Read William Shakespeare: The Complete Works 2nd Edition Online
Authors: William Shakespeare
Tags: #Drama, #Literary Criticism, #Shakespeare
William Shakespeare: The Complete Works 2nd Edition (425 page)
BOOK: William Shakespeare: The Complete Works 2nd Edition
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Save him, save him!
GONORIL This is mere practice, Gloucester.
By the law of arms thou art not bound to answer
An unknown opposite. Thou art not vanquished,
But cozened and beguiled.
An unknown opposite. Thou art not vanquished,
But cozened and beguiled.
ALBANY Stop your mouth, dame,
Or with this paper shall I stopple it.
Thou worse than anything, read thine own evil.
Nay, no tearing, lady. I perceive you know’t.
Thou worse than anything, read thine own evil.
Nay, no tearing, lady. I perceive you know’t.
GONORIL
Say if I do, the laws are mine, not thine.
Who shall arraign me for’t?
Who shall arraign me for’t?
ALBANY Most monstrous!
Know’st thou this paper?
GONORIL Ask me not what I know.
Exit
ALBANY
Go after her. She’s desperate. Govern her.
Exit one or more
EDMUND
What you have charged me with, that have I done,
And more, much more. The time will bring it out.
’Tis past, and so am I. (To Edgar) But what art thou,
That hast this fortune on me? If thou beest noble,
I do forgive thee.
And more, much more. The time will bring it out.
’Tis past, and so am I. (To Edgar) But what art thou,
That hast this fortune on me? If thou beest noble,
I do forgive thee.
EDGAR Let’s exchange charity.
I am no less in blood than thou art, Edmund.
If more, the more ignobly thou hast wronged me.
If more, the more ignobly thou hast wronged me.
[He
takes off his
helmet]
My name is Edgar, and thy father’s son.
The gods are just, and of our pleasant vices
Make instruments to scourge us.
The dark and vicious place where thee he got
Cost him his eyes.
The gods are just, and of our pleasant vices
Make instruments to scourge us.
The dark and vicious place where thee he got
Cost him his eyes.
EDMUND Thou hast spoken truth.
The wheel is come full circled. I am here.
ALBANY (
to Edgar
)
to Edgar
)
Methought thy very gait did prophesy
A royal nobleness. I must embrace thee.
Let sorrow split my heart if I did ever hate
Thee or thy father.
A royal nobleness. I must embrace thee.
Let sorrow split my heart if I did ever hate
Thee or thy father.
EDGAR Worthy prince, I know’t.
ALBANY Where have you hid yourself?
How have you known the miseries of your father?
EDGAR
By nursing them, my lord. List a brief tale,
And when ‘tis told, O that my heart would burst!
The bloody proclamation to escape
That followed me so near—O, our lives’ sweetness,
That with the pain of death would hourly die
Rather than die at once!—taught me to shift
Into a madman’s rags, to assume a semblance
That very dogs disdained; and in this habit
Met I my father with his bleeding rings,
The precious stones new-lost; became his guide,
Led him, begged for him, saved him from despair;
Never—O father!—revealed myself unto him
Until some half hour past, when I was armed.
Not sure, though hoping, of this good success,
I asked his blessing, and from first to last
Told him my pilgrimage; but his flawed heart—
Alack, too weak the conflict to support—
’Twixt two extremes of passion, joy and grief,
Burst smilingly.
And when ‘tis told, O that my heart would burst!
The bloody proclamation to escape
That followed me so near—O, our lives’ sweetness,
That with the pain of death would hourly die
Rather than die at once!—taught me to shift
Into a madman’s rags, to assume a semblance
That very dogs disdained; and in this habit
Met I my father with his bleeding rings,
The precious stones new-lost; became his guide,
Led him, begged for him, saved him from despair;
Never—O father!—revealed myself unto him
Until some half hour past, when I was armed.
Not sure, though hoping, of this good success,
I asked his blessing, and from first to last
Told him my pilgrimage; but his flawed heart—
Alack, too weak the conflict to support—
’Twixt two extremes of passion, joy and grief,
Burst smilingly.
EDMUND This speech of yours hath moved me,
And shall perchance do good. But speak you on—
You look as you had something more to say.
You look as you had something more to say.
ALBANY
If there be more, more woeful, hold it in,
For I am almost ready to dissolve,
Hearing of this.
For I am almost ready to dissolve,
Hearing of this.
EDGAR This would have seemed a period
To such as love not sorrow; but another
To amplify, too much would make much more,
And top extremity.
Whilst I was big in clamour came there in a man
Who, having seen me in my worst estate,
Shunned my abhorred society; but then, finding
Who ’twas that so endured, with his strong arms
He fastened on my neck and bellowed out
As he’d burst heaven; threw him on my father,
Told the most piteous tale of Lear and him
That ever ear received, which in recounting
His grief grew puissant and the strings of life
Began to crack. Twice then the trumpets sounded,
And there I left him tranced.
To amplify, too much would make much more,
And top extremity.
Whilst I was big in clamour came there in a man
Who, having seen me in my worst estate,
Shunned my abhorred society; but then, finding
Who ’twas that so endured, with his strong arms
He fastened on my neck and bellowed out
As he’d burst heaven; threw him on my father,
Told the most piteous tale of Lear and him
That ever ear received, which in recounting
His grief grew puissant and the strings of life
Began to crack. Twice then the trumpets sounded,
And there I left him tranced.
ALBANY But who was this?
EDGAR
Kent, sir, the banished Kent, who in disguise
Followed his enemy king, and did him service
Improper for a slave.
Followed his enemy king, and did him service
Improper for a slave.
Enter [Second] Gentleman with a bloody knife
FSECONDl GENTLEMEN Help, help!
ALBANY What kind of help?
What means that bloody knife?
⌈SECOND⌉ GENTLEMAN It’s hot, it smokes. It came even from the heart of—
ALBANY Who, man? Speak.
[SECOND] GENTLEMAN
Your lady, sir, your lady; and her sister
By her is poisonèd—she hath confessed it.
By her is poisonèd—she hath confessed it.
EDMUND
I was contracted to them both; all three
Now marry in an instant.
Now marry in an instant.
ALBANY
Produce their bodies, be they alive or dead.
This justice of the heavens, that makes us tremble,
Touches us not with pity.
This justice of the heavens, that makes us tremble,
Touches us not with pity.
Enter Kent as himself
EDGAR Here comes Kent, sir.
ALBANY
O, ’tis he; the time will not allow
The compliment that very manners urges.
The compliment that very manners urges.
KENT I am come
To bid my king and master aye good night.
Is he not here?
Is he not here?
ALBANY Great thing of us forgot!—
Speak, Edmund; where’s the King, and where’s
Cordelia?
Cordelia?
The bodies of Gonoril and Regan are brought in
Seest thou this object, Kent?
KENT Alack, why thus?
EDMUND Yet Edmund was beloved.
The one the other poisoned for my sake,
And after slew herself.
And after slew herself.
ALBANY Even so.—Cover their faces.
EDMUND
I pant for life. Some good I mean to do,
Despite of my own nature. Quickly send,
Be brief in’t, to th’ castle; for my writ
Is on the life of Lear and on Cordelia.
Nay, send in time.
Despite of my own nature. Quickly send,
Be brief in’t, to th’ castle; for my writ
Is on the life of Lear and on Cordelia.
Nay, send in time.
ALBANY Run, run, O run!
EDGAR
To who, my lord? Who hath the office? Send
Thy token of reprieve.
Thy token of reprieve.
EDMUND
Well thought on! Take my sword. The captain,
Give it the captain.
Give it the captain.
ALBANY Haste thee for thy life.
Exit
[Second Captain]
[Second Captain]
EDMUND
He hath commission from thy wife and me
To hang Cordelia in the prison, and
To lay the blame upon her own despair,
That she fordid herself.
To hang Cordelia in the prison, and
To lay the blame upon her own despair,
That she fordid herself.
ALBANY
The gods defend her!—Bear him hence a while.
Exeunt some with Edmund
Enter King Lear with Queen Cordelia in his arms,
[followed by the Second Captain]
LEAR
Howl, howl, howl, howl! O, you are men of stones.
Had I your tongues and eyes, I would use them so
That heaven’s vault should crack. She’s gone for ever.
I know when one is dead and when one lives.
She’s dead as earth.
[He
lays her
down]
Lend me a looking-glass.
If that her breath will mist or stain the stone,
Why, then she lives.
Had I your tongues and eyes, I would use them so
That heaven’s vault should crack. She’s gone for ever.
I know when one is dead and when one lives.
She’s dead as earth.
[He
lays her
down]
Lend me a looking-glass.
If that her breath will mist or stain the stone,
Why, then she lives.
KENT Is this the promised end?
EDGAR
Or image of that horror?
ALBANY Fall and cease.
LEAR
This feather stirs. She lives. If it be so,
It is a chance which does redeem all sorrows
That ever I have felt.
It is a chance which does redeem all sorrows
That ever I have felt.
KENT
[kneeling]
Ah, my good master!
[kneeling]
Ah, my good master!
LEAR
Prithee, away.
EDGAR w’Tis noble Kent, your friend.
LEAR
A plague upon you, murderous traitors all.
I might have saved her; now she’s gone for ever.—
Cordelia, Cordelia: stay a little. Ha?
What is’t thou sayst?—Her voice was ever soft,
Gentle, and low, an excellent thing in women.—
I killed the slave that was a-hanging thee.
I might have saved her; now she’s gone for ever.—
Cordelia, Cordelia: stay a little. Ha?
What is’t thou sayst?—Her voice was ever soft,
Gentle, and low, an excellent thing in women.—
I killed the slave that was a-hanging thee.
[SECOND] CAPTAIN
’Tis true, my lords, he did.
LEAR Did I not, fellow?
I have seen the day with my good biting falchion
I would have made them skip. I am old now,
And these same crosses spoil me. (To Kent) Who are you?
Mine eyes are not o’ the best, I’ll tell you straight.
I would have made them skip. I am old now,
And these same crosses spoil me. (To Kent) Who are you?
Mine eyes are not o’ the best, I’ll tell you straight.
KENT
If fortune bragged of two she loved or hated,
One of them we behold.
One of them we behold.
LEAR Are not you Kent?
KENT
The same, your servant Kent. Where is your servant
Caius?
Caius?
LEAR
He’s a good fellow, I can tell you that.
He’ll strike, and quickly too. He’s dead and rotten.
He’ll strike, and quickly too. He’s dead and rotten.
KENT
No, my good lord, I am the very man—
LEAR I’ll see that straight.
KENT
That from your first of difference and decay
Have followed your sad steps.
Have followed your sad steps.
LEAR You’re welcome hither.
KENT
Nor no man else. All’s cheerless, dark, and deadly.
Your eldest daughters have fordone themselves,
And desperately are dead.
Your eldest daughters have fordone themselves,
And desperately are dead.
LEAR So think I, too.
ALBANY
He knows not what he sees; and vain it is
That we present us to him.
That we present us to him.
EDGAR
Very bootless.
Enter another Captain
[THIRD] CAPTAIN (
to Albany
)
to Albany
)
Edmund is dead, my lord.
ALBANY That’s but a trifle here.—
You lords and noble friends, know our intent.
What comfort to this great decay may come
Shall be applied; for us, we will resign
During the life of this old majesty
To him our absolute power; (
to Edgar and Kent
) you
to your rights,
With boot and such addition as your honours
Have more than merited. All friends shall taste
The wages of their virtue, and all foes
The cup of their deservings.—O see, see!
What comfort to this great decay may come
Shall be applied; for us, we will resign
During the life of this old majesty
To him our absolute power; (
to Edgar and Kent
) you
to your rights,
With boot and such addition as your honours
Have more than merited. All friends shall taste
The wages of their virtue, and all foes
The cup of their deservings.—O see, see!
LEAR
And my poor fool is hanged. No, no life.
Why should a dog, a horse, a rat have life,
And thou no breath at all? O, thou wilt come no more.
Never, never, never.—Pray you, undo
This button. Thank you, sir. O, O, O, O!
Why should a dog, a horse, a rat have life,
And thou no breath at all? O, thou wilt come no more.
Never, never, never.—Pray you, undo
This button. Thank you, sir. O, O, O, O!
EDGAR He faints. (
To Lear
) My lord, my lord!
To Lear
) My lord, my lord!
LEAR Break, heart, I prithee break.
EDGAR Look up, my lord.
KENT
Vex not his ghost. O, let him pass. He hates him
That would upon the rack of this tough world
Stretch him out longer.
That would upon the rack of this tough world
Stretch him out longer.
[Lear dies]
EDGAR O, he is gone indeed.
KENT
The wonder is he hath endured so long.
He but usurped his life.
He but usurped his life.
ALBANY (to attendants)
Bear them from hence. Our present business
Is to general woe. (
To Kent and Edgar
) Friends of my
soul, you twain
Rule in this kingdom, and the gored state sustain.
Is to general woe. (
To Kent and Edgar
) Friends of my
soul, you twain
Rule in this kingdom, and the gored state sustain.
KENT
I have a journey, sir, shortly to go:
My master calls, and I must not say no.
My master calls, and I must not say no.
ALBANY
The weight of this sad time we must obey,
Speak what we feel, not what we ought to say.
The oldest have borne most. We that are young
Shall never see so much, nor live so long.
Speak what we feel, not what we ought to say.
The oldest have borne most. We that are young
Shall never see so much, nor live so long.
Exeunt carrying the bodies
TIMON OF ATHENS
BY WILLIAM SHAKESPEARE AND THOMAS MIDDLETON
WE know no more of
Timon of Athens
than we can deduce from the text printed in the 1623 Folio. Some episodes, such as the emblematic opening dialogue featuring a Poet and a Painter, are elegantly finished, but the play has more unpolished dialogue and loose ends of plot than usual: for example, the episode (3.6) in which Alcibiades pleads for a soldier’s life is only tenuously related to the main structure; and the final stretch of action seems imperfectly worked out. Various theories of collaboration and revision have been advanced to explain the play’s peculiarities. During the 1970s and 1980s strong linguistic and other evidence was adduced in support of the belief that it is a product of collaboration between Shakespeare and Thomas Middleton, a dramatist born in 1580 and educated at Queen’s College, Oxford, who was writing for the stage by 1602 and was to develop into a great playwright. The major passages for which Middleton seems to have taken prime responsibility are Act 1. Scene 2; all of Act 3 except for parts of Scene 7; and the closing episode (4.3.460-537) of Act 4. The theory of collaboration explains some features of the text—Middleton’s verse, for example, was less regular than Shakespeare’s. There is no record of early performance; the play is conjecturally assigned to 1605-6.
Timon of Athens
than we can deduce from the text printed in the 1623 Folio. Some episodes, such as the emblematic opening dialogue featuring a Poet and a Painter, are elegantly finished, but the play has more unpolished dialogue and loose ends of plot than usual: for example, the episode (3.6) in which Alcibiades pleads for a soldier’s life is only tenuously related to the main structure; and the final stretch of action seems imperfectly worked out. Various theories of collaboration and revision have been advanced to explain the play’s peculiarities. During the 1970s and 1980s strong linguistic and other evidence was adduced in support of the belief that it is a product of collaboration between Shakespeare and Thomas Middleton, a dramatist born in 1580 and educated at Queen’s College, Oxford, who was writing for the stage by 1602 and was to develop into a great playwright. The major passages for which Middleton seems to have taken prime responsibility are Act 1. Scene 2; all of Act 3 except for parts of Scene 7; and the closing episode (4.3.460-537) of Act 4. The theory of collaboration explains some features of the text—Middleton’s verse, for example, was less regular than Shakespeare’s. There is no record of early performance; the play is conjecturally assigned to 1605-6.
BOOK: William Shakespeare: The Complete Works 2nd Edition
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