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- Kategorie: Poesie und Drama
- Sprache: Englisch
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THE COMPLETE WILLIAM SHAKESPEARE COLLECTION
William Shakespeare
KARPATHOS COLLECTIONS
Thank you for reading. If you enjoy this book, please leave a review or connect with the author.
All rights reserved. Aside from brief quotations for media coverage and reviews, no part of this book may be reproduced or distributed in any form without the author’s permission. Thank you for supporting authors and a diverse, creative culture by purchasing this book and complying with copyright laws.
Copyright © 2016 by William Shakespeare
Interior design by Pronoun
Distribution by Pronoun
TABLE OF CONTENTS
The Complete William Shakespeare Collection
All’s Well That Ends Well
Dramatis Personae
SCENE: Rousillon; Paris; Florence; Marseilles
ACT I. SCENE 1. Rousillon. The COUNT’S palace
ACT I. SCENE 2. Paris. The KING’S palace
ACT I. SCENE 3. Rousillon. The COUNT’S palace
ACT II. SCENE 1. Paris. The KING’S palace
ACT II. SCENE 2. Rousillon. The COUNT’S palace
ACT II. SCENE 3. Paris. The KING’S palace
ACT II. SCENE 4. Paris. The KING’S palace
ACT II. SCENE 5. Paris. The KING’S palace
ACT III. SCENE 1. Florence. The DUKE’s palace
ACT III. SCENE 2. Rousillon. The COUNT’S palace
ACT III. SCENE 3. Florence. Before the DUKE’s palace
ACT III. SCENE 4. Rousillon. The COUNT’S palace
ACT III. SCENE 5.
ACT III. SCENE 6. Camp before Florence
ACT III. SCENE 7. Florence. The WIDOW’S house
ACT IV. SCENE 1. Without the Florentine camp
ACT IV. SCENE 2. Florence. The WIDOW’S house
ACT IV. SCENE 3. The Florentine camp
ACT IV SCENE 4. The WIDOW’S house
ACT IV SCENE 5. Rousillon. The COUNT’S palace
ACT V. SCENE 1. Marseilles. A street
ACT V SCENE 2. Rousillon. The inner court of the COUNT’S palace
ACT V SCENE 3. Rousillon. The COUNT’S palace
EPILOGUE
As You Like It
DRAMATIS PERSONAE.
SCENE:
ACT I. SCENE I.
SCENE II.
SCENE III.
ACT II. SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT III. SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
ACT IV. SCENE I.
SCENE II.
SCENE III.
ACT V. SCENE I.
SCENE II.
SCENE III.
SCENE IV.
EPILOGUE
The Comedy of Errors
Dramatis Personae
ACT I
SCENE I. A hall in DUKE SOLINUS’S palace.
SCENE II. The Mart.
ACT II
SCENE I. The house of ANTIPHOLUS of Ephesus.
SCENE II. A public place.
ACT III
SCENE I. Before the house of ANTIPHOLUS of Ephesus.
SCENE II. The same.
ACT IV
SCENE I. A public place.
SCENE II. The house of ANTIPHOLUS of Ephesus.
SCENE III. A public place.
SCENE IV. A street.
ACT V
SCENE I. A street before a Priory.
Cymbeline
Dramatis Personae
Scene: Britain; Rome.
ACT I
SCENE I. Britain. The garden of Cymbeline’s palace.
SCENE II. The same. A public place.
SCENE III. A room in Cymbeline’s palace.
SCENE IV. Rome. Philario’s house.
SCENE V. Britain. A room in Cymbeline’s palace.
SCENE VI. The same. Another room in the palace.
ACT II
SCENE I. Britain. Before Cymbeline’s palace.
SCENE II. Imogen’s bedchamber in Cymbeline’s palace:
Scene III
SCENE IV. Rome. Philario’s house.
SCENE V. Another room in Philario’s house.
ACT III
SCENE I. Britain. A hall in Cymbeline’s palace.
SCENE II. Another room in the palace.
SCENE III. Wales: a mountainous country with a cave.
SCENE IV. Country near Milford-Haven.
SCENE V. A room in Cymbeline’s palace.
SCENE VI. Wales. Before the cave of Belarius.
SCENE VII. Rome. A public place.
ACT IV
SCENE I. Wales: near the cave of Belarius.
SCENE II. Before the cave of Belarius.
SCENE III. A room in Cymbeline’s palace.
SCENE IV. Wales: before the cave of Belarius.
ACT V
SCENE I. Britain. The Roman camp.
SCENE II. Field of battle between the British and Roman camps.
SCENE III. Another part of the field.
SCENE IV. A British prison.
SCENE V. Cymbeline’s tent.
Love’s Labour’s Lost
The Dramatis Personae
ACT I
SCENE I. The king of Navarre’s park.
SCENE II. The same.
ACT II
SCENE I. The same.
ACT III
SCENE I. The same.
ACT IV
SCENE I. The same.
SCENE II. The same.
SCENE III. The same.
ACT V
SCENE I. The same.
SCENE II. The same.
Measure for Measure
Dramatis Personae
ACT I
SCENE I. An apartment in the DUKE’S palace.
SCENE II. A Street.
SCENE III. A monastery.
SCENE IV. A nunnery.
ACT II
SCENE I. A hall In ANGELO’s house.
SCENE II. Another room in the same.
SCENE III. A room in a prison.
SCENE IV. A room in ANGELO’s house.
ACT III
SCENE I. A room in the prison.
SCENE II. The street before the prison.
ACT IV
SCENE I. The moated grange at ST. LUKE’s.
SCENE II. A room in the prison.
SCENE III. Another room in the same.
SCENE IV. A room in ANGELO’s house.
SCENE V. Fields without the town.
SCENE VI. Street near the city gate.
ACT V
SCENE I. The city gate.
The Merry Wives of Windsor
Dramatis Personae
ACT I
SCENE I. Windsor. Before PAGE’s house.
SCENE II. The same.
SCENE III. A room in the Garter Inn.
SCENE IV. A room in DOCTOR CAIUS’ house.
ACT II
SCENE I. Before PAGE’S house.
SCENE II. A room in the Garter Inn.
SCENE III. A field near Windsor.
ACT III
SCENE I. A field near Frogmore.
SCENE II. A street.
SCENE III. A room in FORD’S house.
SCENE IV. A room in PAGE’S house.
SCENE V. A room in the Garter Inn.
ACT IV
SCENE I. A street.
SCENE II. A room in FORD’S house.
SCENE III. A room in the Garter Inn.
SCENE IV. A room in FORD’S house.
SCENE V. A room in the Garter Inn.
SCENE VI. Another room in the Garter Inn.
ACT V
SCENE I. A room in the Garter Inn.
SCENE II. Windsor Park.
SCENE III. A street leading to the Park.
SCENE IV. Windsor Park.
SCENE V. Another part of the Park.
The Merchant of Venice
Dramatis Personae
Act I
Scene I. Venice. A street.
Scene II: Belmont. A room in Portia’s house.
Scene III. Venice. A public place.
Act II
Scene I. Belmont. A room in Portia’s house.
Scene II. Venice. A street.
Scene III. The same. A room in Shylock’s house.
Scene IV. The same. A street.
Scene V. The same. Before Shylock’s house.
Scene VI. The same.
Scene VII. Belmont. A room in Portia’s house.
Scene VIII. Venice. A street.
Scene IX. Belmont. A room in Portia’s house.
Act III
Scene I. Venice. A street.
Scene II. Belmont. A room in Portia’s house.
Scene III. Venice. A street.
Scene IV. Belmont. A room in Portia’s house.
Scene V. The same. A garden.
Act IV
Scene I. Venice. A court of justice.
Scene II. The same. A street.
Act V
Scene I. Belmont. Avenue to Portia’s house.
A Midsummer Night’s Dream
Character List
SCENE: Athens, and a wood not far from it
ACT I
SCENE I. Athens. A room in the Palace of THESEUS
SCENE II. The Same. A Room in a Cottage
ACT II
SCENE I. A wood near Athens
SCENE II. Another part of the wood
ACT III
SCENE I. The Wood. The Queen of Fairies lying asleep
SCENE II. Another part of the wood
ACT IV
SCENE I. The Wood
SCENE II. Athens. A Room in QUINCE’S House
ACT V
SCENE I. Athens. An Apartment in the Palace of THESEUS
SCENE II
Much Ado About Nothing
Dramatis Personae
Act I
Scene I. Before Leonato’s house.
Scene II. A room in Leonato’s house.
Scene III. The same.
Act II
Scene I. A hall in Leonato’s house.
Scene II. The same.
Scene III. Leonato’s orchard.
Act III
Scene I. Leonato’s garden.
Scene II. A room in Leonato’s house
Scene III. A street.
Scene IV. Hero’s apartment.
Scene V. Another room in Leonato’s house.
Act IV
Scene I. A church.
Scene II. A prison.
Act V
Scene I. Before Leonato’s house.
Scene II. Leonato’s garden.
Scene III. A church.
Scene IV. A room in Leonato’s house.
Pericles, Prince of Tyre
Dramatis Personae
Scene: Dispersedly in various countries
ACT I
PROLOGUE
SCENE I. Antioch. A room in the palace.
SCENE II. Tyre. A room in the palace.
SCENE III. Tyre. An ante-chamber in the palace.
SCENE IV. Tarsus. A room in the Governor’s house.
ACT II
SCENE I. Pentapolis. An open place by the sea-side.
SCENE II. The same. A public way or platform leading to the
SCENE III. The same. A hall of state: a banquet prepared.
SCENE IV. Tyre. A room in the Governor’s house.
SCENE V. Pentapolis. A room in the palace.
ACT III
SCENE I:
SCENE II. Ephesus. A room in CERIMON’s house.
SCENE III. Tarsus. A room in CLEON’s house.
SCENE IV. Ephesus. A room in CERIMON’s house.
ACT IV
SCENE I. Tarsus. An open place near the sea-shore.
SCENE II. Mytilene. A room in a brothel.
SCENE III. Tarsus. A room in CLEON’s house.
SCENE IV:
SCENE V. Mytilene. A street before the brothel.
SCENE VI. The same. A room in the brothel.
ACT V
SCENE I. On board PERICLES’ ship, off Mytilene. A close
SCENE II:
SCENE III. The temple of Diana at Ephesus; THAISA standing
The Taming of the Shrew
Persons of the Play
The Tempest
DRAMATIS PERSONAE
SCENE: A ship at sea; afterwards an uninhabited island
ACT I. SCENE 1
SCENE 2
ACT II. SCENE 1
SCENE 2
ACT III. SCENE 1
SCENE 2
SCENE 3
ACT IV. SCENE 1
ACT V. SCENE 1
EPILOGUE
Troilus and Cressida
DRAMATIS PERSONAE
SCENE: Troy and the Greek camp before it
PROLOGUE
ACT I. SCENE 1. Troy. Before PRIAM’S palace
ACT I. SCENE 2. Troy. A street
ACT I. SCENE 3. The Grecian camp. Before AGAMEMNON’S tent
ACT II. SCENE 1. The Grecian camp
ACT II. SCENE 2. Troy. PRIAM’S palace
ACT II. SCENE 3. The Grecian camp. Before the tent of ACHILLES
ACT III. SCENE 1. Troy. PRIAM’S palace
ACT III. SCENE 2. Troy. PANDARUS’ orchard
ACT III. SCENE 3. The Greek camp
ACT IV. SCENE 1. Troy. A street
ACT IV. SCENE 2. Troy. The court of PANDARUS’ house
ACT IV. SCENE 3. Troy. A street before PANDARUS’ house
ACT IV. SCENE 4. Troy. PANDARUS’ house
ACT IV. SCENE 5. The Grecian camp. Lists set out
ACT V. SCENE 1. The Grecian camp. Before the tent of ACHILLES
ACT V. SCENE 2. The Grecian camp. Before CALCHAS’ tent
ACT V. SCENE 3. Troy. Before PRIAM’S palace
ACT V. SCENE 4. The plain between Troy and the Grecian camp
ACT V. SCENE 5. Another part of the plain
ACT V. SCENE 6. Another part of the plain
ACT V. SCENE 7. Another part of the plain
ACT V. SCENE 8. Another part of the plain
ACT V. SCENE 9. Another part of the plain
ACT V. SCENE 10. Another part of the plain
Twelfth Night
Dramatis Personae
Act I
Scene I. Duke Orsino’s palace.
Scene II. The sea-coast.
Scene III. Olivia’s house.
Scene IV. Duke Orsino’s palace.
Scene V. Olivia’s house.
Act II
Scene I. The sea-coast.
Scene II. A street.
Scene III. Olivia’s house.
Scene IV. Duke Orsino’s palace.
Scene V. Olivia’s garden.
Act III
Scene I. Olivia’s garden.
Scene II. Olivia’s house.
Scene III. A street.
Scene IV. Olivia’s garden.
Act IV
Scene I. Before Olivia’s house.
Scene II. Olivia’s house.
Scene III. Olivia’s garden.
Act V
Scene I. Before Olivia’s house.
The Two Gentlemen of Verona
Dramatis Personae
Act I
Scene I. Verona. An open place.
Scene II. The same. Garden of Julia’s house.
Scene III. The same. Antonio’s house.
Act II
Scene I. Milan. The Duke’s palace.
Scene II. Verona. Julia’s house.
Scene III. The same. A street.
Scene IV. Milan. The Duke’s palace.
Scene V. The same. A street.
Scene Vi. The same. The Duke’s palace.
Scene Vii. Verona. Julia’s house.
Act III
Scene I. Milan. The Duke’s palace.
Scene II. The same. The Duke’s palace.
Act IV
Scene I. The frontiers of Mantua. A forest.
Scene II. Milan. Outside the Duke’s palace, under Silvia’s chamber.
Scene III. The same.
Scene IV. The same.
Act V
Scene I. Milan. An abbey.
Scene II. The same. The Duke’s palace.
Scene III. The frontiers of Mantua. The forest.
Scene IV. Another part of the forest.
The Winter’s Tale
Dramatis Personae
Scene: Sometimes in Sicilia; sometimes in Bohemia.
ACT I.
SCENE I. Sicilia. An Antechamber in LEONTES’ Palace.
SCENE II. The same. A Room of State in the Palace.
ACT II.
SCENE I. Sicilia. A Room in the Palace.
SCENE II. The same. The outer Room of a Prison.
SCENE III. The same. A Room in the Palace.
ACT III.
SCENE I. Sicilia. A Street in some Town.
SCENE II. The same. A Court of Justice.
SCENE III. Bohemia. A desert Country near the Sea.
ACT IV.
SCENE I.
SCENE II. Bohemia. A Room in the palace of POLIXENES.
SCENE III. The same. A Road near the Shepherd’s cottage.
SCENE IV. The same. A Shepherd’s Cottage.
ACT V.
SCENE I. Sicilia. A Room in the palace of LEONTES.
SCENE II. The same. Before the Palace.
SCENE III. The same. A Room in PAULINA’s house.
Henry IV, Part 1
Dramatis Personae
Scene: England and Wales.
ACT I
SCENE I. London. The palace.
SCENE II. London. An apartment of the Prince’s.
SCENE III. London. The palace.
ACT II
SCENE I. Rochester. An inn yard.
SCENE II. The highway, near Gadshill.
SCENE III. Warkworth castle
SCENE IV. The Boar’s-Head Tavern, Eastcheap.
ACT III
SCENE I. Bangor. The Archdeacon’s house.
SCENE II. London. The palace.
SCENE III. Eastcheap. The Boar’s-Head Tavern.
ACT IV
SCENE I. The rebel camp near Shrewsbury.
SCENE II. A public road near Coventry.
SCENE III. The rebel camp near Shrewsbury.
SCENE IV. York. The ARCHBISHOP’S palace.
ACT V
SCENE I. KING HENRY IV’s camp near Shrewsbury.
SCENE II. The rebel camp.
SCENE III. Plain between the camps.
SCENE IV. Another part of the field.
SCENE V. Another part of the field.
Henry IV, Part 2
Dramatis Personae
Scene: England
None
ACT I
SCENE I. The same.
SCENE II. London. A street.
SCENE III. York. The Archbishop’s palace.
ACT II
SCENE I. London. A street.
SCENE II. London. Another street.
SCENE III. Warkworth. Before the castle.
SCENE IV. London. The Boar’s-head Tavern in Eastcheap.
ACT III
SCENE I. Westminster. The palace.
SCENE II. Gloucestershire. Before SHALLOW’S house.
ACT IV
SCENE I. Yorkshire. Gaultree Forest.
SCENE II. Another part of the forest.
SCENE III. Another part of the forest.
SCENE IV. Westminster. The Jerusalem Chamber.
SCENE V. Another chamber.
ACT V
SCENE I. Gloucestershire. SHALLOW’S house.
SCENE II. Westminster. The palace.
SCENE III. Gloucestershire. SHALLOW’S orchard.
SCENE IV. London. A street.
SCENE V. A public place near Westminster Abbey.
Henry V
Dramatis Personae
Act I
Prologue
Scene I. London. An ante-chamber in the King’s palace.
Scene II. The same. The Presence chamber.
Act II
Prologue
Act III
Prologue
Act IV
Prologue
Act V
Prologue
Epilogue
Henry VI, Part 1
Dramatis Personae
ACT I
SCENE I. Westminster Abbey.
SCENE II. France. Before Orleans.
SCENE III. London. Before the Tower.
SCENE IV. Orleans.
SCENE V. The same.
SCENE VI. The same.
ACT II
SCENE I. Before Orleans.
SCENE II. Orleans. Within the town.
SCENE III. Auvergne. The COUNTESS’s castle.
SCENE IV. London. The Temple-garden.
SCENE V. The Tower of London.
ACT III
SCENE I. London. The Parliament-house.
SCENE II. France. Before Rouen.
SCENE III. The plains near Rouen.
SCENE IV. Paris. The palace.
ACT IV
SCENE I. Paris. A hall of state.
SCENE II. Before Bourdeaux.
SCENE III. Plains in Gascony.
SCENE IV. Other plains in Gascony.
SCENE V. The English camp near Bourdeaux.
SCENE VI. A field of battle.
SCENE VII. Another part of the field.
ACT V
SCENE I. London. The palace.
SCENE II. France. Plains in Anjou.
SCENE III. Before Angiers.
SCENE IV. Camp of the YORK in Anjou.
SCENE V. London. The palace.
Henry VI, Part 2
Dramatis Personae
ACT I
SCENE I. London. The palace.
SCENE II. GLOUCESTER’S house.
SCENE III. The palace.
SCENE IV. GLOUCESTER’s garden.
ACT II
SCENE I. Saint Alban’s.
SCENE II. London. YORK’S garden.
SCENE III. A hall of justice.
SCENE IV. A street.
ACT III
SCENE I. The Abbey at Bury St. Edmund’s.
SCENE II. Bury St. Edmund’s. A room of state.
SCENE III. A bedchamber.
ACT IV
SCENE I. The coast of Kent.
SCENE II. Blackheath.
SCENE III. Another part of Blackheath.
SCENE IV. London. The palace.
SCENE V. London. The Tower.
SCENE VI. London. Cannon Street.
SCENE VII. London. Smithfield.
SCENE VIII. Southwark.
SCENE IX. Kenilworth Castle.
SCENE X. Kent. IDEN’s garden.
ACT V
SCENE I. Fields between Dartford and Blackheath.
SCENE II. Saint Alban’s.
SCENE III. Fields near St. Alban’s.
Henry VI, Part 3
Dramatis Personae
Scene: England and France.
ACT I
SCENE I. London. The Parliament-house.
SCENE II. Sandal Castle.
SCENE III. Field of battle betwixt Sandal Castle and Wakefield.
SCENE IV. Another part of the field.
ACT II
SCENE I. A plain near Mortimer’s Cross in Herefordshire.
SCENE II. Before York.
SCENE III. A field of battle between Towton and Saxton, in
SCENE IV. Another part of the field.
SCENE V. Another part of the field.
SCENE VI. Another part of the field.
ACT III
SCENE I. A forest in the north of England.
SCENE II. London. The palace.
SCENE III. France. KING LEWIS XI’s palace.
ACT IV
SCENE I. London. The palace.
SCENE II. A plain in Warwickshire.
SCENE III. Edward’s camp, near Warwick.
SCENE IV. London. The palace.
SCENE V. A park near Middleham Castle In Yorkshire.
SCENE VI. London. The Tower.
SCENE VII. Before York.
SCENE VIII. London. The palace.
ACT V
SCENE I. Coventry.
SCENE II. A field of battle near Barnet.
SCENE III. Another part of the field.
SCENE IV. Plains near Tewksbury.
SCENE V. Another part of the field.
SCENE VI. London. The Tower.
SCENE VII. London. The palace.
Henry VIII
Dramatis Personae
ACT I
PROLOGUE
SCENE I. London. An ante-chamber in the palace.
SCENE II. The same. The council-chamber.
SCENE III. An ante-chamber in the palace.
SCENE IV. A Hall in York Place.
ACT II
SCENE I. Westminster. A street.
SCENE II. An ante-chamber in the palace.
SCENE III. An ante-chamber of the QUEEN’S apartments.
SCENE IV. A hall in Black-Friars.
ACT III
SCENE I. London. QUEEN KATHARINE’s apartments.
SCENE II. Ante-chamber to KING HENRY VIII’s apartment.
ACT IV
SCENE I. A street in Westminster.
SCENE II. Kimbolton.
ACT V
SCENE I. London. A gallery in the palace.
SCENE II. Before the council-chamber. Pursuivants, Pages, & c.
SCENE III. The Council-Chamber.
SCENE IV. The palace yard.
SCENE V. The palace.
EPILOGUE
King John
Dramatis Personae
ACT I
SCENE I. KING JOHN’S palace.
ACT II
SCENE I. France. Before Angiers.
ACT III
SCENE I. The French King’s pavilion.
SCENE II. The same. Plains near Angiers.
SCENE III. The same.
SCENE IV. The same. KING PHILIP’S tent.
ACT IV
SCENE I. A room in a castle.
SCENE II. KING JOHN’S palace.
SCENE III. Before the castle.
ACT V
SCENE I. KING JOHN’S palace.
SCENE II. LEWIS’s camp at St. Edmundsbury.
SCENE III. The field of battle.
SCENE IV. Another part of the field.
SCENE V. The French camp.
SCENE VI. An open place in the neighbourhood of Swinstead Abbey.
SCENE VII. The orchard in Swinstead Abbey.
King Richard II
Dramatis Personae
Scene: England and Wales
ACT I
SCENE I. London. KING RICHARD II’s palace.
SCENE II. The DUKE OF LANCASTER’S palace.
SCENE III. The lists at Coventry.
SCENE IV. The court.
ACT II
SCENE I. Ely House.
SCENE II. The palace.
SCENE III. Wilds in Gloucestershire.
SCENE IV. A camp in Wales.
ACT III
SCENE I. Bristol. Before the castle.
SCENE II. The coast of Wales. A castle in view.
SCENE III. Wales. Before Flint castle.
SCENE IV. LANGLEY. The DUKE OF YORK’s garden.
ACT IV
SCENE I. Westminster Hall.
ACT V
SCENE I. London. A street leading to the Tower.
SCENE II. The DUKE OF YORK’s palace.
SCENE III. A royal palace.
SCENE IV. The same.
SCENE V. Pomfret castle.
SCENE VI. Windsor castle.
King Richard III
Dramatis Personae
Act I
Scene I. London. A street.
Scene II. The same. Another street.
Scene III. The palace.
Scene IV. London. The Tower.
Act II
Scene I. London. The palace.
Scene II. The palace.
Scene III. London. A street.
Scene IV. London. The palace.
Act III
Scene I. London. A street.
Scene II. Before Lord Hastings’ house.
Scene III. Pomfret Castle.
Scene IV. The Tower of London.
Scene V. The Tower-walls.
Scene VI. The same.
Scene VII. Baynard’s Castle.
Act IV
Scene I. Before the Tower.
Scene II. London. The palace.
Scene III. The same.
Scene IV. Before the palace.
Scene V. Lord Derby’s house.
Act V
Scene I. Salisbury. An open place.
Scene II. The camp near Tamworth.
Scene III. Bosworth Field.
Scene IV. Another part of the field.
Scene V. Another part of the field.
Antony and Cleopatra
Dramatis Personae
Scene: In several parts of the Roman empire.
ACT I
SCENE I. Alexandria. A room in CLEOPATRA’s palace.
SCENE II. The same. Another room.
SCENE III. The same. Another room.
SCENE IV. Rome. OCTAVIUS CAESAR’s house.
SCENE V. Alexandria. CLEOPATRA’s palace.
ACT II
SCENE I. Messina. POMPEY’s house.
SCENE II. Rome. The house of LEPIDUS.
SCENE III. The same. OCTAVIUS CAESAR’s house.
SCENE IV. The same. A street.
SCENE V. Alexandria. CLEOPATRA’s palace.
SCENE VI. Near Misenum.
SCENE VII. On board POMPEY’s galley, off Misenum.
ACT III
SCENE I. A plain in Syria.
SCENE II. Rome. An ante-chamber in OCTAVIUS CAESAR’s house.
SCENE III. Alexandria. CLEOPATRA’s palace.
SCENE IV. Athens. A room in MARK ANTONY’s house.
SCENE V. The same. Another room.
SCENE VI. Rome. OCTAVIUS CAESAR’s house.
SCENE VII. Near Actium. MARK ANTONY’s camp.
SCENE VIII. A plain near Actium.
SCENE IX. Another part of the plain.
SCENE X. Another part of the plain.
SCENE XI. Alexandria. CLEOPATRA’s palace.
SCENE XII. Egypt. OCTAVIUS CAESAR’s camp.
SCENE XIII. Alexandria. CLEOPATRA’s palace.
ACT IV
SCENE I. Before Alexandria. OCTAVIUS CAESAR’s camp.
SCENE II. Alexandria. CLEOPATRA’s palace.
SCENE III. The same. Before the palace.
SCENE IV. The same. A room in the palace.
SCENE V. Alexandria. MARK ANTONY’s camp.
SCENE VI. Alexandria. OCTAVIUS CAESAR’s camp.
SCENE VII. Field of battle between the camps.
SCENE VIII. Under the walls of Alexandria.
SCENE IX. OCTAVIUS CAESAR’s camp.
SCENE X. Between the two camps.
SCENE XI. Another part of the same.
SCENE XII. Another part of the same.
SCENE XIII. Alexandria. Cleopatra’s palace.
SCENE XIV. The same. Another room.
SCENE XV. The same. A monument.
ACT V
SCENE I. Alexandria. OCTAVIUS CAESAR’s camp.
SCENE II. Alexandria. A room in the monument.
Coriolanus
PERSONS REPRESENTED.
ACT I.
SCENE I. Rome. A street.
SCENE II. Corioli. The Senate House.
SCENE III. Rome. An apartmnet in MARCIUS’ house.
SCENE IV. Before Corioli.
SCENE V. Within Corioli. A street.
SCENE VI. Near the camp of COMINIUS.
SCENE VII. The gates of Corioli.
SCENE VIII. A field of battle between the Roman and the Volscian camps.
SCENE IX. The Roman camp.
SCENE X. The camp of the Volsces.
ACT II.
SCENE I. Rome. A public place
SCENE II. Rome. The Capitol.
SCENE III. Rome. The Forum.
ACT III.
SCENE I. Rome. A street
SCENE II. Rome. A room in CORIOLANUS’S house.
SCENE III. Rome. The Forum.
ACT IV.
SCENE I. Rome. Before a gate of the city.
SCENE II. Rome. A street near the gate.
SCENE III. A highway between Rome and Antium.
SCENE IV. Antium. Before AUFIDIUS’S house.
SCENE V. Antium. A hall in AUFIDIUS’S house.
SCENE VI. Rome. A public place.
SCENE VII. A camp at a short distance from Rome.
ACT V.
SCENE I. Rome. A public place
SCENE II. An Advanced post of the Volscian camp before Rome. The Guards at their station.
SCENE III. The tent of CORIOLANUS.
SCENE IV. Rome. A public place.
SCENE V. Rome. A street near the gate.
SCENE VI. Antium. A public place.
Hamlet
Dramatis Personae
Scene: Denmark.
ACT I
SCENE I. Elsinore. A platform before the castle.
SCENE II. A room of state in the castle.
SCENE III. A room in Polonius’ house.
SCENE IV. The platform.
SCENE V. Another part of the platform.
ACT II
SCENE I. A room in POLONIUS’ house.
SCENE II. A room in the castle.
ACT III
SCENE I. A room in the castle.
SCENE II. A hall in the castle.
SCENE III. A room in the castle.
SCENE IV. The Queen’s closet.
ACT IV
SCENE I. A room in the castle.
SCENE II. Another room in the castle.
SCENE III. Another room in the castle.
SCENE IV. A plain in Denmark.
SCENE V. Elsinore. A room in the castle.
SCENE VI. Another room in the castle.
SCENE VII. Another room in the castle.
ACT V
SCENE I. A churchyard.
SCENE II. A hall in the castle.
Julius Caesar
Dramatis Personae
SCENE: Rome, the conspirators’ camp near Sardis, and the plains of Philippi.
ACT I. SCENE I. Rome. A street.
SCENE II. A public place.
SCENE III. A street. Thunder and lightning.
ACT II. SCENE I.
SCENE II. Caesar’s house. Thunder and lightning.
SCENE III. A street near the Capitol.
SCENE IV. Another part of the same street, before the house of Brutus.
ACT III. SCENE I. Rome. Before the Capitol; the Senate sitting above. A crowd of people, among them Artemidorus and the Soothsayer.
SCENE II. The Forum.
SCENE III. A street.
ACT IV. SCENE I. A house in Rome. Antony, Octavius, and Lepidus, seated at a table.
SCENE II. Camp near Sardis. Before Brutus’ tent. Drum.
SCENE III. Brutus’ tent.
ACT V. SCENE I. The plains of Philippi.
SCENE II. The field of battle.
SCENE III. Another part of the field.
SCENE IV. Another part of the field.
SCENE V. Another part of the field.
King Lear
Dramatis Personae
Act I
Scene I. King Lear’s palace.
Scene II. The Earl of Gloucester’s castle.
Scene III. The Duke of Albany’s palace.
Scene IV. A hall in the same.
Scene V. Court before the same.
Act II
Scene I. Gloucester’s castle.
Scene II. Before Gloucester’s castle.
Scene III. A wood.
Scene IV. Before Gloucester’s castle. Kent in the stocks.
Act III
Scene I. A heath.
Scene II. Another part of the heath. Storm still.
Scene III. Gloucester’s castle.
Scene IV. The heath. Before a hovel.
Scene V. Gloucester’s castle.
Scene Vi. A chamber in a farmhouse adjoining the castle.
Scene Vii. Gloucester’s castle.
Act IV
Scene I. The heath.
Scene II. Before Albany’s palace.
Scene III. The French camp near Dover.
Scene IV. The same. A tent.
Scene V. Gloucester’s castle.
Scene Vi. Fields near Dover.
Scene Vii. A tent in the French camp. Lear on a bed asleep, soft music playing; Gentleman, and others attending.
Act V
Scene I. The British camp, near Dover.
Scene II. A field between the two camps.
Scene III. The British camp near Dover.
Macbeth
Character List
ACT I. SCENE I. A desert place. Thunder and lightning.
SCENE II. A camp near Forres. Alarum within.
SCENE III. A heath. Thunder.
SCENE IV. Forres. The palace.
SCENE V. Inverness. Macbeth’s castle.
SCENE VI. Before Macbeth’s castle. Hautboys and torches.
SCENE VII Macbeth’s castle. Hautboys and torches.
ACT II. SCENE I. Inverness. Court of Macbeth’s castle.
SCENE II. The same.
SCENE III. The same.
SCENE IV. Outside Macbeth’s castle.
ACT III. SCENE I. Forres. The palace.
SCENE II. The palace.
SCENE III. A park near the palace.
SCENE IV. A Hall in the palace. A banquet prepared.
SCENE V. A heath. Thunder.
SCENE VI. Forres. The palace.
ACT IV. SCENE I. A cavern. In the middle, a boiling cauldron. Thunder.
SCENE II. Fife. Macduff’s castle.
SCENE III. England. Before the King’s palace.
ACT V. SCENE I. Dunsinane. Anteroom in the castle.
SCENE II. The country near Dunsinane. Drum and colors.
SCENE III. Dunsinane. A room in the castle.
SCENE IV. Country near Birnam Wood. Drum and colors.
SCENE V. Dunsinane. Within the castle.
SCENE VI. Dunsinane. Before the castle.
SCENE VII. Dunsinane. Before the castle. Alarums.
Othello
Character List
ACT I
SCENE I. Venice. A street.
SCENE II. Venice. Another street.
SCENE III. Venice. A council chamber.
ACT II
SCENE I. A seaport in Cyprus. A Platform.
SCENE II. A street.
SCENE III. A Hall in the Castle.
ACT III
SCENE I. Cyprus. Before the Castle.
SCENE II. Cyprus. A Room in the Castle.
SCENE III. Cyprus. The Garden of the Castle.
SCENE IV. Cyprus. Before the Castle.
ACT IV
SCENE I. Cyprus. Before the Castle.
SCENE II. Cyprus. A Room in the Castle.
SCENE III. Cyprus. Another Room in the Castle.
ACT V
SCENE I. Cyprus. A Street.
SCENE II. Cyprus. A Bedchamber in the castle: Desdemona in bed asleep; a light burning.
Romeo and Juliet
Dramatis Personae
SCENE.—Verona; Mantua.
THE PROLOGUE
ACT I. Scene I. Verona. A public place.
Scene II. A Street.
Scene III. Capulet’s house.
Scene IV. A street.
Scene V. Capulet’s house.
ACT II. Scene I. A lane by the wall of Capulet’s orchard.
Scene II. Capulet’s orchard.
Scene III. Friar Laurence’s cell.
Scene IV. A street.
Scene V. Capulet’s orchard.
Scene VI. Friar Laurence’s cell.
ACT III. Scene I. A public place.
Scene II. Capulet’s orchard.
Scene III. Friar Laurence’s cell.
Scene IV. Capulet’s house
Scene V. Capulet’s orchard.
ACT IV. Scene I. Friar Laurence’s cell.
Scene II. Capulet’s house.
Scene III. Juliet’s chamber.
Scene IV. Capulet’s house.
Scene V. Juliet’s chamber.
ACT V. Scene I. Mantua. A street.
Scene II. Verona. Friar Laurence’s cell.
Scene III. Verona. A churchyard; in it the monument of the Capulets.
Timon of Athens
Dramatis Personae
Scene: Athens and the neighbouring woods.
ACT I
SCENE I. Athens. A hall in Timon’s house.
SCENE II. A banqueting-room in Timon’s house.
ACT II
SCENE I. A Senator’s house.
SCENE II. The same. A hall in Timon’s house.
ACT III
SCENE I. A room in Lucullus’ house.
SCENE II. A public place.
SCENE III. A room in Sempronius’ house.
SCENE IV. The same. A hall in Timon’s house.
SCENE V. The same. The senate-house. The Senate sitting.
SCENE VI. The same. A banqueting-room in Timon’s house.
ACT IV
SCENE I. Without the walls of Athens.
SCENE II. Athens. A room in Timon’s house.
SCENE III. Woods and cave, near the seashore.
ACT V
SCENE I. The woods. Before Timon’s cave.
SCENE II. Before the walls of Athens.
SCENE III. The woods. Timon’s cave, and a rude tomb seen.
SCENE IV. Before the walls of Athens.
The Tragedy of Titus Andronicus
Dramatis Personae
Act I
Scene I. Rome. Before the Capitol.
Act II
Scene I. Rome. Before the Palace.
Scene II. A forest near Rome. Horns and cry of hounds heard.
Scene III. A lonely part of the forest.
Scene IV. Another part of the forest.
Act III
Scene I. Rome. A street.
Scene II. A room in Titus’s house. A banquet set out.
Act IV
Scene I. Rome. Titus’s garden.
Scene II. The same. A room in the palace.
Scene III. The same. A public place.
Scene IV. The same. Before the palace.
Act V
Scene I. Plains near Rome.
Scene II. Rome. Before Titus’s house.
Scene III. Court of Titus’s house. A banquet set out.
Shakespeare’s 154 Sonnets
A Lover’s Complaint
The Rape of Lucrece
Venus and Adonis
A Funeral Elegy for Master William Peter
Is Shakespeare Dead?
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV—CONJECTURES
CHAPTER V—“We May Assume”
CHAPTER VI
CHAPTER VII
CHAPTER VIII—Shakespeare as a Lawyer
CHAPTER IX
CHAPTER X—The Rest of the Equipment
CHAPTER XI
CHAPTER XII—Irreverence
CHAPTER XIII
The Preface to Shakespeare
Tales from Shakespeare
PREFACE
THE TEMPEST
A MIDSUMMER NIGHT’S DREAM
THE WINTER’S TALE
MUCH ADO ABOUT NOTHING
AS YOU LIKE IT
THE TWO GENTLEMEN OF VERONA
THE MERCHANT OF VENICE
CYMBELINE
KING LEAR
MACBETH
ALL’S WELL THAT ENDS WELL
TAMING OF THE SHREW
THE COMEDY OF ERRORS
MEASURE FOR MEASURE
TWELFTH NIGHT; OR, WHAT YOU WILL
TIMON OF ATHENS
ROMEO AND JULIET
HAMLET, PRINCE OF DENMARK
OTHELLO
PERICLES, PRINCE OF TYRE
Shakespeare; Or, The Poet
THE COMPLETE WILLIAM SHAKESPEARE COLLECTION
ALL’S WELL THAT ENDS WELL
DRAMATIS PERSONAE
KING OF FRANCE
THE DUKE OF FLORENCE
BERTRAM, Count of Rousillon
LAFEU, an old lord
PAROLLES, a follower of Bertram
TWO FRENCH LORDS, serving with Bertram
STEWARD, Servant to the Countess of Rousillon
LAVACHE, a clown and Servant to the Countess of Rousillon
A PAGE, Servant to the Countess of Rousillon
COUNTESS OF ROUSILLON, mother to Bertram
HELENA, a gentlewoman protected by the Countess
A WIDOW OF FLORENCE.
DIANA, daughter to the Widow
VIOLENTA, neighbour and friend to the Widow
MARIANA, neighbour and friend to the Widow
Lords, Officers, Soldiers, etc., French and Florentine
SCENE: ROUSILLON; PARIS; FLORENCE; MARSEILLES
ACT I. SCENE 1. ROUSILLON. THE COUNT’S PALACE
Enter BERTRAM, the COUNTESS OF ROUSILLON, HELENA, and LAFEU, all in black
COUNTESS. In delivering my son from me, I bury a second
husband.
BERTRAM. And I in going, madam, weep o’er my father’s death
anew;
but I must attend his Majesty’s command, to whom I am now in
ward, evermore in subjection.
LAFEU. You shall find of the King a husband, madam; you, sir, a
father. He that so generally is at all times good must of
necessity hold his virtue to you, whose worthiness would stir
it
up where it wanted, rather than lack it where there is such
abundance.
COUNTESS. What hope is there of his Majesty’s amendment?
LAFEU. He hath abandon’d his physicians, madam; under whose
practices he hath persecuted time with hope, and finds no
other
advantage in the process but only the losing of hope by time.
COUNTESS. This young gentlewoman had a father- O, that ‘had,’
how
sad a passage ‘tis!-whose skill was almost as great as his
honesty; had it stretch’d so far, would have made nature
immortal, and death should have play for lack of work. Would,
for
the King’s sake, he were living! I think it would be the
death of
the King’s disease.
LAFEU. How call’d you the man you speak of, madam?
COUNTESS. He was famous, sir, in his profession, and it was his
great right to be so- Gerard de Narbon.
LAFEU. He was excellent indeed, madam; the King very lately
spoke
of him admiringly and mourningly; he was skilful enough to
have
liv’d still, if knowledge could be set up against mortality.
BERTRAM. What is it, my good lord, the King languishes of?
LAFEU. A fistula, my lord.
BERTRAM. I heard not of it before.
LAFEU. I would it were not notorious. Was this gentlewoman the
daughter of Gerard de Narbon?
COUNTESS. His sole child, my lord, and bequeathed to my
overlooking. I have those hopes of her good that her
education
promises; her dispositions she inherits, which makes fair
gifts
fairer; for where an unclean mind carries virtuous qualities,
there commendations go with pity-they are virtues and
traitors
too. In her they are the better for their simpleness; she
derives
her honesty, and achieves her goodness.
LAFEU. Your commendations, madam, get from her tears.
COUNTESS. ‘Tis the best brine a maiden can season her praise
in.
The remembrance of her father never approaches her heart but
the
tyranny of her sorrows takes all livelihood from her cheek.
No
more of this, Helena; go to, no more, lest it be rather
thought
you affect a sorrow than to have-
HELENA. I do affect a sorrow indeed, but I have it too.
LAFEU. Moderate lamentation is the right of the dead: excessive
grief the enemy to the living.
COUNTESS. If the living be enemy to the grief, the excess makes
it
soon mortal.
BERTRAM. Madam, I desire your holy wishes.
LAFEU. How understand we that?
COUNTESS. Be thou blest, Bertram, and succeed thy father
In manners, as in shape! Thy blood and virtue
Contend for empire in thee, and thy goodness
Share with thy birthright! Love all, trust a few,
Do wrong to none; be able for thine enemy
Rather in power than use, and keep thy friend
Under thy own life’s key; be check’d for silence,
But never tax’d for speech. What heaven more will,
That thee may furnish, and my prayers pluck down,
Fall on thy head! Farewell. My lord,
‘Tis an unseason’d courtier; good my lord,
Advise him.
LAFEU. He cannot want the best
That shall attend his love.
COUNTESS. Heaven bless him! Farewell, Bertram. Exit
BERTRAM. The best wishes that can be forg’d in your thoughts be
servants to you! [To HELENA] Be comfortable to my mother,
your
mistress, and make much of her.
LAFEU. Farewell, pretty lady; you must hold the credit of your
father. Exeunt BERTRAM and LAFEU
HELENA. O, were that all! I think not on my father;
And these great tears grace his remembrance more
Than those I shed for him. What was he like?
I have forgot him; my imagination
Carries no favour in’t but Bertram’s.
I am undone; there is no living, none,
If Bertram be away. ‘Twere all one
That I should love a bright particular star
And think to wed it, he is so above me.
In his bright radiance and collateral light
Must I be comforted, not in his sphere.
Th’ ambition in my love thus plagues itself:
The hind that would be mated by the lion
Must die for love. ‘Twas pretty, though a plague,
To see him every hour; to sit and draw
His arched brows, his hawking eye, his curls,
In our heart’s table-heart too capable
Of every line and trick of his sweet favour.
But now he’s gone, and my idolatrous fancy
Must sanctify his relics. Who comes here?
Enter PAROLLES
[Aside] One that goes with him. I love him for his sake;
And yet I know him a notorious liar,
Think him a great way fool, solely a coward;
Yet these fix’d evils sit so fit in him
That they take place when virtue’s steely bones
Looks bleak i’ th’ cold wind; withal, full oft we see
Cold wisdom waiting on superfluous folly.
PAROLLES. Save you, fair queen!
HELENA. And you, monarch!
PAROLLES. No.
HELENA. And no.
PAROLLES. Are you meditating on virginity?
HELENA. Ay. You have some stain of soldier in you; let me ask
you a
question. Man is enemy to virginity; how may we barricado it
against him?
PAROLLES. Keep him out.
HELENA. But he assails; and our virginity, though valiant in
the
defence, yet is weak. Unfold to us some warlike resistance.
PAROLLES. There is none. Man, setting down before you, will
undermine you and blow you up.
HELENA. Bless our poor virginity from underminers and
blowers-up!
Is there no military policy how virgins might blow up men?
PAROLLES. Virginity being blown down, man will quicklier be
blown
up; marry, in blowing him down again, with the breach
yourselves
made, you lose your city. It is not politic in the
commonwealth
of nature to preserve virginity. Loss of virginity is
rational
increase; and there was never virgin got till virginity was
first
lost. That you were made of is metal to make virgins.
Virginity
by being once lost may be ten times found; by being ever
kept, it
is ever lost. ‘Tis too cold a companion; away with’t.
HELENA. I will stand for ‘t a little, though therefore I die a
virgin.
PAROLLES. There’s little can be said in ‘t; ‘tis against the
rule
of nature. To speak on the part of virginity is to accuse
your
mothers; which is most infallible disobedience. He that hangs
himself is a virgin; virginity murders itself, and should be
buried in highways, out of all sanctified limit, as a
desperate
offendress against nature. Virginity breeds mites, much like
a
cheese; consumes itself to the very paring, and so dies with
feeding his own stomach. Besides, virginity is peevish,
proud,
idle, made of self-love, which is the most inhibited sin in
the
canon. Keep it not; you cannot choose but lose by’t. Out
with’t.
Within ten year it will make itself ten, which is a goodly
increase; and the principal itself not much the worse. Away
with’t.
HELENA. How might one do, sir, to lose it to her own liking?
PAROLLES. Let me see. Marry, ill to like him that ne’er it
likes.
‘Tis a commodity will lose the gloss with lying; the longer
kept,
the less worth. Off with’t while ‘tis vendible; answer the
time
of request. Virginity, like an old courtier, wears her cap
out of
fashion, richly suited but unsuitable; just like the brooch
and
the toothpick, which wear not now. Your date is better in
your
pie and your porridge than in your cheek. And your virginity,
your old virginity, is like one of our French wither’d pears:
it
looks ill, it eats drily; marry, ‘tis a wither’d pear; it was
formerly better; marry, yet ‘tis a wither’d pear. Will you
anything with it?
HELENA. Not my virginity yet.
There shall your master have a thousand loves,
A mother, and a mistress, and a friend,
A phoenix, captain, and an enemy,
A guide, a goddess, and a sovereign,
A counsellor, a traitress, and a dear;
His humble ambition, proud humility,
His jarring concord, and his discord dulcet,
His faith, his sweet disaster; with a world
Of pretty, fond, adoptious christendoms
That blinking Cupid gossips. Now shall he-
I know not what he shall. God send him well!
The court’s a learning-place, and he is one-
PAROLLES. What one, i’ faith?
HELENA. That I wish well. ‘Tis pity-
PAROLLES. What’s pity?
HELENA. That wishing well had not a body in’t
Which might be felt; that we, the poorer born,
Whose baser stars do shut us up in wishes,
Might with effects of them follow our friends
And show what we alone must think, which never
Returns us thanks.
Enter PAGE
PAGE. Monsieur Parolles, my lord calls for you. Exit PAGE
PAROLLES. Little Helen, farewell; if I can remember thee, I
will
think of thee at court.
HELENA. Monsieur Parolles, you were born under a charitable
star.
PAROLLES. Under Mars, I.
HELENA. I especially think, under Mars.
PAROLLES. Why under Man?
HELENA. The wars hath so kept you under that you must needs be
born
under Mars.
PAROLLES. When he was predominant.
HELENA. When he was retrograde, I think, rather.
PAROLLES. Why think you so?
HELENA. You go so much backward when you fight.
PAROLLES. That’s for advantage.
HELENA. So is running away, when fear proposes the safety: but
the
composition that your valour and fear makes in you is a
virtue of
a good wing, and I like the wear well.
PAROLLES. I am so full of business I cannot answer thee
acutely. I
will return perfect courtier; in the which my instruction
shall
serve to naturalize thee, so thou wilt be capable of a
courtier’s
counsel, and understand what advice shall thrust upon thee;
else
thou diest in thine unthankfulness, and thine ignorance makes
thee away. Farewell. When thou hast leisure, say thy prayers;
when thou hast none, remember thy friends. Get thee a good
husband and use him as he uses thee. So, farewell.
Exit
HELENA. Our remedies oft in ourselves do lie,
Which we ascribe to heaven. The fated sky
Gives us free scope; only doth backward pull
Our slow designs when we ourselves are dull.
What power is it which mounts my love so high,
That makes me see, and cannot feed mine eye?
The mightiest space in fortune nature brings
To join like likes, and kiss like native things.
Impossible be strange attempts to those
That weigh their pains in sense, and do suppose
What hath been cannot be. Who ever strove
To show her merit that did miss her love?
The King’s disease-my project may deceive me,
But my intents are fix’d, and will not leave me. Exit
ACT I. SCENE 2. PARIS. THE KING’S PALACE
Flourish of cornets. Enter the KING OF FRANCE, with letters, and divers ATTENDANTS
KING. The Florentines and Senoys are by th’ ears;
Have fought with equal fortune, and continue
A braving war.
FIRST LORD. So ‘tis reported, sir.
KING. Nay, ‘tis most credible. We here receive it,
A certainty, vouch’d from our cousin Austria,
With caution, that the Florentine will move us
For speedy aid; wherein our dearest friend
Prejudicates the business, and would seem
To have us make denial.
FIRST LORD. His love and wisdom,
Approv’d so to your Majesty, may plead
For amplest credence.
KING. He hath arm’d our answer,
And Florence is denied before he comes;
Yet, for our gentlemen that mean to see
The Tuscan service, freely have they leave
To stand on either part.
SECOND LORD. It well may serve
A nursery to our gentry, who are sick
For breathing and exploit.
KING. What’s he comes here?
Enter BERTRAM, LAFEU, and PAROLLES
FIRST LORD. It is the Count Rousillon, my good lord,
Young Bertram.
KING. Youth, thou bear’st thy father’s face;
Frank nature, rather curious than in haste,
Hath well compos’d thee. Thy father’s moral parts
Mayst thou inherit too! Welcome to Paris.
BERTRAM. My thanks and duty are your Majesty’s.
KING. I would I had that corporal soundness now,
As when thy father and myself in friendship
First tried our soldiership. He did look far
Into the service of the time, and was
Discipled of the bravest. He lasted long;
But on us both did haggish age steal on,
And wore us out of act. It much repairs me
To talk of your good father. In his youth
He had the wit which I can well observe
To-day in our young lords; but they may jest
Till their own scorn return to them unnoted
Ere they can hide their levity in honour.
So like a courtier, contempt nor bitterness
Were in his pride or sharpness; if they were,
His equal had awak’d them; and his honour,
Clock to itself, knew the true minute when
Exception bid him speak, and at this time
His tongue obey’d his hand. Who were below him
He us’d as creatures of another place;
And bow’d his eminent top to their low ranks,
Making them proud of his humility
In their poor praise he humbled. Such a man
Might be a copy to these younger times;
Which, followed well, would demonstrate them now
But goers backward.
BERTRAM. His good remembrance, sir,
Lies richer in your thoughts than on his tomb;
So in approof lives not his epitaph
As in your royal speech.
KING. Would I were with him! He would always say-
Methinks I hear him now; his plausive words
He scatter’d not in ears, but grafted them
To grow there, and to bear- ‘Let me not live’-
This his good melancholy oft began,
On the catastrophe and heel of pastime,
When it was out-’Let me not live’ quoth he
‘After my flame lacks oil, to be the snuff
Of younger spirits, whose apprehensive senses
All but new things disdain; whose judgments are
Mere fathers of their garments; whose constancies
Expire before their fashions.’ This he wish’d.
I, after him, do after him wish too,
Since I nor wax nor honey can bring home,
I quickly were dissolved from my hive,
To give some labourers room.
SECOND LORD. You’re loved, sir;
They that least lend it you shall lack you first.
KING. I fill a place, I know’t. How long is’t, Count,
Since the physician at your father’s died?
He was much fam’d.
BERTRAM. Some six months since, my lord.
KING. If he were living, I would try him yet-
Lend me an arm-the rest have worn me out
With several applications. Nature and sickness
Debate it at their leisure. Welcome, Count;
My son’s no dearer.
BERTRAM. Thank your Majesty. Exeunt [Flourish]
ACT I. SCENE 3. ROUSILLON. THE COUNT’S PALACE
Enter COUNTESS, STEWARD, and CLOWN
COUNTESS. I will now hear; what say you of this gentlewoman?
STEWARD. Madam, the care I have had to even your content I wish
might be found in the calendar of my past endeavours; for
then we
wound our modesty, and make foul the clearness of our
deservings,
when of ourselves we publish them.
COUNTESS. What does this knave here? Get you gone, sirrah. The
complaints I have heard of you I do not all believe; ‘tis my
slowness that I do not, for I know you lack not folly to
commit
them and have ability enough to make such knaveries yours.
CLOWN. ‘Tis not unknown to you, madam, I am a poor fellow.
COUNTESS. Well, sir.
CLOWN. No, madam, ‘tis not so well that I am poor, though many
of
the rich are damn’d; but if I may have your ladyship’s good
will
to go to the world, Isbel the woman and I will do as we may.
COUNTESS. Wilt thou needs be a beggar?
CLOWN. I do beg your good will in this case.
COUNTESS. In what case?
CLOWN. In Isbel’s case and mine own. Service is no heritage;
and I
think I shall never have the blessing of God till I have
issue o’
my body; for they say bames are blessings.
COUNTESS. Tell me thy reason why thou wilt marry.
CLOWN. My poor body, madam, requires it. I am driven on by the
flesh; and he must needs go that the devil drives.
COUNTESS. Is this all your worship’s reason?
CLOWN. Faith, madam, I have other holy reasons, such as they
are.
COUNTESS. May the world know them?
CLOWN. I have been, madam, a wicked creature, as you and all
flesh
and blood are; and, indeed, I do marry that I may repent.
COUNTESS. Thy marriage, sooner than thy wickedness.
CLOWN. I am out o’ friends, madam, and I hope to have friends
for
my wife’s sake.
COUNTESS. Such friends are thine enemies, knave.
CLOWN. Y’are shallow, madam-in great friends; for the knaves
come
to do that for me which I am aweary of. He that ears my land
spares my team, and gives me leave to in the crop. If I be
his
cuckold, he’s my drudge. He that comforts my wife is the
cherisher of my flesh and blood; he that cherishes my flesh
and
blood loves my flesh and blood; he that loves my flesh and
blood
is my friend; ergo, he that kisses my wife is my friend. If
men
could be contented to be what they are, there were no fear in
marriage; for young Charbon the puritan and old Poysam the
papist, howsome’er their hearts are sever’d in religion,
their
heads are both one; they may jowl horns together like any
deer
i’ th’ herd.
COUNTESS. Wilt thou ever be a foul-mouth’d and calumnious
knave?
CLOWN. A prophet I, madam; and I speak the truth the next way:
For I the ballad will repeat,
Which men full true shall find:
Your marriage comes by destiny,
Your cuckoo sings by kind.
COUNTESS. Get you gone, sir; I’ll talk with you more anon.
STEWARD. May it please you, madam, that he bid Helen come to
you.
Of her I am to speak.
COUNTESS. Sirrah, tell my gentlewoman I would speak with her;
Helen
I mean.
CLOWN. [Sings]
‘Was this fair face the cause’ quoth she
‘Why the Grecians sacked Troy?
Fond done, done fond,
Was this King Priam’s joy?’
With that she sighed as she stood,
With that she sighed as she stood,
And gave this sentence then:
‘Among nine bad if one be good,
Among nine bad if one be good,
There’s yet one good in ten.’
COUNTESS. What, one good in ten? You corrupt the song, sirrah.
CLOWN. One good woman in ten, madam, which is a purifying o’
th’
song. Would God would serve the world so all the year! We’d
find
no fault with the tithe-woman, if I were the parson. One in
ten,
quoth ‘a! An we might have a good woman born before every
blazing
star, or at an earthquake, ‘twould mend the lottery well: a
man
may draw his heart out ere ‘a pluck one.
COUNTESS. You’ll be gone, sir knave, and do as I command you.
CLOWN. That man should be at woman’s command, and yet no hurt
done!
Though honesty be no puritan, yet it will do no hurt; it will
wear the surplice of humility over the black gown of a big
heart.
I am going, forsooth. The business is for Helen to come
hither.
Exit
COUNTESS. Well, now.
STEWARD. I know, madam, you love your gentlewoman entirely.
COUNTESS. Faith I do. Her father bequeath’d her to me; and she
herself, without other advantage, may lawfully make title to
as
much love as she finds. There is more owing her than is paid;
and
more shall be paid her than she’ll demand.
STEWARD. Madam, I was very late more near her than I think she
wish’d me. Alone she was, and did communicate to herself her
own
words to her own ears; she thought, I dare vow for her, they
touch’d not any stranger sense. Her matter was, she loved
