirmation that Iam much more Than my out-wall, open this purse, and take | What it contains. If you shall see Cordelia | (As fear not but you shall), show her this ring, ; And she will tell you who your fellow is | That yet you do not know. Fie on this storm! I will go seek the king. 30 40 ACT III. ScENE I.—A Heath. Enter KENT and a Gentleman, meeting. Gent. Giveme yourhand. Have you no more tosay? Kent. Few words, but, to effect, more than all yet; That, when we have found the king, (in which your pain : That way, I’ll this,) he that first lights on him, Holla the other. [Exeunt severally. Scene II.—Another Part of the Heath. Storm continues. Enter LEAR and Fool. Lear. ss winds, and crack your cheeks! rage! ow! You cataracts and hurricanoes, spout Till you have drench’d our steeples, drown’d the cocks! You sulphurous and thought-executing fires, Vaunt-couriers of oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o’ the world! Crack nature’s moulds, al] germens spill at once, That make ingrateful man! 2 Fool, O nuncle, court holy-water in a dry house is better than this rain-water out o’ door. Good nuncle, in; ask thy daughters’ blessing: here’s a night pities neither wise men nor fools. : Lear. Rumble thy bellyful! spit, fire! spout, rain! Nor rain, wind, thunder, fire, are my daughters: I tax not you, you elements, with unkindness ; I never gave you kingdom, call’d you children, You owe me no subscription : then, let fall Your horrible pleasure ; here I stand, your slave, A poor, infirm, weak, and despis’d old man. 2 But yet I call you servile ministers, That will with two pernicious daughters join Your high-engender’d battles ’gainst a head So old and white as this. O! O! ’tis foul! Fool. He that has a house to put’s head in, has a good hears The cod-piece that will house, Before the head has any, The head and he shall louse :— So beggars marry many. The man that makes his toe What he his heart should make, .Shall of a corn cry woe, And turn his sleep to wake. For there was never yet fair woman but she made mouths in a glass. Lear. No, I will be the pattern of all patience ; I will say nothing. Enter Kent. Kent. Who’s there? 3 ae. Fool. Marry, here’s grace, and w cod-piece ; that’s a wise man, and a fool. 1 Kent. Alas, sir! are you here? things that love 50 | night, . Love not such nights as these ; the wrathful skies Scene IV.] KING LEAR. 2 Gallow the very wanderers of the dark, And make them keep their caves, Since I was man, Such sheets of fire, such bursts of horrid thunder, Such groans of roaring wind and rain, I never Remember to have heard: man’s nature cannot carry The affliction, nor the fear. Lear. . Let the great gods, That keep this dreadful pother o’er our heads,’ 50 Find out their enemies now. Tremble, thou wretch, That hast within the undivulged crimes, Unwhipp’d of justice : hide thee, thou bloody hand; Thou perjur’d, and thou similar of virtue That art incestuous : caitiff, to pieces shake, That under covert and convenient seeming Hast practis’d on man’s lite: close pent-up guilts, Rive your concealing continents, and cry These dreadful summoners grace. I amaman More sinn’d against than sinning. _ _ Kent. Alack, bare-headed ! Gracious my lord, hard by here is a hovel ; 61 Some friendship will it lend you ’gainst the tempest: Repose you there, while I to this hard house (More harder than the stones whereof ’tis rais’d, Which even but now, demanding after you, Denied me to come in) return, and force Their scanted courtesy. Lear. : My wits begin to turn,— Come on, my boy. How dost, my boy? Art cold? Lam cold myself.—Where is this straw, my fellow? The art of our necessities is strange, 70 That can make vile things precious. hovel. Poor fool and knave, I have one part in my heart That's sorry yet for thee. Fool. [Sings.] He that has a little tiny wit,— With heigh, ho, the wind and the rain,- Must make content with his fortunes fit, Though the rain it raineth every day. Lear. True, my good boy.—Come, bring us to this hovel. [Zxeunt LEAR and KENT. Fool. This is a brave night to cool a courtesan.— T’ll speak a prophecy ere I go: 80 When oe are more in word than matter ; When brewers mar their malt with water ; When nobles are their tailor’s tutors ; No heretics burn’d, but wenches’ suitors ; When every case in law is right ; No squire in debt, nor no poor knight ; When slanders do not live in tongues; Nor cutpurses come not to throngs ; When usurers tell their gold i’ the field ; And bawds and whores do churches build ; Then shall the realm of Albion Come to great gonfusion : Then comes the time, who lives to see’t, That going shall be us’d with feet. This prophecy Merlin shall make; for I live before his time. : [xit. Come, your 90 Scene III.—A Room in GLosTeEr’s Castle. Enter GLOSTER and EDMUND. Glo. Alack, alack! Edmund, I like not this un- natural dealing. When I desired their leave that I might pity him, they took from me the use of mine own house, charged me, on pain of perpetual dis- Pleasure, neither to speak of him, entreat for him, nor any way sustain him. dm. Most savage and unnatural! 7 Glo. Go to: say you_nothing. There is division between the dukes, and a worse matter than that. T have received a letter this night ;—’tis dangerous to be spoken ;—I have locked the letter in my closet. These injuries the king now bears will be revenged home; there is part of a power already footed: we must incline to the king. I will look him, and privily Telieve him: go you, and maintain talk with the duke, ‘that my charity be not of him perceived. If he ask for me, I am ill, and gone to bed. If I die for it, as no less is threatened me, the king, my old master, must be relieved. There is some strange thing toward, Edmund; pray you, be careful. [Exit. Edm. This courtesy, forbid thee, shall the duke 21 Instantly know ; and of that. letter too. This seems a fair deserving, and must draw me That which my father loses: no less than all: The younger rises, when the old doth fall. [Exit. Scene IV.—A Part of the Heath, with a Hovel. Enter Lear, KENT, and Fool. Kent. Here is the place, my lord; good my lord, enter: The tyranny of the open night’s too rough For nature to endure. {Storm still. Lear. Let me alone. dent. Good my lord, enter here. Lear. Wilt break my heart ? Kent. I ’drather break mine own. Good my lord, enter. Lear, Thou think’st ’t is much, that this contentious storm Invades us to the skin: so ’tis to thee ; But where the greater malady is fix’d, The lesser is scarce felt. ‘Thou ‘dst shun a bear ; But if thy flight lay toward the roaring sea, 10 Thou’dst meet the bear i’ the mouth. When the mind’s free, The body’s delicate : the tempest in my mind Doth from my senses take all feeling else, Save what beats there : filial ingratitude. Is it not as this mouth should tear this hand, For lifting food to ‘t +-But I will punish home :— No, I will weep no more.—In such a night To shut me out !—Pour on; J will endure.— In such a night as this! O Regan, Goneril !— Your old kind father, whose frank heart gave all,— 20 O! that way madness lies ; let me shun that; No more of that. Kent. Good my lord, enter here. Lear. Pr’ythee, go in thyself; seek thine own ease: This tempest will not give me leave to ponder On things would hurt me more.—But I'll go in. (To the Fool.] In, boy; go first. You houseless poverty,— : Nay, get thee in. I’ll pray, and then I'll sleep.— [Fool goes in. Poor naked wretches, wheresoe’er you are, : That bide the pelting of this pitiless storm, How shall your houseless heads, and unfed sides, Your loop’d and window’d raggedness, defend you From seasons such as these? O! I have ta’en Too little care of this. Take physic, pomp; Expose thyself to feel what wretches feel, That thou may’st shake the superflux to them, And show the heavens more just. Eadg. (Within.] Fathom and half, fathom and half! Poor Tom! [The Fool runs out from the hovel. Fool, Come not in here, nuncle; here’s a spirit. Help me! help me! Kent. Give me thy hand.—Who’s there? fool. A spirit, a spirit: he says his name’s poor 30 Tom. Kent. What art thou that dost grumble there i’ the straw ? Come forth. Enter EvGar, disguised as a madman. Edg. Away! the foul fiend follows me !— Through the sharp hawthorn blow the winds.— Humph! go to thy bed, and warm thee. Lear. Didst thou give all to thy daughters? And art thou come to this? 50 ‘dg. Who gives anything to poor Tom? whom the foul fiend hath Jed through fire and through flame, through ford and whirlpool, over bog and quagmire ; that hath laid knives under his pillow, and halters in his pew; set ratsbane by his porridge ; made him proud of heart, to ride on a bay trotting-horse over four-inched bridges, to course his own shadow for a 730 KING LEAR. {Act II traitor.—Bless thy five wits! Tom's a-cold.—O! do de, do de, do de.—Bless thee from whirlwinds, star- blasting, and taking! Do poor Tom some charity, whom the foul fiend vexes.—There could I have him now,—and there,—and there,—and there again, and there. : [Storm continues. Lear. What! have his daughters brought him to this pass ?}— f Couldst thou save nothing? Didst thou give them a Fool. Nay, he reserved a blanket, else we had been all shamed. Lear. Now, all the plagues that in the pendulous air Hang fated o’er men’s faults, light on thy daughters Kent. He hath no daughters, sir. 7 Lear. Death, traitor! nothing could have subdued nature To such a lowness, but his unkind daughters.— Is it the fashion, that discarded fathers Should have thus little merey on their flesh ? Judicious punishment! ’t was this flesh begot Those pelican daughters. Edg. Pillicock sat on Pillicock-hill :— Halloo, halloo, loo, loo! Fool. This cold night will turn us all to fools and madmen. 80 Edg. Take heed o’ the foulfiend. Obey thy parents; keep thy word justly; swear not; commit not with man’s sworn spouse ; set not thy sweet heart on proud array. Tom's a-cold. Lear. What hast thou been? : Edg. A serving-man, proud in heart and mind; that curled my hair, wore gloves in my cap, served the lust of my mistress’s heart, and did the act of darkness with her; swore as many oaths as I spake words, and broke them in the sweet face of heaven: one, that slept in the contriving of lust, and waked to do it. Wine loved I deeply; dice dearly; and in woman, out-paramoured the Turk: false of heart, light of ear, bloody of hand; hog in sloth, fox in stealth, wolf in greediness, dog in madness, lion in prey. Let not the creaking of shoes, nor the rustling of silks, betray thy poor heart to woman: keep thy foot out of brothels, thy hand out of plackets, thy pen from lenders’ books, and defy the foul fiend.—still through the hawthorn blows the cold wind, says suum, mun, ha no nonny. Dolphin my boy, my boy ; sessa! let him trot by. [Storm still continues. Lear. Why, thou wert better in thy grave, than to answer with thy uncovered body this extremity of the skies.—Is man no more than this? Consider him well. Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no _ perfume.—Ha! here’s three on’s are sophisticated : thou art the thing itself: unaccommodated man is no more but such a poor, bare, forked animal as thou art.—Off, off, you lend- ings.—Come ; unbutton here.— 111 [Tearing off his clothes. Fool. Pry’thee, nuncle, be contented; ‘tisa naughty night to swim in.—Now, a little fire in a wild field were like an old lecher’s heart; a small spark, all the rest on’s body cold. Look! here comes a walking fire. Edg. This is the foul fiend Flibbertigibbet: he begins at curfew, and walks till the first cock; he gives the web and the pin, squints the eye, and makes the hare-lip; mildews the white wheat, and hurts the poor creature of earth. 120 Swithold footed thrice the wold ; He met the night-mare, and her nine-fold Bid her alight, And her troth plight, And, aroint thee, witch, aroint thee! Kent. How fares your grace? ! 7 Enter GLOSTER, with a torch. Lear. What's he? Kent. Who’s there?. What is’t you seek? Glo. What are you there? Your names? 129 idg. Poor Tom ; that eats the swimming frog, the toad, the tadpole, the wall-newt, and the water ; that in the fury of his heart, when the foul fiend rages, eat cow-dung for sallets; swallows the old rat, and th eee drinks the green mantle of the standin pool; who is whipped from tithing to tithing, an stocked, punished, and imprisoned; who hath ha three suits to his back, six shirts to his body, horse t ride, and weapon to wear,— But mice, and rats, and such small deer, Have been Tom's food for seven long year. 14 aoe my follower.—Peace, Smulkin! peace, tho end! Glo. What! hath your grace no better company? Glo, “ What! hath your grace no better company?" Edg. The prince of darkness is a gentleman ; Modo he’s call'd, and Mahu. Glo. Our flesh and blood, my lord, is grown so vile, That it doth hate what gets it. Edg. Poor Tom’s a-cold. Glo. Goin with me. My duty cannot suffer To obey in all your daughters’ hard commands: Though their injunction be to bar my doors, And let this tyrannous night take hold upon you, Yet have I ventur'd to come seek ye out, And bring you where both fire and food is ready. Lear. First let me talk with this philosopher.— What is the cause of thunder ? 3 Kent. Good my lord, take his offer: go into th’ house. Ill talk a word with this same learnet heban. What is your study? : P Edg. How to prevent the fiend, and to kill vermin. Lear. Let me ask you one word in private. 16 Kent. Importune him once more to go, my lord; His wits begin to unsettle. . Glo. — Canst thou blame him? His daughters seek his death.—Ah, that good Kent!- He said it would be thus, poor banish’'d man!—___. Thou say’st, the king grows mad: I'll tell thee, frienc Iam almost mad myself. I had a son, 5 Now outlaw’'d from my blood; he sought my life, But lately, very late: [ lov’d him, friend,— No father his son dearer: true to tell thee, VY The grief hath craz’d my wits. What a night’s this [Storm continue: 15 Lear. I do beseech your grace,— ScENE VI.] KING LEAR. 731 Lear. O! cry you mercy, sir.— Noble philosopher, your company. Edg. Tom’s a-cold. Glo. In, fellow, there, into the hovel: keep thee warm. Lear. Come, let’s in all. Kent. This way, my lord. Lear. With him: I will Foon still with my philosopher. Kent. Good my lord, soothe him; let him take the fellow. Glo. Take him you on. Kent. Sirrah, come on; go along with us. 180 Lear. Come, good Athenian. Glo. No words, no words: hush. Edg. Child Rowland to the dark tower came, His word was still,—_Fie, foh, and fum, I smell the blood of a British man. ScENE V.—A Room in GLOSTER’s Castle. Enter CORNWALL and EDMUND. ioe I will have my revenge, ere I depart his ouse. Edm. How, my lord, I may be censured, that nature thus gives way to loyalty, something fears me to think of. Corn. I now perceive, it was not altogether your brother’s evil disposition made him seek his death; but a provoking merit, set a-work by a reprovable badness in himself. Edm. How malicious is my fortune, that I must repent to be just! This is the letter which he spoke of, which approves him_an intelligent part to the advantages ot France. O heavens! that this treason were not, or not I the detector ! Corn. Go with me to the duchess. : Edm. If the matter of this paper be certain, you have mighty business in hand. Corn. True, or false, it hath made thee Earl of Gloster. Seek out where thy father is, that he may be ready for our apprehension. 20 _ Edm. [Aside.| If I find him comforting the king, it will stuff his suspicion more fully.—I will persever in my course of loyalty, though the conflict be sore between that and my blood. Corn. I will lay trust upon thee, and thou shalt find a dearer father in my love. [Axeunt. ScenE VI.—A Chamber in a Farm-house, adjoining the Castle. Enter GLostEeR, Lear, KENT, Fool, and EDGAR. Glo, Here is better than the open air; take it thank- fully. I will piece out the comfort with what addition Ican : I will not be long from you. Kent. All the power of his wits have given way to his impatience.—The gods reward your kindness! [Exit GLOSTER. Edg. _Frateretto calls me, and tells me, Nero is an angler in the lake of darkness. Pray, innocent, and beware the foul fiend. Fool. Pr’ythee, nuncle, tell me, whether a madman be a gentleman, or a yeoman ? 10 Lear. A king, a king! Fool. No: he’s a yeoman, that has a gentleman to his son; for he’s a mad yeoman, that sees his on a gentleman before him. Lear. To have a thousand with red-burning spits Come ee in upon them :— Edg. The foul fiend bites my back. Fool. He’s mad, that trusts in the tameness of a wolf, a horse’s health, a boy’s love, or a whore’s oath. Lear, It shall be done; I will arraign them straight. _» _ 20 [To ae ome, sit thou here, most learned jus- icer ;— [Ezxeunt. [To the Fool.] Thou, sapient sir, sit here.—Now, you she-toxes !— Edg. Look, where he stands and glares !— Wantest thou eyes at trial, madam ? Come o’er the bourn, Bessy, to me :— Her boat hath a leak, And she must not speak Why she dares not come over to thee. Edg. The foul fiend haunts poor Tom in the voice of a THehtlngate. Hopdance cries in Tom’s belly for two white herring. Croak not, black angel; 1 have no food for thee. 32 Kent. How do you, sir? Stand you not so amaz’d: Will you lie down and rest upon the cushions ? Lear. I'll see, their trial first.—Bring in the evi- dence. — [To Epear.] Thou robed man of justice, take thy Fool. place ;— [To the Fool.] And thou, his yoke-fellow of equity, Bench by his side :— [Zo KENT.] You are of the commission, sit you too. itdg. Let us deal justly. 40 Sleepest, or wakest thou, jolly shepherd? Thy sheep be in the corn; And for one blast of thy minikin mouth, Thy sheep shall take no harm. Pur! the cat is grey. Lear, Arraign her first; ‘tis Goneril. I here take my oath before this honourable assembly, she kicked the poor king her father. fool. Come hither, mistress, Is yourname Goneril? Lear. She cannot deny it. 50 Fool, Cry you mercy, I took you for a joint-stool. Lear. he here’s another, whose warp’d looks pro- claim What store her heart is made of.—Stop her there! Arms, arms, sword, fire !—corruption in the place! False justicer, why hast thou let her ’scape? Fidg. Bless thy five wits! Ji that a botchy core? Ajax. Dog! Ther, Then would come some matter from him: I see none now. 10 Ajax. Thou bitch-wolf's son, canst thou not hear? Feel then. [Strikes him. Ther. The plague of Greece upon thee, thou mon- grel beef-witted lord! Ajax. Speak then, thou vinnewedst leaven, speak : I will beat thee into handsomeness. Ther. I shall sooner rail thee into wit and holiness: but, I think, thy horse will sooner con an oration, than thou learn a prayer without book. Thou canst strike, canst thou? a red murrain o’ thy jade’s tricks! Ajax. Toadstool, learn me the proclamation. 21 Ther. Dost thou think I have no sense, thou strik’st me thus? Ajax. The proclamation ! Ther. Thou art proclaimed a fool, I think. Ajax. Do not, porpentine, do not: my fingers itch. Ther. I would, thou didst itch from head to foot, and I had the scratching of thee ; I would make thee the loathsomest scab in Greece. When thou art forth in the incursions, thou strikest as slow as another. 31 Ajax, I say, the proclamation ! Ther. Thou grumblest and railest every hour on Achilles ; and thou art as full of envy at his greatness, as Cerberus is at Proserpina’s beauty, ay, that thou barkest at him. Ajax. Mistress Thersites ! Ther. Thou shouldst strike him. Ajax. Cobloaf! . Ther. He would pun thee into shivers with his fist, as a sailor breaks a biscuit. 41 Ajax. You whoreson cur! [Beating him. Ther. Do, do. Ajax. Thou stool for a witch ! Ther. Ay, do, do; thou sodden-witted lord! thou hast no more brain than I have in mine elbows; an assinego may tutor thee: thou scurvy-valiant ass! thou art here but to thrash Trojans; and thou art bought and sold among those of any wit, like a bar- barian slave. If thou use to beat me, I will begin at thy heel, and tell what thou art by inches, thou thing of no bowels, thou! 52 Ajax. Youdog! Ther, Youscurvy lord! Ajax. You cur! her. Mars his idiot; do, rudeness ; 0. Beating him. o, camel; do, Enter ACHILLES and PATROCLUS. Achil. ee, how now, Ajax? wherefore do you is? How now, Thersites? what’s the matter, man? Ther. You see him there, do you? 60 Achil. Ay; what’s the matter? Ther. Nay, look upon him. Il. ScENE I.—Another Part of the Grecian Camp. s Enter AsAx and THERSITES. Achil. Sol do: what’s the matter? Ther. Nay, but regard him well. alchil. Well! why, so I do. Ther. But yet you look not well upon him; for, whosoever you take him to be, he is Ajax. Achil. I know that, fool. Ther. Ay, but that fool knows not himself. Ajax. Therefore I beat thee. 70 Ther. © Ay, do, do; thou sodden-w itted lord!" Ther. Lo, lo, lo, lo, what modicums of wit he utters ! his evasions have ears thus long. JI have bobbed his brain more than he has beat_my bones: I will buy nine sparrows for a penny, and his pia mater is not worth the ninth part ofasparrow. Thislord, Achilles, Ajax, who wears his wit in his belly, and his guts in his head, I'll tell you what I say of him. Achil. What? Ther. I say, this Ajax— [Ayax offers to strike him, ACHILLES interposes. Achil. Nay, good Ajax. 80 Ther. Has not so much wit— Achil. Nay, I must hold you. Ther, As will stop the eye of Helen's needle, for whom he comes to fight. Achil. Peace, fool! Ther. I would have peace and quietness, but the fool will not: he there; that he, look you there. aljax. O thou damned cur! I shall— Achil, Will you set your wit to a fool's? Ther, No, I warrant you; for a fool's will shame it. Patr. Good words, Thersites, 91 Achil. What’s the quarrel ? Ajax. I bade the vile owl go learn me the tenor of the proclamation, and he rails upon me. Ther. I serve thee not. Aer Well, go to, go to. Ther. Lserve here voluntary. : Achil. Your last service was sufferance, ’t was not 848 voluntary ; no man is beaten voluntary: Ajax was here the voluntary, and you as under an impress. 100 Ther. E’en so;—a great deal of your wit too lies in your sinews, or else there be liars. Hector shall have a great catch, if he knock out either of your brains: ’a were as good crack a fusty nut with no kernel. aAchil, What, with me too, Thersites? Ther. There's Ulysses, and old Nestor,—whose wit Was mouldy ere vour grandsires had nails on their toes,—yoke you like draught-oxen, and make you plough mp the wars. aAchil, What? what? 110 Ther. Yes, good sooth: to, Achilles! to, Ajax! to! A jac. I shall cut out your tongue. Ther. "Tis no matter; I shall speak as much as thou, afterwards. Patr. No more words, Thersites, peace ! Ther. I will hold my peace when Achilles’ brach bids me, shall I? Achil, There’s for you, Patroclus. Ther. I will see you hanged, like clotpoles, ere I come any more to your tents: I will keep where there is wit stirring, and leave the faction of fools. [A’xit. Patr. A good riddance. 122 | Achil. arry, this, sir, is proclaim’d through all our host :— That Hector, by the fifth hour of the sun, Will, with a trumpet, ’twixt our tents and Troy, To-morrow morning call some knight to arms, That hath a stomach; and such a one, that dare Maintain—I know not what: ’tis trash. Farewell. Ajax. Farewell. Who shall answer him? Achil. I know not: it is put to lottery ; otherwise, He knew his man. 131 Ajax. O! meaning you.—I will go learn more of it. [Exeunt. ScreNnE II.—Troy. A Room in PrIAm’s Palace. Enter PrtaM, HECTOR, TROILUS, PARIS, and HELENUS. Pri. After so many hours, lives, speeches spent, Thus once again says Nestor from the Greeks: “Deliver Helen, and all damage else— As honour, loss of time, travail, expense, Wounds, friends, and what else dear that is consum d In hot digestion of this cormorant war— Shall be struck off.’—Hector, what say you to’t? fect. Though no man lesser fears the Greeks than I, As far as toucheth my particular, yet, Dread Priam, 10 There is no lady of more softer bowels, More spungy to suck in the sense of fear, More ready to cry out—* Who knows what follows?” ‘Than Hector is. The wound of peace is surety, Surety secure ; but modest doubt is call’d The beacon of the wise, the tent that searches To the bottom of the worst. Let Helen go: Since the first sword was drawn about this question, Every tithe soul, ‘mongst many thousand dismes, Hath been as dear as Helen; I mean, of ours: If we have lost so many tenths of ours, To guard a thing not ours, nor worth to us, Had it our name, the value of one ten; What merit’s in that reason, which denies The yielding of her up? Tro. Fie, fie! my brother! Weigh you the worth and honour of a king, So great as our dread father, in a scale Of common ounces? will you with counters sum The past-proportion of his infinite? And buckle in a waist most fathomless With spans and inches so diminutive As fears and reasons? fie, for godly shame! Hel. No marvel, though you bite so sharp at reasons, You are so empty of them. Should not our father Bear the great sway of his affairs with reasons, Because your speech hath none, that tells him so? Tro. You are for dreams and slumbers, brother priest ; 30 TROILUS AND CRESSIDA. {Act II. You fur your gloves with reason. reasons : You know, an enemy intends you harm ; You know, a sword employ’d 1s perilous, And reason flies the object of all harm. Who marvels then, when Helenus beholds A Grecian and his sword, if he do set The very wings of reason to his heels, And fly like chidden Mercury from Jove, Or like a star disorb’'d?_Nay, if we talk of reason, Let’s shut our gates, and sleep: manhood and honour Should have hare-hearts, would they but fat their thoughts With this cramm’d reason: reason and respect Make livers pale, and lustihood deject. 50 Hect. Brother, she is not worth what she doth cost The holding. Tro. What is aught but as ’t is valued? Hect. But value dwells not in particular will ; It holds his estimate and dignity As well wherein ‘tis precious of itself, As in the prizer. “Tis mad idolatry, To make the service greater than the god; And the will dotes, that is inclinable To what infectiously itself affects, Without some imuge of the affected merit. Tro. I take to-day a wife, and my election Is led on in the conduct of my will: My will enkindled by mine eyes and ears, Two traded pilots ’twixt the dangerous shores Of will and judgment. How may I avoid, Although my will distaste what it elected, The wife I chose? there can be no evasion To blench from this, and to stand firm by honour. We turn not back the silks upon the merchant, When we have soil'd them ; nor the remainder viand We do not throw in unrespective sink, 71 Because we now are full. It was thought meet, Paris should do some vengeance on the Greeks: Your breath of full consent bellied his sails ; The seas and winds (old wranglers) took a truce, And did him service: he touch’d the ports desir’d ; And, for an old aunt, whom the Greeks held captive, He brought a Grecian queen, whose youth and fresh- ness Wrinkles Apollo’s, and makes stale the morning. Why keep we her? the Grecians keep our aunt. Is she worth keeping? why, she is a pearl, Whose price hath launch’d above a thousand ships, And turned crown’d kings to merchants. If you'll avouch ’t was wisdom Paris went (As you must needs, for you all cried—* Go, go”), If you ll confess he brought home noble prize (As you must needs, for you all clapp’d your hands, And cried—‘‘ Inestimable!”), why do you now The issue of your proper wisdoms rate, And do a deed that Fortune never did, Beggar the estimation which you priz’d Richer than sea and land? O theft most base, That we have stol'n what we do fear to keep! But thieves unworthy of a thing so stol'n, That in their country did them that disgrace, We fear to warrant in our native place! Cas. [Within.] on, Trojans, cry ! ; Pyt. Vhat noise? what shriek is this? Tro. ’T is our mad sister, I do know her voice. Cas, [IVithin.] Cry, Trojans! Hect. It is Cassandra, Here are your 40 60 80 90 100 Itnter CASSANDRA, raving. Cas. Cry, Trojans, cry! lend me ten thousand eyes. And I will fill them with prophetic tears. fect. Peace, sister, peace ! Cas. Virgins and boys, mid-age and wrinkled old, Soft infancy, that nothing canst but cry, Add to my clamours! let us pay betimes A moiety of that mass of moan to come. Cry, Trojans, cry! practise your eyes with tears! Troy must not be, nor goodly Ilion stand ; Our firebrand brother, Paris, burns us all. 110 Cry, Trojans, cry! a Helen, and a woe! : Cry, cry ! Troy burns, or else let Helen go. [Exié. ScENE III.] TROILUS AND CRESSIDA. 819 Hect. Now, youthful Troilus, do not these high _ Strains Of divination in our sister work Some touches of remorse? or is your blood So madly hot, that no discourse of reason, Nor fear of bad success in a bad cause, Can qualify the same? Tro. Why, brother Hector, We may not think the justness of each act Such and no other than event doth form it; Nor once deject the courage of our minds, Because Cassandra ’s mad: her brain-sick raptures Cannot distaste the goodness of a suateel, Which hath our several honours all engag’d To make it gracious. For my pea part, Iam no more touch’d than all Priam’s sons; And Jove forbid, there should be done amongst us Such things as might offend the weakest spleen To fight for, and maintain. Par. Else might the world convince of levity As well my undertakings as your counsels ; But, I attest the gods, your full consent Gave wings to my propension, and cut off All fears attending on so dire a project: For what, alas! can these my single arms? What propugnation is in one man’s valour, To stand the push and enmity of those This quarrel would excite? Yet, I protest, Were I alone to pass the difficulties, And had as ample power as I have will, Paris should ne'er retract what he hath done, Nor faint in the pursuit. 120 130 140 Pri. Paris, you speak Like one besotted on your sweet delights: You have the honey still, but these the gall; So to be valiant is no praise at all. Par. Sir, I propose not merely to myself The pleasures such a beauty brings with it; But Pwoula have the soil of her fair rape Wip’d off in honourable keeping her. What treason were it to the ransack’d queen, Disgrace to your great worths, and shame to me, Now to deliver her possession MB On terms of base compulsion? Can it be, That so degenerate a strain as this Should once set footing in your generous bosoms? There’s not the meanest spirit on our party, Without a heart to dare, or sword to draw, When Helen is defended ; nor none so noble, Whose life were ill bestow’d, or death unfam’d, Where Helen is the subject: then, I say, Well may we fight for her, whom, we know well, The world’s large spaces cannot parallel. . Hect. Paris, and Troilus, you have both said well; And on the cause and question now in hand Have gloz’d,—but superficially ; not much Unlike young men, whom Aristotle thought Unfit to hear moral philosophy. The reasons you allege do more conduce To the hot passion of distemper’d blood, Than to make up a free determination 170 *T wixt right and wrong; for pleasure, and revenge, Have ears more deaf than adders to the voice Of any true decision. Nature craves, All dues be render’d to their owners: now, What nearer debt in all humanity Than wife is to the husband? If this law Of nature be corrupted through affection, And that great minds, of partial indulgence To their benumbed wills, resist the same, There is a law in each well-order'd nation, To curb those raging appetites that are Most disobedient and refractory. If Helen then be wife to Sparta’s king, As it is known she is, these moral laws Of nature, and of nation, speak aloud To have her back return’d: thus to persist In doing wrong extenuates not wrong, ear But Ties it much more heavy. Hector’s opinion Is this, in way of truth: yet, ne’ertheless, My spritely brethren, I propend to you In resolution to keep Helen still; 150 160 180 190 For ‘tis a cause that hath no mean dependance Upon our joint and several dignities. ro. Why, there you touch’d the life of our design : Were it not glory that we more affected Than the performance of our heaving spleens, I would not wish a drop of Trojan blood Spent more in her defence. But, worthy Hector, She is a theme of honour and renown, A spur to valiant and magnanimous deeds, Whose present courage may beat down our foes, And fame, in time to come, canonise us: For, I presume, brave Hector would not lose So rich advantage of a promis’d glory, As smiles upon the forehead of this action, For the wide world’s revenue. ect. Iam yours, You valiant offspring of great Priamus.— I have a roisting challenge sent amongst The dull and factious nobles of the Greeks, Will strike amazement to their drowsy spirits. I was advertis’d, their great general slept, Whilst emulation in the army crept : This, I presume, will wake him. 200 210 [Exeunt. ScENE III.—The een Camp. Before ACHILLES’ Tent. Enter THERSITES. Ther. How now, Thersites? what! lost in the laby- rinth of thy fury? Shall the elephant Ajax carry it thus? he beats me, and I rail at him: O worthy satis- faction! ’would, it were otherwise, that I could beat him, whilst he railed at me. "Sfoot, Ill learn to con- jure and raise devils, but I’ll see some issue of my spiteful execrations. Then, there’s Achilles, —a rare enginer. If Troy be not taken till these two under- mine it, the walls will stand till they fall of them- selves. O thou great thunder-darter of Olympus! forget that thou art Jove the king of gods, and, Mercury, lose all the serpentine craft of thy caduceus, if ye take not that little, little, less-than-little wit from them that they have; which short-armed ignorance itself knows is so abundant scarce, it will not in circumvention deliver a fly from a spider, without drawing the massy irons and cutting the web. After this, the vengeance on the whole camp! or rather, the Neapolitan bone-ache; for that, methinks, is the curse dependant on those that war for a placket. I have said my prayers, and devil Envy, say Amen. What, ho! my Lord Achilles! 22 Enter PATROCLUS. Patr. Who's there? Thersites? Good Thersites, come in and rail. Ther. If I could have remembered a gilt counter- feit, thou_wouldst not have slipped out of my contem- lation; but it is no matter: thyself upon thyself! The common curse of mankind, tolly and ignorance, be thine in great revenue! heaven less thee from a tutor, and discipline come not near thee! Let thy blood be thy direction till thy death! then, if she, that lays thee out, says thou art a fair corse, I’ll be sworn and sworn upon t, she never shrouded any but lazars, Amen. Where’s Achilles? Patr, What! art thou devout? wast thou in prayer? Ther. Ay; the heavens hear me! Enter ACHILLES, Achil. Who’s there? Patr. Thersites, my lord. Achil. Where, where ?—Art thou come?) Why, my cheese, my digestion, why hast thou not served thy- self in to my table so many meals? Come, what’s Agamemnon? Ther. Thy. commander, Achilles, Patroclus, what’s Achilles? Patr. Thy lord, Thersites. Then tell me, I pray thee, what’s thyself ? Ther, Thy knower, Patroclus. Then tell me, Patro- clus, what art thou? : 42 Then tell me, 850 TROILUS AND CRESSIDA, Patr. Thou may’st tell, that knowest. Achil, O! tell, tell. 50 Ther. I ll decline the whole question. Agamemnon commands Achilles; Achilles is my lord; I am Pa- troclus’ knower; and Patroclus is a fool. Patr. You rascal! Ther. Peace, fool! I have not done. : Achil. He is a privilezed man.—Proceed, Thersites. Ther. Agamemnon is a fool; Achilles is a fool; Thersites is a fool; and, as aforesaid, Patroclus is a tool. Achil. Derive this, come. 60 Ther. Agamemnon is a fool to offer to command Achilles; Achilles is a fool to be commanded of Agamemnon ; Thersites is a fool to serve such a fool ; and Patroclus is a fool positive. Patr. Why am Ta fool? Ther. Make that demand to the Creator. It suffices me thou art. Look you, who comes here? 67 Enter AGAMEMNON, ULYSSES, NESTOR, DIOMEDES, and AJAX. Achil. Patroclus, I'll speak with nobody.—Come in with me, Thersites. 2 _ [Bvit. Ther. Here is such patchery, such juggling, and such knavery! all the argument is, a cuckold and a whore ; a good quarrel, to draw emulous factions, and bleed to death upon. Now, the dry serpigo on the subject, and war and lechery confound all! [Eexit. Agam, Where is Achilles? Patr, Within his tent ; but ill-dispos’d, my Jord. Agam, Let it be known to him that we are here. He shent our messen-sers; and we lay by Our appertainments, v ing of him: Let him be told so; lest, perchance, he think 80 We dare not move the question of our place, Or know not what we are. Patr. TI shall say so to him. [£ zit. Ulyss. We saw him at the opening of his tent: He is not sick. Ajax. Yes, lion-sick, sick of proud heart : you may eall it melancholy, if you will favour the man; but, by my head, ’tis pride: but why? why? let him show us a cause.-—.\ word, my lord. 5 [Taking AGAMEMNON aside. Nest. What moves Ajax thus to bay at him? Ulyss. Achilles hath inveigled his fool from him. Nest. Who? Thersites? OL Ulyss. He. : Nest. Then will Ajax lack matter, if he have lost his argument. : Ulyss. No, you see, he is his argument that has his argument, Achilles. yest. All the better; their fraction is more our wish than their faction: but it was a strong counsel, a fool ‘could disunite. Ulyss. The amity that wisdom knits not, folly may easily untie. Here comes Patroclus. ll Nest, No Achilles with him? Re-enter PATROCLUS. Ulyss. The elephant hath joints, but none for cour- tesy : his lezs are I=gs for necessity, not for flexure. Patr. Achilles bids me say, he is much sorry, If anything more than your sport and pleasure Tid move your greatness, and this noble state, To call upon him; he hopes, it is no other But, for your health and your digestion sake, An after-dinner’s breath. Agan. Hear you, Patroclus. We are too well acquainted with these answers; But his evasion, wing’d thus swift with scorn, Cannot outfly our apprehensions. Much attribute he hath, and much the reason Why we ascribe it to him ; yet all his virtues, Not virtuously on his own part beheld, To in our eyes begin to lose their gloss ; Yea, like fair fruit in an unwholesome dish, Are like to rot untasted. Go and tell him, We come to speak with him ; and you shall not sin, If you do say, we think him over-proud, 121 And under-honest ; in self-assumption greater 110 Than in the note of judgment; and worthier than himself Here tend the savage strangeness he puts on, Disguise the holy strength of their command, And underwrite in an observing kind His humorous predominance ; yea, watch His pettish lunes, his ebbs, his flows, as if The passage and whole carriage of this action Rode on his tide. Go, tell him this; and add, That, if he overhold his price so much, We'll none of him; but let him, like an engine Not portable, lie under this report :— Bring action hither, this cannot go to war; A stirring dwarf we do allowance give Before a sleeping giant :—tell him so. Patr. I shall; and bring his answer presently. ait. -A4gam. In second voice we ll not be satisfied ; We come to speak with him.—Ulysses, enter you. [Exit ULYSSEs. Ajax. What is he more than another ? 140 gam. No more than what he thinks he is. Ajax. Ishesomuch? Do you not think, he thinks himself a better man than I ain? lgam, No question. ljax. Will you subscribe his thought, and say he is? «lgam. No, noble Ajax; youn are as strong, as valiant, as wise, no less noble, much more gentle, and altogether more tractable. Ajax. Why should a man be proud? How doth pride grow? I know not what pride is. 150 Agam. Your mind is the clearer, Ajax, and your virtues the fairer. He that is proud eats up himself: pride is his own glass, his own trumpet, his own chronicle; and whatever praises itselt but in the deed, devours the deed in the praise. Ajax, Ido hate a proud man, as I hate the engen- dering of toads. Nest. [.lside.] Yet he loves himself: ist not strange? Re-enter ULYSSES. Ulyss. Achilles will not to the field to-morrow. Agam., What's his excuse? Ulyss. He doth rely on none: But carries on the stream of his dispose 161 Without observance or respect of any, In wil! peculiar and in self-admission. «lgam. Why, will he not, upon our fair request, Untent his poses and share the air with us? Ulyss. T tgs small as nothing, for request’s sake ony, : He makes important, Possess'd he is with greatne3s: And speaks not to himself, but with a pride That quarrels at self-breath : imagin’d worth Holds in his blood such swoln and hot discourse, That, ’twixt his mental and his active parts, Kingdom 'd Achilles in commotion rages, And batters ’gainst itself: what should I say? He is so plaguy proud, that the death-tokens of it Cry—' No recovery.” Agam. Let Ajax go to him.— Dear lord, go you and grect him in his tent: *Tis said, he holds you well; and will be led, At your request, a little from himself. Ulyss. O Agamemnon! let it not be so. We'll consecrate the steps that Ajax makes When they go from Achilles: shall the proud lord, That bates his arrogance with his own seam, And never suffers matter of the world Inter his thoughts,—save such as do revolve And ruminate himself,—shall he be worshipp’d Of that we hold an idol more than he? No, this thrice-worthy and right valiant lord Must not so stale his palm, nobly acquir’d; Nor, by my will, assubjugate his merit, As amply tilled as Achilles is, By going to Achilles: That were to inlard his fat-already pride; And add more coals to Cancer, when he burns With entertaining great Hyperion. This lord go to him! Jupiter forbid, And say in thunder—“ Achilles, go to him.” 170 180 190 ScENE III.) TROILUS AND CRESSIDA. 851 Nest. Easuied O! this is well; he rubs the vein of im. Dio. [Aside.] And how his silence drinks up this applause ! Ajax. If I go to him, with my armed fist I'll pash him o’er the face. 200 Agam. O, no! you shall not go. Ajax. An’a be proud with me, I'll pheese his pride. Let me go to him. Ulyss. Not tor the worth that hangs upon our quarrel. ee A paltry, insolent fellow ! est. [Aside.] How he describes himself ! Ajax. Can he not be sociable? Ulyss. { Aside.) The raven chides blackness. Ajaz. 111 let his humours blood. Ager [Aside.] He will be the physician, that should be the patient. 211 Ajax. An all men were o’ my mind,— Ulyss. [Aside.] Wit would be out of fashion. Ajax. ’A should not bear it so, ’a should eat swords first : shall pride carry it? Nest. [Aside.} An ’t would, you'd carry half. Ulyss. [Aside.] "A. would have ten shares. Ajax. I will knead him ; I will make him supple. est. (Aside.] He’s not yet thorough warm : force him with praises, Pour in, pour in; his ambition is ry. 221 Ulyss. [To_ AGAMEMNON.] My lord, you feed too much on this dislike. Nest. Our noble general, do not do so. Dio. You must prepare to fight without Achilles. Ulyss. Why, ’tis this naming of him does him harm. Here is a man—But ’tis before his face ; I will be silent. Nest. Wherefore should you so? He is not emulous, as Achilles is. Ulyss. Know the whole world, he is as valiant. Ajax. A whoreson dog, that shall palter thus with us! 230 Would, he were a Trojan ! Nest. What a vice were it in Ajax now,— Ulyss. If he were proud,— Dio. Or covetous of praise,— Ulyss. Ay, or surly borne,— to. Or strange, or self-affected ! Ulyss. Thank the heavens, lord, thou art of sweet composure ; Praise him that got thee, she that gave thee suck : Fain’d be thy tutor, and thy parts of nature 'Thrice-fam’d, beyond all erudition : But he that disciplin’d thine arms to fight, Let Mars divide eternity in twain, And give him half: and, for thy vigour, Bull-bearing Milo his addition yield To sinewy Ajax. I will not praise thy wisdom, Which, like a bourn, a pale, a shore, confines Thy spacious and dilated parts : here’s Nestor; Instructed by the antiquary times, He must, he is, he cannot but be wise ; But pardon, father Nestor, were your days As green as Ajax’, and your brain so temper’d, You should not have the eminence of him, But be as Ajax. sian. Shall I call you father? est, Ay, my good son. . Dio. Be rul’d by him, Lord Ajax. Ulyss. There is no tarrying here: the hart Achilles Keeps thicket. Please it our great general ‘To call together all his state of war ; Fresh kings are come to Troy: to-morrow, We must with all our main of power stand fast : And here’s a lord,—come knights from east to west, | And cull their flower, Ajax shall cope the best. | Agam. Go we to council. Let Achilles sleep: 260 | Light boats sail swift, though greater hulks draw | deep. [Hxeunt. 240 230 ACT MR oo 5) ee ar Pandarus. : 74 RIEND! you! pray you, a word. Do not i you follow the young Lord Paris? Serv. Ay, sir, when he goes before me. Pan. You depend upon him, I mean. Serv. Sir, Ido depend upon the lord. Tl i Pan. Youdepend upon a noble gentle- ~6nman: I must needs praise him. Serv. The lord be praised ! Pan. You know me, do you not? Serv. ’Faith, sir, superficially. 10 Pan. Friend, know me better. Iam the Lord Pandarus. Serv. I hope, I shall know your honour better. Pan. 1 do desire it. Serv. You are in the state of grace. Pan. Grace! not so, friend; honour and lordship are my titles.—[Music within.] What musicisthis? |_| Serv. I do but partly know, sir: it is music in parts. 21 Pan. Know you the musicians? III. Scene I.--Troy. A Room in Pr1Am’s Palace. Enter PANDARUS and a Servant. Wholly, sir. Who play they to? To the hearers, sir. At whose pleasure, friend ? At mine, sir, and theirs that love music, Command, I mean, friend. Who shall I command, sir? 29 Friend, we understand not one another: I[ At whose Serv. Pan. Serv. Pan. Serv. Pan. Serv. Pan. am too courtly, and thou art too cunning. request do these men play ? Serv. That’s to ’t, indeed, sir. Marry, sir, at the request of Paris, my lord, who is there in person; with him the mortal Venus, the heart-blood of beauty, love’s invisible soul. Pan. Who, my cousin Cressida? Serv. No, sir, Helen: could you not find out that by her attributes? 39 Pan. It should seem, fellow, that thou hast not seen the Lady Cressida. JI come to speak with Paris from the Prince Troilus: I will make a complimental assault upon him, for my business seethes, 4 ae Sodden business: there’s a steward phrase, indeed. 852 TROILUS AND CRESSIDA. {Act III. Enter Paris and HELEN, attended. Pan. Fair be to you, my lord, and to all this fair company ! fair desires, in all fair measure, fairly guide them ! especially to you, fair queen! fair thoughts be your fair pillow ! Helen. Dear lord, you are full of fair words. 50 Pan. You speak your fair pleasure, sweet queen.— Fair prince, here is good broken music. . Par. You have broke it, cousin; and, by my life, you shall make it whole again: you shall piece it out With a piece of your performance.—Nell, he is full of harmony. Pan. Truly, lady, no. Helen, O, sir!— Pan. Rude, in sooth; in good sooth, very rude. 59 Par. Well said, my lord! Well, you say so in fits. Pan. Ihave business to my lord, dear queen.—_My Jord, will you vouchsafe me a word? Helen. Nay, this shall not hedge us out: we ‘ll hear you sing, certainly. Helen, “ Nay, this shall not hedge us out: we'll hear you sing, certainly ” Pan. Well, sweet queen, you are pleasant with me. But, marry, thus, my lord.—My dear lord, and most esteemed friend, your brother Troilus,— Helen. My Lord Pandarus; honey-sweet lord,— Pan. Go to, sweet queen, go to :—commends himself most affectionately to you. 70 Helen. You shall not bob us out of our melody: if you do, our melancholy upon your head! Pan. Sweet queen, sweet queen; that’s a sweet queen,—i' faith, — Helen. And to make a sweet lady sad is « sour offence. Pan. Nay, that shall not serve your turn ; that shall it not, in truth, la! Nay, I care not for such words ; no, no.—And, my lord, he desires you, that if the king call for him at supper, you will make hisexcuse. 80 Helen. My Lord Pandarus,— Pan, What says my sweet queen,—my very very sweet queen ? ee What exploit’s in hand? where sups he to- night? Helen. Nay, but, my lord,— Pan. What says my sweet queen? ay cousin will fall out with you.—You must not know where he sups. Par. I'll lay my life, with my disposer Cressida. Pan. No, no; no such matter, you are wide. Come. your disposer is sick. 91 Par. Well, I'll make excuse. Pan. Ay, good my lord. Why should you say Cressida? no, your poor disposer’s sick. Par, Ispy. , Pan. You spy! what do you spy ?—Come, give me an instrument,—Now, sweet queen. Helen. Why, this is kindly done. Pan. My niece is horribly in love with a thing you have, sweet queen. 100 Helen. She shall have it, my lord, if it be not my Lord Paris. Pan. He! no, she’ll none of him; they two are twain. a Falling in, after falling out, may make them three. _Pan. Come, come, I'll hear no more of this. I’ll sing you a song now. Helen. Ay, ay, pr’ythee now. By my troth, sweet lord, thou hast a fine forehead. 110 Pan. Ay, you may, you may. Helen. Let thy song be love: this love will undo us all. O Cupid, Cupid, Cupid! Pan. Love! ay, that it shall, i’ faith. Par. Ay, good now, love, love, nothing but love. Pan. In good troth, it begins so. [Sings. Love. love, nothing but love, still more! For, oh! love's bow Shoots buck and doe: The shaft confounds, Not that it wounds, But tickles still the sore. These lovers cry—Oh! oh! they die! Yet that which scems the wound to kill, Doth turn oh! oh! toha! ha! he! So dying love lives still: Oh! oh! awhile, but ha! ha! ha! Oh! oh! groans out for ha! hatha! Heigh-ho! 129 Helen. In love, i’ faith, to the very tip of the nose. Par. He eats nothing but doves, love; and that breeds hot blood, and hot blood begets hot thoughts, ae hot thoughts beget hot deeds, and hot deeds is ove. Pan. Is this the generation of love? hot blood, hot thoughts, and hot deeds?) Why, they are vipers: is ae a generation of vipers? Sweet lord, who’s afield to-day ? Par. Hector, Deiphobus, Helenus, Antenor, and all the gallantry of Troy: I would fain have armed to- day, but my Nell would not have it so. How chance my brother Troilus went not? : Helen. He hangs the lip at something :—you know all, Lord Pandarus. Pan. Not I, honey-sweet queen.—I long to hear 120 how they sped to-day. — You'll remember your brother's excuse ? Par. To a hair. Pan. Farewell, sweet queen. Helen. Commend me to your niece. 150 Pan. I will, sweet queen. [Exit. [4 retreat sounded. Par. They ’recome from field : Jet us to Priam’s hall, To greet the warriors. Sweet Helen, I must woo you To help unarm our Hector: his stubborn buckles, With these your white enchanting fingers touch’d, Shall more obey than to the edge of steel, Or force of Greekish sinews: you shall do more Than all the island kings,—disarm great Hector. Helen. pe will make us proud to be his servant, aris : Yea, what he shall receive of us in duty, 160 Gives us more palm in beauty than we have, Yea, overshines ourself. Par. Sweet, above thought Ilove thee. [Hxeunt. ScenE II.—The Same. PanpDArvus’ Orchard. Enter PANDARUS and a Servant,anecting. Pan. How_now? where’s thy master? at. my cousin Cressida's ? : Serv. No, sir; he stays for you to conduct him thither. Entcr TROILUS. Pan. O! here he comes.—How now, how now? Scene II] TROILUS AND CRESSIDA. 853 Tro. Sirrah, walk off. [Exit Servant. Pan. Have you seen my cousin? Tro. No, Pandarus: I stalk about her door, Like a strange soul upon the Stygian banks Staying for waftage. O! be thou my Charon; 10 And give me swift transportance to those fields, Where I may wallow in the lily-beds Propos’d for the deserver. O gentle Pandarus! From Cupid’s shoulder pluck his painted wings, And fly with me to Cressid. Pan. Walk here i’ the orchard. I'll bring her straight. fexit. Tro. Tam giddy: expectation whirls me round. The imaginary relish is so sweet aaa z "Mi —— ie wi if a Pan. “Come, draw this curtain, and let's see your picture.” That it enchants my sense. What will it be, 20 When that the watery palate tastes indeed Love’s thrice-reputed nectar? death, I fear me; Swounding destruction ; or some joy too fine, Too subtle-potent, and too sharp in sweetness, For the capacity of my ruder powers. I fear it much; and I do fear besides, That I shall lose distinction in my joys ; As doth a battle, when they charge on heaps The enemy flying. 29 Re-enter PANDARUS. Pan. She’s making her ready; she ll come straight: you_must be witty now. She does so blush, and tetches her wind so short, as if she were frayed with a sprite: I’ll fetch her. It is the prettiest villain: she fetches her breath so short as a new-ta’en Spa oe. Cate Tro. Even such a passion doth embrace my bosom : My heart beats thicker than a feverous pulse, And all my powers do their bestowing lose, Like vassalage at unawares encountering The eye of majesty. 39 Enter PANDARUS and CRESSIDA. Pan. Come, come, what need you blush? shame’s a baby.—Here she is now: swear the oaths now to her, that you have sworn to me.— What! are you gone again ? you must be watched ere you be, made tame, must you? Come your ways, come your ways; an you draw backward, we ’ll eae you i’ the fills.—Why do you not speak to her?—Come, draw this curtain, and let’s see your Sr the day, how loath you are to offend daylight! an ’t were dark, you’d close sooner. So, so; rub on, and kiss the mistress. How now! a kiss in fee-farm ! build there, carpenter ; the air is sweet. Nay, you shall fight your hearts out, ere I part you. The falcon as the tercel, for all the ducks i’ the river: go to, go to. Tro. You have bereft me of all words, lady. Pan. Words pay no debts, give her deeds; but she’ll bereave you of the deeds too, if she call your activity in question. What! billing again? Here ’s— “In witness whereof the parties interchangeably ”— Come in, come in: I'll go get a fire. [Exit. Cres. Will you walk in, my lord ? 60 Tro. O Cressida! how often have I wished me thus! ; ce Wished, my lord?—The gods grant.—O my ord ! Tro. What should they grant? what makes this pretty abruption? What too curious dreg espies my sweet lady in the fountain of our love? Cres. More dregs than water, if my fears have eyes. Tro. Fears make devils of cherubins; they never see truly. Cres. Blind fear, that seeing reason leads, finds safer footing than blind reason, stumbling without fear : to tear the worst oft cures the worse. 72 Tro. O! let my lady apprehend no fear: in all Cupds pageant there is presented no monster. tres, Nor nothing monstrous neither? Tro. Nothing, but our undertakings; when we vow to weep seas, live in fire, eat rocks, tame tigers; thinking it harder for our mistress to devise imposi- tion enough, than for us to undergo any difficulty imposed. This is the monstruosity in love, lady,-— that the will is infinite, and the execution confined ; that the desire is boundless, and the act a slave to limit. Cres. They say, all lovers swear more performance than they are able, and yet reserve an ability that they never perform; vowing more than the perfection of ten, and discharging less than the tenth part of one. They that have the voice of lions, and the act of hares, are they not monsters ? 88 Tro. Are there such? such are not we. Praise us as we are tasted; allow us as we prove; our head shall go bare, till merit. crown it. No perfection in reversion shall have a praise in present: we will not name desert, before his birth, and, being born, his addition shall be humble. Few words to fair faith: Troilus shall be such to Cressid, as what envy can say worst, shall be a mock for his truth; and what truth can speak truest, not truer than Troilus, Cres. Will you walk in, my lord ? Re-enter PANDARUS. Pan. What! blushing still? have you not done 1 talking yer ‘ Cres. Well, uncle, what folly I commit, I dedicate oO you. Pan. I thank you for that: if my lord get a boy of you, you'll give him me. Be true to ae ae if he flinch, chide me for it. Tro. You know now your hostages; your uncle’s word, and my firm faith. Pan. Nay, Ill give my word for her too. Our kindred, though they be long ere they are wooed, they are constant, being won: they are burs, I can tell you; they ’ll stick where they are thrown. 111 Cres. ees comes to me now, and brings me eart.— Prince Troilus, I have lov’d you night and day, For many weary months. Tro. Why was my Cressid then so hard to win? Cres. Hard to seem won; but I was won, my lord, With the first glance that ever—Pardon me :— If I confess much, you will play the tyrant. I love you now; but not, till now, so much But I might master it.—In faith, I lie: 120 My Ghani were like unbridled children, grown Too headstrong for their mother. See, we fools! Why have I blabb’d? who shall be true to us, When we are so unsecret to ourselves 2— But, though I lov’d you well, I woo'd you not; And yet, good faith, I wish’d myself a man, Or that we women had men’s privilege Of speaking first. Sweet, bid me hold my tongue: For, in this rapture, I shall surely speak The thing I shall repent. See, see! your silence, 130 Cunning in dumbness, from my weakness draws My very soul of counsel. Stop my mouth. 854 TROILUS AND CRESSIDA. [Act III. Tro. And shall, albeit sweet music issues thence. Pan. Pretty, i faith. Cres. My lord, I do beseech you, pardon me ; °T was not my purpose, thus to beg a kiss: lam sett e-O) heavens! what have I done?— For this time will I take my leave, my lord. Tro. Your leave, sweet Cressid? ; Pan. Leave! an you take leave till to-morrow morning,— 141 Cres. Pray you, content you. Tro. What offends you, lady? Cres. Sir, mine own company. Tro. You cannot shun yourself, Cres. Let me go and try. ; I have a kind of self resides with you; But an unkind self, that itself will leave, To be another's fool.—Where is my wit? I would be gone.—I speak I know not what. Tro. Well know they what they speak, that speak so wisely. 150 Cres. Perchance, my lord, I show more craft than love, And fell so roundly to alarge confession, | To angle for your thoughts: but you are wise, Or else you love not, for to be wise, and love, Exceeds man's might ; that dwells with gods above. Tro. O! that I thought it could be in a woman, (As, if it can, I will be nomi in you,) To feed for aye her lamp and Names of love ; To keep her constancy in plight and youth, Outliving beauty’s outward, with a mind 160 That doth renew swifter than blood decays : Or, that persuasion could but thus convince me, That my integrity and truth to you A Might be attronted with the match and weight Of such a winnow'd pee, in love; How were [I then uplifted ! but, alas! I am as true as truth’'s simplicity, And simpler than the infancy of truth. Cres. In that I'll war with you. Tro. O virtuous fight! When right with right wars who shall be most right. True swains in love shall, in the world tocome, 171 Approve their truths by Troilus: when their rhymes, Full of protest, of oath, and big compare, : Want similes, truth tir’d with iteration, — As true as steel, as plantage to the moon, As sun to day, as turtle to her mate, As iron to adamant, as earth to the centre, Yet, after all comparisons of truth, As truth’s authentic author to be cited, As true as Troilus shall crown up the verse, And sanctify the numbers. Cres. Prophet may you be! If I be false, or swerve a hair from truth, When time is old and hath forgot itsel:, When waterdrops have worn the stones of Troy, And blind oblivion swallow'd cities up, And mighty states characterless are grated To dusty nothing; yet let memory, From false to false, among false maids in love, Upbraid fy falsehood! when they have said, as alse As air, as water, wind, or sandy earth, 1S0 As fox to lamb, as wolf to heifer’s calf, Pard to the hind, or stepdame to her son ; Yea, let them say, to stick the heart of falsehood, As false as Cressid. Pan. Go to, a bargain made; seal it, seal it: I'll be the witness.—Here I hold your hand; here, my cousin's. If ever you prove false one to another, since I have taken such pains to bring you together, let all pitiful goers-between be called to the world’s end after my namie, call them all Pandars ; let all constant men be Troiluses, all false women Cressids, and all brokers between Pandars! say, Amen. 202 Tro. Amen. Cres. Amen. Pan. Amen. Whereupon I will show you a chamber with a bed; which bed, because it shall not speak of your pretty encounters, press it to death: away ! 180 And Cupid grant all tongue-tied maidens here Bed, chamber, Pandar to provide this gear! 210 [Exeunt. ScENE IIJ.—The Grecian Camp. Enter AGAMEMNON, ULYSSES, DIOMEDES, NESTOR, AJAX, MENELAUS, and CALCHAS. Cal. Now, princes, for the service I have done you, The advantage of the time prompts me aloud To call for recompense. Appear it to your mind, That, through the sight I bear in things to come, I have abandon’d Troy, left my possession, Incurr’d a traitor’s name ; expos'd myself, From certain and possess’d conveniences, To doubtful fortunes, sequestering from me all That time, acquaintance, custom, and condition, Made tame and most familiar to my nature; 10 And here, to do you service, am become As new into the world, strange, unacquainted : I do beseech you, as in way of taste, To give me now a little benefit, Out of those many register’d in promise, Which, you say, live to come in my behalf. Agam. What wouldst thou of us, Trojan? make demand. Cal. You have a Trojan prisoner, call’d Antenor, Yesterday took: Troy holds him very dear. Oft have you (often have you thanks therefore) 20 Desir’d my Cressid in right great exchange, Whom Troy hath still denied; but this Antenor, I know, is such a wrest in their affairs, That their negotiations all must slack, Wanting his manage; and they will almost Give us a prince of blood, a son of Priam, In change of him: let him be sent, ereat princes, And he shall buy my daughter; and her presence Shall quite strike off all service I have done, In most accepted pain. Agam, Let Diomedes bear him, 30 And bring us Cressid hither: Calchas shall have What he requests of us.—Good Diomed, Furnish yon fairly for this interchange : . Withal, bring word, if Hector will to-morrow Be answer’d in his challenge: Ajax is ready. Dio. This shall I undertake ; and ’tis a burden Which I am proud to bear. [Zzeunt DIOMEDES and CaLcHas. Enter ACHILLES and PATROCLUS, before their Tent. Ulyss. Achilles stands i’ the entrance of his tent: Please it our general to pass strangely by him, As if he were Tore Gt; and, princes all, 40 Lay negligent and loose regard upon him: I will come last. "I'is like, he'll question me, Why such unplausive eyes are bent on him: If so, I have derision medicinable, To use between your strangeness and his pride, Which nis own will shall have desire to drink. It may do good: pride hath no other glass To show itself, but pride; for supple knees Feed arrogance, and are the proud man’s fees. Agam. e’ll execute your purpose, and puton 50 A form of strangeness as we pass along :— So do each lord ; and either greet him not, Or else disdainfully, which shall shake him more Than if not look’d on. I will lead the way. Achil, What! comes the general to speak with me? You know my mind: I'll fight no more ’gainst Troy. Agam. aes says Achilles? would he aught with us! Nest. Would you, my lord, aught with the general? Achil. No. Nest. Nothing, my lord. 60 Agam. The better. [Hxeunt AGAMEMNON and NESTOR. Achil. Good day, good day. Men. How do you? how do you? [Exit. Achil. What! does the cuckold scorn me? Ajax. How now, Patroclus? Achil. Good morrow, Ajax. ScENeE III] TROILUS AND CRESSIDA. Ajax. Hat Achil. Good morrow. Ajax. Ay, and good next aay too. [Ezit. Achil. What mean these fellows?) Know they not Achilles? 70 Patr, They pass by strangely : they were us’d to bend, To send their smiles before them to Achilles ; To come as humbly as they us’d to creep To holy altars. Achil. | What! am I poor of late? *Tis certain, greatness, once fall’n out with fortune, Mus} fall out with men too: what the declin’d is, He shall as soon read in the eyes of others, As feel in his own fall; for men, like butterflies, Show not their mealy wings but to the summer, And not a man, for being simply man, 80 Hath any honour; but honour for those honours That are without him, as place, riches, and favour, Prizes of accident as oft as merit: Which, when they fall, as being slippery standers, The love that lean’d on them as slippery too, Doth one pluck down another, and together Die in the fall. But ’tis not so with me: Fortune ard I are friends: I do enjoy At empl point all that I did possess, Save these men’s looks; who do, methinks, find out 90 Something not worth in me such rich beholding As they have often given. Here is Ulysses: I’ll interrupt his reading.— How now, Ulysses? Olyss. Now, great Thetis’ son! Achil. What are you reading ? Ulyss. A strange fellow here Writes me: That man, how dearly ever parted, How much in having, or without, or in, Cannot make boast to have that which he hath, Nor feels not what he owes, but by reflection ; As when his virtues shining upon others Heat them, and they retort that heat again To the first giver. Achil. This is not strange, Ulysses. The beauty that is borne here in the face The bearer knows not; but commends itself To others’ eyes: nor doth the eye itself, That most pure spirit of sense, behold itself, Not going from itself; but eye to eye oppos’d Salutes each other with each other's form: For speculation turns not to itself Till it hath trayell’d, and is married there 110 Where it may see itself. This is not strange at all. Ulyss. I do not strain at the position, It is familiar, but at the author's drift ; ho in his circumstance expressly proves, That no man is the lord of anything, (Though in and of him there be much consisting, Till he communicate his parts to others: Nor doth he of himself know them for aught Till he behold them form’d in the applause Where they ’re extended; who, like an arch, rever- berates 7 120 The voice again ; or, like a gate of steel Fronting the sun, receives and renders back His figure and his heat. I was much rapt in this; And apprehended here immediately The unknown Ajax. Heavens, what a man is there! a very horse ; That has he knows not what. Nature, what things _ there are, Most abject in regard; and dear in use! What things, again, most dear in the esteem, And poor in worth! Now shall we see to-morrow-- An act that very chance doth throw upon him— 131 axrenown'd. O heavens, what some men do, hile some men leave to do! How some men creep in skittish Fortune’s hall, Whiles others play the idiots in her eyes! How one man eats into another’s pride, While pride is feasting in his wantonness! To see these Grecian lords !—why, even already They clap the lubber Ajax on the shoulder, As if his foot were on brave Hector’s breast, And great Troy shrinking. 100 140 Achil. I do believe it ; for they pass’d by me, As misers do by beggars, neither gave to me Good word nor look. What! are ae deeds forgot? Ulyss. Time hath, my lord, a wallet at his back, Wherein he puts alms for oblivion ; A great-siz'd monster of ingratitudes : ; Those scraps are good deeds past; which are devour’d As fast as they are made, forgot as soon : As done : perseverance, dear my lord, 150 Keeps honour bright : to have done, is to hang. Quite out of fashion, like a rusty mail In monumental mockery. Take the instant way ; For honour travels in a strait so narrow, Where one but goes abreast : keep then the path ; For emulation hath a thousand sons, That one by one pursue: if you give way, Or hedge aside from the direct forthright, Like to an enter’d tide, they all rush by, And leave you hindmost ; Or, like a gallant horse fall’n in fi-st rank, Lie there for pavement to the abject rear, _ O’er-run and tramp ed on: then what they do in present, Though less than yours in past, must o’er-tup yours ; For time is like a fashionable host, That slightly shakes his parting guest by the hand, And with his arms outstretch’d, as he would fly, Grasps-in the comer: welcome ever smiles, | And farewell goes out sighing. O, let not virtue seek Remuneration for the thing it was ; 170 For beauty, wit, ; High birth, vigour of bone, desert in service, Love, friendship, charity, are subjects all To envious and calumniating time. One touch of nature makes the whole world kin, That all, with one consent, praise new-born gawds, Though they are made and moulded of things past, And give to dust, that is a little gilt, More laud than gilt o’er-dusted. : The present eye praises the present object : Then marvel not, thou great and complete man, That all the Greeks begin to worship Ajax ; Since things in motion sooner catch the eye, Than what not stirs. The cry went once on thee, And still it might, and yet it may again, If thou wouldst not entomb thyself alive, And case thy reputation in thy tent ; Whose glorious deeds, but in these fields of late, Made emulous missions ’mongst the gods themselves, And drave great Mars to faction. , 160 180 Achil. “ Of this my privacy I have strong reasons. 3 Ulyss. But ’gainst your privacy 191 The reasons are more potent and heroical. ‘T is known, Achilles, that you are in love With one of Priam’s daughters. Achil. Ha! known? : Ulyss. Is that a wonder ? : The providence that’s in a watchful state, Knows almost every grain of Plutus’ gold, Fintis bottom in the uncomprehensive deeps, Keeps place with thought, and almost, like the gods, Does thoughts unveil in their dumb cradles. 201 There is a mystery (with whom relation Durst never meddie) in the soul of state, Which hath an operation more divine, Than breath, or pen, can give expressure to. All the commerce that you have had with Troy, AS pontecthy is ours, as yours, my lord; And better would it fit Achilles much To throw down Hector, than Polyxena; But it must grieve young Pyrrhus, now at home, 210 When fame shall in our islands sound her trump, And all the Greekish girls shall tripping sing,— ‘‘Great Hector’s sister did Achilles win, But our great Ajax bravely beat down him.” Farewell, my lord : I as your lover speak ; The fool slides o’er the ice that you should break. (Exit. Patr. To this effect, Achilles, have I mov’d you. A woman impudent and mannish grown Is not more loath’d, than an effeminate man In time of action. I stand condemn’d for this: 220 856 TROILUS AND CRESSIDA. {Act III. They think, my little stomach to the war, And your great love to me, restrains you thus. : Sweet, rouse yourself; and the weak wanton Cupid Shall from your neck unloose his amorous fold, And, like a dew-drop from the lion’s mane, Be shook to air. Achil, Go call Thersites hither, sweet Patroclus, I'll send the fool to Ajax, and desire him To invite the Trojan lords, after the combat, , To see us here unarm’d. [ have a woman’s longing, An appetite that Iam sick withal, ‘vo see great Hector in his weeds of peace; 240 Ther. “Let Patroclus make his demands to mo, you sha'l see the pageant of Ajax.” Achil. Shall Ajax fight with Hector? | To talk with him, and to behold his visage, Patr, Ay;and, perhaps, receivemuchhonourbyhim. | Even to my full of view.—A labour sav'd! Achil, I see, my reputation is at stake ; My fame is shrewdly gor’d. Patr. O! then beware: Those wounds heal ill that men do give themselves: 23 Omission to do what is necessary Seals a commission to a blank of danger ; And danger, like an ague, subtly taints Even then when we sit idly in the sun. Enter THERSITES, The». A wonder! Achil. What? Ther, Ajax goes up and down the field, asking for himself. Achil. How so? Ther. He must fight singly to-morrow with Hector ; ScENE III] TROILUS AND CRESSIDA. 857 and is so prophetically proud of an heroical cud it will go one way or other; howsoever, he shall pay ling, that he raves in saying nothing. for me ere he has me. alchil. How can that be? Patr. Your answer, sir. Ther, Why, he stalks up and down like a peacock ; Ther, Fare you well, with all my heart. a stride, and a stand: ruminates like an hostess that Achil. Why, but he is not in this tune, is he? 300 hath no arithmetic but her brain to set down her reckoning: bites his lip with a politic regard, as who should say, there were wit in his head, an ’t would out: and so there is; but it lies as coldly in him as fire in a flint, which will not show without knocking. The man’s undone for ever; for if Hector break not his neck i’ the combat, he’) break ’t himself in vain- glory. He knows not me: I said, ‘‘Good morrow, gel- 250 y WA Ajax ;” and he replies, ‘Thanks, Agamemnon.” A RS What think you of this man, that takes me for the general? He’s arp we a very land-fish, languagceless, amonster, A plague of opinion! aman may wear it on both sides, like a leather jerkin. Achil. Thou must be my ambassador to him, Ther- sites. 268 Ther. Who, I? why, he’ll answer nobody; he pro- fesses not answering: speaking is for beggars; he wears his tongue in his arms. I will put on his presence: let Patroclus make his demands to me, you shall see the pageant of Ajax. Achil. To hiin, Patroclus: tell him, I humbly desire the valiant Ajax to invite the most valorous Hector to come unarmed to my tent; and to procure safe-con- duct for his person of the magnanimous, and most illus- trious, six-or-seven-times-honoured captain-general of the Grecian army, Agamemnon, et csetera. Do this. Patr. Jove bless great Ajax ! 280 Tuer. ‘‘1 had rather be a tick in a sheep, than such a valiant Ther. Humph! ignorance.” Patr. I come from the worthy Achilles,— Ther, Ha? : : Ther. No, but he’s out o’ tune thus. What music Patr. Who most humbly desires you to invite | will be in him when Hector has knocked out his Hector to his tent,— brains, I know not; but, I am sure, none, unless the Ther. Humph! fiddler Apollo get his sinews to make catlings on. Patr. And to procure safe-conduct from Agamem- chil, Come, thou shalt bear a letter to him straight. non. Ther, Let me bear another to his horse, for that’s Ther. Agamemnon ? the more capable creature. Paty. Ay, my lord. 290 Achil. My mind is troubled, like a fountain stirr'd: Ther. Ha? And I myself see not the bottom of it. 309 Patr. What say you to ’t? ; [Ezeunt ACHILLES and PaTRocLus. Ther. God be wi’ you, with all my heart. Ther, "Would the fountain of your mind were clear Patr. Your answer, sir. | again, that I might water an ass at it. I had rather Ther. If to-morrow be a fair day, by eleven o'clock » be a tick in a sheep, than such a valiant ignorance. | Exit. ACT TV. ScENE I.—Troy.