The Collected Works of William Shakespeare: The Complete Works PergamonMedia

By William Shakespeare

This comprehensive eBook presents the complete works or all the significant works - the Œuvre - of this famous and brilliant writer in one ebook - 8460 pages easy-to-read and easy-to-navigate:
• The Complete Works of William Shakespeare
• Hamlet, Prince of Denmark
• The Tragedy of Romeo and Juliet
• Macbeth
• Hamlet
• Shakespearean TragedyA. C. Bradley
• Beautiful Stories from Shakespeare and E. Nesbit
• Othello
• The Tempest
• Romeo and Juliet
• A Midsummer Night's Dream
• The Tragedy of King Lear
• The Tragedy of Julius Caesar
• Shakespeare's Sonnets
• The Merchant of Venice
• The Taming of the Shrew
• The Tragedy of Macbeth
• A Midsummer Night's Dream
• As You Like It
• A Life of Sir Sidney Lee
• Tales from ShakespeareCharles Lamb and Mary Lamb
• King Richard III
• Twelfth Night; Or, What You Will
• Shakespeare's Tragedy of Romeo and Juliet
• The Tempest
• Much Ado about Nothing
• Hamlet, Prince of Denmark
• Henry V
• Julius Caesar
• What Is Man? and Other Essays
• Representative Men: Seven LecturesRalph Waldo Emerson
• Hamlet
• Much Ado about Nothing
• Notes to Shakespeare, Volume III: The TragediesSamuel Johnson
• Shakespeare's Comedy of The Tempest
• Antony and Cleopatra
• Tales from ShakespeareCharles Lamb and Mary Lamb
• The Tempest
• The Winter's Tale
• Measure for Measure
• King Lear
• Romeo and Juliet
• Venus and Adonis
• Othello, the Moor of Venice
• The Tragedy of Coriolanus
• The Comedy of Errors
• King Lear
• The New Hudson Shakespeare: Julius Cæsar
• The Rape of Lucrece
• The Merchant of Venice
• The Tragedy of Titus Andronicus
• Twelfth Night; Or, What You Will
• Tales from ShakespeareCharles Lamb and Mary Lamb
• The Dark Lady of the SonnetsBernard Shaw
• The Sonnets
• Macbeth
• etc.

• Language: English
• Publisher: PergamonMedia
• Release date: Apr 6, 2015
• ISBN: 9783956701184

William Shakespeare

William Shakespeare is widely regarded as the greatest playwright the world has seen. He produced an astonishing amount of work; 37 plays, 154 sonnets, and 5 poems. He died on 23rd April 1616, aged 52, and was buried in the Holy Trinity Church, Stratford.

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Content

THE TWO GENTLEMEN OF VERONA

DRAMATIS PERSONAE

SERVANTS, MUSICIANS

SCENE: Verona; Milan; the frontiers of Mantua

ACT 1.

SCENE I. Verona. An open place

SCENE 2. THe same. The garden Of JULIA'S house.

SCENE 3. The same. A room in ANTONIO'S house.

ACT 2.

SCENE I. Milan. A room in the DUKE'S palace.

SCENE 2. Verona. A room in JULIA'S house.

SCENE 3. The same. A street

SCENE 4. Milan. A room in the DUKE'S palace.

SCENE 5. The same. A street

SCENE 6. The same. The DUKE's palace.

SCENE 7. Verona. A room in JULIA'S house.

ACT 3.

SCENE I. Milan. An anteroom in the DUKE'S palace.

SCENE 2. The same. A room in the DUKE'S palace.

ACT 4.

SCENE 1. A forest between Milan and Verona.

SCENE 2. Milan. The sourt of the DUKE'S palace.

[SONG]

SCENE 3. The same.

SCENE 4. The same.

ACT 5.

SCENE I. Milan. An abbey

SCENE 2. The same. A room in the DUKE'S palace.

SCENE 3. Frontiers of Mantua. The forest.

SCENE 4. Another part of the forest.

TWELFTH NIGHT OR, WHAT YOU WILL

DRAMATIS PERSONAE

SCENE: A city in Illyria, and the sea-coast near it

ACT I.

SCENE I. An apartment in the DUKE'S palace.

SCENE II. The sea-coast.

SCENE III.

SCENE IV.

SCENE V.

ACT II.

SCENE I. The sea-coast

SCENE II. A street

SCENE III. OLIVIA'S house

SCENE IV.

SONG

SCENE V.

ACT III. SCENE I.

SCENE II.

SCENE III.

SCENE IV.

ACT IV.

SCENE I.

SCENE II.

SCENE III.

ACT V.

SCENE I.

THE END

THE TRAGEDY OF MACBETH

SCENE: Scotland and England

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.

SCENE VIII. Another part of the field.

SCENE IX.

THE TRAGEDY OF KING LEAR

Scene,—Britain.

ACT I.

Scene I. A Room of State in King Lear's Palace.

Scene II. A Hall in the Earl of Gloster's Castle.

Scene III. A Room in the Duke of Albany's Palace.

Scene IV. A Hall in Albany's Palace.

Scene V. Court before the Duke of Albany's Palace.

ACT II.

Scene I. A court within the Castle of the Earl of Gloster.

Scene II. Before Gloster's Castle.

Scene III. The open Country.

Scene IV. Before Gloster's Castle; Kent in the stocks.

ACT III.

Scene I. A Heath.

Scene II. Another part of the heath. Storm continues.

Scene III. A Room in Gloster's Castle.

Scene IV. A part of the Heath with a Hovel. Storm continues.

Scene V. A Room in Gloster's Castle.

Scene VI. A Chamber in a Farmhouse adjoining the Castle.

Scene VII. A Room in Gloster's Castle.

ACT IV.

Scene I. The heath.

Scene II. Before the Duke of Albany's Palace.

Scene III. The French camp near Dover.

Scene IV. The French camp. A Tent.

Scene V. A Room in Gloster's Castle.

Scene VI. The country near Dover.

Scene VII. A Tent in the French Camp. Lear on a bed, asleep, soft music playing; Physician, Gentleman, and others attending.

ACT V.

Scene I. The Camp of the British Forces near Dover.

Scene II. A field between the two Camps.

Scene III. The British Camp near Dover.

THE TRAGEDY OF JULIUS CAESAR

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.

THE TRAGEDY OF TITUS ANDRONICUS

PERSONS REPRESENTED.

SCENE: Rome, and the Country near it.

ACT 1.

SCENE I. Rome. Before the Capitol.

ACT II.

SCENE I. Rome. Before the palace.

SCENE II. A Forest near Rome; a Lodge seen at a distance. 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. Rome. A Room in TITUS'S House. A banquet set out.

ACT IV.

SCENE I. Rome. Before TITUS'S House.

SCENE II. Rome. A Room in the Palace.

SCENE III. Rome. A public Place.

SCENE IV. Rome. Before the Palace.

ACT V.

SCENE I. Plains near Rome.

SCENE II. Rome. Before TITUS'S House.]

SCENE III. Rome. A Pavilion in TITUS'S Gardens, with tables, &c.

THE TEMPEST

DRAMATIS PERSONAE

SCENE: The sea, with a Ship; afterwards an Island

THE TEMPEST

ACT 1 SCENE 1 [On a ship at sea; a tempestuous noise of thunder and lightning heard]

SCENE 2

[ARIEL'S SONG.]

ACT 2

SCENE I.—Another part of the island

SCENE II. Another part of the island

ACT 3

SCENE I. Before PROSPERO'S cell

SCENE II. Another part of the island

SCENE III. Another part of the island

ACT 4

SCENE I. Before PROSPERO'S cell

SONG

ACT 5

SCENE I. Before the cell of PROSPERO.

EPILOGUE

THE TAMING OF THE SHREW

WIDOW

SCENE: Sometimes in Padua, and sometimes in PETRUCHIO'S house in the country.

INDUCTION.

SCENE I. Before an alehouse on a heath.

SCENE II. A bedchamber in the LORD'S house.

ACT I.

SCENE I. Padua. A public place.

SCENE II. Padua. Before HORTENSIO'S house.

ACT II.

SCENE I. Padua. A room in BAPTISTA'S house.

ACT III.

SCENE I. Padua. A room in BAPTISTA'S house.

SCENE II. The same. Before BAPTISTA'S house.

ACT IV.

SCENE I. A hall in PETRUCHIO'S country house.

PETER. I.

SCENE II. Padua. Before BAPTISTA'S house.

SCENE III. A room in PETRUCHIO'S house.

SCENE IV. Padua. Before BAPTISTA'S house.

SCENE V. A public road

ACT V.

SCENE I. Padua. Before LUCENTIO'S house.

SCENE II. A room in LUCENTIO'S house.

ROMEO AND JULIET

PERSONS REPRESENTED

SCENE.—During the greater part of the Play in Verona; once, in the Fifth Act, at Mantua.

THE PROLOGUE

ACT I.

Scene I. A public place.

Scene II. A Street.

Scene III. Room in Capulet's House.

Scene IV. A Street.

Scene V. A Hall in Capulet's House.

ACT II.

Scene I. An open place adjoining Capulet's Garden.

Scene II. Capulet's Garden.

Scene III. Friar Lawrence's Cell.

Scene IV. A Street.

Scene V. Capulet's Garden.

Scene VI. Friar Lawrence's Cell.

ACT III.

Scene I. A public Place.

Scene II. A Room in Capulet's House.

Scene III. Friar Lawrence's cell.

Scene IV. A Room in Capulet's House.

Scene V. An open Gallery to Juliet's Chamber, overlooking the Garden.

ACT IV.

Scene I. Friar Lawrence's Cell.

Scene II. Hall in Capulet's House.

Scene III. Juliet's Chamber.

Scene IV. Hall in Capulet's House.

Scene V. Juliet's Chamber; Juliet on the bed.

Act V.

Scene I. Mantua. A Street.

Scene II. Friar Lawrence's Cell.

Scene III. A churchyard; in it a Monument belonging to the Capulets.

PERICLES PRINCE OF TYRE

DRAMATIS PERSONAE

SCENE: Dispersedly in various countries.

ACT I.

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.

DUMB SHOW.

SCENE I. Pentapolis. An open place by the sea-side.

SCENE II. The same. A public way, or platform leading to the lists. A pavilion by the side of it for the reception of the King, Princess, Lords, etc.

SCENE III. The same. A hall of state: a banquet prepared.

SCENE IV. Tyre. A room in the Govenor'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 pavilion on deck, with a curtain before it; Pericles within it, reclined on a couch. A barge lying beside the Tyrian vessel.

SCENE II. Enter Gower, before the temple of Diana at Ephesus.

SCENE III. The temple of Diana at Ephesus; Thaisa standing near the altar, as high priestess; a number of Virgins on each side; Cerimon and other inhabitants of Ephesus attending.

OTHELLO, THE MOOR OF VENICE

Contents

Persons Represented

SCENE: The First Act in Venice; during the rest of the Play at a Seaport in Cyprus.

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.

THE PASSIONATE PILGRIM

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

MUCH ADO ABOUT NOTHING

SCENE,—Messina.

ACT 1.

Scene I. Street in Messina.

Scene II.—A Room in Leonato's House.

Scene III.—Another room in Leonato's house.

ACT 2.

Scene I.—A hall in Leonato's house.

Scene II.—Another Room in Leonato's House.

Scene III.—Leonato's Garden.

I.

II.

ACT III.

Scene I.—Leonardo's Garden.

Scene II.—A Room in Leonato's House.

Scene III.—A Street.

Scene IV.—A Room in Leonato's house.

Scene V.—Another Room in Leonato's house.

ACT IV.

Scene I.—The inside of a Church.

Scene II.—A prison.

ACT V.

Scene I.—Before Leonato's House.

Scene II.—Leonato's Garden.

Scene III.—The Inside of a Church.

Scene IV.—A Room in Leonato's House

A MIDSUMMER NIGHT'S DREAM

Contents

Persons Represented

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

A MIDSUMMER NIGHT'S DREAM

DRAMATIS PERSONAE

SCENE: Athens and a wood near it

ACT I. SCENE I. Athens. The palace of THESEUS

SCENE II. Athens. QUINCE'S house

ACT II. SCENE I. A wood near Athens

SCENE II. Another part of the wood

ACT III. SCENE I. The wood. TITANIA lying asleep

SCENE II. Another part of the wood

ACT IV. SCENE I. The wood. LYSANDER, DEMETRIUS, HELENA, and HERMIA, lying asleep

SCENE II. Athens. QUINCE'S house

ACT V. SCENE I. Athens. The palace of THESEUS

THE MERRY WIVES OF WINDSOR

SCENE: Windsor, and the neighbourhood

ACT I. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

ACT II. SCENE 1.

SCENE 2.

SCENE 3.

ACT III SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

SCENE 5.

ACT IV. SCENE I.

SCENE 2.

SCENE 3.

SCENE 4

SCENE 5.

SCENE 6.

ACT V. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

SCENE 5.

THE MERRY WIVES OF WINDSOR

Contents

Dramatis Personae

SCENE: Windsor and the neighbourhood

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's 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 in Windsor

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. The 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. The street in Windsor

SCENE IV. Windsor Park

SCENE V. Another part of the Park

THE MERCHANT OF VENICE

DRAMATIS PERSONAE

SCENE: Partly at Venice, and partly at Belmont, the seat of Portia, on the Continent

ACT 1.

SCENE I. Venice. A street

SCENE 2. Belmont. A room in PORTIA'S house

SCENE 3. Venice. A public place

ACT 2.

SCENE I. Belmont. A room in PORTIA's house.

SCENE 2. Venice. A street

SCENE 3. The same. A room in SHYLOCK's house.

SCENE 4. The same. A street

SCENE 5. The same. Before SHYLOCK'S house

SCENE 6. The same.

SCENE 7. Belmont. A room in PORTIA's house.

SCENE 8. Venice. A street

SCENE 9. Belmont. A room in PORTIA's house.

ACT 3.

SCENE I. Venice. A street

SCENE 2. Belmont. A room in PORTIA's house.

SCENE 3. Venice. A street

SCENE 4. Belmont. A room in PORTIA's house.

SCENE 5. The same. A garden.

ACT 4.

SCENE I. Venice. A court of justice

SCENE II. The same. A street

ACT V.

SCENE I. Belmont. The avenue to PORTIA's house.

MEASURE FOR MEASURE

PERSONS REPRESENTED.

SCENE: Vienna

ACT I.

SCENE I. An apartment in the DUKE'S Palace.

SCENE II. A street.

Scene III. The same.

SCENE IV. A Monastery.

SCENE V. 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. A Room in Mariana's House.

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. A public place near the city gate.

MACBETH

SCENE: In the end of the Fourth Act, in England; through the rest of the Play, in Scotland; and chiefly at Macbeth's Castle.

ACT I.

SCENE I. An open Place. Thunder and Lightning.

SCENE II. A Camp near Forres.

SCENE III. A heath.

SCENE IV. Forres. A Room in the Palace.

SCENE V. Inverness. A Room in Macbeth's Castle.

SCENE VI. The same. Before the Castle.

SCENE VII. The same. A Lobby in the Castle.

ACT II.

SCENE I. Inverness. Court within the Castle.

SCENE II. The same. Without the Castle.

ACT III.

SCENE I. Forres. A Room in the Palace.

SCENE II. The same. Another Room in the Palace.

SCENE III. The same. A Park or Lawn, with a gate leading to the Palace.

SCENE IV. The same. A Room of state in the Palace. A banquet prepared.

SCENE V. The heath.

SCENE VI. Forres. A Room in the Palace.

ACT IV.

SCENE I. A dark Cave. In the middle, a Caldron Boiling.

SCENE II. Fife. A Room in Macduff's Castle.

SCENE III. England. Before the King's Palace.

ACT V.

SCENE I. Dunsinane. A Room in the Castle.

SCENE II. The Country near Dunsinane.

SCENE III. Dunsinane. A Room in the Castle.

SCENE IV. Country nearDunsinane: a Wood in view.

SCENE V. Dunsinane. Within the castle.

SCENE VI. The same. A Plain before the Castle.

SCENE VII. The same. Another part of the Plain.

SCENE VIII. The same. Another part of the field.

LOVE'S LABOUR'S LOST

SCENE: Navarre

ACT I.

SCENE I. The King of Navarre's park

SCENE II. The park.

ACT II.

SCENE II. The King of Navarre's park. A pavilion and tents at a distance.

ACT III.

SCENE I. The King of Navarre's park.

ACT IV.

SCENE I. The King of Navarre's park.

SCENE II. The same.

SCENE III. The same.

ACT V.

SCENE I. The King of Navarre's park.

SCENE II. The same. Before the Princess's pavilion.

THE LIFE OF TIMON OF ATHENS

DRAMATIS PERSONAE

Scene.—Athens, and the neighbouring Woods.

Act I. Scene I.—Athens. A Hall in TIMON'S House

Scene II.— The Same. A room of state in TIMON'S House.

Act II.

Scene I. Athens. A Room in a SENATOR'S House.

Scene II. The same. A Hall in TIMON'S House.

Act III. Scene I. Athens. A Room in LUCULLUS' House.

Scene II. A Public Place.

Scene III. The Same. A Room in SEMPRONIUS' House.

Scene IV. A hall in TIMON'S House.

Scene V. The Same. The Senate House. The Senate Sitting.

Scene VI. A room of State 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 Caves near the Sea-shore.

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 LIFE OF KING HENRY V

DRAMATIS PERSONAE

CHORUS.

SCENE: England; afterwards France.

PROLOGUE.

CHORUS.

ACT FIRST.

SCENE I. London. An ante-chamber in the King's palace.

SCENE II. The same. The presence chamber.

ACT II.

PROLOGUE.

SCENE I. London. A street.

SCENE II. Southampton. A council-chamber.

BEDFORD.

SCENE III. London. Before a tavern.

PISTOL.

SCENE IV. France. The King's palace.

ACT THIRD.

PROLOGUE.

CHORUS.

SCENE I. France. Before Harfleur.

SCENE II. The same.

NYM.

SCENE III. Before the gates.

SCENE IV. The French King's palace.

ALICE.

SCENE V. The same.

SCENE VI. The English camp in Picardy.

SCENE VII. The French camp, near Agincourt.

CONSTABLE.

ACT IV.

PROLOGUE.

SCENE I. The English camp at Agincourt.

SCENE II. The French camp.

SCENE III. The English camp.

SCENE IV. The field of battle.

SCENE V. Another part of the field.

SCENE VI. Another part of the field.

SCENE VII. Another part of the field.

SCENE VIII. Before King Henry's pavilion.

ACT FIFTH.

PROLOGUE.

SCENE I. France. The English camp.

SCENE II. France. A royal palace.

EPILOGUE.

THE LIFE OF KING HENRY THE FIFTH

DRAMATIS PERSONAE

BOY A HERALD

SCENE: England and France

PROLOGUE PROLOGUE.

ACT I. SCENE I. London. An ante-chamber in the KING'S palace

SCENE II. London. The Presence Chamber in the KING'S palace

ACT II. PROLOGUE.

SCENE I. London. Before the Boar's Head Tavern, Eastcheap

SCENE II. Southampton. A council-chamber

SCENE III. Eastcheap. Before the Boar's Head tavern

SCENE IV. France. The KING'S palace

ACT III. PROLOGUE.

SCENE I. France. Before Harfleur

SCENE II. Before Harfleur

SCENE III. Before the gates of Harfleur

SCENE IV. Rouen. The FRENCH KING'S palace

SCENE V. The FRENCH KING'S palace

SCENE VI. The English camp in Picardy

SCENE VII. The French camp near Agincourt

ACT IV. PROLOGUE.

SCENE I. France. The English camp at Agincourt

SCENE II. The French camp

SCENE III. The English camp

SCENE IV. The field of battle

SCENE V. Another part of the field of battle

SCENE VI. Another part of the field

SCENE VII. Another part of the field

SCENE VIII. Before KING HENRY'S PAVILION

ACT V. PROLOGUE.

SCENE I. France. The English camp

SCENE II. France. The FRENCH KING'S palace

EPILOGUE EPILOGUE.

THE LIFE OF HENRY THE EIGHTH

DRAMATIS PERSONAE

SCENE: London; Westminster; Kimbolton

THE PROLOGUE.

ACT I.

SCENE 1. 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 1. 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 THIRD

SCENE I. London. The Queen's apartments.

SONG

SCENE II. Ante-chamber to the King's apartment.

ACT FOURTH

SCENE I. A street in Westminster.

THE ORDER OF THE CORONATION.

SCENE II. Kimbolton.

ACT FIFTH

SCENE I. A gallery in the palace.

SCENE II. Lobby before the council-chamber.

SCENE III. The council-chamber.

SCENE IV. The palace yard.

SCENE V. The palace.

EPILOGUE

KING RICHARD THE SECOND

DRAMATIS PERSONAE

SCENE: England and Wales

ACT 1 SCENE 1 London. The palace

SCENE 2 London. The DUKE OF LANCASTER'S palace

SCENE 3 The lists at Coventry

SCENE 4 London. The court

ACT 2 SCENE 1 London. Ely House

SCENE 2 Windsor Castle

SCENE 3 Gloucestershire

SCENE 4 A camp in Wales

ACT 3 SCENE 1 BOLINGBROKE'S camp at Bristol

SCENE 2 The coast of Wales. A castle in view

SCENE 3 Wales. Before Flint Castle

SCENE 4 The DUKE OF YORK's garden

ACT 4 SCENE 1 Westminster Hall

ACT 5 SCENE 1 London. A street leading to the Tower

SCENE 2 The DUKE OF YORK's palace

SCENE 3 Windsor Castle

SCENE 4 Windsor Castle

SCENE 5 Pomfret Castle. The dungeon of the Castle

SCENE 6 Windsor Castle

KING RICHARD III

EDWARD THE FOURTH

SCENE: England

ACT I. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

ACT II. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

ACT III. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4

SCENE 5.

SCENE 6.

SCENE 7.

ACT IV. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

SCENE 5.

ACT V. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

SCENE 5.

THE END

KING JOHN

PERSONS REPRESENTED

SCENE: Sometimes in England, and sometimes in France.

ACT I.

SCENE 1. Northampton. A Room of State in the Palace.

ACT II.

SCENE 1. France. Before the walls of Angiers.

ACT III.

SCENE 1. France. The FRENCH KING'S tent.

SCENE 2. The same. Plains near Angiers

SCENE 3. The same.

SCENE 4. The same. The FRENCH KING's tent.

ACT IV.

SCENE 1. Northampton. A Room in the Castle.

SCENE 2.The same. A Room of State in the Palace.

SCENE 3. The same. Before the castle.

ACT V.

SCENE 1. Northampton. A Room in the Palace.

SCENE 2. Near Saint Edmunds-bury. The French Camp.

SCENE 3. The same. The Field of Battle.

SCENE 4. The same. Another part of the same.

SCENE 5. The same. The French camp.

SCENE 6. An open place in the neighborhood of Swinstead Abbey.

SCENE 7. The orchard of Swinstead Abbey.

KING HENRY THE EIGHTH

DRAMATIS PERSONAE

SCENE:

KING HENRY THE EIGHTH

THE PROLOGUE.

ACT I. SCENE 1.

ACT I. SCENE 2.

ACT I. SCENE 3.

ACT I. SCENE 4.

ACT II. SCENE 1.

ACT II. SCENE 2.

ACT II. SCENE 3.

ACT II. SCENE 4.

ACT III. SCENE 1.

SONG

ACT III.SCENE 2.

ACT IV. SCENE 1.

THE ORDER OF THE CORONATION.

ACT IV. SCENE 2.

THE VISION.

ACT V. SCENE 1.

ACT V. SCENE 2.

ACT V. SCENE 3.

ACT V. SCENE 4.

ACT V. SCENE 5.

KING_HENRY_VIII|EPILOGUE THE EPILOGUE.

THE END

THE LIFE OF KING HENRY THE FIFTH

DRAMATIS PERSONAE

BOY A HERALD

SCENE: England and France

PROLOGUE PROLOGUE.

ACT I. SCENE I. London. An ante-chamber in the KING'S palace

SCENE II. London. The Presence Chamber in the KING'S palace

ACT II. PROLOGUE.

SCENE I. London. Before the Boar's Head Tavern, Eastcheap

SCENE II. Southampton. A council-chamber

SCENE III. Eastcheap. Before the Boar's Head tavern

SCENE IV. France. The KING'S palace

ACT III. PROLOGUE.

SCENE I. France. Before Harfleur

SCENE II. Before Harfleur

SCENE III. Before the gates of Harfleur

SCENE IV. Rouen. The FRENCH KING'S palace

SCENE V. The FRENCH KING'S palace

SCENE VI. The English camp in Picardy

SCENE VII. The French camp near Agincourt

ACT IV. PROLOGUE.

SCENE I. France. The English camp at Agincourt

SCENE II. The French camp

SCENE III. The English camp

SCENE IV. The field of battle

SCENE V. Another part of the field of battle

SCENE VI. Another part of the field

SCENE VII. Another part of the field

SCENE VIII. Before KING HENRY'S PAVILION

ACT V. PROLOGUE.

SCENE I. France. The English camp

SCENE II. France. The FRENCH KING'S palace

EPILOGUE EPILOGUE.

THE END

KING HENRY THE FIFTH,

ARRANGED FOR REPRESENTATION AT

THE PRINCESS’S THEATRE,

WITH

HISTORICAL AND EXPLANATORY NOTES,

BY

CHARLES KEAN, F.S.A.,

AS FIRST PERFORMED

On MONDAY, MARCH 28th, 1859.

ENTERED AT STATIONERS’ HALL.

PRINTED BY JOHN K. CHAPMAN AND CO.,

5, SHOE LANE, AND PETERBOROUGH COURT, FLEET STREET.

JOHN K. CHAPMAN AND COMPANY, 5, SHOE LANE, AND PETERBOROUGH COURT, FLEET STREET.

DRAMATIS PERSONÆ.

STAGE DIRECTIONS.

RELATIVE POSITIONS OF THE PERFORMERS WHEN ON THE STAGE.

PREFACE.

KING HENRY THE FIFTH.

Enter Chorus.

ACT I.

Scene I.—THE PAINTED CHAMBER IN THE ROYAL PALACE AT WESTMINSTER.

Scene II.—EASTCHEAP, LONDON.

END OF FIRST ACT.

HISTORICAL NOTE TO CHORUS—ACT FIRST

HISTORICAL NOTES TO ACT FIRST.

Enter Chorus.

ACT II.

Scene I.—COUNCIL CHAMBER IN SOUTHAMPTON CASTLE.

Scene II.—FRANCE. A ROOM IN THE FRENCH KING’S PALACE.

END OF ACT SECOND.

HISTORICAL NOTES TO CHORUS—ACT SECOND.

HISTORICAL NOTES TO ACT SECOND.

Enter Chorus.

SCENE CHANGES TO

THE SIEGE OF HARFLEUR.

THE WALLS ARE MANNED BY THE FRENCH.

THE ENGLISH ARE REPULSED FROM AN ATTACK ON THE BREACH.

ACT III.

Scene I.—FRANCE. ROOM IN THE FRENCH KING’S PALACE.

Scene II.—A VIEW IN PICARDY.

END OF ACT THIRD.

HISTORICAL NOTES TO ACT THIRD.

Enter Chorus.

SCENE CLOSES IN.

ACT IV.

Scene I.—THE ENGLISH CAMP AT AGINCOURT.(A) NIGHT.

Scene II.—THE FRENCH CAMP—SUNRISE.

Scene III.—THE ENGLISH POSITION AT AGINCOURT.

Scene IV.—ANOTHER PART OF THE FIELD OF BATTLE.

Scene V.—THE FIELD OF AGINCOURT AFTER THE BATTLE.

Scene VI.—BEFORE KING HENRY’S PAVILION.

END OF ACT FOUR.

HISTORICAL NOTES TO ACT FOURTH.

Enter Chorus.

HISTORICAL EPISODE.

OLD LONDON BRIDGE

FROM THE SURREY SIDE OF THE RIVER.

RECEPTION OF KING HENRY THE FIFTH

ON ENTERING LONDON,

AFTER THE BATTLE OF AGINCOURT. *

ACT V.

Scene I.—FRANCE IN THE NEIGHBOURHOOD OF TROYES.

Scene II.—INTERIOR OF THE CATHEDRAL AT TROYES IN CHAMPAGNE.

KING HENRY THE EIGHTH

DRAMATIS PERSONAE

SCENE:

KING HENRY THE EIGHTH

THE PROLOGUE.

ACT I. SCENE 1.

ACT I. SCENE 2.

ACT I. SCENE 3.

ACT I. SCENE 4.

ACT II. SCENE 1.

ACT II. SCENE 2.

ACT II. SCENE 3.

ACT II. SCENE 4.

ACT III. SCENE 1.

SONG

ACT III.SCENE 2.

ACT IV. SCENE 1.

THE ORDER OF THE CORONATION.

ACT IV. SCENE 2.

THE VISION.

ACT V. SCENE 1.

ACT V. SCENE 2.

ACT V. SCENE 3.

ACT V. SCENE 4.

ACT V. SCENE 5.

KING_HENRY_VIII|EPILOGUE THE EPILOGUE.

KING HENRY IV, THE FIRST PART

SCENE.—England.

ACT I.

SCENE I. London. A Room in the Palace.

Scene II. The same. An Apartment of Prince Henry's.

POINTZ.

Scene III. The Same. A Room in the Palace.

NORTH.

HOT.

ACT II.

Scene I. Rochester. An Inn-Yard.

Scene II. The Road by Gads-hill.

PRINCE.

Scene III. Warkworth. A Room in the Castle.

Scene IV. Eastcheap. A Room in the Boar's-Head Tavern.

PRINCE.

PRINCE.

ACT III.

Scene I. Bangor. A Room in the Archdeacon's House.

Scene II. London. A Room in the Palace.

Scene III. Eastcheap. A Room in the Boar's-Head Tavern.

FAL.

PRINCE.

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. A Room in the Archbishop's Palace.

ACT V.

Scene I. The King'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.

KING HENRY IV, SECOND PART

SCENE: England.

INDUCTION

ACT I.

SCENE 1. 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 Justice 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 1. 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.

EPILOGUE.

JULIUS CAESAR

PERSONS REPRESENTED

SCENE: Rome, the conspirators' camp near Sardis, and the plains of Philippi.

ACT I.

SCENE I. Rome. A street.

SCENE II. The same. A public place.

SCENE III. The same. A street.

ACT II.

SCENE I. Rome. BRUTUS'S orchard.

SCENE II. A room in Caesar's palace.

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.

SCENE II. The same. The Forum.

SCENE III. The same. A street.

ACT IV.

SCENE I. Rome. A room in Antony's house.

SCENE II. Before Brutus' tent, in the camp near Sardis.

SCENE III. within the tent of Brutus.

ACT V.

SCENE I. The plains of Philippi.

SCENE II. The same. 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.

THE HISTORY OF TROILUS AND CRESSIDA

DRAMATIS PERSONAE

SCENE: Troy and the Greek camp before it

PROLOGUE

TROILUS AND CRESSIDA

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

NESTOR.

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

AGAMEMNON.

ACT V.

SCENE 1. The Grecian camp. Before the tent of ACHILLES

ULYSSES.

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

THE FIRST PART OF KING HENRY THE FOURTH

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. Eastcheap. The Boar's Head Tavern.

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. The King'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.

SECOND PART OF KING HENRY IV

SCENE: England

ACT I. SCENE I. Warkworth. Before NORTHUMBERLAND'S Castle

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 Justice, SHALLOW'S house

ACT IV. SCENE I. Yorkshire. Within the Forest of Gaultree

SCENE II. Another part of the forest

SCENE III. Another part of the forest

SCENE IV. Westminster. The Jerusalem Chamber

SCENE V. Westminster. 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. Westminster. Near the Abbey

EPILOGUE EPILOGUE.

KING HENRY VI, FIRST PART

SCENE: Partly in England, and partly in France

ACT FIRST

SCENE I

SCENE II.

SCENE III.

SCENE IV. Orleans.

SCENE V. The same.

SCENE VI. The Same.

ACT SECOND

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 THIRD

SCENE I. London. The Parliament-house.

SCENE II. France. Before Rouen.

SCENE III. The plains near Rouen.

SCENE IV. Paris. The palace.

ACT FOURTH

SCENE I. Paris. A hall of state.

SCENE II. Before Bordeaux.

SCENE III. Plains in Gascony.

SCENE IV. Other plains in Gascony.

SCENE V. The English camp near Bordeaux.

SCENE VI. A field of battle.

SCENE VII. Another part of the field.

ACT FIFTH

SCENE I. London. The palace.

SCENE II. France. Plains in Anjou.

SCENE III. Before Angiers.

SCENE IV. Camp of the Duke of York in Anjou.

SCENE V. London. The royal palace.

HISTORY OF KING HENRY THE SIXTH, SECOND PART

SCENE: England.

ACT I

SCENE I. London. The palace

SCENE II. The Duke of Gloster's House.

SCENE III. London. The palace.

SCENE IV. Gloster's Garden

ACT II

SCENE I. Saint Alban's.

SCENE II. London. The Duke of 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 Saint Alban's.

THE HISTORY OF KING HENRY THE SIXTH, THIRD PART

DRAMATIS PERSONAE

SCENE: England and France.

ACT I

SCENE I. London. The Parliament-house

SCENE II. Sandal Castle

SCENE III. Plains near Sandal Castle.

SCENE IV. The Same

ACT II.

SCENE I. A plain near Mortimer's Cross in Herefordshire.

SCENE II. Before York

SCENE III. A field of battle between Towton.

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. The palace.

SCENE III. France. The King'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 wear Tewkesbury

SCENE V. Another part of the Field.

SCENE VI. London. The Tower.

SCENE 7. London. The Palace.

The first Part of Henry the Sixt

SENNET.

The second Part of Henry the Sixt

The third Part of Henry the Sixt

The Famous History of the Life of King Henry the Eight

THE PROLOGVE.

SONG.

The Life of Henry the Fift

The First Part of Henry the Fourth

The Second Part of Henry the Fourth

INDVCTION.

FINIS. EPILOGVE.

THE ACTORS NAMES.

HAMLET, PRINCE OF DENMARK

PERSONS REPRESENTED.

SCENE. Elsinore.

ACT I.

Scene I. Elsinore. A platform before the Castle.

Scene II. Elsinore. A room of state in the Castle.

Scene III. A room in Polonius's house.

Scene IV. The platform.

Scene V. A more remote part of the Castle.

Act II.

Scene I. A room in Polonius's 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. Another room in the castle.

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.

THE TRAGEDY OF HAMLET, PRINCE OF DENMARK

SCENE.- Elsinore.

ACT I. Scene I. Elsinore. A platform before the Castle.

Scene II. Elsinore. A room of state in the Castle.

Scene III. Elsinore. A room in the house of Polonius.

Scene IV. Elsinore. The platform before the Castle.

Scene V. Elsinore. The Castle. Another part of the fortifications.

Act II. Scene I. Elsinore. A room in the house of Polonius.

Scene II. Elsinore. A room in the Castle.

HAMLET.'

ACT III. Scene I. Elsinore. A room in the Castle.

Scene II. Elsinore. hall in the Castle.

Scene III. A room in the Castle.

Scene IV. The Queen's closet.

ACT IV. Scene I. Elsinore. A room in the Castle.

Scene II. Elsinore. A passage in the Castle.

Scene III. Elsinore. A room in the Castle.

Scene IV. Near Elsinore.

Scene V. Elsinore. A room in the Castle.

Scene VI. Elsinore. Another room in the Castle.

Scene VII. Elsinore. Another room in the Castle.

ACT V. Scene I. Elsinore. A churchyard.

Scene II. Elsinore. A hall in the Castle.

THE FIRST PART OF KING HENRY THE FOURTH

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. Eastcheap. The Boar's Head Tavern.

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. The King'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.

THE FIRST PART OF HENRY THE SIXTH

SCENE: England and France

ACT I. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

SCENE 5.

SCENE 6.

ORLEANS

ACT II. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

SCENE 5.

ACT III. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

ACT IV. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

SCENE 5.

SCENE 6.

SCENE 7.

ACT V. SCENE 1.

SCENE 2.

SCENE 3.

SCENE 4.

SCENE 5.

A FAIRY TALE IN TWO ACTS, TAKEN FROM SHAKESPEARE.

MDCCLXIII.

DRAMATIS PERSONAE.

MEN.

FAIRIES.

SCENE, Athens, and a Wood not far from it.

A FAIRY TALE.

ACT I. SCENE I.

SCENE a Room in Quince's House.

QUINCE.

II.

SCENE, a Wood.

AIR.

AIR.

AIR. DUET.

SCENE another part of the Wood.

AIR.

SCENE The Wood.

AIR.

II.

AIR.

ACT II.

SCENE Continues.

AIR.

SCENE Another part of the Wood.

AIR.

SCENE The Wood and Bower.

AIR.

AIR.

AIR.

CYMBELINE

SCENE: Britain; Rome.

ACT FIRST.

SCENE I. Britain. The garden of Cymbeline's palace.

SCENE II.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SCENE III.

SCENE IV.

SCENE V.

CORNELIUS.

QUEEN.

CORNELIUS.

SCENE VI.

IACHIMO.

IMOGEN.

ACT II. SCENE I.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SECOND LORD.

SCENE II.

SCENE III.

SONG

SCENE IV.

SCENE V.

ACT FIFTH. SCENE I.

SCENE II.

SCENE III.

SCENE IV.

POSTHUMUS.

SCENE V.

PISANIO.

POSTHUMUS.

POSTHUMUS.

IMOGEN.

BELARIUS.

IACHIMO.

SOOTHSAYER.

THE TRAGEDY OF CORIOLANUS

SCENE: Rome and the neighbourhood; Corioli and the neighbourhood; Antium

ACT I. SCENE I. Rome. A street

SCENE II. Corioli. The Senate House.

SCENE III. Rome. 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. The house of CORIOLANUS

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' house

SCENE V. Antium. AUFIDIUS' 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. The Volscian camp before Rome

SCENE III. The tent of CORIOLANUS

SCENE IV. Rome. A public place

SCENE V. Rome. A street near the gate

SCENE VI. Corioli. A public place

THE COMEDY OF ERRORS

PERSONS REPRESENTED.

SCENE: Ephesus

THE COMEDY OF ERRORS

ACT I.

SCENE 1. A hall in the DUKE'S palace.

SCENE 2. A public place.

ACT II.

SCENE 1. A public place.

SCENE 2. The same.

ACT III.

SCENE 1. The same.

SCENE 2. The same.

ACT IV.

SCENE 1. The same.

SCENE 2. The same.

SCENE 3. The same.

SCENE 4. The same.

ACT V.

SCENE 1. The same.

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.

SONG

SCENE VI.

SCENE VII.

ACT III. SCENE I.

SCENE II.

SCENE III.

SCENE IV.

SCENE V.

ACT IV. SCENE I.

SCENE II.

SONG.

SCENE III.

ACT V. SCENE I.

SCENE II.

SCENE III.

SCENE IV.

EPILOGUE EPILOGUE.

ANTONY AND CLEOPATRA

PERSONS REPRESENTED.

SCENE: Dispersed, in several parts of the Roman Empire.

ACT I.

SCENE I. Alexandria. A Room in CLEOPATRA'S palace.

SCENE II. Alexandria. Another Room in CLEOPATRA'S palace.

SCENE III. Alexandria. A Room in CLEOPATRA'S palace.

SCENE IV. Rome. An Apartment in CAESAR'S House.

SCENE V. Alexandria. A Room in the Palace.

ACT II.

SCENE I. Messina. A Room in POMPEY'S house.

SCENE II. Rome. A Room in the House of LEPIDUS.

SCENE III. Rome. A Room in CAESAR'S House.

SCENE IV. Rome. A street.

SCENE V. Alexandria. A Room in the Palace.

SCENE VI. Near Misenum.

SCENE VII. On board POMPEY'S Galley, lying near Misenum.

ACT III.

SCENE I. A plain in Syria.

SCENE II. Rome. An Ante-chamber in CAESAR'S house.

SCENE III. Alexandria. A Room in the Palace.

SCENE IV. Athens. A Room in ANTONY'S House.

SCENE V. Athens. Another Room in ANTONY'S House.

SCENE VI. Rome. A Room in CAESAR'S House.

SCENE VII. ANTONY'S Camp near the Promontory of Actium.

SCENE VIII. A plain near Actium.

SCENE IX. Another part of the Plain.

SCENE X. Another part of the Plain.

SCENE XI. Alexandria. A Room in the Palace.

SCENE XII. CAESAR'S camp in Egypt.

SCENE XIII. Alexandria. A Room in the Palace.

CLEOPATRA. O!

ACT IV. SCENE I. CAESAR'S Camp at Alexandria.

SCENE II. Alexandria. A Room in the Palace.

SCENE III. Alexandria. Before the Palace.

SCENE IV. Alexandria. A Room in the Palace.

SCENE V. ANTONY'S camp near Alexandria.

SCENE VI. Alexandria. CAESAR'S camp.

SCENE VII. Field of battle between the Camps.

SCENE VIII. Under the Walls of Alexandria.

SCENE IX. CAESAR'S camp.

SCENE X. Ground between the two Camps.

SCENE XI. Another part of the Ground.

SCENE XII. Another part of the Ground.

SCENE XIII. Alexandria. A Room in the Palace.

SCENE XIV. Alexandria. Another Room.

SCENE XV. Alexandria. A monument.

ACT V.

SCENE I. CAESAR'S Camp before Alexandria.

SCENE II. Alexandria. A Room in the Monument.

ALL'S WELL THAT ENDS WELL

PERSONS REPRESENTED.

SCENE: Partly in France, and partly in Tuscany.

ACT I.

SCENE 1. Rousillon. A room in the COUNTESS'S palace.

SCENE 2. Paris. A room in the King's palace.

SCENE 3. Rousillon. A Room in the Palace.

ACT II.

SCENE 1. Paris. A room in the King's palace.

SCENE 2. Rousillon. A room in the COUNTESS'S palace.

SCENE 3. Paris. The KING'S palace.

SCENE 4. The same. Another room in the same.

SCENE 5. Another room in the same.

ACT III.

SCENE 1. Florence. A room in the DUKE's palace.

SCENE 2. Rousillon. A room in the COUNTESS'S palace.

SCENE 3. Florence. Before the DUKE's palace.

SCENE 4. Rousillon. A room in the COUNTESS'S palace.

SCENE 5. Without the walls of Florence.

SCENE 6. Camp before Florence.

SCENE 7. Florence. A room in the WIDOW'S house.

ACT IV.

SCENE 1. Without the Florentine camp.

PAROLLES. O!

SCENE 2. Florence. A room in the WIDOW'S house.

SCENE 3. The Florentine camp.

SCENE 4. Florence. A room in the Widow's house.

SCENE 5. Rousillon. A room in the COUNTESS'S palace.

ACT V.

SCENE 1. Marseilles. A street.

SCENE 2. Rousillon. The inner court of the COUNTESS'S palace.

SCENE 3. The same. A room in the COUNTESS'S palace.

THE END

THE PHOENIX AND THE TURTLE

THRENOS.

THE RAPE OF LUCRECE

TO THE

RIGHT HONOURABLE HENRY WRIOTHESLY,

EARL OF SOUTHHAMPTON, AND BARON OF TICHFIELD.

SHAKESPEARE'S PLAY OF

THE MERCHANT OF VENICE,

ARRANGED FOR REPRESENTATION AT

THE PRINCESS'S THEATRE,

WITH HISTORICAL AND EXPLANATORY NOTES,

DRAMATIS PERSONAE.

AS FIRST PERFORMED, SATURDAY, JUNE 12, 1858.

PREFACE.

ACT I.

SCENE I.—VENICE.(A) SAINT MARK'S PLACE.(B)

FOOTNOTES:

SCENE II.—BELMONT. A ROOM IN PORTIA'S HOUSE.

FOOTNOTES:

SCENE III.—THE MERCHANT'S EXCHANGE ON THE RIALTO ISLAND.(c) SAN JACOPO, THE MOST ANCIENT CHURCH IN VENICE, OCCUPIES ONE SIDE OF THE SQUARE.

FOOTNOTES:

SCENE IV.—SALOON OF THE CASKETS IN PORTIA'S HOUSE, AT BELMONT.

FOOTNOTES:

HISTORICAL NOTES TO ACT FIRST.

ACT II.

SCENE I.—VENICE.(A) EXTERIOR OF SHYLOCK'S HOUSE.

HISTORICAL NOTES TO ACT SECOND.

FOOTNOTES:

ACT III.

SCENE I.—SALOON OF THE CASKETS IN PORTIA'S HOUSE AT BELMONT.

FOOTNOTES:

SCENE II.—RIALTO BRIDGE (A), AND GRAND CANAL.

FOOTNOTES:

SCENE III.—SALOON OF THE CASKETS, IN PORTIA'S HOUSE, AT BELMONT.

FOOTNOTES:

SCENE IV.—VENICE. THE COLUMNS OF ST. MARK. (c).

FOOTNOTES:

SCENE V.—SALOON OF THE CASKETS IN PORTIA'S HOUSE AT BELMONT.

HISTORICAL NOTES TO ACT THIRD.

FOOTNOTES:

ACT IV.

SCENE I.—VENICE. A COURT OF JUSTICE.(A)

SCENE II.—VENICE. THE FOSCARI GATE OF THE DUCAL PALACE, LEADING TO THE GIANT'S STAIRCASE.

FOOTNOTES:

HISTORICAL NOTES TO ACT FOURTH.

ACT V.

SCENE I.—BELMONT. AVENUE TO PORTIA'S HOUSE.

FOOTNOTES:

THE SONNETS

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SONNETS TO SUNDRY NOTES OF MUSIC

I.

II.

III.

IV.

V.

LOVE'S ANSWER.

VI.

Twelfe Night, Or what you will

VENUS AND ADONIS

TO THE RIGHT HONOURABLE HENRY WRIOTHESLEY, EARL OF SOUHAMPTON, AND BARON OF TICHFIELD. > RIGHT HONOURABLE,

VENUS AND ADONIS

THE WINTER'S TALE

Dramatis Personae

Scene:

ACT I.

ACT II.

ACT III.

ACT IV.

ACT V.

First Edition

THE TWO GENTLEMEN OF VERONA

by William Shakespeare

DRAMATIS PERSONAE

DUKE OF MILAN, father to Silvia

VALENTINE, one of the two gentlemen

PROTEUS, one of the two gentlemen

ANTONIO, father to Proteus

THURIO, a foolish rival to Valentine

EGLAMOUR, agent for Silvia in her escape

SPEED, a clownish servant to Valentine

LAUNCE, the like to Proteus

PANTHINO, servant to Antonio

HOST, where Julia lodges in Milan

OUTLAWS, with Valentine

JULIA, a lady of Verona, beloved of Proteus

SILVIA, beloved of Valentine

LUCETTA, waiting-woman to Julia

SERVANTS, MUSICIANS

SCENE: Verona; Milan; the frontiers of Mantua

ACT 1.

SCENE I. Verona. An open place

[Enter VALENTINE and PROTEUS.]

VALENTINE.

Cease to persuade, my loving Proteus:

Home-keeping youth have ever homely wits.

Were't not affection chains thy tender days

To the sweet glances of thy honour'd love,

I rather would entreat thy company

To see the wonders of the world abroad,

Than, living dully sluggardiz'd at home,

Wear out thy youth with shapeless idleness.

But since thou lov'st, love still, and thrive therein,

Even as I would, when I to love begin.

PROTEUS.

Wilt thou be gone? Sweet Valentine, adieu!

Think on thy Proteus, when thou haply seest

Some rare noteworthy object in thy travel:

Wish me partaker in thy happiness

When thou dost meet good hap; and in thy danger,

If ever danger do environ thee,

Commend thy grievance to my holy prayers,

For I will be thy headsman, Valentine.

VALENTINE.

And on a love-book pray for my success?

PROTEUS.

Upon some book I love I'll pray for thee.

VALENTINE.

That's on some shallow story of deep love,

How young Leander cross'd the Hellespont.

PROTEUS.

That's a deep story of a deeper love;

For he was more than over shoes in love.

VALENTINE.

'Tis true; for you are over boots in love,

And yet you never swum the Hellespont.

PROTEUS.

Over the boots? Nay, give me not the boots.

VALENTINE.

No, I will not, for it boots thee not.

PROTEUS.

What?

VALENTINE.

To be in love, where scorn is bought with groans;

Coy looks with heart-sore sighs; one fading moment's mirth

With twenty watchful, weary, tedious nights:

If haply won, perhaps a hapless gain;

If lost, why then a grievous labour won:

However, but a folly bought with wit,

Or else a wit by folly vanquished.

PROTEUS.

So, by your circumstance, you call me fool.

VALENTINE.

So, by your circumstance, I fear you'll prove.

PROTEUS.

'Tis love you cavil at: I am not Love.

VALENTINE.

Love is your master, for he masters you;

And he that is so yoked by a fool,

Methinks, should not be chronicled for wise.

PROTEUS.

Yet writers say, as in the sweetest bud

The eating canker dwells, so eating love

Inhabits in the finest wits of all.

VALENTINE.

And writers say, as the most forward bud

Is eaten by the canker ere it blow,

Even so by love the young and tender wit

Is turned to folly; blasting in the bud,

Losing his verdure even in the prime,

And all the fair effects of future hopes.

But wherefore waste I time to counsel the

That art a votary to fond desire?

Once more adieu! my father at the road

Expects my coming, there to see me shipp'd.

PROTEUS.

And thither will I bring thee, Valentine.

VALENTINE.

Sweet Proteus, no; now let us take our leave.

To Milan let me hear from thee by letters

Of thy success in love, and what news else

Betideth here in absence of thy friend;

And I likewise will visit thee with mine.

PROTEUS.

All happiness bechance to thee in Milan!

VALENTINE.

As much to you at home! and so farewell!

[Exit.]

PROTEUS.

He after honour hunts, I after love;

He leaves his friends to dignify them more:

I leave myself, my friends, and all for love.

Thou, Julia, thou hast metamorphos'd me;—

Made me neglect my studies, lose my time,

War with good counsel, set the world at nought;

Made wit with musing weak, heart sick with thought.

[Enter SPEED.]

SPEED.

Sir Proteus, save you! Saw you my master?

PROTEUS.

But now he parted hence to embark for Milan.

SPEED.

Twenty to one then he is shipp'd already,

And I have play'd the sheep in losing him.

PROTEUS.

Indeed a sheep doth very often stray,

An if the shepherd be a while away.

SPEED.

You conclude that my master is a shepherd then, and

I a sheep?

PROTEUS.

I do.

SPEED.

Why then, my horns are his horns, whether I wake or sleep.

PROTEUS.

A silly answer, and fitting well a sheep.

SPEED.

This proves me still a sheep.

PROTEUS.

True; and thy master a shepherd.

SPEED.

Nay, that I can deny by a circumstance.

PROTEUS.

It shall go hard but I'll prove it by another.

SPEED. The shepherd seeks the sheep, and not the sheep the shepherd; but I seek my master, and my master seeks not me; therefore, I am no sheep.

PROTEUS. The sheep for fodder follow the shepherd; the shepherd for food follows not the sheep: thou for wages followest thy master; thy master for wages follows not thee. Therefore, thou art a sheep.

SPEED.

Such another proof will make me cry 'baa.'

PROTEUS.

But, dost thou hear? gavest thou my letter to Julia?

SPEED. Ay, sir; I, a lost mutton, gave your letter to her, a laced mutton; and she, a laced mutton, gave me, a lost mutton, nothing for my labour.

PROTEUS.

Here's too small a pasture for such store of muttons.

SPEED.

If the ground be overcharged, you were best stick her.

PROTEUS.

Nay, in that you are astray: 'twere best pound you.

SPEED. Nay, sir, less than a pound shall serve me for carrying your letter.

PROTEUS.

You mistake; I mean the pound,—a pinfold.

SPEED.

From a pound to a pin? fold it over and over,

'Tis threefold too little for carrying a letter to your lover.

PROTEUS.

But what said she? [SPEED nods.] Did she nod?

[SPEED] Ay.

PROTEUS. Nod, ay? Why, that's noddy.

SPEED. You mistook, sir; I say she did nod; and you ask me if she did nod; and I say, Ay.

PROTEUS.

And that set together is—noddy.

SPEED. Now you have taken the pains to set it together, take it for your pains.

PROTEUS.

No, no; you shall have it for bearing the letter.

SPEED.

Well, I perceive I must be fain to bear with you.

PROTEUS.

Why, sir, how do you bear with me?

SPEED. Marry, sir, the letter, very orderly; having nothing but the word 'noddy' for my pains.

PROTEUS.

Beshrew me, but you have a quick wit.

SPEED.

And yet it cannot overtake your slow purse.

PROTEUS.

Come, come; open the matter; in brief: what said she?

SPEED. Open your purse, that the money and the matter may be both at once delivered.

PROTEUS. Well, sir, here is for your pains [giving him money]. What said she?

SPEED.

Truly, sir, I think you'll hardly win her.

PROTEUS.

Why, couldst thou perceive so much from her?

SPEED. Sir, I could perceive nothing at all from her; no, not so much as a ducat for delivering your letter; and being so hard to me that brought your mind, I fear she'll prove as hard to you in telling your mind. Give her no token but stones, for she's as hard as steel.

PROTEUS.

What! said she nothing?

SPEED. No, not so much as 'Take this for thy pains.' To testify your bounty, I thank you, you have testerned me; in requital whereof, henceforth carry your letters yourself; and so, sir, I'll commend you to my master.

PROTEUS.

Go, go, be gone, to save your ship from wrack;

Which cannot perish, having thee aboard,

Being destin'd to a drier death on shore.—

[Exit SPEED.]

I must go send some better messenger.

I fear my Julia would not deign my lines,

Receiving them from such a worthless post.

[Exit.]

SCENE 2. THe same. The garden Of JULIA'S house.

[Enter JULIA and LUCETTA.]

JULIA.

But say, Lucetta, now we are alone,

Wouldst thou then counsel me to fall in love?

LUCETTA.

Ay, madam; so you stumble not unheedfully.

JULIA.

Of all the fair resort of gentlemen

That every day with parle encounter me,

In thy opinion which is worthiest love?

LUCETTA.

Please you, repeat their names; I'll show my mind

According to my shallow simple skill.

JULIA.

What think'st thou of the fair Sir Eglamour?

LUCETTA.

As of a knight well-spoken, neat, and fine;

But, were I you, he never should be mine.

JULIA.

What think'st thou of the rich Mercatio?

LUCETTA.

Well of his wealth; but of himself, so so.

JULIA.

What think'st thou of the gentle Proteus?

LUCETTA.

Lord, Lord! to see what folly reigns in us!

JULIA.

How now! what means this passion at his name?

LUCETTA.

Pardon, dear madam; 'tis a passing shame

That I, unworthy body as I am,

Should censure thus on lovely gentlemen.

JULIA.

Why not on Proteus, as of all the rest?

LUCETTA.

Then thus,—of many good I think him best.

JULIA.

Your reason?

LUCETTA.

I have no other but a woman's reason:

I think him so, because I think him so.

JULIA.

And wouldst thou have me cast my love on him?

LUCETTA.

Ay, if you thought your love not cast away.

JULIA.

Why, he, of all the rest, hath never moved me.

LUCETTA.

Yet he, of all the rest, I think, best loves ye.

JULIA.

His little speaking shows his love but small.

LUCETTA.

Fire that's closest kept burns most of all.

JULIA.

They do not love that do not show their love.

LUCETTA.

O! they love least that let men know their love.

JULIA.

I would I knew his mind.

LUCETTA.

Peruse this paper, madam. [Gives a letter.]

JULIA.

'To Julia'—Say, from whom?

LUCETTA.

That the contents will show.

JULIA.

Say, say, who gave it thee?

LUCETTA.

Sir Valentine's page, and sent, I think, from Proteus.

He would have given it you; but I, being in the way,

Did in your name receive it; pardon the fault, I pray.

JULIA.

Now, by my modesty, a goodly broker!

Dare you presume to harbour wanton lines?

To whisper and conspire against my youth?

Now, trust me, 'tis an office of great worth,

And you an officer fit for the place.

There, take the paper; see it be return'd;

Or else return no more into my sight.

LUCETTA.

To plead for love deserves more fee than hate.

JULIA.

Will ye be gone?

LUCETTA.

That you may ruminate.

[Exit.]

JULIA.

And yet, I would I had o'erlook'd the letter.

It were a shame to call her back again,

And pray her to a fault for which I chid her.

What fool is she, that knows I am a maid

And would not force the letter to my view!

Since maids,