Henry IV, Part I

Introduction

Henry IV, Part I continues the story started with Richard II, who Bolingbroke overthrew and had killed and thus became King Henry IV. It then continues with Henry IV, Part II, as we see son Hal being groomed for the throne as Henry V, the great warrior king. His reign is not a long one as Henry V, and his infant son, Henry VI, assumes the throne and Shakespeare writes his story in three parts, mostly focused on the War of the Roses before the sequence is wrapped up when Henry is murdered by Richard III, who then gets his own play. This is a remarkable romp through English history from 1377 (when Richard II becomes king) until 1485 (when Richard III is killed) inclusive. The entire series was immensely popular in the 1590s, as Shakespeare’s audiences knew their recent history and enjoyed watching it staged right before their eyes.

Henry IV faced numerous rebellions, had a wayward son, Hal, as heir apparent, and experienced a lifetime of guilt for the murder of King Richard II, which threw an accusatory light on King Henry IV’s entire reign and brought about the War of the Roses during the reign of his grandson, Henry VI. Henry IV, Part I is famous for Henry IV’s son Hal and his misadventures with a pack of rogues at the Boar’s Head Tavern in Eastcheap, London, led by the infamous Shakespeare creation of Falstaff. Henry IV is deeply disappointed in Hal for much of the play. He would appear to have nothing whatsoever ‘royal’ about him at first. But that all changes, and this is as much what the play is about as anything else, as we witness first hand the grooming of a great monarch. There is a truly astonishing scene wherein Hal takes his father’s crown and puts it on his own head just as King Henry awakens and Hal proclaims himself committed to his future kingship and his fitness to rule. We must remember that Hal goes on to become King Henry V, one of England’s greatest warrior kings. But when he becomes King, Hal must turn his back on Falstaff and company from the Eastcheap tavern life. This is a very dramatic and sentimental metamorphosis , as we witness a one time ruffian and a rogue become a truly gifted king. Falstaff had been like a father to Hal and, although Hal informs us early on that he is merely playing at being a rogue and will throw off his bad behaviour one day and assume his regal responsibilities, his actual father doubts this very much. The tavern life represents a very unruly England under Henry IV’s kingship. Falstaff is the perfect leader of the Cheapside pack of rogues. He is often dark and melancholic, drinking in excess, robbing travellers of their monies, playing loose with the women and perversely lacking in morals. He is also Shakespeare’s greatest riotous wit and his humour laiden life force is over the top compared to any other Bard creation. Hamlet and Falstaff are consistently considered Shakespeare’s finest characters. The surrogate father role Falstaff plays to young Hal is the cornerstone of the play. The seamy underworld that is Eastcheap is Hal’s prerequisite tutorial on his path toward kingship. He learns the ‘common touch’ with the hooligan life and will excel at relating to the people of England throughout his reign. Hal has two father figures in this play. Falstaff is a highly intelligent fleshy wit and supreme survivor while King Henry IV is the law of the land. Hal does well to learn as much as possible from both.

Typical of the history plays, the main character is actually England itself. The country is unifying but also facing rebellions. The classes are at odds with each other and the king is very concerned about passing his crown on to his wayward son. King Henry also suffers from the horrible guilt of King Richard II’s death, and England will play a terrible price for his murder, as the War of the Roses will essentially be fought over who has the tightest claim to the throne as a result of it. And yet, there is a strong comedic element to Henry IV, Part I, mostly due to the enormous character of Falstaff, the embodiment of the irreverent sinner, who is corrupt, vulgar, witty and warm. Falstaff is an absolute show stopper. Queen Elizabeth loved him most of all of Shakespeare’s creations and she literally requested (commanded?) of Shakespeare a romantic comedy featuring Falstaff and the ladies of Eastcheap. That play would become The Merry Wives of Windsor, which Queen Elizabeth adored.

Shakespeare’s deep and extraordinary intelligence is on display throughout Henry IV, Part I and it often appears as an intelligence without limits. One of the factors that makes Falstaff so penetrating a character is how he he relishes in his own extravagance. He seemingly represents Shakespeare at the limits of his very own wit, as he speaks some of the most inspired prose in the history of our language. Falstaff is the master of wit and Hal is Falstaff’s finest creation. Shakespeare peoples his worlds with personas as seemingly real as ourselves, and to witness Falstaff and Hal play off each other is a thorough delight. They are constantly transforming their identities in each new scene with an unparalleled intelligence, exuberance and an insatiable will to live. Hamlet and Falstaff are Shakespeare’s finest creations because of how self aware they are, how teeming with consciousness compared to any other characters in all of world literature. And it was Falstaff who paved the way for Hamlet and so many others. Shakespeare’s deepest and most profound inner-characters include Falstaff, Hamlet, Rosalind, Iago, Lear and his fool, Cleopatra, Richard II, Juliet, Shylock, Hal, Brutus, Macbeth, Lady Macbeth and Prospero. In these characters Shakespeare invented a rich, genuine and varied portrait of human personality so convincing that we continue to recognize ourselves in them today. Falstaff’s wit always needs an audience and he never fails to find one.

Act I (3 scenes)

Scene i

London. The palace

Enter Westmorland and King Henry IV

Westmoreland: “My liege, a post from Wales is loaded with heavy news; the noble Mortimer, fighting against wild Glendower, was by the rude hands of that Welshman taken and a thousand of his people murdered.”

King: “It seems then that the tidings of this broil break off our business with the Holy Land.”

Westmoreland: “More unwelcome news came from the north: the gallant Hotspur there, young Harry Percy, prisoners took.”

King: “Thou makes me sad with envy that Lord Northumberland should be the father of so blest a son, while I see riot and dishonour stain the brow of my young Harry. O that it could be proved that some night-tripping fairy had exchanged in cradle-clothes our children where they lay, and called mine Percy, his Plantagenet! Of the prisoners he keeps I have sent for him to answer this.”

Analysis

A few matters of note right from the start. First, there is a rebellion afoot in Wales and this will keep King Henry from fulfilling his vow to venture to the Holy Land for forgiveness in the death of King Richard II. Richard was badly disconsolate and incompetent toward the end of his reign and Henry usurped his thrown and Richard was murdered by one of Henry’s supporters. With these rebellions King Henry will never find the opportunity to travel to the Holy Land and as a result, his guilt will never ease up. As well, young Harry Hotspur is fighting bravely in the north of England against yet another rebellion and King Henry admits to being sad and envious that Lord Northumberland has such an honourable son, while riot and dishonour stain the reputation of his own son, Hal. The King admits to wishing the two infants might have been exchanged at birth. Hotspur is a foil to Prince Hal all throughout the play. Apparently, Hotspur has taken prisoners and the King has sent for him to answer to these charges.

Act I

Scene ii

London. Prince Hal’s lodgings.

Enter Hal (the Prince of Wales) and Sir John Falstaff

Falstaff: “Hal, what time of day is it, lad?

Prince: “Thou art so fat-witted with the drinking of old sack, and unbuttoning thee after supper, and sleeping on benches after noon… what a devil hast thou to do with the time of day? Unless hours were cups of sack, and minutes capons, and clocks the tongues of bawds, and the blessed sun himself a fair hot wench, I see no reason why thou should be so superfluous to demand the time of day.

Falstaff: “Sweet wag, when thou art king, let not us be called thieves; let us be Diana’s foresters, gentlemen of the shade, and let men say we be men of good government, being governed, by our noble and chaste mistress the moon, under whose countenance we steal.

Prince: “Thou sayest well.

Falstaff: “And is not my hostess of the tavern a most sweet wench, mad wag?”

Prince: “Why, what a pox have I to do with my hostess of the tavern? Did I ever call for thee to pay thy part?”

Falstaff: “No; thou hast paid all.”

Prince: “Yea, so far as my coin would stretch; and where it would not, I have used my credit.”

Falstaff: “Yea, were it not here apparent that thou art heir apparent – but, I prithee, sweet wag, shall there be gallows standing in England when thou art king? Do not, when thou art king, hang a thief. Thou hast done much harm upon me, Hal – God forgive thee for it.”

Prince: “Where shall we take a purse tomorrow? I see a good amendment of life in thee – from praying to purse-taking.”

Falstaff: “Why, Hal, ’tis my vocation; ’tis no sin for a man to labour in his vocation.

Enter Poins

Falstaff: “Poins!”

Prince: “Good morrow, Ned.”

Poins: “Good morrow, sweet Hal. What says Monsieur Remorse? What says Sir John Sack and Sugar? Jack, how agrees the devil and thee about thy soul, that thou soldest him on Good Friday last for a cup of Madeira and a cold capon’s leg?”

Prince: “He will give the devil his due.”

Poins: “My lads, tomorrow there are pilgrims going to Canterbury with rich offerings, and traders riding to London with fat purses. If you will go, I will stuff your purses full of crowns; if you will not, tarry at home and be hanged.”

Falstaff: “Hal, will thou make one?”

Prince: “Who? – I rob, I a thief? Not I, by my faith. Come what will, I’ll tarry at home.”

Falstaff: “I’ll be a traitor then, when thou art king.”

Prince: “I care not.”

Poins: “Sir John, I prithee, leave the Prince and me alone. I will lay him down such reasons for this adventure that he shall go.”

Falstaff: “Well, God give thee the spirit of persuasion, that what he hears may be believed; that the true Prince may, for recreation sake, prove a false thief. Farewell; you shall find me in Eastcheap.”

Exit Falstaff

Poins: “Now, my good lord, ride with us tomorrow. I have a jest to execute that I cannot manage alone. The purpose of this quest will be the incomprehensible lies that this same fat rogue will tell us when we meet at supper: how thirty, at least, he fought with and what extremities he endured.”

Prince: “Well, I’ll go with thee.”

Exit Poins

Prince: (aside) “I know you all, and will awhile uphold the unyoked humour of your idleness; yet herein will I imitate the sun, who doth permit the base contagious clouds to smother up his beauty from the world, that, when he please again to be himself, being wanted, he may be more wondered at by breaking through the foul and ugly mists of vapours that did seem to strangle him. If all the year were playing holidays, to sport would be as tedious as to work. So when this loose behaviour I throw off and pay the debt I never promised, and, my reformation, glittering over my fault, shall show more goodly and attract more eyes, than that which hath no foil to set it off. I’ll so offend to make offence a skill, remembering time when men think least I will.

Analysis

The scenes in Eastcheap with Falstaff, Hal and company are some of the finest and wittiest writing Shakespeare ever penned and here is the first such scene. Falstaff and Hal banter about with each other incessantly. Falstaff is a most complex character. He is a committed criminal, who spends his days drinking sack and making outrageous puns. Yet he is cheerful, energetic, brilliant, unembarrassed, cowardly, bursting with confidence and essentially harmless. His sense of gusto and life energy are unparalleled. He truly loves life, unlike the officials at court, who are busy fighting wars and toppling governments. Falstaff looks after Falstaff with a gusto that is rare. Prince Hal is like a student before Falstaff, learning valuable life lessons that will make him an effective king one day. Poins has a jest to play on Falstaff and Hal is all too ready to participate. A highway robbery has been set up and Poins and Hal shall witness it and then, disguised, will rob the robbers, including Falstaff, certain that the cowards will run for their lives, but then at dinner they will wait for Falstaff to declare how he single handedly fought off thirty men with swords. At the end of the scene Prince Hal reveals, in an aside, that he is only pretending to be a full participant in the Eastcheap scene. “I will awhile uphold the humour of your idleness.” With such low expectations he can then shock his father and others with his sudden emergence as ‘suitable royalty’. Now we know for the remainder of the play of his psychological plan and can anticipate his eventual revelation.

Act I

Scene iii

London. The palace

Enter the King, Hotspur, Worcester and Northumberland

Hotspur: “My liege, I did deny no prisoners. But when the fight was done and I was dry with rage and extreme toil, breathless and faint, leaning upon my sword, came there a certain lord, neat and trimly dressed, fresh as a bridegroom, and as the soldiers bore dead bodies by, he called them untaught knaves and unmannerly demanded my prisoners on your Majesty’s behalf. He made me mad to see him shine so brisk, and smell so sweet. I beseech you, let not his report come current for an accusation betwixt my love and your high Majesty.”

King: “Yet he doth deny his prisoners, that we at our own charge shall ransom straight his brother-in-law, the foolish Mortimer; who, on my soul, hath willfully betrayed the lives of those that he did lead to fight against that great magician, damned Glendower. I shall never hold that man my friend whose tongue shall ask me for one penny cost to ransom home revolted Mortimer!”

Hotspur: “Revolted Mortimer! He never did fall off, my sovereign liege. Let him not be slandered with revolt.”

King: “Sirrah, henceforth let me not hear you speak of Mortimer: send me the prisoners with the speediest means, or you shall hear from me as will displease you. Send us your prisoners.”

Exit King Henry

Hotspur: “And if the devil come and roar for them, I will not send them. Speak of Mortimer! Zounds, I will speak of him; and let my soul want mercy if I do not join with him. I will lift the down-trod Mortimer as high in the air as this unthankful king, as this ingrate and cankered Bolingbroke.”

Worcester: “Was not Mortimer proclaimed by Richard the next of blood?”

Hotspur: “But soft, I pray you: did King Richard proclaim my brother, Edmund Mortimer, heir to the crown?”

Northumberland: “He did: myself did hear it.”

Hotspur: “God pardon it! To put down Richard, that sweet lovely rose, and plant this thorn, this canker, Bolingbroke?”

Worcester: “Those same noble Scots that are your prisoners -“

Hotspur: “I’ll keep them all; he shall not have a Scot of them. He said he would not ransom Mortimer; forbad my tongue to speak of Mortimer; but I will find him when he lies asleep and in his ear I’ll holler ‘Mortimer!’ I’ll have a starling shall be taught to speak nothing but “Mortimer’, and give it him to keep his anger still in motion. All studies here I solemnly defy, save how to gall and pinch this Bolingbroke, and that same sword-and-buckler Prince of Wales – but that I think his father loves him not. I would have poisoned him with a pot of ale. I am whipped and scourged with rods, when I hear this vile politician, Bolingbroke.”

Analysis

Hotspur is a significant player in this story. He is Northumberland’s son and leads a rebellion against the king. Hotspur believes that Mortimer has a better claim to the throne than the king does, but King Henry wants to hear nothing good about Mortimer. Hotspur and King Henry will fall out of sorts completely soon and it will be Hal who steps up on his father’s behalf and confronts Hotspur in single combat. On paper it will appear that dutiful and martial Hotspur will have his way with the wayward and hedonistic Hal, but this is where we must recall that Hal is merely pretending to embrace Falstaff and company in Eastcheap, when in actuality he is preparing to rule England as Henry V. Until that combat between Hotspur and Hal, Hotspur remains a contentious figure at large and at odds with King Henry and a foil to Hal.

Act II (4 scenes)

Scene i

Rochester. An Inn yard

Enter a carrier

First Carrier: “And it be not four by the day, I’ll be hanged. And yet our horse is not packed.”

Second Carrier: “I think this be the most villainous house in all London road for fleas.”

Chamberlain: “There’s a rich landowner in Kent hath brought three hundred marks with him in gold. They are up already and will away presently.”

Analysis

This is a difficult scene to read. It is in the language of lower class uneducated folk and is far from any contemporary rendering. Shakespeare employs a vast variety of linguistic variations of English in Henry IV, Part I. There is the language of royalty, Falstaff’s immense wit, Welshmen, Scots, uneducated commoners, etc. The multiplicity of linguistic styles are all in evidence here and it is not always an easy read. In this scene the carriers are preparing for the travellers to be up and out of the inn soon. The chamberlain relates that a very rich fellow is among them. He informs Gadshill accordingly and the jest is ready to be enacted upon the unsuspected, both the travellers and Falstaff and company.

Act II

Scene ii

The highway

Enter Hal and Poins

Poins: “Come, shelter, shelter; I have removed Falstaff’s horse.”

Enter Falstaff

Falstaff: “Poins! Poins! And be hanged! Poins!”

Prince: “Peace, ye fat-kidney’d rascal; what a brawling dost thou keep!”

Falstaff: “Where’s Poins, Hal? I am accursed to rob in that thief’s company; the rascal hath removed my horse, and tied him I know not where. Well, I doubt not but to die a fair death for all this, if I escape hanging for killing that rogue. I have forsworn his company hourly any time this two and twenty years, and yet I am bewitched with the rogue’s company. Poins! Hal! A plague upon you both! A plague upon it when thieves cannot be true to one another! A plague upon you all! Give me my horse, you rogues; give me my horse and be hanged.

Prince: “Peace, ye fat-guts! Lie down; lie thy ear close to the ground and listen if thou can hear the tread of travellers.”

Falstaff: “Have you any levers to lift me up again, being down? I prithee, good prince Hal, help me to my horse, good king’s son. Hang thyself in thine own heir-apparent garters. Let a cup of sack be my poison.”

Bardolph: “On with your visors; there’s money of the King’s coming; ’tis going to the King’s exchequer.”

Falstaff: “You lie, ye rogue; ’tis going to the King’s tavern.”

Peto: “How many be there of them?”

Gadshill: “Some eight or ten.”

Falstaff: “Zounds, will they not rob us?”

Prince: “What, a coward, Sir John Paunch?”

Falstaff: “No coward, Hal.”

Prince: “Well, we’ll leave that to the proof. (aside to Poins) Where are our disguises?”

Poins: “Here.”

Exit the Prince and Poins

Enter the travellers

Thieves: “Stand!”

Travellers: “Jesus, bless us!”

Falstaff: “Strike; down with them; cut the villain’s throats. Fleece them.”

Traveller: “O we are undone.”

Falstaff: “Hang ye!”

They rob and bind them

Re-enter the Prince and Poins in disguise

Prince: “The thieves have bound the true men. Now, could thou and I rob the thieves and go merrily to London, it would be argument for a week, laughter for a month, and a good jest forever.”

Poins: “I hear them coming.

Enter the thieves again

Falstaff: “Come, my masters, let us share.”

The Prince and Poins set upon them

Prince: “Your money!”

Poins: “Villains!”

They all run away leaving the booty behind

Prince: “The thieves are all scattered, and possessed with fear. Falstaff sweats to death and lards the lean earth as he walks along.”

Poins: “How the fat rogue roared!”

Analysis

More play among the thieves, as this jest on Falstaff is played out. Falstaff is a giant wit and is often the target of pranks by Hal. Hal is much harder on Falstaff than Sir John is on the Prince. The question of honour comes up here, as it does between Hotspur and Prince Hal throughout the play. There will come a time when Prince Hal will be done with Eastcheap, the Boor’s Head Tavern, and, yes, Falstaff. But that won’t be until Henry IV, Part II. Plenty of Hal and Falstaff to go still!

Act II

Scene iii

Warkworth Castle

Enter Hotspur and Lady Percy

Hotspur: “How now, Kate! I must leave you within these two hours.”

Lady Percy: “O my good lord, why are you thus alone? For what offence have I this fortnight been a banished woman from my Harry’s bed? What is it that takes from thee thy stomach, pleasure and thy golden sleep? Why hast thou lost the fresh blood in thy cheeks? In thy faint slumbers I heard thee murmur tales of iron wars; crying ‘Courage! To the field!’ And thou has talked of trenches, tents, cannons, prisoner’s ransoms and of soldiers slain. Thy spirit within thee hath been so at war , and thus hath so bestirr’d thee in thy sleep, thy beads of sweat have stood upon thy brow and in thy face strange motions have appeared. What portents are these? Some heavy business hath my lord in hand, and I must know it, else he loves me not. What is it carries you away?”

Hotspur: “Why, my horse, my love, my horse.”

Lady Percy: “Out, you mad-headed ape! I’ll know your business, Harry, that I will. I fear my brother Mortimer doth stir about his title and hath sent for you to line his enterprise. Do you not love me? Since you love me not, I will not love myself.”

Hotspur: “I must not have you henceforth question me wither I go, nor reason whereabout; whither I must, I must; and, to conclude, this evening must I leave you, gentle Kate. Thou wilt not utter what thou dost not know, and so far will I trust thee, gentle Kate. Not an inch further.”

Analysis

Clearly, Hotspur’s business is of a clandestine nature, and not even his wife will be privy to it. This scene is reminiscent of a similar encounter between Brutus and his wife, Portia, on the eve of his assassination of Julius Caesar. Hotspur seems prepared to take on the very King himself and he is not sharing his venture with Lady Percy and is, in fact, somewhat hostile toward her.

Act II

Scene iv

Eastcheap. The Boar’s Head Tavern

Enter the Prince and Poins

Prince: “When I am King of England I shall command all the good lads in Eastcheap.”

Enter Vintner

Vintner: “My lord, old Sir John, with half a dozen more, are at the door.”

Enter Falstaff, Gadshill, Bardolph and Peto

Poins:”Welcome, Jack. Where hast thou been?”

Falstaff: “A plague of all cowards, I say, and a vengeance too! Marry and amen! Give me a cup of sack, boy. A plague of all cowards! Give me a cup of sack, rogue. There is lime in this sack! There is nothing but roguery to be found in villainous man; yet a coward is worse than a cup of sack with lime in it. There lives not three good men unhang’d in England, and one of them is fat and grows old. A bad world, I say. A plague of all cowards, I say still.

Prince: “How now, woolsack! What mutter you?”

Falstaff: “A king’s son! You Prince of Wales!”

Prince: “Why, you whoreson round man, what’s the matter?”

Falstaff: “Are not you a coward? Answer me to that – and Poins there?”

Poins: “Zounds, ye fat paunch, and ye call me coward, by the Lord, I’ll stab thee.”

Falstaff: “I call thee coward! I’ll see thee damned ere I call thee coward. Give me a cup of sack. I am a rogue if I drank today.”

Prince: “O villain, thy lips are scarce wiped since thou drunk last.”

Falstaff: “A plague of all cowards, still say I.”

Prince: “What’s the matter?”

Falstaff: “What’s the matter! There be four of us here have taken a thousand pounds this morning.”

Prince: “Where is it, Jack? Where is it?”

Falstaff: “Where is it! Taken from us it is: a hundred upon the poor four of us.

Prince: “What, a hundred, man?”

Falstaff: “I am a rogue if I were not at halfsword with a dozen of them two hours together. I have escaped by miracle. I am eight times thrust through the doublet, four through the hose, my buckler cut through; my sword hacked like a hand-saw. I never dealt better since I was a man. A plague of all cowards!”

Gadshill: “We four set upon some dozen -“

Falstaff: “Sixteen, at least, my lord.”

Gadshill: “As we were sharing, some six or seven fresh men set upon us -“

Prince: “What, fought you with them all?”

Falstaff: “All! I know not what you call all, but if I fought not with fifty of them, I am a bunch of radish. If there were not two or three and fifty upon poor old Jack, than am I no two-legged creature.”

Prince: “Pray God, you have not murdered some of them.”

Falstaff: “Nay, that’s past praying for. Hal, if I tell thee a lie, spit in my face and call me a horse. Four came all afront, and manly thrust at me. I took all their seven points in my target, thus.”

Prince: “Seven? But there were but four even now.”

Falstaff: “Seven, by these hilts, or I am a villain else. Dost thou hear me, Hal?”

Prince: “Ay, and mark thee too, Jack.”

Falstaff: “These nine that I told thee of -“

Prince: “So, two more already.”

Falstaff: “Eleven.”

Prince: “O monstrous! Eleven men grown out of two! These lies are like their father that begets them – gross as a mountain. Why, thou clay-brained guts, thou knotted pated fool, thou whoreson, obscene, greasy tallow-catch -“

Falstaff: “What, art thou mad? Is not the truth the truth?”

Prince: “Why, how could thou know these men when it was so dark thou could not see thy hand? Come, tell us your reason.”

Poins: “Come, your reason, Jack, your reason.”

Falstaff: “What, upon compulsion? I would not tell you on compulsion.”

Prince: “I’ll be no longer guilty of this sin; this sanguine coward, this bed-presser, this horse-back-breaker, this huge hill of flesh -“

Falstaff: “‘SBlood, you starveling, you eel-skin, you dried neat’s-tongue, you bull’s pizzle, you stock-fish – O for breath to utter what is like thee! – you tailor’s yard, you sheath, you bow-case, you vile standing tuck!”

Prince: “We two saw you four set on four, and bound them. We two set on you four; and outfaced you from your prize, and have it, yea. And Falstaff, you carried your guts away as nimbly, with quick dexterity, and roared for mercy.”

Falstaff: “By the Lord, I knew ye. Was it for me to kill the heir-apparent? Why, thou knows I am as valiant as Hercules; but the lion will not touch the true Prince. But, by the Lord, lads, I am glad you have the money.”

Exit Falstaff

Prince: “Tell me now in earnest, how came Falstaff’s sword so hacked?”

Peto: “Why, he hacked it with his dagger, and said he would make you believe it was done in fight; and persuaded us to do the like.”

Bardolph: “Yea, and to tickle our noses with spear-grass to make them bleed.”

Re-enter Falstaff

Prince: “How now, my sweet creature of bombast! How long is it ago, Jack, since thou saw thine own knee?

Falstaff: “There’s villainous news abroad. Here was Sir John Bracy from your father: you must go to the court in the morning. But, tell me, Hal, art not thou horrible afeared? Thou being heir-apparent, could the world pick thee out three such enemies again as that fiend Douglas, that spirit Percy and that devil Glendower? Art thou not horribly afraid? Does not thy blood thrill at all? Well, thou will be horribly chid tomorrow when thou comes to thy father. If thou love me, practice an answer.”

Prince: “Do thou stand for my father, and examine me upon the particulars of my life.

Falstaff: “Shall I? Content! This dagger my sceptre, and this cushion my crown. And here is my speech. Stand aside, nobility.”

Hostess: “O Jesu, this is excellent sport, in faith! O, the father, how he holds his countenance.”

Falstaff: “Peace, good tickle-brains. Harry, I do not only marvel where thou spends thy time, but also how thou art accompanied; for youth, the more it is wasted the sooner it wears. That thou art my son I have partly thy mother’s word, partly my own opinion, but chiefly a villainous trick of thine eye. If then thou be son to me, here lies the point: shall the son of England prove a thief and take purses? And yet there is a virtuous man whom I have often noted in thy company, but I know not his name.

Prince: “What manner of man?”

Falstaff: “A goodly portly man of a cheerful look, a pleasing eye, and a most noble carriage I remember, his name is Falstaff. If that man should be lewdly given, he decieveth me; for, Harry, I see virtue in his looks. There is virtue in that Falstaff: him keep with, the rest banish.

Prince: “Dost thou speak like a king? Do thou stand for me, and I’ll play my father.

Falstaff: “Depose me?”

Prince: “Well, here I am set. Now, Harry, whence come you?”

Falstaff: ” From Eastcheap.”

Prince: “The complaints I hear of thee are grievous.”

Falstaff: “My lord, they are false.”

Prince: “Henceforth never look on me. Thou art violently carried away from grace; there is a devil haunts thee in the likeness of an old fat man; a ton of man is thy companion. Why dost thou converse with that trunk of humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts, that roasted ox with the pudding in his belly, that reverend vice, that grey iniquity, that father ruffian, that vanity in years? Wherein is he good, but to drink sack? Wherein cunning, but in craft? Wherein crafty but in villainy? Wherein villainous, but in all things? Wherein worthy, but in nothing.

Falstaff: “Who means your grace?”

Prince: “That villainous abominable misleader of youth, Falstaff, that old white-bearded satan –

Falstaff: “My lord, the man I know. But to say I know more harm in him than in myself were to say more than I know. That he is old – the more the pity – his white hairs do witness it; but that he is a whoremaster, that I utterly deny. If sack and sugar be a fault, God help the wicked! If to be old and merry be a sin, then many an old host that I know is damned; no, my good lord, banish Peto, banish Bardolph, banish Poins, but, for sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff – and therefore more valiant, being, as he is, old Jack Falstaff – banish not him thy Harry’s company. Banish plump Jack and banish all the world.

Prince: “I do, I will.

Knocking heard

Bardolph: “O, my lord, my lord! The sheriff with a most monstrous watch is at the door.”

Hostess: “They have come to search the house.”

Falstaff: “I’ll hide me.”

Prince: “Hide thee behind the arras.”

Enter the sheriff

Prince: “Master sheriff, what is your will with me?”

Sheriff: “Certain men unto this house.”

Prince: “What men?”

Sheriff: “One of them is well known, my gracious lord – a gross fat man.”

Carrier: “As fat as butter.”

Prince: “The man, I assure you, is not here. I will, by tomorrow dinner-time, send him to answer thee, for anything he shall be charged withal; so let me entreat you to leave the house.”

Sheriff: “I will, my lord. There are two gentlemen have in this robbery lost three hundred marks.”

Prince: “If he has robbed these men he shall be answer; and so, farewell.”

Sheriff: “Good night, my noble lord.”

Exit sheriff and carrier

Peto: “Falstaff! Fast asleep behind the arras, and snorting like a horse.

Prince: “Hark how hard he fetches breath. O monstrous! This intolerable deal of sack! There let him sleep. I’ll to the court in the morning. We must all to the wars. I’ll procure this fat rogue a charge of foot.”

Analysis

Prince Hal banters incessantly with the Boar’s Head crowd in this scene, and clearly believes this will grant him a ‘common touch’ when he is king. He has an excellent ‘go’ with Falstaff over the robbery that he and Poins orchestrated, when they robbed Falstaff and company right after they robbed the gentlemen of a significant hall of cash. Falstaff exaggerates the numbers of men and his valour, when Hal and Poins know full well that they ran like babies from Hal and Poins. The insults fly every which way and somehow in the end Falstaff seems not the least embarrassed. Word arrives that Prince Hal will have to stand before his father in the morning. The kingdom faces serious rebellion and Hal will enlist the Eastcheap gang into fighting regiments to assist his father. A classic scene emerges as Falstaff and Hal rehearse the meeting between Hal and his father, first with Falstaff as the King questioning his son’s lifestyle and friends and then with Falstaff as Hal. In each instance Falstaff is extremely generous with his own reputation, which Hal tears down aggressively. At the end of their comedic exchange is a dire prophecy proclaimed by Hal. Falstaff is arguing against being banished: “Banish plump Jack and banish all the world.” Hal’s response is chilling as well as prophetic: “I do, I will.” Oh, he will…

Act III (3 scenes)

Scene i

Wales. Glendower’s castle

Enter Hotspur, Worcester, Mortimer and Glendower

Mortimer: “These promises are fair, the parties sure, and our induction full of prosperous hope.”

Hotspur: “Lord Mortimer, and cousin Glendower, will you sit down?”

Glendower: “At my nativity the front of heaven was full of fiery shapes, and at my birth the frame and huge foundation of the earth shook like a coward.”

Hotspur: “Why, so it would have done at the same season if your mother’s cat had but kitten’d, though yourself had never been born.”

Glendower: “I say the earth did shake when I was born. The heavens were all on fire, the earth did tremble.”

Hotspur: “O, then the earth shook to see the heavens on fire, and not in fear of your nativity.”

Glendower: “Cousin, of many men I do not bear these crossings. Give me leave to tell you once again that at my birth the front of heaven was full of fiery shapes, the goats ran from the mountains. These signs have marked me extraordinary, and I am not in the roll of common men.”

Mortimer: “Peace, cousin Percy, you will make him mad.”

Glendower: “I can call spirits from the vast deep.”

Hotspur: “Why, so can I, or so can any man; but will they come when you do call for them?”

Glendower: “I can teach you, cousin, to command the devil.”

Hotspur: “And I can teach thee, coz, to shame the devil by telling the truth.”

Mortimer: “Come, come, no more of this unprofitable chat.”

Glendower: “Here is the map; shall we divide our right?”

Mortimer: “England, by south and east is to my part assigned; all westward, including Wales, to Owen Glendower, and, dear coz, to you the remnant northward.”

Hotspur: “Methinks my moiety, north from here, in quantity equals not one of yours.”

Glendower: “I’ll not have it altered.”

Hotspur: “Will you not? Who shall say nay to me?”

Glendower: “Why, that will I.”

Analysis

The rebels from the north (Hotspur, Douglas and Northumberland), the south (Mortimer and Worcester) and the west (Glendower) are meeting to divide up the English kingdom once Henry IV is defeated by their forces. However, there are some seriously headstrong individuals amongst these rebel leaders and we witness Hotspur and Glendower nearly come to blows over Glendower’s claim to be a mighty wizard with extraordinary magical powers. They also argue over the dividing up of the kingdom between them all. Clearly, these rebels have one thing in common: they want to defeat King Henry. But trying to envision them working together to govern England is something of a stretch. Meanwhile, in our next scene we will see King Henry form an alliance with his son, Hal, and we can begin to see where this is going. After all, there is a King Henry IV, Part II followed by a King Henry V, who we know to be Hal. Act III will lead us to the battlefields of Act IV and the culminating battle in Act V.

Act III

Scene ii

London. The palace

Enter the King and his son, Harry (Hal), the Prince of Wales

King: “Thou dost make me believe that thou art only marked for the hot vengeance and the rod of heaven to punish my mistreadings. Tell me how else could such low desires, such lewd barren pleasures as thou art matched withal and grafted to, accompany the greatness of thy blood and hold their level with thy princely heart? Let me wonder, Harry, at thy affections. Thy place in council thou hast rudely lost, and art almost an alien to the hearts of all the court and princes of my blood. The hope and expectation of thy time is ruined, and the soul of every man prophetically do forethink thy fall. By being seldom seen, like a comet, I was wondered at, that men would tell their children ‘This is he’; and then I dressed myself in such humility that I did pluck allegiance from men’s hearts. Thus did I keep my person fresh and new. Thou hast lost thy princely privilege with vile participation. Not an eye but is aweary of thy common sight, save mine, which hath desired to see thee more.

Prince: “I shall hereafter be more myself.

King: “Percy has more worthy interest to the state than thou the shadow of succession; for of no right he doth fill fields in the realm; turns heads against the lion’s armed jaws; and leads ancient lords and reverend bishops on to bloody battles and to bruising arms. And what say you to this? Percy, Northumberland, Douglas, Mortimer capitulate against us and are up.

Prince: “I will redeem all of this on Percy’s head, and be bold to tell you that I am your son. And that shall be the day, this gallant Hotspur, and our unthought-of Harry chance to meet. For the time will come that I shall make this northern youth exchange his glorious deeds for my indignities. And I will call him to so strict account that he shall render every glory up, or I will tear the reckoning from his heart. In the name of God, I promise here; I do beseech your Majesty may salve the long-grown wounds of my intemperature. And I will die a hundred thousand deaths ere break the smallest parcel of this vow.

King: “A hundred thousand rebels die in this: thou shall have charge and sovereign trust herein. On Wednesday next, Harry, you shall set forward.

Analysis

Whereas the rebels are a cantankerous bunch with one another, we see here that the King and the Prince have come together very nicely. The King levels serious charges against the Prince, but, in fact, Hal is prepared to swear off his self-indulgences with Falstaff and company in Eastcheap to live up to every expectation of leadership and loyalty to his father. This is the great turning point in the resolution of the Prince. He is poised to emerge as the successor he was always expected to be. Here is our first glimpse at the soon to be King Henry V. In fact, this next scene is the very last one set in Eastcheap, featuring Hal, Falstaff and their crew of Boar’s Head Tavern lowlifes. This part of Hal’s life is over. The time with Falstaff will never be the same. They are henceforth on two distinct trajectories.

Act III

Scene iii

Eastcheap. The Boar’s Head Tavern

Enter Falstaff and Bardolph

Falstaff: “Bardolph, am I not fallen away vilely since this last action? Do I not dwindle? I am withered. Villainous company hath been the spoil of me.”

Bardolph: “Sir John, you are so fretful you cannot live long.”

Falstaff: “Why, there is it; come, make me merry. I was as virtuously given as a gentleman needs to be. I swore a little, diced not above seven times a week, went to a bawdy-house not above once in a quarter of an hour, paid money that I borrowed – and now I live out of all order.”

Bardolph: “Why, you are so fat, Sir John, that you must needs be out of all compass.”

Falstaff: “Do thou amend thy face, and I’ll amend my life. Thou art our admiral, thou bearest the lantern, but ’tis in the nose of thee, thou art the Knight of the Burning Lamp.

Bardolph: “Why, Sir John, my face does you no harm.”

Falstaff: “No, I’ll be sworn; I make as good use of it as many a man doth of a death’s head: I never see thy face but I think upon hell-fire. I would swear by thy face. Oh, thou art an everlasting bonfire light! Thou hast saved me a thousand marks in torches, walking with thee in the night betwixt tavern and tavern.”

Enter hostess

Falstaff: “Dame Partlet, have you inquired yet who picked my pocket?”

Hostess: “Why, Sir John, do you think I keep thieves in my house?”

Falstaff: “Ye lie, hostess. I’ll be sworn my pocket was picked.”

Hostess: “Sir John, you owe me money. I bought you a dozen shirts.”

Falstaff: “Filthy dowels! I have given them away.”

Hostess: “You owe money besides, Sir John, for your diet and drinkings, and money lent you.”

Falstaff: “I’ll not pay a denier. Shall I not take mine ease in mine inn but I shall have my pocket picked? I have lost a seal-ring of my grandfather’s worth forty marks.”

Hostess: “I have heard the Prince tell that that ring was copper!”

Falstaff: “The Prince is a Jack and I would cudgel him like a dog if he would say so.”

Enter Prince Hal

Prince: “Mistress Quickly. How doth thy husband? I love him well; he is an honest man.”

Falstaff: “The other night I fell asleep here behind the arras and had my pocket picked; this house has turned bawdy-house; they pick pockets.”

Prince: “What did thou lose, Jack?”

Falstaff: “Will thou believe me, Hal? Three or four bonds of forty pounds a-piece and a seal-ring of my grandfather’s.”

Prince: “A trifle.”

Hostess: “Your grace, he speaks most vilely of you, like a foulmouthed man as he is, and said he would cudgel you.”

Prince: “What? He did not!”

Hostess: “There’s neither faith, truth or womanhood in me else.”

Falstaff: “There’s no more faith in thee than in a stewed prune. Go, you thing, go.”

Hostess: “Say, what thing? What thing? I am an honest man’s wife.”

Falstaff: “Thou art a beast.”

Hostess: “Say, what beast?”

Falstaff: “What beast? Why, an otter.”

Prince: “Why an otter?”

Falstaff:”She’s neither fish nor flesh: a man knows not where to have her.”

Prince: “He slanders thee most grossly.”

Hostess: “So he doth you, my lord. He said he would cudgel you.”

Falstaff: “Did I, Bardolph?”

Bardolph: “Indeed, Sir John, you said so.”

Falstaff: “Yea, if he said my ring was copper.”

Prince: “I say ’tis copper. Darest thou be as good as thy word now?”

Falstaff: “Why, Hal, thou knowest, as thou art but man, I dare; but as thou art prince, I fear thee.”

Prince: “There’s no room for faith, truth, nor honesty in this bosom of thine – it is all filled up with guts. Charge an honest woman with picking thy pocket! Why, thou whoreson, impudent rascal, if there were anything in thy pocket but tavern-reckonings, memorandums of bawdy-houses then I am a villain. Art thou not ashamed?

Falstaff: “You confess, then, you picked my pocket?”

Prince: “It appears so by the story.”

Falstaff: “Hostess, I forgive thee.”

Prince: :I have procured thee, Jack, a charge of foot.”

Falstaff: “I would it had been of horse. I am heinously unprovided. Well, God be thanked for these rebels.”

Prince: “Jack, meet me tomorrow; there thou shalt know thy charge. The land is burning; Percy stands on high; and either they or we must lower lie.”

Falstaff: Rare words! Brave world! O, I could wish this tavern were my drum.”

Analysis

We get one last scene with Falstaff at the Boars Head Tavern. Here he exchanges his wit with Bardolph, about his big nose, Mistress Quickly, about money he owes her, and Prince Hal, over his insults to the hostess. But then Hal turns serious about the wars to come. He has placed Falstaff in charge of a foot brigade. Acts IV and V will be all about the wars against the rebels. Eastcheap is already forgotten by Hal.

Act IV (4 scenes)

Scene i

The rebel camp

Enter Hotspur, Worcester and Douglas

Hotspur: “By God, I cannot flatter. I do defy the tongues of soothers.”

Douglas: “Thou art the king of honour.”

Enter a messenger with letters

Hotspur: “What letters hast thou there?”

Messenger: “These letters come from your father.”

Hotspur: “Why comes he not himself?”

Messenger: “He is grievous sick.”

Hotspur: “Zounds! How has he the leisure to be sick in such a bustling time? Sick now? This sickness doth infect the very life-blood of our enterprise.”

Worchester: “Your father’s sickness is a maim to us.”

Hotspur: “A perilous gash, a very limb lopped off.”

Worchester: “I would your father had been here. It will be thought by some, that know not why he is away, that wisdom, loyalty and mere dislike of our proceedings, keep the earl from hence, and breed a kind of question in our cause; the absence of your father draws a curtain that shows the ignorant a kind of fear before not dreamt of.”

Hotspur: “You strain too far. I rather of his absence make this use: it adds a lustre and a larger dare to our great enterprise.”

Enter Sir Richard Vernon

Vernon: “The Earl of Westmorland, seven thousand strong, is marching hitherwards; with him Prince John. And further, I have learned the King himself in person is set forth with strong and mighty preparation.”

Hotspur: “He shall be welcome too. Where is his son, the nimble-footed madcap Prince of Wales, and his comrades that daff’d the world aside and bid it pass?”

Vernon: “All furnished, all in arms; full of spirit, gorgeous. I saw young Harry, like feathered Mercury…”

Hotspur: “No more, no more. Let them come. They come like sacrifices in their trim; all hot and bleeding, we will offer them. Come, who is to bear me like a thunderbolt against the bosom of the Prince of Wales? Harry to Harry shall meet, and never part ’till one drop down a corpse.”

Vernon: “There is more news. I learned that Glendower cannot draw his power this fourteen days.”

Douglas: “That’s the worst tidings that I have heard of yet.”

Worchester: “Ay, by my faith, that bears a frosty sound.”

Hotspur: “What may the King’s whole battle reach unto?”

Vernon: “To thirty thousand.”

Hotspur: “Forty let it be. Doomsday is near; die all, die merrily.”

Douglas: “Talk not of dying.”

Analysis

A series of messages arrive to Hotspur and the rebel camp, and one piece of news is as bad as the next. First, Hotspur’s father is ill and will not arrive and neither will his soldiers they were expecting. This is an enormous blow. Next, we learn that the armies of Prince John and that of the King are approaching with upwards of thirty thousand men. Prince Hal is also in the field ‘all furnished, all in arms, full of spirit and gorgeous’. Finally, Glendower will not make it to the battle within fourteen days. The rebel alliance seems to be in peril. These are all prophetic signs pertaining the the impending battle. Hotspur is determined to fight nonetheless: ‘Doomsday is near; die all, die merrily.’ Ouch.

Act IV

Scene ii

A road near Coventry

Enter Falstaff and Bardolph

Falstaff: “Bardolph, get thee before to Coventry, and fill me a bottle of sack. If I be not ashamed of my soldiers, I am pickled fish. My whole charge consists of ancients, slaves as ragged as Lazarus, younger sons, discarded men, revolted tapsters, and discharged unjust serving men: the cankers of a calm world and a long peace. And such have I. No eye hath seen such scarecrows. I’ll not march through Coventry with them. I had the most of them out of prison. There’s not a shirt and a half in all my company.

Enter Prince Hal and Westmorland

Prince: “How now, blown Jack! How now, quilt!”

Falstaff: “How now, mad wag! Tut, never fear me. I am as vigilant as a cat to steal cream.”

Prince: “I think, to steal cream indeed, for thy theft hath already made thee butter. But tell me, Jack, whose fellows are these that come after?”

Falstaff: “Mine, Hal, mine.”

Prince: “I did never see such pitiful rascals. Food for powder. They’ll fill a pit as well as better. Make haste; Percy is already in the field.”

Analysis

Falstaff’s company of men are weary to the eye. The suggestion is that he accepted bribes from any decent soldiers of means to keep them from the battle and is left with only those men who were not even capable of a bribe. So Falstaff likely made quite a bit of money but is left with a pathetic company of so called fighting men. Prince Hal calls them food for cannon powder. Thank goodness the entire King’s army is not like Falstaff’s.

Act IV

Scene iii

The rebel camp

Enter Hotspur and Worchester

Hotspur: “We’ll fight with him tonight.”

Worchester: “Good cousin, be advised, stir not tonight. The number of the King exceedeth ours. For God’s sake, cousin, stay ’till all come.”

Enter Sir Walter Blunt from the KIng

Blunt: “I come with gracious offers from the King.”

Hotspur: “Welcome, Sir Walter Blunt! Some of us love you well. But you are not of our quality, and stand against us like an enemy.

Blunt: “But still I should stand so long as out of true rule you stand against anointed majesty! But to my charge. The King hath sent to know the nature of your griefs; and whereupon you conjure from the breast of civil peace such old hostility. He bids you name your griefs, and with all speed you should have your desires with interest, and pardon absolute for yourself and these, misled by your suggestion.

Hotspur: “The King is kind. My father and my uncle and myself did give him that same royalty he wears; my father gave him welcome to the shore, when he heard him swear and vow to God he came but to be Duke of Lancaster.. My father swore him assistance, and performed it too. He presently steps a little higher than his vow made to my father.

Blunt: “Tut, I came not to hear this.”

Hotspur: “Then to the point. In short time after, he deposed the King; soon after that deprived him of his life. Disgraced me in my happy victories; sought to entrap me by intelligence; in rage dismissed my father from the court; broke oath on oath, committed wrong on wrong; and in conclusion drove us to seek out and withal to pry into his title, the which we find too indirect for prolonged continuance.

Blunt: “Shall I return this answer to the King?”

Hotspur: “Go to the King, and in the morning early shall my uncle bring him our purposes. And so, farewell.”

Analysis

Hotspur is anxious to fight and must be convinced to wait until more rebel forces arrive. Sir Walter Blunt comes with peace offerings for the rebel forces. Hotspur then lays out the charges against the King. Essentially, Henry was banished by King Richard and then returned home to secure his rightful inheritance. The Percys were instrumental is assisting Henry, provided he swore to God to be but the restored Duke of Lancaster. This he did but then proceeded to seize the crown and arrange for the murder of King Richard, which drove the rebels to oppose him. The KIng’s forces have heard all this before and Blunt dismisses it out of hand: ‘Tut, I came not to hear this.’ Occasionally we require a reminder of just what this conflict is all about. Henry usurped the crown and had King Richard II murdered. It was, in fact, more complicated and justifiable than that sounds, but usurping the crown and committing regicide is about as treasonous as it gets, which explains the immense guilt King Henry has experienced since assuming the throne and why he places such hope in his son, Hal, who will put to rest all of this talk by being an effective warrior king. It won’t be until the child-king Henry VI becomes a woefully inadequate monarch, that the various rebellions forge ahead as the War of the Roses, principally led by the House of York.

Act IV

Scene iv

York. The Archbishop’s palace

Enter the Archbishop of York and Sir Michael

Archbishop: “Tomorrow, the King meets with Lord Harry and what with the sickness of Northumberland and with Glendower’s absence, I feel the power of Percy is too weak to wage an instant rival with the King.

Sir Michael: “Why, my good lord, you need not fear; there is Douglas and Lord Mortimer.”

Archbishop: “No, Mortimer is not there.”

Sir Michael: “But there is Vernon, Lord Harry Percy and my Lord of Worchester, and a head of gallant warriors and noble gentlemen.”

Archbishop: “And so there is; but the King hath drawn the special heads of all the lands together: the Prince of Wales, Lord John of Lancaster, the noble Westmorland, and warlike Blunt; and many more dear men of estimation and command in arms.”

Sir Michael: “Doubt not, my lord, they shall be well opposed.”

Analysis

The Archbishop, allied with the rebels, is very concerned that the fractured rebel forces are not prepared to fight the King’s robust and swollen army. As Act IV ends we edge closer and closer to the decisive Battle of Shrewsbury.

Act V (5 scenes)

Scene i

The King’s camp

Enter the King, the Prince of Wales and Sir John Falstaff

King: “How bloodily the sun begins to peer above yonder hill. The day looks pale at his distemperature.”

Prince: “The wind doth play the trumpet to his purposes and foretells a tempest and a blustering day.”

King: “Then with the losers let it sympathize, for nothing can seem foul to those who win.”

Enter Worcester and Vernon

King: “My Lord of Worchester! ‘Tis not well that you and I should meet upon such terms. You have deceived our trust, and made us doff our easy robes of peace to crush our old limbs in ungentle steel; this is not well, my lord, this is not well. What say you to it? Will you again unknit this churlish knot of all-abhorred war, and move in that obedient orb again, and be no more an exhaled meteor, a prodigy of fear, and a portent of broached mischief to the unborn times?”

Worchester: “Hear me, my liege: I have not sought the day of this dislike.”

King: “You have not sought it! How comes it then?”

Falstaff: “Rebellion lay in his way, and he found it.”

Worchester: “We were the first and dearest of your friends. You swore to us that you did nothing purpose against the state, nor claim no further than your new-fallen right, the dukedom of Lancaster; to this we swore our aid. But in short space it rained down fortune showering on your head; and such a flood of greatness fell on you. From this swarm of fair advantages you took occasion to be quickly woo’d, forgot your oath to us, and being led by us you used us so and grew by our feeding to such a great bulk that even our love durst not come near your sight. We were enforced, for safety sake, to fly out of your sight, and raise this present head; whereby we stand opposed by unkind usage, dangerous countenance, and violation of all faith and truth sworn to us in your younger enterprise.”

King: “These things, indeed, you have proclaimed at market-crosses, read in churches, to face the garment of rebellion with some fine colour that may please the eye of fickle changelings and poor discontents, which gape and rub the elbow at the news of hurly-burly innovation.”

Prince: “In both your armies there are many a soul shall pay dearly for this encounter, if once they join in trial. Tell your nephew the Prince of Wales doth join with all the world in praise of Harry Percy. I do not think a braver gentleman, more daring or more bold, is now alive. For my part, I may speak it to my shame, I have a truant been to chivalry; and so I hear he doth account me too. Yet I am content that he shall take the odds of this great name and estimation, and will, to save the blood on either side, try fortune with him in a single fight.”

King: “We love our people well; even those we love who are misled upon your cousin’s part; and will they take his offer of our grace, every man shall be my friend again, and I’ll be his. But if he will not yield, rebuke and dread correction wait on us, and they shall do their office. So, be gone. We offer fair. Take it advisedly.”

Exit Worchester and Vernon

King: “Hence, therefore, every leader to his charge; for, on their answer, will we set on them; and God befriend us, as our cause is just.”

Exit the King

Falstaff: “Hal, if thou see me down in the battle, ’tis a point of friendship.”

Prince: “Say thy prayers, and farewell. Thou owes God a death.”

Exit Prince Hal

Falstaff: “‘Tis not due yet; I would be loath to pay him before his day. What need I be so forward with him who calls not on me? Well, ’tis no matter; honour pricks me on. Yea, but how if honour prick me off when I come on? How then? Can honour set a leg? No. Or an arm? No. Or take away the grief of a wound? No. What is honour? A word. What is in that word? Honour. What is that honour? Air. A trim reckoning! Who hath it? He that died on Wednesday. Doth he feel it? No. Doth he hear it? No. ‘Tis insensible then? Yea, to the dead. But will it not live with the living? No. Why? Detraction will not suffer it. Therefore I’ll none of it. Honour is a mere scutcheon. And so ends my catechism.

Analysis

Before the battle Worchester and King Henry exchange perspectives and explore whether or not there is a chance to avoid bloodshed. Worchester makes the usual rebel case about Henry usurping the throne and thereby betraying the Percys and Henry has heard it before and is simply not buying it. Prince Hal instructs Worchester to inform Harry Percy, respectfully, to suggest the two Harry’s settle this war with single combat. Finally, the scene ends with Falstaff’s famous catechism on honour, which is vintage Falstaff and one of the highlights of the play. All but Falstaff and his company seem prepared for the battle to come on behalf of the King.

Act V

Scene ii

The rebel camp

Enter Worchester and Vernon

Worchester: “O, no, my nephew must not know the liberal and kind offer of the King. It is not possible the King should keep his word in loving us; he will suspect us still, and find a time to punish this offence in other faults. My nephew’s trespass may be well forgot; it hath the excuse of youth and heat of blood, and an adopted name of privilege – a hair-brained Hotspur, governed by a spleen.. And, his corruption being taken from us, we, as the spring of all, shall pay for all. Therefore, good cousin, let not Harry know, in any case, the offer of the King.”

Enter Hotspur and Douglas

Hotspur: “Uncle, what news?”

Worchester: “The King will bid you battle presently. There is no seeming mercy in the King. He calls us rebels, traitors, and will scourge with haughty arms this hateful name in us. The Prince of Wales stepped forth, nephew, and challenged you to single fight.”

Hotspur: “O, would the quarrel lay upon our heads; and that no man might draw short breath today but I and Prince Harry. Tell me, tell me: seemed it in contempt?”

Vernon: “No, by my soul, I never in my life did hear a challenge urged more modestly. He gave you all the duties of a man; spoke your deservings like a chronicle; making you ever better than his praise, which became him like a prince indeed.”

Hotspur: “Be he as he will. I will embrace him with a soldier’s arm. O gentlemen, the time of life is short! And if we live, we live to tread on kings; if die, brave death. Let each man do his best. And here I draw a sword, whose temper I intend to stain with the best blood that I can meet withal in the adventure of this perilous day. Sound all the lofty instruments of war, and by that music let us all embrace.”

Analysis

Worchester will not tell Hotspur of the King’s offer of peace because he does not believe that the King will really allow the rebels to live in peace if they accept his offer. He may forgive Hotspur, as being young, hot headed and of a privileged family. Percy is very interested in hearing about Prince Harry’s offer of single combat. In fact, the Prince was extremely generous and humble in his portrayal of Percy. Percy says that he will embrace him with a soldier’s arm and leave this short life to fate: If we live, we live to tread on kings; if we die, then brave death.’ Time to determine which it will be, as the battle is set to commence.

Act V

Scene iii

A plain between the camps

The King passes through; then enter Douglas and Sir Walter Blunt

Douglas: “My name is Douglas; some tell me that thou art a king.”

Blunt: “They tell thee true.”

They fight and Douglas kills Blunt

Enter Hotspur

Douglas: “All’s done, all’s won; here breathless lies the King.”

Hotspur: “Where?”

Douglas: “Here.”

Hotspur: This, Douglas? No: I know this face full well. A gallant knight he was, his name was Blunt; furnished like the King himself.”

Douglas: “A fool go with thy soul whither it goes! A borrowed title hast thou bought too dear; why didst thou tell me that thou wert a king?”

Hotspur: “The King hath many marching in his coats; I’ll murder all his wardrobe, piece by piece, until I meet the King.”

Exit Hotspur

Enter Falstaff

Falstaff: “Soft! Who are you? Sir Walter Blunt. There’s honour for you! God keep lead out of me! I need no more weight than my own bowels. I have led my ragamuffins where they are peppered; there’s not three of my hundred and fifty left alive. But who comes here?”

Enter Prince Hal

Prince: “What, stand’s thou idle here? Lend me thy sword. I prithee, lend me thy sword.”

Falstaff: “O Hal, I prithee give me leave to breathe awhile. Turk Gregory never did such deeds in arms as I have done this day.”

Prince: “I prithee lend me thy sword.”

Falstaff: “Take my pistol.”

Prince: “Give it me. What, is it in its case?”

The Prince draws it out of its case and finds it to be a bottle of sack

Prince: “What, is this a time to jest and dally now?”

He throws the bottle at him

Falstaff: “I like not such grinning honour as Sir Walter hath. Honour comes unlooked for, and there’s an end.”

Analysis

Typical of a battle in those days involving a fighting king, many soldiers pose as the king in the field in order to confuse the enemy in pursuit of the king. Sir Walter Blunt is killed By Douglas while disguised as King Henry. These disguises tended to be quite impressive, and Douglas is thrilled to tell Hotspur that he has killed the King. But Hotspur recognizes Blunt. Hotspur intends to kill all of the supposed kings until he finds the real one. We learn from Falstaff that not more than three of his one hundred and fifty men are still alive. And yet he has survived and is seemingly well. It really makes you wonder about the rest of his men. He offers the Prince his ‘gun’ in its case, which merely turns out to be a bottle of sack. Just as well he dispenses with the very notion of honour.

Act V

Scene iv

Another part of the field

Enter the King, the Prince of Wales, Prince John of Lancaster and Westmoreland

King: “Harry, withdraw thyself; thou bleedest too much.”

Prince: “God forgive a shallow scratch should drive the Prince of Wales from such a field as this, where stained nobility lies trodden on, and rebel’s arms triumph in massacres.”

Exit the Prince

Enter Douglas

Douglas: “Another King! They grow like Hydra’s heads. I am Douglas. What art thou, that counterfeits the person of a king?”

King: “The King himself. I will assay thee; so, defend thyself.”

They fight, the King being in danger

Re-enter the Prince

Prince: “Hold up thy head, vile Scot, or thou art like never to hold it up again. It is the Prince of Wales that threatens thee.”

Thy fight and Douglas flees

Prince: “Cheerly, my lord, how fares your Grace?”

King: “Stay and breathe awhile. Thou hast redeemed thy lost opinion; and showed thou makes some tender of my life, in this fair rescue thou hast brought to me.”

Prince: “O God, they did me too much injury that ever said I harkened for your death! If it were so, I might have let alone the insulting hand of Douglas over you.”

Exit the King

Enter Hotspur

Hotspur: “If I mistake not, thou art Harry Monmouth. My name is Harry Percy.”

Prince: “Why, then I see a very valiant rebel. I am the Prince of Wales; and think not, Percy, to share with me in glory any more. Two stars keep not their motion in one sphere, nor can one England brook a double reign of Harry Percy and the Prince of Wales.”

Hotspur: “Nor shall it, Harry, for the hour is come to end the one of us. I can no longer brook thy vanities.”

They fight

Enter Falstaff

Falstaff: “Well said, Hal! To it, Hal!”

Re-enter Douglas. he fights with Falstaff, who falls down as if he were dead. Douglas withdraws. Hotspur is wounded and falls.

Hotspur: “O Harry, thou hast robbed me of my youth. O, I could prophesy, but that the earthy and cold hand of death lies on my tongue. No, Percy, thou art dust and food for -“

Hotspur dies

Prince: “For worms, brave Percy. Fare thee well, great heart! Ill-weaved ambition, how much art thou shrunk! Now two paces of the vilest earth is room enough. This earth that bears thee dead bears not alive so stout a gentleman. Adieu, and take thy praise with thee to heaven! Thy ignominy sleep with thee in the grave, but not remembered in thy epitaph!”

The Prince sees Falstaff on the ground, apparently dead

Prince: “What, old acquaintance! Could not all this flesh keep in a little life? Poor Jack, farewell! O, I should have a heavy miss of thee, if I were much in love with vanity! Death hath not struck so fat a deer today, though many dearer, in this bloody fray. Embowelled will I see thee by and by; ’till then in blood by noble Percy lie.”

Exit the Prince

Falstaff gets up

Falstaff: “Embowelled! I am no counterfeit: to die is to be a counterfeit; for he is but the counterfeit of a man who hath not the life of a man. The better part of valour is discretion; in the which better part I have saved my life. Zounds, I am afraid of this gunpowder Percy, though he be dead; how if he should counterfeit too, and rise? Therefore I’ll make him sure, and I’ll swear I killed him. Therefore, sirrah (stabbing him), with a new wound in your thigh, come you along with me.”

Falstaff takes up Hotspur on his back

Re-enter the Prince of Wales and Prince John of Lancaster

Prince John: “But soft! Whom have we hear? Did you not tell me this fat man was dead?”

Prince: “I did. I saw him dead., breathless and bleeding on the ground. Art thou alive? Or is it fantasy that plays upon our eyesight? I prithee speak; we will not trust our eyes without our ears; thou art not what thou seem’st.”

Falstaff: “There is Percy (throwing the body down). If your father will do me any honour, I look to be either earl or duke, I can assure you.”

Prince: “Why, Percy, I killed myself, and saw thee dead.”

Falstaff: “Didst thou? Lord, Lord, how this world is given to lying! I grant you I was down and out of breath, and so was he; but we rose both at an instant, and fought a long hour. I gave him this wound in the thigh.”

Prince John: “This is the strangest tell that I ever heard.”

Prince: “This is the strangest fellow, brother John. The trumpet sounds retreat; the day is ours. Come, brother, let us to the highest of the field, to see what friends are living and who are dead.”

Exit the Prince and the Prince of Lancaster

Falstaff: “I’ll follow, as they say, for reward. He that rewards me, God reward him! If I do grow great, I’ll grow less; for I’ll purge, and leave sack, and live cleanly, as a nobleman should do.”

Exit Falstaff

Analysis

Prince Hal overcomes his reputation by saving his father and defeating Hotspur in man to man combat. There is no turning back for the Prince now. He is the worthy heir to his father’s crown. Falstaff, on the other hand, continues to be Falstaff, and does not change, not even on the battlefield, where he feigns death at the hands of Douglas. Hal comes across him, evidently dead and dismisses him without emotion. Falstaff hopes to take credit for Hotspur’s death and gives him a further wound and carries him back to camp, claiming they fought for an hour until he slew him. No honour indeed. Although in his very last words Falstaff does suggest that if properly rewarded he may just go straight and ‘live cleanly, as a nobleman should do’. We must watch for that in Part II of this play. The battle is over and the King has prevailed over the rebels.

Act V

Scene v

Another part of the field

Enter The King, The Prince of Wales, Prince John of Lancaster, with Worcester and Vernon as prisoners

King: “Thus ever did rebellion find rebuke. Did not we send grace, pardon, and terms of love to all of you? Bear Worchester to the death, and Vernon too; other offenders we will pause upon.”

Exit Worchester and Vernon under guard

King: “How goes the field?”

Prince: “The noble Scot, Douglas, when he saw the fortune of the day quite turned from him, the noble Percy slain, and all his men upon the foot of fear, fled with the rest; he was so bruised that the pursuers took him. At my tent Dougas is. Brother John, go to Douglas, and deliver him up to his pleasure, ransom less and free; his valour shown upon our crests today have taught us how to cherish such high deeds even in the bosom of our adversaries.”

King: “Then this remains – that we divide our power. You, son John, and my cousin Westmoreland, towards York to meet Northumberland and the Archbishop, who, as we hear, are busily in arms. Myself, and you, son Harry, will toward Wales to fight with Glendower and the Earl of March. Rebellion in this land shall lose his sway, and since this business so fair is done, let us not leave ’till all our own be won.”

Analysis

So ends Part I. It has been suggested that this is not much of a conclusion and that, in fact, this is a ten act play and we are only at the half way mark. Clearly, the King’s forces have some more rebels to contend with, such as Northumberland, the Archbishop and Glendower in Scotland and Wales. But the Prince and his father are united, Harry is clearly the righteous heir to King Henry’s throne, Hotspur is dead, and Falstaff remains Falstaff. Not even the battlefield could change him, as he seems to mock both honour and death. But his thieving and drinking partner in crime is no more a resident of Eastcheap, which will result in an altered Falstaff in Henry IV, Part II, up next.

Final Thoughts

Henry IV, Part I was written around 1596 and was a huge success with Shakespeare’s audiences. The principle source for the play was Holinshed’s Chronicles (1587). It is believed that Will Kemp played the original Falstaff and Richard Burbage played Prince Hal. Soon after Shakespeare’s death the play was made into one large performance along with Henry IV, Part II and The Merry Wives of Windsor, called Sir John Falstaff, a tradition revived quite often over the ensuing centuries. The Romantics and the Victorians found Falstaff way to course for their more refined tastes and the most famous Falstaff was Orson Wells in a 1945 production. Other notable Fallstaffs include Ralph Richardson and John Goodman. Youtube has several intriguing versions available for viewing, including a performance at Shakespeare’s Globe Theatre and a 2017 Brussels Shakespeare Society production. There are several clips of Orson Wells in his famous portrayal of Falstaff and a host of other bits and analysis. Henry IV, Part I is Shakespeare’s most popular history play today, along with Richard III, thanks to the hilarious wit, banter and charms of John Falstaff and Prince Hal.

Antony and Cleopatra

Introduction

Antony and Cleopatra is the second of a two-parter from the Roman world. The first was Julius Caesar. Julius Caesar had the second famous love affair with Cleopatra (after Pompey), but he is murdered in his own play and Antony, his dear friend, along with Octavius (Augustus Caesar), avenge his murder and now rule the Roman world together with Lepidus. However, Antony, is positioned in the east, and is so smitten with Cleopatra and the luxurious and decadent lifestyle in Egypt, that he has abandoned the power centre of Rome to Octavius, who increasingly takes full advantage of this arrangement. Indeed, Antony appears to be neglecting his duties as part of the famous Roman Triumverate and has crowned himself a joint ruler over Egypt and the Eastern territories of the Roman Empire, along with his Cleopatra. This provides Octavius with the perfect excuse to use the mighty Roman fleet to attack Antony, who is defeated by Rome. Antony blames Cleopatra for his defeat and her reaction is to hide in her family tomb and send word to Antony that she is dead. He believes the news of her demise and falls on his sword and is carried to the tomb, where he dies in her arms. Cleopatra has no interest in being dragged back to Rome as a captive and takes her own life. This all paves the way for Octavius to be crowned the one and only Emperor of Rome, as Augustus Caesar, perhaps Rome’s greatest leader during its 500 years of Imperial rule.

This is our second play with Marc Antony, who, together with Octavius, was appointed co-ruler of the Roman Empire. He was a heroic figure in Julius Caesar, giving a brilliant speech that turned the populous of Rome against the conspirators Brutus and Cassius and unified the empire following Caesar’s death. Antony is far less heroic in this second play, after bedding down with Cleopatra in Egypt and abandoning completely his duties to Rome. His obsession with Cleopatra is a personal character flaw and he demonstrates way more care for his private love life than he does for his duty as co-ruler of the Roman Empire. His private life smothers his public persona under the influence of the exotic Cleopatra, who plays the role of a dangerous vixen in Antony’s life. She is devoted to his attention, as she was with Julius Caesar, but she also plays the role of the spider to the fly when it comes to Antony. She is a brilliant tease, and she plays him perfectly. Whether she actually loves him or not is a matter of constant debate and discussion. He is one of the most powerful men in the world and Egypt seems safe from Roman incursion so long as he remains in her bed. By Act V her love seems more genuine, when Antony is slipping away from her and the cold and calculating Octavius draws nearer and nearer and death becomes her best option. Octavius is the consummate leader and will be a spectacular Roman Emperor. He is cool and calculating, especially compared to the passionate unpredictability of Antony and Cleopatra. Each of the play’s namesakes have close supporters, as Romeo and Juliet did with Friar Lawrence and the nurse. Enobarbus is a blunt soldier and friend to Antony. However, he is increasingly disturbed by what he perceives as Antony’s betrayal of Rome and eventually deserts his friend and is a part of Octavius’ army that defeats Antony. It was the right decision but Enobarbus is so saddened by these events that he dies of a profound grief. Cleopatra has two strong-willed servants, Charmain and Iras. They are loyal to Cleopatra and when she dies they accompany her into the tomb.

Shakespeare wrote several plays around the same time exploring the theme of great men buckling under the strain of their private feelings. In this sense, Antony joins the tragic fate of Othello, Lear, Macbeth and Timon of Athens, who all allowed their private lives to destroy their sense of righteous duty to their state. Antony’s feelings are manipulated by the powerful and sensual Queen of Egypt. The prolonged sexual encounter between Antony and Cleopatra is a direct threat to Rome and its public virtues. The conflict between Antony’s individual will and the efficient and effective administration of the Roman Empire is vividly portrayed. Antony explicitly broadcasts that he is prepared, for the sake of his passion for Cleopatra, to ‘let Rome in the Tiber melt’. More treasonous words have rarely been spoken. He is genuinely torn between his fiercely loyal upbringing as a model Roman soldier and leader and his sexual infatuation with Cleopatra and her exotic and exciting Eastern way of life. They fall in love and Rome is divided once again, this time between Antony and Octavius. Only Octavius is entrenched in the power-base of Rome itself, all the while Antony is luxuriating in the sensual bed of Egypt.

These are not ‘star-crossed lovers, as in Romeo and Juliet. These are mature adults and Antony is actually married to a Roman wife. But somehow he is drawn into the exotic luxury of Cleopatra’s prowess, as Julius Caesar himself was. Their mutual attraction to one another, despite how wrong it is on so many levels, is what makes this love story so powerful. Antony has so much to lose and will lose it all. They can be great together, akin to two gods, but are also often monstrous and irrational. Shakespeare depicts both sides of this couple with some of the finest language ever expressed. Cleopatra can be infuriating as well as captivating. She is a powerful and experienced sedductress and holds a spell over Antony that destroys them both. His soldiers claim that she transforms this ‘pillar of the world’ into a ‘strumpet’s fool’. Enorbarbus declares in Act II that Cleopatra ‘makes hungry where she most satisfies’. She is a professional temptress and he sacrifices his very life for the time she gives him. She also famously seduced Julius Caesar: ‘He ploughed her and she cropped.’ Apparently, she gravitates to power. But her temperament is as fluid as the Nile itself. She is as unpredictable as her sexual appetite is insatiable. Typical of Shakespeare, he presents many questions but provides few answers. As dangerous as Cleopatra is to Antony and to Rome, he remains devoted to her until the tragic end. Such was her allure. Cleopatra puts on quite the show, whenever she appears on stage. She is the consummate performer, wearing a host of faces and displaying a wide array of emotions. Her death scene is an impressive demonstration of theatricality, eclipsing Antony’s awkward suicide attempt with a sexually charged ecstasy of death, in which she speaks of ‘immortal longings’ and refers to facing her death as something of a ‘lover’s pinch’. Cleopatra never stops playing Cleopatra and this is her play as it is her Egypt. She may be the most theatrical character in stage history.

Cleopatra is one of Shakespeare’s finest creations, perhaps reminiscent of Hamlet and Falstaff. She is certainly the most formidable of his female characters. The two lovers offer a final glimpse into Shakespeare’s portrayal of the inner self, which began with Richard II and continued through Shylock, Falstaff, Brutus, Hamlet, Iago, Macbeth and Lear. In fact King Lear, Macbeth and Antony and Cleopatra were written within 14 months of one another in 1605-1606 and may have exhausted Shakespeare’s quest for inner truth. The later romances are a whole different world than he presents in his depth analysis of the above characters and their plays. If Shakespeare’s greatest creative gift was his exploration of the interior of human nature, then Antony and Cleopatra could be regarded as his greatest accomplishment, as the kaleidoscope of shifting perspectives is profoundly mesmerizing. What we know for certain is that the love and lust expressed between Antony and Cleopatra is no match for the powerful and opportunistic Octavius. In the end, even he acknowledges something in Cleopatra in death, that is reminiscent of her in life: ‘She looks like sleep, as she would catch another Antony’. Anna Brownell Jameson was an 18th century art critic and Shakespeare scholar who summed up Shakespeare’s creation as follows: ‘I have not the slightest doubt that Shakespeare’s Cleopatra is the real historical Cleopatra – Her mental accomplishments, her unequalled grace, her woman’s wit, her irresistible allurements, her starts of irregular grandeur, her bursts of ungovernable temper, her vivacity of imagination, her petulant caprice, her fickleness and her falsehood, her tenderness and her truth, her childish susceptibility to flattery, her magnificent spirit, her royal pride, the gorgeous eastern colouring of the character – all these contradictory elements has Shakespeare seized, mingled them in their extremes, and fused them into one brilliant impersonation of classical elegance, Oriental voluptuousness and gypsy sorcery.’ Naturally, this assessment says as much about Shakespeare as it does Cleopatra.

Act I (5 scenes)

Scene i

Alexandria, Cleopatra’s palace

Enter Demetrius and Philo

Philo: “Nay, but this dotage of our general’s overflows the measure. Those his goodly eyes, that over the files and musters of the war have glowed like plated Mars, now bend, now turn, the office and devotion of their view upon a tawny front. His captain’s heart, which in the scuffles of great fights hast burst the buckles on his breast, reneges all temper, and is become the bellows and the fan to cool a gypsy’s lust.”

Enter Antony, Cleopatra and her ladies and eunuch

Philo: “Look where they come! Take but good note, and you shall see in him the triple pillar of the world transformed into a strumpet’s fool. Behold and see.”

Cleopatra: “If it be love indeed, tell me how much.”

Antony: “There’s beggary in the love that can be reckoned.”

Enter messenger

Messenger: “News, my good lord, from Rome.”

Antony: “Grates me the sum.”

Cleopatra: “Nay, hear them, Antony. Fulvia perchance is angry, or who knows if the scarce-bearded Caesar has not sent his powerful mandate to you: ‘Do this or this; take in that kingdom and enfranchise that; Perform it, or else we damn thee.’ Most like, you must not stay here longer, your discussion is come from Caesar; therefore hear it, Antony.”

Antony: “Let Rome in Tiber melt, and the wide arch of the ranged empire fall! Here is my space. There’s not a minute of our lives should stretch without some pleasure now. What sport tonight?”

Cleopatra: “Hear the ambassadors.”

Antony: “Fie, wrangling queen! Tonight we’ll wander through the streets and note the qualities of people.”

Analysis

Demetrius and Philo are friends to Antony and they clearly are concerned about the transformation they see in him into ‘a strumpet’s fool’. We encounter classic Cleopatra right from her first utterances, as she seeks to quantify Antony’s love and makes awkward a message from Rome, suggesting that perhaps his wife, Fulvia, is angry or else Octavius Caesar is forwarding mandates to Antony. She manages to irritate him with her provocations and he speaks treasonous words in front of his men: ‘Let Rome in Tiber melt and the wide arch of the ranged empire fall. Here is my space.’ Antony then returns to his preoccupation with his hedonistic life in Egypt with Cleopatra: ‘There’s not a minute of our lives should stretch without some pleasure now.’ He has clearly come a long way from his avenging of Julius Caesar’s murder in the previous play, as presently the conflict emerging is between Antony and Octavius Caesar, between East and West and between Egypt, governed by passion and pleasure, and Rome, steeped in discipline and reason. Antony rules one-third of the Roman Empire, but a distant one-third in the Far East, which includes Egypt. Octavius Caesar rules Rome itself. The two rulers are allied to one another but hardly friendly.

Act I

Scene ii

Alexandria, Cleopatra’s palace

Enter Charmian, Iras, Alexas and a soothsayer

Charmian: “Sweet Alexas, where’s the soothsayer who you praised so to the Queen?”

Alexas: “Soothsayer.”

Soothsayer: “Your will?”

Charmian: “Is this the man? Is it you, sir, who knows things?”

Soothsayer: “In nature’s infinite book of secrecy a little I can read.”

Enter Enobarbus

Enobarbus: “Bring in the banquet quickly, wine enough Cleopatra’s health to drink.”

Alexas: “Good sir, give me good fortune.”

Soothsayer: “I make not, but foresee. You shall be yet far fairer than you are. You shall be more believing than beloved. You shall outlive the lady whom you serve.”

Charmian: “O, excellent! I love long life better than figs.”

Enter Cleopatra

Cleopatra: “Saw you my lord?”

Enobarbus: “No, lady.”

Cleopatra: “He was disposed to mirth; but on the sudden a Roman thought hath struck him. Seek him, and bring him hither.”

Alexas: “My lord approaches.”

Enter Antony with a messenger

Cleopatra: “We will not look upon him. Go with us.”

Exit Cleopatra, Enobarbus and the rest

Antony: “Well, what worse?”

Messenger: “The nature of bad news infects the teller.”

Antony: “When it concerns the fool or the coward. Go on! Things that are past are done with me. ‘Tis thus: who tells me true, though in his tale lie death, I hear him as he flattered.”

Messenger: “O, my lord!”

Antony: “Speak to me; mince not the general tongue. Name Cleopatra as she is called in Rome. Rail thou in Fulvia’s phrase, and taunt my faults with such full licence as both truth and malice have power to utter.”

Messenger: “At your noble pleasure.”

Antony: “These strong Egyptian fetters I must break, or lose myself in dotage.

gMessenger: “Fulvia thy wife is dead. Her length of sickness, with what else more serious import thee to know, this bears.”

Antony: “Forbear me. There’s a reat spirit gone! Thus did I desire it. She’s good, being gone. I must from this enchanting queen break off. Ten thousand harms, more than the ills I know, my idleness doth hatch. How now, Enobarbus!”

Enter Enobarbus

Enobarbus: “What is your pleasure, sir?”

Antony: “I must with haste from hence. I must be gone.”

Enobarbus: “Cleopatra, watching but the least noise of this, dies instantly; I have seen her die twenty times upon far poorer moments.”

Antony: “She is cunning past man’s thought.”

Enobarbus: “Alack, sir, no! Her passions are made of nothing but the finest part of pure love. We cannot call her winds and waters sighs and tears, they are greater storms and tempests than almanacs can report.”

Antony: “Would I had never seen her!”

Enobarbus: “O sir, you had then left unseen a wondrous piece of work, which not to have been blest withal would have discredited your travel.”

Antony: “Fulvia is dead.”

Enobarbus: “Fulvia?”

Antony: “Dead.”

Enobarbus: “Why, sir, give the gods a thankful sacrifice, comforting therein that when old robes are worn out there are members to make new. If there were no more woman but Fulvia, then had you indeed a cut, and the case to be lamented. This grief is crowned with consolation: your old smock brings forth a new petticoat.”

Antony: “I shall break the cause of our expedience to the Queen, and get her leave to part.”

Analysis

By the end of scene ii we have met all of the principle characters other than Octavius Caesar. Cleopatra is highly dramatic throughout the play, but she is also extremely shrewd and calculating and doesn’t miss much. She notes that Antony was ‘disposed to mirth, but on the sudden a Roman thought hath struck him’. Sure enough, the constant stream of messenges for him from Rome are rarely good and they only serve to remind him of his dereliction of Roman accountability. Cleopatra is not the only person to flip and flop as the minutes alter their course. Antony, in just the last scene, was willing to ‘let Rome in Tiber melt’ and here he tells Enobarbus that he wishes he had never seen Cleopatra and that he must ‘from this enchanting queen break off, for ten thousand harms does his idleness hatch’. Antony is clearly torn between his Rome and his Egypt, which is to say, between duty and allegiance to Caesar and love and lust for Cleopatra. The latest message from Rome informs Antony that his wife, Fulvia, is dead. Once again he is torn: ‘There’s a great spirit! Thus did I desire it.’ He plans to leave for Rome immediately. Enobarbus meanwhile praises Cleopatra and is thankful of the news of Fulvia’s death: ‘Your old smock brings forth a new petticoat.’

Act I

Scene iii

Alexandria, Cleopatra’s palace

Enter Cleopatra, Charmian, Iras and Alexas

Cleopatra: “Where is he? See where he is, who is with him and what he does. If you find him sad, say I am dancing; if in mirth, report that I am sudden sick. Quick and return.”

Exit Alexas

Charmian: “Madam, methinks, if you did love him dearly, you do not hold the method to enforce the like from him.”

Cleopatra: “What should I do I do not?”

Charmian: “In each thing give him way; cross him in nothing.”

Cleopatra: “Thou teaches like a fool – the way to lose him.”

Charmian: “Here comes Antony.”

Cleopatra: “I am sick and sullen.”

Antony: “I am sorry to give breathing to my purpose.”

Cleopatra: “Help me away, dear Charmian; I shall fall.”

Antony: “Now, my dearest queen -“

Cleopatra: “Pray you, stand farther from me.”

Antony: “What’s the matter?”

Cleopatra: “I know by that same eye there’s some good news. What says the married woman? You may go. Would she had never given you leave to come! Let her not say ’tis I that keep you here’ – I have no power upon you. Hers you are. O, never was there a queen so mightily betrayed!”

Antony: “Cleopatra.”

Cleopatra: “Why should I think you can be mine and true, though you in swearing shake the gods who have been false to Fulvia? Riotous madness, to be entangled with thee mouth-made vows, which break themselves in swearing.”

Antony: “Most sweet queen -“

Cleopatra: “Bid farewell and go.”

Antony: “Here me, Queen: The strong necessity of time commands our service awhile, but my full heart remains in use with you. Our Italy shines over with civil swords. My more particular, and that which most with you should safe my going, is Fulvia’s death.”

Cleopatra: “Can Fulvia die?”

Antony: “She’s dead, my queen.”

Cleopatra: “O, most false love. Now I see in Fulvia’s death how mine received shall be.”

Antony: “Quarrel no more. I’ll leave you, lady.”

Cleopatra: “Corteous lord, one word. Sir, you and I must part – but that’s not it. Sir, you and I have loved – but that’s not it. Your honour calls you hence; therefore be deaf to my unpitied folly, and all the gods go with you! Upon your sword smooth success be strewed before your feet!”

Antony: “Let us go.”

Analysis

Cleopatra keeps everyone on their toes. She instructs Alexas that if she should find Antony sad, she should tell him that Cleopatra is dancing; and if in mirth then tell him that she is ‘sudden sick’. When Charmian suggests to Cleopatra that she give way to Antony and cross him in nothing, she thinks Charmian is mad: ‘thou teaches like a fool – the way to lose him.’ Enobarbus calls her a ‘wonderful piece of work’ and so she is. But she likes to keep Antony on edge at all times. It takes him upwards of 40 lines to inform her that Fulvia is dead, as she rails and rails about Fulvia and simply cuts him off over and over again with her histrionics. And once Antony does finally tell her that Fulvia is dead, Cleopatra criticizes him for not being more upset over her death, suggesting that ‘now I see in Fulvia’s death how mine received shall be.’ She is the consummate drama queen.

Act I

Scene iv

Rome. Caesar’s house

Enter Octavius Caesar and Lepidus

Caesar: “You may see, Lepidus, it is not Caesar’s natural vice to hate our great competitor. From Alexandria this is the news: he fishes, drinks and hastes the lamps of night in revel. You shall find there a man who is the abstract of all faults that all men follow. Let’s grant it is not amiss to tumble on the bed of Ptolemy, say this becomes him – yet must Antony no way excuse his foils when we do bear so great weight in his lightness.”

Enter messenger

Messenger: “Pompey is strong at sea, and it appears he is beloved of those who only have feared Caesar.”

Caesar: “I should have known no less.”

Messenger: “Caesar, I bring thee word Menecrates and Menas, famous pirates, make the sea serve them. Many hot inroads they make in Italy. Not vessel can peep forth but ’tis as soon taken as seen.”

Caesar: “Anthony, leave thy lascivious wassails.”

Lepidus: “‘Tis pity of him.”

Caesar: “Let his shames quickly drive him to Rome. ‘Tis time we twain did show ourselves in the field; and to that end assemble we immediate council. Pompey thrives in our idleness.”

Analysis

Here we get our first indication of Rome’s perspective on Antony in Egypt. Straight-laced Octavius Caesar reports that Antony ‘fishes, drinks, and wastes the lamps of night in revels.’ He refers to him as ‘a man who is the abstract of all faults.’ Rome is beset with troubles. There is a rebellion afoot in Asia Minor, Pompey is raging at sea and the pirates are routinely capturing Roman ships all over the coasts of Italy. And, oh yes… Flavia is dead. Caesar wants Antony in Rome, where there is much need of him: ‘We bear so great weight in his lightness.’ And indeed, Antony is coming to Rome.

Act I

Scene v

Alexandria. Cleopatra’s palace

Enter Cleopatra and Charmian

Cleopatra: “Charmian!”

Charmian: “Madam?”

Cleopatra: “Give me to drink mandragora.”

Charmian: “Why, madam?”

Cleopatra: “That I might sleep out this great gap of time my Antony is away.”

Charmian: “You think of him too much.”

Cleopatra: “O, ’tis treason! O Charmian, where think’st thou he is now? Stands he or sits he? Or does he walk? Or is he on his horse? O happy horse, to bear the weight of Antony! He’s speaking now, or murmuring ‘where is my serpent of old Nile?’ For so he calls me. Did I, Charmian, ever love Caesar so?”

Charmian: “O that brave Caesar!”

Cleopatra: “Be choked with such another emphasis! Say, ‘the brave Antony’.”

Charmian: “The valiant Caesar!”

Cleopatra: “By Isis, I will give thee bloody teeth if thou with Caesar paragon again my man of men. Get ink and paper. He shall have every day a several greeting, or I’ll unpeople Egypt.”

Analysis

Cleopatra pines for her Antony while he is away in Rome. Charmian tells her she thinks too much of him, which Cleopatra calls a treason. When Cleopatra asks Charmian if she had ever loved Caesar as she does Antony, Charmian praises her memory of Caesar. Cleopatra threatens to bloody her teeth if she she once again holds up Caesar to the level of Antony. Cleopatra seems like a teenage girl at times, although her reputed sexual prowess suggests otherwise.

Act II (7 scenes)

Scene i

Messina. Pompey’s house

Enter Pompey, Menecrates and Menas in warlike manner

Pompey: “If the great gods be just, they shall assist the deeds of just men.”

Menecrates: “Know, worthy Pompey, that what they do delay they not deny.”

Pompey: “I shall do well. The people love me, and the sea is mine; my powers are crescent, and my auguring hope says it will come to the full. Mark Antony in Egypt sits at dinner.”

Enter Varrius

Varrius: “Mark Antony is every hour in Rome expected.”

Menas: “I cannot hope Caesar and Antony shall well greet together.”

Pompey: “But how the fear of us may cement their divisions, and bind up the petty difference we yet not know. Be it as our gods will have it.”

Analysis

Antony has been called to Rome to deal with some serious issues besetting the empire, not the least of which is Pompey, who is gaining territory and popularity by the day. Here we find Pompey in Messina, confident that he is loved by the people, has a solid grip of the seas, has encouraging auguries and sees Antony relishing his Egyptian lifestyle. He learns here that Antony is arriving in Rome as a formidable commanding soldier and his greatest hope is that Caesar and Antony, two very different personalities, may dissolve their alliance in much anticipated conflicts between them. Shakespeare moves his scenes all about the Roman Empire, from Egypt to Rome, Athens, Syria and beyond, as this play encompasses the known western world and is somewhat less about the depth of characters as we will have noted in his many previous productions involving Falstaff, Hamlet, Iago, Macbeth, Lear, and Brutus, among others. There is not a single soliloquy in this play. Indeed, the inward glance will be less and less present in his final years of troublesome Romantic tragedies and comedies. Antony and Cleopatra rather suddenly brings a halt to the classic period of Shakespeare’s most creative brilliance which blessed his works from 1595 to 1606 and included Romeo and Juliet, Midsummer Night’s Dream, Merchant of Venice, Richard II, Henry IV (parts I and II), Henry V, Julius Caesar, Hamlet, Twelfth Night, Othello, Macbeth, King Lear and finally, Antony and Cleopatra. Richard III came earlier (1592) and The Tempest came later (1611). All the other masterpieces were written in that 12 year window of 1595-1606. Such a proliferation of genius has never been witnessed by anyone else in such a short period of time. Following 1606 Shakespeare wrote Coriolanus, Timon of Athens, Pericles, Cymbeline, Winter’s Tale, Henry VIII, Two Noble Kinsmen and The Tempest. He wrote plays for 25 years before retiring back to his childhood home of Stratford Upon Avon.

Act II

Scene ii

Rome. The house of Lepidus

Enter Enobarbus and Lepidus

Lepidus: “Here comes the noble Antony.”

Enter Antony and Ventidius

Enobarbus: “And yonder Caesar.”

Enter Caesar, Maecenas and Agrippa

Lepidus: “Noble friends, that which combined us was most great, and let not a leaner action rend us. What’s amiss, may it be gently heard. When we debate our trivial difference loud, we do commit murder in healing wounds. Then, noble partners, touch you the sourest points with sweetest terms.”

Antony: “‘Tis well spoken.”

Caesar: “Welcome to Rome.”

Antony: “Thank you. I learn you take things ill which are not so, or being, concern you not. My being in Egypt, Caesar, what was it to you?”

Caesar: “No more than my residing here at Rome might be to you in Egypt. Your wife and brother made wars upon me, and their contestation was theme for you.”

Antony: “You do mistake your business; my brother never did urge me in his act. Did he not rather discredit my authority with yours?”

Caesar: “You praise yourself by laying defects of judgement to me; but you patched up your excuses.”

Antony: “Not so, not so.”

Caesar: “I wrote to you when rioting in Alexandria; you did pocket up my letters, and with taunts did gibe my missive out of audience. You have broken the article of your oath, which you shall never have tongue to charge me with.”

Lepidus: “Soft, Caesar!”

Antony: “Lepidus, let him speak. The article of my oath -“

Caesar: “To lend me arms and aid when I required them, the which you both denied.”

Antony: “Truth is, that Fulvia, to have me out of Egypt, made wars here.”

Maecenas: “It might please you to enforce no further the griefs between ye – to forget them quiet.”

Lepidus: “Worthily spoken, Maecenas.”

Agrippa: “Give me leave, Caesar.”

Caesar: “Speak, Agrippa.”

Agrippa: “Thou has a sister, admired Octavia. Great Mark Antony is now a widower.”

Caesar: “Say not so, Agrippa. If Cleopatra heard you, your reproof were well deserved of rashness.”

Antony: “I am not married, Caesar. Let me hear Agrippa further speak.”

Agrippa: “To hold you in perpetual amity, to make you brothers, to knit your hearts, take Antony Octavia to his wife. By this marriage, all little jealousies, which now seem great, and all great fears, which now import their dangers, would then be nothing. Truths would be tales, where now half tales be truths.”

Antony: “Will Caesar speak?”

Caesar: “Not till he hears how Antony is touched with what is spoke already.”

Antony: “What power is in Agrippa to make this good.”

Caesar: “The power of Caesar, and, his power unto Octavia.”

Antony: “May I never, to this good purpose, dream of impediment! Let me have thy hand.”

Caesar: “There is my hand. A sister I bequeath you, whom no brother did ever love so dearly.”

Lepidus: “Happily, amen! Of us must Pompey presently be sought, or else he seeks us out.”

Antony: “What is his strength by land?”

Caesar: “Great and increasing; but by sea he is an absolute master.”

Exit all but Enobarbus, Agrippa and Maecenas

Maecenas: “Welcome, sir. You stayed well by it in Egypt.””

Enobarbus: “Ay, sir; we did sleep day out of countenance and made the night light with drinking.”

Maecenas: “Eight wild boars roasted whole at a breakfast. Is this true?”

Enobarbus: “We had much more monstrous matter of feast, which worthily deserved noting.”

Maecenas: “She’s a most triumphant lady, if report be square to her. Royal wench! She made great Caesar lay his sword to bed. He ploughed her, and she cropped. Now Antony must leave her utterly.”

Enobarbus: “Never, he will not. Age cannot wither her, nor custom stale her infinite variety. She makes hungry where most she satisfies; for vilest things become themselves in her.”

Maecenas: “If beauty, wisdom, modesty, can settle the heart of Antony, Octavia is a blessed lottery to him.”

Analysis

Lepidus immediately proposes that in the meeting among the Roman Triumvirate the two principle persons, Antony and Caesar, deal gently with their differences. Lepidus is the weakest of the three Roman rulers and will be dispensed with soon enough by Caesar, but his point is well received, as Antony and Caesar simply must work together well, despite their differences, if the integrity of the empire is to be preserved in the face of multiple challenges. Nonetheless the two rulers rip into each other fast and furious at the outset, until Agrippa proposes a marriage between Antony, recently widowed, and Caesar’s sister, Octavia. The hope is the this union would bind Caesar and Antony as family and render their fears and petty jealousies harmless. It is agreed upon that this marriage will knit their hearts as one and they immediately plan their battle against the great Pompey. Once everyone leaves Maecenas asks Enobarbus about life in Egypt and about the wonders of Cleopatra. Enobarbus sings her praises: ‘Age cannot wither her and she makes hungry where she most satisfies.’ It is doubtful that Octavia, Caesar’s sister, can make Antony abandon his ‘serpent on the Nile’.

Act II

Scene iii

Rome. Caesar’s house

Enter Antony, Caesar and Octavia

Antony: “The world and my great office will sometimes divide me from your bosom. My Octavia, read not my blemishes in the world’s report.”

Octavia: “Good night, sir.”

Exit Caesar and Octavia

Enter soothsayer

Antony: “Say to me, whose fortunes shall rise higher, Caesar’s or mine?”

Soothsayer: “Caesar’s. Therefore, O Antony, stay not by his side. Make space enough between you. If thou dost play with him at any game, thou art sure to lose.”

Exit soothsayer

Antony: “He has spoken true. The very dice obey him; and in our sports my better cunning faints under his chance. I will to Egypt; and though I make this marriage for my peace, in the east my pleasure lies.”

Analysis

Antony warns Octavia that his ‘affairs’ will sometimes ‘divide me from your bosom’. Truer words were never spoken! Once alone with the soothsayer Antony receives the advice he seemingly searches for: ‘Stay not by his side… make space between you…’ Indeed, ‘I will to Egypt… where my pleasure lies.’ He is hooked.

Act II

Scene iv

Rome. A street

Enter Lepidus, Maecenas and Agrippa

Lepidus: “Pray you hasten your generals. Till I see you in your soldier’s dress, farewell.””

Analysis

Lepidus orders soldiers to prepare to confront Pompey’s army

Act II

Scene v

Alexandria. Cleopatra’s palace

Enter Cleopatra and Charmian

Cleopatra: “Give us some music – moody food of us who trade in love.”

Enter a messenger

Messenger: “Madam, madam -“

Cleopatra: “Antony’s dead! If thou say so, villain, thou kills thy mistress.”

Messenger: “First, madam, he is well.”

Cleopatra: “Why, there’s more gold. But, sirrah, mark, we used to say the dead are well. Bring it to that, the gold I give thee will I melt and pour down thy ill-uttering throat.”

Messenger: “Good madam, hear me.”

Cleopatra: “I have a mind to strike thee ere thou speak’st. Yet, if thou say Antony lives, is well, or friends with Caesar, I’ll set thee in a shower of gold, and hail rich pearls upon thee.”

Messenger: “Madam, he’s well, and friends with Caesar.”

Cleopatra: “Make thee a fortune from me.”

Messenger: “But yet, madam – “

Cleopatra: “I do not like ‘but yet’. Fie upon ‘but yet.'”

Messenger: “He is bound unto Octavia.”

Cleopatra: For what good turn?”

Messenger: “For the best turn in the bed.”

Cleopatra: “I am pale, Charmian.”

Messenger: “Madam, he’s married to Octavia.”

Cleopatra: “The most infectious pestilence upon thee! (she strikes him) Horrible villain! I’ll unhair thy head; thou shalt be whipped with wire and stewed in brine.”

Messenger: “Gracious madam, I that do bring the news made not the match. He’s married, madam.”

Cleopatra: “Rogue, thou has lived too long.” (she draws a knife)

Messenger: “Nay, then I’ll run.”

Charmian: “Good madam, the man is innocent.”

Cleopatra: “Some innocents escape not the thunderbolt. Call the slave again. Though I am mad, I will not bite him.”

Charmian: “He’s afeared to come.”

Cleopatra: “I will not hurt him.”

Re-enter the messenger

Cleopatra: “Come hither, sir. Though it be honest, it is never good to bring bad news.”

Messenger: “I have done my duty.”

Cleopatra: “Is he married? I cannot hate thee worse than I do if thou again says ‘yes’.”

Messenger: “He’s married to Octavia, madam.”

Cleopatra: “Get thee hence.”

Exit messenger

Cleopatra: “In praising Antony I have dispraised Caesar.”

Charmian: “Many times, madam.”

Cleopatra: “I am paid for it now. I faint. Go to the fellow and bid him report the features of Octavia; her years, her inclinations; let him not leave out the colour of her hair. Bring me word quickly how tall she is. Lead me to my chamber.”

Analysis

Cleopatra is a petulant child in this scene and hardly becoming of an Egyptian queen. Indeed, Shakespeare reveals multiple sides of both Cleopatra and her Antony in this play. She can be an emotional wrecking ball of a teenage girl, but at times is a very capable monarch and a sexually mature lover of great renown. Indeed, Enobarbus calls her ‘a woman of infinite variety’. Antony is a great warrior and Roman ruler but is increasingly losing his Roman toughness the longer he lingers in the hedonism of Alexandria and Cleopatra’s bed. Here, a messenger arrives with news and Cleopatra falls apart just imagining the news and then rages when she learns that Antony is married to Caesar’s sister Octavia. She beats the messenger and threatens to kill him, but then calls him back to confirm the news and have him learn everything about Octavia and report back to her promptly. Cleopatra is a complex character and quite the drama queen… literally.

Act II

Scene vi

Near Misenum

Enter Pompey and Menas at one door and Antony, Caesar, Lepidus, Enobarbus, Maecenas and Agrippa at the other door.

Pompey: “Your hostages I have, so have you mine; and we shall talk before we fight.”

Antony: “Thou canst not fear us, Pompey, with thy sails; we’ll speak with thee at sea; at land thou know’st how much we do over-count thee.”

Lepidus: “Be pleased to tell us how you take the offers we have sent you.”

Caesar: “There’s the point.”

Pompey: “You have made me offer of Sicily and Sardinia, and I must rid all the seas of pirates; then to send measures of wheat to Rome.”

Caesar: “That’s our offer.”

Pompey: “Let me have your hand and thus we are agreed.”

Lepidus: “Well met here.”

Pompey: “We’ll feast ere we part. Antony, your fine Egyptian cookery shall have the fame. I have heard that Julius Caesar grew fat with feasting there. Aboard my galley I invite you all.”

Exit all but Enobarbus and Menas

Enobarbus: “We came hither to fight with you.”

Menas: “For my part, I am sorry it has turned to drinking. Is Mark Antony married to Cleopatra?”

Enobarbus: “Caesar’s sister, Octavia, is now the wife of Antony.”

Menas: “Then are Caesar and he forever knit together.”

Enobarbus: “If we’re bound to divine of this unity, I would not prophesy so.”

Menas: “I think the policy of that purpose made more in the marriage than the love of the parties.”

Enobarbus: “I think so too. But you shall find the bond that seems to tie their friendship together will be the very strangler of their amity. He will to his Egyptian dish again; then shall the sighs of Octavia blow the fire up in Caesar, and, as I said before, that which is the strength of their amity shall prove the immediate author of their variance.”

Menas: “Come sir, will you board? Let’s away.”

Analysis

Pompey accepts the peace proposal from the triumvirate and they now plan a night of serious drinking aboard Pompey’s galley. Enobarbus reflects to Menas that he is yet concerned about Caesar and Antony despite his marriage to Octavia. Enobarbus knows the Antony will return again and again to Cleopatra’s bed and that this will be hurtful to both Octavia and Caesar and therefore ‘that which is the strength of their amity shall prove the immediate author of their variance’. Enobarbus is a very wise and blunt man. He calls it as he sees it and he is usually right.

Act II

Scene vii

On board Pompey’s galley

Enter two servants

2 Servant: “Lipedus is high-coloured.”

1 Servant: “It raises the greater war between him and his discretion.”

Enter Caesar, Antony, Lepidus, Pompey and Menas

Antony: (to Caesar) “Thus do they, sir: they take the flow of the Nile by certain scales in the pyramid.”

Lepidus: “You have strange serpents there.”

Antony: “Ay, Lepidus.”

Pompey: “Sit, and some wine! A health to Lepidus.”

Lepidus: “What manner of thing is your crocodile?”

Antony: “It is shaped, sir, like itself, and it is as broad as it hath breadth; it is just so high as it is and it lives by the which nourishes it.”

Lepidus: “What colour is it?”

Antony: “Of its own colour too.”

Lepidus: “Tis a strange serpent.”

Antony: “Tis so.”

Menas: “Would thou be lord of all the world?”

Pompey: “How should that be?”

Menas: “I am the man will give thee all the world.”

Pompey: “Hath thou drunk well?”

Menas: “No, Pompey, I have kept me from the cup.”

Pompey: “:Show me which way.”

Menas: “These three world-sharers, these competitors, are in thy vessel. Let me cut the cable, and when we are put off, fall to their throats. All there is thine.”

Pompey: “Ah, this thou should have done, and not have spoken on it. In me tis villainy. In thee it had been good service. I should have found it afterwards well done, but must condemn it now.”

Menas: (aside) “For this, I’ll never follow thy palled fortunes more. Who seeks, and will not take when once tis offered, shall never find it more.”

Antony: “Here’s to Caesar!”

Caesar: “Its monstrous labour when I wash my brain and it grows fouler.”

Antony: “Be a child of the time.”

Caesar: “What would you more? Pompey, good night. Gentle lords, let’s part.”

Analysis

Servants discuss Lepidus’ state of drunkeness aboard Pompey’s ship and then we witness silly and drunken Lepidus reduced to asking Antony all about the serpents of Egypt. Antony already condemned Lepidus as an errand boy and soon he will be dismissed and dispatched by Caesar. More signifiant in this scene is when Menas suggests to Pompey that they set sail and slit the throats of the entire triumvirate, which would deliver the Roman Empire to Pompey on a silver platter. Pompey is upset that Menas did not simply do it rather than speak of it to Pompey. ‘I should have found it afterwards well done.’ How this would have dramatically altered the course of world history cannot be overstated, as Caesar Augustus will be an exemplary Emperor who sets Rome on a course it will survive for nearly 500 years despite a plethora of godforsaken emperors, including the three out of four which follow him, Tiberius, Caligula and Nero. There is peace between all of the principles at this point in the play, but this will not survive Act III, let alone the entire play, since this is a tragedy with the well known deaths of both of the play’s namesakes.

Act III (13 scenes)

Scene i

A plain in Syria

Enter Ventidius and Silius

Silius: “Noble Ventidius, whiles yet with Parthian blood thy sword is warm, the fugitive Parthians follow; spur through Media, Mesopotamia and the shelters whither the routed fly.”

Ventidius: “O Silius, I have done enough. Better to leave undone than by our deed acquire too high a fame when him we serve is away. Who does in the wars more than his captain can become his captain’s captain; and ambition, the soldier’s virtue, rather make choice of loss than gain which darkens him. I could do more to do Antony good, but ‘would offend him; and in his offence should my performance perish.”

Analysis

Ventidius is one of Antony’s loyal soldiers and here has defeated an army of the Parthians, in Asia Minor, on behalf of Antony. A soldier encourages him to go further and pursue the routed Parthians through Mesopotamia and beyond, but Ventidius reminds the soldier that going further could offend Anthony and undo all of his success. The unspoken suggestion here is that Antony could be fighting this battle except that he is preoccupied with all things Egypt and Cleopatra related.

Act III

Scene ii

Rome. Caesar’s house

Enter Agrippa and Enobarbus

Agrippa: “What, are the brothers parted?”

Enobarbus: “They have dispatched with Pompey; he is gone; Octavia weeps to part from Rome; Caesar is sad; and Lepidus, since Pompey’s feast, is troubled with the green sickness.”

Agrippa: “Tis a noble Lepidus.”

Enobarbus: “A very fine one. O, how he loves Caesar!”

Agrippa: “Nay, but how dearly he adores Mark Antony! Both he loves.”

Enter Caesar, Antony, Lepidus and Octavia

Caesar: “You take from me a great part of myself; use me well in it. Sister, prove such a wife as my thoughts make thee. Most noble Antony, let not the piece of virtue which is set betwixt us as the cement of our love be the ram to batter the fortress of it.”

Antony: “Make me not offended in your distrust. You shall not find, though you be therein curious, the least cause for what you seem to fear.”

Caesar: “Farewell, my dearest sister.”

Octavia: “My noble brother!”

Caesar: “Adieu; be happy! Farewell, farewell!”

Antony: “Farewell.”

Analysis

The meeting in Rome is ending. Octavia and Caesar are sad to be parting and Lepidus is still hungover from drinking on Pompey’s ship. Agrippa and Enobarbus have a good chuckle at harmless Lepidus’ expense. Lepidus is the obvious weak link in the triumvirate and will soon be dispatched. Caesar reminds Antony not to mess this up with Octavia and Antony assures him there is no substance to his fears. Oh Antony… Enobarbus and Caesar apparently know him better than he knows himself.

Act III

Scene iii

Alexandria. Cleopatra’s palace

Enter Cleopatra, Charmian, Iras and Alexas

Cleopatra: “Where is the fellow?”

Alexas: “Half afeared to come.”

Enter the messenger

Cleopatra: “Come thou near.”

Messenger: “Most gracious majesty!”

Cleopatra: “Did thou behold Octavia?”

Messenger: “Ay, dread queen.”

Cleopatra: “Is she as tall as me?”

Messenger: “She is not, madam.”

Cleopatra: “Is she shrill-tongued or low?”

Messenger: “Madam, she is low voiced.”

Cleopatra: “That’s not so good. He cannot like her long.”

Charmian: “Like her? Tis impossible.”

Cleopatra: “I think so Charmian. Dull of tongue and dwarfish! What majesty is in her gait?”

Messenger: “She creeps. She shows a body rather than a life, a statue than a breather.”

Cleopatra: “The fellow has good judgment. Guess at her years.”

Messenger: “Madam, she was a widow and I do think she’s thirty.”

Cleopatra: “Bear’st thou her face in mind? Is it long or round?”

Messenger: “Round even too faultiness.”

Cleopatra: “Her hair, what colour?”

Messenger: “Brown, madam.”

Cleopatra: “There’s gold for thee. Thou must not take my former sharpness ill. I will employ thee back again; I find thee most fit for business.”

Exit messenger

Charmian: “A proper man.”

Cleopatra: “Indeed, he is so. I repent me much that so I harried him. Why, methinks, by him, this creature is no such thing.”

Charmian: “Nothing, madam.”

Analysis

This scene follows up on the one where she beat the messenger for the news that Antony is married to Octavia. Now he is back to report the goods on Octavia and he plays it way smarter this time. This is the petty and petulant Cleopatra kept from bad behaviour by the messenger always answering according to what Cleopatra wants to hear. He gets gold and avoids another beating.

Act III

Scene iv

Athens. Antony’s house

Enter Antony and Octavia

Antony: “Nay, nay, Octavia – that were excusable, that and thousands more – but he hath waged new wars against Pompey; made his will, read it to public ear and spoke scantily of me.”

Octavia: “O my good lord, believe not all; a more unhappy lady, if this division chance, never stood between, praying for both parts.”

Antony: “Gentle Octavia, if I lose mine honour, I lose myself. I’ll raise the preparations of war shall stain your brother.”

Analysis

The peace everyone hoped would result from the marriage between Antony and Caesar’s sister, Octavia, remains fraught with strain between the two rulers of the empire. Antony seems easily angered by Caesar’s words and actions and Caesar is extremely protective of his sister. Antony is bound to feel left out of the affairs of Rome from his perspective in the Far East of the empire. And can anyone entertain the notion that Antony will abandon Cleopatra now that he has married into Caesar’s family? Acts III and IV generally deepen the complexity of plot and characterization and this play is no exception.

Act III

Scene v

Athens. Antony’s house

Enter Enobarbus and Eros

Eros: “There is strange news come, sir.”

Enobarbus: “What, man?”

Eros: “Caesar and Lepidus have made war upon Pompey. Caesar, having made use of him in the wars against Pompey, presently denied him rivalry, would not let him partake in the glory of the action and accuses him of letters he had formerly wrote to Pompey; upon his own appeal seizes him. So the poor third is up, till death enlarge his confine.”

Enobarbus: “Then, world, thou hast a pair of chaps – no more.”

Analysis

Rumours abound. Eros informs Antony that Caesar hath declared war on Pompey and has cut Lepidus out of the triumvirate. Now only Caesar and Antony are running the big show and Caesar is about to make powerful accusations of Antony. This is all pretty much historically accurate regarding the events in the play surrounding Pompey, Lepidus, Octavia, Antony, Cleopatra and Caesar. While this is a tragedy, it reads very much like Shakespeare’s series of history plays.

Act III

Scene vi

Rome. Caesar’s house

Enter Caesar, Agrippa and Maecenas

Caesar: “Contemning Rome, he has done all of this and more in Alexandria. Cleopatra and himself in chairs of gold were publicly enthroned. Unto her he gave Egypt, Lower Syria, Cyprus and Lydia as absolute queen.”

Maecenas: “This in the public eye?”

Caesar: “In the common show-place. His sons he proclaimed kings of kings. Great Media, Parthia and Armenia he gave to Alexander; to Ptolemy he assigned Syria, Cilicia and Pheonicia.”

Maecenas: “Let Rome be thus informed.”

Caesar: “The people know it and have now received his accusations.”

Maecenas: “Who does he accuse?”

Caesar: “Caesar. I have told him Lepidus was grown too cruel and did deserve his change. For what I have conquered I grant impart, but then in his Armenia and others of his conquered kingdoms, I demand the like.”

Maecenas: “He’ll never yield too that.”

Caesar: “Nor must not then be yielded to in this.”

Enter Octavia

Octavia: “Hail, Caesar, and my lord!”

Caesar: “That ever I should call thee castaway! Why have you stolen upon us thus? The wife of Antony should have an army for an usher; but you are come a market-maid to Rome. We should have met you by sea and land, supplying every stage with an augmented greeting.”

Octavia: “My lord, Mark Antony, hearing that you prepared for war, acquainted my grieved ear withal; whereon I begged his pardon for return.”

Caesar: “Which soon he granted, being an obstruct between his lust and him.”

Octavia: “Do not say so, my lord.”

Caesar: “Where is he now?”

Octavia: “My lord, in Athens.”

Caesar: “No my most wronged sister. He hath given his empire up to a whore, who now are levying the kings of the earth for war. Welcome to Rome; you are abused beyond the mark of thought, and the high gods, to do you justice, make their ministers of us and those that love you.”

Maecenas: “Welcome, dear madam. Each heart in Rome does love and pity you; only the adulterous Antony, most large in his abominations, turns you off.”

Analysis

Having just disposed of Lepidus, Caesar now takes aim at Antony, who has given Caesar much to work with. It is reported that Antony sits on a throne as Cleopatra’s king. He has given Cleopatra much of the Roman Empire’s Middle Eastern lands. Finally, Caesar informs Octavia that Antony is not at his home in Athens, as she believes, but is back in Alexandria with Cleopatra, preparing a military force to fight Rome. Octavia is crushed and Caesar’s worst fears about Antony have born fruit, despite Anthony’s prior assurance to the contrary. We can sense an inevitable slide toward irreconcilable conflict between Caesar and Antony, as the latter seems to have entirely forgotten his duties to Rome. So intoxicating is Cleopatra apparently.

Act III

Scene vii

Antony’s camp near Actium

Enter Cleopatra and Enobarbus

Enobarbus: “Here comes the Emperor.”

Enter Antony and Canidius

Antony: “We’ll fight with him by sea.”

Canidius:”Why will my lord do so?”

Antony: “For that he dares us to it.”

Enobarbus: “So hath my lord dared him to single fight?”

Antony: “Ay, but these offers, which serve not for his vantage, he shakes off, and so should you.”

Enobarbus: “Your ships are not well manned; your mariners are muleteers. In Caesar’s fleet are those who often have against Pompey fought. No disgrace shall fall you for refusing him at sea, being prepared for land.”

Antony: “By sea, by sea.”

Enobarbus: “Most worthy sir, you therein throw away the absolute soldiership you have by land.”

Antony: “I’ll fight at sea.”

Cleopatra: “I have sixty sails, Caesar none better.”

Enter a soldier

Soldier: “O noble Emperor, do not fight by sea; trust not to rotten planks. We are used to conquering on the earth and fighting foot to foot.”

Antony: “Well, well, away.”

Soldier: “By Hercules, I think I am in the right.”

Canidius: “Soldier, thou art. We are all women’s men.”

Analysis

Antony prepares for war with Caesar, which is to say he is preparing for war against Rome itself. He insists the fight will be at sea, which Enobarbus and Canidius oppose vehemently. Enobarbus tells him his ships are manned by muleteers and that Caesar’s fleet has often fought against Pompey and is very experienced. Antony’s answer: ‘By sea, by sea!’ Cleopatra also believes the best course of fighting Caesar is at sea. She claims to have sixty sails to contribute to the battle. Finally, a soldier arrives and begs Antony not to fight at sea. Antony dismisses him and the soldier commiserates with Canidius, who assures him that he is correct and concludes that ‘we are women’s men’, suggesting that Antony is under Cleopatra’s spell. This is clearly a terrible decision on the part of Antony to fight Caesar by sea… as we shall witness.

Act III

Scene viii

A plain near Actium

Enter Caesar and Taurus

Caesar: “Taurus! Strike not by land; provoke not battle till we have done at sea. Our fortune lies upon this jump.”

Analysis

Caesar does not want to distract Antony from their impending battle at sea, so when one of his generals considers attacking Antony’s army by land, Caesar is quick to pull him back at least until the battle at sea is over. Caesar is fully aware that he has a considerable advantage at sea.

Act III

Scene ix

Another part of the plain near Actium

Enter Antony and Enobarbus

Antony: “Set we our squadrons on yonder hillside, in eye of Caesar’s battle; from which place we may the number of his ships behold, and so proceed accordingly.”

Analysis

Antony’s superior army is relegated to watching the sea battle from a nearby hillside, from where they may count the number of Caesar’s ships. Only Antony thinks this is a good idea.

Act III

Scene x

Another part of the plain near Antium

Enter Enobarbus and Scarus

Enobarbus: “Naught, naught, all naught! I can behold no longer. The Egyptian admiral, with all their sixty sails, fly and turn the rudder.”

Scarus: “We have kissed away kingdoms and provinces.”

Enobarbus: “How appears the fight?”

Scarus: “On our side like the token pestilence, where death is sure. You nag of Egypt – whom leprosy overtake – in the midst of the fight, the breeze upon her, hoists her sails and flies.”

Enobarbus: “That I beheld; mine eyes did sicken at the sight and could not endure a further view.”

Scarus: “The noble ruin of her magic, Antony, like a doting mallard, leaving the fight in height, flies after her. I never saw an action of such shame; experience, manhood and honour never before did violate so itself.”

Enter Canidius

Canidius: “Our fortune on the sea is out of breath, and sinks most lamentably. Had our general been what he knew himself, it had gone well. O, he has given example for our flight most grossly by his own! To Caesar will I render my legions and my horse.”

Enobarbus: “I’ll yet follow the wounded chance of Antony, though my reason sits in the wind against me.”

Analysis

Apparently Antony was winning the battle at sea until Cleopatra suddenly fled from the battle with her sixty sails. Antony followed her and the battle was lost. Antony’s soldiers are sickened by what they witnessed. Camidius has seen enough and even takes his army over to Caesar’s side. Enobarbus is tempted to do the same, but against his better judgment, remains loyal to Antony… for a bit longer. The scenes rush by in rapid succession. Acts III and IV contain a total of 28 scenes, each advancing the plot a bit here and there, providing brief glimpses of one side or the other. And in each scene the big picture is getting clearer and clearer. Antony and Cleopatra are bumbling and buckling under the pressure and Caesar is relentless in his pursuit of them.

Act III

Scene xi

Alexandria. Cleopatra’s palace

Enter Antony and attendants

Antony: “Hark! The land bids me tread no more upon it; it is ashamed to bear me. Friends, I am so lated in the world that I have lost my way forever. I have a ship laden with gold; take that; divide it. Fly, and make your peace with Caesar. I have fled myself, so be gone. I have myself resolved upon a course which has no need of you; be gone. My treasure’s in the harbour; take it. Pray you look not sad; take the hint which my despair proclaims. Let that be left which leaves itself. Leave me, I pray, a little; for indeed I have lost command.”

Enter Cleopatra, Iras, Charmian and Eros

Eros: “Nay, gentle madam, to him! Comfort him.”

Iras: “Do, most dear queen.”

Antony: “No, no, no, no, no! Fie, fie, fie!”

Eros: “The queen, my lord, the queen! She approaches. Her head’s declined, and death will seize her but your comfort makes the rescue.”

Antony: “O, wither hast thou led me, Egypt?”

Cleopatra: “O, my lord, my lord. Forgive my fearful sails! I little thought you would have followed.”

Antony: “Egypt, thou knew’st too well my heart was to thy rudder tied by the strings. Thy beck might from the bidding of the gods command me.”

Cleopatra: “O, my pardon.”

Antony: “You did know how much you were my conquerer.”

Cleopatra: “Pardon, pardon!”

Antony: “Give me a kiss; even this repays me.”

Analysis

Antony is very hard on himself here and suggests his men abandon him as he has abandoned his duty and himself. ‘Indeed, I have lost command.’ He tries to get Cleopatra to explain why she fled with her ships at the height of a battle they were winning and all she can do is beg pardon. But seeing her so upset melts his heart and he asks for a kiss, which he claims repays him for her blunder. They are quite the pair at this point in the play. Had Cleopatra not fled that sea battle, it might have represented their finest opportunity to survive Caesar’s pursuit of them. Since the next scene witnesses Antony attempting to negotiate the terms of his surrender, we can assume that sea battle was their last shot.

Act III

Scene xii

Caesar’s camp in Egypt

Enter Caesar, Agrippa and Thyreus

Caesar: “Let him appear who comes from Antony.”

Enter Eurphronius, ambassador from Anthony

Caesar: “Approach and speak.”

Eurphronius: “Lord of his fortunes he salutes thee, and requires to live in Egypt; which not granted, he lessens his requests and to thee sues to let him breathe a private man in Athens. This for him. Next, Cleopatra does confess thy greatness, submits her will to thy might and of thee craves the circle of the Ptolemies for her heirs.”

Caesar: “For Antony, I have no ears to his request. The queen from Egypt must drive her ill-disgraced friend, or take his life there.”

Exit Euphronius

Caesar: (to Thyreus) “Try thy eloquence now; tis time. Dispatch; From Antony win Cleopatra. Promise what she requires; add more offers.”

Thyreus: “Caesar, I go.”

Caesar: “Observe how Antony becomes his flaws.”

Thyreus: “Caesar, I shall.”

Analysis

Antony’s ambassador arrives with requests from Caesar. He wishes to be left in Egypt, or barring that, to be left to live a free man in Athens. Cleopatra, for her part, asks that her kingdom be passed on to her heirs. Caesar has no time for anything Anthony needs or wants but claims he will offer generous terms to Cleopatra if she will either expel or kill Antony. In this way does Caesar hope to divide and conquer the lovers.

Act III

Scene xiii

Alexandria. Cleopatra’s palace

Enter Cleopatra and Enobarbus

Cleopatra: “What shall we do, Enobarbus?”

Enobarbus: “Think and die.”

Cleopatra: “Is Antony or are we in fault for this?”

Enobarbus: “Antony only, that would make his will lord of his reason.”

Cleopatra: “Prithee, peace.”

Enter Eurphronius the ambassador and Antony

Antony: “Is that the answer?”

Eurphronius: “Ay, my lord.”

Antony: “The queen shall then have courtesy, so she will yield us up.”

Eurphronius: “He says so.”

Antony: “Let her know it. I dare he answer me, sword against sword, ourselves alone.”

Exit Antony and Eurphronius

Enobarbus: (aside) “Yes, I see men’s judgments are a parcel of their fortunes, and things outward do draw the inward quality after them, to suffer all alike. That he should dream, knowing all measures, the full Caesar will answer his emptiness! Caesar, thou hast subdued his judgment, too. Mine honesty and I begin to square. The loyalty well held to fools does make our faith mere folly. Yet he that can endure to follow with allegiance a fallen lord does conquer him that did his master conquer, and earns a place in the story.”

Enter Thyreus

Cleopatra: “Caesar’s will?”

Thyreus: “He knows that you embrace not Antony as you did love, but as you feared him. The scars upon your honour, therefore, he does pity.”

Cleopatra: “He is a god, and knows what is most right. My honour was not yielded, but conquered merely.”

Thyreus: Shall I say to Caesar what you require of him? For he partly begs to be desired to give. It much would please him that of his fortunes you should make a staff to lean upon. But it would warm his spirits to hear from me you had left Antony, and put yourself under his shroud, the universal landlord.”

Cleopatra: “Most kind messenger, say to great Caesar this: in deputation I kiss his conquering hand. Tell him I am prompt to lay my crown at his feet, and there to kneel. Tell him from his all-obeying breath I hear the doom of Egypt.”

Thyreus: ‘Tis your noblest course.”

Enter Antony and Enobarbus

Antony: “What art thou, fellow?”

Thyreus: “One that but performs the bidding of the fullest man.”

Enobarbus: (aside) “You will be whipped.”

Antony: “Approach here. Have you no ears. I am still Antony. Take hence this Jack and whip him. Whip him till like a boy you see him cringe his face, and whine aloud for mercy. Take him hence.”

Cleopatra: “Good, my lord.”

Antony: “You have been a boggler ever. The wise gods seal our eyes, in our own filth drop our clear judgments, make us adore our errors, while we strut to our confusion.”

Cleopatra: “O, has it come to this?”

Antony: “I found you as a morsel cold upon dead Caesar’s trencher. Nay, you were a fragment of Pompey’s. For I am sure, though you could guess what temperance should be, you know not what it is.”

Enter servant with Thyreus

Antony: “Is he whipped?”

Servant: “Soundly, my lord.”

Antony: “Cried he? Begged a pardon?”

Servant: “He did ask for favour.”

Antony: “Be thou sorry to follow Caesar in his triumph. Get thee back to Caesar; tell him thy entertainment; look thou say he makes me angry with him; for he seems proud and disdainful, harping on what I am, not what he knew I was.”

Cleopatra: “Have you done yet?”

Antony: “Alack, our moon is now eclipsed, and it portends alone the fall of Antony.”

Cleopatra: “I must stay his time.”

Antony: “To flatter Caesar, would you mingle eyes? Cold-hearted toward me?”

Cleopatra: “So dissolve my life!”

Antony: “I am satisfied Caesar sits down in Alexandria, where I will oppose his fate. Our force by land hath nobly held; our served navy too has knit again. Where hast thou been, my heart? Dost thou hear, lady? If from the field I shall return once more to kiss these lips, I will appear in blood. I and my sword will earn our chronicle. There’s hope in it.”

Cleopatra: “That’s my brave lord!”

Antony: “I will be treble-sinewe’d , hearted, breathed, and fight maliciously. Now I’ll set my teeth, and send to darkness all that stops me. Come, let’s have one other gaudy night. Call to me all my sad captains; fill our bowls once more; let’s mock the midnight bell.”

Cleopatra: “Its my birthday. Since my lord is Antony again, I will be Cleopatra.”

Antony: “We will yet do well. The next time I do fight I’ll make death love me; for I will contend even with his pestilent scythe.”

Exit all byt Enobarbus

Enobarbus: “I still see a diminution in our captain’s brain restores his heart. When valour preys on reason, it eats the sword it fights with. I will seek some way to leave him.”

Analysis

Cleopatra asks Enobarbus who is at fault for what has befallen them. Enobarbus is clear that Antony is solely responsible, as he chose lust over reason. ‘Men’s judgments are a parcel of their fortunes. Caesar, thou hast subdued his judgment too.’ He seriously considers leaving the service of Antony, his friend. ‘The loyalty well held to fools does make our faith mere folly.’ Thyreus arrives from Caesar to feel out Cleopatra’s take on things, just as Caesar closes in on Alexandria. Cleopatra refers to Caesar as a god and claims that her honour was not yielded to Antony, but rather ‘conquered merely’. Antony arrives just as Cleopatra is betraying him to Caesar’s ambassador and Antony has him whipped and then lashes out at Cleopatra: ‘I am sure, though you can guess what temperance should be, you know not what it is.’ They reconcile toward the end of the scene, as Antony still believes both his army and navy might yet prevail and requests of Cleopatra ‘one other gaudy night’. Enobarbus reflects in a final aside that he will, indeed, seek a way to leave Antony. So ends Act III.

Both Antony and Cleopatra have wild mood swings back and forth between despair and fury and hope and reconciliation. Only Caesar remains firmly himself, as his noose tightens around Egypt and Enobarbus prepares to switch sides.

Act IV (15 scenes)

Scene i

Caesar’s camp before Alexandria

Enter Caesar and Maecenas

Caesar: “He calls me boy, and chides as he had power to beat me out of Egypt. My messenger he hath whipped with rods; dares me to personal combat, Caesar to Antony. Let the old ruffian know I have many other ways to die, meantime laugh at his challenge.”

Maecenas: “Give him no breath, but now make boot of his distraction.”

Caesar: “Tomorrow, the last of many battles we plan to fight. See it done, and feast the army; they have earned the waste. Poor Antony!”

Analysis

Caesar is at the gates of Alexandria and recounts the insults he has received from Antony and is determined to crush him in tomorrow’s ‘final battle’. There are fifteen scenes in Act IV, so the plots advances quickly.

Act IV

Scene ii

Alexandria. Cleopatra’s palace

Enter Antony, Cleopatra, and Enobarbus

Antony: “He will not fight with me? Why should he not?”

Enobarbus: “He thinks, being twenty times of better fortune, he is twenty men to one.”

Antony: “By sea and land Ill fight.”

Enobarbus: “I’ll strike and cry ‘take all’.”

Antony: “Well said; come on. Let’s tonight be bounteous in our meal. Tend me tonight. Happily, you shall not see me no more. Perchance tomorrow you’ll serve another master. Mine honest friends, I turn you not away; but, like a master married to your good service, stay till death.”

Enobarbus: “What mean you, sir, to give them this discomfort? Look, they weep; for shame! Transform us not to women.”

Antony: “Know, my hearts, I hope well of tomorrow.”

Analysis

Caesar was extremely confident in scene i and here in scene ii Antony is preparing to fight at both land and sea but then tells his soldiers that this night may be the last they ever spend together and that by tomorrow they all may serve another master. His soldiers begin to weep and Enobarbus scolds Antony for the shame of transforming his army into women. Clearly, Antony continues to alternate between confidence and despair and time is running out with a resourceful and aggressive Caesar at the door.

Act IV

Scene iii

Alexandria. Before Cleopatra’s palace

Enter soldiers

1 Soldier: “Good night. Tomorrow is the day.”

2 Soldier: “It will determine one way.”

3 Soldier: “‘Tis a brave army, and full of purpose.”

2 Soldier: “Peace, what noise?”

3 Soldier: “Music in the air.”

5 Soldier: “It signs well, does it not?”

4 Soldier: “No.”

3 Soldier: “What should this mean?”

2 Soldier: “”Tis the god Hercules, whom Antony loved, now leaves him.”

1 Soldier: “‘Tis strange.”

Analysis

Anthony’s soldiers are quite positive about their impending battle until they hear music and decide it is from Hercules, who is abandoning Antony. They alternate between confidence and despair just as their general does. No surprise there.

Act IV

Scene iv

Alexandria. Cleopatra’s palace

Enter Antony, Cleopatra and Charmian

Antony: “We shall thrive now.”

Enter an armed soldier

Soldier: “A thousand, sir, at the port expect you.”

Antony: “Fare thee well, dame, whatever becomes of me. This is a soldier’s kiss. I’ll leave thee now like a man of steel. You who will fight, follow me close.”

Cleopatra: “He goes forth gallantly. That he and Caesar might determine this Great War in single fight.”

Analysis

Here we find Antony quite positive about prospects in the upcoming battles with Caesar. ‘We will thrive now.’ Each little scene bring us closer to the big battles.

Act IV

Scene v

Alexandria. Antony’s camp

Antony: “Who’s gone this morning?”

Soldier: “One ever near thee. Call for Enobarbus, he shall not hear thee. He is with Caesar. His chests and treasures he has not with him.”

Antony: “Go, send his treasures after him. Do it. I charge thee. Write to him with gentle adieus and greetings; say that I wish he never find more cause to change a master. O, my fortunes have corrupted honest men! Dispatch. Enobarbus!”

Analysis

This news is a tough blow to Antony. Enobarbus left him because of his incompetence as a general. The end just got closer and more real.

Act IV

Scene vi

Alexandria. Caesar’s camp

Enter Caesar, Agrippa and Enobarbus

Caesar: “Go forth, Agrippa, and begin the fight. Our will is Antony be taken alive. Make it so known.”

Agrippa: “Caesar, I shall.”

Caesar: “The time of universal peace is near. Prove this a prosperous day.”

Enter messenger

Messenger: “Antony is come into the field.”

Enobarbus: (aside) “I have done ill, of which I do accuse myself so sorely that I will joy no more.”

Enter a soldier

Soldier: “Enobarbus, Antony hath after thee sent all thy treasure.”

Enobarbus: “I give it to you.”

Soldier: “Mock not, Enobarbus.”

Enobarbus: (aside) “I am alone the villain of the earth, and feel I am so most. O Antony, this blows my heart. I fight against thee? No! I will go seek some ditch wherein to die; the foulest best fits my latter part of life.”

Analysis

Caesar senses ‘the time of universal peace is near’. Indeed, he will, as Emperor Augustus, usher in the famous ‘Peace Romana’, the Roman Peace, which will be a 200 year golden age of peace and prosperity during and after his reign, for which his wise and effective rule is credited for accomplishing. Enobarbus feels enormous guilt for abandoning Antony, who generously forwards his treasure to Caesar’s camp. All that’s left for Enobarbus is to ‘seek a ditch wherein to die.’ The walls appear to be closing in tight around Antony, as they are for Enobarbus.

Act IV

Scene vii

Field of battle between the camps

Enter Agrippa and soldiers

Agrippa: “Retire. We have engaged ourselves too far. Our oppression exceeds what we expected.”

Exit Agrippa

Enter Antony and Scarus

Scarus: “O my brave Emperor, this is fought indeed! Had we done so at first, we had driven them home with clouts about their heads.”

Antony: “They do retire.”

Scarus: “We’ll beat them into bench-holes.”

Enter Eros

Eros: “They are beaten, sir, and our advantage serves for a fair victory.”

Scarus: “Let us score their back and snatch ’em up, as we take hares; ’tis sport to maul runners.”

Antony: “I will reward thee once for thy sprightly comfort, and tenfold for thy good valour.”

Analysis

We have been led to believe in several previous scenes that Caesar is pressing for his final victory over Antony. So it comes as a surprise when we see here that Antony’s army has been victorious in the field against Caesar. There still remain eight scenes in Act IV and all of Act V, so that leaves plenty of time for a bit of back and forth fortunes on the battlefield.

Act IV

Scene viii

Under the walls of Alexandria

Enter Antony and Scarus

Antony: “Tomorrow, we will spill the blood that has today escaped. I thank you all. Enter the city, clip your wives, your friends, tell them your feats; whilst they with joyful tears wash the congealment from your wounds and kiss the honoured gashes whole.”

Enter Cleopatra

Cleopatra: “Lord of lords! O infinite virtue, com’st thou smiling from the world’s great snare uncaught?”

Analysis

Antony returns to Alexandria victorious and confident.

Act IV

Scene ix

Caesar’s camp

Enter Enobarbus

Enobarbus: “O Antony, nobler than my revolt is infamous, let the world rank me a master-leaver and a fugitive! O Antony! O Antony!”

Enobarbus dies

Analysis

Enobarbus essential dies of grief from his abandoning Antony. He sees Antony fight heroically and actually win the day in battle against Caesar’s army and cannot live with himself as a ‘master-leaver and fugitive’. The tragedy has begun in earnest with his death.

Act Iv

Scene x

Between the two camps

Enter Antony and Scarus

Antony: “Their preparation is today by sea. We please them not by land.”

Analysis

We may recall that the previous sea battle was going quite well before Cleopatra escaped with her entire fleet. So after the victory by land Antony is prepared to fight Caesar wherever necessary, including at sea.

Act IV

Scene xi

Between the camps

Enter Caesar and his army

Caesar: “We will be still by land and hold our best advantage.”

Analysis

Having just experienced a setback on land, Caesar is prepared to take the fight to the sea, where he holds ‘our best advantage.’ Never any histrionics with Caesar. He is merely relentless and dogged in his preparation and execution.

Act IV

Scene xii

A hill near Alexandria

Enter Scarus

Scarus: “Antony is valiant and dejected; and by starts his fretted fortunes give him hope and fear of what he has and has not.”

Enter Antony

Antony: “All is lost! This foul Egyptian has betrayed me. My fleet has yielded to the foe. Triple turned whore! Thou hast sold me to this novice; and my heart makes only wars on thee.”

Exit Scarus

Antony: “O sun, thy uprise will I see no more! Fortune and Antony part here; even here do we shake hands. All come to this? Betrayed I am of this false soul of Egypt! Like a right gypsy, she hath at fast and loose beguiled me to the very heart of loss.”

Enter Cleopatra

Cleopatra: “Why is my lord enraged against his love?”

Antony: “Vanish, or I shall give thee thy deserving and blemish Caesar’s triumph. Let him take thee and hoist thee up to the shouting plebeians and let patient Octavia plough thy visage up with her prepared nails.”

Exit Cleopatra

Antony: “‘Tis well thou art gone. The witch shall die.”

Analysis

How much can change between these tiny scenes. Antony is watching the sea battle from a nearby hillside and once again witnesses Cleopatra’s ships desert the battle, this time defecting directly to Caesar. As a result, the battle is is hopelessly lost. Antony rails against Cleopatra, first to Scarus, then to himself and finally to Cleopatra herself. He threatens to beat her and thereby blemish Caesar’s triumph. ‘The witch shall die’, he concludes after she runs off. The battle between Caesar and Antony has taken its final turn and the famous couple are badly out of sorts.

Act IV

Scene xiii

Alexandria. Cleopatra’s palace

Enter Cleopatra, Charmian, Iras and Mardian

Cleopatra: “Help me, my women. O, he is mad.”

Charmian: “To the monument! There lock yourself, and send him word you are dead. The soul and body rive not more in acting than greatness going off.”

Cleopatra: “To the monument! Mardian, go tell him I have slain myself; say that the last I spoke was ‘Antony’ and word it, prithee, piteously. And bring me how he takes my death. To the monument!”

Analysis

Cleopatra fears Antony’s rage and Charmian suggests she lock herself in her monument to be safe from Antony and report to him that she is dead. Just the type of drama that Cleopatra would embrace and sure enough, off she goes to the monument, instructing Mardian to report back to her how Antony receives word of her death. The confusion of her apparent death and then his death upon hearing of hers is directly reminiscent of Romeo and Juliet. In both cases the end result is the same. Antony just takes quite a bit longer to die than the other three. Perhaps he should have found an apothecary!

Act IV

Scene xiv

Cleopatra’s palace

Enter Antony and Eros

Antony: “Here I am Antony, yet cannot hold this visible shape. I made these wars for Egypt; and the Queen, whose heart I thought I had, for she had mine. She has packed cards with Caesar, and false-played my glory unto an enemy’s triumph. Nay, weep not, gentle Eros; there is left us ourselves to end ourselves.”

Enter Mardian

Antony: “O, thy vile lady!”

Mardian: “No, Antony; my mistress loved thee, and her fortunes mingled with thine entirely.”

Antony: “Hence, saucy eunuch, peace. She hath betrayed me, and shall die the death.”

Mardian: “Death of one person can be paid but once, and that she has discharged. The last she spoke was ‘Antony! Most noble Antony!’ It was divided between her heart and lips. She rendered life, thy name so buried in her.”

Antony: “Dead then?”

Mardian: “Dead.”

Antony: “Unarm, Eros; the long day’s task is done, and we must sleep.”

Exit Mardian

Antony: “The seven-fold shield of Ajax cannot keep the battery from my heart. O, cleave my sides! Heart, crack thy frail case. No more a soldier. From me awhile.”

Exit Eros

Antony: “I will overtake thee, Cleopatra, and weep for my pardon. So it must be, for now all length is torture. I come, my queen.”

Re-enter Eros

Eros: “What would my lord?”

Antony: “Since Cleopatra died, I have lived in such dishonour that the gods detest my baseness. I condemn myself to lack the courage of a woman; thou art sworn, Eros, that, when the exigent should come – which now is come indeed – when I should see behind me the inevitable prosecution of disgrace and horror, that, on my command, thou then wouldst kill me; do it, the time is come.”

Eros: “The gods withhold me!”

Antony: “Come, then; for with a wound I must be cured. Draw that thy honest sword, which thou hast worn most useful for thy country.”

Eros: “O, sir, pardon me!”

Antony: “When I did make thee free, swor’st thou not then to do this when I bade thee? Do it at once. Draw and come.”

Eros: “Turn from me then that noble countenance. My sword is drawn.”

Antony: “Then let it do at once the thing why thou hast drawn it.”

Eros: My dear master, my captain and my emperor, let me say, before I strike this bloody stroke, farewell.”

Antony: “‘Tis said, man; and farewell.”

Eros: “Farewell, great chief. Shall I strike now?”

Antony: “Now, Eros.”

Eros: “Why, there then! Thus do I escape the sorrow of Antony’s death.”

Eros kills himself

Antony: “Thrice nobler then myself! Thou teachest me, O valiant Eros, what I should. But I will be a bridegroom in my death, and run onto it as to a lover’s bed. Come, then; to do thus.”

Antony falls on his sword

Antony: “Not dead? Not dead? Guard, ho! O, dispatch me. I have done my work ill, friends. O, make an end of what I have begun.”

Enter Dercetas and guards

1 Guard: “The star is fallen.”

2 Guard: “And time is at his period.”

Antony: “Let he who loves me, strike me dead.”

1 Guard: “Not I.”

2 Guard: “Nor I.”

3 Guard: “Nor anyone.”

Dercetas: “Thy death and fortunes bid thy followers fly.”

Enter Diomedes

Diomedes: “Where’s Antony?”

Dercetas: “There, Diomedes, there.”

Diomedes: “Lives he?”

Antony: “Art thou there, Diomedes? Draw thy sword and give me sufficing strokes for death.”

Diomedes: “Most absolute lord, my mistress Cleopatra sent me to thee.”

Antony: “When did she send thee?”

Diomedes: “Now, my lord.”

Antony: “Where is she?”

Diomedes: “Locked in her monument. When she saw that your rage would not be purged, she sent you word she was dead; bit fearing since how it might work, hath sent me to proclaim the truth; and I am come, I dread, too late.”

Enter Antony’s guards

Antony: “Bear me, good friends, where Cleopatra bide; ’tis the last service that I shall command you.”

1 Guard: “Woe, woe are we, sir, you may not live to wear all your true followers out.”

Antony: “Take me up. I have led you often; carry me now, good friends, and have my thanks.”

Analysis

This is a tragic scene indeed for Antony. He has lost the battle with Caesar and he has lost his ‘serpent of the Nile’ in one swoop. ‘There is left us ourselves to end ourselves.’ He is thus prepared to kill himself. He then learns, falsely, that Cleopatra has taken her own life with his name on her dying lips. His heart splits. ‘I come, my queen.’ He seems to forgive her by her reported death, rather as she had hoped. However, she did not anticipate his next move, as he tries to convince Eros to slay him with his sword. Instead, at the last instant, Eros slays himself. Antony, inspired by Cleopatra’s and Eros’ suicides, runs on his sword but is surprised that it does not kill him. In a scene which borders on comic absurdity, he next turns to his guards, who refuse to kill him. Diomedes arrives with word that Cleopatra is safe in her monument. She only wanted Antony to believe she kills herself, to stem his rage. In this she was successful, but she did not figure he would try to kill himself. He asks his guards to carry his dying self to Cleopatra’s monument. This has the feel of an Act V resolution scene and yet much of the play remains. Caesar has yet to snatch his final victory and Cleopatra requires Act V in order to go out with the dramatic ending we would expect of her. Poor Antony! At this point he can’t even kill himself as is expected of a proper Roman soldier.

Act IV

Scene xv

Alexandria. A monument

Enter Cleopatra and her maids

Cleopatra: “O Charmian, I will never go from hence!”

Charmian: “Be comforted, dear madam.”

Cleopatra: “No, I will not. All strange and terrible events are welcome, but comforts we despise.”

Enter Diomedes carrying Antony

Cleopatra: “How now! Is he dead?”

Diomedes: “His death’s upon him, but not dead. His guards have brought him hither.”

Cleopatra: “O Antony, Antony, Antony! Help, Charmian. Let’s draw him hither.”

Antony: “Peace! Not Caesar’s valour hath overthrown Antony, but Antony’s hath triumph’d on itself.”

Cleopatra: “So it should be, that none but Antony should conquer Antony.”

Antony: “I am dying, Egypt, dying; only I here importune death awhile, until of many thousand kisses the poor last I lay upon thy lips.”

Cleopatra: “I dare not come down, dear, lest I be taken. Not the imperious show of the full-fortuned Caesar ever shall be brooched with me. But come, come, Antony, we must draw thee up to me.”

Antony: “O quick, or I am gone.”

Cleopatra: “How heavy weighs my lord! Our strength is all gone into heaviness. Welcome, welcome! Die where thou hast lived, quicken with kissing.”

Antony: “I am dying, Egypt, dying. Give me some wine and let me speak a little.”

Cleopatra: “No, let me speak. My resolution and my hands I’ll trust; none about Caesar.”

Antony: “The miserable change now at my end lament nor sorrow at; but please your thoughts in feeding them with those my former fortunes wherein I lived the greatest prince in the world. Now my spirit is going and I can no more.”

Cleopatra: “Noblest of men, hast thou no care of me? Shall I abide this dull world, which in thy absence is no better than a sty?”

Antony dies

Cleopatra: “The crown of the earth doth melt, my lord! There is nothing left remarkable beneath the visiting moon.”

Cleopatra swoons

Charmian: “O, quietness, lady.”

Iras: “She’s dead too, our sovereign.”

Charmian: “Lady!”

Iras: “Madam! Royal Egypt, Empress!”

Cleopatra: “It were for me to throw my sceptre at the injurious gods to tell them that this world did equal theirs till they had stolen our jewel. Our lamp is spent, its out! We’ll bury him; and then, what’s brave, what’s noble, let’s do it after the high Roman fashion, and make death proud to take us. Come away; this case of that huge spirit now is cold. Ah, women, women! Come, we have no friend but resolution and the briefest end.”

Analysis

The war is essentially over as Antony is dying and we but await Caesar. He is brought to Cleopatra. This is Antony’s dying scene but when he asks to speak before he dies Cleopatra interrupts him: ‘No, let me speak.’ She needs him to know that she too is resolved to take her own life, as her Antony has taken his. There will be no prisoners for Caesar. She claims that the world without Antony is a dull world, no better than a sty, with nothing remarkable remaining. She has committed to kill herself. And a full act remains. It will be Cleopatra’s act, to be sure. We cannot imagine for a minute that she will go quietly into the night, especially as Caesar approaches.

Act V (2 scenes)

Scene I

Alexandria. Caesar’s camp

Enter Caesar, Agrippa, Dolabella, Maecenas and Proculeius

Caesar: “Go to him, Dolabella, bid him yield; being so frustrated, tell him he mocks the pauses that he makes.”

Dolabella: “Caesar, I shall.”

Exit Dolabella

Enter Dercetas with Antony’s sword

Caesar: “Wherefore is that? And what art thou that dar’st appear thus to us.”

Dercetas: “Mark Antony I served, who best was worthy, best to be served. He was my master. If thou please to take me to thee, as I was to him I’ll be to Caesar.; if thou please not, I yield thee up my life.”

Caesar: :What is it thou say’st?”

Dercetas: “I say, O Caesar, Antony is dead.”

Caesar: “The breaking of so great a thing should make a better crack. The round world should have shook lions into civil streets, and citizens to their den. The death of Antony is not a single doom: in the name lay a moiety of the world.”

Dercetas: He is dead, Caesar, not by a public minister of justice, nor by a hired knife; but that self hand with the courage which the heart did lend. It, split the heart. This is his sword; behold it stained with his most noble blood.”

Caesar: “Look you sad, friends? The gods rebuke me, but it is tidings to wash the eyes of kings.”

Agrippa: “And strange it is that nature must compel us to lament our most persisted deeds. A rarer spirit never did steer humanity. Caesar is touched.”

Caesar: “O Antony, I have followed thee to this! But yet let me lament, with tears as sovereign as the blood of hearts, that thou, my brother, my competitor, my mate in empire, friend and companion in the front of war, the arm of mine own body, and the heart where mine his thoughts did kindle – that our stars, unreconcilable, should divide our equableness to this.”

Enter an Egyptian

Caesar: “Whence are you?”

Egyptian: “A poor Egyptian, yet the Queen, my mistress, confined in all she has, her monument, of thy intents desires instruction, that she preparedly may proclaim herself to the way she’s forced to.”

Caesar: “Bid her have good heart. She soon shall know of us how honourable and how kindly we determine for her; for Caesar cannot learn to be ungentle.”

Egyptian: “So the gods preserve thee.”

Exit Egyptian

Caesar: “Proculeius, go and say we purpose her no shame. Give her what comforts the quality of her passion shall require, lest, in her greatness, by some mortal stroke, she do defeat us; for her life in Rome would be eternal in our triumph. Go, bring us what she says, and how you find her.”

Proculeius: “Caesar, I shall.”

Analysis

The battles are over and Caesar sends word to Antony that it is time for him to surrender. It is very important to Caesar that he take both Antony and Cleopatra alive. Unfortunately for Caesar, he learns that Antony has taken his own life and delivers one of Shakespeare’s great lines: ‘The breaking of so great a thing should make a better crack.’ He and Agrippa reflect admirably on Antony: ‘Let me lament with tears my brother, my mate in empire, friend and companion in the front of war, the arm of mine own body, and the heart where mine his thoughts did kindle…’ Antony was a deeply divided man. He was torn apart between duty to Rome and the hedonism that was Egypt and her queen. His private life destroyed his public persona as Roman soldier, statesman and avenger of Julius Caesar’s murder. Octavius Caesar knew him as a great Roman, only to witness Cleopatra’s spell destroy him. In Julius Caesar we saw Antony the great Roman hero. In Antony and Cleopatra we see the great fall of a giant.

A servant to Cleopatra arrives to ask of Caesar on her behalf what his plans are for her. She also must decide between surrender and death. Caesar has already lost Antony so he sends soothing and reassuring words to Cleopatra that she will be dealt with ‘honourably and kindly’, ‘lest she… by some mortal stroke, do defeat us.’ No sooner does her servant leaves than does he confess his true intentions to Proculeius: ‘Her life in Rome would be eternal in our triumph.’

Act V

Scene ii

Alexandria. The monument

Enter Cleopatra, Charmian, Iras and Mardian

Cleopatra: “My desolation does begin to make a better life. ‘Tis paltry to be Caesar: not being fortune, he’s but fortune’s knave, a minister of her will; and it is great to do that thing that ends all other deeds.”

Enter Proculeius, Gallus and soldiers

Proculeius: “Caesar sends greeting to the Queen of Egypt, and bids thee study on what fair demands thou means to have him grant thee.”

Cleopatra: “I do not greatly care to be deceived, that have no use for trusting. If he please to give me conquered Egypt for my son, he gives me so much of mine own as I will kneel to him with thanks.”

Proculeius: “Be of good cheer; you are fallen into a princely hand; fear nothing. You shall find a conquerer who will pray in aid for kindness, where he for grace is kneeled to.”

Cleopatra: “I hourly learn a doctrine of obedience, and would gladly look him in the face.”

Proculeius: “This I’ll report, dear lady. Have comfort, for I know your plight is pitied of him who caused it.”

Gallus: “Guard her till Caesar come.”

Cleopatra: “Quick, quick, good hands.”

Cleopatra draws a dagger

Proculeius: “Hold, worthy lady, hold.”

Proculeius disarms Cleopatra

Proculeius: “Cleopatra, do not abuse my master’s bounty by the undoing of yourself. Let the world see his nobleness well acted, which your death will never let come forth.”

Cleopatra: “Where art thou, death? Come, hither, come! Come, come, and take a queen worth many babes and beggars!”

Proculeius: “O, temperance, lady!”

Cleopatra: “Do Caesar what he can. Know, sir, that I will not wait pinioned at your master’s court, nor once be chastised with the sober eye of dull Octavia. Shall they hoist me up, and show me to the shouting of censuring Rome? Rather a ditch in Egypt be gentle grave unto me!”

Proculeius: “You do extend these thoughts of horror further than you shall find cause in Caesar.”

Exit Proculeius with soldiers

Enter Dolabella

Dolabella: “Hear me, good Madam.”

Cleopatra: “I thank you, sir. Know you what Caesar means to do with me?”

Dolabella: “I am loathe to tell you what I would you knew. Though he be honourable -“

Cleopatra: “He’ll lead me, then, in triumph?”

Dolabella: “Madam, he will. I know it.”

Enter Caesar

Caesar: “Which is the Queen of Egypt?”

Dolabella: “It is the emperor, madam.

Cleopatra kneels

Caesar: “Arise, you shall not kneel. I pray you, rise; rise, Egypt.”

Cleopatra: “Sir, the gods will have it thus; my master and my lord I must obey.”

Caesar: “Take to you no hard thoughts, the record of what injuries you did us, we shall remember as things but done by chance. Cleopatra, if you seek to lay on me a cruelty by taking Antony’s course, you shall bereave yourself of my good purposes, and put your children to that destruction which I’ll guard them from. Cleopatra, make not your thoughts your prisons, no, dear Queen; for we intend to so dispose you as yourself shall give us council. Our care and pity is so much upon you that we remain your friend; and so, adieu.”

Cleopatra: “My master and my lord!”

Caesar: “Not so, adieu.”

Exit Caesar and his men

Cleopatra: “He words me, girls, he words me, that I should not be noble to myself.”

Enter Dolabella

Dolabella: “Madam, I tell you this: Caesar through Syria intends his journey, and within three days you and your children will be sent for. Make your best use of this; I have performed your pleasure and my promise.”

Cleopatra: “Dolabella, I shall remain your debtor.”

Exit Dolabella

Cleopatra: “Now, Iras, what thinks thou? Thou an Egyptian puppet shall be shown in Rome as well as I. Mechanic slaves, with greasy aprons, rulers and hammers, shall uplift us to the view; in their thick breaths, rank of gross diet, shall we be encoded, and forced to drink their vapour.”

Iras: “The gods forbid!”

Cleopatra: “Nay, that’s certain.”

Enter a guard

Guard: “Here is a rural fellow who will not be denied your Highness’ presence. He brings you figs.”

Cleopatra: “Let him come in.”

Exit the guard

Cleopatra: “What poor an instrument may do a noble deed! He brings me liberty. Now from head to foot I am marble-constant.”

Enter clown, with a basket

Cleopatra: “Hast thou the pretty worm of the Nile there that kills and pains not?”

Clown: “Truly I have him. But I would not be the party that should desire you to touch him, for his biting is immortal; those that do die of it do or never seldom recover. But the worm’s an odd worm.”

Cleopatra: “Get thee hence, farewell.”

Clown: “Look you, the worm is not to be trusted, for there is no goodness in the worm.”

Cleopatra: “It shall be heeded.”

Clown: “Very good. Give it nothing, I pray you, for it is not worth the feeding.”

Cleopatra: “Will it eat me?”

Clown: “You must not think I am so simple but I know the devil himself will not eat a woman. I know that a woman is a dish for the gods.”

Cleopatra: “Well, get thee gone; farewell.”

Clown: “Yes, forsooth, I wish you joy of the worm.”

Exit clown

Re-enter Iras, with a robe and crown

Cleopatra: “Give me my robe, put on my crown; I have immortal longings in me. Good Iras, quick. Methinks I hear Antony call. I see him rouse himself to praise my noble act. Husband, I come. Come then, and take the last warmth of my lips. Farewell, kind Charmian. Iras, farewell.”

Cleopatra kisses Charmian and Iras and Iras falls dead

Cleopatra: “If thou and nature can so gently part, the stroke of death is as a lover’s pinch, which hurts and is desired.”

Charmian: “Dissolve, thick cloud and rain, that I may say the gods themselves do weep.”

Cleopatra: “Come thou mortal wretch, with thy sharp teeth this knot intrinsicate of life at once untie. Poor venomous fool, be angry and dispatch.”

Cleopatra applies an asp snake to her breast

Charmian: “O eastern star!”

Cleopatra: “Peace, peace! Dost thou not see my baby at my breast that sucks the nurse asleep?”

Charmian: “O break! O, break!”

Cleopatra: “As sweet as balm, as soft as air, as gentle – O Antony! Nay, I will take thee too:”

Cleopatra applies another asp snake to her arm and dies

Charmian: “Fare thee well. Now boast thee, death, in thy possession lies a lass unparalleled.”

Guard rushes in

1 Guard: “Where’s the Queen?”

Charmian: “Speak softly, wake her not.”

1 Guard: “Caesar hath sent -“

Charmian: “Too slow a messenger.”

Charmian applies the asp snake to herself

1 Guard: “Approach, ho! All’s not well: Caesar’s beguiled. What work is here?”

Charmian: “It is well done and fitting for a princess descended of so many royal kings.”

Charmian dies

Enter Dolabella

Dolabella: “How goes it here?”

2 Guard: “All dead.”

Dolabella: “Caesar, thy thoughts touch their effects in this. Thyself art coming to see performed the dreaded act which thou so sought to hinder.”

Enter Caesar

Dolabella: “O sir, you are too sure an augurer; that you did fear is done.”

Caesar: “Bravest at the last, she levelled at our purposes, and being royal, took her own way. The manner of their deaths? I do not see them bleed.”

Dolabella: “Who was last with them?”

1 Guard: “A simple countryman who brought her figs. This was his basket.”

Caesar: “If they had swallowed poison it would appear by external swelling; but she looks like sleep, as she would catch another Antony in her strong toil of grace.”

Dolabella: “Here on her breast there is a vent of blood; the like is on her arm.”

1 Guard: “This is an asp trail.”

Caesar: “Most probable that so she died; for her physician tells me she hath pursued conclusions infinite of easy ways to die. She shall be buried by her Antony; no grave upon the earth shall clip in it a pair so famous; and their story is no less in pity than his glory which brought them to be lamented. Our army shall in solemn show attend his funeral, and then to Rome.”

Final Thoughts

Shakespeare’s source for this play is Plutarch’s Lives. Act V, focused as it is on the Egyptian Queen, acknowledges the play Cleopatra by Samual Daniels (1594). Richard Burbage played Antony in the very first production, and then the play as we know it disappears from the stage until 1849. Antony and Cleopatra has become the hit we know it to be only in the 20th Century, with stand out lead performances by the likes of Peggy Ashcroft, Lawrence Olivier, Christopher Plummer and Charlton Heston. There are several filmed and staged productions of Antony and Cleopatra available on youtube, along with many clips and much analysis.

Julius Caesar

Introduction

Julius Caesar is a colossus such as Rome has never seen and he threatens the long established Roman Republic itself. But he is also a charismatic leader who has an immense popularity with the masses and the army. This play is a treatise on strong leadership and its acceptable limits, in which two sides clearly emerge, one in support of Caesar’s dictatorial aspirations and one willing to take his life in order to preserve the long tenured but recently turbulent Republic. Caesar is arrogant and over-confident about his power and abilities, but he is also charming and in command of a Rome recently wracked by civil war and chaos. He seems the perfect man at the perfect time to many Romans. The first half of the play is all about the conspiracy to murder him and save the Republic. In it, Caesar appears in only three scenes and speaks fewer than 150 lines. The second half explores the consequences of his murder, as Rome plunges into more civil war between Antony and Octavius, who condemn Caesar’s murder and seek revenge for it, and Brutus and Cassius, who commit the murder and then flee for their lives after Antony exposes them as treasonous murderers of Rome’s greatest warrior and hero. The conspirators may well kill Caesar but his spirit will not die, and hundreds of years of Caesars will follow. Shakespeare weaves his magic, as Caesar’s presence is as seemingly great after his death as it was when he ruled as Rome’s first citizen. He is killed in Act III, Scene i but is always present in the hearts and minds of both sides in the conflict. Most of the characters are simply behaving on the basis of their principles. Republican Cassius is envious of Caesar and both Antony and Octavius are clearly looking ahead at the void created by Caesar’s demise and awaiting the spoils. But Brutus is a man as torn apart as Rome itself. Brutus can remind us of Hamlet at times because he is such a thinking man, not easily aroused to action. In fact, once he takes action, he is on the defensive for the remainder of his life. He is Shakespeare’s first intellectual and is dragged into this venture of killing his personal friend, Caesar, at the urging of the more aggressive Cassius in order to save the much loved Republic. Brutus is a deeply divided man, trapped between friendship and patriotism, loving both Caesar and the Republic, and having to choose between the two competing loyalties. He is a man who finally does what he thinks is right even though it turns out to be disastrously wrong. And he must pay the ultimate price for his blunder. He wishes in vain that he could kill Caesarism and not Caesar. Brutus stands shoulder to shoulder with Caesar as the true tragic figure of the play. Cassius, on the other hand, is a political opportunist and, unlike Brutus (and Hamlet), is a man of action. As the leading conspirator, he realizes that murdering Caesar can only work out if they have the popular and honourable friend to Caesar, Brutus, on their side. Mark Antony and Octavian will avenge Caesar’s death, Antony being Caesar’s closest and most trusted ally and Octavius his adopted son. Antony’s funeral oration is the apex of the play, as he manages to endear himself enough to the conspirators to be permitted to speak over Caesar’s dead body, while utilizing brilliant oratorical skills and manipulating the passionate crowds against Brutus and Cassius and their fellow conspirators. Shakespeare presents us with a profound study of how political groups are formed and the tensions that can tear them apart. Although experienced Antony and young Octavius defeat Brutus and Cassius’ attempted overthrow all that Caesar represented, they too dissolve into a conflict that requires another Shakespeare tragedy, Antony and Cleopatra, to resolve. Spoiler alert: Antony will luxuriate in Egypt with his famous lover, Cleopatra, while Octavian consolidates his power base in Rome and is eventually crowned Emperor, just as Caesar wished to be. History will know Octavius by his more imperial and well known adopted name of Augustus Caesar, Rome’s greatest emperor.

Shakespeare’s politics are a mystery to us. He depicts both sides of his political debates so convincingly that we can never pin him down, which was the safest way for him to survive the writing of such controversial subjects in so many of his productions. There are no villains in Julius Caesar, although both sides, throughout the civil war following the assassination of Caesar, seem way worse than Caesar himself. Perhaps that is a vote of confidence for Queen Elizabeth, who was especially enamoured by this play. Shakespeare was likely exploring the politics of Elizabethan London as much as Ancient Rome in Julius Caesar. Both were bloodthirsty and volatile cities with plebeian mobs and a divided ruling class, as Elizabeth certainly had her detractors and slept with a sword by her side throughout her entire reign. This play is a timeless examination of just what happens when a popular ruler oversteps the bounds of acceptable power. While Cassius may be more of a genuine revolutionary, Brutus commits to his highest principles by fighting honourably for the freedom and preservation of the Republic. He is defending his country from Caesar’s abuse of power. In creating such an honourable conspirator in Brutus, Shakespeare makes his point in this play set in Ancient Rome that the Republic can only be saved from tyranny when great personalities like Brutus act honourably. This eternal debate between monarchy and republicanism would erupt into a violent revolution in England shortly following Shakespeare’s death, when the Parliament confronts, defeats and executes England’s King Charles I. It has also played out repeatedly between then and now throughout much of the entire world. Hence Cassius’ famous prophecy: “How many ages hence shall this our lofty scene be acted over in states unborn and accents yet unknown.” Shakespeare knew exactly what he was doing and was not merely referring to future productions of his play about Julius Caesar. His true audience is posterity.

Act I (3 scenes)

Scene i

A street in Rome

Enter Flavius, Marullus and common citizen

Flavius: “Hence! Home you idle creatures, get you home. Is this a holiday? Speak, what trade art thou?”

1 Citizen: “Why, sir, a carpenter.”

Marullus: “Where is thy leather apron and ruler? You, sir, what trade are you?”

2 Citizen: “I am but a cobbler.”

Marullus: “But what trade art thou. Answer me directly.”

2 Citizen: “A trade, sir, that I hope I may use with a safe conscience, which is indeed, sir, a mender of bad soles.”

Marullus: “What trade, thou naughty knave?”

2 Citizen: “I am a surgeon to old shoes.”

Flavius: “But wherefore art not in thy shape today? Why dost thou lead these men about the streets?”

2 Citizen: “Truly, sir, to wear out their shoes, to get myself more work. But indeed, sir, we make holiday to see Caesar, and to rejoice in his triumph.”

Marullus: “Wherefore rejoice? What conquest brings he home? You blocks, you stones, you worse than senseless things. O, you hard hearts, you cruel men of Rome, knew you not Pompey? Many a times have you climbed up walls, towers, and chimney-tops to see great Pompey. And do you now strew flowers in his way who comes in triumph over Pompey’s blood? Be gone!”

Exit the commoners

Flavius: “Let no images be hung with Caesar’s trophies. I’ll drive away the vulgar from the streets, so do you where you perceive them thick. These growing feathers plucked from Caesar’s wing will make him fly an ordinary pitch. Who else would soar above the view of men, and keep us all in servile fearfulness?

Analysis

The play opens with two tribunes scolding the commoners for coming out to celebrate Caesar’s return from the battlefield, where he has defeated the once great Pompey, paving his way to consolidate enough power to turn the nearly 500 year old Roman Republic into an imperial Roman Empire with Caesar as the despotic ruler. Elizabethan audiences, aristocratic and commoner alike, would have recognized the relevance of this first scene to their own times, as powerful French and Spanish kings routinely threatened England’s Parliamentary Monarchy. As well, the year is 1599 and Elizabeth is soon to die without a declared heir, which may result in a succession crisis the like of which nearly destroyed England during the War of the Roses in the previous century. Immediately Shakespeare distinguishes between Caesar’s supporters and detractors, a focus that will continue throughout the play.

Act I

Scene ii

Rome, a public place

Enter Caesar, Antony (in a race), Brutus, Calphurnia, Cassius and Casca, among others. A great crowd follows the procession, among them a soothsayer

Caesar: “Antonius!”

Antony: “Caesar, my lord.”

Caesar: “Forget not to touch Calpurnia, for the elders say, the barren, touched by this holy chase, shake off their sterile curse.”

Antony: “I shall remember. When Caesar says ‘do this’, it is performed.

Soothsayer: “Caesar!”

Caesar: “Who calls?”

Soothsayer: “Beware the Ides of March.”

Caesar: “What man is that?”

Brutus: “A soothsayer bids you beware the Ides of March.”

Caesar: “Set him before me; let me see his face.”

Cassius: “Fellow, look upon Caesar.”

Caesar: What sayest thou to me now? Speak once again.”

Soothsayer: “Beware the Ides of March.”

Caesar: “He is a dreamer; let us leave him.”

Exit all but Brutus and Cassius

Cassius: “Brutus, I do observe you now of late; I have not from your eyes that gentleness and show of love I was wont to have.”

Brutus: “Cassius, be not deceived. If I have veiled my look, I run the trouble of my countenance merely upon myself. But let not my good friends be grieved. Poor Brutus, with himself at war, forgets the shows of love to other men.”

Cassius: “Tell me, good Brutus, can you see your face?

Brutus: “No, Cassius; for the eye sees not itself but by reflection.

Cassius: “And it is very much lamented, Brutus, that you have no such mirrors as will turn your hidden worthiness into your eye.”

Brutus: “Into what dangers would you lead me, Cassius, that you would have me seek into myself for that which is not in me?

Cassius: “Therefore, good Brutus, be prepared to hear; and since you know you cannot see yourself so well as by reflection, I, your glass, will modestly discover to yourself that of yourself which you yet know not of.

Flourish and shouting

Brutus: “What means this shouting? I do fear the people choose Caesar for their king.”

Cassius: “Ay, do you fear it? Then must I think you would not have it so.”

Brutus: “I would not, Cassius; yet I love him well. But what is it that you would impart to me? If it ought toward the general good, see honour in one eye and death in the other, and I will look on both indifferently; for let the gods so speed me as I love the name of honour more than I fear death.”

Cassius: “I know that virtue to be in you, Brutus. Well, honour is the subject of my story. I was born as free as Caesar; so were you. We can both endure the winter’s cold as well as he. For once, upon a raw and gusty day, the troubled Tiber chafing with her shores, Caesar said to me ‘dearest thou, Cassius, now leap in with me into this angry flood, and swim to yonder point.’ Upon my word, I plunged in and bade him follow. So indeed he did. The torrent roared, and we did buffet it with lusty sinews, throwing it aside and seeming it with hearts of controversy; but ere we could arrive at the point proposed, Caesar cried ‘help me, Cassius, or I sink!’ I, from the waves of Tiber, did save the tired Caesar. And this man has now become a god; and Cassius is a wretched creature. He had a fever when he was in Spain, and when the fit was on him I did mark how he did shake. ‘Tis true, this god did shake. His coward lips did from their colour fly, and that same eye did lose its lustre. I did hear him groan ‘alas, give me some drink, Titinius’ as a sick girl. Ye gods! It doth amaze me a man of such a feeble temper should so get the start of the majestic world.”

Flourishes and shouts

Brutus: “Another general shout! I do believe that these applause are for some new honours that are heaped on Caesar.”

Cassius: “Why, man, he doth bestride the narrow world like a colossus, and we petty men walk under his huge legs, and peep about to find ourselves dishonourable graves. Men at some time are masters of their fates: the fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings. ‘Brutus’ and ‘Caesar’. Why should that name be sounded more than yours? Write them together: yours is as fair a name’. Sound them: it doth become the mouth as well. Weigh them: it is as heavy. Conjure with them: ‘Brutus’ will start a spirit as soon as ‘Caesar’. Now, in the names of all the gods at once, upon what meat doth this our Caesar feed that he is grown so great? Age, thou art shamed. When could they say, ’till now, who talked of Rome, that her wide walls encompass but one man?

Brutus: “What you would work me to, I have some aim; how I have thought of this, and of these times. For the present, I would not be any further moved. What you have said, I will consider; what you have to say I will with patience hear; and find a time to hear and answer such high things.

Re-enter Caesar and his train

Cassius: “As they pass, pluck Casca by the sleeve, and he will, after his sour fashion, tell you what hath proceeded today.”

Brutus: “I will do so. But, look you, Cassius, the angry spot doth glow on Caesar’s brow.”

Cassius: “Casca will tell us what the matter is.”

Caesar: “Antonius!”

Antony: “Caesar?”

Caesar: “Let me have men about me that are fat. Yonder Cassius has a lean and hungry look; he thinks too much. Such men are dangerous.

Antony: “Fear him not, Caesar, he’s not dangerous; he’s a noble Roman.

Caesar: “Would he were fatter! But I fear him not. Yet if my name were liable to fear, I should not know the man I should avoid as soon as the spare Cassius. He reads much, he is a great observer, and he looks quite through the deeds of men. He loves no plays, as thou dost, Antony; he hears no music. Seldom he smiles, and smiles in such a sort as if he mocked himself, and scorned his spirit that could be moved to smile at anything. Such men as he be never at heart’s ease while they behold a greater than themselves, and therefore are they very dangerous. I rather tell thee what is to be feared than what I fear; for always I am Caesar.

Exit Caesar and his train

Brutus: “Ay, Casca; tell us what hath chanced today that Caesar looks so sad.”

Casca: “Why, there was a crown offered him, and he put it by with the back of his hand, thus; and then the people fell a-shouting.”

Brutus: “What was the second noise for?”

Casca: “Why, for that too.”

Brutus: “Was the crown offered him thrice?”

Casca: “Ay, marry, was it, and he put it by thrice.”

Cassius: “Who offered him the crown?”

Casca: “Why, Antony.”

Casca: “And still, as he refused it, the rabbles hooted, clapped their hands and threw up their night caps. Caesar swooned and fell down in the market-place, foamed at the mouth and was speechless.”

Brutus: “‘Tis very like. He hath the falling sickness.”

Cassius: “No, Caesar hath it not; but you and I, and honest Casca, we have the falling sickness.”

Casca: “Before he fell down, when he perceived the common herd was glad he refused the crown, he offered them his throat to cut; and so he fell.”

Brutus: “And after that, he came thus sad away?”

Casca: “Ay.”

Cassius: “Did Cicero say anything?”

Casca: “Ay, he spoke Greek.”

Cassius: “To what effect?”

Casca: “It was all Greek to me. I could tell you more news too: Marullus and Flavius, for pulling scarves off Caesar’s images, are put to silence.”

Cassius: “Will you dine with me tomorrow?”

Casca: “Ay, if I be alive, and your mind hold, and your dinner worth the eating.”

Cassius: “Good, I will expect you.”

Casca: “Do so. Farewell both.”

Exit Casca

Brutus: “What a blunt fellow.

Cassius: “This rudeness is his sauce to a good wit, which give men stomach to digest his words with better appetite.

Brutus: “And so it is. For this time I will leave you.”

Cassius: “Till then, think of the world.”

Exit Brutus

Cassius: “Well, Brutus, thou art noble; Caesar doth bear me hard; but he loves Brutus. I will this night, at his windows throw, as if they came from several citizens, writings, all tending to the great opinion that Rome holds of his name; Caesar’s ambition shall be glanced at; for we will shake him, or worse days endure.”

Analysis

In this, the second scene of the play, we meet most of the main players. Caesar will not heed warnings about his fate. The first instance of this is when he fatefully dismisses the soothsayer who insists Caesar ‘beware the Ides of March’. Caesar is supremely confident of his abilities, which are leading him to be crowned Rome’s first emperor. Hence does Cassius approach Brutus about Caesar. Cassius despises Caesar’s arrogance and power and has initiated a conspiracy against his very life. Caesar makes a note of Cassius to Mark Antony that he is indeed dangerous, although Antony insists not. It will turn out that Caesar is right: ‘Yonder Cassius has a lean and hungry look. Such men as he be never at heart’s ease while they behold a greater than themselves, and therefore are they dangerous.” Pretty much bang on. Cassius is cold, ruthless, and calculating. He realizes that any conspiracy against Caesar will require that Caesar’s dear friend, Brutus, be enlisted in the plot to bring him down. Brutus is beloved of the people and of Caesar. He is loyal to both Rome and to his friend. He is a most honourable Roman and If Brutus were to join the ranks of the conspirators it would lend them the credibility Cassius seeks. Cassius ingeniously reels Brutus in, appealing to his love of the Roman Republic over his love for Caesar. Cassius and Brutus will lead the conspiracy and only Antony’s skills of oration over Caesar’s dead body will turn the tide against them… in Act III.

Act I

Scene iii

A street in Rome. Thunder and lightning

Enter Cicero and Casca

Cicero: “Good evening, Casca. Why are you breathless? Why stare you so?”

Casca: “Are you not moved? When all the sway of earth shakes like a thing uniform? O Cicero, I have seen tempests, but never till tonight did I go through a tempest dropping fire. Either there is a civil strife in heaven, or else the world, too saucy with the gods, incenses them to send destruction.

Cicero: “Why, saw you anything more?”

Casca: “A common slave held up his left hand, which did flame and burn; and yet his hand remained unscorched. Against the capitol I met a lion, who gazed upon me, and went surly by without annoying me. A hundred ghastly women, transformed with fear, swore they saw men, all in fire, walk up and down the streets. When these prodigies do so conjointly meet, let not men say ‘they are natural’, for they are portentous things.

Cicero: “Indeed, it is a strange-disposed time; but men may construe things after their fashion, clean from the purpose of the things themselves. Comes Caesar to the capitol tomorrow?”

Casca: “He doth.”

Cicero: “Good night, then, Casca; this disturbed sky is not to walk in.”

Exit Cicero

Enter Cassius

Casca: “Cassius, what night is this?”

Cassius: “A very pleasing night to honest men.”

Casca: “Who ever knew the heavens menace so?”

Cassius: “For my part, I have walked about the streets, submitting me unto the perilous night.

Casca: “But wherefore did you so much tempt the heavens? It is the part of men to fear and tremble when the most mighty gods send such dreadful heralds to astonish us.

Cassius: “You are dull, Casca. If you would but consider the true cause – why all these fires, why all these gliding ghosts; why all these things change from their ordinance to monstrous quality – why, you shall find that heaven hath infused them with these spirits, to make them instruments of fear and warning unto some monstrous state. Now could I, Casca, name to thee a man most like this dreadful night that thunders, lightens, opens graves, and roars as doth the lion in the capitol; a man no mightier than thyself or me, yet prodigious grown, and fearful, as these strange eruptions are.

Casca: “‘Tis Caesar that you mean, is it not, Cassius?

Cassius: “Let it be who it is. Our father’s minds are dead, and we are governed with our mother’s spirits.

Casca: “Indeed, they say the senators tomorrow mean to establish Caesar as a king.”

Cassius: “I know where I will wear this dagger then; Cassius from bondage will deliver Cassius. Life, being weary of these worldly bars, never lacks power to dismiss itself. Knowing this, I can shake off at pleasure.”

Casca: “So every bondsman in his own hand bears the power to cancel his captivity.

Cassius: “Why should Caesar be a tyrant then? I know he would not be a wolf but that he sees the Romans are but sheep. He were no lion, were not Romans hinds. What trash is Rome, when it serves to illuminate so vile a thing as Caesar. But I am armed, and dangers are to me indifferent.

Cassius: “Now you know, Casca, I have moved already some certain of the noblest-minded Romans to undergo with me an enterprise of honourable-dangerous consequence. The work we have at hand is most bloody, fiery and most terrible.”

Enter Cinna

Cinna: “O Cassius, if you could but win the noble Brutus to our party.

Cassius: “Be you content.”

Exit Cinna

Cassius: “Come, Casca. You and I will see Brutus at his house. Three parts of him is ours already, and the man entire upon the next encounter yields him ours.”

Casca: “O he sits high in all the people’s hearts; and that which would appear offence in us his countenance, like richest alchemy, will change to virtue and worthiness.

Cassius: “We will be sure of him.”

Analysis

The fierce night storm and the even stranger events that accompany it are a clear indication that great alterations in the world are afoot and Cassius plays it perfectly, referring to Caesar as one ‘most like this dreadful night’. Clearly Casca is a fellow conspirator and Cassius informs him that he has already secured some of Rome’s noblest citizens to the cause. But they both know that they need to enlist Brutus if they are to succeed. Cassius assures Casca that ‘three parts of him is already ours’ and the next encounter should seal the deal. The Act I setup is complete. Cassius, Casca, Cinna, Brutus and others are prepared to enact their dire plan to alter the course of Roman history. It is a very dangerous thing to murder the most famous Roman of them all and perhaps the ancient world’s greatest personage. In Act II the plan is set in stone and there will be no turning back.

Act II (4 scenes)

Scene i

Rome

Enter Brutus in his orchard

Brutus: “It must be by his death, and for my part, I know no personal cause to spurn at him, but for the general; he would be crowned. How that might change his nature, there’s the question. The abuse of greatness, when it disjoints remorse from power; and to speak truth of Caesar, I have not known when his affections swayed more than his reason. But ’tis a common proof that lowliness is young ambition’s ladder, whereto the climber upwards turns his face; but when he once attains the upmost round, he then unto the ladder turns his back, looks in the clouds, scorning the base degrees by which he did ascend. So Caesar may. Then, lest he may, prevent. And since the quarrel will bear no colour for the thing he is, fashion it thus – that what he is, augmented, would run to these and these extremes; and therefore think him as a serpent’s egg, which, hatched, would as his kind grow mischievous, and kill him in the shell.

Enter Lucius, Brutus’ servant

Brutus: “Is not tomorrow, boy, the Ides of March?”

Lucius: “I know not, sir.”

Brutus: “Look at the calendar and bring me word.”

Lucius: “I will sir. I found this paper, and I am sure it did not lie there when I went to bed.”

Lucius gives Brutus the letter

Brutus: (reading the letter) “Brutus, thou sleep’st. Awake, speak, strike, redress!”

Lucius: “Sir, march is wasted fifteen days.”

Brutus: “‘Tis good. Go to the gate; somebody knocks.”

Exit Lucius

Brutus: “Since Cassius first did whet me against Caesar, I have not slept. Between the acting of a dreadful thing and the first motion, all the interim is like a phantasm or a hideous dream. The genius and the mortal instruments are then in council; and the state of man, like to a little kingdom, suffers then the nature of an insurrection.

Lucius: “Sir, ’tis your brother Cassius at the door who doth desire to see you.”

Brutus: “Is he alone?”

Lucius: “No, sir, there are more with him.”

Brutus: “Let them enter.”

Enter the conspirators Cassius, Casca, Decius, Cinna, Metellus, Cimber and Trebonius

Cassius: “Good morrow, Brutus. Do we trouble you?”

Brutus: “I have been awake all night. Know I these men who come with you?”

Cassius: “Yes, every man of them, and no man here but honours you; and everyone doth wish you had but the opinion of yourself which every noble Roman bears of you.”

Brutus: “They are all welcome. Give me your hands all, one by one.”

Cassius: “But what of Cicero? Shall we sound him?”

Brutus: “Name him not. For he will never follow anything that other men begin.”

Cassius: “Then leave him out.”

Decius: “Shall no man else be touched but only Caesar?”

Cassius: “Decius, well urged. I do not think that Marc Antony, so beloved of Caesar, should outlive Caesar. We shall find him a shrewd contriver. Let Antony and Caesar fall together.

Brutus: “Our course will seem too bloody, Cassius, to cut the head off and then hack the limbs, like wrath in death and envy afterwards. Let’s be sacrificers, but not butchers, Cassius. We all stand up against the spirit of Caesar. O that we could then come by Caesar’s spirit, and not dismember Caesar! But, alas, Caesar must bleed for it! And, gentle friends, let’s kill him boldly, but not wrathfully; let’s carve him as a dish fit for the gods, not hew him as a carcase fit for hounds. This shall make our purpose necessary, and not envious; which so appearing to the common eyes, we shall be called purgers, not murderers. And for Mark Antony, think not of him; for he can do no more than Caesar’s arm, when Caesar’s head is off.

Cassius: “Yet I fear him.”

Brutus: “Alas, good Cassius, do not think of him! If he love Caesar, all that he can do is to die for Caesar.”

Cassius: “But it is doubtful yet whether Caesar will come forth today or not; for he is superstitious grown of late, which may hold him back from the capitol today.”

Decius: “Never fear that. If he be so resolved, I can over sway him. Let me work and I will bring him to the capitol.”

Cassius: “The morning comes upon us. We’ll leave you, Brutus. And friends, disperse yourselves; but all remember what you have said, and show yourselves true Romans.”

Brutus: “Good gentlemen, look fresh and merrily; let not our looks put on our purposes, but bear it as our Roman actors do. And so good morrow to you every one.”

Exit all but Brutus

Enter Portia, Brutus’ wife

Portia: “Brutus, my lord!”

Brutus: “Portia, what means you? Wherefore rise you now?”

Portia: “You have ungently, Brutus, stolen from my bed. I should not know you, Brutus. Dear, my lord, make me acquainted with your cause of grief.”

Brutus: “I am not well in health, and that is all.”

Portia: “Brutus is wise, and, were he not in health he would embrace the means to come by it.”

Brutus: “Good Portia, go to bed.”

Portia: “Is Brutus sick and yet walks unbraced, sucking up the dank morning? Is Brutus sick, and will steal out of his wholesome bed, to dare the vile contagion of the night and tempt the rheumy and unpaged air to add unto his sickness? No, my Brutus; you have some sick offence within your mind, which by the right and virtue of my place I ought to know of. Unfold to me yourself. Why are you so heavy and what men tonight have had resort to you? Am I yourself, but, as it were, in sort of limitation? To keep with you at meals, comfort your bed, and talk to you sometimes? Dwell I but in the suburbs of your good pleasure? If it be no more, Portia is Brutus’ harlot and not his wife.

Brutus: “You are my true and honourable wife, as dear to me as are the ruddy drops that visit my sad heart.”

Portia: “If this were true, then should I know this secret. I grant I am a woman; but withal a woman who Brutus took to wife; a woman well reputed, Cato’s daughter. Think you I am no stronger than my sex, being so fathered and so husbanded? Tell me your councils, I will not disclose them. I have made strong proof of my constancy, giving myself a voluntary wound here, in my thigh. Can I bear that with patience, and not my husband’s secrets?”

Brutus: “O ye gods, render me worthy of this noble wife.”

Analysis

Clearly Cassius has won Brutus over to the side of the conspiracy to murder Julius Caesar. Their secret meeting place is in Brutus’ garden before the sunrise. Brutus seems to become the leader of the group, over-ruling Cassius on their very first crucial decision about Marc Antony. Cassius fears Antony’s shrewd cunning and wants him to die along with Caesar, but Brutus believes that would make their deed appear ‘too bloody’ and assures Cassius that Antony will not be a problem. Brutus may be a great thinking man, but Cassius could not be more correct in his assessment of Marc Antony, who will turn the play on its head with his speech over dead Caesar’s body. It is ironic that in Act I, Scene i Caesar is extremely wary of Cassius, but Antony convinces him that Cassius is but a loyal Roman, and here Cassius is suspicious of Antony, but Brutus convinces him that Antony will be fine. If Caesar and Cassius had followed their instincts, what a very different play this might have been. Brutus may, in fact, be a committed conspirator, but the fact that he does not share his participation in the group with Portia, his wife, suggests that he still must harbour some doubts in his decision to murder his dear friend for the sake of the state.

Act II

Scene ii

Caesar’s house

Enter Julius Caesar in his nightgown during a thunder storm

Caesar: “Nor heaven nor earth have been at peace tonight. Thrice hath Calphunia in her sleep cried out ‘Help, ho! They murder Caesar!’

Enter a servant

Servant: “My lord?”

Caesar: “Go bid the priests do present sacrifice, and bring me their opinion of success.”

Servant: “I will, my lord.”

Exit servant

Enter Calpurnia, Caesar’s wife

Calpurnia: “Think you to walk forth, Caesar? You shall not stir out of your house today.”

Caesar: “Caesar shall forth; the things that threatened me, when they shall see the face of Caesar, they are vanished.”

Calphurnia: “Caesar, I never stood on ceremonies, yet now they frighten me. A lioness has whelped in the streets, and graves have yawned and yielded up their dead. Fierce fiery warriors fight upon the clouds, which drizzled blood upon the capitol. Ghosts did shriek and squeal about the streets. O Caesar, I do fear them!

Caesar: “What can be avoided, whose end is purposed by the mighty gods? Yet Caesar shall go forth.”

Calpurnia: “When beggars die there are no comets seen: the heavens themselves blaze forth the death of princes.

Caesar: “Cowards die many times before their deaths: the valiant never taste of death but once. Of all the wonders, it seems to me most strange that men should fear, seeing that death, a necessary end, will come when it will come.

Re-enter the servant

Caesar: “What say the augurers?”

Servant: “They would not have you stir forth today. Plucking the entrails of an offering, they could not find a heart within the beast.”

Caesar: “The gods do this in shame of cowardice. Caesar should be a beast without a heart, if he should stay at home today for fear. No, Caesar shall not. Danger knows full well that Caesar is more dangerous than he; we are two lions littered in one day, and I the elder and more terrible; and Caesar shall go forth.

Calphurnia: “Alas, my lord, your wisdom is consumed in confidence. Do not go forth today. Call it my fear that keeps you in the house. We’ll send Marc Antony to the Senate, and he shall say that you are not well today. Let me, upon my knee, prevail in this.”

Caesar: “Marc Antony shall say I am not well; and for thy humour I will stay at home.”

Enter Decius

Decius: “Good morrow, worthy Caesar, I come to fetch you to the Senate.

Caesar: “Tell them that I will not come today.

Calphurnia: “Say he is sick.”

Caesar: “Shall Caesar send a lie? Have I in conquest stretched my arm so far, to be afeared to tell greybeards the truth? Decius, go tell them, Caesar will not come.”

Decius: “Most mighty Caesar, let me know some cause, lest I be laughed at when I tell them so.”

Caesar: “The cause is in my will. I will not come. This is enough to satisfy the Senate. But because I love you, I will let you know: Calphurnia here, my wife, stays me at home. She dreamt tonight that she saw my statue, which, like a fountain with a hundred spouts did run pure blood; and many lusty Romans came smiling and did wash their hands in it. On her knee she did begged that I stay home today.”

Decius: “This dream is all mis-interpreted. It was a vision fair and fortunate. Your statue spouting blood signifies that from you great Rome shall suck reviving blood. And know it now: the Senate have concluded to give this day a crown to mighty Caesar. If you shall send them word that you will not come, their minds may change. Besides, it were a mock for someone to say ‘break up the Senate for another time, when Caesar’s wife shall meet with better dreams.’ If Caesar hide himself, shall they not whisper ‘lo, Caesar is afraid’? “

Caesar: “How foolish do your dreams seem now, Calphurnia! I am ashamed I did yield to them. Give me my robe, for I shall go.”

Enter Brutus, Ligarius, Metellus, Casca, Trebonius, Cinna and Publius

Caesar: “And look where Publius has come to fetch me. Welcome Publius. What, Brutus, are you stirred so early too?”

Enter Antony

Caesar: “Good morrow, Antony. Good friends, go in and taste some wine with me. And we, like friends, will straightway go together.”

Analysis

There are ample signs suggesting Caesar should avoid the Senate today. The soothsayer warned him to beware the Ides of March, which day this is. Calphurnia has had murderous dreams of Caesar’s statue pouring blood. The night and morning are treacherously storm ridden. A lion is walking the streets, graves are yielding up their dead and ghosts are shrieking about the city. That’s enough portents to keep anyone else home, but not Caesar. Decius reinterprets Calphurnia’s dream and informs Caesar that the Senate is prepared to offer him a crown and Caesar dresses for the Senate, welcoming his very ‘friends’ who are about to end his life, including his dear friend, Brutus. Caesar ignores all of the omens and arrogantly proceeds to the Senate with the intention to be crowned emperor. In reality he has but minutes to live.

Act II

Scene iii

Rome, a street near the capitol

Enter Artemidorus reading a paper

Artemidorus: “‘Caesar, beware of Brutus; take heed of Cassius; come not near Casca; have an eye to Cinna; trust not Trebonius; mark well Metellus Cimber; Decius loves thee not; thou hast wronged Ligarius. There is but one mind in all these men, and it is bent against Caesar. The mighty gods defend thee! Thy lover, Artemidorus.’ Here will I stand till Caesar passes along, and as a suitor will I give him this. If thou read this, O Caesar, thou may live; if not, the fates with traitors do contrive.”

Analysis

Clearly, Artemidorus has learned of the conspiracy and writes a letter intended for Caesar, warning him of the plot he is walking into momentarily.

Act II

Scene iv

Rome, before the house of Brutus.

Enter Portia and Lucius

Portia: “I prithee, boy, run to the Senate. Get thee gone! (aside) O constancy, be strong upon my side. I have a man’s mind, but a woman’s might.”

Lucius: “Madam, what should I do?”

Portia: “Bring me word, boy, if thy lord look well, for he went sickly forth; and take good note what Caesar does and what suitors press to him.”

Enter the soothsayer

Portia: “Is Caesar yet gone to the capitol?”

Soothsayer: “Madam, not yet. I go to take my stand, to see him pass.”

Portia: “Thou hast some suit with Caesar, hast thou not?”

Soothsayer: “That I have, lady. If it will please Caesar I shall beseech him to befriend himself.”

Portia: “Why, know’st thou any harms intended towards him?”

Soothsayer: “None that I know will be, much that I fear may chance.”

Exit soothsayer

Portia: “I must go in. Ay, me, how weak a thing the heart of a woman is! O, I grow faint. Run, Lucius, and commend me to my lord; and bring me word what he doth say to thee.”

Analysis

Portia is quite upset that Brutus left home so distraught. She craves word that all is well with Brutus and Caesar at the Senate. The soothsayer claims that he knows nothing definitive about Caesar’s wellbeing but rather he fears what might happen. So ends Act II, as Brutus and Cassius and their fellow conspirators prepare to enact the most famous murder in the ancient world. Act III is the apex of the play. Release the dogs of war!

Act III (3 scenes)

Scene i

Rome, before the capitol

Enter Caesar, Brutus, Cassius, Casca, Decius, Metellus, Trebonius, Cinna, Antony, Lepidus, Publius, Artemidorus and the soothsayer.

Caesar: “The Ides of March are come.”

Soothsayer: “Ay, Caesar, but not gone.”

Artemidorus: “Hail, Caesar, read this suit that touches Caesar nearer. Read it, great Caesar.”

Caesar: “What touches us ourself shall be last served.”

Artemidorus: “Delay not, Caesar; read it instantly.”

Caesar: “What, is the fellow mad?”

Caesar enters the capitol and the rest follow

Popilius: “I wish your enterprise today may thrive.”

Cassius: “What enterprise, Popilius?”

Popilius: “Fare you well.”

Popilius speaks to Caesar

Brutus: “What said Popilius?”

Cassius: “He wished today our enterprise might thrive. I fear our purpose is discovered.”

Brutus: “Look how he makes right to Caesar. Mark him.”

Cassius: “Brutus, what shall be done? If this be known, I will slay myself.”

Brutus: “Cassius, be constant. Popilius speaks not of our purpose. For look, he smiles, and Caesar doth not change.”

Cassius: “Trebonius knows his time; for look how he draws Marc Antony out of the way.”

Exit Antony and Trebonius

Caesar: “Are we all ready? What is now amiss that Caesar and his Senate must now address?”

Metellus: “Most high and mighty Caesar, I throw before thy seat a humble heart.”

Caesar: “I must prevent thee, Metellus. Thy brother by decree is banished. If thou dost bend and fawn for him I spurn thee like a cur out of my way.”

Metellus: “Is there no voice for the repealing of my banished brother?”

Brutus: “I kiss thy hand, Caesar, desiring that Metellus’ brother have an immediate freedom of repeal.”

Cassius: “Pardon Caesar! As low as to thy foot doth Cassius fall, to beg enfranchisement for Metellus’ brother.”

Caesar: “I could well be moved, if I were as you; but I am constant as the northern star. That I was constant he should be banished, and constant do remain to keep him so.”

Casca: “Speak, hands, for me!”

Casca stabs Caesar and then do the rest, with Brutus delivering the last blow

Caesar: “Et tu, Brute? – Then fall Caesar!”

Cinna: “Liberty! Freedom! Tyranny is dead! Run hence, proclaim it in the streets.”

Cassius: “Some to the common pulpits, and cry out ‘Liberty, freedom and enfranchisement!'”

Brutus: “People and Senators, be not affrighted. Ambition’s debt is paid.

Casca: “Go to the pulpit, Brutus.”

Cassius: “Where is Antony?”

Trebonius: “Fled to his house amazed.”

Brutus: “Fates, we will know your pleasures. That we shall die, we know; ’tis but the time.

Cassius: “Why, he who cuts off twenty years of life cuts off so many years of fearing death.

Brutus: “Grant that, and then is death a benefit. So we are Caesar’s friends, who have abridged his time of fearing death. Stoop, Romans, stoop, and let us bathe our hands in Caesar’s blood up to the elbows, and besmear our swords. Then walk we forth to the marketplace, waving our red weapons over our heads, crying ‘Peace, freedom and liberty!'”

Cassius: “Stoop then and wash. How many ages hence shall this our lofty scene be acted over in states unborn and accents yet unknown! So often shall the knot of us be called the men who gave their country liberty.”

Enter a servant

Brutus: “Soft, who comes here? A friend of Antony’s.”

Servant: “Thus, Brutus, did my master bid me kneel and bade me say ‘Brutus is noble, wise, valiant and honest; Caesar was mighty, bold, royal and loving. Say I love Brutus, and I honour him; say I feared Caesar, honoured him and loved him.’ If Brutus will vouchsafe that Antony may safely come to him, and be resolved how Caesar hath deserved to lie in death, Marc Antony shall not love Caesar dead so well as Brutus living.

Brutus: “Thy master is a wise and valiant Roman; tell him, so please him come unto this place; he shall be satisfied, and, by my honour, depart untouched.”

Servant: “I’ll fetch him presently.”

Exit servant

Brutus: “I know that we shall have him well to friend.”

Cassius: “I wish we may. But yet have I a mind that fears him much.”

Enter Antony

Brutus: “Here comes Antony. Welcome Mark Antony.”

Antony: “O mighty Caesar! Dost thou lie so low? Are all thy conquests, glories, triumphs and spoils shrunk to this little measure? Fare thee well. I know not, gentlemen, what you intend. Who else must be bled? If I myself, there is no hour so fit as Caesar’s death hour; nor no instrument of half that worth as those your swords, made rich with the most noble blood of all this world. I do beseech thee, if you bear me hard, now, while your purple hands do reek and smoke, fulfill your pleasure. Live a thousand years, I shall not find myself so apt to die. No place will please me, as here by Caesar, and by you cut off, the choice and master spirits of this age.”

Brutus: “O Antony! beg not your death of us. Though now we must appear bloody and cruel, our hearts you see not; they are pitiful. To you our swords have leaden points, Mark Antony. Our hearts do revive you with all kind love, good thoughts and reverence.”

Cassius: “Your voice shall be as strong as any man’s in the disposing of new dignities.”

Brutus: “Only be patient till we have appeased the multitude, beside themselves with fear, and then we will deliver you the cause why I, who did love Caesar when I struck him, have thus proceeded.”

Antony: “I doubt not your wisdom. Let each man render me his bloody hand. Gentlemen all – alas, what shall I say? My credit now stands on such slippery ground that one of two bad ways you must think me; either a coward or a flatterer. That I did love thee, Caesar, O, ’tis true! If thy spirit look upon us now, shall it not grieve thee dearer than death to see thy Antony making his peace and shaking the bloody hands of thy foes, in the presence of thy corpse? Pardon me, Julius! Here did thou fall; and here thy hunters stand.”

Cassius: “Mark Antony -“

Antony: “Pardon me, Cassius.”

Cassius: “I blame you not for praising Caesar so; but what compact mean you to have with us? Will you be pricked in number of our friends, or shall we not depend on you?”

Antony: “Friends am I with you all, and love you all, upon this hope, that you shall give me reasons why Caesar was so dangerous.”

Brutus: “Or else were this a savage spectacle. Our reasons are so full of good regard that were you, Antony, the son of Caesar, you should be satisfied.”

Antony: “That’s all I seek. And that I may produce his body to the market-place, and , in the pulpit, as becomes a friend, speak in the order of his funeral.”

Cassius: “Brutus, a word with you. (aside) You know not what you do. Do not consent that Antony speak at his funeral. Know you how much the people may be moved by that which he will utter?”

Brutus: “I will myself to the pulpit first, and show the reason for our Caesar’s death. What Antony shall speak, I will protest he speaks by permission. It shall advantage more than do us wrong.”

Cassius: “I know not what may fall. I like it not.”

Brutus: “Mark Antony, here, take you Caesar’s body. You shall not in your funeral speech blame us, but speak all good you can devise of Caesar; and say you do it by our permission. And you shall speak in the same pulpit whereto I am going, after my speech is ended.”

Antony: “Be it so; I do desire no more.”

Exit all but Antony

Antony: “O, pardon me, thou bleeding piece of earth, that I am meek and gentle with these butchers! Thou art the ruins of the noblest man that ever lived in the tide of times. Woe to the hand that shed this costly blood! Over thy wounds now do I prophesy – A curse shall light upon the limbs of men; domestic fury and fierce civil strife shall cumber all the parts of Italy; blood and destruction shall be so in use, and dreadful objects so familiar, that mothers shall but smile when they behold their infants quartered with the hands of war, and Caesar’s spirit, ranging for revenge, shall, with a monarch’s voice cry ‘havoc’ and let slip the dogs of war, that this foul deed shall smell above the earth with carrion men, groaning for burial.

Enter Octavius’ servant

Antony: “You serve Octavius Caesar, do you not?”

Servant: “I do, Mark Antony.”

Antony: “Caesar did write for him to come to Rome.”

Servant: “He did receive his letters and lies tonight within seven leagues of Rome.”

Antony: “Post back with speed, and tell him what has chanced. Here is a mourning Rome, a dangerous Rome, no Rome of safety for Octavius yet. Tell him so.”

Analysis

Julius Caesar is dead. The conspirators have murdered the most famous man of the ancient world. When Artemidorus implored Caesar to read his letter about the danger of the conspiracy against him Caesar assumed Artemidorus was mad. There is a pattern here of people not taking good advice. Caesar should not have trusted Antony’s assessment of ‘loyal’ Cassius. Cassius should not have accepted Brutus’ assurance that Antony was harmless and should not die along with Caesar. Caesar should not have dismissed his wife’s fear of his appearance at the Senate. Caesar should have questioned further the soothsayer who warned him of the Ides of March. Brutus should have listened to Cassius and not allowed Antony to speak at Caesar’s funeral. And Caesar should have read Artemidorus’ letter naming the individual conspirators.

This is the scene where Shakespeare himself speaks through Cassius, pondering ‘how many ages hence shall this our lofty scene be acted over in states unborn and accents yet unknown’. He is simultaneously referring to both the historical event itself and the rendering of it in this play, and indeed, such events have played out time and time again throughout the political world and across the centuries, all the while productions of the Bard’s Julius Caesar have proliferated stages everywhere, since he penned these lines in 1599.

Antony must play along and make a grand show that he is friends to the conspirators. It is the only way he can survive to exact the revenge he so desires for Caesar’s fresh murder. He shakes their bloody hands and assures them of his love, all the while he is preparing to speak at the funeral and bring these conspirators to task. Brutus shows his naiveté in permitting Antony to address the fickle masses. Cassius rightly denounces this decision. “I like it not.” Cassius is 100% correct, as the entire play follows from the speech Antony will deliver, which will cause the conspirators to flee for their lives from the very masses Antony will ignite with a vengeance. This is a tremendous mistake on Brutus’ part, and one from which there is no saving grace. This is, after all, a tragedy of great scope and measure.

Act III

Scene ii

Rome, the Forum

Enter Brutus and Cassius with the Plebians

Citizens: “We will be satisfied! Let us be satisfied!”

Brutus: “Then follow me, and give me audience, friends. Public reasons shall be rendered of Caesar’s death.”

1 Plebian: “I will hear Brutus speak.”

2 Plebian: “I will hear Cassius, and compare their reasons.”

Exit Cassius and some of the Plebians. Brutus goes to the pulpit.

3 Plebian: “The noble Brutus is ascended. Silence!”

Brutus: “Be patient till the last. Romans, countrymen and lovers! Hear me for my cause. Believe me for my honour. If there be any dear friend of Caesar’s to him I say that Brutus’ love to Caesar was no less than his. If that friend demand why Brutus rose against Caesar, this is my answer: not that I loved Caesar less, but that I loved Rome more. Had you rather Caesar were living, and die all slaves, than that Caesar were dead, to live all free men? As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him; but as he was ambitious, I slew him. There is tears for his love; joy for his fortune; honour for his valour; and death for his ambition. Who is here so base who would be a bondsman? If any, speak; for him I have offended. Who is here so rude who would not be a Roman? If any, speak; for him I have offended. Who is here so vile who will not love his country? If any, speak; for him I have offended. I pause for a reply.

All: “None, Brutus, none.

Brutus: “Then none have I offended.

Enter Antony with Caesar’s body

Brutus: “Here comes his body, mourned by Mark Antony, who had no hand in his death. With this I depart, that, as I slew my best lover for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death.”

All: “Live, Brutus! Live! Live!”

1 Plebian: “Bring him in triumph home unto his house.”

2 Plebian: “Give him a statue!”

3 Plebian: “Let him be Caesar!”

4 Plebian: “Caesar’s better parts shall be crowned in Brutus.”

Brutus: “My countrymen, let me depart alone, and stay here with Antony.”

1 Plebian: “Stay, ho! Let’s hear Mark Antony.”

4 Plebian: “Twere best he speak no harm of Brutus here.”

1 Plebian: “Caesar was a tyrant.”

3 Plebian: “Nay, that’s certain. We are blest that Rome is rid of him.”

Antony: “Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The noble Brutus hath told you that Caesar was ambitious. If it were so, it was a grievous fault, and grievously hath Caesar answered it. Here come I to speak in Caesar’s funeral. He was my friend, faithful and just to me; but Brutus says he was ambitious, and Brutus is an honourable man. He hath brought home many captives to Rome, whose ransoms did the general coffers fill; Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath wept; ambition should be made of sterner stuff. Yet Brutus says that he was ambitious; and Brutus is an honourable man. You all did see that I thrice presented him a kingly crown, which he did thrice refuse. Was this ambition? Yet Brutus says he was ambitious; and surely he is an honourable man. I speak not to disprove what Brutus spoke, but here I am to speak what I do know. You all did love him once, not without cause; what cause withholds you, then, to mourn for him? O judgment, thou art fled to brutish beasts, and men have lost their reason. Bear with me, my heart is in the coffin there with Caesar, and I must pause till it come back to me.

1 Plebian: “Methinks there is much reason in his sayings.”

2 Plebian: “If thou consider rightly of the matter, Caesar has had great wrong.”

3 Plebian: “Has he, masters! I fear there will a worse come in his place.”

4 Plebian: “Marked ye his words? He would not take the crown; therefore, ’tis certain he was not ambitious.”

2 Plebian: “Poor soul! His eyes are red as fire with weeping.”

3 Plebian: “There’s not a nobler man in Rome then Antony.”

Antony: “But yesterday the word of Caesar might have stood against the world: now lies he there. O masters, if I were disposed to stir your hearts and minds to mutiny and rage, I should do Brutus wrong, and Cassius wrong, who, you all know, are honourable men. I will not do them wrong; I rather choose to wrong the dead, to wrong myself and you, than I will wrong such honourable men. But there’s a parchment with the seal of Caesar; I found it in his closet – ’tis his will. Let but the commons hear this testament, which, pardon me, I do not mean to read, and they would go and kiss dead Caesar’s wounds.”

4 Plebian: “We’ll hear the will. Read it, Mark Antony.”

All: “The will! The will! We will hear Caesar’s will!”

Antony: “Have patience, gentle friends, I must not read it; for then you would know how Caesar loved you. You are not wood, you are not stones, but men; and being men, hearing the will of Caesar, it will inflame you, it will make you mad. ‘Tis good you know not that you are his heirs; for if you should, O, what would become of it?”

4 Plebian: “Read the will, Antony! Read Caesar’s will!”

Antony: “Will you be patient? I have overshot myself to tell you of it. I feel I wrong the honourable men whose daggers have stabbed Caesar. I do fear it.”

4 Plebian: “They were traitors. The will!”

2 Plebian: “They were villainous murderers. Read the will!”

Antony: “You will compel me, then, to read the will? Then make a ring about the corpse of Caesar.”

4 Plebian: “A ring! Stand around.”

Antony: “If you have tears, prepare to shed them now. Look! In this place ran Cassius’ dagger through; see what a rent the envious Casca made; through this the well-beloved Brutus stabbed. For Brutus, as you know, was Caesar’s angel. Judge, o you gods, how dearly Caesar loved him! This was the most unkindest cut of all; for when the noble Caesar saw him stab, ingratitude, more strong than traitor’s arms, quite vanquished him. Then burst his mighty heart. And at the base of Pompey’s statue, great Caesar fell. O, what a fall was there, my countrymen! Then I, and you, and all of us fell down, while bloody treason flourished over us. O, now you weep, and I perceive you feel the dint of pity. These are gracious drops. Look you here, here is himself, marred as you see with traitors.

1 Plebian:”O piteous spectacle!”

2 Plebian: “O noble Caesar!

3 Plebian: “O woeful day!”

4 Plebian: “O traitors, villains!”

2 Plebian: “We will be revenged.”

All: “Revenge! Seek! Burn! Kill! Let not traitors live!”

Antony: “Stay, countrymen. Sweet friends, let me not stir you up to such a sudden flood of mutiny. They who have done this deed are honourable. What private griefs they have, alas, I know not what made them do it; they are wise and honourable, and will, no doubt, with reasons answer you. I come not, friends, to steal away your hearts; I am no orator, as Brutus is, but as you know me all, a plain blunt man, who loved my friend.”

1 Plebian: “We’ll burn the house of Brutus.”

3 Plebian: “Away, then! Come seek the conspirators.”

Antony: “You have forgot the will I told you of.”

All: “The will! Let’s stay and hear the will.”

Antony: “Here is the will: to every Roman citizen he gives seventy-five drachmas.”

2 Plebian: “Most noble Caesar! We’ll revenge his death.”

Antony: “Moreover, he hath left you all his walks, his private arbours, and new-planted orchards; he hath left them you, and to your heirs forever. Here was a Caesar! When comes such another?”

1 Plebian: “Never! never! Come away! We’ll burn his body in the holy place, and with the brands fire the traitor’s houses. Take up the body.”

2 Plebian: “Go, fetch fire.”

Exit Plebians with Caesar’s body

Antony: “Now let it work. Mischief, thou art afoot, take thou what course thou wilt.

Enter a servant

Antony: “How now, fellow!”

Servant: “Sir, Octavius is already come to Rome. He and Lepidus are at Caesar’s house.”

Antony: “I will straight to visit him. Fortune is merry, and in this mood will give us anything.”

Servant: “Brutus and Cassius are rid like madmen through the gates of Rome.”

Antony: “Be like they had some notice of the people, how I had moved them. Bring me to Octavius.”

Analysis

One might say that this play pivots on the murder of Julius Caesar. But if Antony does not turn the Plebians against the conspirators then the play may as well end right there and Brutus would be the hero. Therefore, the actual turning point is to be found in Antony’s speech, which sends Brutus and Cassius from Rome as wanted murderers of Caesar and leads Rome to civil war between the forces of Antony and Octavius and that of the conspiratorial leadership of Brutus and Cassius. It is the oratory power of both Brutus and Antony that propels this play toward its inevitable tragic final two acts. Brutus convinces the frazzled mobs that Caesar had to die for the sake of a free Rome. But then Antony steals the show, repeating over and over how Brutus is an honourable man, despite his increasing examples of Caesar’s love for the Plebians. That Brutus is honourable becomes farcical in the face of Antony’s noble presentation of Caesar. He actually pauses to weep, before revealing Caesar’s generous will, after which the mob is calling for the heads of the conspirators. It’s a masterful speech, even by Roman standards of oratory. And he knows it, too: ‘Now let it work. Mischief, thou art afoot. Take thou what course thou wilt.” Brutus’ speech is a distant memory, as the Plebians roam throughout the city with fire to burn down the homes of the conspirators, including Brutus and Cassius, who have literally fled Rome for the sake of their lives. Earlier in Act III, Antony had prophesied domestic fury and fierce civil strife for Italy, with Caesar’s ghost ranging for revenge. Well, here we go. ‘Let slip the dogs of war.”

Act III

Scene iii

A street in Rome

Enter Cinna the poet pursued by the Plebians

1 Plebian: “What is your name?”

2 Plebian: “Whither are you going?”

3 Plebian: “Where do you dwell?”

Cinna: “Directly, I am going to Caesar’s funeral.”

1 Plebian: “As a friend or an enemy?”

Cinna: “As a friend.”

3 Plebian: “Your name, sir?

Cinna: “Truly, my name is Cinna.”

1 Plebian: “Tear him to pieces; he’s a conspirator!

Cinna: “I am Cinna the poet.

4 Plebian: “Tear him for his bad verses!

Cinna: “I am not Cinna the conspirator.”

4 Plebian: “It is no matter; his name’s Cinna. Pluck his name out of his heart.”

3 Plebian: “Tear him! Tear him! Fire brands to Brutus and Cassius! Burn all! Some to Decius’ house and some to Casca’s. Away, go!”

Analysis

In the immediate aftermath of Caesar’s murder the mobs riot all over Rome on a killing spree. All the poet did to be killed was he shared a name with one of the conspirators. The rational portion of the play is finished. Let the civil war commence. Brutus and Cassius may believe they have saved Rome from tyranny, but the people of Rome only want another Caesar to replace the one they just lost. Of course, all subsequent Roman emperors for the next nearly 500 years will assume the title Caesar in honour of Julius Caesar. The first of these, and likely the most renowned, will be Augustus Caesar, known in this play as Octavius. That family name Caesar will be the root of the Russian word Tsar and the German word Kaiser.

Act IV (3 scenes)

Scene i

Rome. Antony’s house

Enter Antony, Octavius and Lepidus

Antony: “These many, then, shall die; their names are pricked.”

Octavius: “Your brother too must die, Lepidus. Consent you?

Lepidus: “I do consent.”

Exit Lepidus

Antony: “This is a slight and unmeritable man, to be sent on errands. Is it fit, the threefold world divided, that he should stand as one of the three to share it? And though we lay these honours on this man, he shall but bear them as the ass bears gold.”

Octavius: “You may do your will; but he’s a tried and valiant soldier.”

Antony: “Do not talk of him but as a property. And now, Octavius: Brutus and Cassius are levying powers and we must straight make head; therefore, let our alliance be combined.”

Octavius: “Let us do so; for we are at the stake, and bayed about with many enemies; and some that smile have in their hearts, I fear, millions of mischiefs.”

Analysis

Our first scene with Antony and Octavius, who will defend Caesar against Brutus and Cassius, who murdered him. To be clear, Brutus and Cassius wanted to preserve the 500 year old Republic from Caesar’s apparent tyranny. Antony and Octavius were supporters of Caesar’s imperial ambitions. It was Antony who offered Caesar the crown earlier and it is Octavius who was to be Caesar’s heir. Unlike Brutus and Cassius, they do not romanticize the Republic, which has had a very chaotic ride over the past decades of civil war and military triumphs. The three strongest supporters of Caesar were Antony, Octavius and Lepidus and Caesar has strategically positioned them around the empire. Antony clearly believes that Lepidus is undeserving of his third of the empire and suggests he be treated as the errand boy he truly is, which would leave Octavius and Antony to divide the Roman world between them. Octavius is alright with that and is more concerned about the opposition they face from Brutus and Cassius’ supporters and all defenders of the Republic. Presently, Octavius feels they are ‘at the stake and bayed about with many enemies bearing millions of mischiefs.’ The alliances on both sides of the impending conflict are frayed from the start. Brutus and Cassius will struggle profoundly with one another as they are finally pursued to the bitter end by Antony and Octavius, who, themselves, will require a whole other play to resolve their titanic power struggle for supremacy of the Roman world.

Act IV

Scene ii

A military camp before Brutus’ tent

Enter Brutus and Lucilius

Brutus: “Stand ho! What now, Lucilius? Is Cassius near?”

Lucilius: “He is at hand.”

Brutus: “Hark! He is arrived.”

Enter Cassius

Cassius: “My noble brother, you have done me wrong.”

Brutus: “How should I wrong a brother? Cassius, be content. Speak your griefs softly. Before the eyes of both our armies here, which should perceive nothing but love from us, let us not wrangle. Then in my tent, Cassius, enlarge your griefs, and I will give you audience. Lucilius, let no man come to our tent till we have done our conference.”

Analysis

A brief scene at the camp of the main conspirators introduces us to a rift that has developed between Brutus and Cassius, which gets explored in detail in the following scene. Clearly, Cassius feels he has been done wrong by Brutus. Their only hope of survival is to work together very well, so these two scenes do not bode well for them, especially when a certain ghost appears to haunt their enterprise.

Act IV

Scene iii

Within Brutus’ tent

Enter Brutus and Cassius

Cassius: “That you have wronged me doth appear in this: you have condemned Lucius Pella for taking bribes.”

Brutus: “Let me tell you, Cassius, you yourself are much condemned to have an itchy palm, to sell your offices for gold to undeservers.”

Cassius: “I an itchy palm! You know that you are Brutus that speaks this, or, by the gods, this speech were else your last.”

Brutus: “Did not great Julius bleed for justice sake? Shall we now contaminate our fingers with base bribes. I had rather be a dog than such a Roman.”

Cassius: “Brutus, bait me not! I’ll not endure it. You forget yourself. I am a soldier. Urge me no more, I shall forget myself; have mind upon your health, tempt me no further.”

Brutus: “Away, slight man.”

Cassius: “Is it possible?”

Brutus: “Hear me, for I shall speak. Must I give way to your rash choler? Shall I be frightened when a madman stares?”

Cassius: “O ye gods, must I endure all this?”

Brutus: “All this? Ay, more! Fret till your proud heart break. Must I observe you and crouch under your testy humour. You shall digest the venom of your spleen though it do split you; for from this day forth I’ll use you for my mirth; yea, for my laughter, when you are waspish.”

Cassius: “Is it come to this?”

Brutus: “You say you are a better soldier. Let it appear so and it shall please me.”

Cassius: “You wrong me, Brutus, in every way. Do not presume too much upon my love; I may do that I shall be sorry for.”

Brutus: “You have done that you should be sorry for. There is no terror, Cassius, in your threats; for I am armed so strong in honesty, that they pass me as the idle wind, which I respect not. I did send to you for certain sums of gold, which you denied me. Was this done like Cassius?”

Cassius: “I denied you not.”

Brutus: “You did.”

Cassius: “A friend should bear his friend’s infirmities, but Brutus makes mine greater than they are. You love me not.

Brutus: “I do not like your faults.

Cassius: “A friendly eye could never see such faults.”

Brutus: “A flatterer would not, though they do appear as huge as high Olympus.”

Cassius: “Come Antony and young Octavian, come and revenge yourselves alone on Cassius, for Cassius is a weary of the world. Hated by one he loves, all his faults observed. There is my dagger, and here my naked breast; within it a heart richer than gold. Strike as thou did at Caesar; for I know, when thou did hate him worst, thou loved him better than ever thou loved Cassius.”

Brutus: “Sheathe you’re dagger.”

Cassius: “Hath Cassius lived to be but mirth and laughter to his Brutus?”

Brutus: “When I spoke that I was ill-tempered.”

Cassius: “Do you confess so much? Give me your hand.”

Brutus: “And my heart too.”

Cassius: “O Brutus.”

Brutus: “What’s the matter?”

Cassius: “Have you not love enough to bear with me when that rash humour makes me forgetful?”

Brutus: “Yes, Cassius; and from henceforth, when you are over-earnest with your Brutus, he will leave you so.”

Cassius: “I did not think you could have been so angry.”

Brutus: “O Cassius, I am sick of many griefs! Portia is dead.”

Cassius: “Portia? O insupportable loss! Upon what sickness?”

Brutus: “Impatient of my absence, and grief that young Octavius with Mark Antony have made themselves so strong; with this she fell distract and swallowed fire.”

Cassius: “O ye immortal gods!”

Brutus: “Speak no more of her. Give me a bowl of wine. In this I will bury all unkindness, Cassius.”

Cassius: “My heart is thirsty for that noble pledge. I cannot drink too much of Brutus’ love.”

Enter Titinius and Messala

Brutus: “Come in, Titinius! Welcome, good Messala. Now sit we close about and call in question our necessities. Messala, I have here received letters, that young Octavius and Mark Antony come down upon us with a mighty power, bending their expedition toward Philippi.”

Messala: “Octavius, Antony and Lepidus have put to death a hundred senators.”

Brutus: “Cassius, what do you think of marching to Philippi presently?”

Cassius: “I do not think it good.”

Brutus: “Your reason?”

Cassius: “Tis better that the enemy seek us; so shall he waste his means, weary his soldiers, whilst we are full of rest and nimbleness.”

Brutus: “Good reasons must, of force, give place to better. Our legions are brim full, our cause is ripe. The enemy increases every day: we, at the height, are ready to decline. There is a tide in the affairs of men which, taken at the flood, leads on to fortune; omitted, all the voyage of their life is bound in shallows and in miseries. On such a full sea are we now afloat, and we must take the current when it serves, or lose our ventures.

Cassius: “Then with your will, go on; we’ll meet them at Philippi. O my dear brother, this was an ill beginning of the night! Never come such division between our souls!”

Brutus:”Everything is well.”

Cassius: “Good night, my lord.”

Brutus: “Good night, good brother.”

Caesar’s ghost appears in Brutus’ tent

Brutus: “Who comes here? I think it is the weakness of mine eyes that shapes this monstrous apparition. Speak to me what thou art.”

Ghost: “Thy evil spirit, Brutus.”

Brutus: “Why comes thou?”

Ghost: “To tell thee thou shall see me at Philippi.”

Exit ghost

Brutus: “Boy, Lucius! Awake! Did thou dream, Lucius? Did thou see anything?”

Lucius: “Nothing, my lord.”

Brutus: “Sleep again, Lucius. Sirrah Claudius!”

Claudius: “My lord?”

Brutus: “Saw you anything?”

Claudius: “No, my lord, I saw nothing.”

Analysis

A serious conflicts develops between Brutus and Cassius as Brutus criticizes Cassius for having ‘an itchy palm’ and taking bribes. Brutus also requested gold from Cassius for his troops and claims Cassius denied him the gold. Cassius takes Brutus’ charges to heart and even invites Brutus to slay him as he slew Caesar. They reconcile but we have been witness to their significant rift. They may be fellow conspirators, but they are very different personalities. Brutus claims to be sick of many griefs, one of which is the death of Portia, who took her life as Antony and Octavius seized Rome.

A battle approaches at Philippi, where Brutus insists, over Cassius’ better judgement, they confront Antony and Octavius. Whenever they disagree Brutus gets his way. Antony was not killed along with Caesar, Antony was permitted to speak at Caesar’s funeral and they will confront Antony and Octavius at Philippi, all against the worthy advice of Cassius. When they retire for the night Brutus is confronted with Caesar’s ghost, who claims to be Brutus’ evil spirit. This does not bode well for the conspirators in Act V.

Act V (5 scenes)

Scene i

Near Philippi

Enter Octavius, Antony and their army

Octavius: “Now, Antony, our hopes are answered. You said the enemy would not come down. It proves not so.”

Antony: “Tut, I am in their bosoms, and I know why they do it, thinking by this face to fasten in our thoughts that they have courage; but ’tis not so.”

Messenger: “Prepare you, generals. The enemy comes on in gallant show.”

Antony: “Octavius, lead your battle upon the left hand of the even field.”

Octavius: “Upon the right hand I: keep thou the left.”

Antony: “Why do you cross me in this?”

Octavius: “I do not cross you; but I will do so.”

Enter Brutus, Cassius and their army

Brutus: “They stand, and would have a parley.” (to Antony) “Words before blows. Is it so, countrymen?”

Octavius: “Not that we love words better, as you do.”

Brutus: “Good words are better than bad strokes, Octavius.”

Antony: “In your bad strokes, Brutus, you give good words; witness the hole you made in Caesar’s heart. Villains, your vile daggers hacked the sides of Caesar. You showed your teeth like apes, and fawned like hounds. O you flatterers!”

Cassius: “Now Brutus, thank yourself: this tongue had not offended so today if Cassius might have ruled.”

Octavius: “Come, come, the cause. I draw a sword against conspirators. And I was not born to die on Brutus’ sword.”

Brutus: “Young man, thou could not die more honourably.”

Octavius: “Come, Antony, away! Defiance, traitors, hurl we in your teeth. If you dare fight today, come to the field; if not, when you have stomachs.”

Exit Octavius, Antony and their army

Cassius: “Now, most noble Brutus, let’s reason with the worst that may befall. If we lose this battle, are you content to be led in triumph through the streets of Rome?”

Brutus: “No, Cassius, no. Think not that ever Brutus will go bound to Rome. He bears too great a mind. But whether we shall meet again, I know not. Therefore, forever and forever farewell, Cassius!”

Cassius: “Forever and forever farewell, Brutus.”

Brutus: “Why then, lead on. O that a man might know the end of this day’s business ere it come! But it sufficeth that the day will end. And then the end is known.

Analysis

The play’s fortunes will be determined at Philippi. Both sides are snippy with one another. In the previous scene Brutus and Cassius nearly came to blows and in this first scene of Act V Antony and Octavius are very short with one another as well. At least they have another entire play to resolve their dance. Rhetoric has been the cornerstone of this play and so it is only fitting that both sides should parley with bitter words for their opponents before the commencement of the battle that will decide everything. Octavius and Antony seem cocky about the looming battle, while Brutus and Cassius discuss what they will do if they lose the battle.

Act V

Scene ii

Near Philippi

Enter Brutus and Messala

Brutus: “Ride, ride, Messala, ride, unto the legions on the other side. For I perceive but cold demeanour in Octavius’ wing, and sudden push gives them the overthrow. Ride, ride, Messala!”

Analysis

This six line scene makes clear that the battle goes well for Octavius and Antony as Brutus tries to move his men around to match up better with Octavius’ forces.

Act V

Scene iii

Another part of the field of battle

Enter Cassius and Titinius

Cassius: “O, look, Titinius, look, the villains fly!”

Titinius: “O Cassius, Brutus gave the word too early, who, having some advantage on Octavius, took it too eagerly. His soldiers fell to spoil, while we by Antony are all enclosed.”

Exit Titinius

Enter Pindarus

Pindarus: “Fly further off, my lord. Mark Antony is in your tents.”

Cassius: “Are those my tents where I perceive the fire?”

Pindarus: “They are, my lord.”

Cassius: “Go Pindarus, get higher on that hill and regard Titinius. Tell me what thou notes about the field.”

Pindarus climbs the hill

Pindarus: “O, my lord!”

Cassius: “What news?”

Pindarus: “Titinius is all enclosed about, yet he spurs on. Now they are almost on him… He’s taken.”

Cassius: “Come down, Pindarus, and behold no more. Come be a freeman, and with this good sword, that ran through Caesar’s bowels, search this bosom. When my face is covered, as it is now, guide thou the sword.”

Pindarus stabs Cassius

Cassius: “Caesar, thou art revenged, even with the sword that killed thee.

Pindarus: “So, I am free. O Cassius! Far from this county Pindarus shall run, where never Roman shall take note of him.”

Enter Titinius and Messala

Messala: “Octavius is overthrown by noble Brutus’ power, as Cassius’ legions are by Antony. Where did you leave Cassius?”

Titinius: “All disconsolate.”

Messala: “Is not that he that lies upon the ground?”

Titinius: “He lies not like the living. O my heart!”

Messala: “Is that not he?”

Titinius: “No, this was he, Messala; but Cassius is no more. O setting sun. The sun of Rome is set. Our day is gone. Come, Cassius’ sword, and find Titinius’ heart.”

Titinius dies

Enter Messala, with Brutus and Cato

Brutus: “Where, Messala, doth his body lie?”

Messala: “Lo yonder, and Titinius mourning it.”

Brutus: “Tintinius’ face is upward.”

Cato: “He is slain.”

Brutus: “O Julius Caesar, thou art mighty yet! Thy spirit walks abroad and turns our swords in our own proper entrails. Are yet two Romans living such as these? The last of all the Romans, fare thee well! Friends, I owe more tears to this dead man than you shall see me pay. Come, young Cato; let us to the field to set our battles on. We shall try fortune in a second fight.”

Analysis

This is Cassius’ death scene, as Mark Antony’s army closes in all around him. References to Caesar abound, as the presence of his spirit is very much in evidence. Cassius dies from his own sword, the very one that stabbed Caesar. When Brutus sees Cassius’ dead body he says ‘O Julius Caesar, thou art mighty yet! Thy spirit walks abroad and turns our swords in our own proper entrails.’ Caesar’s ghost appeared to Brutus in Act IV and will again just before he chooses to die on his sword rather than be captured in the play’s final scene. Caesar may have been murdered at the outset of Act III but his presence is constant throughout the entire play. His revenge is nearly complete, and although he never wore the crown, his adopted son, Octavius, certainly will as Emperor Caesar Augustus, once we get through the next play and Lepidus and Antony both falter and fall.

Act V

Scene iv

Philippi battlefield

Enter Brutus, Cato, Lucilius

Brutus: “I am Brutus, Marcus Brutus, I. Brutus, my country’s friend. Know me for Brutus!”

Exit Brutus

Cato falls

Enter Antony

2 Soldier: “Tell Antony Brutus is taken.”

1 Soldier: “Brutus is taken, my lord.”

Antony: “Where is he?”

Lucilius: “Safe, Antony. I dare assure thee that no enemy shall ever take alive the noble Brutus.”

Antony: “This is not Brutus, friend. Keep this man safe; give him all kindness. I had rather have such men my friends than enemies. Go on, and see where Brutus be alive or dead.”

Analysis

The play is called Julius Caesar, but the true heroic protagonist is Brutus. Cassius convinced him to join the conspiracy and kill his friend, Caesar, for the sake of preserving the Republic. Brutus was torn between his private friendship with Caesar and duty to the Republic. Unfortunately for Brutus, the Republic is as dead as his friend, Caesar, and he and Cassius are as dead as them both. But amongst the conspirators, only his intentions were pure. In this brief scene, Brutus and his army are overwhelmed by Antony’s forces. Brutus’ last pronouncement is a reminder to himself and his fellow fighters and opponents of what an honourable man he has been known to be, all throughout his life, despite his murder of Caesar: ‘I am Brutus! Marcus Brutus, I Brutus, my country’s friend! Know me for Brutus!’ His fall is somehow more tragic than Caesar’s and certainly Cassius’s. The final scene looms.

Act V

Scene v

Philippi battlefield

Enter Brutus, Dardanius, Clitus, Volumnius, Strato

Brutus: “Sit thee down, Clitus. Slaying is the word; it is a deed in fashion. Hark thee, Clitus.”

Brutus whispers to Clitus

Clitus: “What, I, my lord? No, not for all the world. I’d rather kill myself.”

Brutus: “Hark thee, Dardanius.”

Dardanius: “Shall I do such a deed?”

Clitus: “What ill request did Brutus make to thee?”

Dardanius: “To kill him, Clitus.”

Brutus: “Come hither, good Volumnius.”

Volumnius: “What says my lord? “

Brutus: “The ghost of Caesar hath appeared to me, this last night here in Philippi. I know my hour is come.”

Volumnius: “Not so, my lord.”

Brutus: “Nay, I am sure it is, Volumnius. Our enemies have beat us. Good Volumnius, hold thou my sword whiles I run on it.”

Volumnius: “That’s not an office for a friend, my lord.”

Clitus: “Fly, fly, my lord.”

Brutus: “Farewell to you; and you; and you, Volumnius. For Brutus’ tongue hath almost ended his life’s history. Night hangs upon mine eyes; my bones would rest, that have but laboured to attain this hour.”

Clitus: “Fly, my lord, fly!”

Brutus: “I pray thee, Strato, hold then my sword, and turn away thy face, while I do run upon it.”

Strato: “Give me your hand first. Fare you well, my lord.”

Brutus: “Farewell, good Strato. Caesar, now be still.”

Brutus runs upon his sword and dies.”

Enter Octavius, Antony, Messala and the army

Octavius: “What man is that?”

Messala: “My master’s man. Strato, where is thy master?”

Strato: “Free from the bondage you are in, Messala. The conquerers can but make a fire of him; for Brutus only overcame himself.”

Antony: “This was the noblest Roman of them all. All the conspirators save only he did that they did in envy of great Caesar; his life was gentle; and the elements so mixed in him that nature might stand up and say to all the world ‘this was a man!’

Octavius: “According to his virtue let us use him, with all respect and rites of burial. So call the field to rest, and let’s away to part the glories of this happy day.”

Final Thoughts

Much new was written about Caesar in the 1580s and this was Shakespeare’s contribution. His principle source was Plutarch’s Lives.

Julius Caesar has been a very popular play, from its earliest production in 1599 right up to today. A most startling and famous staging was in 1864, which featured all three Booth brothers, including John Wilkes himself. In the following year, immediately after assassinating President Abraham Lincoln at the Ford Theatre in Washington DC for what he had done to the south, Booth leapt upon the stage and declared, in the words of Brutus, ‘Sic semper tyrannous’, which translates as ‘such always to tyrants’. Sic Semper Tyrannous remains to this day the motto of the state of Virginia. In 1953 a film production of Julius Caesar starred Marlon Brando as Antony, John Gielgud as Cassius and James Mason as Brutus. It, among many other staged and filmed versions, both amateur and professional, are readily available on youtube.

During the Trump presidency, a version of Julius Caesar was performed in Central Park, New York. The actor portraying dictatorial Caesar was unmistakably personifying Donald Trump. Needless to say, when he was assassinated by the conspirators a massive disruption occurred in the audience, as actors hovered over Caesar’s (Trump’s) dead body, while large numbers in the crowd were aghast and walked out visibly disturbed, as others cheered voraciously. Oh Shakespeare.

Romeo and Juliet

Introduction

Romeo and Juliet remains perhaps the Bard’s most popular and well known play, along with Hamlet.

This is a play about the intensity of doomed young love, a young love that will descend into the flames of its own idealism. What we have here is the most intense romantic tragedy ever written, unmatched in world literature. A play of youthful impulsiveness and extravagance, Romeo and Juliet is a love story such as had never before been depicted on the English stage, and it certainly makes the tragic ending hard to bear.

Their deaths are indeed foretold in the prologue. We know what will become of them from the start, unbeknownst to them, of course. We know their fate and then witness their innocence, charm and love, even as it all leads to such utter tragedy. The power of their love ensures, in the world they inhabit, that it will lead inevitably to their deaths. The romanticism is intoxicating. This is the quintessential love story of Western Civilization.

Shakespeare matures substantially as a writer in Romeo and Juliet, which has marvellously written characters. Along with the two fated lovers themselves, Mercutio is one of Shakespeare’s greatest creations. According to Dryden, Shakespeare reported that he had to kill off Mercutio or else his large presence would have killed the play we know as Romeo and Juliet. Who else could possibly have delivered the ‘Queen Mab’ speech? His death gives rise to all the catastrophes that follow. His last words are ‘a plague on both your houses’, and so it becomes from his death to the precipitous tragic ending. These are two entirely different plays before and after the death of Mercutio. The nurse and friar Lawrence are also deep, genuine and powerfully written characters, who each propel the plot to its inevitability of tragedy.

Shakespeare’s maturity continues throughout the years surrounding Romeo and Juliet, easily his greatest work to date. It is written around the same time as Love’s Labour’s Lost (1594-95), A Midsummer Night’s Dream (1595), and will be followed closely by The Merchant of Venice (1596-7), Richard II (1595), and Henry IV, Parts I (1596-7) and II, all part of a profound and unmatched initial creative explosion of productivity following his first eight plays, where only Richard III attained any similar status in the canon. He will achieve this burst of genius soon enough again, when from 1599-1606 he would write Much Ado About Nothing, As You Like It, Henry V, Julius Caesar, Hamlet, Twelfth Night, Measure for Measure, Othello, All’s Well That Ends Well, Macbeth, King Lear and Antony and Cleopatra. These two intense set of years produced the greatest wealth of genius in the history of world literature and defies explanation or logic.

Shakespeare discovered a new language for love in Romeo and Juliet, using sonnets and blank verse as never read or heard before. The imagery was original as well, full of richness and metaphor. Young love expressed with a tenderness and beauty new to literature and the stage. There are also over 175 puns and wordplays in Romeo and Juliet. The language is exquisite throughout, unlike anything else he had written or will write.

Romeo and Juliet is a play of opposites: light and dark, youth and age, love and hate, the moon and the stars. But it is the darkness that wins in the end, except for the notable fact that it is their fate that finally conclude the strife between the two warring families.

Act I (5 scenes)

Prologue: Enter Chorus

Two households, both alike in dignity, in fair Verona, where we lay our scene, from ancient grudge break to new mutiny, where civil blood makes civil hands unclean. From forth the fatal loins of these two foes a pair of star crossed lovers take their life; whose misadventured piteous overthrows doth with their death bury their parent’s strife. The fearful passage of their death marked love is now the two hours’ traffic of our stage.

Analysis

The prologue tells us, the audience, pretty much what will happen in this play. It refers to Romeo and Juliet as ‘star crossed lover’s, which suggests they will not be able to escape their fate, foretold as it is in the stars themselves.

Act I

Scene i

Verona. A public place

Enter Sampson and Gregory, two servants of the house of Capulet, with swords.

Sampson: “I strike quickly, being moved.”

Gregory: But thou art not quickly moved to strike.”

Sampson: “A dog of the house of Montague moves me. I will take the wall of any man or maid of Montague’s. ‘Tis true, women being the weaker vessels, are never thrust to the wall; therefore, I will push Montague’s men from the wall and thrust his maids to the wall. I will be civil with the maids – I will cut off their heads, or their maiden-heads.”

Gregory: “Here comes two of the house of Montague.”

Enter Abraham and Balthasar, two servants of the house of Monague

Sampson: “My naked weapon is out; quarrel, and I will back thee. I will bite my thumb at them.”

Abraham: “Do you bite your thumb at us, sir.”

Sampson: “I do bit my tongue, sir.”

Abraham: “Do you bite your tongue at us, sir?

Sampson: (aside to Gregory) “Is the law on our side, if I say ay?”

Gregory: (aside to Sampson) “No.”

Sampson: “No sir, I do not bite my tongue at you, sir; but I bite my tongue, sir.”

Gregory: “Do you quarrel, sir?”

Abraham: “Quarrel, sir! No, sir.”

Sampson: “But if you do, sir, I am as good a man as you.”

Abraham: “No better?”

Sampson: “Yes, better, sir.”

Abraham: “You lie.”

Sampson: “Draw if you be men.”

They fight

Benvolio: “Part, fools! Put up your swords; you know not what you do.

Enter Tybalt, of the house of Capulet

Tybalt: “What, art thou drawn among these heartless hinds? Turn thee, Benvolio, look upon thy death.”

Benvolio: “I do but keep the peace; put up thy sword, or manage to part these men with me.”

Tybalt: “What, drawn and talk of peace! I hate the word, as I hate hell, all Montagues and thee.”

They fight

Enter an officer and three or four citizens with clubs

Officer: “Beat them down.”

Citizens: “Down with the Capulets! Down with the Montagues!”

Enter Old Capulet in his gown, with his wife

Capulet: “What noise is this? My sword, I say! Old Montague is come and flourishes his blade in spite of me.”

Enter old Montague and his wife

Montague: “Thou villain, Capulet!”

Lady Montague: “Thou shalt not stir one foot to seek a foe.”

Enter the Prince

Prince: “Rebellious subjects, enemies to peace, profaners of this neighbour-stained steel. Will they not hear? You men, you beasts, that quench the fire of your pernicious rage with purple fountains issuing from your veins! On pain of torture, from those bloody hands, throw your distempered weapons to the ground, and hear the sentence of your moved Prince. These civil brawls, by thee, old Capulet and Montague, have thrice disturbed the quiet of our streets. If ever you disturb our streets again, your lives shall pay the forfeit of the peace. Once more, on pain of death, all men depart.”

Montague: “Who set this ancient quarrel anew?”

Benvolio: “I drew but to part them; in the instant came the fiery Tybalt, with his sword prepared. We were interchanging thrusts and blows till the Prince came.”

Lady Montague: “O, where is Romeo? Glad I am he was not at this fray.”

Montague: “Many a morning hath he been seen, with tears augmenting the fresh morning dew, adding to clouds more clouds with his deep sighs; but all so soon, away from light steals home my heavy son, and private into his chamber pens himself, shuts up his windows, locks fair daylight out, and makes for himself an artificial night. Black and portentous must this humour prove, unless good counsel may the cause remove.”

Benvolio: “My noble uncle, do you know the cause?”

Montague: “I neither know it nor can I learn of him. But he, his own affection’s counsellor, is to himself. If we could but learn from whence his sorrows grow, we would as willingly give cure as know.”

Enter Romeo

Exit Montague and his wife

Benvolio: “Good morrow, cousin.”

Romeo: “Is the day so young?”

Benvolio: “But new struck nine.”

Romeo: “Ay, me! Sad hours seem long.

Benvolio: “What sadness lengthens Romeo’s hours?

Romeo: “Not having that which having makes them short.

Benvolio: “In love?”

Romeo: “Out.”

Benvolio: “Of love?”

Romeo: “Out of her favour where I am in love. O brawling love! O loving hate! O heavy lightness! Mis-shapen chaos of well seeming forms! This love feel I, that feel no love in this. Dost thou not laugh?”

Benvolio: “No, cuz. I rather weep.”

Romeo: “Good heart, at what?”

Benvolio: “At thy good heart’s oppression.”

Romeo: “Why such is love’s transgression. This love that thou hast shown doth add more grief to too much of mine own. Love is a smoke raised with the fume of sighs; what is it else? A madness most discreet, a choking gall, and a preserving sweet. I have lost myself; I am not here; this is not Romeo; he’s some other where.”

Benvolio: “Tell me in sadness who is it that you love.”

Romeo: “In sadness, cousin, I do love a woman.”

Benvolio: “I aimed so near when I supposed you loved.”

Romeo: “A right good marksman! And she’s fair I love.”

Benvolio: “A right fair mark, fair cuz, is soonest hit.”

Romeo: “Well, in that hit you miss; she’ll not be hit with Cupid’s arrow. She has Dian’s wit, and in strong proof of chastity well armed.”

Benvolio: “Then she hath sworn that she will still live chaste?”

Romeo: “She hath, and in that sparing makes huge waste. For beauty, starved with her severity, cuts beauty off from all posterity. She hath forsworn to love, and in that vow do I live dead that live to tell it now.”

Benvolio: “Be ruled by me and forget to think of her.”

Romeo: “O teach me how I should forget to think!”

Benvolio: “By giving liberty unto thine eyes. Examine other beauties.”

Romeo: “He who is struck blind cannot forget the precious treasure of his eyesight lost. Farewell; thou cannot teach me to forget.”

Analysis

Act I, Scene I is a real crowd pleaser, intended to hook the audience right from the get go with the conflict between the two households erupting into a brawl. Everyone is seen to be involved, from house servants right up to the Prince of Verona himself. We learn that Benvolio is cautious and reasonable, that Tybalt is ‘fiery’ and that Romeo is lost in love. Honour and hatred drive the ancient family feud and it will be amid this ‘ancient grudge’ that Romeo and Juliet must navigate their love. The Prince threatens torture and death to both families for soiling Verona with hatred and blood.

We also learn that Romeo has a serious melancholy, although nobody seems to understand it. Finally, Romeo confides in his cousin, Benvolio, that he is, in fact, in a love that will not be returned. Benvolio therefore recommends he look for love elsewhere but Romeo believes Rosaline is the most beautiful of all women and accepts his own inevitable sadness. We never meet Rosaline but her presence is palpable throughout the play as Romeo’s forlorned love just prior to his meeting Juliet.

Act I

Scene ii

A street in Verona

Enter Capulet, Paris and his servant

Paris: “My lord, what say you to my suit?”

Capulet: “My child is yet a stranger in this world; she hath not seen the change of fourteen years; let two more summers wither in their pride, ere we may think her ripe to be a bride.”

Paris: “Younger than she are happy mothers made.”

Capulet: “And too soon marred are those so early made. Woo her, gentle Paris, get her heart. This night I hold an accustomed feast, whereto I have invited many a guest.” (to a servant) “Go, sirrah, trudge about through fair Verona; find those persons out whose names are written there, and to them say my house and welcome on their pleasure stay.”

Exit Capulet and Paris

Servant: “But I am sent to find those persons whose names are here writ, and can never find what names the writing person hath here writ. I must to the learned.”

Enter Benvolio and Romeo

Benvolio: “Tut, man, one fire burns out another’s burning. Take thou some new infection to the eye, and the rank poison of the old will die.”

Servant: “I pray, sir, can you read? Can you read anything you see?”

Romeo: “Stay, fellow; I can read.” (He reads the list)

Servant: “My master is the great rich Capulet; and if you be not from the house of Montague, I pray come and crush a cup of wine.”

Exit servant

Benvolio: “At this same ancient feast of Capulets sups the fair Rosaline whom thou so loves. Go thither, and compare her face with some that I shall show, and I will make thee think thy swan a crow.”

Romeo: “One fairer than my love! The all-seeing sun never saw her match since fist the world begun.”

Benvolio: “Tut, you saw her fair, none else being by, herself poised with herself in either eye. Let there be weighed your lady’s love against some other maid.”

Romeo: “I’ll go along, no such sight to be shown, but to rejoice in splendour of mine own.”

Analysis

We learn early in the scene that Capulet has consented to the courtship of his daughter, Juliet, to Paris, a kinsman to the Prince. He is not permitted to marry her yet, as she is not yet 14 years old. But he may woo her until the time is right for marriage. This is all determined between the two men before Romeo even meets Juliet. So we know there is a long feud between Romeo’s family and Juliet’s and that Juliet’s father is negotiating a future marriage to Paris. Romeo and Juliet will carry a lot of family baggage into their brief and intense relationship, but especially Juliet, as a young woman in patriarchal Verona.

We have met both lovers and we can see that while Romeo still pines for Rosaline, he and Benvolio are about to crash the Capulet party hosted by Juliet’s father and the famous and ill-fated tragic romance will all flow from there.

Shakespeare brings Romeo and Juliet together by the device of an illiterate servant, who requires Romeo to read the list of invitations to the Capulet party. On that list is Rosaline, although Benvolio rightly insists that when compared to some other woman at that gathering, Romeo may find the other woman a swan to his crow; and that woman will be Juliet.

Act I

Scene iii

Capulet’s house

Enter Lady Capulet and the nurse

Lady Capulet: “Nurse, where is my daughter?”

Nurse: “I bade her come. What, lamb! What, lady-bird! What, Juliet!

Enter Juliet

Juliet: “Madam, I am here. What is your will?”

Lady Capulet: “This is the matter. Nurse, give leave awhile. We must talk in secret. Nurse, come back again; I have remembered me. Thou may hear our counsel. Thou knows my daughter is of a pretty age, not yet fourteen.”

Nurse: “Thou was the prettiest babe that ever I nursed and if I live to see thee married I will have my wish.”

Lady Capulet: “That ‘marry’ is the very theme I came to talk of. Tell me, daughter Juliet, how stands your dispositions to be married?”

Juliet: “It is an honour that I dream not of.”

Lady Capulet: “Well, think of marriage now. Younger than you are already made mothers. By my count, I was your mother much upon these years that you are now a maid. Thus, then, in brief: the valiant Paris seeks you for his love.”

Nurse: “A man, young lady! Lady, such a man as all the world.”

Lady Capulet: “Verona’s summer hath not such a flower. What say you? Can you love the gentleman? This night you shall behold him at our feast; read over the volume of young Paris’ face, and find delight writ there with beauty’s pen. Speak briefly, can you like of Paris’ love?”

Juliet: “I’ll look to like.”

Nurse: “Go, girl, seek happy nights to happy days.”

Analysis

This scene builds on the previous one as we learn that Juliet’s mother, as well as her father, have determined Paris an appropriate match for their daughter. We also learn that it was the nurse who suckled Juliet as a baby. The nurse, it turns out, has been more of a mother to Juliet than Lady Capulet ever was. This was typical of the age in Verona. They hired a wet-nurse, who remained with Juliet her entire life. We now know all three principle female characters in the play.

Juliet is instructed to seriously consider Paris as a potential marriage partner at the Capulet feast this very night, the feast to which Romeo will be in attendance. It is thought the Shakespeare made Juliet to be merely fourteen years old so that we might better appreciate that this is her very first experience with love. Juliet’s mother was also married and a mother to Juliet by age fourteen, as are, apparently, many Verona women of high esteem, so it also appears to have been an appropriate age for marriage back then in Verona.

Act I

Scene iv

Verona. A street

Enter Romeo, Mercutio, Benvolio and five or six other maskers.

Romeo: “Is love a tender thing? It is too rough, too rude, too boisterous, and it pricks like a thorn.”

Mercutio: “If love be rough with you, be rough with love. Prick love for pricking, and you’ll beat love down.”

Romeo: “I dreamt a dream tonight”

Mercutio: “And so did I.”

Romeo: “Well, what was yours?”

Mercutio: “That dreamers often lie.”

Romeo: “In bed asleep, while they do dream things true.”

Mercutio: “O, then I see Queen Man hath been with you. She is the fairies’ midwife, and she comes in shape no bigger than the fore-finger of an alderman, athwart men’s noses as they lie asleep. Her waggoner is a small grey-coated gnat, not half so big as a round little worm. Her chariot is an empty hazel-nut. Time out of mind, she gallops night by night through lover’s brains, and then they dream of love. This is the hag, when maids lie on their backs, that presses them and learns them first to bear, making them women of good carriage. This is she.”

Romeo: “Peace, peace, Mercutio, peace! Thou talks of nothing.”

Mercutio: “True, I talk of dreams, which are the children of an idle brain, begot of nothing but vain fantasy; which is as thin of substance as the air, and more inconstant than the wind, and, being angered, puffs away from thence.

Benvolio: “This wind you talk of blows us from ourselves.”

Romeo: “I fear; my mind misgives some consequence, yet hanging in the stars, shall bitterly begin his fearful date with this night’s revels and expire the term of a despised life closed in my breast, by some vile forfeit of untimely death. But he that hath the steerage of my course direct my sail!”

Analysis

Romeo, Benvolio and Mercutio are wearing their masks and making their way to the Capulet feast when Mercutio and Romeo examine the notion of love. Love has been rough on Romeo in his relationship with Rosaline and Mercutio suggests that when love is rough with you you must be rough with love. Mercutio is a profoundly important passionate man of excess in Romeo and Juliet and this scene introduces us to him. It also informs us that Romeo has a very bad feeling about the feast they are heading to, suggesting that the stars are so aligned that he fears his death is near. Star-crossed lovers indeed. Fate would seem to have a solid grasp of Romeo, and he has yet to even meet Juliet, which will occur in the very next scene, the last one of Act I. The Queen Mab speech by Mercutio is a much examined Shakespearean reflection. It begins as a child’s story about dreaming of little fairies seemingly but it turns dark and sexual, and in the end Queen Man teaches maids to have sex. Romeo stops Mercutio by telling him that he speaks of nothing. Mercutio admits that dreams are the children of an idle brain. He thinks differently than anyone else in this play. Romeo may be the genuine romantic and Tybalt will be the volatile man of honour, but Mercutio stands outside the bounds of accepted social norms. He is a genuine free thinker and mocks all convention. In some ways this is his play until Shakespeare kills him off in Act III. Only after that does the play descend into its horrors. The inter-relationships between the various superbly written characters in Romeo and Juliet are crucial to how the drama unfolds. Romeo, Juliet, Mercutio, Tybalt, Juliet’s parents, the nurse and the friar dance an increasingly macabre dance, propelling the plot to its star-crossed inevitabilities. Romeo and Juliet represents a new inspired genius in William Shakespeare and it launches him straight into and through his greatest masterpieces in history, comedy and, perhaps above all, tragedy. Romeo and Juliet at times gets overlooked as a high school curriculum play about these two famous lovers when in fact it is a profoundly deep and lyrical examination of life, love, death, social convention and pain. As a thirty year high school teacher I still find it astounding that Romeo and Juliet is a staple in grade nine English. Just because Juliet is thirteen years old hardly means that today’s fourteen year olds can manage to engage the profundity and tragedy of such searingly lyrical poetry and verse. No wonder so many teens graduate from high school with a deep disdain for the works of William Shakespeare. Now on to the very first encounter between the play’s very namesakes.

Act I

Scene v

The Capulet house

Enter the maskers and Old Capulet to welcome them

Capulet: “Welcome, gentlemen! Ladies who have their toes unplagued by corns will have a bout with you.”

Romeo: (to a servant) “What lady is that which does enrich the hand of yonder knight?”

Servant: “I know not, sir.”

Romeo: “O, She doth teach the torches to burn bright. She hangs upon the cheek of night as a rich jewel – beauty too rich for use, for earth too dear. Did my heart love till now? Forswear it, sight; for I never saw true beauty till his night.

Tybalt: “This, by his voice, should be a Montague. Fetch me my rapier, boy. To strike him dead I hold it not a sin. Uncle, this is a Montague, our foe; a villain who has come to scorn our solemnity this night.”

Capulet: “Young Romeo, is it?”

Tybalt: “Tis he, that villain Romeo.”

Capulet: “Verona brags of him to be a virtuous and well-governed youth. I would not for the wealth of all this town here in my house do him disparagement.”

Tybalt: “I’ll not endure him.”

Capulet: “He shall be endured. I say he shall. Am I the master here or you?”

Tybalt: “Why uncle, ’tis a shame.”

Capulet: “You are a saucy boy. Be quiet or I will make you quiet.”

Romeo: (to Juliet) “If I profane with my unworthiest hand this holy shrine, the gentle fine is this: my lips, two blushing pilgrims, ready stand to smooth that rough touch with a tender kiss.”

Juliet: “Good pilgrim, you do wrong your hand too much, for saints have hands that pilgrim’s hands do touch, and palm to palm is holy palmers’ kiss.”

Romeo: “Have not saints lips, and holy palmers too?”

Juliet: “Ay, pilgrim, lips that they must use in prayer.”

Romeo: “O, then, dear saint, let lips do what hands do! They pray; grant thou, lest faith turn to despair. Thus from my lips by thine my sin is purged.” (he kisses her)

Juliet: “Then have my lips the sin that thy have took.”

Romeo: “Sin from my lips? O trespass sweetly urged! Give me my sin again.” (he kisses her)

Juliet: “You kiss by the book.

Nurse: “Madam, your mother craves a word with you.”

Romeo: “Who is her mother?”

Nurse: “Her mother is the lady of the house, wise and virtuous. I nursed her daughter, whom you talked withal.”

Romeo: “Is she a Capulet? O dear account! My life is my foe’s debt.”

Benvolio: “Away, be gone; the sport is at the best.”

Romeo: “Ay, so I fear; the more is my unrest.”

Capulet: “Nay, gentlemen, prepare not to be gone. We have a trifling foolish banquet towards.”

Exit all but Juliet and her nurse

Juliet: “Come hither, nurse. Who is yonder gentleman? Go ask his name. If he be married, my grave is likely to be my wedding bed.”

Nurse: “His name is Romeo, and a Montague; the only son of your great enemy.”

Juliet: “My only love sprung from my only hate! Too early seen unknown, and known too late. Prodigious birth of love it is to me, that I must love a loathed enemy.”

Nurse: “What’s this? What’s this?”

Juliet: “A rhyme I learned even now of one I dance withal.”

Nurse: “Come, let’s away; the strangers are all gone.”

Analysis

Shakespeare makes us wait for it, but alas, Romeo and Juliet have met and are instantly smitten. Who was Rosaline anyway? The exquisite language of youthful love fills their initial encounter. Romeo compares Juliet to a saint, which borders on blasphemy in Shakespeare’s Protestant England. Their fate that was forecasted in the prologue is evident when Tybalt notices Romeo and immediately calls for his sword. Tybalt’s unquenchable rage has been ignited by seeing Romeo Montague in Capulet’s house and this rage will soon erupt on the streets of Verona in a bloody act which will have a domino effect of tragedy on the entirety of the remaining play. Romeo and Juliet are both entirely aware of the blood feud between the Capulets and the Montagues but they are blinded by this instantaneous devotion to one another. Their age will bring them up against their elders, their surnames will bring them up against Tybalt and their compromised love will bring them up against the laws of Verona itself. But let’s first give them this Act II love story and the precious little time they will share together before their romance is swallowed up by this Act III-V tragedy.

Act II

Prologue: Enter Chorus

Now Romeo is beloved, and loves again, alike bewitched by the charm of looks; being held a foe, he may not have access to breathe such vows as lovers use to swear; and she as much in love, her means much less to meet her new beloved anywhere. But passion lends them power, time means, to meet, tempering extremities with extreme sweet.”

Analysis

This prologue establishes that Romeo and Juliet are indeed in love, that they are opposed in their love by being foes to one another’s family and that, hopefully, their passion and time might temper the odds against them. But we cannot forget the play’s foreboding and prophetic opening prologue. We could say that their passion might buy them some precious time before their love is truly star-crossed.

Act II (6 scenes)

Scene i

Near a wall of Capulet’s orchard

Enter Romeo

Romeo: “Can I go forward when my heart is here?” (he climbs the wall and leaps down within it)

Enter Benvolio and Mercutio

Benvolio: “Romeo! My cousin. Romeo! Romeo!”

Mercutio: “He is wise, and, on my life, hath stolen him home to bed.”

Benvolio: “He ran this way, and leapt this orchard wall. Call, good Mercutio.”

Mercutio: “Romeo! Madman! Passion! Lover! Appear thou in the likeness of a sigh. I conjure thee by Rosaline’s bright eyes, her scarlet lips and quivering thigh, that in thy likeness thou appear to us.”

Benvolio: “If he hear thee, thou wilt anger him.”

Mercutio: “This cannot anger him. I conjure only to raise him up.”

Benvolio: “Come, he hath hid himself among these trees to be consorted with the humorous night: blind is his love, and best befits the dark.

Mercutio: “If love be blind, then love cannot hit the mark. Romeo, good night. I’ll go to my truckle bed; come, shall we go?”

Benvolio: “Go, then; for ’tis in vain to seek him here who means not to be found.”

Analysis

Romeo leaps the orchard wall and enters the property of the Capulets. This is dangerous business and a set up for perhaps Shakespeare’s most famous scene ever, the balcony scene with Juliet. His friends seem unaware, although they too were at the Capulet feast, that Romeo has already forgotten Rosaline and is very much in love with Juliet Capulet. They merely believe he has found a hidden place to consort with the night in his melancholic state. To this they leave him be. But we know better where he has gone. There is a balcony off of Juliet’s bedroom… a very famous balcony made famous precisely by this next scene.

Act II

Scene ii

The Capulet orchard

Enter Romeo in the orchard and Juliet on her balcony

Romeo: “But, soft! What light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon. It is my lady; O, it is my love! O, that she knew she were! She speaks, yet she says nothing. What of that? Her eyes discourse; I will answer it. I am too bold, ’tis not to me she speaks. Her eyes stream so bright that birds would sing, and think it were not night. See how she leans her cheek upon her hand! O, that I were a glove upon that hand, that I might touch that cheek!

Juliet: “Ay, me!”

Romeo: “She speaks. O, speak again, bright angel, for thou art as glorious to this night, being over my head, as is a winged messenger from heaven unto the white-upturned wondering eyes of mortals who fall back to gaze on him, when he bestrides the lazy-pacing clouds and sails upon the bosom of the air.”

Juliet: “O, Romeo, Romeo! Wherefore art thou, Romeo? Deny thy father and refuse thy name; or, if thou wilt not, be but sworn my love, and I’ll no longer be a Capulet.

Romeo: (aside) “Shall I hear more, or shall I speak to this?”

Juliet: “‘Tis but thy name that is my enemy; what’s Montague? It is nor hand, nor foot, not arm, nor face, nor any other part belonging to a man. O, be some other name! What’s in a name? That which we call a rose by any other name would smell as sweet; so Romeo would, were he not Romeo called. Romeo, doff thy name; and for thy name, which is no part of thee, take all of myself.”

Romeo: “I take thee at thy word: call me but love, and I’ll be newly baptized; henceforth I never will be Romeo.”

Juliet: “What man art thou, that, thus bescreened in night, so stumbles on my counsel?”

Romeo: “By a name I know not how to tell thee who I am: my name, dear saint, is hateful to myself, because it is an enemy to thee; had I it written, I would tear the word.”

Juliet: “My ears have not yet drunk a hundred words of thy tongue’s uttering, yet I know the sound: art thou not Romeo, and a Montague?”

Romeo: “Neither, fair maid, if either thee dislike.”

Juliet: “How came thou hither, tell me, and wherefore? The orchard walls are high and hard to climb; and the place death, considering who thou art, if any of my kinsmen find thee here.”

Romeo: “With love’s light wings did I over-perch these walls, for stony limits cannot hold love out; and what love can do, that dares love attempt. Therefore, thy kinsmen are no stop to me.”

Juliet: “If they do see thee, they will murder thee. I would not for the world they saw you here.”

Romeo: “I have night’s cloak to hide me from their eyes; and but thou love me, let them find me here. My life were better ended by their hate than death prorogued wanting of thy love.”

Juliet: “By whose direction found thou out this place?”

Romeo: “By love, that first did prompt me to enquire; he lent me counsel, and I lent him eyes. I am no pilot; yet, were thou as fair as that vast shore washed with the farthest sea, I should adventure.”

Juliet: “Dost thou love me? I know thou will say ay, and I will take thy word; yet, if thou swear’st, thou may prove false; at lover’s perjuries they say Jove laughs. O, gentle Romeo, if thou dost love, pronounce it faithfully. In truth, fair Montague, I am too fond; but trust me, gentleman, I’ll prove more true than those who have more cunning. Thou overheard my true love’s passion.”

Romeo: “Lady, by yonder blessed moon I vow.”

Juliet: “O, swear not by the moon, the inconstant moon, that monthly changes in her circled orb, lest thy love prove likewise variable.”

Romeo: “What shall I swear by?”

Juliet: “Do not swear at all; or, if thou will, swear by thy gracious self, which is the god of my idolatry, and I’ll believe thee. Although I joy in thee, I have no joy of this contract tonight: it is too rash, too unadvised, too sudden; sweet, good night! This bud of love, by summer’s ripening breath, may prove a beauteous flower when next we meet. Good night, good night! As sweet repose and rest come to thy heart as that within my breast!”

Romeo: “O, will thou leave me so unsatisfied?”

Juliet: “What satisfaction can thou have tonight?”

Romeo: “The exchange of thy love’s faithful vow for mine.”

Juliet: “I gave thee mine before thou did request it; and yet I would it were to give again. My bounty is as boundless as the sea, my love as deep: the more I give to thee, the more I have, for both are infinite.”

The nurse calls from within

Juliet: “Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again.”

Exit Juliet

Romeo: “O blessed, blessed night! I am afeared, being in night, all this is but a dream too flattering-sweet to be substantial.

Re-enter Juliet above

Juliet: “If that thy bent of love be honourable, thy purpose marriage, send me word tomorrow, by one that I will procure to come to thee, where and what time thou will perform the rite; and all my fortunes at thy foot I’ll lay, and follow thee, my lord, throughout the world.”

Nurse: “Madam!”

Juliet: “I come anon – but if thou meanest not well, I do beseech thee”

Nurse: “Madam!”

Juliet: “By and by, I come – to cease thy suit, and leave me to my grief. Tomorrow will I send.”

Romeo: “So thrive my soul.”

Juliet: “A thousand times good night.”

Exit Juliet

Romeo: “A thousand times the worse, to want thy light.”

Re-enter Juliet

Juliet: “Romeo!”

Romeo: “It is my soul that calls upon my name. How silver-sweet sound lover’s tongues by night, like softest music to attending ears!”

Juliet: “Romeo!”

Romeo: “My dear?”

Juliet: “At what o’clock tomorrow shall I send to thee?”

Romeo: “By the hour of nine.”

Juliet: “I will not fail. ‘Tis twenty years till then. I have forgot why I did call thee back.”

Romeo: “Let me stand here till thou remembers.”

Juliet: “I shall forget, to have thee still stand there, remembering how I love thy company.”

Romeo: “And I’ll stay, to have thee still forget.”

Juliet: “‘Tis almost morning: I would have thee gone; and yet no farther than a wanton bird, that let’s it hop a little from her hand, and with a silk thread plucks it back again, so loving-jealous of his liberty.”

Romeo: “I would I were thy bird.”

Juliet: “Sweet, so would I. Yet I should kill thee with much cherishing. Good night, good night! Parting is such sweet sorrow, that I shall say good night till it be morrow.”

Exit Juliet

Romeo: “Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace, so sweet to rest! Hence will I to my ghostly father’s cell, his help to crave and my dear hap to tell.”

Analysis

Act II, Scene ii is the scene of the play for most people. Romeo and Juliet meet and their language of love is incomparable and unprecedented, even still. This famous ‘balcony scene’ establishes the greatest and most familiar love story in world literature. They are so young and vulnerable, yet made resolute by their discovery of one another through a language never before expressed. Famous and exquisitely beautiful lines abound: ‘What light through yonder window breaks’, ‘O that I were a glove on that hand…’, ‘Romeo, Romeo, wherefore art thou Romeo’, ‘That which we call a rose by any other name would smell as sweet’, ‘Parting is such sweet sorrow’. Shakespeare’s evocative writing brings both Romeo and Juliet alive right off the page. It is a delightful scene of young love in a play that must soon turn tragic. Just as Act I prepares us for this love story in Act II, so does Act II prepare us for the immense tragedy that Act III initiates. The entire play takes place in just four days. We have just experienced day one. There are countless references to day and night, moon and sun throughout the play. Romeo refers to Juliet as the sun, as she can turn night into day. Juliet will not permit Romeo to swear by the moon, ‘the inconstant moon’, which changes shape every night. Neither can bear to think of the other as members of their enemy family: ‘O, be some other name’, she pleads. ‘Romeo, Doff thy name, and for thy name, take all of myself’. ‘Art thou not Romeo and a Montague’, Juliet asks. Romeo assures her, ‘Neither, fair maid, if either thee dislike’. They know what they are up against: “If my kinsmen see you, they will murder you.’ And she is only thirteen years old, he not much older. In the privacy of this scene their love is triumphant. But tomorrow the social context is added to the mix, as we know that both houses are sworn enemies and that Tibalt is already looking for Romeo because he attended the Capulet feast hours earlier. Enjoy the remainder of the Act II love story before it takes a hard turn at the outset of Act III.

Act II

Scene iii

Friar Lawrence’s cell

Enter Friar Lawrence and Romeo

Romeo: “Good morrow, father!”

Friar Lawrence: “What early tongue so sweet salutes me. Young son, it argues a distempered head so soon to bid good morrow to thy bed. And where care lodges sleep will never lie; but where unbruised youth with unstuffed brain doth couch his limbs, there golden sleep doth reign. Therefore thy earliness doth me assure thou art aroused with some distempered nature. Was thou with Rosaline?”

Romeo: “With Rosaline, my ghostly father? No; I have forgot that name, and that name’s woe.”

Friar Lawrence: ‘But where hast thou been then?”

Romeo: “I have been feasting with mine enemy; where, on a sudden, one hath wounded me that’s by me wounded; both our remedies within thy help and holy physic lies.”

Friar Lawrence: “Be plain, good son. Riddling confession finds but riddling shrift.”

Romeo: “Then plainly know my heart’s dear love is set on the fair daughter of rich Capulet. As mine on hers, so hers is set on mine. And all combined by holy marriage. We met, we woo’d, and made exchange of vows. This I pray, that thou consent to marry us today.”

Friar Lawrence: “Holy Saint Francis! What a change is here! Is Rosaline, that thou did love so dear, so soon forsaken? Young men’s love, then, lies not truly in their hearts, but in their eyes. Lo, here upon thy cheek the stain doth sit of an old tear that is not washed off yet. These woes were all for Rosaline. And art thou changed?”

Romeo: “I pray thee, chide me not; her I love now doth grace for grace and love for love allow; the other did not so.”

Friar Lawrence: “Come, young waverer, go with me, in one respect I’ll thy assistant be; to turn your households’ rancour to pure love.”

Romeo: “O let us hence; I stand on sudden haste.”

Friar Lawrence: “Wisely and slow; they stumble who run fast.”

Analysis

Friar Lawrence is surprised how early Romeo arrives to see him and is pretty shocked that Romeo has traded in Rosaline for someone new, who he immediately asks the Friar to marry him to. But he is encouraged that the marriage of Romeo and Juliet might go a long way to patching up the hatred between the two warring families. The Friar has only the purest of intentions but will bungle the arrangement in such a way that will lead directly to both their deaths. That is where we are headed. Romeo will be trapped between the two world’s he traverses: that of his private love for Juliet, which we just witnessed in the balcony scene, and his public status as a friend to cynical and mercurial Mercutio and the reality of his being a Montague. Now on to the social and familial Romeo in scene iv.

Act II

Scene iv

A street in Verona

Enter Benvolio and Mercutio

Mercutio: “Where the devil should this Romeo be? Came he not home tonight?”

Benvolio: “Not to his father’s.”

Mercutio: “Why, that same pale-hearted wench, that Rosaline, torments him so he will sure run mad.”

Benvolio: “Tybalt, the kinsman to old Capulet, hath sent a letter to his father’s house. He will answer the letter’s master, how he dares, being dared.”

Mercutio: “Alas, poor Romeo, he is already dead: stabbed with a white wench’s black eye; run through the ear with a loving song; the very pin of his heart cleft with the blind bow-boy’s butt-shaft. And is he a man to encounter Tybalt?”

Benvolio: “Why, what is Tybalt?”

Mercutio: “More than Prince of Cats. He fights as you sing; the very butcher of a silk button, a duellist, a very good blade, a very good whore.”

Enter Romeo

Benvolio: “Here comes Romeo.”

Mercutio: “You gave us the counterfeit fairly last night.”

Romeo: “Good morrow to you both. What counterfeit did I give you?”

Mercutio: “The slip, sir, the slip.”

Romeo: “Pardon, good Mercutio; my business was great.”

Mercutio: “If our wits run the wild goose chase, I am done; for thou has more of the wild goose in one of thy wits than, I am sure, I have in my whole five.”

Romeo: “Thou was never with me for anything when thou was not there for the goose.”

Mercutio: “I will bite thee on the ear for that jest.”

Romeo: “Nay, good goose, bite not.”

Mercutio: “Thy wit is a very bitter sweeting; it is a most sharp sauce.”

Romeo: “And is it not then well served to a sweet goose?”

Mercutio: “O, here’s a wit that stretches from an inch narrow to a yard broad!”

Romeo: “I stretch it out for that word ‘broad’, which, added to the goose, proves thee far and wide a broad goose.”

Mercutio: “Why, is not this better now than groaning for love? Now art thou sociable, now art thou Romeo. This drivelling love is like a great natural that runs lolling up and down to hide his toy in a hole.”

Enter the nurse and her man, Peter

Nurse: “Peter!”

Peter: “Anon.”

Nurse: “My fan, Peter.”

Mercutio: “Good Peter, to hide her face; for her fan’s the fairer face.”

Nurse: “Gentlemen, can any of you tell me where I may find the young Romeo?”

Romeo: “I am the youngest of that name.”

Nurse: “If you be he, sir, I desire some confidence with you.”

Mercutio: “A bawd, a bawd, a bawd! Farewell, ancient lady, farewell.”

Exit Mercutio and Benvolio

Nurse: “Scurvy knave! Pray you, sir, a word; my young lady bid me enquire you out; but first let me tell ye, if ye should lead her in a fool’s paradise, as they say, it were a very gross kind of behaviour; for the gentlewoman is young; and therefore if you should deal double with her, truly it were an ill thing to be offered to any gentlewoman, and very weak dealing.”

Romeo: “Nurse, commend me to the lady.”

Nurse: “Lord, lord! She will be a joyful woman.”

Romeo: “Bid her devise some means to come to shrift this afternoon; and there she shall at Friar Lawrence’ cell by shrived and married.”

Nurse: “Well, she shall be there.”

Romeo: “Stay, good nurse – bring thee cords made like a tackled stair; which to the high top-gallant of my joy must be my convoy in the secret night. Commend me to thy mistress.”

Nurse: “Now God in heaven bless thee! My mistress is the sweetest lady – Lord, Lord! O, there is a nobleman in town, one Paris; but she, good soul, had as lief see a toad, a very toad, as see him. I anger her sometimes, and tell her that Paris is the more proper man.”

Romeo: “Commend me to thy lady.”

Nurse: “Ay, a thousand times.”

Analysis

We see Romeo with his friends and learn what a keen wit he has in his banter with Mercutio, who loves this Romeo more so than the love-sick young man he also is. “Why is this (punning) not better than groaning for love. Now art thou Romeo.” Juliet and Mercutio know two very different Romeos and they will come to cross-purposes in the scenes and act to come. Juliet has sent the nurse to see Romeo and it is agreed that they will be married by Friar Lawrence this very afternoon, having just met yesterday.

Act II

Scene v

Capulet’s orchard

Enter Juliet

Juliet: “The clock struck nine when I did send the nurse; in half an hour she promised to return. O, she is lame! And from nine till twelve is three long hours, yet she is not come.”

Enter the nurse

Juliet: “O God, she comes! Now, good sweet nurse, why look thou sad?”

Nurse: “I am weary, give me leave a while; fie, how my bones ache.”

Juliet: “I would thou had my bones, and I thy news. I pray thee speak.”

Nurse: “Jesu, what haste? Do you not see I am out of breath?”

Juliet: “How art thou out of breath, when thou has breath to say to me that thou art out of breath? The excuse that thou does make in this delay is longer than the tale thou does excuse. Is thy news good or bad? Answer to that.”

Nurse: “You know not how to choose a man. Romeo! No, not he; though his face be better than any man’s, yet his leg excels all men’s. He is not the flower of courtesy, but I’ll warrant him as gentle as a lamb.”

Juliet: “What says he of our marriage? What of that?

Nurse: “Lord, how my head aches! Ah, my back, my back! Beshrew your heart for sending me about.”

Juliet: “I am sorry that thou art not well. Tell me, what says my love? What says Romeo?”

Nurse: “Hie you hence to Friar Lawrence’ cell; there stays a husband to make you a wife.”

Juliet: “Hie to high fortune! Honest nurse, farewell.”

Analysis

Act II is magical, with the innocence and vitality of young love, pure and simple. Scene iii is a very touching scene of Juliet waiting to hear from her nurse what Romeo had to say to her. It is also quite comic and dear as the nurse is achy, tired and out of breath from her walk to meet Romeo and must wait to inform Juliet of their encounter until she has her energy restored, which makes Juliet excitedly impatient for the news. Finally, at the very end of the scene the nurse informs her that she will be married to Romeo today at Friar Lawrence’ cell, again, at age 13 and having met just yesterday. It won’t be the least bit funny the next time the nurse withholds news from Juliet, once things turn tragic.

Act II

Scene vi

Friar Lawrence’ cell

Enter Friar Lawrence and Romeo

Friar Lawrence: “So smile the heavens upon this holy act.”

Romeo: “Amen, amen! But come what sorrow can, it cannot countervail the exchange of joy that one short minute gives me in her sight. Do thou but close our hands with holy words, then love-devouring death do what he dare; it is enough I may but call her mine.”

Friar Lawrence: “These violent delights have violent ends, and in their triumph die; like fire and powder, which, as they kiss, consume. The sweetest honey is loathsome in its own deliciousness, and in the taste confounds the appetite. Therefore, love moderately and love long; too swift arrives as tardy as too slow.

Enter Juliet

Juliet: “Good even to my ghostly confessor.”

Romeo: “Ah, Juliet, if the measure of thy joy be heaped like mine, then sweeten with thy breath this neighbouring air, and let rich music’s tongue unfold the imagined happiness of this dear encounter.”

Juliet: “My true love is grown to such excess I cannot sum up sum of half my wealth.”

Friar Lawrence: “Come, come with me, and we will make short work till holy church incorporate two into one.”

Analysis

This is the final scene of Act II and there are some disturbing foreshadowings afoot. Friar Lawrence says straight up that ‘these violent delights have violent ends’ and warns Romeo to ‘love moderately’, which is the one things these two lovers seem incapable of doing. We all know that this is a tragedy and the opening prologue informed us of the tragic ending awaiting both lovers, so here is one final reminder before the tragedy truly commences next. Romeo himself states, now that he is about to marry Juliet, ‘come what sorrow can’ and ‘do but close our hands with holy words, then love devouring death may do what he dares.’ Perhaps this is why they rush into this union with such unabated enthusiasm. They are aware of the totality of their situation as a Capulet and a Montague in Verona at this time. Let the tragedy begin…

Act III (5 scenes)

Scene I

A public place

Enter Mercutio and Benvolio

Benvolio: “I pray thee, good Mercutio, let’s retire. The day is hot and the Capulets are abroad, and if we meet we shall not escape a brawl. For now, in these hot days, is the mad blood stirring.”

Mercutio: “Come, come, thou art as hot a Jack in thy mood as any in Italy.; and as soon moved to be moody, and as soon moody to be moved.”

Benvolio: “And what to?”

Mercutio: “Thou! Why thou will quarrel with a man that hath a hair more or a hair less in his beard than thou has. Thou will quarrel with a man for cracking nuts, having no other reason but because thou has hazel eyes. Thy head is full of quarrels. Thou has quarrelled with a man for coughing in the streets. And yet thou will tutor me from quarrelling!”

Benvolio: “I were so apt to quarrel as thou art.”

Enter Tybalt

Benvolio: “By my head, here come the Capulets.”

Mercutio: “By my heels, I care not.”

Tybalt: “Gentlemen, good den; a word with one of you.”

Mercutio: “Couple it with something else; make it a word and a blow.”

Tybalt: “You shall find me apt enough for that, sir. Mercutio, thou consortist with Romeo.”

Benvolio: “Reason coldly your grievances, or else depart.”

Mercutio: “I will not budge for no man’s pleasure.”

Enter Romeo

Tybalt: “Well, peace be with you, sir. Here comes my man. (to Romeo) Romeo, the love I bear thee can afford no better term than this: thou art a villain.”

Romeo: “Tibalt, the reason that I have to love thee doth much excuse the appertaining rage to such a greeting. Villain am I none; therefore, farewell. I see thou knows me not.”

Tybalt: “Boy, this shall not excuse the injuries that thou has done me; therefore turn and draw.”

Romeo: “I do protest I have never injured thee, but love thee better than thou can devise till thou shall know the reason of my love; And so, good Capulet – which name I tender as dearly as my own – be satisfied.”

Mercutio: “O calm, dishonourable, vile submission! Tybalt, you rat-catcher, will you walk?”

Tybalt: “What would thou have with me?”

Mercutio: “Good King of Cats, nothing but one of your nine lives; that I mean to make bold withal, and, as you shall use me thereafter, dry-beat the rest of the eight.”

Tybalt: “I am for you.” (he draws his sword)

Mercutio: “Come, sir.” (they fight)

Romeo: “Draw Benvolio and beat down their weapons. Gentlemen, for shame, forbear this outrage! Tybalt! Mercutio! The Prince expressly hath forbid this bandying in Verona streets. Hold. Tybalt! Good Mercutio!”

Tybalt goes under Romeo’s arm and thrusts his sword into Mercutio and then flees with his friends

Mercutio: “I am hurt. A plague on both your houses.

Benvolio: “What, art thou hurt?”

Mercutio: “Ay, ay, a scratch, a scratch; marry, ’tis enough. Fetch a surgeon.”

Romeo: “Courage, man; the hurt cannot be much.”

Mercutio: “No, ’tis not so deep as a well, nor so wide as a church door, but ’tis enough. ’twill serve. Ask for me tomorrow and you shall find me a grave man. I am peppered, I warrant, for this world. A plague on both your houses! Why the devil came you between us? I was hurt under your arm.”

Romeo: “I thought all for the best.”

Mercutio: “Help me, Benvolio, or I shall faint. A plague on both your houses! They have made worm’s meat of me.”

Exit Mercutio and Benvolio

Romeo:”My very friend, has got this mortal hurt on my behalf; my reputation stained with Tybalt’s slander – Tybalt, that an hour hath been my cousin. O sweet Juliet, thy beauty hath made me effeminate, and in my temper softened valour’s steel.”

Re-ener Benvolio

Benvolio: “O Romeo, Romeo, brave Mercutio is dead! This day’s black fate on more days doth depend; this but begins the woe others must end.”

Re-enter Tybalt

Benvolio: “Here comes the furious Tybalt back again.”

Romeo: “Alive in triumph and Mercutio slain. Fire-eyed fury be my conduct now! Now, Tybalt, Mercutio’s soul is but a little way above our heads, staying for thine to keep him company. Either thou or I, or both, must go with him.”

Tybalt: “Thou, wretched boy, that did consort him here, shalt with him hence.”

Romeo: “This shall determine that.”

They fight and Tybalt falls

Benvolio: “Romeo, away, be gone. The citizens are up and Tybalt is slain. Stand not amazed. The Prince will doom thee death if thou art taken. Hence, be gone, away.”

Romeo: “O, I am fortune’s fool!”

Exit Romeo

Enter many citizens, the Prince, Monague, Capulet and their wives

Prince: “Where are the vile beginnings of this fray?”

Benvolio: “O, noble Prince, there lies the man, slain by young Romeo, that slew thy kinsman, brave Mercutio.”

Lady Capulet: “Tybalt, my cousin! Prince, as thou art true, for blood of ours shed blood of Montague.”

Prince: “Benvolio, who began this bloody fray?”

Benvolio: “Tybalt, here slain, whom Romeo’s hand did slay; Romeo, that spoke him fair and urged withal your high displeasure. All this, uttered with gentle breath, could not take truce with the unruly spleen of Tybalt, deaf to peace, but that he tilts with piercing steel at bold Mercutio’s breast; who, all as hot, turns deadly point to point. Romeo cried aloud ‘hold friends, part’, and swifter than his tongue, his agile arm beat down their fatal points and twixt them rushes; underneath whose arm an envious thrust from Tybalt hit the life of stout Mercutio; and then Tybalt fled; but by and by comes back to Romeo, who had but newly entertained revenge, and to it they go like lightning; for ere I could draw to part them was stout Tybalt slain; and as he fell did Romeo turn and fly. This is the truth, or let Benvolio die.”

Lady Capulrt: “He is a kinsman to the Montague. Affection makes him false; he speaks not true. I beg for justice, which thou, Prince, must give: Romeo slew Tybalt; Romeo must not live.”

Prince: “For the life of Tybalt, immediately do we exile Romeo hence. I will be deaf to pleading and excuses. Let Romeo hence in haste, else when he is found that hour is his last.”

Analysis

So much for the innocence of young love. An hour after Romeo and Juliet are wed, the play takes its major turn toward tragedy in the two fatal street brawls in which Tybalt kills Mercutio and Romeo kills Tybalt. The family feud has essentially destroyed the romance, as Lady Capulet insists on the life of Romeo. The Prince hears Benvolio’s detailed account of Tybalt’s aggression in the conflict and determines that Romeo be banished from Verona. Among Mercutio’s final words is ‘a plague on both your houses’, whereas Romeo’s final words in the scene are ‘I am fortune’s fool’, as he kills his new cousin and gets himself banished from Verona and Juliet Capulet. He may blame fortune, but his friend, Mercutio, lays responsibility at the feet of both the houses of the Montgues and the Capulets. Romeo is both the man who loves Juliet as well as the man who kills Tybalt. His love is now opposed by the Capulets more than ever and the very state itself. It already seems a long way back to that balcony scene.

Act III

Scene ii

Capulet’s orchard

Enter Juliet

Juliet: “Bring in cloudy night immediately. Spread thy close curtain, love-performing night, that Romeo may leap into these arms, untacked of and unseen. If love be blind, it best agrees with night. Come, civil night, played for a pair of stainless maidenheads; hood my unmanned blood, till strange love, grown bold, think true love acted like simple modesty. Come, night; come, Romeo; come thou day in night; come, gentle night, give me my Romeo; and when he shall die, take him and cut him out in little stars, and he will make the face of heaven so fine that all the world will be in love with night, and pay no worship to the garish sun. O, I have bought the mansion of a love, but not possessed it; and though I am sold, not yet enjoyed. So tedious is this day as is the night before some festival to an impatient child who hath new robes, and may not wear them. O, here comes my nurse.”

Enter nurse

Juliet: “What news? Why dost thou wring thy hands?”

Nurse: “He’s dead, he’s dead, he’s dead. We are undone, lady, we are undone. O Romeo, Romeo! Who ever would have thought it? Romeo!”

Juliet: “What devil art thou that torments me thus? This torture should be roared in distant hell. Hath Romeo slain himself? If he be slain, say ‘I’; or if not, ‘no’.”

Nurse: “I saw the wound, I saw it with mine eyes, here on his manly breast, all in gore-blood. I swooned at the sight.”

Juliet: “O, break, my heart!”

Nurse: “O Tybalt, Tybalt, the best friend I had! O courteous Tybalt! O honest gentleman! That ever I should live to see thee dead.”

Juliet: “What storm is this that blows so contrary? Is Romeo slaughtered, and is Tybalt dead? My dearest cousin and my dearer lord? Then, dreadful trumpet, sound the general doom; for who are living if those two are gone?”

Nurse: “Tybalt is gone, and Romeo banished; Romeo who killed him, he is banished.”

Juliet: “O God! Did Romeo’s hand shed Tybalt’s blood?

Nurse: “It did, it did; alas the day, it did!”

Juliet: “O serpent heart, hid with a flowering face! Did ever dragon keep so fair a cave? Beautiful tyrant! Fiend angelical! Dove-feathered raven! Wolfish-ravening lamb! Despised substance of divinest show! Just opposite to what thou justly seemed, a damned saint, an honourable villain! O nature, what had thou to do in hell when thou did bower the spirit of a fiend in mortal paradise of such sweet flesh? Was ever a book containing such vile matter so fairly bound? O, that deceit should dwell in such a gorgeous palace!

Nurse: “There’s no trust, no faith, no honesty in men; all perjured, all forsworn, all naught, all dissemblers. These griefs, these woes, these sorrows, make me old. Shame come to Romeo!”

Juliet: “Blistered be thy tongue for such a wish! He was not born to shame. O, what a beast was I to chide at him!”

Nurse: “Will you speak well of him who killed your cousin?

Juliet: “Shall I speak ill of him who is my husband? Ah, poor my lord, what tongue shall smooth thy name, when I, thy three-hours wife, have mangled it? But wherefore, villain, did thou kill my cousin? That villain cousin would have killed my husband. My husband lives who Tybalt would have slain, and Tybalt’s dead who would have slain my husband. All this is comfort; wherefore weep I then? Tybalt is dead and Romeo banished. That ‘banished’, that one word ‘banished’, has slain ten-thousand Tybalt’s. Tybalt’s death was woe enough, if it had ended there; but, with a rear-ward following Tybalt’s death, Romeo is banished – to speak that word is father, mother, Tybalt, Romeo, Juliet, all slain, all dead. ‘Romeo is banished’ – there is no end, no limit, measure, bound, in that word’s death. Where are my mother and father, nurse?”

Nurse: “Weeping and wailing over Tybalt’s corpse.”

Juliet: “Wash they his wounds with tears! Mine shall be spent, when theirs are dry, for Romeo’s banishment. I, a maid, die maiden-widowed. I’ll to my wedding bed; and death, not Romeo, take my maidenhead!”

Nurse: “Hie to you chamber; I’ll find Romeo to comfort you. He is hid at Lawrence’ cell.”

Juliet: “O, find him! Give this ring to my true knight, and bid him come to take his last farewell.”

Analysis

They are now both fully aware of their mutual plight. Romeo has fled to Friar Lawrence’ cell as the nurse, once again, with agonizing slowness, brings the horrible news to Juliet. At first Juliet is highly critical of Romeo for killing Tybalt, but she recovers and speaks lovingly again of her banished husband. They are in trouble deep. Juliet’s parents are mourning Tybalt’s death and have no idea about Juliet’s relationship to Romeo, let alone that their 13 year old daughter was married to him this afternoon, having met him at last night’s Capulet feast. But the nurse will find Romeo so that the young couple might share a last farewell before banishment. Here, the nurse is Juliet’s sole support, as Friar Lawrence is to Romeo. Best intentions aside, both supporters will be vehicles that will catapult the story toward catastrophe. In Shakespeare’s tragedies, there is always a point reached where there is no recovery possible. There are some events so devastating that not even Shakespeare can resurrect a romance or a comedy from the jaws of such tragedy. That point has been reached here. Note the many references to suicide, on behalf of both lovers, foreshadowing what we already know is inevitable.

Act III

Scene iii

Friar Lawrence’ cell

Enter Friar Lawrence

Friar Lawrence: “Romeo, come forth, thou fearful man; affliction is enamoured of thy parts and thou art wedded to calamity.

Enter Romeo

Romeo: “Father, what news? What sorrow craves acquaintance at my hand that I yet know not?”

Friar Lawrence: “I bring thee tidings of the Prince’s doom. Not body’s death, but body’s banishment.”

Romeo: “Ha, banishment! Be merciful and say ‘death’, for exile hath more terror in his look, much more than death. Do not say ‘banishment’.”

Friar Lawrence: “Here from Verona art thou banished. Be patient, for the world is broad and wide.”

Romeo: “There is no world without Verona walls, but purgatory, torture and hell itself. Hence banished is banished from the world, and world’s exile is death. Then banish is death mis-termed.”

Friar Lawrence: “O deadly sin! O rude unthankfulness! Thy fault our laws call death; but the kind Prince, taking thy side, turned that black word death to banishment. This is dear mercy, and thou sees it not.”

Romeo: “‘Tis torture and not mercy, heaven is here where Juliet lives. Has thou no poison mixed, no sudden means of death? Banished? O friar, the damned use that word in hell; howling attends it; how has thou the heart, being a divine, a ghostly confessor, a sin-absolver, and my friend professed, to mangle me with that word ‘banished'”?

Friar Lawrence: “Thou fond mad man, hear me a little speak.”

Romeo: “O, will thou speak again of banishment?”

Friar Lawrence: “I’ll give thee armour to keep off that word, adversity’s sweet milk, philosophy, to comfort thee, though thou art banished.”

Romeo: “Yet ‘banished’? Hang up philosophy, unless philosophy can make a Juliet, displant a town, reverse a Prince’s doom; it helps not, it prevails not. Talk no more.”

Friar Lawrence: “O, then I see that madmen have no ears.”

Romeo: “How should they, when wise men have no eyes? Thou cannot speak of that thou does not feel. Were thy as young as I, Juliet thy love, an hour but married, Tybalt murdered, and me banished, then might thou speak, then might thou tear thy hair and fall upon the ground, as I do now, taking the measure of an unmade grave.

Knocking within

Friar Lawrence: “Arise; one knocks. Romeo, hide thyself. Who’s there? Romeo, run to my study. I come, I come.”

More knocking

Friar Lawrence: “Who knocks so hard? What is your will?”

Nurse: “Let me in and you shall know my errand; I come from Lady Juliet.”

Enter nurse

Friar Lawrence: “Welcome, then.”

Nurse: “O holy friar; where’s my lady’s lord, where’s Romeo?”

Friar Lawrence: “There on the ground, with his own tears made drunk. O, woeful sympathy! Piteous predicament!”

Nurse: “Even so she lies, blubbering and weeping, weeping and blubbering. Stand up, stand up, and be a man, for Juliet’s sake.”

Romeo: “How is it with Juliet? Does not she think me a murderer, now that I have stained the childhood of our joy with blood removed but little from her own.”

Nurse: “She says nothing, sir, but weeps and weeps.”

Romeo: “O, tell me, friar, in what vile part of this anatomy does my name lodge? Tell me that I might sack the hateful mansion.” (drawing his sword)

Friar Lawrence: “Hold thy desperate hand. Art thou a man? Thy tears are womanish; thy wild acts denote the unreasonable fury of a beast. Unseeming woman in a seeming man! An ill-beseeming beast in seeming both! Thou has amazed me. I thought thy disposition better tempered. Will thou slay thyself? And slay thy lady that in thy life lives? Fie, fie! Thou shames thy shape, thy love, thy wit; rouse thee, man! Thy Juliet is alive. There art thou happy. Tybalt would kill thee, but thou slew Tybalt; there art thou happy too. The law, that threatened death, becomes thy friend, and turns it to exile; there art thou happy. A pack of blessings lights upon thy back; happiness courts, but like a misbehaved and sullen wench, thou pouts upon thy fortune and thy love. Take heed, for such die miserable. Go, get thee to thy love, ascend her chamber, hence and comfort her. Then to Mantua, where thou shall live until we can find a time to blaze your marriage, reconcile your friends, beg pardon of the Prince, and call thee back with twenty thousand times more joy than thou went forth in lamentation. Go before, nurse, and bid hasten all the house to bed. Romeo is coming.”

Nurse: “My lord, I’ll tell my lady you will come. Here, sir, a ring she bid me give you.”

Romeo: “How well my comfort is revived by this.”

Friar Lawrence: “Good night. By the break of day be disguised from hence to Mantua.”

Analysis

The dreaded word ‘banishment’ plays prominently in this scene. The friar insists that this is good fortune, as the Capulets asked the Prince for Romeo’s life. But banishment is a form of death for Romeo and Shakespeare makes a link between the disasters Romeo and Juliet face and their suicides. They both reference self-slaughter as a response to the absence of the other and as a preface to their actual Act V suicides. Neither wants to live without the other. Both the friar and the nurse, the grieving couple’s two agents in the tragic final three acts of the play, try to get Romeo to snap out of his extreme despair. They each ask him if he is indeed a man. The friar has a plan to whisk Romeo away to Mantua, until the intense storm of Tybalt’s death passes, when he might return someday to Verona. His suggestion that he spend this night with Juliet before departing early in the morning for Mantua, is, finally, a comfort to Romeo. It will be their last living moments together.

Act III

Scene iv

Capulet’s house

Enter Capulet, Lady Capulet and Paris

Capulet: “Things have fallen out, sir. She loved her kinsman, Tybalt, dearly, and so did I.”

Paris: “These times of woe afford no time to woo.

Capulet: “Wife, acquaint her here of my son Paris’ love. But soft, what day is this?”

Paris: “Monday, my lord.”

Capulet: “Thursday let it be. Tell her she shall be ready to marry this noble earl on Thursday. Do you like this haste, Paris? Will you be ready? What say you to Thursday?”

Paris: “My lord, I would that Thursday were tomorrow.”

Capulet: “Thursday be it then.”

Analysis

Juliet’s parents have no idea that their daughter is already married and that she is married, in fact, to Tybalt’s banished killer. Clearly Juliet took her own life into her hands in marrying a Montague, the enemy to her family. But her father obviously does not think Juliet has a say in who she marries. Her wedding is set for Thursday and she has not even been consulted. Perhaps Capulet wants to supplant the sorrow with some joy. Perhaps he wants Juliet to get over the death of her cousin, although that is not what she mourns. Perhaps Capulet believes these troubled time in Verona would be best endured if his daughter married a close kinsman to the Prince himself. Two days earlier he spoke of waiting two years before Juliet is old enough to marry. More likely, this is simply Renaissance Italy, where a father’s daughter is his property to do with as he so pleases.

Act III

Scene v

Juliet’s chamber

Enter Romeo and Juliet

Juliet: “Will thou be gone? It is not yet near day; it was the nightingale, and not the lark, that pierced the fearful hollow of thine ear. Believe me, my love, it was the nightingale.”

Romeo: “It was the lark, the herald of the morn. Night’s candles are burning out. I must be gone and live, or stay and die.”

Juliet: “Yonder light is not daylight; I know it, it is some meteor that the sun exhales to be to thee this night a torch-bearer, and light thee on thy way to Mantua. Therefore, stay yet.”

Romeo: “Let me be taken, let me be put to death; I am content. I have more care to stay than will to go. Come death, and welcome! Juliet wills it so.”

Juliet: “It is the lark; hence, be gone away. More light and light grows.”

Enter nurse

Nurse: “Your mother is coming to your chamber. The day is broke; be wary.

Juliet: “Then, window, let day in and let life out.

Romeo: “Farewell, farewell! One kiss and I’ll descend.”

Romeo descends from the chamber

Juliet: “Art thou gone, love, lord, husband, friend? Think thou we shall ever meet again?”

Romeo: “I doubt it not.”

Juliet: “I have an ill-divining soul! Methinks I see thee, now that thou art below, as one dead in the bottom of a tomb.”

Exit Romeo

Enter Lady Capulet

Lady Capulet: “Why, how now, Juliet?”

Juliet: “Madam, I am not well.”

Lady Capulet: “Evermore weeping for your cousin’s death? Will thou wash him from his grave with tears? Therefore, have done. Some grief shows much of love; but much of grief shows still some want of wit.

Juliet: “Yet let me weep.”

Lady Capulet: “Well, girl, thou weeps not so much for his deaths that the villain lives who slaughtered him.”

Juliet: “What villain, madam?”

Lady Capulet: “Romeo. We will have vengeance for it, fear thou not and weep no more. I’ll send one to Mantua – where that same banished runagate doth live – and he shall give him such an unaccustomed dram that he shall soon keep Tybalt company; and then I hope thou will be satisfied. But now I’ll tell thee joyful tidings, girl. Early next Thursday morn, the gallant, young, and noble gentleman, Paris, shall happily make thee a joyful bride.”

Juliet: “Now, by St Peter, he shall not make me a joyful bride. I wonder at this haste. I pray you, tell my lord and father, madam, that I will not marry yet, and when I do, I swear it shall be to Romeo, whom you know I hate, rather than Paris.”

Lady Capulet: “Here comes your father; tell him so yourself, and see how he will take it.”

Enter Capulet and nurse

Capulet: “How now, girl? Still in tears? How now, wife? Have you delivered to her our decree?”

Lady Capulet: “Ay, sir, but she will have none of it. I would the fool were married to her grave.”

Capulet: “Does she not give us thanks? Does she not count herself blessed, unworthy as she is, that we have wrought so worthy a gentleman to be her groom? How, how, how how! What is this? Mistress minion, you, thank me no thankings, nor proud me no prouds. Thursday next , you go with Paris to St Peter’s Church, or I will drag thee on a hurdle hither. Out, you green-sickness carrion! Out, you baggage! You tallow-face!”

Juliet: “Good father, I beseech you on my knees, hear me with patience but speak a word.”

Capulet: “Hang thee, young baggage! Disobedient wretch! I’ll tell thee what – get thee to church on Thursday, or never after look me in the face. Speak not, reply not, do not answer me. My wife, I see we have a curse in having her.”

Nurse: “God in heaven bless her! You are to blame, my lord, to rate her so.”

Capulet: “Why, my lady wisdom? Hold your tongue. Peace, you mumbling fool! Utter your gravity over a gossip bowl, for here we need it not.”

Lady Capulet: “You are too hot.”

Capulet: “My care has been to have her matched; and having now provided a gentleman of noble parentage, youthful, stuffed with honourable parts, proportioned as one’s thought would wish a man, and then to have a wretched puling fool, a whining mammet to answer ‘I’ll not wed, I cannot love, I am too young’. Look to it, think on it. Thursday is near; lay hand on heart, advise. Trust to it, bethink you, I’ll not be forsworn.”

Exit Capulet

Juliet: “Is there no pity sitting in the clouds that sees into the bottom of my grief? O, sweet mother, cast me not away! Delay this marriage, or, if you do not, make the bridal bed in that dim monument where Tybalt lies.”

Lady Capulet: “Talk not to me. Do as thou will, for I have done with thee.”

Exit Lady Capulet

Juliet: “O God – O nurse! How shall this be prevented? My husband is on earth, my faith in heaven; how shall that faith return again to earth, unless that husband send it me from heaven by leaving earth? Comfort me, counsel me, that heaven should practice stratagems upon so soft a subject as myself! What says thou? Some comfort, nurse!”

Nurse: “Faith, here it is. Romeo is banished. I think it best you married Paris, as he is a lovely gentleman! Romeo is a dishcloth to him. Beshrew my very heart, I think you are happy in this second match, for it excels your first; or, if it did not, your first is dead, or there as good he were.”

Juliet: “Speak thou from thy heart?”

Nurse: “And from my soul too.”

Juliet: “Well, thou has comforted me marvellous much. Go and tell my lady I am gone, having displeased my father, to Prior Lawrence’ cell to make confession, and to be absolved.”

Nurse: “Marry, I will; and this is wisely done.”

Exit nurse

Juliet: “Ancient damnation. I’ll go to the friar to know his remedy; if all else fail, myself have power to die.”

Analysis

Romeo and Juliet spend their one married night together. Juliet tries to get him to linger longer by insisting the bird song is from the nightingale and not the morning lark. But they can no more alter time than they can change their last names or restructure the tragic events of Act III. Romeo leaves Juliet’s balcony as he did in the famous Act II balcony scene, only this time he is leaving for good. They will never again see one another alive. Juliet accurately foresees the future as she watches him depart: ‘Methinks I see thee, now as thou art below, as one dead in the bottom of a tomb.’ And what a time for Juliet’s mother to arrive to chide Juliet for her apparent grief for her cousin’s death. Lady Capulet insists that the Capulets will have vengeance on Romeo by way of a man they will send to Mantua to poison him. ‘And then I hope thou will be satisfied.’ Mother has no clue that the man who slew Tibalt is, in fact, Juliet’s husband. She next changes the topic toward ‘joyful tidings’ by informing Juliet that she will marry Paris on Thursday. Juliet lashes back at her mother that she will not marry Paris and Lady Capulet turns it over to the fury of her husband, telling him ‘I would the fool were married to her grave.’ Capulet says he will drag her to the church to be married if necessary and turns on her with a vengeance: ‘Hang thee, disobedient wretch… green-sickness carrion… baggage.’ After her father storms out Juliet appeals to her mother for mercy where there is none: “Do as you will, for I am done with thee.’ Even the nurse advises no course of action other than for Juliet to marry Paris, so Juliet deceives her into thinking, as she will her parents, that she will obediently marry Paris. Her only hope now rests with Friar Lawrence, who she goes to see, under the guise of repentance. ‘I’ll to the friar to know his remedy; if all else fails, myself hath the power to die.’ More foreshadowing.

Act III is the game changer. Scene i is the explosion of death, as Tybalt kills Mercutio and Romeo kills Tybalt, sealing their fates. Juliet learns of these tragic events and of Romeo’s banishment in scene ii. In scene iii the Friar peels sobbing Romeo off the ceiling and then sends him to Mantua until things calm down in Verona. Scene iv sees Juliet’s parents arrange with Paris his marriage to Juliet for later in the week and in scene v Romeo spends his one night with his wife, Juliet, before fleeing for his life to Mantua, immediately after which her parents inform her that she will marry Paris on Thursday. Where there was a love story there now only remains a tragedy.

Act IV (5 scenes)

Scene i

Friar Lawrence’ cell

Enter Friar Lawrence and Paris

Friar Lawrence: “On Thursday, sir? The time is very short.”

Paris: “Father Capulet will have it so.”

Friar Lawrence: “You say you do not know the lady’s mind; uneven is the course; I like it not.”

Paris: “Immoderately she weeps for Tybalt’s death, and therefore have I little talked of love, for Venus smiles not in a house of tears. Her father counts it dangerous that she do give her sorrow so much sway, and in his wisdom hastes our marriage, to stop the inundation of her tears. Now do you know the reason for this haste.”

Frir Lawrence: “Look, sir, here comes the lady.”

Enter Juliet

Paris: “Happily met, my lady and my wife!”

Juliet: “That may be, sir, when I may be a wife.”

Paris: “That may be must be, love, on Thursday.”

Juliet: “What must be shall be.”

Paris: “Come you to make confession to their father? Do not deny to him that you love me.”

Juliet: “I will confess to you that I love him.”

Paris: “I am sure that you love me. Poor soul, thy face is much abused with tears. Thy face is mine, and thou has slandered it.”

Friar Lawrence: “My lord, we must entreat this time alone.”

Paris: “God shield I should disturb devotion! Juliet, on Thursday early I will rouse ye.”

Exit Paris

Juliet: “O, shut the door, and when thou has done so, come weep with me – past hope, past cure, past help.

Friar Lawrence: “O Juliet, I already know thy grief and it strains me past the compass of my wits. I hear thou must on Thursday be married to Paris.”

Juliet: “Tell me not, friar, that thou hears of this, unless thou tell me how I may prevent it; if, in thy wisdom, thou can give no help, with this knife I’ll help it presently. Therefore, give me some present counsel; or, behold, this bloody knife shall play the umpire. I long to die if what thou speaks speaks not of remedy.”

Friar Lawrence: “Hold, daughter. I do spy a kind of hope, which craves as desperate an execution as that is desperate which we would prevent. If, rather than to marry Paris, thou has the strength of will to slay thyself, then it is likely thou will undertake a thing like death to chide away this shame. If thou dares, I’ll give thee remedy.”

Juliet: “O, bid me leap, rather than marry Paris, from off the battlements of any tower, or walk in thievish ways, or bid me lurk where serpents are; chain me with roaring bears, or hide me nightly in a charnel house, over-covered quite with dead men’s rattling bones, or bid me go into a new-made grave, and I will do it without fear or doubt, to live an unstained wife to my sweet love.

Friar Lawrence: “Hold, then; go home, be marry, give consent to marry Paris. Tomorrow night look that thou lie alone; let not the nurse lie with thee in thy chamber. Take thou this vial and this distilled liquor drink; when presently through all thy veins shall run a cold and drowsy humour; for no pulse, no warmth, no breath, shall testify thou lives. Like death, each part shall, stiff and stark and cold, appear like death; and in this borrowed likeness of death thou shall continue for two and forty hours, and then awake as from a pleasant sleep. Now when the nurse in the morning comes to rouse thee from thy bed, there art thou dead. Then, thou shall be borne to that same ancient vault where all the kindreds of the Capulets lie. In the meantime, shall Romeo by my letters know our drift, and hither shall he come; and he and I will watch thy waking, and that very night shall Romeo bear thee hence to Mantua. And this shall free thee from this present shame, if no inconstant womanish fear abate thy valour in the acting it.”

Juliet: “Give me, give me! O, tell me not of fear!”

Friar Lawrence: “I’ll send a friar with speed to Mantua, with my letters to thy lord.”

Juliet: “Love give me strength! farewell, dear father.”

Analysis

How strange that when Juliet arrives to see Friar Lawrence, Paris is there, explaining why Capulet has arranged his hasty marriage to Juliet. Of course, the friar has married Romeo and Juliet, which Paris knows nothing about. He politely woos Juliet, insisting that she loves him and informing her that he will rouse her for the wedding on Thursday morning. Paris is guiltless. He asked Capulet for Juliet’s hand in marriage and received his blessing. He can only assume that Juliet is as excited as he is. But Juliet certainly does not love Paris and as soon as Paris leaves Friar Lawrence’ cell she informs the friar that unless he has a remedy in mind, she will use her ‘bloody knife’ to solve the problem with self slaughter. But of course the friar does have a remedy. Since she is prepared to kill herself then the friar assumes she would be willing to stage her own death and drink a vial of some curious distilled liquor, which will render her dead-like for forty-two hours, long enough to be buried by her family in the Capulet tomb. The friar will inform Romeo of the plan and they will enter the tomb just as she is awakening comfortably, as though from pleasant sleep. Sure sounds like a plan. What could go wrong? Well, Friar Lawrence is a friend to both Romeo and Juliet and certainly means them well and does all he can to help them navigate this nightmarish scenario they find themselves trapped in. He has secretly married them without their parent’s knowledge or consent, even though Juliet is but thirteen years old. He has Romeo shipped off to Mantua during his banishment and now he going to fake Juliet’s death in order to then allow Romeo and Juliet to slip away to Mantua together once she awakens forty-two hours later, after the family burial. It all might have worked, except again, the prologue foretold that these star-crossed lovers will take their lives. So despite the Friar’s well-intentioned meddling, fate would necessitate that he fail to save them. But at least throughout Act IV the Friar’s plan is enacted and sustained, all the while we know it cannot ultimately succeed, since Romeo and Juliet are fated to take their own lives, as they so often speak of doing throughout the play.

Act IV

Scene ii

Capulet house

Enter Capulet, Lady Capulet and the nurse

Capulet: “What, is my daughter gone to Friar Lawrence?

Nurse: “Ay, forsooth.”

Capulet: “Well, he may chance to do some good on her. A peevish self-willed harlotry it is.”

Enter Juliet

Capulet: “How now, my headstrong!”

Juliet: “I have learned to repent the sin of disobedient opposition to you, and am enjoined by holy Lawrence to fall prostrate here, to beg your pardon. Henceforward I am ever ruled by you.”

Capulet: “Send for Paris and go tell him of this. I will have this knot knit up tomorrow morning.”

Juliet: “I met the youthful lord at Lawrence’ cell, and gave him what becomes love I might, not over-stepping the bounds of modesty.”

Capulet: “Why, I am glad. This is well – stand up- this is as it should be.”

Exit Juliet and the nurse

Capulet: “My heart is wondrous light since this same wayward girl is so reclaimed.”

Analysis

Juliet goes home and plays the part of the scheme that Friar Lawrence has devised. She makes peace with her father and seemingly accepts his plans to have her promptly married to Paris. Peace in the Capulet household has seemingly been restored.

Act IV

Scene iii

Juliet’s chamber

Enter Juliet and her nurse

Juliet: “Ay, gentle nurse, I pray thee, leave me to myself tonight. For I have need to move the heavens to smile upon my state, which well thou knows is cross and full of sin.”

Enter Lady Capulet

Lady Capulet: “Are you busy? Need you my help?”

Juliet: “No, madam; so please you, let me now be left alone and let the nurse sit up with you; for I am sure you have your hands full in this so sudden business.”

Lady Capulet: “Good night. Get thee to bed and rest; for thou hast need.”

Exit Lady Capulet and the nurse

Juliet: “Farewell! God knows when we shall meet again. My dismal scene I must act alone. Come, vial. What if this mixture does not work at all? Shall I be married, then, tomorrow morning? No, no; this shall forbid it. Lie down there. (lays down her dagger). What if it be a poison that the friar subtly has ministered to have me dead, lest in this marriage he should be dishonoured, because he married me before to Romeo? How if, when I am laid into the tomb, I wake before the time that Romeo come to redeem me? There’s a fearful point. Shall I not then be stifled in the vault, and there die strangled ere my Romeo comes? Or, if I wake, shall I not be distraught, and madly play with my forefathers’ joints, and pluck the mangled Tybalt from his shroud, and, in this rage, with some great kinsman’s bone, as with a club, dash out my desperate brains? O, look! Methinks I see my cousin’s ghost seeking out Romeo, who did split his body upon a rapier’s point. Stay, Tybalt, stay. Romeo, I come. This do I drink to thee.” (She drinks and falls upon her bed)

Analysis

Juliet ensures that her mother and her nurse leave her alone this night and then proceeds to consider her impending action, first doubting it, then concocting every conceivable reason for its demise, before finally consuming the vial and falling asleep and apparently dead. Obviously, Juliet is all in. She has grown up immensely in this play, displaying courage rare for a thirteen year old. She now anticipates waking up in forty-two hours to Friar Lawrence and her Romeo. Unfortunately, there is no plan B.

Act IV

Scene iv

Capulet house

Enter Capulet, Lady Capulet and the nurse

Capulet: “Come, stir, stir, stir! The second cock hath crowed, the curfew bell hath rung; ’tis three o’clock.”

Nurse: “Go, get you to bed. You’ll be sick tomorrow for this night’s watching.”

Capulet: “No, not a whit! Paris will be here with music straight. I hear him near. Nurse, go waken Juliet and trim her up. I will go and chat with Paris. Make haste, make haste, I say.”

Analysis

The Capulets are up all night preparing for a tomorrow that will never be. The Capulet household is about to dramatically change its mood, as the nurse goes to awaken Juliet.

Act IV

Scene v

Juliet’s chamber

Enter the nurse

Nurse: “Mistress! Juliet! Lamb! Lady! Fie, you slug-a-bed! Why, love, I say! Madam! Sweetheart! What, not a word? Paris has set up his rest that you shall rest but little. God forgive me! How sound she is asleep! I must awake her. Madam! Madam! Madam! Lady! Lady! Lady! Alas! Alas! Help! Help! My lady’s dead! My lord! my lady!”

Enter Lady Capulet

Lady Capulet: “What noise is here?”

Nurse: “O, lamentable day! Look! Look! O, heavy day!”

Lady Capulet: “O me! O me! My child, my only life. Revive, look up, or I will die with thee! Help! Help! Call help!”

Enter Capulet

Capulet: “For shame, bring Juliet forth; her lord has come.”

Nurse: “She is dead, deceased.”

Lady Capulet: “Alack the day. She’s dead, she’s dead, she’s dead!”

Capulet: “Let me see her. Alas, she is cold. Her blood is settled and her joints are stiff. Life and these lips have long been separated.”

Nurse: “O lamentable day!”

Lady Capulet: “O, woeful time.”

Enter Friar Lawrence, Paris and musicians

Friar Lawrence: “Come, is the bride ready to go to church?”

Capulet: “Ready to go, but never to return. O son, the night before thy wedding day hath death lain with thy wife. There she lies. Death is my son-in-law, death is my heir; my daughter he hath wedded; I will die. All is death’s.”

Paris: “Have I thought long to see this morning’s face, and doth it give me such a sight as this?”

Lady Capulet: “Accursed, unhappy, wretched, hateful day! Most miserable hour that ever time saw in lasting labour of his pilgrimage!”

Nurse: “O woe! O woeful, woeful, woeful day that ever, ever I did behold! O hateful day! Never was seen so black a day as this.”

Paris: “Most detestable death, by thee beguiled. Love! O life!”

Capulet: “Uncomfortable time, why came thou now to murder our solemnity? O child! Dead art thou; Alack, my child is dead, and with my child my joys are buried.”

Friar Lawrence: “Peace, for shame! Confusion’s cure lives not in these confusions. Heaven and yourself had part in this fair maid; now heaven hath all, and all the better is it for the maid; your part in her you could not keep from death, but heaven keeps his part in eternal life. Weep ye now, seeing she is advanced above the clouds, as high as heaven itself? Dry up your tears.”

Capulet: “All things that we ordained festival turn from their office to black funeral: our instruments to melancholy bells, our wedding cheer to a sad burial feast, our solemn hymns to sullen dirges change. All things change to the contrary.”

Friar Lawrence: “Everyone prepare to follow this fair body unto her grave.”

Exit all but the nurse and the musicians

Musician: “Faith, we may put up our pipes and be gone.”

Enter Peter

Peter: “Musicians, play ‘Hearts Ease’ because my heart itself plays ‘my heart is full of woe’.”

Musician: “This is no time to play now.”

Analysis

This is not just a tragedy for Romeo and Juliet, as Mercutio and Tybalt have also lost their lives, affecting both the Montague’s and the Capulets and disrupting the entire city. Now the tragedy extends further and deeper throughout the Capulet household, with Juliet’s ‘apparent’ death. Her nurse, her parents and Paris are all devastated and mourn sincerely and whole-heartedly. There are many sharp turns in Romeo and Juliet and this is indeed one of them, albeit hardly the last. The real tragedy of Romeo and Juliet still lies ahead in Act V.

Act V (3 scenes)

Scene i

Mantua, a street

Enter Romeo

Romeo: “If I may trust the flattering truth of sleep, my dreams presage some joyful news at hand. I dreamt my lady came and found me dead – strange dream, that gives a dead man leave to think -.”

Enter Balthasar, Romeo’s man

Romeo: “How doth my lady? For nothing can be ill if she is well.”

Balthasar: “Her body sleeps in Capulet’s monument, and her immortal part with angels lives. I saw her laid low in her kindred’s vault and presently took post to tell it you.”

Romeo: “Is it even so? Then I defy you, stars. I will hence tonight.”

Balthasar: “I do beseech you, sir, have patience; your looks are pale and wild, and do import some misadventure.”

Romeo: “Tush, thou art deceived. Hath thou now letters to me from the friar?”

Balthasar: “No, my good lord.”

Romeo: “No matter; get thee gone, and hire those horses. I’ll be with thee straight.”

Exit Balthasar

Romeo: “Well Juliet, I will live with thee tonight. O mischief, thou art swift to enter in the thoughts of desperate men. I do remember an apothecary, and here about he dwells with overwhelming brows; eager are his looks; sharp misery has worn him to the bones; And if a man did need a poison now, whose sale is present death in Mantua, here lives a wretch who would sell it him.”

Enter apothecary

Apothecary: “Who calls so loud?”

Romeo: “Here is forty ducats; let me have a dram of poison, as will disperse itself through all the veins, that the life-weary taker may fall dead.”

Apothecary: “Such mortal drugs I have; but Mantua’s law is death to any that utters them.”

Romeo: “Are thou so bare and full of wretchedness and fears to die? Famine is in thy cheeks, deed and oppression starves in thy eyes, contempt and beggary hang upon thy back. The world is not thy friend, nor the world’s law; then be not poor and take this.”

Apothecary: “My poverty but not my will consents.”

Romeo:”I pay thy poverty and not thy will.”

Apothecary: “Put this in any liquid thing you will and drink it. If you had the strength of twenty men, it would dispatch you straight.”

Romeo: “There is thy gold. Farewell, buy food. Come cordial and not poison, go with me to Juliet’s grave; for there must I use thee.”

Analysis

So begins the plunge into the final tragedy. Informed of Juliet’s death by Balthasar, who saw her placed in the Capulet tomb, Romeo immediately takes action and acquires poison from a desperate apothecary and is headed to Verona to be with his love in a perpetual peace not available in this life. The fates are closing in.

Act V

Scene ii

Friar Lawrence’ cell

Enter Friar John and Friar Lawrence

Friar Lawrence: “Welcome from Mantua! What says Romeo?”

Friar John: “While visiting the sick, the searchers of the town suspected I was in a house where the infectious pestilence did reign and they sealed up the doors and would not let me forth.”

Friar Lawrence: “Who then did bear my letter to Romeo?”

Friar John: “I could not send it – here it is.”

Friar Lawrence: “Unhappy fortune. The letter was full of charge of dear import; and neglecting it may do much danger. Friar John, go hence.”

Exit Friar John

Friar Lawrence: “Now must I to the monument alone. Within these three hours will fair Juliet awaken.”

Analysis

Friar Lawrence sent Friar John to Mantua to inform Romeo of Juliet’s staged death but Friar John visited some sick parishioners in plague-struck Mantua and he missed Romeo altogether, so Romeo believes Juliet is actually dead. Now it’s a race against time. Who will arrive at the tomb first? I fear we know, as we approach the final scene of the play.

Act V

Scene iii

Tomb of the Capulets

Enter Paris and his page

Paris: “With flowers thy bridal bed I strew.”

The page indicates to Paris that someone approaches

Paris: “What cursed foot wanders this way tonight?”

Enter Romeo and Balthasar

Romeo: “Take this letter and see thou delivers it to my father. Whatever thou sees or hears stand aloof and do not interrupt me in my course. Therefore, hence be gone. If thou does return to pry into what I further shall intend to do, by heaven, I will tear thee joint by joint and strew this churchyard with thy limbs. The time and my intents are savage wild and more fierce than the roaring sea.

Balthasar: “I will be gone, sir, and not trouble thee.”

Romeo: “Live and be prosperous; and farewell, good fellow.”

Balthasar: (aside) “For all this game, I’ll hide me hereabout; his looks I fear, and his intents I doubt.”

Romeo: “Thou detestable tomb of death.” (Romeo breaks open the tomb)

Paris: “This is that banished haughty Montague who murdered my love’s cousin – with which grief it is supposed the fair creature died – and here is come to do some villainous shame to the dead bodies. I will apprehend him. Stop, vile Montague. Can vengeance be pursued further than death? Condemned villain, thou must die.”

Romeo: “I must indeed; and therefore came I hither. Good gentle youth, tempt not a desperate man. Fly hence and leave me. I beseech thee, youth. Put not another sin upon my head by urging me to fury. Be gone and live!”

Paris: “I do apprehend thee here.”

Romeo: “Wilt thou provoke me? Then have at thee, boy!”

They fight and Paris falls

Paris: “O, I am slain! If thou be merciful, open the tomb and lay me with Juliet.”

Paris dies

Romeo: “In fate, I will. Let me peruse this face. Mercutio’s kinsman, noble Paris! My man told me Paris should have married Juliet, or did I dream it so? Or am I mad?”

He lays Paris in the tomb

Romeo: “O, my love! My wife! Death, that has sucked the honey of thy breath, hath had no power yet upon thy beauty. Tybalt, O what more favour can I do thee than with that hand that cut thy youth in twain to sunder his who was thy enemy? Dear Juliet, why art thou yet so fair? I will stay with thee, and never from this place of dim night depart again. With worms that are thy chambermaids, here will I set up my everlasting rest. Eyes, look your last. Here’s to my love! (drinks the poison) O true apothecary, thy drugs are quick. Thus with a kiss I die.”

Romeo dies

Enter Friar Lawrence

Friar Lawrence: “Saint Francis be my speed. Who’s there?”

Balthasar: “Here’s one, and a friend.”

Friar Lawrence: “What torch is that burning in the Capulet monument? Who is it”

Balthasar: “Romeo.”

Friar Lawrence: “Stay, then, I’ll go alone; fear comes upon me. I fear some ill unthrifty thing. Romeo! Alack, what blood is this, that stains the sepulchre? Romeo! O, pale! Who else? What, Paris, too? And steeped in blood. The lady stirs.

Juliet awakens

Juliet: “O comfortable friar. Where is my lord? I do remember well where I should be. Where is my Romeo?”

Friar Lawrence: “I hear some noise. Lady, come from that nest of death, contagion and unnatural sleep. A greater power than we can contradict has thwarted our intents. Come, come away. Thy husband in thy bosom there lies dead; and Paris too. Come, I’ll dispose of thee among a sisterhood of holy nuns.”

Juliet: “Go, get thee hence, for I will not away.”

Exit Friar Lawrence

Juliet: “What’s here? A cup. Poison, I see. Drunk all and left no friendly drop to help me after? I will kiss thy lips; happily some poison yet doth hang on them, to make me die with a restorative.” (she kisses him). Thy lips are warm.”

A watchman approaches

Juliet: “Yea, noise? Then I’ll be brief. O happy dagger!” (she snatches Romeo’s dagger, stabs herself and falls on Romeo’s body)

Enter the watchman with Paris’ page

Watchman: “The ground is bloody. Pitiful sight! Here lies Paris slain; and Juliet bleeding, warm and newly dead. Go tell the Prince; run to the Capulets; raise up the Montagues. Some others search.”

Enter another watchman with Balthasar

2 Watchman: “Here’e Romeo’s man. We found him in the churchyard.”

Enter a third watchman and Friar Lawrence

3 Watchman: “Here is a friar who trembles, sighs and weeps.”

Enter the Prince

Prince: “What misadventure is so early up, that calls our person from our morning rest?”

Enter Capulet and Lady Capulet

Capulet: “What should it be that is so shrieked abroad?”

Lady Capulet: “The people in the street cry ‘Romeo’, some ‘Juliet’ and some ‘Paris’, and all run toward our monument.”

1 Watchman: “Sovereign, here lies Paris slain; and Romeo dead; and Juliet, dead before, but warm and newly killed.”

Capulet: “O heavens! O wife, look how our daughter bleeds! This dagger is mis-sheathed in my daughter’s bosom.”

Lady Capulet: “O me! This sight of death is as a bell that warns my old age to a sepulchre.”

Enter Montague

Prince: “Come, Montague, for thou art early up to see thy son and heir more early down.”

Montague: “Alas, my liege, my wife is dead tonight; grief of my son’s exile hath stopped her breath. What further woe conspires against my age?”

Prince: “Look, and thou shall see.”

Montague: “O, what manners is this, to press before thy father to a grave?”

Prince: “Seal up the mouth of outrage for awhile, till we can clear these ambiguities and know their spring. Let mischance be slave to patience. Bring forth the parties of suspicion.”

Friar Lawrence: “I am the greatest, able to do least, yet most suspected of this direful murder.”

Prince: “Then say at once what thou dost know in this.”

Friar Lawrence: “I will be brief. Romeo there dead, was husband to that Juliet; and she, there dead, that Romeo’s faithful wife, I married them; and their stolen marriage day was Tybalt’s doomsday, whose untimely death banished the new bridegroom from this city; for whom, and not for Tybalt, Juliet pined. You, to remove the siege of grief from her, would have married her perforce to Paris. Then comes she to me, and with wild looks bid me devise some mean to rid her from this second marriage, or in my cell there would she kill herself. Then I gave her a sleeping potion, which wrought on her the form of death. Meantime, I wrote to Romeo that he should hither come to help take her from her borrowed grave, being the time the potion’s force should cease. But he who bore my letter, Friar John, was stayed by accident and last night returned my letters back to me. Then all alone at the prefixed hour of her wakening came I to take her from her kindred’s vault; meaning to keep her closely at my cell till I conveniently could send for Romeo. But when I came here untimely lay the noble Paris and true Romeo dead. She wakes and I entreated her to come forth. But she, too desperate, would not go with me, but, as it seems, did violence upon herself. All this I know, and to the marriage her nurse is privy. Let my old life be sacrificed unto the rigour of severest law.”

Prince: “We still have known thee for a holy man. Where is Romeo’s man? What can he say to this?”

Balthasar: “I brought my master news of Juliet’s death; and then in post he came from Mantua to this same monument. This letter he early bid me give to his father.”

Prince: “Give me the letter, and I will look upon it. Where is Paris’ page? Sirrah, what made your master in this place?”

Page: “He came with flowers to strew upon his lady’s grave; and bid me stand aloof, and so I did. Anon comes one with light to open the tomb; and by and by my master drew on him; and then I ran away to call the watch.”

Prince: “This letter doth make good the friar’s words, their course of love the tidings of her death; and here he writes that he did buy a poison of a poor apothecary, and therewithal came to this vault to die, and lie with Juliet. Capulet, Montague, see what a scourge is laid upon your hate, that heaven finds means to kill your joys with love! All are punished.”

Capulet: “O brother Montague, give me thy hand.”

Montague: “But I can give thee more; for I will raise her statue in pure gold, and there shall no figure at such rate be set as that of true and faithful Juliet.”

Capulet: “As rich shall Romeo’s by his lady’s lie – poor sacrifices of our enmity!”

Prince: “A glooming peace this morning with it brings; the sun for sorrow will not show his head. Go hence, to have more talks of these sad things; some shall be pardoned and some punished; for never was a story of more woe, than this of Juliet and her Romeo.

Analysis

So there we have it. A love so intense that it is consumed by its own flame. They must live together or die together, as fate dictates. They have flirted with the idea of their own suicides throughout the play and it has finally united them in eternity in more ways than one. First, they are dead together. As well, their families are finally at peace on account of their love and death and the conflict between them is over, and finally Shakespeare’s characters remain to this day the literary embodiment of young and impassioned lovers. The may have died but they also cheated death forever. Their violence is a declaration of the profound love between them, for their re-united families and for readers of Shakespeare all these hundreds of years thereafter. The fates doomed them to this rendering of life. They did their best to find a way that their love might live and in the end they succeeded in death. The many social and familial forces aligned against them made it impossible to live their love. Only through their mutual suicides could they escape the world that would not permit their love. And they helped to heal the wounds of that very world that conspired to destroy their innocence and passion. When their love died in that tomb so died the hate that killed them. In this way they are transcendent. The ultimate irony is that this famous couple had to sacrifice their lives to heal the forces that betrayed them. Their deaths fostered the healing between the families that would have permitted their love. The stars may have been aligned against them, as was indicated in the prologue, but the ending is more than merely tragic due the nature of their love against all odds. This is a play about the pinnacle of love between these two young archetypes who never stopped loving for an instant in the face of the overwhelming odds against them. Long live Romeo and Juliet!

Final Thoughts

Shakespeare took the story from a poem by Arthur Brooke (1562) and from a 1530 novel, Giulietta e Romeo, by Luigi da Porto. The two famous families were historical and even Dante wrote of the strife between them in 13th century Verona.

Shakespeare’s achievement here in his still early career is to take an old story about youth and love and transform it into the most popular romantic tragedy in the English language.

From Shakespeare’s time onward Romeo and Juliet has remained one of the most popular stage productions in English and theatre history and likely Shakespeare’s most successful tragedy, along with Hamlet, Macbeth and King Lear. It has also been produced in film more often than any other Shakespeare play.

At least 30 operas and ballets have been adapted from Shakespeare’s play. West Side Story is a variation on Romeo and Juliet. There have over 60 film versions, including Franco Zeffirelli’s beautiful 1968 film and a 1996 version with Leonardo DIcaprio titled Romeo + Juliet, set in California today, on Verona Beach.

Youtube has a plethora of stage productions of Romeo and Juliet, both professional and amateur. There are also several films and countless clips.

An Introduction to the Works of William Shakespeare

William Shakespeare wrote 37 plays.  Most plots were borrowed from a vast variety of sources and several plays were co-authored.  Certainly, Shakespeare’s plays are best seen live, and rarely, in performance, are the plays delivered in their entirety.  Kenneth Branaugh’s Hamlet would be a noted exception.  There are many extremely difficult passages for the casual viewer to weigh through and many scenes are quite dense and peripheral to the essential plot, characterization and thematic development.  In performance every director must make difficult decisions on what to include and what to omit.  This is the undertaking at hand, to enhance the reading of the plays rather than the stage productions. What I have attempted here is to offer the essential story of the plays in Shakespeare’s original language and dialogue, allowing for a true rendering of plots, characters, themes and essential language combined with scene by scene analysis, so that the plays may be found to be both profoundly intelligible and yet readily accessible in Shakespeare’s own words. There are countless publications which analyze the various plays and many more renditions of the plays themselves.  What this volume will uniquely set out to create is a manageable reading of the plays, which will include scene by scene essential dialogue followed immediately by analysis of each and every scene, so that the plays can never really ‘get away’ from the reader in the way that they very often do with a complete rendering of the play without such frequent signposts of analysis and clarification on a scene by scene basis.  

Each play will feature an introduction to the work as a whole, before every scene is rendered in its essential dialogue.  Every scene will be followed directly by an analysis of the scene itself, and this pattern will continue, scene by scene, throughout each of the 37 five act plays.  Each play will include final thoughts on the play’s essential legacy, its place in the overall canon of Shakespeare’s complete works and suggestions for some of the most interesting clips and entire screen and stage renditions available on youtube.  

Hamlet

Introduction

Hamlet the character and Hamlet the work of literature are the finest in the Western canon.  There is more open-endedness, interpretation and a proliferation of meaning and speculation on both the character and the play compared to any other figure or work.  For these reasons it stands as both the most famous character and literary work that we know, and the reason is because of the inexhaustible characteristic of this Prince of Denmark in this play about virtually everything.  It is certainly the most discussed and thoroughly analyzed work of world literature, perhaps along with the Bible.  Its insights into universal themes, Freudian psychology, politics, sex, theatre, madness, revenge, spirituality, etc is astounding. It is easily the most enigmatic of Shakespeare’s works or that of any other author.  It is like a black hole of deconstructions, paradoxes and contradictions.  Its very performance is something of a hallowed ritual for people everywhere and always.  You leave a production of Hamlet with more questions than you started with.  Was that ghost really his father?  Did Claudius actually murder Hamlet’s father?  How much madness did Hamlet feign and how much was real?  Why is Hamlet so struck by his inability to act?  There are superlatives a plenty in the experience of seeing or even reading Hamlet.  It is simply the most clever and entertaining tragedy ever composed.

Hamlet has an incomparable quicksilver wit and he thinks his way throughout the entire play, sharing with us his thoughts as he tries to lean in toward action while things only get worse.  This is a play about one man’s mind and character, revealed in both dialogue and soliloquy, as never before or since conceived.  Here is the tormented mind and soul of a renaissance thinker par excellence who considers too deeply some of the most profound truths, difficult to juggle and not able to be resolved.    Hamlet is a character of infinite complexity and often a mirror to ourselves.  He is an unsurpassed and imaginative charismatic, within whom knowledge and thinking kill action and inwardness is the only freedom he knows.  Hamlet seems a real person caught up in a play with his name on it.  He is self-consciously theatrical, with a mind that can hold the most contrary thoughts, attitudes, values and judgements.    He can be all things to all people, possessing a tremendous wit as a defence against the corruption and wickedness of the Danish court.  Hesitation and consciousness are synonymous in this drama of heightened identity and the world of the inner being always about to be, as thought and feeling constantly pulsate onward and outward.  Hamlet suffers from having no identifiable centre, being too intelligent for one role and impossible to accurately categorize.  He is a charismatic with a curse and a dialectic that embraces both life and death in a dance of contraries.  He simply thinks so much that he cannot make up his mind to act.  Yet he seems to alter with every utterance, constantly changing, while preserving a consistent enough identity that cannot be mistaken for anyone else in all of Shakespeare.  He has the finest mind in western literature, and is to other literary figures what Shakespeare himself is to other writers.  Neither has a rival.  Hamlet has become one and the same with consciousness itself.  It is the longest Shakespeare play because Hamlet speaks so much.  I only wish he could have said much more on every subject.  We can come to know Hamlet better than real people we might know because Shakespeare shows us the character’s innermost workings. In this sense Elsinore Castle is everywhere and timeless, since something is always rotten that we simply cannot tolerate.  

Why can Hamlet not act until Act V?  This is the focus question of the play, whose answer is dependent on his interpretation of the ghost.  Is he too sensitive or delicate?  Too reflective an intelligence? Does he simply live too much in his own head?  (“The native hue of resolution is sickled over with the pale cast of thought.”). Is he simply too melancholic?  A Freudian interpretation might suggest that he identifies too fully with his uncle Claudius, the lover of his mother and slayer of his father.  Perhaps he is too intensely self-conscious, with an over-abundance of antic disposition and a sardonic wit.  There is so much food for thought just in this single question alone.

Hamlet broods about everything, born to set right a world out of joint.  There is a plethora of both the private and the public dimension to Hamlet and it is the soliloquies that clearly reveal this struggle, exposing to centuries of audiences the inner world of a brilliant character’s mind.  We require a healthy balance between our inner and outer lives and Hamlet seems to live within a meditation and sinks beneath a burden he cannot bear.  Abraham Lincoln, a great fan of the Bard, felt that the most revelatory passage in the play to be “O, my offense is rank…”  The suggestion is that his genius is also his Achilles heel, as his melancholy, at the very centre of the play, inhibits action and requires him to put on an antic disposition of feigned madness, as his thoughts meander through eternity and encounter his own doomed fate.  Hamlet is the tragedy of a soul buzzing in a prison he cannot escape. The thought of parricide and incest together are too much to bear.  He simply thinks and takes on too much, misjudging dear Ophelia as a breeder of sinners, railing against his mother, contrary to the directive of his ghostly father and seeking to play God with the life of Claudius.  

Hamlet is a philosophically complex play, with profound dialectic insights into will vs reason, appearance vs reality, self vs the world, thought vs action, revenge vs remorse, and the real vs the imaginary and other worldly.  It is a play and a character with curious vibrations beneath various surfaces.  There is a heavy undercurrent of desires, passions and fears, long slumbering but eternally familiar.  

And yet, Hamlet is a much-loved character, even after he murders Polonius, badgers Ophelia to the point of madness and suicide and dispatches his less than loyal friends Rosencrantz and Gildenstern, before the great carnage that is Act V. There is certainly a case against him, but he remains the hero of Western consciousness.  Perhaps hero-villain would be most appropriate, as he is the agent of eight deaths, including his own.  He seemingly cares for no one, yet the world cares so much for him, as though we have all become Horatio, his loyal friend.

Curiously enough, a different Hamlet emerges after his escape from the pirates and the graveyard scene.  The ‘antic disposition’ seemingly ends in Act V, when he concludes that ‘there is a divinity that shapes our ends’.  Suddenly there is nothing left to be said.  Simply speaking, ‘let be’ is the lesson learned, and ‘the rest is silence’.  He is quite certain of these Act V utterances, compared to the torturous earlier soliloquies peppered throughout the play. He faces four acts of melancholy followed by an escape to a better place right before his death.  Apparently, ‘the readiness’ was indeed all.

Hamlet interacts with several expertly sketched characters in the story.  Claudius, his uncle, is trapped in the tragedy every bit as much as Hamlet and his speeches can be equally as profound and devastating.  Gertrude, his mother, is wracked with guilt over her quick marriage to her brother in law after her husband’s death and is gripped with fear over her son Hamlet’s spiralling flirtations with madness.  Polonius, the court advisor, is an intellectual meddler, who meddles his way into the grave.  His daughter, Ophelia, is all but ignored by everyone but falls into a madness and a suicide after her father’s death and Hamlet’s cruel rejection of her.  And Laertes, his son, departs for Paris in grand spirits early in the play, only to return like a man possessed after the murder of his father and his sister’s suicide, both for which he attributes to Hamlet.  There is a whole lot going on in this Danish tale.  But Hamlet remains the centrepiece from start to finish. 

This was Shakespeare’s most personal and perhaps most autobiographical based play.  His only son, Hamnet (a variation on the name Hamlet) died in 1596, likely a victim of the ever-present plague.  His own father died in 1601.  Hamlet was written in 1601-1602, a play in which Hamlet’s father is slain by Hamlet’s uncle / surrogate father prior to Hamlet murdering his uncle / surrogate father. Before the play begins we learn that the Norwegian Fontinbras’ father was slain by Hamlet’s father in defense of the very kingdom.  That is a whole lot of father-son activity just after the Bard lost both his father and only son.   Hamlet represents Shakespeare’s most profoundly expressed inwardness, first encountered in such earlier characters as Mercutio, Juliet, Bottom, Shylock, Brutus, Falstaff, Rosalind and Brutus.  Hamlet was the apex of Shakespeare’s career in many ways, but his greatest accomplishment and most radical originality was indeed Hamlet’s inwardness, which then inspires the same in Iago, King Lear, Macbeth, Cleopatra and Prospero.  Hamlet opened the gates to Shakespeare’s great tragedies, which followed very soon on its heels.  Othello, King Lear, Macbeth, Antony and Cleopatra and Coriolanus were all written within eight years of Hamlet.  All of Shakespeare is in Hamlet.  There is comedy, satire, romance and, yes, tragedy.  Only Shakespeare or Hamlet could have written Hamlet.  There is a vivid sense that Hamlet got away from Shakespeare and essentially wrote his own lines.  He seems that autonomous.  He was the freest of Shakespeare’s creations.  He could have married Ophelia or become the king.  He might have killed the king or left for Wittenberg University.  He might have started a coup, become a soldier or a hermit.  He writes his ‘to be or not to be’, speech as his own meditation on death well in advance of ‘the moment’ in Act V.  Shakespeare found Hamlet deep within himself, so that what we are watching is both Hamlet and Shakespeare as creators of this finest of literary works.  It almost seems as though Hamlet has written his own play, being the most knowing figure of consciousness ever conceived.  Like Shakespeare himself, Hamlet is still way out ahead of us, four hundred years later.  We know that Shakespeare played the Ghost and likely doubled as the Player King in performances during his lifetime.  Therefore, he is appropriately both Hamlet’s father and the play’s great representative of the theatre. Hamlet seems at times Shakespeare’s ideal son, just as Hal is Falstaff’s in Henry IV.

The earliest version of the Hamlet story dates back to Saxo Grammaticus (1150-1206), who was a Danish historian.  A play appears in the English theatre in 1589. It may have been written by Thomas Kyd, famous for The Spanish Tragedy.  However, more likely it was Shakespeare’s early attempt at Hamlet.  It was later owned by The Lord Chamberlain’s Men, Shakespeare’s theatre company.  The suggestion is that he returned to it around 1600 and revised it considerably, as it appears in the First Quatro in 1603 and again in the Second Quatro in 1604.  It seems to have changed with each performance, growing more rich and profound over time.  By the time of the First Folio in 1623, seven years following Shakespeare’s death, we have the play we know today, likely representing the  constant editing and revising which he applied to Hamlet throughout most of his adult life.  Many curious productions followed.  In the 1750s it even had a happy ending.  Near the end of the nineteenth century, Rosencrantz and Guildenstern, anticipating Tom Stoppard, were featured in a spin off of the Danish play.  Following World War II, there was GI Hamlet, with the prince as a soldier, suffering from postwar fatigue.  Hamlet films began with three silent versions and Kenneth Branagh’s recent four-hour masterpiece (1997) was the 82nd film production that we know of.  Notable Hamlets include Kenneth Branagh, Mel Gibson, Derek Jacobi, Laurence Olivier, John Gielgud, Richard Burton, David Tennant, Ethan Hawke, Christopher Plummer, Keanu Reeves, Jude Law, Christopher Walken, Ian McKellen, Daniel Day-Lewis, Ralph Fiennes, Kevin Kline, Michael Sheen, Sarah Bernhardt and Benedict Cumberbatch.  It is the penultimate stage performance for most actors.  It has been said that there are as many interpretations of Hamlet as there are actors and directors willing and able to portray him.

Act I

Hamlet is in the midst of three crises, all graphically exposed in Act I.  First, when the ghost appears to the soldiers on the battlements they realize it is a bad omen for the kingdom itself and they discuss the threat from the Norwegian ruler Fortinbras since the death of their king, Hamlet’s father.  In scene ii King Claudius discusses a diplomatic strategy to best manage the Norwegian threat.  So Hamlet lives in a kingdom facing peril, as Norway may likely test its mettle following the death of Hamlet’s father.  Secondly, Hamlet’s family is in crisis.  His father is dead and his mother just married his uncle, who has become the king.  A question never really addressed in the play is why the crown did not go to Hamlet, the adult son of the king.  Why does Claudius, the king’s brother, assume the crown?  Hamlet cannot make peace with his mother marrying his uncle, whom he does not approve of whatsoever, a mere two months following his father’s death.  Finally, Hamlet is experiencing a deep personal crisis, especially after he encounters what he believes to be his father’s ghost, who informs him that his dear father was murdered by his uncle Claudius, who then stole both the crown and the queen.  In Hamlet’s first soliloquy he ponders his own suicide (“O, that this too, too sullied flesh would melt.”)

So the essential plot is laid out in Act I, as Hamlet ruminates every which way about the appropriate response to his ghostly encounter with his father.  The ghost demands revenge.  Now Hamlet must think that through for most of the play.  How decisive should he be?  Perhaps nature should simply take its course.  His predicament is so overwhelming that the more he thinks it through the less clear he is on an appropriate course of action.  This tortures him so that he contemplates his own suicide. (“To be or not to be… that is the question.”)  The principle conflict in the play is within Hamlet’s mind and soul.  All of the external action is a consequence of this internal struggle.  And although avenging his father’s death by killing his uncle, King Claudius, would serve all three of his dilemmas – removing a weak, immoral and usurping monarch from the throne of Denmark, saving his mother from a terrible marriage and making himself the King of Denmark – his own discombobulated psychological state inhibits action on his part. (“The time is out of joint.  O cursed spite, that ever I was born to set it right.”)

Act I

Scene i

Elsinore Castle Battlements

Horatio: “Has this thing appeared again tonight?”

Bernardo: “I have seen nothing.”

Marcellus: “Horatio says ‘tis but our fantasy.  Therefore I have entreated him to watch the minutes of this night, that he may approve our eyes and speak to it.”

Horatio: “Tush, tush, ‘twill not appear.”

Enter the ghost

Marcellus: “Peace.  Look, it comes again.”

Bernardo: “In the same figure, like the king that’s dead.  Mark it, Horatio.”

Horatio: “Most like the king.  It harrows me with fear and wonder.”

Marcellus: “Question it, Horatio.”

Horatio: “What art thou?  By heaven I charge thee, speak!”

Marcellus: “It is offended.”

Bernardo: “It stalks away.”

Horatio: “Stay! Speak, speak!  I charge thee!  Speak!”

Exit Ghost

Bernardo: “How now, Horatio!  You tremble and look pale.  Is not this something more than fantasy?  What think you?”

Horatio: “Before my God, I might not believe this without mine own eyes.”

Marcellus: “Is it not like the king?”

Horatio: “As thou art to thyself.  Such was the very armour he had on when he and the ambitious Norway combatted.  This bodes some strange eruption to our state.  Our last king, you know, by Fortinbras of Norway, was dared to combat, in which he did slay Fortinbras.  Now, sir, young Fortinbras, of unimproved mettle hot and full, dost well appear unto our state, to recover, by strong hand, lands lost by his father; and this, I take it, is the main source of this our watch.”

Bernardo: “I think it be no other.”

Horatio: “In Rome the mightiest Julius fell and graves stood tenantless and the sheeted dead did squeak and gibber in the Roman streets; the sun was sick almost to doomsday with eclipse…”

Ghost re-enters

Horatio: “But soft, behold!  It comes again!  Speak to me, if thou art privy to thy country’s fate.  O, speak!”

The cock crows

Bernardo: “It was about to speak when the cock crowed.”

Horatio: “Let us impart what we have seen tonight unto young Hamlet, for, upon my life, this spirit, dumb to us, will speak to him.”

Analysis

This opening scene terrified early audiences, who would have understood that such a sighting does not bode well for either Denmark or our play.  Clearly something about the old king’s death has upset the nature of things in a significant way.  In the year 1601 Shakespeare’s attendees would also have known the anxiety and turmoil that accompany a change of monarchs.  After all, Queen Elizabeth was aged and without issue and Shakespeare had frequently depicted in graphic detail the hazards of a succession crisis in Titus Andronicus, Henry VI, King John, Richard II, Henry IV, As You Like It and Julius Caesar, all before Hamlet. So Shakespeare got their attention immediately with the presence of the ghostly king of Denmark.  Shakespeare also introduces good Horatio, a man we can clearly trust and whose reasonable skepticism about the ghost is shattered by its actual vivid appearance.  If Horatio believes it, then we the audience may be won over as well.

Act I

Scene ii

Elsinore Castle   

King Claudius: “Though yet of Hamlet our dear brother’s death the memory be green; and that it is us befitted to bear our hearts in grief; yet so far hath discretion fought with nature that we with wisest sorrow think on him.  Therefore, our sometime sister, now our queen, have we, with mirth in funeral  and with dirge in marriage, in equal scale weighing delight and dole, taken to wife.  You know, young Fontinbras, holding a weak supposed of our worth, or thinking by our late dear brother’s death our state to be disjoint and out of frame, he hath not failed to pester us with messages importing the surrender of those lands lost by his father to our most valiant brother.  And now, Laertes, what’s the news with you?  What wouldst thou have?”

Laertes: “Your leave and favour to return to France.; from whence though willingly I came to Denmark to show my duty in your coronation.”

King: “What says your father, Polonius?”

Polonius: “Upon his will I sealed my consent.  I do beseech you to give him leave to go.”

King: “But now, my cousin Hamlet, and my son.”

Hamlet: (aside) “A little more than kin, and less than kind.

King: “How is it that the clouds still hang on you?”

Queen: “Good Hamlet, let thine eye look like a friend on Denmark.  Do not forever seek for thy noble father in the dust.  Thou knowest ‘tis common – all that lives must die, passing through nature to eternity.

Hamlet: “Ay, madam, it is common.

Queen: “If it be, why seems it so particular with thee?

Hamlet: “Seems, madam!  Nay, it is; I know not seems.

King: “’Tis sweet and commendable in your nature, Hamlet, to give these mourning duties to your father; but you must know that your father lost a father; That father lost his; but to persevere in obstinate condolement is a course of impious stubbornness; tis unmanly grief; it shows a will most incorrect to heaven, a heart unfortified, a mind impatient, an understanding simple and unschooled.  ‘Tis a fault to heaven, a fault against the dead, a fault to nature, to reason most absurd; we pray you throw to earth this unprevailing woe, and think of us as of a father; for you are the most immediate to our throne.  Your intent on going back to school in Wittenberg is most retrograde to our desire; and we beseech you to remain here in the cheer and comfort of our eye.”

Queen: “I pray thee stay with us; go not to Wittenberg.”

Hamlet: “I shall in all my best, obey you, madam.”

King: “Why, ‘tis a loving and a fair reply.”

Exit all but Hamlet

Hamlet: “O, that this too too solid flesh would melt, thaw, and resolve itself into a dew!  Or that the Everlasting had not fixed his cannon against self-slaughter!  O God!  O God!  How, weary, stale, flat and unprofitable, seem to me all the uses of this world!  Fie on it!  Tis an unweeded garden that grows to seed; things rank and gross in nature posses it merely.  That it should come to this!  But two months dead!  Nay, not so much, not two.  So excellent a king that was to this hyperion to a satyr; so loving to my mother.  Must I remember?  Why, she would hang on him as if increase in appetite had grown by what it fed on; and yet within a month – let me not think on it.  Frailty thy name is woman.  A little month.  O God!  A beast that wants discourse of reason would have mourned longer – married with my uncle, my father’s brother, but no more like my father than I to Hercules.  She married with such dexterity to incestuous sheets!  It is not, nor can it come to good.  But break, my heart; for I must hold my tongue.

Enter Horatio, Bernardo and Marcellus

Horatio: “Hail to your lordship.”

Hamlet: “I am glad to see you well.  What make you from Wittenberg, Horatio?  What is your affair in Elsinore?  We’ll teach you to drink deep ere you depart.”

Horatio: “My lord, I came to see your father’s funeral.”

Hamlet: “I prithee do not mock me, fellow student.  I think it was to see my mother’s wedding.”  

Horatio: “Indeed, my lord, it followed hard upon.”

Hamlet: “Thrift, thrift, Horatio!  The funeral baked meats did coldly furnish forth the marriage tables.  My father – methinks I see my father.”

Horatio: “Where, my lord?”

Hamlet: “In my mind’s eye, Horatio.  He was a man.  I shall not look upon his like again.”

Horatio: “My lord, I think I saw him yester-night.”

Hamlet: “Saw who?”

Horatio: The king, your father.”

Hamlet: “For God’s love, let me hear.”

Horatio: “Two nights together had Marcellus and Bernardo, on their watch, in the dead of the night, thus encountered a figure like your father.  It appeared before them, and I with them the third night.”

Hamlet: “Did you speak to it?”

Horatio: “My lord, I did, but answer made it none.”

Hamlet: “’Tis very strange.”

Horatio: “As I do love, my honoured lord, ‘tis true.  And we did think to let you know of it.”

“Hamlet: “Indeed, indeed, sirs, but this troubles me.  I would I had been there.”

Horatio: “It would have much amazed you.”

Hamlet: “I will watch tonight.  Upon the platform, ‘twixt eleven and twelve, I’ll visit you.”

Exit all but Hamlet

Hamlet: “My father’s spirit in arms!  All is not well.”

Analysis

Scene two builds upon scene one.  We met the ghost on the battlements and now Hamlet has been informed of its presence and will be part of the watch the next night to see if it is indeed his dead father in arms.  As well, we have our first encounter with Claudius and his court, as he tries to be very positive about having mourned his brother and married his brother’s wife.  He is clearly moving on and expecting everyone in court to join him.  Only Hamlet resists and hence the tension is exposed.  This scene bodes as badly as the first, as Hamlet listens while his uncle and mother try to convince him to move on past the grief for his father.  Only when he is alone does he reflect in his first soliloquy the very depths of his despair, which borders on suicidal.  “O, that the Everlasting had not fixed his canon against self-slaughter.”  By the end of Act I he will learn the most devastating indication of all regarding his uncle and his father’s death.  But we are well under way. 

Act I

Scene iii

Elsinore / The home of Polonius

Laertes: “Sister, farewell.  Let me hear from you.”

Ophelia: “Do you doubt that?”

Laertes: “For Hamlet and the trifling of his favour.  Hold it a fashion and a toy in blood.  Forward, not permanent, sweet not lasting. The perfume and suppliance of a minute; no more.  Perhaps he loves you now; but you must fear his greatness weighed.  His will is not his own.  For on his choice depends the sanity and health of this whole state.  Then weigh what loss your honour may sustain if your chaste treasure opens to his unmastered importunity.  Fear it, Ophelia; fear it, my dear sister; and keep you in the rear of your affection.”

Ophelia: “I shall the effect of this good lesson keep.  But, good my brother, do not, as some ungracious pastors do, show me the steep and thorny way to heaven while, like a puffed and reckless libertine, himself the primrose path of dalliance treads.

Enter Polonius

Polonius: “Laertes, aboard, aboard.  The wind sits in your sail.  My blessings with thee, and these few precepts in thy memory: be thou familiar, but by no means vulgar.  Beware of entrance into a quarrel; but, being in, bear that the opposed may beware of thee.  Give every man thy ear but few thy voice; take each man’s censure, but reserve thy judgment.  Neither a borrower nor a lender be; for loan often loses both itself and friend and borrowing dulls the edge of husbandry.  This above all – to thine own self be true, and it must follow, as the night the day, thou canst not then be false to any man.  Farewell.”

Laertes: “I take my leave, my lord.  Farewell, Ophelia, and remember well what I have said to you.”

Ophelia: “’Tis in my memory locked, and you yourself shall keep the key.”

Exit Laertes

Polonius: “What is it, Ophelia, he hath said to you?”

Ophelia: “Something touching the Lord Hamlet.”

Polonius: “What is between you?  Give me up the truth.”

Ophelia: “He hath, my lord, of late made many tenders of his affection to me.”

Polonius: “Affection? Pooh!  Do you believe his tenders, as you call them?”

Ophelia: “I do not know, my lord, what I should think.”

Polonius: “Marry, I will teach you.  Tender yourself more dearly or you’ll tender me a fool.”  

Ophelia: “He hath importuned me with love in honorable fashion.”

Polonius: “I do know when the blood burns, how prodigal the soul lends the tongues vows.  From this time be something scanter of your maiden presence; Set your entreatments at a higher rate.  For Lord Hamlet is young, Ophelia.  Do not believe his vows.  I would not, in plain terms, from this time forth, have you talk  with the Lord Hamlet.”

Ophelia: “I shall obey, my lord.”

Analysis

Scene three in Act I contrasts vividly with scene two, as we encounter, back to back, Hamlet’s and Laertes’ family life.  Laertes will be a foil to Hamlet throughout the play.  He is resolute and affectionate.  He loves his sister and father and will be decisive when confronted with the tragedy that will befall them both, unlike Hamlet, who will take four acts to ruminate over everything before he manages to finally take action.  Laertes family is solid.  Polonius gives sound paternal advice to both his children who clearly care deeply for one another.  Hamlet is furious at his mother for marrying his uncle upon his father’s death and has a seething disregard for his uncle.  The two families could not be different.  Polonius offers his famous advice to Laertes, which includes ‘neither a borrower nor a lender be’ and ‘this above all – to thine own self be true’.  Both Laertes and Polonius warn Ophelia to withhold her affections from Hamlet, as he must one day marry well beyond her station in life.  These two families are about to interact tragically.  Not one of the six of them will survive the play.  

Act I

Scene iv

Elsinore Castle

The battlements

Horatio: “Look, my lord, it comes.”

Hamlet: “Be thou a spirit of health or goblin damned, bring with thee airs from heaven or blasts from hell, be thy intents wicked or charitable?  I’ll call thee Hamlet, King, father, royal Dane, O, answer me.  Why hath the sepulchre opened his ponderous and marble jaws to cast thee up again?  Why is this?  What should we do?” 

Horatio: “It beckons you to go with it.”

Marcellus: “But do not go with it.”

Hamlet: “I will follow it.”

Horatio: “Do not my lord.  What if it tempt you toward the flood or to the dreadful summit of the cliff and there assume some other horrible form, which might deprive your soveieignty of reason and draw you into madness.  Think on it.”

Hamlet: “It waves me still.  Go on; I will follow thee.”

Marcellus: “Something is rotten in the state of Denmark.

Analysis

We know from scene i that there is a ghost in the shape of Hamlet’s father.  We know from scene ii that Hamlet is desperately unhappy about his mother marrying his uncle following the death of his beloved father.  Now Hamlet is about to learn the meaning of this ghostly visitation from his father.  It will not endear him any further to his family.  Interesting questions are raised by Hamlet about the ghost: Is it a ‘spirit of health or a goblin damned?  Is it from heaven or hell?  Are its intents wicked or charitable?  How Hamlet answers these questions must determine his course of action throughout the play.  Is it an honest ghost or not?  That is the question and helps to explain Hamlet’s upcoming paralysis. 

Act I

Scene v

Elsinore Castle

The battlements

Ghost: “Mark me.  My hour is almost come when I to sulph’rous and tormenting flames must render up myself.”

Hamlet: “Alas, poor ghost!”

Ghost: “Pity me not, but lend thy serious hearing  to what I shall unfold.”

Hamlet: “Speak!  I am bound to hear.”

Ghost: “So art thou to revenge, when thou shalt hear.”

Hamlet: “What?”

Ghost: “I am thy father’s spirit, doomed for a certain term to walk the night, and for the day confined to fires, until the foul crimes done in my days of nature are burnt and purged away.  But that I am forbid to tell the secrets of my prison house, I could a tale unfold whose lightest word would harrow up thy souls, freeze thy young blood, make thy two eyes start from their spheres, thy knotted and combined locks to part, and each particular hair to stand on end.  But this eternal blazon  must not be to the ears of flesh and blood.  Listen, listen, O, listen!  If thou didst ever thy dear father love…

Hamlet: “O God!”

Ghost: “Revenge his foul and most unnatural murder.

Hamlet: “Murder!”

Ghost: “Murder most foul… most foul, strange and unnatural.

Hamlet: “Haste me to know it, that I may sweep to my revenge.”

Ghost: “I find thee apt.  Now Hamlet hear:  Sleeping in my orchard a serpent stung me; but know, that the serpent that did sting thy father’s life now wears his crown.

Hamlet: “O my prophetic soul, my uncle!”

Ghost: “Ay, that incestuous, adulterous beast won to his shameful lust the will of my most seemingly virtuous queen.  O Hamlet, what a falling off there was, from me. But soft!  Methinks I sense the morning air.  Brief let me be.  Sleeping within my orchard, my custom always of the afternoon, upon my secure hour thy uncle stole, with juice of cursed hebona in a vial, and  in my ears did pour the leperous distilment; swift as quicksilver  it courses through the natural gates and alleys of the body.  Thus was I, sleeping, by a brother’s hand of life, of crown, of queen, at once dispatched, but sent to my account with all my imperfections on my head.  O horrible!  O horrible! Most horrible!  If thou hast nature in thee, bear it not; Let not the royal bed of Denmark be a couch for luxury and damned incest.  But, howsoever thou pursuest this act, taint not thy mind, nor let thy soul contrive against thy mother; leave her to heaven and to those thorns that in her bosom lodge to prick and sting her.  Fare thee well.  Adieu, adieu, adieu!  Remember me.

Exit ghost

Hamlet: “O all you host of heaven! O earth!  And shall I couple hell? O fie!  Hold, hold my heart; and you, my sinews, grow not instant old, but bear me stiffly up.  Remember thee!  Yea, from the table of my memory I’ll wipe away all trivial records. Thy commandment all alone shall live within the book and volume of my brain, unmixed with baser matter.  O most pernicious woman!  O villain, villain, smiling, damned villain!  One may smile and smile and be a villain; at least I am sure it may be so in Denmark.  So uncle, there you are.  Now to my word.”

Horatio: “My lord, my lord!  What news, my lord?

Hamlet: “O wonderful!”

Horatio: “Good, my lord, tell it.”

Hamlet: “No; you will reveal it.”

Horatio: “Not I, my lord, by heaven.”

Marcellus: “Nor I, my lord.”

Hamlet: “You’ll be secret?  It is an honest ghost, that let me tell you.  Never make known what you have seen tonight.”

Both: “My lord, we will not.”

Hamlet: “Nay, but swear it upon my sword.”

Ghost: “Swear by his sword!”

Hamlet: “Well said, old mole.”

Horatio: “This is wondrous strange!”

Hamlet: “There are more things in heaven and earth, Horatio, then are dreamt of in your philosophy.  Hereafter shall I put on an antic disposition.  The time is out of joint, O cursed spite, that ever I was born to set it right.

Analysis

Hamlet’s worst fears about his uncle are confirmed in scene v, as the ghost informs him that the very serpent that did sting his father’s life now wears his crown.  Furthermore, his father’s spirit demands that Hamlet exact revenge for this foul crime, making this a most pivotal scene in the play and leading him toward the idea of feigning madness, which will both define his character for us as well as establish the nature of his relationships with most of the other principle characters in the play over the next three acts.  It also introduces the idea of retribution.  His uncle has committed a crime which Hamlet must revenge in order to set right this time out of joint.  Because Hamlet is contemplative to the point of obsession and doubts the authenticity of the ghost, his feigning of madness will direct him to the verge of madness itself.  Does he even feign madness?  Or is he merely mad?  Act I has laid it all out there.  We have encountered all of the principles.  We know Hamlet’s motivation.  But do we know Hamlet?

Act II

Polonius sends a set of eyes to report to him on how Laertes is doing in France and then Ophelia describes a horrific and frightening encounter she has had with Hamlet, whose feigned madness is a bit too real for Ophelia.  The king invites Hamlet’s old friends, Rosencrantz and Guildenstern, to Elsinore in order to spy on Hamlet and to ascertain more about his most unpredictable state of mind.  Polonius tells the royal couple that he has learned what the cause of Hamlet’s lunacy is and that it is his love for Ophelia.  Polonius meddles more and more into these affairs and will eventually pay with his life, as a result,  in Act III.  Every encounter he has with Hamlet goes poorly for him.  Hamlet accuses his two friends of having been sent for by the king.  They finally admit it and lose his trust entirely.   But just then the players arrive and Hamlet stages a plot to catch the conscience of the king.

Act II

Scene i

Elsinore castle

The House of Polonius

Polonius: “Give him this money and these notes, Reynaldo.”

Reynaldo: “I will, my lord.”

Polonius: “Make inquiry of his behaviour.”

Reynaldo: “My lord, I did intend it.”

Polonius: “Enquire me first what Danksters are in Paris; and how, and who, what means, and where they keep, what company do know my son.  Do you mark this, Reynaldo?”

Reynaldo: “Ay, very well, my lord.”

Polonius: “And thus do we of wisdom, by indirections find directions out.  You have me, have you not?”

Reynaldo: “My lord, I have.”

Exit Reynaldo / Enter Ophelia

Polonius: “How now, Ophelia.  What’s the matter?”

Ophelia: “O my lord, I have been so affrighted!”

Polonius: “With what, in the name of God?”

Ophelia: “Lord Hamlet, pale as his shirt, his knees knocking each other, and with a look so piteous, as if he had been loosed out of hell to speak of horrors – he comes before me.”

Polonius: “Mad for thy love?”

Ophelia: “Truly, I do fear it.”

Polonius: “What said he?”

Ophelia: “He took me by the wrist and held me hard; and fell to such perusal of my face, as he would draw it.  Long stayed he so.  And thrice he raised a sigh so piteous and profound as it did seem to shatter all his bulk and end his being.  That done, he let me go and seemed to find his way out without his eyes, to the last bending their light on me.”

Polonius: “Come, I will go seek the king.  This is the very ecstasy of love, and leads the will to desperate undertakings that does afflict our natures.  I am sorry.  Have you given him any words of late?”

Ophelia: “No, my good lord; but, as you did command, I did repel his letters, and denied his access to me.”

Polonius: “That hath made him mad.  Come, we go to the king.  This must be known.”

Analysis

In this single scene does Polonius meddle into the lives of both his son and daughter.  That is his role and he is generally depicted as an old fool and a very cunning manipulator.  He instructs Reynaldo in the art of meddling and snooping in his role as a spy on Laertes, Polonius’ son.  He loves to hear his own voice, as we shall see again and again.  Consider that Claudius killed King Hamlet by pouring poison in his ear.  Shakespeare suggests to us through the many words of meddling advice offered by Polonius throughout his time in the play, that words, too, have the power to act as poison to the ear as well.  Words can manipulate truth and control the message they seek to convey.  

Polonius next uses his words to paint the picture of Hamlet as ‘madly’ in love with Ophelia.  Clearly, from Ophelia’s renderings we learn that Hamlet has made good on his intention to behave as a madman.  Or is he, in fact, genuinely mad from Ophelia’s spurn of him, as Polonius so directed her?  That is a central question throughout the play.  Is Hamlet mad or not?  Has his mother’s sudden marriage to Claudius poisoned Hamlet’s sense of womanhood?  Certainly Polonius’ conclusion that Hamlet’s madness is a result of his lovesick disposition toward Ophelia will have striking ramifications for the plot development in the scenes to come.

Act II

Scene ii

Elsinore Castle

King: “Welcome, dear Rosencrantz and Guildenstern!  The need we have to use you did provoke our hasty sending.  Something have you heard of Hamlet’s transformation?  Nor the exterior nor the inward man resembles what it was.  What it should be, more than his father’s death, that thus has put him so much from the understanding of himself, I cannot deem.  I entreat you both that, being of such young days brought up with him, to draw him on to pleasures, and to gather, whether aught to us unknown afflicts him thus that, opened, lies within our remedy.

Queen: “Good gentlemen, he hath much talked of you and sure I am two men there are not living to whom he more adheres.  Your visitation shall receive such thanks as fits a king’s remembrance.”

Guildenstern: “We both obey and lay our service freely at your feet to be commanded.”

Queen: “I beseech you instantly to visit my too much changed son.”

Guildenstern: ”Heavens make our presence helpful to him!”

Queen “Ay, amen!”

Exit Rosencrantz and Guildenstern / Enter Polonius

Polonius: “I do think that I have found the very cause of Hamlet’s lunacy.”

King: “O, speak of that; that do I long to hear… He tells me, dear Gertrude, he hath found the head and source of all your son’s distemper.”

Queen: “I doubt that is no other than the main, his father’s death and our over-hasty marriage.”

Enter Voltemand and Cornelius (Danish Ambassadors)

Voltemand: “Most fair return of greetings.  Upon our first he (The Norwegian King) sent out to supress his nephew (Fortinbras), which appeared to be a preparation against the Polack; but, better looked into, he truly found it was against your highness.  Whereat grieved, he sends out arrests on Fortinbras, who makes vow before his uncle never more to give the assay of arms against your majesty.  Whereupon the King commissions to employ these soldiers against the Polack, with an entreaty, that it might please you to give quiet pass through your dominion for this enterprise.”

King: “It like us well.”

Polonius: “Since brevity is the soul of wit I shall be brief.  Your noble son is mad.  Mad call I it; for, to define true madness, what is it but to be nothing else but mad.

Queen: “More matter with less art.”

Polonius: “Madam, I swear I use no art at all.  That he’s mad, tis true: tis true tis pity; and pity tis tis true.  A foolish figure.  But farewell it, for I will use no art.  Mad let us grant him, then; and now remains that we find out the cause of this effect; or rather say the cause of this defect, for this effect defective comes by cause.  I have a daughter, who, in her duty and obedience, hath given me this: (he reads) ‘To the celestial, and my soul’s idol, the most beautiful Ophelia, in her excellent white bosom, these, etc…. Doubt thou the stars are fire, doubt that the sun doth move, doubt truth to be a liar, but never doubt I love.  O dear Ophelia, I love thee best, O most best, believe it.  Adieu.  Thine evermore, most dear lady, HAMLET.’

King: “But how hath she received his love?”

Polonius: “What do you think of me?”

King: “As a man faithful and honourable.”

Polonius: “I would fain prove so.  I went to work, and my young mistress thus I did bespeak: ‘Lord Hamlet is a prince out of thy star; This must not be.’  And then I prescripts gave her, that she should lock herself from his resort, admit no messengers, and receive no tokens, which done, he fell into a sadness, then into a fast, thence to a watch, thence into a weakness, thence to a lightness, and, by this declension, into the madness wherein now he raves and all we mourn for.” 

King: “Do you think tis this?”

Queen: “It may be, very like.”

Polonius: “Hath there been such a time that I have positively said ‘Tis so’, when it proved otherwise?”

King: “Not that I know.”

Polonius: “If this be otherwise I will find where truth be hid, though it were hid indeed.”

King: “How may we try it further?”

Polonius: “Sometimes he walks here in the lobby.  I’ll loose my daughter to him.  Be you and I behind an arras then; mark the encounter.”

King: “We will try it.”

Enter Hamlet, reading a book

Queen: “But look where sadly the poor wretch comes reading.”

Polonius: “Away, I do beseech you, both away; I’ll board him presently.”

Exit king and queen

Polonius: “How does my good lord Hamlet?”

Hamlet: “Well”

Polonius: “Do you know me, my lord?

Hamlet: “Excellent well: you are a fish-monger.”

Polonius: “Not I, my lord.”

Hamlet: “Then I would you were so honest a man.”

Polonius: “Honest, my lord!”

Hamlet: “Ay, sir; to be honest, as this world goes, is to be one man picked out of ten thousand.  Have you a daughter?”

Polonius: “I have, my lord.”

Hamlet: “Let her not walk in the sun.  Conception is a blessing.  But as your daughter my conceive, look to it.”

Polonius: “How say you by that?” (aside) “Still harping on my daughter.  Yet he knew me not at first.  He said I was a fish-monger.  He is far gone, far gone.  I’ll speak to him again.”  “What do you read, my lord?”

Hamlet: “Words, words, words.”

Polonius: “What is the matter that you read, my lord?”

Hamlet: “Slanders, sir.  For the satirical rogue says that old men have grey beards, that their eyes are wrinkled, and that they have a plentiful lack of wit. All of which, sir, I most powerfully and potently believe.”

Polonius: (aside) “Though this be madness, yet there is method in it.  How pregnant sometimes his replies are! A happiness that madness often hits on, which reason and sanity could not so prosperously be delivered of.”  “My lord, I will take my leave of you.”

Hamlet: “You cannot, sir, take from me anything that I will more willingly part withal – except my life, except my life, except my life.”

Enter Rosencrantz and Guildenstern / Exit Polonius

Hamlet: “My good, excellent friends.  How do you both?  What news?”

Rosencrantz: “None, my lord, but that the world’s grown honest.”

Hamlet: “Then is doomsday near.  But your news is not true.  Let me question more in particular.  What have you, my good friends, deserved at the hands of fortune, that she sends you to prison hither?

Guildenstern: “ Prison, my lord?”

Hamlet: “Denmark’s a prison.”

Rosencrantz: “Then is the world one.”

Hamlet: “A goodly one; in which there are many confines, wards and dungeons, Denmark being one of the worst.”

Rosencrantz: “We think not so, my lord.”

Hamlet: “Why, then, tis none to you: for there is nothing either good or bad, but thinking makes it so.  To me it is a prison.”

Rosencrantz: “Why then, your ambition makes it one; tis too narrow for your mind.”

Hamlet: “O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams.  What make you at Elsinore?”

Rosencrantz: “ To visit you, my lord: no other occasion.”

Hamlet: “Hamlet: “I thank you, dear friends.  Were you not sent for? Is it a free visitation? Come, come, deal justly with me.”

Guildenstern: “What should we say, my lord?”

Hamlet: “But to the purpose: you were sent for; there is a kind of confession in your looks, which your modesties have not craft enough to colour.  I know the good king and queen have sent for you.  Be direct with me, whether you were sent for or not.”

Guildenstern: “My lord, we were sent for.”

Hamlet: “I will tell you why.  I have of late lost all my mirth; and indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory; this most excellent canopy the air appeareth no other thing to me than a foul and pestilent congregation of vapours.  What a piece of work is a man!  How noble in reason!  How infinite in faculties!  In form and moving, how express and admirable!  In action, how like an angel!  In apprehension, how like a god!  The beauty of the world!  The paragon of animals!  And yet, to me, what is this quintessence of dust?  Man delights me not… Why did you laugh when I said ‘man delights me not.’”

Rosencrantz: “To think, my lord, if you delight not in man, what Lenten entertainment the players shall receive from you.  Hither are they coming.”

Hamlet: “He that plays the king shall be welcome.  What players are they?”

Rosencrantz: “The tragedians of the city.”

Guildenstern: “There are the players.”

Hamlet: “Gentlemen, you are welcome to Elsinore.  But my uncle-father and aunt-mother are deceived

Guildenstern: “In what, my dear lord?”

Hamlet: “I am but mad north-north-west; when the wind is southerly I know a hawk from a handsaw.

Enter Polonius

Polonius: “My lord, I have news to tell you.  The actors have come hither.  The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene individable or poem unlimited.”

Hamlet: “You are welcome, masters.  I am glad to see thee.  We’ll have a speech straight.  Come, give us a taste of your quality; come, a passionate speech.”

1 Player: “What speech, my good lord?”

Hamlet: “I heard thee speak me a speech once, where you speak of Priam’s slaughter.  If it live in your memory proceed you.”

1 Player: “Anon he finds him striking too short for Greeks; his antique sword, rebellious to his arm, lies where it falls.  Unequal matched , Pyrrhus at Priam drives, in rage strikes wide; the unnerved father falls.  Pyrrhus’ bleeding sword now falls on Priam.”

Hamlet: “Come to Hecuba.”

1 Player: “When she saw Pyrrhus make malicious sport in mincing with his sword her husband’s limbs.  The instant burst of clamour that she made would have made milch the burning eyes of heaven.”

Polonius: “Look, he has tears in his eyes.”

Hamlet: “Tis well; I’ll have thee speak out the rest of this soon.  We’ll hear a play tomorrow.  Can you play ‘The Murder of Gonzago.”

1 Player: “Ay, my lord.”

Hamlet: “You could, for a need,  study a speech of some dozen or sixteen lines which I would set down and insert in it, could you not?”

1 Player: “I, my lord.”

Hamlet: “My good friends.  You are welcome to Elsinore.”

Exit Rosencrantz and Guildenstern

Hamlet: “No I am alone.  O, what a rogue and peasant slave am I!  Is it not monstrous that this player here but in a fiction, in a dream of passion, could force tears in his eyes, a broken voice… and all for nothing!  For Hecuba!  What is Hecuba to him or he to Hecuba, that he should weep for her?  What would he do, if he had the motive  and the cue for passion that I have?  He would drown the stage with tears, and cleave the general ear with horrid speech; make mad the guilty, and appal the free, confound the ignorant, and amaze indeed the very faculties of eyes and ears.  Yet I, a dull and muddy mettled rascal, can say nothing; no, not for a king whose most dear life a damned defeat was made.  Am I a coward?  It cannot be but I am pigeon-livered and lack gall to make oppression bitter.  Bloody, baudy villain!  Remorseless, treacherous, lecherous, kindless villain!  O, vengeance!  Why, what an ass am I!  This is most brave, that I, the son of a dear father murdered, prompted to my revenge by heaven and hell, must, like a whore, unpack my heart with words, a scullion!  Fie upon it.  Hum – I have heard that guilty creatures, sitting at a play, have by the very cunning of the scene been struck so to the soul that presently they have proclaimed  their malefactions; for murder, although it have no tongue, will speak with most miraculous organ.  I’ll have these players play something like the murder of my father before mine uncle.  I’ll observe his looks;  The spirit that I have seen may be a devil; and the devil hath power to assume a pleasing shape; The play’s the thing wherein I’ll catch the conscience of the king.

Analysis

Scene ii is a chunky 600 lines long.  It is the longest scene in the play and includes significant thematic revelations.  The arrival of Rosencrantz and Guildenstern suggests the growing concern over Hamlet’s malaise and discontent, as they were sent for by the king.  The Danish Ambassadors return with news from Norway.  The aged Norwegian King has ensured that Fortinbras will not invade Norway but rather requests from Claudius that his army be permitted to cross Denmark on way to making war against Poland.  This is significant, as Fortinbras’ father was murdered by Hamlet’s father, the King.  Fortinbras is yet another example, as we shall see in Laertes soon, of a son who seeks active revenge for the demise of his father, in contrast to Hamlet, who only finds words, as action eludes him.  Polonius thinks that the problem with Hamlet is his  love of Ophelia, as she has been ordered by Polonius not to speak with him.  He concocts a plan that he and the king will hide behind a curtain and permit Hamlet access to Ophelia so that they can listen to him and see that his madness is a product of this withheld love.  When Hamlet approaches them while reading a book Polonius speaks to him, and he does indeed seem insane, mistaking Polonius for a fish-monger.  But his apparent lunacy is barbed with meaning and Polonius concludes that there is method in his madness. Rosencrantz and Guildenstern meet Hamlet and he soon determines that they have been sent for by the king.  The players arrive and Hamlet has them perform a scene with Priam being slaughtered in the Trojan War and he is deeply moved by the actor tearing up over Priam’s wife Hecuba witnessing her husband’s dismemberment.  He tortures himself watching the actor get that excited by a pure fiction, when he, in reality, is reduced to merely using words.  He further arranges for them to perform an excerpt from a play called The Murder of Gonzago, within which he will re-enact the murder of his father by his uncle and thereby trap his uncle into revealing his guilt by his reaction.  The real question in this scene is whether Hamlet is truly mad or merely acting so, as he claims.  He is clearly and deeply disturbed, to be sure, and, upon seeing his supposed father’s ghost, he is either doing an excellent job of feigning madness or else he is, indeed, mad.  Yet he is intelligent enough in his words to suggest that perhaps he is simply acting mad.  He may be riding the very edge of madness, dropping in and out as we observe him.  When the players arrival the notion of acting develops further.  Hamlet may be acting throughout much of the play and he will use the actors to catch the conscience of the king.  Acting and the stage were obviously near and dear to Will Shakespeare.  Hamlet, the actor, will instruct the players on the finest techniques of their very own acting profession in an attempt to, as realistically as possible, trap his uncle as a part of the performance.  All the world’s a stage, indeed.  

Act III

The King sends for two old school chums of Hamlet’s in order to determine the nature of his distraction.  The King and Polonius conceal themselves in order to overhear Hamlet speak with Ophelia.  However, before Ophelia arrives Hamlet delivers the most famous solilique ever delivered in the annals of world literature, about whether ‘tis best to live or to take one’s own life.  Only then does Hamlet encounter Ophelia and he is overbearingly harsh with her.  Theatrical Players arrive and Hamlet is extremely animated about his idea to have them present a certain piece before the court, which he hopes will ‘catch the conscience of the King’.  In fact, the King responds as Hamlet hopes and now appears as guilty as the ghost had declared.  Hamlet approaches the King’s room intending to kill him but does not follow through because the King is praying and Hamlet does not want to send his soul to heaven.  Finally, Hamlet visits his mother’s room and is hard on her, condemning her relationship with his murderous uncle and insisting she not remain intimately connected to him.  He thinks he hears the King behind an arras in his mother’s room but instead kills the meddling Polonius.  

Scene i

Elsinore Castle

King: “And can you by no drift of conference get from him why he puts on this confusion, grating so harshly all his days of quiet with turbulent and dangerous lunacy.”

Rosencrantz: “He does confess that he feels himself distracted, but from what cause he will by no means speak.”

Guildenstern: “With a crafty madness he keeps aloof.”

Exit Rosencrantz and Guildenstern

King: “Sweet Gertrude, we have sent for Hamlet, that he may here affront Ophelia.  Her father and myself will so bestow ourselves that, seeing unseen, we may of their encounter frankly judge if it be the affliction of his love or no that thus he suffers for.”

Queen: “For your part, Ophelia, I do wish that your good beauties be the happy cause of Hamlet’s wildness.”

Polonius: “Ophelia, walk you here.  We will bestow ourselves.”

                 “I hear him coming; let’s withdraw, my lord.”

Hamlet: “To be, or not to be – that is the question; whether tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles, and by opposing end them?  To die, to sleep – no more; and by a sleep to say we end the heart-ache and the thousand natural shocks that flesh is heir to.  Tis a consummation devoutly to be wished.  To die, to sleep; To sleep, perchance to dream.  Ay, there’s the rub; for in that sleep of death what dreams may come, when we have shuffled off this mortal coil, must give us pause.  There’s the respect that makes calamity of so long life; for who would bear the whips and scorns of time, the oppressor’s wrong, the proud man’s contumely, the pangs of despised love , the law’s delay, the insolence of office, and the spurns that patient merit of the unworthy takes, when he himself might his quietus make with a bare bodkin?  Who would these fardels bear, to grunt and sweat under a weary life, but that the dread of something after death – the undiscovered country, from whose bourn, no traveller returns – puzzles the will, and makes us rather bear those ills we have than to fly to others that we know not of?  Thus conscience does make cowards of us all; and thus the native hue of resolution is sicklied over with the pale cast of thought, and enterprises of great pitch and moment, with this regard, their currents turn awry and lose the name of action. – soft, the fair Ophelia – Nymph.”

Ophelia: “My lord, I have some remembrances of yours that I have longed to re-deliver.  I pray you now receive them.”

Hamlet: “No, not I; I never gave you aught.”

Ophelia: “My honoured lord, you know right well you did, and with them words of so sweet breath composed as made the things more rich; take these again; for to the noble mind rich gifts wax poor when givers prove unkind.  There, my lord.”

Hamlet: “Ha, Ha!  Are you honest?”

Ophelia: “My lord?”

Hamlet: “Are you fair?”

Ophelia: “What means your lordship?”

Hamlet: “Ay, truly the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness.  I did love you once.”

Ophelia: “Indeed, my lord, you made me believe so.”

Hamlet: “You should not have believed me.  I loved you not.”

Ophelia: “I was the more deceived.”

Hamlet: “Get thee to a nunnery.  Why wouldst thou be a breeder of sinners?  I am myself indifferent honest, but yet I could accuse me of such things that it were better my mother had not bourne me: I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in.  We are arrant knaves, all; believe none of us.  Go thy ways to a nunnery. Where’s your father?”

Ophelia: “At home, my lord.”

Hamlet: “Let the doors be shut upon him, that he may play the fool nowhere but in his own house.  Farewell.”

Ophelia: “O, help him, you sweet heavens!”

Hamlet: “If thou dost marry, I’ll give thee this plague for thy dowry: be thou as chaste as ice, as pure as snow.  Get thee to a nunnery, go, farewell.  Or if thou wilt needs marry, marry a foul; for wise men know well enough what monsters you make of them.  To a nunnery, go; and quickly too.  Farewell.”

Ophelia: “O, heavenly powers, rescue him!”

Hamlet: “I say we will have no more marriage: those that are married already, all but one, shall live; the rest shall keep as they are.  To a nunnery go.

Exit Hamlet

Ophelia: “O, what a noble mind is here overthrown.  And I now see that noble and most sovereign reason out of time and harsh.  O, woe is me to have seen what I have seen, to see what I see.

Enter King and Polonius

King: “Love!  His affections do not that way tend; nor what he spoke was not like madness.  There is something in his soul over which his melancholy sits on brood.  I have in quick determination thus set it down: he shall with speed to England for the demand of our neglected tribute.  .  Happily the sea and countries different shall expel this something settled matter in his heart.  What think you on it?”

Polonius: “It shall do well.  But yet I do believe his grief sprung from neglected love.  After the play let his queen mother all alone entreat him to show his grief, and I’ll be placed in the ear of their conference.”

King: “It shall be so: madness in great ones must not unwatched go.

Analysis

Rosencrantz and Guildenstern have no real answers for the king and queen, except to say that ‘with a crafty madness, does he keep aloof.’  However, they do inform the royal couple of Hamlet’s enthusiasm over the arrival of the players and the king replies that he will certainly attend the evening’s production.  The king then announces to the queen the plot that he and Polonius have concocted to so bestow themselves unseen in order to spy on Hamlet and thus determine if Polonius is right about his affliction being related to his love of Ophelia.  Several times throughout the play Polonius attempts his devious hiding and spying as a means for ascertaining Hamlet’s state of mind.  He and the king will overhear the ‘To Be Or Not To Be’ solilique.

This is the most famous passage, spoken by the most famous character in the most famous play that was ever written by the most famous author of all time.  It starts with four different words used in a sentence of six words in length.  All four words are single syllables.  Three of them have only two letter each.  The fourth has three letters.  A child knows all four words by the time they are two years old.  The language could not possibly be simpler.  Yet the expression is as profound as any ever uttered.  To be or not to be.  Indeed, that is the question.  This is a solilique about life or death and which is the better option.  The entire issue is peeled open in these four different simple little words: To be or not to be.  We must first consider the several shocks that have led Hamlet to this speech.  First there was the death of his dear father.  Second was the hasty marriage of his mother to his uncle.  Next, his father’s ghost has appeared to him.  Then, as if that were not all enough, he learns from said ghost of father that his death was the result of having been murdered by the same uncle who has married his mother.  We also know that, according to her father’s dictate, Ophelia has suddenly withheld herself and her love entirely from Hamlet.   We would also be wise to consider that Hamlet, Fortinbras and Shakespeare himself all lost their fathers just before this play commences.  Shakespeare also recently lost his only son.

So let’s proceed through the solilique logically, line by line.  Having established at the outset that ‘TO BE OR NOT TO BE’ is essentially THE QUESTION, Hamlet enquires further: ‘WHETHER TIS NOBLER IN THE MIND TO SUFFER THE SLINGS AND ARROWS OF OUTRAGEOUS FORTUNE OR TO TAKE ARMS AGAINST A SEA OF TROUBLES, AND BY OPPOSING END THEM’.  That is merely a lengthier way of asking ‘to be or not to be’.  Do we simply suffer our way through the ‘SLINGS AND ARROWS OF OUTRAGEOUS FORTUNE’ this life presents us with or do we TAKE UP ARMS and kill ourselves?  That remains the question.  Next, Hamlet begins to examine what the consequence of killing ourselves might be: ‘TO DIE.  TO SLEEP’.  And with such sleep we might just be done with ‘THE HEART-ACHE AND THE THOUSAND NATURAL SHOCKS THAT FLESH IS HEIR TO’.  Sounds pretty promising.  In fact ‘TIS A CONSUMMATION DEVOUTLY TO BE WISHED.  TO DIE, TO SLEEP’.  Who does not love a good sleep?  If that is all death is then we might indeed devoutly wish for it.  ‘TO SLEEP, PERCHANCE TO DREAM.  AY, THERE’S THE RUB.  FOR IN THAT SLEEP OF DEATH WHAT DREAMS MAY COME WHEN WE HAVE SHUFFLED OFF THIS MORTAL COIL.  MUST GIVE US PAUSE.  A good sleep is great… but what if we dream?  Who can say what dreams might come!  That is surely enough to give us pause.  We certainly cannot control our dreams.  Earlier in the play Hamlet said that he ‘could be bounded in a nutshell and count himself a king of infinite space, where it not that he has bad dreams.”  The afterlife could well be a sleep full of horrible dreams.  We just don’t know.  But it certainly must give us pause before acting.  ‘THERE’S THE RESPECT THAT MAKES CALAMITY OF SO LONG A LIFE’.  What a calamitous life we must continue to endure with respect to those bad dreams we might experience if we killed ourselves.  ‘FOR WHO WOULD BEAR THE WHIPS AND SCORNS OF TIME, THE OPPRESSOR’S WRONG, THE PROUD MAN’S CONTUMELY (contemptuous language), THE PANGS OF DESPISED LOVE, THE LAW’S DELAY, THE INSOLENCE OF OFFICE, AND THE SPURNS THAT PATIENT MERIT OF THE UNWORTHY TAKES, WHEN HE HIMSELF MIGHT HIS QUIETUS (end) MAKE WITH A BARE BODKIN (an unsheathed dagger)?  WHO WOULD THESE FARDELS (burdens) BEAR, TO GRUNT AND SWEAT UNDER A WEARY LIFE, BUT THAT THE DREAD OF SOMETHING AFTER DEATH – THE UNDISCOVERED COUNTRY, FROM WHOSE BOURNE NO TRAVELLOR RETURNS – IT PUZZLES THE WILL, AND MAKES US RATHER BEAR THOSE ILLS WE HAVE THAN TO FLY TO OTHERS THAT WE KNOW NOT OF?’  That seems a mouthful but merely suggests that considering all of the trials and tribulations of this world, who would bear it but for the fear of what might be worse after death, a place we know nothing about.  This fear of the unknown, beyond our death, makes us bear the trauma of this life rather than fly to something we know nothing about.  We lack the courage to face the unknown and therefore we endure the troubles of this life.  ‘THUS CONSCIENCE DOES MAKE COWARDS OF US ALL.’  By conscience Shakespeare is referring to our thinking.  In Act II Hamlet states that ‘there is nothing either good or bad, but thinking makes it so’.  We cannot easily act in this life because we think upon things so much that our thoughts frighten us into a state of indecision and paralysis.  Our premature death requires action on our part, the act of killing ourselves, but our thinking prevents action and thus makes cowards of us all.  To get there (death) requires action, which thinking makes impossible, so the proposition becomes circular and hopeless.  We have a lack of power in this life, subjected as we are to a whole slew of endless injustices and indignities.  Our suicide would be an empowering act, desirable as an escape from the slings and arrows, the whips and scorns, the natural shocks, the scorn, the despised love etc., but for the thinking, which creates a fear of what might be worse, awaiting us in death.  No one has ever returned from death to tell us what we might expect.  ‘THUS THE NATIVE HUE OF RESOLUTION IS SICKLIED OVER WITH THE PALE CAST OF THOUGHT, AND ENTERPRIZES OF GREAT PITCH  AND MOMENT, WITH THIS REGARD, THEIR CURRENTS TURN AWRY AND LOSE THE NAME OF ACTION’.  So our resolution is destroyed by our frightful thoughts and any action we may have considered in the face of those thoughts lose the name of action.  We think our way into an inability to act.  Hamlet, the great Renaissance philosopher-thinker, is exactly in this state of conscience inspired inactivity.  He is trapped in his own mind and can no more kill himself than he can kill his uncle and avenge his father’s death.  His inability to take action leaves him moody, melancholic and bordering on madness.  His life has become repugnant to him, as he has sworn to the ghost that he would revenge his father’s murder.  Failure to act becomes Hamlet’s fatal flaw.  Yet Hamlet never uses the words I or me in this famous passage.  It is an understanding for all of us to consider, audience and players alike.  In Act I Hamlet mourns the fact ‘that the Everlasting (God) had not fixed his canon against self-slaughter.’  In other words, too bad that God has made it a sin to commit suicide, as Hamlet is prevented from killing himself both religiously and philosophically.  

Immediately after this solilique, Hamlet encounters Ophelia.  The king and Polonius are secretly watching and listening in.  She wishes to return certain ‘remembrances’ of his but he insists he never gave her anything.  He asks her if she is fair and honest and wanes philosophical about honesty and beauty.  Then he admits that he did love her once but then claims in the next breath that he never did.  Finally he launches into an impassioned  suggestion that she get herself to a nunnery, rather than be a breeder of sinners, indicating that he himself is the most errant of knaves. A significant turning point is when he asks where her father is, the implication being that he knows darn well that the meddler is right there listening to them.  When she says that her father is at home he explodes with a vengeance.  He may have just learned that Ophelia is in league with her father and his uncle.  Between this and his mother’s marriage to his uncle, he has lost his faith in women: “Marry a fool, for wise men know well enough what monsters you make of them!  To a nunnery, go, and quickly!”  Ophelia believes that he is mad: “O, what a noble mind is here overthrown… woe is me to have seen  what I have seen, to see what I see.”  The king is convinced that his condition has nothing to do with Ophelia and determines to have him sent to England.  Polonius is not convinced and plans his next opportunity to once again hide behind an arras, this time in Hamlet’s mother’s room. It will be his final scene.

Act III

Scene ii

Elsinore Castle

Hamlet: “Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; nor, do not saw the air too much with your hands thus. You must acquire and beget a temperance that may give it smoothness.  O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings.  I would have such a fellow whipped.  Pray you avoid it.

1 Player: “I warrant your honour.”

Hamlet: “Be not too tame neither, but let your own discretion be your tutor.  Suit the action to the word, the word to the action; with this special observance, that you over-step not the modesty of nature; hold, as it were, the mirror up to nature; to show virtue her own feature.  O there be players who imitate humanity abominably.

1 Player: “I hope we have reformed that, sir.”

Hamlet: “O, reform it altogether.  And let those that play your clowns speak no more than is set down for them.  Go, make you ready.”

Enter Polonius

Hamlet: “How now, my lord!  Will the king hear this piece of work?”

Polonius: “And the queen too, and presently.”

Hamlet: “Bid the players make haste.  Ho, Horatio!”

Exit Polonius

Horatio: “Here, sweet lord, at your service.”

Hamlet: “Horatio, thou art as just a man as ever my conversation coped withal.

Horatio: “O, my dear lord.”

Hamlet: “Nay, do no think I flatter… Give me that man who is not passion’s slave, and I will wear him in my heart’s core, ay, in my heart of hearts, as I do thee.  There is a play tonight before the king; One scene of it comes near the circumstance which I have told thee of my father’s death.  I pray thee, when thou seest that act afoot, observe my uncle.  If his occulted guilt does not itself unkennel in one speech, it is a damned ghost  that we have seen, and my imaginations are foul.  Give him heedful note; For I mine eyes will rivet to his face; after, we will both our judgements join in censure of his seeming.”

Horatio: “Well, my lord.”

Enter King, Queen, Polonius, Ophelia, Rosencrantz and Guildenstern and others

King: “How fares our cousin Hamlet?”

Hamlet: “Excellent.”

               (to Polonius) “My lord, you played once in the university, you say?”

Polonius: “That did I, my lord, and was accounted a good actor.”

Hamlet: “What did you enact?”

Polonius: “I did enact Julius Caesar; I was killed in the capitol; Brutus killed me.”

Hamlet: “It was a brute part of him to kill so capital a calf there.  Be the players ready?”

Rosencrantz: “Ay, my lord.”

Queen: “Come hither, my dear Hamlet, sit by me.”

Hamlet: “No, good mother, here is metal more attractive.” (sits by Ophelia)

               “Lady, shall I lay in your lap?” (to Ophelia)

Ophelia: “No, my lord.”

Hamlet: “I mean, my head upon your lap. Did you think I meant country matters?”

Ophelia: “I think nothing, my lord.”

Hamlet: “That’s a fair thought to lie between maid’s legs.”

Ophelia: “You are merry, my lord.”

Hamlet: “O God, what should a man do but be merry?  Look you how cheerfully my mother looks, and my father died within two hours.”

Ophelia: “Nay, tis twice two months, my lord.”

Hamlet: “So long? Nay then, let the devil wear black.  O heavens!  Died Two months ago and not forgotten yet.”

Trumpets sound.  The dumb show begins

Enter a king and a queen, very lovingly; the queen embraces him and he her.  He lies down on a bank of flowers; she, seeing him asleep, leaves him.  Anon comes in a fellow, takes off his crown, kisses it, pours poison in the sleeper’s ears, and leaves him.  The queen returns and finds the king dead.  The poisoner comes in again, seeming to console with her.  The poisoner woos the queen; she in the end accepts his love.

Ophelia: “What means this, my lord?”

Hamlet: “It means mischief.”

Enter the player king and queen

Player King: “Faith, I must leave thee, love, and shortly too.”

Player queen: “O, confound the rest!  Such love must needs be treason in my breast.  In second husband let me be accursed!  None wed the second but who killed the first.  The instances  that second marriage move are base respects of thrift, but none of love.  A second time I kill my husband dead, when second husband kisses me in bed.”

Hamlet: “Madam, how like you this play?”

Queen: “The lady doth protest too much, me thinks.”

King: “Have you heard the argument?  Is there no offence in it?”

Hamlet: “No, no; they do but jest.”

King: “What do you call the play?”

Hamlet: “The Mousetrap.”

               “Begin murderer.  Come; the croaking raven doth bellow for revenge.”

Lucianus: “Thoughts black, hands apt, drugs fit, and time agreeing; confederate season, else no creature seeing; thou mixture rank, of midnight weeds collected, thrice blasted, thrice infected, wholesome life usurps immediately.” (pours the poison in his ear)

Hamlet: “He poisons him in the garden.  His name is Gonzago.  You shall see anon how the murderer gets the love of Gonzago’s wife.”

Ophelia: “The king rises.”

Queen: “How fares my lord?”

King: “Give me light!  Away!”

Polonius: “Lights, lights, lights.”

Exit all but Hamlet and Horatio

Hamlet: “O good Horatio, I’ll take the ghost’s word for a thousand pound.  Didst perceive?”

Horatio: “Very well, my lord.”

Hamlet: “Upon the talking of the poisoning.”

Horatio: “I did very well note him.”

Hamlet: “Ah ha!  Come, some music.”

Enter Rosencrantz and Guildenstern

Guildenstern: “Good my lord, vouchsafe me a word with you.  The king, sir.”

Hamlet: “Ay, sir, what of him?”

Guildenstern: “He is in his retirement, marvellous distempered with choler.  The queen, your mother, is in most great affliction of spirit, hath sent me to you.”

Rosencrantz: “She desires to speak with you.  My lord, what is your cause of distemper?”

Hamlet: “O, the recorder.  Let me see one.  Will you play upon this pipe?  Why do you go about to recover the wind of me?” 

Guidenstern: “O my lord, if my duty be too bold, my love is too unmannerly.”

Hamlet: “Will you play upon this pipe?”

Guildenstern: “My lord, I cannot.”

Hamlet: “I do beseech you.”

Guildenstern: “I know no touch of it, my lord.”

Hamlet: “It is as easy as lying.”

Guildenstern: “But these cannot I command to any utterance of harmony.  I have not the skill.”

Hamlet: “Why look you now, how unworthy a thing you make of me!  You would play upon me; you would pluck out the heart of my mystery.  Do you think I am easier to be played on than a pipe?

Enter Polonius

Polonius: “My lord, the queen wold speak with you, and presently.”

Hamlet: “I will come by and by.”

Polonius: “I will say so.”

Hamlet: “’By and by’ is easily said.”

Exit all but Hamlet

Hamlet: “Tis now the very witching hour of night, when churchyards yawn, and hell itself breathes out contagion to this world.  Now could I drink hot blood, and do such bitter business as the day would quake to look on.  Soft!  Now to my mother.  Oh heart, lose not thy nature; Let me be cruel, not unnatural; I will speak daggers to her, but use none.  My tongue and soul in this be hypocrites.

Analysis

From throughout all of the Shakespeare plays here is the scene where we see the Bard himself speaking most unabashedly.  He assumes the role of Hamlet, which is likely the character most associated with who we know William Shakespeare to be: intelligent, philosophical and profoundly witty.  Hamlet is addressing the players on the subject of acting, of all things, as though he is a playwright or actor himself.  We have already seen the lead player demonstrate his considerable ability earlier in the scene with Priam’s death before Hecuba.  And yet here, the lead actor listens to Hamlet as an actor would a playwright or director.  Shakespeare, as Hamlet, implores the lead actor to ‘speak the speech as I pronounced it to you… trippingly on the tongue… do not saw the air too much with your hands…beget a temperance that may give it smoothness… be not too tame… suit the action to the word and the word to the action… overstep not the modesty of nature… hold the mirror up to nature….”  Further, he claims to “be offended to the soul” by actors who might “tear a passion to tatters”, claiming that he would have such a fellow whipped!  Great stuff from the Bard on the profession he knew best.  Along with Prospero releasing his muse in the final play attributed to him alone, The Tempest, this is Shakespeare’s most obvious voice being unleashed in his own written work, at least beyond the sonnets.  Hamlet seems something of an expert on acting.  What we know is that he is acting throughout much of this play.  Interesting that Shakespeare has him lecture the actors on their very own profession.  This certainly speaks volumes on Hamlet the actor and Shakespeare the playwright, brought together in this scene of the play within the play.  There is a focus on Hamlet as actor in both senses of the word.  He is very clearly familiar with the theatricality of the acting profession in both his delivery of advice to the players and his assuming to be mad to members of the court and he is doing his very best to be a man of action, with somewhat less success. 

Hamlet has utter respect and admiration for his dear friend, Horatio.  He is clear headed and rational when speaking to Horatio, with no signs whatsoever of madness.  It is only after the king arrives to see the play that Hamlet feigns madness once again.  When his uncle asks him how he is Hamlet’s response is “Excellent, in faith; of the chameleon’s dish.  I eat the air, promised crammed; you cannot feed capons so.”  The king’s only response is “I have nothing with this answer, Hamlet.  He continues his persona of madness with his crude remarks to Ophelia throughout the scene.  

Hamlet is very excited to trap the king into demonstrating his guilt upon watching the scene play out of the murder of a king by a relative who pours poison into the king’s ear.  He and Horatio are watching King Claudius closely for his reaction, so they can confirm the validity of the ghost.  In the previous scene it was Claudius who attempted to trap Hamlet by hiding and spying on Hamlet to ascertain the reason for his apparent madness.  In fact, Claudius’ response to the play within a play is quite dramatic indeed, except, that it is the nephew who kills his uncle.  So is Claudius unnerved because of the suggestion that his nephew, Hamlet, is plotting his death or is he, in fact guilty for murdering Hamlet’s father?  Hamlet is very excited after the king leaves the performance, believing that his reaction is proof enough of his guilt. “O good Horatio, I’ll take the ghost’s word for a thousand pound.”

When Rosencrantz asks Hamlet directly what the cause of his distemper is, Hamlet lets Guildenstern have it, asking him to play the recorder, and, when Guildenstern claims he cannot play the recorder, Hamlet asks if he thinks he is as easily played as a recorder.  He has had it with these former friends in the service of the king and queen.  They have sealed their own fate.  

Hamlet ends this scene in a final solilique about being called to see his mother.  “Let me be cruel but not unnatural. I will speak daggers to her, but use none.”  The ghost has earlier declared to him that he should “taint not thy mind, nor let thy soul contrive against thy mother.  Leave her to heaven.”  So Hamlet may plan to kill his uncle, the king, but he must leave the fate of his mother to God.  He must be cruel to be kind.

Act III

Scene iii

Elsinore Castle

Enter King, Rosencrantz and Guildenstern

King: “I like him not; nor stands it safe with us to let his madness range.  He to England shall along with you.”

Rosencrantz: “Never alone did the king sigh, but with a general groan.

King: “Arm you, I pray you, to this speedy voyage.”

Rosencrantz: “We will haste.”

Exit Rosencrantz and Guildenstern

Polonius: “My lord, he is going to his mother’s closet.  Behind the arras I will convey myself to hear the process.  I will call upon you ere you go to bed and tell you what I know.” 

King: “Thanks, dear my lord.”

Exit Polonius

King: “O my offence is rank, it smells to heaven; It hath the primal eldest curse upon it – a brother’s murder!  Pray can I not though inclination be as sharp as will.  My stronger guilt defeats my strong intent.  Is there not rain enough in the sweet heavens to wash it white as snow?  What sort of prayer can serve my turn?  ‘Forgive me my foul murder!’  That cannot be since I am still possessed of those effects for which I did the murder – my crown, mine own ambition and my queen.  May one be pardoned and retain the offence?  O wretched state!  O bosom black as death!  Help angels.  Bow, stubborn knees; and heart, with strings of steel.”

He kneels

Enter Hamlet

Hamlet: “Now might I do it pat, now he is praying; and now I’ll do it – and so he goes to heaven, and so am I revenged.  A villain kills my father, and for that, I, his sole son, do this same villain send to heaven.  To take him in the purging of his soul, when he is fit and seasoned for his passage?  No.  Up, sword. When he is drunk asleep, or in his rage; or in the incestuous pleasure of his bed; at game, a swearing, or about some act that has no relish of salvation in it – then trip him, that his heals may kick at heaven, and that his soul may be as damned and black as hell, whereto it goes.

King: “My words fly up, my thoughts remain below.  Words without thoughts never to heaven go.

Analysis

After the play within the play King Claudius has decided that Hamlet is simply too dangerous and unpredictable to have around the castle, so he determines that Rosencrantz and Guildenstern should accompany him to England.

Hamlet has resolved, since the play, that Claudius is, in fact, guilty of the crime of murdering his father.  So while the king is praying Hamlet comes up behind him but decides he cannot kill him while he prays, or his soul will ascend to heaven.  This would be, to Hamlet, an inadequate revenge and so it seems that Hamlet is suddenly not satisfied to rid his uncle of this temporal realm but also wants to ensure his whereabouts in the next world as well.  He won’t just kill his body but wants to destroy his soul.  His father was killed by Claudius without the opportunity to amend his soul and hence wanders in an agonizing afterlife.  The idea of sending Claudius to heaven is not acceptable to Hamlet.  He will wait for what he considers a better opportunity to damn both body and soul.  His philosophical quandary just plunged deeper.  He now has one more reason why he simply cannot act.  Or perhaps he simply cannot kill another soul.

Meanwhile Claudius wants desperately to cleanse himself of the crime he admits privately to having committed: “My offence is rank, it smells to heaven… a brother’s murder.”  He cannot reasonably pray for forgiveness while he possesses his crown, his ambition and his queen.  He asks the angels for help and instructs his knees to bow just as Hamlet arrives, unable to act.

Act III

Scene iv

The Queen’s Room

Enter the Queen and Polonius

Polonius: “I’ll silence me here.”

Hamlet: “Mother, mother, mother!”

Queen: “Withdraw, I hear him coming.”

Enter Hamlet

Hamlet: “Now mother, what’s the matter?”

Queen: “Hamlet, thou hast thy father much offended.

Hamlet: “Mother, you have my father much offended.

Queen: “Why, how now, Hamlet.  Have you forgotten me?”

Hamlet: “No, not so.  You are the Queen, your husband’s brother’s wife; and – would it were not so! – you are my mother.  Come, come, and sit you down; you shall not budge.  You go not until I set you up a glass where you may see the inmost part of you.”

Queen: “What wilt thou do?  Thou wilt not murder me?  Help!  Help!  Ho!”

Polonius: (from behind the arras) “What! Ho, help, help, help!”

Hamlet: (drawing his sword) “How now!  A rat?”

               (kills Polonius through the curtain)

Polonius: “O, I am slain!”

Queen: “O me, what hast thou done?”

Hamlet: “Nay, I know not; Is it the King?”

Queen: “O, what a rash and bloody deed is this!”

Hamlet: “A bloody deed! – almost as bad, good mother, as to kill a king and marry with his brother.”

Queen: “As kill a king?”

Hamlet: Ay, lady, it was my word.”

Hamlet parts the arras and sees Polonius dead.

Hamlet: “Thou wretched, rash, intruding fool, farewell!  I took thee for thy better. Peace, mother, sit you down, and let me wring your heart; for so I shall, if it be made of penetrable stuff.

Queen: “What have I done that thou dar’st wag thy tongue in noise so rude against me?”

Hamlet: “Such an act that blurs the grace and blush of modesty; calls virtue hypocrite; takes off the rose from the fair forehead of an innocent love, and sets a blister there; makes marriage-vows as false as dicers’ oaths.

Queen: “Ay me, what act?”

Hamlet: “Look here upon this picture and upon this, two brothers.  See what a grace was seated on this brow; Hyperion’s curls the front of Jove himself; an eye like Mars, a station like the herald Mercury.  This was your husband.  Look you now what follows: Here is your husband, like a mildew’d ear.  Have you eyes?  You cannot call it love; for at your age the heyday in the blood is tame and waits upon the judgment; and what judgment would step from this to this?  Sense, sure, you have, but sure that sense is apoplex’d; for madness would not err, to serve in such a difference.  O shame!  Where is thy blush?

Queen: “O Hamlet, speak no more!  Thou turn’st my eye into my very soul; and there I see such black and grained spots as will not leave their tinct.”

Hamlet: Nay, but to live in the rank sweat of an enseamed bed, making love over the nasty sty!

Queen: “O, speak to me no more!  These words like daggers enter in my ears; no more, sweet Hamlet.”

Hamlet: “A murderer and a villain!  A slave that is not twentieth part the tithe of your precedent lord; a vice of kings.”

Queen: “No more.”

Enter the ghost

Hamlet: “What would your gracious figure?”

Queen: “Alas, he’s mad!”

Hamlet: “Do you not come to your tardy son to chide, that, lapsed in time and passion, lets go by the important acting of your dread command?  O, say!”

Ghost: “Do not forget; this visitation is but to whet thy almost blunted purpose.  But look, amazement on thy mother sits.  O, step between her and her fighting soul!  Speak to her, Hamlet.”

Hamlet: “How is it with you, lady?”

Queen: “Alas, how is it with you; that you do bend your eye on vacancy; and with the incorporal air do hold discourse?  O, gentle son, upon the heat and flame of thy distemper sprinkle cool patience!  Whereon do you look?

Hamlet: “On him, on him!  Do you see nothing there?

Queen: “Nothing at all; yet all that is I see.

Hamlet: “Nor did you nothing hear?”

Queen: “No, nothing but ourselves.”

Hamlet: “Why, look you there.  Look how it steals away, my father, in the habit as he lived.”

Queen: “This is the very coinage of your brain.”

Hamlet: “It is not madness that I uttered.  Mother, for love of grace, lay not that flattering unction to your soul, that not your trespass but my madness speaks. Confess yourself to heaven: repent what’s past; avoid what is to come; and do not spread the compost on the weeds, to make them ranker.

Queen: “O Hamlet, thou hast cleft my heart in twain.”

Hamlet: “O, throw away the worser part of it, and live the purer with the other half.  Goodnight – but go not to my uncle’s bed; assume a virtue, if you have it not.  Refrain tonight; and that shall lend a kind of easiness to the next abstinence; the next more easy.  Good night.  I must be cruel only to be kind.  One more word, good lady.”

Queen: “What shall I do?”

Hamlet: “By no means let the bloated king tempt you again to bed; pinch wanton on your cheek: call you his mouse; make you to ravel all this matter out, that I essentially am not in madness, but mad in craft.

Queen: “Be thou assured , if words be made of breath and breath of life, I have no life to breathe what thou hast said to me.”

Hamlet: “I must to England; do you know that?”

Queen: “Tis so concluded on.”

Hamlet: “There’s letters sealed; and my two school fellows, whom I will trust as I will adders fang’d – they bear the mandate; they must marshal me to knavery.  O, tis most sweet when in one line two crafts directly meet.  This man shall set me packing.  I’ll lug the guts into the neighbouring room.  Mother, good night.  Indeed, this counsellor is now most still, most secret, and most grave, who was in life a foolish prating knave.  Come, sir, to draw toward an end with you.  Good night, mother.”

Hamlet tugs Polonius’ body away

Analysis

What is Hamlet hoping to accomplish in this encounter with his mother?  Is he seeking additional confirmation of his uncle’s guilt?  Does he want to establish his mother’s level of complicity is his uncle’s crime?  Or would he merely like to win his mother over to his side once he has attained the revenge he seeks?  What he actually does is encourage his mother to repent her union with his uncle and insist that she forego future intimacy with him.  This scene has led many to connect Hamlet to Freud’s Oedipus Complex, a full 300 years prior to its conception in 1899.  Freud himself referred to Hamlet in the section of ‘The Interpretation of Dreams’ that directly introduces the very idea of the Oedipus Complex, in which a young man so unconsciously desires his mother that he slays his father in order to sexually enjoy his mother.  Hamlet does not sleep with his mother but may be the first modern literary character to demonstrate the unconscious desire to remove his mother’s husband from her carnal desires.  Freud claimed Hamlet was the first quintessential fictional  persona complete with a repressed sexual desire for his mother.  The Queen herself is at first defensive and accusatory, next afraid for her very life, and then shocked at Hamlet’s murder of Polonius, disbelieving of Hamlet’s encounter with the ghost, and finally she is contrite and even willing to help him.  He weakens her further and further into a state of acceptance and compliance.  This says much about the character and nature of the Queen, who turned to Claudius so soon after her husband’s death and adapts quickly to Hamlet’s point of view in this scene, although she may merely be placating Hamlet, which explains why she immediately reports his behaviour to Claudius after promising not to do so.  The queen has a propensity to be dominated by powerful men, who seem to direct her actions and instruct her on what to think and how to feel.   This would certainly link her thematically to Ophelia, who died in submission to Hamlet’s cruelty.   ‘Frailty, thy name is woman’ indeed.  Is it possible that the Queen was complicit in Claudius’ murder of King Hamlet?  Not likely, given her degree of shock at Hamlet’s suggestions of murder afoot and the ghosts suggestion that he leave her be for heaven to render judgement.

Act IV

Following the play within a play the King decides that Hamlet has to go and arranges to send him, along with Rosencrantz and Guildenstern, to England and his death.  Before he departs Hamlet finally informs the King of Polonius’ rotting whereabouts.  On his way to his ship Hamlet is deeply moved by a battle to be fought between Norway and Poland over a useless plot of land over which twenty thousand men are poised to lose their lives.  Ophelia is found to have been rendered thoroughly mad and Laertes returns home furious and intent on revenge for his father’s murder.   We learn that Hamlet has survived a pirate attack and will return to Elsinore.  Meanwhile, the King and Laertes are plotting their revenge against Hamlet.  Act V will be full, indeed!

Act IV

Scene i

Elsinore Castle

King: “There’s matter in these sighs, these profound heaves.  You must translate; ‘tis fit we understand them.  Where is your son?”

Queen: “Ah, my own lord, what I have seen tonight!”

King: “What, Gertrude?  How does Hamlet?

Queen: “Mad as the sea and wind, when both contend which is the mightier.  In his lawless fit, behind the arras hearing something stir, whips out his rapier, cries ‘a rat, a rat!’ and in this brainish apprehension kills the unseen good old man.”

King: “O heavy deed!  It had been so with us had we been there.  His liberty is full of threats to all – to you yourself, to us, to everyone.  Alas, how shall this bloody deed be answered?  It will be laid to us, whose providence should have kept short, restrained,  and out of haunt, this mad young man.  But so much was our love, we would not understand what was most fit.  Where is he gone?”

Queen: “To draw apart the body he hath killed; over whom his very madness shows himself pure: he weeps for what is done.”

King: “O Gertrude, come away!  The sun no sooner shall the mountains touch but we will ship him hence.  Ho, Guildenstern!  Friends, Hamlet in madness hath Polonius slain, and from his mother’s closet hath he dragged him.  Go seek him out, and bring the body into the chapel.  I pray you haste in this.  Come, Gertrude. We’ll call up our wisest friends and let them know both what we mean to do and what’s untimely done.  O, come away!  My soul is full of discord and dismay.”

Analysis

Immediately following her encounter with Hamlet, the Queen divulges the troubling confrontation to the King.  She did promise Hamlet that she would not report that he is not really crazy and to this alone she remains true, exclaiming to Claudius that he is as ‘mad as the sea and the wind, when both contend which is the mightier.’  Her account of their meeting and Hamlet’s rash killing of Polonius deeply troubles the king, who imagines that it might well could have been him behind that arras.  He decides right there that Hamlet will be shipped off to England.  When all is said and done, the Queen turns Hamlet in to the designs of the King.  She has made her bed.

Hamlet is something less the hero following his murder of Polonius.  He and King Claudius now share a significant characteristic: They have each committed a murder and now Laertes and Ophelia have lost a father at Hamlet’s hands, just as Hamlet has lost his by Claudius’ account.

Act IV

Scene ii

Elsinore Castle

Rosencrantz: “What have you done, my lord, with the dead body?”

Hamlet: “Compounded it with dust, whereto ‘tis kin.”

Rosencrantz: “Tell us where ‘tis, that we may take it hence and bear it to the chapel.”

Hamlet: “Do not believe it.”

Rosencrantz: “Believe what?”

Hamlet: “That I can keep your counsel and be demanded of a sponge.”

Rosencrantz: “Take you me for a sponge?”

Hamlet: “Ay, sir: that soaks up the King’s countenance, his rewards, his authorities.  It is but squeezing you and, sponge, you shall be dry again.”

Rosencrantz: “I understand you not, my lord.”

Hamlet: “I am glad of it; a knavish speech sleeps in a foolish ear.

Analysis

Hamlet makes it clear in this scene that his two school friends are no longer to be trusted.

Act IV

Scene iii

Elsinore Castle

Enter King and attendees

King: “I have sent to seek him, and to find the body.  How dangerous is it that this man goes loose!  Diseases desperate grown by desperate appliance are relieved, or not at all.

Enter Rosencrantz

Rosencrantz: “Where the dead body is bestowed, my lord, we cannot get from him.”

King: “Bring him before us.”

Enter Hamlet and Guildenstern

King: “Now, Hamlet, where is Polonius?”

Hamlet: “At supper.”

King: “At supper!  Where?”

Hamlet: “Not where he eats, but where he is eaten; a certain convocation of politic worms are even at him.”

King: “Where is Polonius?”

Hamlet: “In heaven; send thither to see; if your messenger find him not there, seek him in the other place yourself.  But, if, indeed, you find him not within this month, you shall nose him as you go up the stairs into the lobby.”

King (to attendants): “Go seek him there.”  “Hamlet, this deed, must send thee hence with fiery quickness.  Therefore, prepare thyself; everything is bent for England.”

Hamlet: “For England!”

King: “Ay, Hamlet.”

Hamlet: “Good!”

King: “So it is, if thou knew’st our purposes.”

Hamlet: “Come, for England!  Farewell, dear mother.

King: “Thy loving father, Hamlet.”

Hamlet: “My mother: father and mother is man and wife; man and wife is one flesh; and so, my mother.  Come, for England.”

Exit all but the king

(aside) “Our sovereign letters congruing to that effect the present death of Hamlet.  Do it, England: for like the hectic in my blood he rages.  Till I know ‘tis done, my joys were never begun.” 

Analysis

The king has reached a whole new level of discomfort around Hamlet since ‘the play within the play’ scene: “How dangerous it is that this man goes loose.”  Hamlet toys with his uncle here by being cheeky about where he has stored the body of Polonius.  It makes him seem as mad as his more hostile behaviours.  He also gets a good shot in to Claudius about how if the king’s messengers cannot find Polonius in heaven then the king himself should seek him out in the ‘other place’.  The king tells Hamlet that he is about to be shipped off to England.  Hamlet responds with unbated enthusiasm, whether or not it is genuine or whether or not he understands that he is being sent to his death.  Interestingly, the king must send Hamlet abroad to his death.  What we have learned is that Hamlet is very popular with Danes and Claudius cannot risk arousing the wrath of the masses.  Hamlet’s father was a famous warrior.  Claudius is clearly a rather calculating politician type, more interested in his own personal agenda than anything else.  Regarding the death of Hamlet, the king says: “Do it, England.  Till I know its done, my joys were never begun.”  Alrighty then…

Act IV

Scene iv

A plain in Denmark

Enter Hamlet and a Norwegian Captain

Hamlet: “Good sir, whose powers are these?”

Captain: “They are of Norway, sir.”

Hamlet: “How purposed sir, I pray you?”

Captain: “Against some part of Poland.”

Hamlet: “Who commands them, sir?”

Captain: “The nephew of old Norway, Fortinbras.”

Hamlet: “Goes it against the main of Poland, sir, or for some frontier?”

Captain: “Truly to speak, we go to gain a little patch of ground that hath in it no profit but the name.  I would not farm it; nor will it yield.”  

Hamlet: “Why, then the Polack never will defend it.”

Captain: “Yes, it is already garrisoned.”

Exit Captain

Hamlet: “What is a man, if his chief good and market of his time be but to sleep and feed?  A beast, no more!  I do not know why yet I live to say ‘this thing’s to do’, since I have cause and will and strength and means to do it.  Examples gross as earth exhort me; witness this army, of such mass and charge, exposing what is mortal and unsure to all that fortune, death, and danger dare.  How stand I, then, that have a father killed, a mother stained, excitements of my reason and my blood, and let all sleep, while to my shame I see the imminent death of twenty thousand men, that, for a fantasy and trick of fame, go to their graves like beds, fight for a plot which is not tomb enough to hide the slain?  O, from this time forth my thoughts be bloody, or be nothing worth!

Analysis

As Hamlet is being accompanied to England he encounters a Norwegian army crossing Denmark on the way to fight the Poles.  He is informed by a captain that two large armies will clash over a small piece of land so useless it can’t even be farmed.  Twenty thousand men may likely die in this futile endeavor.  This leads Hamlet to ponder his own inactivity in the face of his father’s demand for revenge when all of these men are willing to die for next to nothing.  This scene harkens back to when the player actually cried while re-enacting Hecuba witnessing the slaughter of her dear Priam by Pyrrhus, during the Trojan Wars.  He is inspired to say that ‘from this time forth, my thoughts be bloody, or be nothing worth.’  Curious that he does not state that his actions be bloody, but rather merely his thoughts.

Act IV

Scene v

Elsinore Castle

Queen: “I will not speak with her.”

Gentleman: “She is importunate, indeed distract.  Her mood will needs be pitied.”

Queen: “What would she have?”

Gentleman: “She speaks much of her father, spurns enviously at straws, speaks things in doubt, that carry but half sense.  Her speech is nothing, yet the unshaped use of it doth move the hearers to collection.  Her winks and nods and gestures make one think there might be thought, though nothing sure, yet much unhappily.

Horatio: “Twere good she were spoken with; for she may strew dangerous conjectures in ill-breeding minds.”

Queen: “Let her come in.”  (aside) “To my sick soul, as sin’s true nature is, each toy seems prologue to some great amiss.  So full of artless jealousy is guilt, it spills itself in fearing to be spilt.

Enter Ophelia, distracted

Ophelia: “Where is the beauteous majesty of Denmark?”

Queen: How now, Ophelia!”

Ophelia: (sings) “He is dead and gone, lady, he is dead and gone; at his head a grass green-turf, at his heels a stone.”

Queen: “Nay, but Ophelia –“

Ophelia: “Pray you mark” (sings) “White his shroud as the mountain snow –“

Enter King

Queen: “Alas, look here, my lord.”

King: “How do you, pretty lady?”

Ophelia: “Well.  Lord, we know what we are, but know not what we may be.”

King: “Pretty Ophelia!”

Ophelia: “I hope all will be well.  We must be patient; but I cannot choose but weep to think they would lay him in the cold ground.  My brother shall know of it.”

King: “Follow her close; give her good watch, I pray you.”

Exit all but King and Queen

King: “O, this is the poison of deep grief; it springs all from her father’s death.  And now behold – O Gertrude, Gertude!  When sorrows come, they come not single spies, but in battalions; first her father slain; next, your son gone, and he most violent author of his own just remove.  Poor Ophelia, divided from herself and her fair judgment, without the which we are mere beasts.  Her brother is in secret come from France, with pestilent speeches of his father’s death; O my dear Gertrude, this, like to a murdering piece, in many places gives me superfluous death.”

A noise within

Queen: “Alack, what noise is this?”

King: “Attend!”

Enter gentleman

King: “Let them guard the door.  What is the matter?”

Gentleman: “Save yourself, my lord.  Young Laertes, in a riotous head, overbears your officers.  The rabble call him lord.  They cry ‘Laertes shall be king.”

King: “The doors are broke.”

Enter Laertes, with others, in arms

Laertes: “Where is this king?  O thou vile king, give me my father.”

Queen: “Calmly, good Laertes.”

Laertes: “That drop of blood that’s calm proclaims me bastard.”

King: “What is the cause, Laertes, that thy rebellion looks so giant-like?  Let him go, Gertrude; do not fear our person.  Laertes, why thou art thus incens’d.  Speak, man.”

Laertes: “Where is my father?”

King: “Dead.”

Queen: “But not by him.”

Laertes: “How came he dead?  I’ll not be juggled with.  To hell, allegiance!  Vows, to the blackest devil!  Conscience and grace, to the profoundest pit!  I dare damnation.  I’ll be revenged, most thoroughly for my father.”

King: “I am guiltless of your father’s death, and am most sensibly in grief for it.”

A noise within

King: “Let her come in.”

Laertes: “How now!  What noise is that?”  

Enter Ophelia

Laertes: O, heat dry up my brains!  Tears seven times salt burn out the sense and virtue of mine eye!  By heavens, thy madness shall be paid with weight!  Dear maid, kind sister, sweet Ophelia!  O heavens!  Is it possible a young maid’s wits should be as mortal as an old man’s life?

Ophelia: (sings) “They bore him barefaced, and in his grave rained many a tear”

                “There’s rosemary, that’s for remembrance; pray you, love, remember. And there is pansies, that’s for thoughts.”

Laertes: “A document in madness – thoughts and remembrances fitted.”

Ophelia: “There’s fennel for you, and columbines.  There’s rue for you; and here’s some for me.  We may call it herb of grace a Sundays.  There’s a daisy.  I would give you some violets, but they’re withered all when my father died.”

Laertes: “Thought and affliction, passion, hell itself, she turns to prettiness.  Do you see this, O God?”

King: “Laertes, I must commune with your grief, or you deny me right.  Make choice of whom your wisest friends you will, and thy shall hear and judge twixt you and me.  If by direct or by collateral hand they find us touched, we will our kingdom give, our crown, our life, and all that we call ours, to you in satisfaction; but if not, be you content to lend your patience to us, and we shall jointly labour with your soul to give it due content.”

Laertes: “Let this be so.”

King: “And where the offence is, let the great axe fall.”

Analysis

The Queen and Horatio observe Ophelia’s madness and we hear news that her brother, Laertes, is arriving incensed.  Polonius’ family has disintegrated.  He is dead, his daughter is mad and his son will seek the revenge for both.  None of them will survive the play.  Laertes arrives and the royal couple attempt to soothe his rage.  Just then, Ophelia arrives, clearly insane and Laertes’ condition plummets further.  The king convinces Laertes that he too grieves for Polonius and that together they will seek justice, and ‘where the offence is, let the great axe fall.’  As Marcellus declared earlier, something is indeed rotten in the state of Denmark.  We know for certain that Claudius has killed the king and then has married Hamlet’s mother, Hamlet has been sent to his apparent death, Polonius has been murdered, Ophelia is insane, the people are murmuring of rebellion and Laertes, with a rabble, has returned, bursting for revenge.  The Kingdom seems to be on the verge of collapse.  Laertes appears in stark contrast to Hamlet.  He is immediately bent on immediate rebellion and revenge for the death of his dear father.  Hamlet has been philosophizing about his dead father for much of the play, despite his father’s demand for revenge on his murderous and incestuous uncle.  Ophelia’s madness is also contrasted to Hamlet’s, one being feigned for effect, the other genuine and stemming from circumstances beyond her control.  Madness is more and more out in the open by Act IV.  We are one short scene away from unearthing the plot between the King and Laertes, which will settle the score and litter a stage with the entirety of Laertes’ and Hamlet’s families, justice be damned.

Act IV

Scene vi

Elsinore Castle

Horatio: “What are they that would speak with me?”

Attendant: “Sea-faring men, sir; they say they have letters for you.”

Horatio: “Let them come in.  I do not know from what part of the world I should be greeted, if not from Lord Hamlet.”

Sailor: “There’s a letter for you, sir; it came from the ambassador that was bound for England.”

Horatio: (reads) “Horatio, when thou shalt have overlooked this, give these fellows some means to the king: they have letters for him.  Ere we were two days old at sea, a pirate of very warlike appointment gave us chase.  Finding ourselves too slow a sail, we put on a compelled valor; and in the grapple I boarded them.  On the instant they got clear of our ship; so I alone became their prisoner.  They have dealt with me like thieves of mercy; but they knew what they did: I am to do a good turn for them.  Let the king have the letters I have sent; and repair thou to me with as much speed as thou wouldest fly death.  I have words to speak in thine ear will make thee dumb.  Rosencrantz and Guildenstern  hold their course for England; of them I have much to tell thee.  Farewell!  He that thou knowest thine, Hamlet. 

Analysis

Horatio learns, in a letter from Hamlet, that he has escaped his fateful rendezvous with England by being taken benevolent prisoner by pirates, who he plans to do right by.  Now we know that Hamlet will be returning to an extremely volatile Denmark.  Next comes the plot and its reckoning.  That’s all that remains.

Act IV

Scene vii

Elsinore Castle

King: “Now must your conscience my acquaintance seal, and you must put me in your heart for friend, that he which hath your noble father slain pursued my life.”

Laertes: “It well appears.  But tell me why you proceeded not against these feats so crimeful and so capital in nature, as by your safety, wisdom, all things else, you mainly were stirred up.”

King: “O, for two special reasons, which may to you, perhaps, seem much unsinewed, but yet to me they are strong.  The Queen, his mother, lives almost by his looks.  She is so conjunctive to my life and soul, that, as the star moves not but in his sphere, I could not but by her.  The other motive, why to a public count I might not go, is the great love the general gender bear him.”

Laertes: “And so have I a noble father lost, a sister driven into desperate terms, whose worth, stood challenger on mount of all the age for her perfections.  But my revenge will come.”

King: “Break not your sleeps for that.  You must not think that we are made of stuff so flat and dull that we can let our beard be shook with danger and think it pastime.  I loved your father.”

Enter a messenger with letters

King: “How now.  What news?”

Messenger: “Letters, my lord, from Hamlet.  These to your majesty; this to the queen.”

King: “From Hamlet!  Who brought them?”

Messenger: “Sailors, my lord.”

King: “Laertes, you shall hear them.”

Exit messenger

King: “High and mighty.  You shall know I am set naked on your kingdom.  Tomorrow I shall beg leave to see your kingly eyes.  Hamlet.”

Laertes: “Let him come; It warms the very sickness in my heart that I shall live and tell him to his teeth ‘thus didest thou’.”

King: “If it be so, Laertes, will you be ruled by me?”

Laertes: “Ay, my lord; You will not overrule me to a peace.”

King: “To thine own peace.  I will work him to an exploit now ripe in my device, under the which he shall not choose but fall; and for his death, even his mother shall call it accident.”

Laertes: “My lord, if you could devise it so that I might be the organ.”

King: “Two months since, here was a gentleman of Normandy.  He made confession of you; and for your rapier most especial that he cried out ‘twould be a sight indeed if one could match you.  Sir, this report of his did Hamlet so envenom with his envy that he could nothing do but wish and beg your sudden coming over , to play with you.  Now, out of this –

Laertes: “What out of this, my lord?”

King: “Laertes, was your father dear to you?”

Laertes: “Why ask you this?”

King: “Hamlet comes back; what would you undertake to show yourself indeed your father’s son more than in words?”

Laertes: “To cut his throat in the church.”

King: “Revenge should have no bounds.  But, good Laertes, will you do this?  Keep close within your chamber.  Hamlet returned shall know you are come home.  We’ll put on those shall praise your excellence, and wager on your head.  He, being remiss, will not peruse the foils, so that you with ease may choose a sword unbated, and, in a pass of practice, requite him for your father.”

Laertes: “I will do it; and for that purpose I’ll anoint my sword.  I bought an unction, so mortal that where it draws blood no cataplasm can save the thing from death that is but scratched withal.  I’ll touch my point with this contagion, that, if I gall him slightly, it may be death.”

King: “Let’s further think of this.  If this should fail, this project should have a back or second.  We’ll make a solemn wager on your cunnings, that, when in your motion you are hot and dry, and that he calls for drink, I’ll have preferred him a chalice whereon but sipping, if he by chance escape your venom’d stuck, our purpose may hold there.  But stay; what noise?”

Enter Queen

Queen: “One woe doth tread upon another’s heel, so fast they follow.  Your sister’s drown’d, Laertes.”

Laertes: “Drown’d! Where?”

Queen: “Fantastic garlands did she make, when down her weedy trophies and herself fell in the weeping brook.  Her clothes spread wide and, mermaid-like, awhile they bore her up; but long it could not be till that her garments, heavy with their drink, pulled the poor wretch from her melodious lay to muddy death.”

Laertes: “Too much of water hath thou, poor Ophelia, and therefore I forbid my tears.  Adieu, my lord.  I have a speech of fire that fain would blaze but that this folly doubts it.  

Exit Laertes

King: “Let’s follow, Gertrude.  How much I had to do to calm his rage!  Now fear I this will give it start again; therefore let’s follow.”

Analysis

The King must justify to an enraged Laertes why he did not hold Hamlet more accountable for the murder of Polonius.  He explains that both the queen and the general populace held him in such high regard that he was concerned about the reaction if he was harsh with Hamlet.  The king learns that Hamlet returns tomorrow and Laertes is thrilled that his revenge can be swift.  They both want Hamlet dead and the conniving king realizes that he can satisfy himself and Laertes by a devising a plot to have Hamlet and Laertes stage a duel in which Laertes’ sword will be unbated, a poison tip will be spread over the tip in the event of even a scratch and a poisonous drink will be prepared for Hamlet when the duelists request a drink.  When the queen arrives with news of Ophelia’s suicidal drowning, Laertes flees in anguish and the king insists they follow him.  Hamlet is returning to a far less stable home than the one he left and to a king more diabolical and scheming than ever before.  The tables are set for a masterful Act V.

Act V

This is likely Shakespeare’s quintessential resolution act.  By the end of this most famous of tragedies, only Horatio, Hamlet’s one true friend, will remain to tell the tale to Fortinbras of the events from Elsinore Castle.  Polonius and Ophelia have already departed for that undiscovered country and Claudius, Gertrude, Laertes, Rosencrantz and Guildenstern will soon follow.  The stage is literally littered with bodies as the curtain comes down.  Appropriately enough, the final act begins in a graveyard, with two irreverent gravediggers preparing Ophelia’s grave.  Laertes and Hamlet end this scene wrestling each other in the grave itself, a precursor to their combat to come, in scene ii.  Hamlet explains to Horatio how he escaped the King’s plot to have him killed in England.  Hamlet is informed of the fencing match arranged between himself and Laertes and he looks forward to healing the wound between them.  In fact, just before they duel, Hamlet asks Laertes for his forgiveness and blames his bad behaviours on his madness, which is a tad curious since he himself suggested earlier in the play that said madness was feigned.   Hamlet achieves two hits upon Laertes and the play rapidly accelerates toward its inevitable conclusion.  Both Hamlet and Laertes wound each other with the poisonous tip of the blade, the queen sips from the tainted chalice and Hamlet and Laertes reconcile just in time for Hamlet to kill the King before his own death.   In the end, Horatio is present to ‘tell Hamlet’s story’ and to receive the Norwegian Fortinbras, who will seemingly inherit the Danish kingdom.

Act V

Scene i

Elsinore / a churchyard

Gravedigger 1: “Is she to be buried in Christian burial when she willfully seeks her own salvation?”

Gravedigger 2: “I tell thee, she is; therefore make her grave straight.”

Gravedigger 1: “How can that be, unless she drowned herself in her own defence.”

Gravedigger 2: “If this had not been a gentlewoman, she should have been buried out a Christian burial.”

Gravedigger 1: “What is he that builds stronger than either the mason, the shipwright or the carpenter?”

Gravedigger 2: “The gallows-maker; for that frame outlives a thousand tenants.”

Gravedigger 1: “I like thy wit well.  In good faith, the gallows does well.  But how does it well?  It does well to those that do ill.  Now thou dost ill to say the gallows is built stronger than the church.  The gallows may do well to thee… When you are asked this question next, say ‘a gravedigger’: the houses he makes last till doomsday.”

The gravediggers sing and dig

Exit gravedigger 1 and enter Hamlet and Horatio

Hamlet: “Has this fellow no feeling of his business, that he sings in grave-making?”

Gravedigger tosses up a skull

Hamlet: “That skull had a tongue in it, and could sing once.  This might be the pate of a politician, one that would circumvent God, might it not?”

Horatio: “It might, my lord.”

Hamlet: “Or of a courtier, which could say ‘Good morrow, sweet lord.  How dost thou, sweet lord’.”

Horatio: “Ay, my lord.”

Gravedigger throws up another skull

Hamlet: “There’s another.  Why may that not be the skull of a lawyer?  Where be his quiddities now, his cases, his tenures, and his tricks?  Why does he suffer this rude knave now to knock him about the sconce with a dirty shovel?  I will speak to this fellow.  Whose grave is this, sirrah?”

Gravedigger: “Mine, sir.”

Hamlet: “I think it be thine indeed, for thou liest in it.”

Gravedigger: “You lie out on it, sir, and therefore tis not yours.  I do not lie in it, yet it is mine.”

Hamlet: “Thou dost lie in it, to be in it and say it is thine; tis for the dead; therefore thou liest.  What man dost thou dig it for?”

Gravedigger: “For no man, sir.”

Hamlet: “What woman, then?”

Gravedigger: “For none neither.”

Hamlet: “Who is to be buried in it?”

Gravedigger: “One that was a woman, sir, but, rest her soul, she’s dead.”

Hamlet: “How absolute the knave is!  How long hast thou been a grave-maker?”

Gravedigger: “I came to it that day that our last King Hamlet overcame Fortinbras, that very day that young Hamlet was born – he that is mad, and sent into England.”

Hamlet: “Ay, marry, why was he sent into England?

Gravedigger: “Why, because he was mad and shall recover his wits there; or, if he does not, tis no great matter there.

Hamlet: “Why?

Gravedigger: “Twill not be seen in him there: there the men are as mad as he.

Hamlet: “How came he mad?”

Gravedigger: “Very strangely, they say.”

Hamlet: “How strangely?”

Gravedigger: “Faith, even with losing his wits.”

Hamlet: “Upon what ground?”

Gravedigger: “Why, here in Denmark.  I have been sexton here, man and boy, thirty years.”

Hamlet: “How long will a man lie in the earth ere he rot?”

Gravedigger: “Faith, if he be not rotten before he die – he will last you some eight or nine year.  A tanner will last you nine year.”

Hamlet: “Why he more than another?”

Gravedigger: “Why, sir, his hide is so tanned with his trade that he will keep out water a great while; and your water is a sore decayer of your whoreson dead body.  Here’s a skull now: this skull has lien you in the earth three and twenty years.”

Hamlet: “Whose was it?”

Gravedigger: “A whoreson mad fellow it was.  Whose do you think it was?”

Hamlet: “Nay, I know not.”

Gravedigger: “A pestilence on him for a mad rogue!  He poured a flagon of Rhenish on my head once.  This same skull, sir, was, sir, Yorick’s skull, the King’s jester.”

Hamlet: “This?”

Gravedigger: “Even that.”

Hamlet: “Let me see. (takes the skull). Alas, poor Yorick!  I knew him, Horatio: a fine fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times.  And now how abhorred in my imagination it is!  My gorge rises at it.  Here hung those lips that I have kissed I know not how oft.  Where be your gibes now, your songs, your flashes of merriment that were wont to set the table on a roar?  Prithee, Horatio, tell me one thing.”

Horatio: “What’s that, my lord?”

Hamlet: Dost thou think Alexander looked he this fashion in the earth?”

Horatio: “Even so.”

Hamlet: “And smelled so? Pah!” (throws down the skull)

Horatio: “Even so, my lord.”

Hamlet: “To what base uses we may return, Horatio!  Why may not imagination trace the noble dust of Alexander till he find it stopping a bung-hole?

Horatio: “Twere to consider too curiously to consider so.”

Hamlet: “But soft! But soft! Awhile.  Here comes the King.  

Enter King, Queen, Laertes, in funeral procession, after the casket, with priest and lords.

Hamlet: “The queen, the coutiers.  Who is this they follow?  And with such maimed rites?  This doth betoken the course they follow did with desperate hand fordo its own life.  Couch we awhile and mark.  (retiring with Horatio)

Laertes: “What ceremony else?”

Hamlet: “This is Laertes; a very noble youth.  Mark.”

Priest: “Her death was doubtful; and, but, that great command oversways the order, she should in ground unsanctified have lodged till the last trumpet.”

Laertes: “Must there no more be done?”  

Priest: “No more be done.”

Laertes: “I tell thee, churlish priest, a ministering angel shall my sister be when thou liest howling.”

Hamlet: “What, the fair Ophelia!”

Queen: “Sweets to the sweet; farewell!” (scattering flowers)  “I hoped thou should’st been my Hamlet’s wife; I thought thy bride-bed to have decked, sweet maid, and not have strewed thy grave.”

Laertes: “O, treble woe fall ten times treble on that cursed head whose wicked deed thy most ingenious sense deprived thee of!  Hold off the earth awhile, till I have caught her once more in mine arms.” (he leaps into the grave)

Hamlet: (advancing) What is he whose grief bears such an emphasis.  This is I, Hamlet the Dane.” (he leaps into the grave) 

Laertes: “The devil take thy soul!” (grapples with Hamlet)

Hamlet: “I prithee take thy fingers from my throat; for, though I am not splentitive and rash, yet have I in me something dangerous, which let thy wiseness fear.  Hold off thy hand.”

King: “Pluck them asunder.”

Queen: :” Hamlet!  Hamlet!”

All: “Gentlemen!”  (the attendants part them)

Hamlet: “I loved Ophelia: forty thousand brothers could not, with all their quantity of love, make up my sum.”

King: “O, he is mad, Laertes.”

Queen: “For love of God, forebear him.”

Hamlet: “Dost come here to whine?  To outface me with leaping in her grave?  I’ll rant as well as thou.”

Queen: This is mere madness.”

Hamlet: “Hear you, sir: What is the reason that you use me thus?  I loved you ever.  But it is no matter.”  

Hamlet exits

King: “I pray thee, good Horatio, wait upon him.”

Exit Horatio

King: (to Laertes) “Strengthen your patience in our last night’s speech; We’ll put the matter to the present push.  Good Gertrude, set some watch over your son.”

Analysis

This graveyard scene is a memorable one.  The gravediggers have outstanding wit, the issue of Ophelia’s burial restrictions are addressed, due to her suicide, Hamlet’s banter with the gravedigger features the skull of ‘alas, poor Yorick’, and Hamlet and Laertes confront each other for the first time since Laertes returned home to find his father dead and his sister mad and then dead, all essentially due to the actions of Hamlet.   This scene also deals directly and light heartedly with the topic of death and makes something of a macabre mockery of Hamlet’s earlier and more serious consideration of the subject in his ‘To be or not to be’ soliloquy.  A most memorable image from this play occurs when Hamlet holds up Yorick’s skull to his face, as he contemplates death on a more serious note once again. 

Act V

Scene ii

Elsinore Castle

Hamlet: “Our indiscretion sometime serves us well, when our deep plots do pall; and that should learn us there’s a divinity that shapes our ends, rough-hew them how we will.

Horatio: “That is most certain.”

Hamlet: “Up from my cabin I fingered their packet and withdrew to mine own room again, to unseal their grand commission; where I found, Horatio, ah, royal knavery!  An exact command that, no leisure bated, no, not to stay the grinding of the axe, my head should be struck off.”

Horatio: “Is it possible?”

Hamlet: “Here’s the commission; read it at more leisure, but wilt thou hear now how I did proceed?”

Horatio: “I beseech you.”

Hamlet: “I sat me down; devised a new commission; wrote it fair.  Wilt thou know the effect of what I wrote?”

Horatio: “Ay, good my lord.”

Hamlet: “England, on the view and knowing of these contents, should those bearers put to sudden death, which was the model of that Danish seal; Now the next day was our sea-fight.”

Horatio: “So Guildenstern and Rosencrantz go to it.”

Hamlet: “Why, man, they did make love to this employment; they are not near my conscience; their defeat does by their own insinuation grow: tis dangerous when the baser nature comes between the pass and fell incensed points of mighty opposites.

Horatio: “Why, what a king is this!”

Hamlet: “Does it not, think thee, stand me now upon – he that hath killed my king and whored my mother; popped in between the election and my hopes; thrown out his angle for my proper life, and with such coz’nage – is it not perfect conscience to quit him with this arm?  And is it not to be damned to let this canker of our nature come in further evil?

Horatio: “It must be shortly known to him from England what is the issue of the business there.”

Hamlet: “It will be short: the interim is mine, but I am very sorry, good Horatio, that to Laertes I forgot myself; for by the image of my cause I see the portraiture of his.  I’ll court his favours.  But sure the bravery of his grief did put me into a towering passion.”

Haratio: “Peace; who comes here?”

Enter Osric, a courier

Osric: “Your lordship is right welcome back to Denmark.”

Hamlet: “I humbly thank you sir.” (aside to Horatio) “Dost know this water-fly?”

Horatio: (aside to Hamlet) “No, my good lord.”

Hamlet: (aside to Horatio) “Thy state is the more gracious; for tis a vice to know him.”

Osric: “I should impart a thing to you from his majesty.  My lord, his majesty bade me signify to you that he has laid a great wager on your head.  Sir, here is newly come to court Laertes: believe me, an absolute gentleman.”

Hamlet: “In the verity of extolment, I take him to be a soul of great article.  What’s his weapon?”

Osric: “Rapier and dagger.  The king, sir, hath laid, sir, that in a dozen passes between yourself and him he shall not exceed you three hits.”

Hamlet: “If it please his majesty let the foils be brought.  I will win for him and I can.”

Enter a lord

Lord: “My lord, his majesty sends to know if your pleasure hold to play with Laertes.”

Hamlet: “I am constant to my purposes; they follow the king’s pleasure: mine is ready now.”

Lord: “The King and Queen and all are coming down.  The Queen desires you to use some gentle entertainment to Laertes before you fall to play.”

Hamlet: “She well instructs me.”

Horatio: “You will lose this wager, my lord.”

Hamlet: “I do not think so.  I have been in continual practice, I shall win at the odds.”

Horatio: “If your mind dislike anything, obey it.

Hamlet: “We defy augury: there is a special providence in the fall of a sparrow.  If it be now, tis not to come; if it be not to come, it will be now; if it be not now, yet it will come – the readiness is all.  Since no man owes of aught he leaves, what is it to leave betimes?  Let be.

Enter King, Queen, Laertes and all of the state.

King: “Come, Hamlet, come, and take this hand from me.” (the King puts Laertes’ hand into Hamlet’s)  

Hamlet: “Give me your pardon, sir: I have done you wrong, but pardon it, as you are a gentleman.  This presence knows, and you must needs have heard how I am  punished with a sore distraction.  What I have done that might your nature, honour and exception, roughly awake, I here proclaim was madness.  Was it Hamlet wronged Laertes?  Never Hamlet.  If Hamlet from himself be taken away , and when he’s not himself does wrong Laertes, then Hamlet does it not.  Hamlet denies it.  Who does it, then?  His madness.  If it be so, Hamlet is of the faction that is wronged; his magic is poor Hamlet’s enemy.”

Laertes: “I am satisfied in nature, whose motive in this case should stir me most to my revenge; but in my terms of honour I stand aloof, and will no reconcilement till by some elder masters of known honour I have a voice and precedent of peace to keep my name ungored – but till that time I do receive your offered love , and will not wrong it.”

Hamlet: “I embrace it freely; and will this brother’s wager frankly play.  Give us the foils.  Come on.”

King: “Give them the foils.  Cousin Hamlet, you know the wager?”

Hamlet: “Very well, my lord; your grace has laid the odds on the weaker side.”

King: “I do not fear it: I have seen you both; but since he’s bettered, we have therefore odds.  Set me the stoups of wine upon that table. If Hamlet give the first or second hit, the king shall drink to Hamlet’s better breath.  Now the King drinks to Hamlet.  Come, begin – and you, the judges, bear a wary eye.”

Hamlet: “Come on, sir.”

Laertes: “Come, my lord.”

They duel

Hamlet: “One.”

Laertes: “No.”

Osric: “A hit, a very palpable hit.”

Laertes: “Well, again.”

King: “Stay, give me drink.  Hamlet, this pearl is thine; here’s to thy health.  Give him the cup.”

Hamlet: “I’ll play this bout first; set it by awhile.  Come.”

They duel

Hamlet: “Another hit; what say you?”

Laertes: “A touch, a touch, I do confess it.”

King: “Our son shall win.”

Queen: “The Queen carouses to thy fortune, Hamlet.”

Hamlet: “Good madam.”

King: “Gertrude, do not drink.”

Queen: “I will, my lord.”

King: (aside) “It is the poisoned cup; it is too late.”

Hamlet: “I dare not drink yet, madam; by and by.”

Queen: “Come, let me wipe thy face.”

Laertes: “My lord, I’ll hit him now.” (aside) “And yet it is almost against my conscience.

Hamlet: “Come, for the third, Laertes.”

They duel

Osric: “Nothing, neither way.”

Laertes: “Have at you now!” (Laertes wounds Hamlet; then, in scuffling, they change rapiers, and Hamlet wounds Laertes.)

King: “Part them; they are incensed.”

Hamlet: “Nay, come again.”

The Queen falls

Osric: “Look to the Queen, there, ho!”

Horatio: “They bleed on both sides.  How is it, my lord?”

Osric: “How is it, Laertes?”

Laertes: “I am justly killed with mine own treachery.”

Hamlet: “How does the Queen?”

King: “She swoons to see them bleed.”

Queen: “No, no, the drink, the drink! O my dear Hamlet!  The drink, the drink!  I am poisoned.”

The Queen dies

Hamlet: “O, villainy!  Ho!  Let the door be locked.  Treachery!  Seek it out!”

Laertes falls

Laertes: “It is here, Hamlet.  Hamlet, thou art slain: no medicine in the world can do thee good; in thee there is not half an hour’s life; the treacherous instrument is in thy hand, unbated and envenomed.  The foul practice hath turned itself on me; lo, here I lie, never to rise again.  Thy mother’s poisoned.  I can no more.  The King, the King’s to blame.”

Hamlet: “The point envenomed too!  Then, venom, to thy work.”

Hamlet stabs the king

All: “Treason!  Treason!”

King: “O, yet defend me, friends; I am but hurt.”

Hamlet: “Here thou incestuous, murderous, damned Dane, drink off this potion.  Follow my mother.”

The King dies

Laertes: “He is justly served: it is a poison tempered by himself.  Exchange forgiveness with me, noble Hamlet.  Mine and my father’s death come not upon thee, nor thine on me.’

Laertes dies

Hamlet: “Heaven make thee free of it.!  I follow thee.  I am dead, Horatio.  Wretched queen, adieu!  You that look pale and tremble at this chance, that are but mutes or audience to this act, had I but time, as this fell sergeant Death is strict in his arrest, O, I could tell you – but let it be.  Horatio, I am dead: Thou livest; report me and my cause aright to the unsatisfied.

Horatio: “Never believe it.  I am more an antique Roman than a Dane; Here’s yet some liquid left.”

Hamlet: “As thou art a man, give me the cup.  Let go.  By heaven, I’ll have it.  O God! Horatio, what a wounded name, things standing thus unknown, shall live behind me!  If thou didst ever hold me in thy heart, absent thee from felicity awhile, and in this harsh world draw thy breath in pain, to tell my story.”

Marching afar and shot within

Hamlet: “What warlike noise is this?”

Osric: “Young Fortinbras, with conquest come from Poland.”

Hamlet: “O, I die, Horatio!  The potent poison quite over crows my spirit.  I cannot live to hear the news from England, but I do prophesy the election lights on Fortinbras; he has my dying voice.  So tell him, with the occurrents, more and less, which have solicited – the rest is silence.

Hamlet dies

Horatio: “Now cracks a noble heart.  Good night, sweet prince, and flights of angels sing thee to thy rest.

Enter Fortinbras and English ambassadors with attendants

Fortinbras: “Where is this sight?”

Horatio: “What is it you would see?  If aught of woe and wonder, cease your search.”

Fortinbras: “This quarry cries on havoc.  O proud death, what feast is toward in thine eternal cell that thou so many princes at a shot so bloodily hast struck?

Ambassador: “The sight is dismal; the ears are senseless that should give us hearing to tell him his commandment is fulfilled, that Rosencrantz and Guildenstern are dead.”

Horatio: “Let me speak to the yet unknowing world how these things came about.  So shall you hear of carnal, bloody and unnatural acts; of accidental judgments, casual slaughters; of deaths put on by cunning and forced cause; and, in this upshot, purposes mistook fallen on the inventors’ heads – all this can I truly deliver.

Fortinbras: “Let us haste to hear it. And call the noblest to the audience.  For me, with sorrow I embrace my fortune; I have some rights of memory in this kingdom, which now to claim my vantage doth invite me.”

Horatio: “Let this be presently performed , even while men’s minds are wild, lest more mischance on plots and errors happen.”

Fortinbras: “Let four captains bear Hamlet like a soldier to the stage; for he was likely to have proved most royal; and for his passage the soldier’s music and the rite of war speak loudly for him.  Take up the bodies.  Such a sight as this becomes the field, but here shows much amiss.  Go, bid the soldiers shoot.”

Analysis

The unrelenting final scene of Hamlet is simply breathtaking in its ferocity and pace.  The violence finally erupts in stunning rapidity, as the Queen, the King, Laertes and Hamlet fall and litter the stage in less than 100 lines, after more than four acts of procrastination, rumination and philosophical ineptitude.  Hamlet is finally revenged for his father’s death.  Laertes is revenged for his father’s death.  And Fortinbras is revenged for his father’s death.  Laertes and his entire family are dead.  Hamlet and his entire family are dead.  Only Horatio survives to tell the tale.  Hamlet, the play, is like one very long case of constipation and Act 5 is the laxative.  In the final line of the play Fortinbras declares: “Go, bid the soldiers shoot.”  It is generally assumed that this refers to a tribute, like a twenty-one gun salute.  However, there was at least one director who had the shooters level their shots at all the lords and attendants who remained alive in the Danish court, including Horatio.  

Final Thoughts

Hamlet represents the high-water mark of William Shakespeare’s glorious career in the theatre.  It also represents, for many, the finest singular work in world literature. Certainly, in terms of characters and themes it remains unmatched.  Volumes have been written on the personage of Hamlet and volumes more regarding Hamlet’s relationship to his father, his mother, his uncle, Ophelia, Laertes, Polonius, the Players, Horatio, the gravedigger, and even Poor Yorick.  Thematically, this is as rich as it gets, with powerful reflections on happiness, sexual politics, lust, personal truth, changeability, friendship, love, the heedlessness of youth, parents and children, fates, quests, madness, appearance vs reality, the play within a play, wit, innocence, guilt, murder, suicide, dark depths, dreams, weariness, justice, revenge, points of view, death, mourning, dark humour, sex, forgiveness, power, authority, violence, family tragedy, evil, horror, tragic fixation, masculinity, political power, resolution, honour, ambition, charisma, blood, public vs private lives, virtue, character flaws, indecision, existential crisis, Freudian psychology, guilt, soaring intellect, thinking vs action, passion vs reason, jealousy, villainy, honour, despair, suffering, self-knowledge, betrayal, inner turmoil, political coup, disintegration of a great person, the supernatural, being true to self, balance, reconciliation, heroism, legitimacy, cycles of murder, conscience, kingship, succession, political incompetence, political cunning, moral integrity and moral dilemma.  All in one play.  Hamlet has so much for everyone, regardless of the type of yarn one might prefer.  It is a bit much packed into a single story for some people.  At over 4,000 lines, it is more than can easily fit into a reasonable duration.  The entire play, as that directed by Kenneth Branaugh, is near 5 hours in length.  Shakespeare lost both his only son, Hamnet, and his father, in the years immediately preceding the writing of Hamlet.  To say he was inspired remains an understatement.  The death of a child is one of those events that can change us forever.  Shakespeare was never the same writer after Hamlet.  Where he mostly  wrote brilliant English histories and comedies before Hamlet, he subsequently inaugurated the composition of the most blistering tragedies ever conceived: Othello, Macbeth, King Lear, Antony and Cleopatra and Coriolanus.  Hamlet was the summit as well as the turning point for the Bard of Stratford-Upon-Avon. 

As You Like It

As You Like It was written right after Shakespeare had just completed the bulk of his great history plays and immediately before he was to plunge into his immortal tragedies.  Hamlet, Julius Caesar, Othello, King Lear, Macbeth, and Antony and Cleopatra would all follow within six years.  But first it was time for a great pastoral romance set in his very own Forest of Arden, in which love alone exists.  This was the forest of his youth and the forest bearing his own mother’s name (Mary Arden).  All of the sins of the city and court are left behind here, in this most ideal setting of all the plays, where philosophical wit, love and leisure create the sweetest and happiest of all of Shakespeare’s works.    There is no real suffering in As You Like It.  It is a resting place, again, between the achievement of the history cycle of plays and the tragedies about to be released.  It is a festive place for folly and for love.  It is the best place to live in all of Shakespeare’s canon.  Arden works magic on its characters, representing the escape of nurture for the innocence of nature.  It presents a Garden of Eden, a place uncorrupted.  It even has a character named Adam, who Shakespeare, the actor, played in early productions.  Indeed, the Forest of Arden is as much a paradise as the settings in King Lear, Macbeth and Hamlet are a hell.  And the title captures it perfectly.  It is all As You Like It here.

Into this idyllic setting appears one of Shakespeare’s finest characters.  Rosalind is the catalyst and the centre piece of As You Like It.  She appears as a Goddess of Love in the guise of an ordinary English girl.  She is witty, driven, confused… and in love.  This play depicts the contrast between the court and the country.  Part one is set in an obviously corrupt court.  Part two brings us to the pastoral delights of the country.  Part three witnesses the triumph of love for eight individuals paired off ingeniously.  But this is Rosalind’s play, to be sure, and Arden works its magic on her, transforming what is at first a game into a deep affection, a friendship and, at last, a great love.  She emerges as the finest heroine in all of Shakespeare and his second great personage after Falstaff and before Hamlet.  Her best advantage is being at the centre of a delightful play in which no real harm can befall anyone.  So much cannot be said of Falstaff and Hamlet.  Rosalind is confident and poised and perhaps the most admired of all Shakespeare characters.  She is free of all malice and resentments.  She is curious, exuberant and deeply intelligent.  Just before the harrowing tragedies, Shakespeare gives us his most complete portrait of happiness in As You Like It and in Rosalind.  She is neither trapped in the history of Falstaff or the tragedy of Hamlet.  She makes the malcontent restlessness of Touchstone and Jaque seem irrelevant and inadequate.  She may well be the least nihilistic character in the canon, perhaps along with Bottom, from A Midsummer Night’s Dream, and the great victims: Juliet, Ophelia, Desdemona, Cordelia and Edgar.  This is Rosalind’s play, indeed.  She stands as one of literatures most remarkable women and is more than half of the best and wittiest courtship in Shakespeare.  In fact, the title could easily be ‘As Rosalind Likes It, as everything turns out for her in the end.  But she has to work it.  She must remain in disguise, as the male Ganymede until Orlando learns to love more than simply love itself, but Rosalind in particular.  He must graduate from her school as worthy of her love.  Love is irresistible and unfailing.  She remains Ganymede until Orlando learns this.

This entire play is a renaissance guide to wit and love.  Acts III and IV are a series of dialogues on many subjects, but mostly on love.  Four very distinct couples grow in love, one after the other.  Touchstone and Audrey represent the attraction of opposites, as Touchstone’s court artificiality is softened by the country warmth of simple Audrey.  Phebe and Silvius are self-taught country folk.  Celia and Oliver are daughter and son of upper class warring families at court.  Stripped of all of those trappings, the forest quickly works its magic on them both.  And finally, there is Rosalind and Orlando.   They are the new renaissance relationship, with an emphasis on true feelings and personal truth.   They all are mesmerized by the Forest of Arden.  Only Jaque, the discontent and misanthropic Elizabethan intellectual, is irrelevant to the love of Arden.  Jaque delivers two superb speeches, including the immortal ‘All the World’s a Stage’ speech.  Shakespeare allows his forest characters to make gentle fun of Jaque’s melancholy.   When everyone is happy and in love at the play’s end, Jaque quietly goes away into a self imposed exile.  

Shakespeare, as often is the case, has great success with gender bending in this play.  Obviously, in Shakespeare’s time, Rosalind would have been played by a boy.  Then the boy actor, in Arden, suddenly is a boy playing a woman (Rosalind), playing a man (disguised as Ganymede), playing a woman (pretending to be Rosalind).  There is homoeroticism a plenty as well, as Phebe woos Ganymede, who is actually a woman (Rosalind), Celia and Rosalind share a deep love for one another, and Orlando falls for Rosalind while she is portraying Ganymede pretending to be Rosalind… who she really is.  Wheh!

As You Like It is light on plot but packed with ideas on life and love and is a feast of wit and banter.  It is the most wholesome and innocent of the comedies, without the complex and dangerously intriguing plot devices of A Midsummer Night’s Dream or Twelfth Night.  It is escapism at its finest, led by an incomparable heroine who finds a love so delightful and contagious that it is shared by seven others by act V.  There is nothing to fear here.  Arden is safe and rich in exuberance. There was never such a place in the 18 plays that came before As You Like It and there will certainly not be another in the 19 that remain.  So we pause before the great tragic genius about to be released like a force of nature and we drink in the Forest of Arden and the lovely and profound heroine Rosalind, all the while Shakespeare is already at work designing and composing his greatest masterpiece, Hamlet, Prince of Denmark, a setting as far as one could possibly get from Arden

Act I 

Scene i

Oliver’s House, near the court

Orlando: “Adam, it was upon this fashion bequeathed by my will, charged my brother, to breed me well; and there begins my sadness.  He keeps me rustically at home.  His animals on his dunghills are as bound to him as I and he bars me the place of a brother.  This is it that grieves me, and, the spirit of my father, which I think is within me, begins to mutiny against this servitude.  I will no longer endure it.”  

Adam: “Yonder comes my master, your brother.”

Orlando: “I know you are my eldest brother, but I have as much of my father in me as you do.”

Oliver: “What, boy!” (strikes him)

Orlando: (with his hands on Oliver’s throat) “I am no villain.  Were thou not my brother, I would not take this hand from thy throat until this other hand had pulled out thy tongue for saying so.  My father charged you in his will to give me good education.  You have trained me like a peasant.”

Oliver: “I will not long be troubled by you.”

Orlando: “I will no further offend you than becomes me for my good.”

Dennis (servant): “Calls your worship?”

Oliver: “Was not Charles, the wrestler, here to speak with me?”

Dennis: “So please you.”

Oliver: “Call him in.”

Charles: “I am given, sir, secretly to understand that your younger brother, Orlando, has a disposition to come against me to try a fall.”

Oliver: “The stubbornest young fellow of France; full of ambition and a secret villainous contriver against me, his natural brother.  He will entrap thee by some treacherous device.  There is not one so young and so villainous this day living.”  

Charles: “If he come tomorrow I will give him his payment.”

Oliver: “I hope I shall see an end of him, for my soul hates nothing more than he.”

Analysis

A pair of dueling brothers open the play.  Duke Frederick has banished his brother, Duke Senior, whose throne he has usurped, to the Forest of Arden.  As well Oliver has been entrusted by his father to provide for his younger brother, Orlando, but has left him in virtual squalor.  Both victimized brothers will make their way to the forest, to escape the corruption at court and find peace.  The play is set in France and the forest is called Ardenne, but it is clearly reminiscent of the forest of Shakespeare’s youth and the one sharing a name with his grandmother and mother (Arden).  

Act I

 Scene ii

Duke Frederick’s Palace

Celia: “Rosalind, sweet my coz, be merry.”

Rosalind: “Unless you could teach me to forget a banished father, you must not learn me how to remember any extraordinary pleasure.”

Le Beau: “Here is the place appointed for the wrestling, and they are ready to perform it.”

Rosalind: “Is yonder the man?”

Le Beau: “Even he, madam.”

Duke Frederick: “How now, daughter and cousin.  Are you crept hither to see the wrestling?”

Rosalind: “Ay, my liege.”

Rosalind: “Young man, have you challenged Charles, the wrestler?”

Celia: “You have seen cruel proof of his strength.”

Rosalind: “Fare you well.  Pray heaven I be deceived in you.”

Charles: “Come, where is this young gallant that is so desirous to lie with his mother earth?”

They wrestle.

Rosalind: “O excellent young man!”

Charles is thrown and defeated.

Duke Frederick: “How dost thou, Charles?”

Le Beau: “He cannot speak, my lord.”

Duke Frederick: “Bear him away.  What is thy name, young mn?”

Orlando: “Orlando, my liege.  The youngest son of Sir Rowland.”

Duke Frederick: “I would thou hadst been son to some man else.  Thy father is still my enemy.”

Rosalind: “Gentleman, wear this for me.” (a chain from around her neck)

Orlando: “Can I not say thank you?”

Rosalind: “Sir, you have wrestled well, and overthrown more than your enemies.  Fare you well.”

The women exit.

Orlando: “I cannot speak to her.  O poor Orlando, thou art overthrown!”

Le Beau: “Good sir, I do in friendship counsel you to leave this place.  The Duke misconstrues all that you have done and has taken displeasure against his gentle niece.”

Orlando: “Heavenly Rosalind.”

Analysis

Rosalind and Celia, cousins, are the very closest of friends.  Rosalind admires the young man about to wrestle Charles and even more so after he defeats Charles, when she takes off a chain and places it round Orlando’s neck.  Unfortunately, Orlando has offended Duke Frederick and is advised to leave the court immediately.  

Act I

Scene iii

Duke Frederick’s Palace

Rosalind: “O, how full of briers is this working-day world.

Celia: “Is it possible that you should fall into so strong a liking with Sir Roland’s youngest son?”

Enter Duke Frederick

Duke Frederick: “Mistress, dispatch you with your safest haste, and get you from our court.”

Rosalind: “Me, uncle?”

Duke Frederick: “You cousin.  Within these ten days if thou be found so near our court as twenty miles, thou diest for it.”

Rosalind: “Let me the knowledge of my fault.  Never did I offend your Highness.”

Duke Frederick: “I trust thee not.  Thou art thy father’s daughter: there’s enough.”

Celia: “If she be a traitor, why so am I.”

Duke Frederick: “She is too subtle for thee and thou will show more bright and seem more virtuous when she is gone.  She is banished.”

Celia: “Pronounce that sentence, then, on me, my liege.  I cannot live out of her company.”

Duke Frederick: “You are a fool.”

Exit Duke

Celia: “Devise with me how we might fly, whither to go, and what to bear with us.  I will go along with thee.”

Rosalind: “Why whither shall we go?”

Celia: “To seek my uncle, thy father, in the Forest of Arden.”  

Rosalind: “Alas, what dangers will it be for us, maids as we are?  Beauty provoketh thieves sooner than gold.

Celia: “I’ll put myself in poor and mean attire.”

Rosalind: “I am more than common tall, like a man.”

Celia: “What shall I call thee when thou art a man?”

Rosalind: “You call me Ganymede, but what will you be called?”

Celia: “No longer Celia, but Aliena.”

Rosalind: “Cousin, what if we assay’d to steal the clownish fool (Touchstone) out of your father’s court?  Would he not be a comfort to our travel?”

Celia: “He’ll go along over the wide world with me.”

Analysis

So we see by the end of Act one that both Orlando and Celia, Rosalind and Touchstone, the court fool, are all bound for the Forest of Arden, a very different place, as we shall see, from the court.  Celia and Rosalind are apparently inseparable as perhaps homoerotic friends.  This does not mean they were homosexual but rather experienced a deep longing for one another.  This was a fairly typical profile of intimate friends in Renaissance England, as it was in ancient Greece and Rome, where sexual identity was far more loosely defined.  More threatening to the norms of the day is Rosalind’s decision to dress like a man, as this will grant her more power than was generally permitted a woman.  The setup is complete.  Now it is on to the Forest of Arden.

Act II

Scene i

The Forest of Arden

Duke Senior: “Are not these woods more free from peril  than the envious court?  And this our life finds tongues in trees, books in the running brooks, sermons in stones, and good in everything.  I would not change it.”

Amiens: “Happy is your grace, that can translate the stubbornness of fortune into so quiet and so sweet a style.”

Analysis

No sooner do we arrive in the Forest of Arden than we hear it praised by the banished Duke.  Indeed, it is likely the happiest place in the entire Shakespeare canon.  Pastoral literature ensures us that the difficulty of life in the city can be healed by the simple serenity of the country.  And yet, by play’s end, many of the exiles from court are prepared to return to civilization once again.  So it is like a holiday.  It gives us comfort but is temporary.  Melancholic Jaques believes that the forest is a temporary refuge because once the city folk arrive they will no doubt ruin it and start killing and destroying everything beautiful in it.  For instance, Jaques is very upset that Duke Senior and company are hunting and slaughtering deer.  Then again, nobody in this play takes Jaques’ morose character very seriously. 

Act II

Scene ii

Duke Frederick’s Palace

Duke Frederick: “Can it be possible that no man saw them?”

I Lord: “Your daughter and her cousin, wherever they are gone, that youth (Orlando) is surely in their company.”

Duke Frederick: “Bring his brother (Oliver) to see me.  I will make him find them.”

Analysis

Just as Orlando, Adam, Rosalind, Celia and Touchstone (the court fool) plan to leave the court for the forest, Duke Frederick determines to capture the runaways by sending Oliver to find them.  But the forest may work its charms on Oliver and Frederick as well.  It is just that kind of play.

Act II

Scene iii

Near Oliver’s House 

Orlando: “What’s the matter?”

Adam: “O, unhappy youth!  Come not within these doors.  The enemy of all your graces lives.  Your brother hath heard your praises, and this night he means to burn the lodging where you used to lie, and you within it.  This house is but a butchery; abhor it, fear it, do not enter it.  Let me be your servant.  Let me come with you.”

Orlando: “We’ll go along together.”

Adam: “Master, I will follow thee to the last gasp, with truth and loyalty.”

Analysis

Orlando must leave the court.  He has made a powerful enemy in Duke Frederick and his brother is determined to kill him.  This scene serves to advance the plot by having Orlando and Adam relocate to the forest, where the remainder of the play will take place and where Orlando may even find love.

Act ii

Scene iv

The Forest of Arden

Rosalind: “O Jupiter, how weary are my spirits.”

Celia: “I pray you bear with me.  I can go no further.”

Rosalind: “This is the Forest of Arden.  Look who comes here, a young and an old man in solemn talk.”

Enter Corin and Silvius (shepherds)

Silvius: “O Corin, that thou knewest how I do love her.”

Corin: “I can partly guess.”

Silvius: “No, Corin, being old, thou canst not guess.  O Phebe, Phebe, Phebe!”

Touchstone: “We that are true lovers run into strange capers; but as all is mortal in nature, so is all nature in love mortal in folly.”

Rosalind: “Jove!  This shepherd’s passion is much upon my fashion.”

Celia: “I like this place, and willingly could waste my time in it.”

Analysis

No sooner do Rosalind and Celia arrive in Arden but they encounter poor Silvius, who is hopelessly in love with Phebe.  This must be the place!

Act II

Scene v

The forest

Amiens sings a sweet song

Jaques: “More, more, I prithee, more.”

Amiens: “It will make you melancholy, Monsieur Jaques.”

Jaques: “I thank it.  More.  I prithee, more.  I can suck melancholy out of a song.”

Amiens: “I know I cannot please you.”

Jaques: “I do not desire you to please me; I do desire you to sing.”

Analysis

Jaque, the misanthrope, enjoys a melancholic song about how there is no enemy in the forest except for winter and rough weather. 

Act II

Scene vi

The forest

Adam: “Dear master, I can go no further.  O, I die for food!  Here lie I down and measure out my grave.  Farewell, kind master.”

Orlando: “Why, how now, Adam!  No greater heart in thee?  Cheer thyself a little.  Thy conceit is nearer death than thy powers.”

Analysis

Adam and Orlando arrive in the forest famished.  Old Adam is so weak that Orlando carries him to a shelter.  They will arrive in perfect timing to serve as an illustration for Jaque’s ‘Seven Stages of Man’ speech in the next scene.

Act II

Scene vii

The forest

Duke Senior: “I think he (Jaques) be transformed into a Beast; for I can nowhere find him like a man.  

1 Lord: “Here was he merry, hearing of a song.”

Enter Jaques

Duke Senior: “Why, how now, monsieur!  What a life is this, that your poor friends must woo your company.  What, you look merrily!”

Jaques: “A fool, a fool!  I met a fool in the forest.  A motley fool.  A miserable world!  ‘Good morrow, fool’, quoth I.  He says very wisely, ‘It is ten o’clock.  Thus may we see how the world wags ; tis but an hour ago since it was nine; and after one hour more it will be eleven;  and so from hour to hour, we ripe and ripe, and then, from hour to hour, we rot and rot; and thereby hangs a tale.  When I did hear the motley fool thus moral on the time, my lungs began to crow that fools should be so deeply contemplative; and I did laugh sans intermission an hour by his dial.  O noble fool! A worthy fool!”

Duke Senior: “What fool is this?”

Jaques: “O worthy fool!  One that hath been a courtier.  He hath strange places crammed with observation, the which he vents in mangled forms.  O that I were a fool!  It is my only suit, provided that you weed your better judgements of all opinion that grows rank in them that I am wise.  I must have liberty to blow on whom I please, for so fools have;  and they that are most galled with my folly, they most must laugh.  Give me leave to speak my mind, and I will through and through cleanse the foul body of the infected world, if they will but patiently receive my medicine.”

Duke Senior: “Fie on thee!  I can tell what thou wouldst do.”

Jaque: “What would I do but good?”

Duke Senior: “Most mischievous foul sin, in chiding sin.  For thou thyself hast been a libertine, as sensual as the brutish sting itself; and all the embossed sores and headed evils that thou with license  of free foot hast caught wouldst thou disgorge into the general world.”  

Enter Orlando

Orlando: “Forbear, and eat no more.”

Jaques: “Why, I have eat none yet.”

Orlando: “Nor shalt not, till necessity be served.”

Duke Senior: “Art thou thus emboldened, man, by thy distress? Or else a rude despiser of good manners, that in civility thou seem’st so empty?”

Orlando: “Bare necessity hath taken from me the show of smooth civility.  But forebear, I say; he dies that touches any of this fruit till I and my affairs are answered.  I almost die for food, so let me have it.”

Duke Senior: “Sit own and feed, and welcome to our table.”

Orlando: “Speak you so gently? Pardon me, I thought that all things had been savage here.”

Duke Senior: “True is it that we have seen better days.  Therefore sit you down in gentleness and take upon command what help we have.”

Orlando: “Forebear your food a little while, whiles, like a doe, I go to find my fawn, and give it food.  There is an old poor man who after me hath many a weary step limped in pure love; till he be first sufficed I will not touch a bit.”

Duke Senior: “Go find him out.  We will nothing waste until your return.”

Orlando: “I thank thee; and be blest for your good comfort.”

Exit Orlando

Duke Senior: “This wide and universal theatre presents more woeful pageants than the scene wherein we play in.”

Jaques: “All the world’s a stage, and all the men and women merely players; they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages.  At first the infant, mewling and puking in the nurse’s arms; then the whining school boy, with his satchel and shining morning face, creeping like snail unwilling to school.  And then the lover, sighing like furnace, with a woeful ballad made to his mistress’ eyebrow.  Then a soldier, full of strange oaths, jealous in honour, sudden and quick in quarrel, seeking the bubble reputation even in the cannon’s mouth.  And then the justice in fair round belly with good capon lined, with eyes severe and beard of formal cut, full of wise saws and modern instances; and so he plays his part.  The sixth age shifts into the lean and slippered pantallon, with spectacle on nose and pouch on side, his youthful hose, well saved, a world too wide for his shrunk shank; and his big manly voice turning again toward childish treble, pipes and whistles in his sound.  Last scene of all, that ends this strange eventful history, is second childishness and mere oblivion; sans teeth, sans eyes, sans taste, sans everything.

Enter Orlando carrying old Adam

Duke Senior: “Welcome.  Set down your venerable burden and let him feed.”

Orlando: “I thank you most for him.”

Adam: “I scarce can speak to thank you for myself.”

Duke Senior: “If that you were the good Sir Rowland’s son, as you have whispered faithfully you were, be truly welcome hither.  I am the duke that loved your father. Give me your hand.

Analysis

This is perhaps the most telling and significant scene in the play.  We learn ever so much about Jaque, the play’s misanthrope from the perspectives of the good Duke and Jaques’ own encounter with Touchstone, the court fool.  As well, Jaque delivers one of Shakespeare’s great passages in this scene, the Seven Ages of Man speech and recites yet another one of note, borrowed from Touchstone the fool (‘and so from hour to hour we ripe and ripe, and then, from hour to hour, we rot and rot; and thereby hangs a tale.’), both in this one scene.  And Orlando bursts onto the forest stage and his encounter with Duke Senior is a telling one indeed.

Jaques is usually so miserable that when the Duke learns that he is in a merry state he is concerned that it might portend discord in the very universe itself.  It turns out he is merry because he has encountered a fool in the forest (Touchstone).  He is enchanted with the fool and claims that he would like to become one himself, due to the license fools have to speak their minds without consequence.  He believes that as a fool he could ‘cleanse the foul body of the infected world with the medicine of his criticism’, but the Duke chides him for having those same miserable characteristics in himself that he would criticize in others.  Jaques stands out in As You Like It as the only character who does not really fit in to the overall positivity experienced by all others in the forest.  He is the quintessential renaissance philosopher and Shakespeare is exposing him as such in this play.  The fools in Will’s plays are not simply dour philosophers but rather possess extraordinary wit and dazzling verbal dexterity.  Consider Lear’s fool or Feste in Twelfth Night.  Shakespeare’s fools have licence to speak their minds and say what others dare not.  Jaque is all excited that he too might be a fool, but alas, he would simply spread gloom.  He is hardly evil, but his constant pessimism is very much unlike the dear fools, who entertain as well as they espouse.

Orlando arrives starving and furious for food, demanding of Jaques and the Duke that they stop eating immediately, while he and Adam are starving.  This is the way one might approach folks at court or in the city in order to desperately secure food.  But he quickly learns that the ways of the forest are quite different as the Duke agrees wholeheartedly that they will suspend their meal while Orlando retrieves poor Adam and brings him to their table.  Orlando is pleasantly shocked by such rare generosity and yet common forest hospitality.  No scene draws a greater contrast between nature and nurture so much as this one.  Once Orlando leaves to fetch Adam the Duke reflects to Jaques on the amount of suffering there is in the world, which inspires Jaques to break into his Seven Stages of Man speech, after which Orlando arrives carrying poor old and yet still vital Adam, hardly an example of sans teeth, sans, eyes, sans taste and sans everything.  Adam remains loyal, passionate and has a fine appetite for both food and life.  In Shakespeare’s day he himself played the role of old Adam in As You Like It, offering his immediate but silent rebuff of Jaque’s portrayal of the seventh stage of man.  And yet it is a marvelous speech, as indeed, we all do pass through each stage (stage having two meanings) on our way to eventual oblivion of sans everything.  The metaphor of ‘the stage’ was commonly employed in the theatre during Elizabethan England and with Shakespeare in particular.  The stage is life and life is the stage.  We act our roles and play our parts in this complex drama called life.  We have our entrances and our exits and all play many roles.  Jaque’s principle role is to be unhappy and therefore to point out the unhappiness in others.  The Duke, on the other hand, always does his best to thrive in the world he has been given, as do most characters, inspired by the peace and beauty of this forest life.

Act III

Scene i

The court palace

Duke Frederick: “Find out thy brother, wheresoever he be.  Bring him dead or living within this twelvemonth, or turn thou no more to seek a living in our territory.  Do this expediently.”

Anaylysis

The court life will attempt to disrupt the forest life.  Easier said than done…

Act III

Scene ii

The forest

Orlando: “Hang there, my verse, in witness of my love. O Rosalind! These trees shall be my books, and in their barks my thoughts I’ll character, that every eye which in this forest looks shall see thy virtue witnessed everywhere.  Run, run, Orlando, carve on every tree.”

Enter Corin and Touchstone

Corin: “And how like you this shepherd’s life, Master Touchstone?”

Touchstone: “Truly, Shepherd, in respect of itself; it is a good life; but in respect that it is a shepherd’s life, it is naught.  In respect that it is solitary, I like it very well; but in respect that it is private, it is a very vile life.  Now in respect it is in the fields, it pleaseth me well; but in respect it is not in the court, it is tedious.  As it is a spare life, look you, it fits my humour well; but as there is no more plenty in it, it goes much against my stomach.  Hast any philosophy in thee, shepherd?”

Corin: “No more but that I know the more one sickens the worse at ease he is; and that he that wants money, means and content, is without three good friends; that the property of rain is to wet, and fire to burn; that good pasture makes fat sheep; and that a great cause of the night is lack of the sun; that he that hath learned no wit by nature or art may complain of good breeding, or comes of a very dull kindred.  

Touchstone: “Such a one is a natural philosopher.  Wast ever in court, Shepherd?”

Corin: “No, truly.”

Touchstone: “Then thou art damned.”

Corin: “For not being at court?  Your reason.”

Touchstone: “Why, if thou never wast at court thou never saw’st good manners; if thou never saw’st good manners, then thy manners must be wicked; and wickedness is sin, and sin is damnation.  Thou art in a perilous state, shepherd.”

Corin: “Not a whit, Touchstone.  Those that are good mannered at the court are as ridiculous in the country as the behaviour of the country is most mockable at the court.”

Touchstone: “God help thee, shallow man.”

Corin: “Sir, I am a true labourer; I earn that I eat, get that I wear; owe no man hate, envy no man’s happiness; glad of other man’s good, content with my harm; and the greatest of my pride is to see my ewes graze and my lambs suck.”

Touchstone: “That is another simple sin in you, to get your living by the copulation of cattle; if thou beest not damn’d for this, the devil himself will have no shepherds.”

Enter Rosalind, reading a paper

Rosalind: “No jewel is like Rosalind.  All the pictures fairest lined are but black to Rosalind.”

Touchstone: “This is the very false gallop of verses.”

Rosalind: “Peace, you dull fool!  I found them on a tree.”

Touchstone: “Truly, the tree yields bad fruit.”

Enter Celia, with a verse

Celia: “Didst thou hear these verses?”

Rosalind: “O, yes, I heard them all, and more too.”

Celia: “Know you who has done this?”

Rosalind: “Is it a man?  Who is it?  Tell me who it is.”

Celia: O wonderful, wonderful, and most wonderful, and yet again wonderful.”

Rosalind: “I would thou couldst stammer, that thou mightst pour this concealed man out of thy mouth, as wine comes out of a narrow mouthed bottle – either too much at once or not at all.  I prithee, take the cork out of thy mouth that I may drink thy tidings.  Is he of God’s making?”

Celia: “It is young Orlando.”

Rosalind: “Orlando?”

Celia: “Orlando.”

Rosalind: “What did he when thou saw’st him?  What said he?  How looked he?  Wherein went he?  What makes he here?  Did he ask for me?  Where remains he?  How parted he with thee?  And when shalt thou see him again?  Answer me in one word.  

Celia: “Tis a word too great for any mouth of this ages’ size.”

Rosalind: “But doth he know that I am in this forest, and in man’s apparel?”

Celia: “I found him under a tree.”

Rosalind: “It may well be called Jove’s tree, when it drops forth such fruit.”

Celia: “There lay he, stretched along like a wounded knight.  He was furnished like a hunter.”

Rosalind: “O, ominous! He comes to kill my heart.”

Celia: “Soft!  Comes he not here?”

Enter Orlando and Jaques

Rosalind: “Tis he.”

Jaques: “I pray you mar no more trees with writing love songs in their barks.”

Orlando: “I pray you mar no more of my verses with reading them ill-favouredly.”

Jaques: “Rosalind is your lover’s name?”

Orlando: “Yes, just.”

Jaques: “I do not like her name.”

Orlando: “There was no thought of pleasing you when she was christened.”

Jaques: “Will you sit down with me and we two will rail against our mistress the world, and all our misery.”

Orlando: “I will chide no breather in the world but myself, against whom I know most faults.”

Jaques: “The worst fault you have is to be in love.”

Orlando: “Tis a fault I will not change for your best virtue.  I am weary of you.”

Jaques: “I was seeking for a fool when I found you.”

Orlando: “He is drowned in the brook; look but in, and you shall see him.”

Jaques: “There I shall see mine own figure.  Farewell, good Signior Love.”

Orlando: “I am glad of your departure; adieu, good Monsieur Melancholy.”

Exit Jaques

Rosalind (to Celia): “I will speak to him like a saucy lackey.”

               (to Orlando): “I pray you, what o’clock is it?”

Orlando: “You should ask me what time of day; there’s no clock in the forest.”

Rosalind: “Then there’s no true lover in the forest, else sighing every minute and groaning every hour would detect the lazy foot of time as well as a clock.  There is a man haunts the forest that abuses our young plants with carving ‘Rosalind’ on their barks, defying the name of Rosalind.  If I could meet that fancy-monger, I would give them some good counsel.”

Orlando: “I am he that is so love-shaked; I pray you tell me your remedy.  I would I could make thee believe I love.”

Rosalind: “Me believe it!  You may as soon make her that you love believe it.  Are you he that hangs the verses on the trees.”

Orlando: “I am he, that unfortunate he.”

Rosalind: “Love is merely a madness; and I tell you, deserves as well a dark horse and a whip as madmen do; and the reason why they are not so punished and cured is that the lunacy is so ordinary that the whippers are in love too.  Yet I profess curing it by counsel.  I would cure you, if you would but call me Rosalind, and come every day and woo me.”

Orlando: “Now, by the faith of my love, I will.”

Rosalind: “You must call me Rosalind.”

Analysis

Touchstone and Corin discuss court vs country and it is a very telling exchange.  Touchstone, from court, is the more aggressive of the two debaters, while Corin is content to merely state the nature of his forest life.  Then we get to Orlando and his very bad poetry.  Jaques rips him for disfiguring the trees with his missives and for being in love with Rosalind.  In fact, Orlando has fallen in love hard, as individuals tend to do here in the forest, and he will have nothing to do with Jaques’ melancholy.  Rosalind also recognizes how bad Orlando’s poetry is but she too is in love and determines that she can teach him to love her, but as Ganymede.  Shakespeare creates a world of possibilities by having Rosalind, disguised as Ganymede, instructing Orlando on how best to love Rosalind.  Classic Bard!

Act III

Scene iii

The forest

Touchstone: “Audrey, I will fetch your goats.  Does my simple feature content you?”

Jaques: “O knowledge ill-inhabited.”

Touchstone: “Truly, I wish the Gods had made thee poetical.”

Audrey: “I do not know what poetical is.  Is it honest in deed and word?  Would you not have me honest?  I am not a slut, though I thank the Gods I am foul.”

Touchstone: “Honesty coupled to beauty is to have honey a sauce to sugar.  I will marry thee.”

Analysis

The absurdities of love are on display here.  Touchstone is a wordy wit of a fool and Audrey is borderline illiterate.  This is a curious coupling.  However, Touchstone reflects that she will satisfy his (sexual) desires and that will suffice, unlike the verbose exchanges between forest dwellers Silvius and Phebe or Orlando and Rosalind from court.  

Act III

Scene iv

The forest

Rosalind: “Have I not cause to weep?  

Celia: “As good a cause as one would desire, therefore weep.”

Rosalind: “Why did he swear he would come this morning and then come not?”

Celia: “Certainly, there is no truth in him.”

Rosalind: “Do you think so?  Not true in love? 

Celia: “The oath of a lover is no stronger than the word of a tapster; they are both the confirmer of false reckonings.”

Analysis

Orlando has agreed to meet Ganymede but he does not show up.  Without knowing why, Rosalind falls apart.  We will soon learn where he was.

Act III

Scene v

The forest

Silvius: “Sweet Phebe, say that you love me not but say not so in bitterness.”

Phebe: “I do frown on thee with all my heart, and if my eyes can wound, now let them kill thee.”

Ganymede (Rosalind) has been listening

Ganymede: “You foolish shepherd.  You are a thousand times a more proper man than she a woman.  Tis such fools as you that makes the world full of ill-favoured children.  Mistress, know yourself.  Down on your knees, and thank heaven, fasting, for a good man’s love.  For I must tell you, sell when you can, you are not for all markets.  Cry the man mercy, love him, take his offer.”

Phebe: “Sweet youth, I would rather hear you chide than this man woo.”

Ganymede: “He has fallen in love with your foulness.  I pray you do not fall in love with me, for I am falser than vows made in wine.  Besides, I like you not.  Come, shepherdess, look on him better, and be not proud.”

Exit Ganymede

Phebe: “Whoever loved that loved not at first sight.”

Silvius: “Sweet Phebe, pity me.”

Phebe: “Why, I am sorry for thee, gentle Silvius.”

Silvius: “If you do sorrow at my grief in love, by giving love, your sorrow and my grief were both extermin’d.”

Phebe: “Thou hast my love.”

Silvius: “I would have you.”

Phebe: “The time was that I hated thee, but since that thou canst talk of love so well, thy company, I will endure. What care I for words?  Yet words do well when he that speaks them pleases those that hear.”

Sylvius: “Phebe, with all my heart.”

Phebe: “Go with me, Silvius.”

Analysis

The forest creates strangeness in love.  Sylvius, the shepherd, is hopelessly in love with Phebe, who scorns him, until Rosalind, as Ganymede, intervenes on his behalf.  But the more she chides Phebe to love Sylvius, the more does Phebe fall in love with Ganymede.  Sylvius and Phebe make their peace, but Ganymede may need to intervene further…

Act IV

Scene i

The forest

Jaques: “I pray thee, pretty youth, let me be better acquainted with thee.”

Rosalind: “They say you are a melancholy fellow.”

Jaques: “I am so; I do love it better than laughing.  Tis good to be sad and say nothing.”

Rosalind: “Why then, tis good to be a post.”

Jaques: “I have neither the scholar’s melancholy, which is emulation; nor the musician’s, which is fantastical; nor the courtier’s, which is proud; nor the soldier’s, which is ambitious; nor the lawyer’s which is politic; nor the lady’s, which is nice; nor the lover’s, which is all these; but it is a melancholy of my own, in which my own rumination wraps me in a most humorous sadness.  Yes, I have gained my experience.

Rosalind: “And your experience makes you sad.  I had rather have a fool to make me merry than experience to make me sad.”

Enter Orlando

Rosalind: “Why, how now, Orlando!  Where have you been all this while? You, a lover?  Never come in my sight more.”

Orlando: “My fair Rosalind, I come within an hour of my promise.”

Rosalind: “Break an hour’s promise in love!  He that will divide a minute into a thousand parts and break but a part of the thousand part of a minute in the affairs of love, it may be said of him that Cupid hath clapped him on the shoulder.  You be so tardy, come no more in my sight.”  

Orlando: “My Rosalind is virtuous.”

Rosalind: “And I am your Rosalind.  Come, woo me, woo me; for now I am in a holiday humour, and like enough to consent.  What would you say to me now, if I were your very Rosalind?”

Orlando: “I would kiss before I spoke.”

Rosalind: “Nay, you had better speak first.”

Orlando: “How if the kiss be denied?”

Rosalind: “Am not I your Rosalind?”

Orlando: “I take some joy to say you are, because I would be talking of her.”

Rosalind: “Well, in her person, I say I will not have you.”

Orlando: “Then, in mine own person, I die.”

Rosalind: “No, faith.  The poor world is almost six thousand years old, and in all this time there was not any man died in a love cause. Men have died from time to time, and worms have eaten them, but not for love.  Now I will be your Rosalind in a more coming-on disposition, and ask me what you will.  I will grant it.”

Orlando: “Then love me, Rosalind.”

Rosalind: “Yes, faith, will I.”

Orlando: “And wilt thou have me?”

Rosalind: “Ay, and twenty such.  Come sister, (to Celia) you shall be the priest and marry us.  Give me your hand, Orlando.”

Orlando: “Pray thee, marry us.”

Celia: “Will you, Orlando, have to wife this Rosalind?”

Orlando: “I will.”

Rosalind: “You must say ‘I take thee, Rosalind, for my wife.’”

Orlando: “I take thee, Rosalind, for my wife.”

Rosalind: “I take thee, Orlando, for my husband.  Now tell me how long you will have her, after you have possessed her.”

Orlando: “Forever and a day.”

Rosalind: “Say ‘a day’ without the ‘ever’.  No, no, Orlando; men are April when they woo, December when they wed: maids are May when they are maids, but the sky changes when they are wives.  I will be more jealous of thee than a Barbary cock pigeon over his hen, more clamorous than a parrot against the rain, more new-fangled than an ape, more giddy in my desires than a monkey.  I will weep for nothing when you are disposed to be merry; I will laugh like a hyena when thou art inclined to sleep.”

Orlando: “But will my Rosalind do so?”

Rosalind: “By my life, she will do as I do.”

Orlando: “For these two hours, Rosalind, I will leave thee.  I must attend the Duke at dinner.”

Rosalind: “Alas, dear love, I cannot lack thee two hours.  If you break one jot of your promise, or come one minute behind your hour, I will think you the most pathetic break-promise, and the most hollow lover, and the most unworthy of her you call Rosalind.  Therefore, beware my censure, and keep your promise.”

Orlando: “No less than if thou wert indeed my Rosalind.”

Exit Orlando

Celia: “You have simply misused our sex in your love-prate.”

Rosalind: “O coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love!  But it cannot be sounded; my affection hath an unknown bottom.  I cannot be out of the sight of Orlando.”

Analysis

First of all Rosalind demonstrates her positivity in direct contrast to Jaque’s melancholy in the opening lines of this most important scene, just prior to her instructions to Orlando, while disguised as Ganymede.  This is likely the most pivotal scene in the play, as Ganymede, who we know to be Rosalind, the instructor, reels in Orlando, the student.  He is innocent and perhaps naïve and has such lofty ideals and Rosalind wants him to be realistic about entering into a love that would survive beyond Arden.  Immediately she scolds him for being an hour late.  This is a practical matter of respect and courtesy he must understand.  Then she declares herself to be in a mood to be woo’d and encourages him to do so.  She turns the tables on him again when he desires a kiss.  When he says he would die if she denied her love to him she abruptly reminds him that no man has ever died for love.  Again, she then softens and tells him to ask what he will of her.  He asks her to love him and Rosalind takes the plunge, asking Celia to perform a mock wedding, complete with vows.  Rosalind clearly feels that Orlando, the student, is now ready to love.  However, when Orlando promises to love her forever and a day she only wants to hear the ‘for a day’ part without reference to ‘forever’, since ‘men are April when they woo and December when they wed’ and ‘women are May when they woo’ but change dramatically when they wed.  Again, she wants Orlando to be clear and realistic about love and marriage.  It all won’t remain like it is in the wooing stage of love.  After the wedding any relationship will settle into something less exciting than the initial wooing as both partners will grow and change and have to hunker down for the long haul of an often times flawed companionship.  Anyone can fall in love in Arden but to remain in love in the world at large requires realism and grit.  When Orlando announces he must leave her in order to attend dinner with the Duke for two hours, she insists he return no later or be unworthy of Rosalind.  When Celia criticizes Rosalind for her stated appraisal of married women, Rosalind admits her unfathomable love for Orlando, claiming that she can no longer remain out of his sight.  Mission accomplished.

Act IV

Scene ii

The forest

Jaques and some Lords have just killed a deer in the forest and plan to put the animal’s horns on the hunter’s head as they sing a song about being while they sing about cuckoldry, which they insist is common, normal and nothing to be ashamed about.

Analysis

Jaques is a melancholic cynic and reducing the ideals of love to the base level of cuckoldry makes perfect sense to him.

Act IV

Scene iii

The forest

Sylvia delivers a letter from Phebe to Ganymede.  The letter compares Ganymede to a God.  Ganymede sends Sylvius back to Phebe with a clear message that Ganymede will never love Phebe unless Phebe loves Sylvius.

Oliver: “Orlando, he sends this bloody napkin.”

Rosalind: “What must we understand by this?”

Oliver: “A lioness lay crouching, with catlike watch, when that the sleeping man should stir.  This seen, Orlando did approach the man, and found it was his brother, his elder brother.”

Rosalind: “Did he leave him there, food to the hungry lioness?”

Oliver: “Kindness, nobler ever than revenge, made him give battle to the lioness, who quickly fell before him.”

Celia: “Are you his brother?”

Rosalind: “Was it you he rescued?”

Celia: “Was it you that did so often contrive to kill him?”

Oliver: “Twas I, but tis not I.  I do not shame to tell you what I was, since my conversion so sweetly tastes, being the thing I am.  He led me to the gentle Duke, committing me unto my brother’s love;  here upon his arm the lioness had torn some flesh away.  I recovered him, bound up his wound and he sent me hither, to tell this story, that you might excuse his broken promise, and to give this napkin, dy’d in his blood, unto the shepherd youth that he in sport doth call his Rosalind.”

Rosalind swoons

Oliver: “You lack a man’s heart.”

Rosalind: “I do so.  I confess it.”

Analysis

Rosalind learns from Sylvius that Phebe is madly in love with her, as Ganymede.  Ganymede sends Sylvius back to Phebe assuring her that Ganymede could never love Phebe if Phebe does not love Sylvius.  Ganymede, really Rosalind, will soon reveal herself as a woman and tries to unite Phebe and Sylvius as a part of what will be a four couple resolution in Act V.

Oliver arrives with the bloody napkin, obtained when he was saved by a lioness, thanks to the heroics of his brother.  Oliver is immediately transformed into the arms of Orlando’s love.  Act V is ready to proceed!

Act V

Touchstone and Audrey plan to marry but first Touchstone must dissuade William, who also loves Audrey. This is easily accomplished.  Oliver declares his love for Aliena, who is really Celia, and tells Orlando that he will turn over all of his wealth to Orlando and live and die a shepherd in the forest.  Orlando is happy for his brother but confesses to Ganymede that he really misses his Rosalind and grows tired of pretending that Ganymede is Rosalind.  It is clearly time for Rosalind to end her schooling of Orlando and come clean.  Ganymede assures Orlando that when Oliver marries Aliena, so will Orlando magically marry his Rosalind.  Phebe and Sylvius show up and Ganymede (Rosalind) must unravel the knot of misplaced love and disguised identity.  Rosalind, with the help of the Goddess Hymen, pulls off the improbable by sorting everything out for herself and Orlando and Sylvius and Phebe, along with Touchstone and Audrey and Oliver and Celia.  A happy ending indeed, including a warm epilogue delivered by Rosalind.

Act V

Scene i

The forest

Touchstone: “Audrey, there is a youth here in the forest who lays claim to you.”

Audrey: “Here comes the man you mean.”

Touchstone: (to William) “I am he that must marry this woman.  Therefore, you clown, abandon this female, or, clown, thou perishes; or to thy better understanding, diest; or, to wit, I kill thee.  I will kill thee a hundred and fifty ways; therefore tremble and depart.”

William: “God rest you merry, sir.”

Analysis

Touchstone, the court fool, uses his urban wit to humiliate the simple forest lad, William.  While he succeeds, it is Touchstone who appears crude and uncivilized by comparison.

Act V

Scene ii

The forest

Orlando: “Is it possible that on so little acquaintance you should like her, and loving her, and wooing her, that she should grant?”

Oliver: “Neither call the giddiness of it in question, the poverty of her, the small acquaintance, my sudden wooing, nor her sudden consenting, but say with me that I love Aliena.  It shall be to your good; for my father’s house and all the revenue that was Sir Rowland’s will I estate upon you, and here live and die a shepherd.”

Orlando: “You have my consent.  Let your wedding be tomorrow.”

Exit Oliver.  Enter Rosalind

Rosalind: “For your brother and my sister no sooner met but they looked; no sooner looked but they loved; no sooner loved but they sighed; no sooner sighed but they asked one another the reason; no sooner knew the reason but they sought the remedy – and in these degrees they have made a pair of stairs to marriage. They are in the very wrath of love.  Clubs cannot part them.”

Orlando: “They shall be married tomorrow.  O, how bitter a thing it is to look into happiness through another man’s eyes.

Rosalind: Why, then, tomorrow I cannot serve your turn for Rosalind?”

Orlando: “I can live no longer by thinking.”

Rosalind: “I will weary you, then, no longer with idle talking.  I can do strange things.  I have, since I was three years old, conversed with a magician, most profound in his art.  If you do love Rosalind, so near the heart as your gestures cry it out, when your brother marries Aliena, shall you marry her. It is not impossible for me to set her before your eyes tomorrow.”

Orlando: “Speakest thou in sober meanings?”

Rosalind: “By my life, I do.  If you will be married tomorrow, you shall; and to Rosalind, if you will.”

Enter Silvius and Phebe

Phebe: “Youth, you have done me much ungentleness.”

Rosalind: “You are there followed by a faithful shepherd; look upon him, love him, he worships you.”

Phebe: “Good shepherd, tell this youth what tis to love.”

Silvius: “It is to be all made of sighs and tears; and so I am for Phebe.”

Phebe: “And I for Ganymede.”

Orlando: “And I for Rosalind.”

Rosalind: “And I for no woman.”

Silvius: “It is to be all made of faith and service; and so I am for Phebe.”

Phebe: “And I for Ganymede.”

Orlando: “And I for Rosalind.”

Rosalind: “And I for no woman.”

Silvius: “It is to be all made of fantasy, all made of passion, and all made of wishes; all adoration, duty and observance, all humbleness, all patience and impatience, all purity, all trial, all obedience; and so I am for Phebe.”

Phebe: “And so I am for Ganymede.”

Orlando: “And so I am for Rosalind.”

Rosalind: “And so I am for no woman.  Pray you no more of this; tis like the howling of Irish wolves against the moon.  (to Silvius) I will help you if I can.  (to Phebe) I would love you if I could – tomorrow meet me all together.  (to Phebe) I will marry you if I ever marry woman, and I’ll be married tomorrow.  (to Orlando) I will satisfy you if I ever satisfied man, and you should be married tomorrow.  (to Sylvius) I will content you if what pleases you contents you, and you should be married tomorrow.  (to Orlando) As you love Rosalind, meet.  (to Sylvius) As ou love Phebe, meet -and as I love no woman, I’ll meet.”

Analysis

The forest works its magic once again as Oliver immediately falls in love with Aliena (Celia), who as a shepherd girl he would surely have hardly noticed at court.  This romance ends Rosalind’s schooling of Orlando as he is instantly jealous that even his brother has found love and declares that he can live no longer by mere thinking.  Therefore, Rosalind immediately plans her magical reconciliation of all involved, ensuring Orlando that he will marry his Rosalind tomorrow.  She also promises Phebe that he (as Ganymede) will marry Phebe tomorrow as well, if ever he marries a woman.  They all agree to meet the next day. 

Act V

Scene iii

The forest

Touchstone: “Tomorrow is the joyful day, Audrey; tomorrow we shall be married.”

Audrey: “I do desire it with all my heart.”

Pages arrive and sing a romantic song to for Touchstone and Audrey but Touchstone criticizes their song as an out of tune ditty and dismisses them roughly.  He is clearly no romantic and is focused on the carnal pleasures ahead.  

Act V

Scene iv

The forest

Duke Senior: “Dost thou believe, Orlando, that the boy can do all this that he hath promised?”

Orlando: “I sometimes do believe and sometimes do not; as those that fear they hope, and know they fear.

Rosalind: “You say, if I bring in your Rosalind, you will bestow her on Orlando here?”

Duke Senior: “That I would.”

Rosalind: “And you say you will have her when I bring her?”

Orlando: “That I would.”

Rosalind: “You say you’ll marry me, if I be willing?”

Phebe: “That will I.”

Rosalind: “But if you do refuse to marry me, you’ll give yourself to this most faithful shepherd?”

Phebe: “So is the bargain.”

Rosalind: “I have promised to make all this matter even.  Keep your word, O Duke, to give your daughter, you yours, Orlando, to receive his daughter; keep your word, Phebe, that you’ll marry me, or else, refusing me, to wed this shepherd; keep your word, Silvius, that you will marry her if she refuse me.  Hence I go.”

Exit Rosalind

Duke Senior: “I do remember in this shepherd boy some lively touches of my daughter’s favour.”

Orlando: “My lord, the first time that ever I saw him methought he was a brother to your daughter.”

Jaques: “There is, sure, another flood toward, and these couples are coming to the ark.”

Enter Hymen, Rosalind and Celia

Hymen: “Then there is mirth in heaven, when earthly things made even atone together.”

Rosalind: (as herself) (to Senior Duke) “To you I give myself, for I am yours.” (to Orlando)  “To you I give myself, for I am yours.”

Senior Duke: “If there be truth in sight, you are my daughter.”

Orlando: “If there be truth in sight, you are my Rosalind.”

Phebe: “If sight and shape be true, why then, my love adieu.”

Rosalind: “I’ll have no father, if you be not he; I’ll have no husband if you be not he; nor never wed woman, if you be not she.”

Hymen: “Pece, ho!  I bar confusion.  Here’s eight that musttake hands to join in Hymen’s bands.  You and you no cross shall part; you and you are heart in heart; You to his love must accord, or have a woman to your lord; You and you are sure together, as the winter to foul weather.”

Jaques de Boys: “I am the second son of old Sir Rowland.  Duke Frederick, purposed to take his brother here and put him to the sword; Meeting with an old religious man, he was converted, both from his enterprise and from the world; his crow bequeathed to his banished brother, and all his lands restored again that were with him exiled.”

Jaques: “If I heard you rightly, the Duke hath put on a religious life, and thrown into neglect the pompous court.”

Jaques de Boys: “He hath.”

Jaques: “To him will I. There is much matter to be heard and learned.”  (to Senior Duke) “You to your former honour I bequeath; Your patience and your virtue well deserve it.”  (to Orlando) “You to a love that your true faith doth merit.”  (to Sylvius) “You to a long and well deserved bed.”  (to Touchstone) “And you to wrangling – so to your pleasures.”

Duke Senior: “Stay, Jaques, stay.”

Jaques: “To see no pastime I.  I would stay to know your abandoned cave.”

Jaques exits

Epilogue

Rosalind: “It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue.  Tis true that a good play needs no epilogue.  Yet, good plays prove the better by the help of good epilogues.  O women, for the love you bear to men, to like as much of this play as please you; and I charge you, O men, for the love you bear to women – that between you and the women the play may please.  If I were a woman, I would kiss as many of you as had beards that pleased me, complexions that liked me, and breaths that I defied not; and, I am sure, as many as have good beards, or good faces, or sweet breaths, will, for my kind offer, when I make curtsy, bid me farewell.”

Final Thoughts

As You Like It is not so simple a play as it first might seem.  As the title suggests, Shakespeare has given us what he thinks we want, a wonderful place of escape from the treacherous court and world at large.  All of the problems from court in Act I are resolved in the forest of Arden.  Duke Frederick and Oliver menacingly drive Orlando, Rosalind, Celia and Touchstone to the forest where their lives are lovingly restored and then even Frederick and Oliver themselves are transformed upon their arrival.  In the end, Orlando and Rosalind have been granted his inheritance back at court, where Duke Senior will preside.  We must assume that Touchstone, too, will return with them to civilization, outside the protective shell of the forest.  Even Jaques is leaving, to join Frederick in a life of religious contemplation.  So while we have the happiest of endings in As You Like It, one must wonder, moving forward, what these various characters will encounter outside of the forest that has provided their magical love and happiness.  Of all of Shakespeare’s plays, this is the sequel I would most want to witness.  But what a universe the forest represents, with its four very different couples confronted by Hymen.  Touchstone and Audrey are sharply contrasted by court artificiality and the natural life of the forest.  Opposites attract and their lustiness unites them from their emptiness to fulfillment.  Phebe and Silvius are working class prototypes of pastoral romance, clearly intended for one another.  Celia and Oliver are each children of upper class families from court.  This is a romance of political diplomacy as much as spontaneity.  Rosalind and Orlando are the main show.  They are the new Renaissance relationship of two individuals in love, where personal truth is essential.  Taken together, Shakespeare has created a new universe, a new Noah’s Ark, as Jaques states, and collectively a new vision of a modern society.  Into this new world is injected a series of dialogues touching on everything, but mostly love.  What we have here is a Renaissance guide to wit and love, especially in Acts III-IV, once Shakespeare has firmly established this new moral compass, allowing  the four couples to discover and explore their own true natures and those of their proposed partners.  Thrown into the very center of this new world is the witty, moral, astute earthly goddess of love, Rosalind, reinvented into a Renaissance country girl.  What she knows is that when all of love’s false pretensions and idealized romantic conventions are swept away, what remains is love itself, irresistible and unfailing.  It is this she must teach Orlando to surrender to, as we must all learn to do. 

The Merchant of Venice

The Merchant of Venice is the story of Christian friends Antonio the Merchant, and Bassanio, his dear friend.  Bassanio wants to win the hand of the lovely and wealthy Portia but he has little money and borrows the sum from his wealthy merchant friend, Antonio.  Antonio has ships at sea and lacks cash so he approaches the Jewish money lender, Shylock, who agrees to lend him the money but insists that if Antonio is unable to pay him back by a certain date he will be required to give Shylock a pound of his flesh, which is to say, his life.  Antonio has no doubt that he will be able to pay Shylock in due time and agrees to the macabre terms of the loan.  The Christians in Venice are hard on Shylock.  They call him names, spit at him and humiliate him every chance they get.  He and Antonio have an especially toxic relationship and Shylock hopes this is finally his chance for revenge.  We soon learn that several of Antonio’s ships have been lost and that he cannot pay Shylock by the date the loan comes due.  Shylock is sharpening his knife for Antonio’s pound of flesh.

The case goes to court and Portia disguises herself as a lawyer so she can ensure that her lover’s best friend is made safe from Shylock’s knife.  In court Shylock demands his pound of flesh and continues to insist upon it even after Portia articulately appeals to him for mercy.  She finds a way to dissuade him by insisting that he take the pound of flesh but only the pound of flesh, as was agreed upon in the terms of the deal. Not an ounce more and not an ounce less of flesh, and without blood, upon pain of death.  Since this is impossible the court insists that he pay much of his fortune to Antonio, who gives it to Shylock’s daughter and her new Christian husband.  Shylock is also made to convert to Christianity.  He has lost everything.  In the final scene the Christians are all happy in Belmont.  Therefore, it is a comedy because Antonio, Bassanio, Portia and the other Christians are all content indeed in the end.  If the protagonist was Shylock this would be a tragedy.  

The Merchant of Venice is easy to relate to in our 21st Century, as Black Lives Matter protests envelope North American.  A penetrating exploration of Medieval and Renaissance bigotry, Merchant never fails to arouse our curiosity about this Jewish Shylock and his Christian detractors.  The play ends well for the Christians, hence it is a comedy.  It does not end well for Shylock, hence it may be considered by some a tragic-comedy.

There is no question that Merchant is a comedy, if a difficult one.  There is a romantic courtship, a fairy tale type plot, and the happy ending in escapist Belmont.  But Bassanio is a curious character, Antonio and his buddies are raging anti-Semites, Portia is a calculating and deceiving heroine and Shylock is a heavy hitter and a raging fury of a victim made half-crazed by the racism he must endure.  The Duke will try to bridge the gap between revenge and mercy, but the hatred is so deeply lodged on both sides that it is an irrational hatred, deeply rooted in the institutions of Venice.  So, this is one of those ‘difficult comedies’, of which there are several in Shakespeare’s latter days, including All’s Well That Ends Well, Troilus and Cressida, and Measure for Measure.  The Jewish Shylock is alienated by his religion, his gritty, calculating voice and his money lending profession.  This play is not Shylock’s tragedy but a comedy for the Venetians, even though Shylock is virtually destroyed in a multitude of manners and robbed of human decency, while his opponents hardly notice while celebrating their outcome in beautiful Belmont.  Throughout the play we might have wondered whether it would be Christian Antonio and his pound of flesh or Jewish Shylock who would pay the price.  It is clearly Shylock.  Venice does not change one bit.  

The Merchant of Venice has done a considerable amount to reinforce negative stereotypes about Jews.  But can we blame Shakespeare?  Or those who misinterpret the play?  The ‘Hath a Jew not eyes’ speech empathizes deeply with Shylock.  There is prejudice on all sides here.  Gratiano is brutally anti-semitic.  But Shylock is also anti-Christian.  Where does it all begin?  Is Shakespeare himself anti-semitic or is he exposing the racism of the times in Venice? I sincerely believe the latter.

There is a grandiose shadow of doom hanging over the play.  Consider Antonio and Portia’s opening lines about being sad and weary of this world.  The source of the doom may well be Venice itself, the commercial capital of Europe.  The play focuses on a merchant and a money-lender.  For Shylock there is no life without money: “You take my life when you take the means whereby I live.”  In order to achieve a happy ending the Christians must remove themselves from Venice and go to Belmont.  They are all happy in the end but only at the cost of Shylock’s humiliation and crushing defeat.  Shakespeare manages to portray Shylock’s fall as a very human event.  We are made to wince at his humiliation.  

In Shakespeare’s day he might not have ever encountered a Jewish person in England, as they were forbidden to practice their faith since 1290 AD.  Jews would be permitted back by Oliver Cromwell only in 1655.  We have no clue what Shakespeare’s thoughts were about Jewish people.  What we do know is that this play is more about money vs love than it is Jews vs Christians.  Shylock is more than simply Jewish.  He is as sharp as the knife he wields and ornery, rigid and miserly.  It is altogether possible that the Christians in the play hate him for who he is personally, aside from his faith.  When his daughter, also Jewish, runs off to marry Christian Lorenzo, everyone is happy for them.  She herself hates her own father.  It matters not to anyone in the play that she is Jewish.  

This is clearly Shylock’s play more so than Portia’s, Bassanio’s or the Merchant’s.  Only after he is destroyed does the comedy really begin.  This could well be considered Shakespeare’s first tragic-comedy.  Belmont is the setting for the comedy.  Venice for the tragedy.

Nazi Germany and the Holocaust has made The Merchant of Venice almost unplayable.  The play was put on in Nazi Germany in the 1930s to justify what the Nazis were doing to the Jews.  Since the holocaust the play has faced the danger of portraying Shylock the Jew as a villain rather than a victim of racial and religious prejudice.

Portia is as bored as Antonio as the play begins.  The first lines of the entire play are Anthony’s: “In sooth, I know not why I am so sad.”  Likewise, are Portia’s first words: “By my troth, Nerissa, my little body is aweary of this great world.”  She is also very rich and very smart.  She plays little games throughout the play.  She entertains suitors by way of having them choose between three caskets.  By this way does she capture Bassanio.  She also plays a very effective lawyer in a real court and plays a decent trick with a ring on Bassanio.  She constantly battles the fates in these endeavors.  However, in the trial scene her ‘quality of mercy’ speech is a sincere masterpiece, even though she does not exactly dispense mercy to Shylock and the double standard is glaring.  Portia is the quintessential renaissance woman: strong, witty, articulate and resolute.

By contrast, Shylock comes across, from his opening lines, as a force of nature and a figure of diabolical intensity.  His own daughter describes their home as a ‘house of hell’.  He is treated with cold contempt by Bassanio, Antonio and their Venetian friends.  At times we seem to learn much about Shylock, but we also may simply see him through the deeply entrenched eyes of anti-Semitic hatred. Shylock is a solitary figure with a seemingly joyless life.  All that really matters to Shylock are his religion, his money and his daughter.  When he is forced to renounce all three there is nothing left but madness and despair.  We finally see the pitiful old Jewish victim and it is tragic.  Shylock is portrayed as the negative stereotype well known to Renaissance England.  There are countless ways to interpret and portray Shylock.  He may even be the model for Dicken’s Fagin.  Shylock has grown so big that he is nearly beyond interpretation.  He has entered into the mythological imagination of the world and simply a magnificently extravagant stage presence. Nevertheless, The Merchant of Venice can basically be played two different ways.  Shylock can be portrayed as a nasty old Jewish miser or as the innocent victim of persecution and discrimination in a cruel world of Christian materialism.  I have seen several productions of each interpretation.

Shylock’s daughter, Jessica, feels deeply oppressed by her stern father and escapes his clutches by running off with the Christian, Lorenzo.  She also takes much of Shylock’s possessions and money and converts to Christianity.  So, Shylock loses all that is dear to him in one fell swoop.  And that is all before the trial crushes him utterly.  The Venice world is entirely materialistic and Jews have been cruelly discriminated against.  Venice is where the term ‘Ghetto’ originated.  There was a time when all Jews were forced onto one of Venice’s many little islands and not allowed off at night.  The island is still there today and contains a synagogue and a Jewish Museum. 

Antonio is melancholy personified and a true friend to Bassanio.  He may very well be gay, which could help explain why his life in Renaissance Venice is so difficult.  Ian McKellin loved playing Antonio because he said he is the only obviously gay Shakespearean character.  He will do anything for Bassanio, even die for him.  He will also stand aloof from any happiness that occurs around him.  He and Shylock share an intense hatred for one another that is more than merely religious.  They despise each other personally.

Bassanio is an innocent, pure hearted and honest.  He is terribly affected by Antonio’s predicament on his behalf.  He wins Portia in her casket game and it turns out they are very well matched.  

Shakespeare brought two different sources together in order to create The Merchant of Venice.  Giovanni Fiorentino’s Simpleton tells the story of Portia, Bassanio, Antonio and Shylock and the idea for the three caskets come from an anonymous collection called Gesta Romanorum.  Both stories were popular and widely circulated in Shakespeare’s day.   He was also familiar with Marlowe’s The Jew of Malta.  Marlowe’s Barbabas also had a daughter, was wealthy,  hated Christians, and was even more villainous and far greater a monster than Shylock.  Shakespeare transforms Shylock into a human being with recognizable motives.  As well, there was the famous incident at the time involving the Queen’s Jewish doctor, who was accused of treason for supposedly plotting against the life of the Queen.  He was hanged, drawn and quartered to an enormous crowd in 1594.  There is a good chance that Shakespeare was in the crowd that day.  Shakespeare had lots of incentive to write a play about a villainous Jew.  

Merchant was at first popular in Shakespeare’s day but then disappeared in 1605 with no record whatsoever of a performance until 1741.  Since then it has become one of the Bard’s most popular plays.  Many famous actors have played the role of Shylock, including George Scott, Sir Lawrence Olivier and Al Pacino. Likewise, the role of Portia has been well played by the likes of Katherine Hepburn and Geraldine James.  The Merchant of Venice is a powerful play and an uncomfortable one for many, as it realistically depicts the anti-Semitism of Venice in Shakespeare’s time.  Shylock may be a difficult individual, but he was made so by well entrenched societal dynamics beyond his control.  The same may be said of Antonio and his Christian friends.  It is a play forever relevant and affects audiences today as much as it would have at Shakespeare’s Globe.  What you bring to a performance of Merchant may well determine what you see.  The light shines as much on the audience as it does the characters under study.  In this sense does William Shakespeare remind me of Bob Dylan.  They create their art without offering commentary or interpretations.  They suggest no easy answers.  They expect you to find what is meaningful for you.  They refuse to be pidgeon-holed.  Neither is fond of reflecting on their work.  They leave that to posterity and to us.  Thank God!

Act I

Scene i

A Venice street

Antonio: “In sooth, I know not why I am so sad.  It wearies me; you say it wearies you, but how I caught it, found it or came by it, what stuff ‘tis made of, wherefore it is born, I am to learn.”

Salerio: “I know Antonio is sad to think upon his merchandise at sea.”

Antonio: “Believe me, no; my ventures are not in one bottom trusted, nor to one place.  Therefore, my merchandise makes me not sad.

Solanio: “Why then you are in love.”

Antonio: “Fie, Fie!”

Solanio: “Then let us say that you are sad because you are not merry.  Here comes Bassanio, your most noble kinsman, with Gratiano and Lorenzo.”

Gratiano: “You look not well, Signior Antonio; You have too much respect upon the world.  They lose it who do buy it with so much care.”

Antonio: “I hold the world but as the world, Gratiano – a stage, where every man must play a part, and mine a sad one.”

Gratiano: “Let me play the fool.  With mirth and laughter let old wrinkles come; and let my liver rather heat with wine than my heart cool with mortifying groans.  Fish not with this melancholy bait.

Bassanio: “ ‘Tis not unknown to you, Antonio, how much I have disabled mine estate.  My chief care is to come fairly off from the great debts wherein my time, something too prodigal, hath left me gagged.  To you, Antonio, I owe the most, in money and in love; I have a warranty to unburden all my plots and purposes how to get clear of all the debts I owe.”

Antonio: “Pray you, good Bassanio, let me know it; and if it stand, as you yourself still do, within the eye of honour, be assured my purse, my person, my extremist means lie all unlocked to your occasions.”

Bassanio: “In my school-days, when I had lost one shaft, I shot his fellow of the self-same flight, the self-same way, with more advised watch, to find the other forth; and by adventuring both I oft found both.  I owe you much; and, like a wilful youth, that which I owe is lost; but if you please to shoot another arrow, I do not doubt to find both.”

Antonio: “Do but say to me what I should do and I am pressed unto it; therefore speak.”

Bassanio: “In Belmont is a lady richly left, of wondrous virtue.  Her name is Portia and the four winds blow in from every coast renowned suitors, and many Jasons come in quest of her. Oh, my Antonio, had I but the means to hold a rival place with one of them, I should questionless be fortunate.”

Antonio: “All my fortunes are at sea.  Therefore, go forth, try what my credit can in Venice do to furnish thee to Belmont to fair Portia.” 

Analysis

We are initially introduced to several wealthy Venetian merchants. One of them, Antonio, is sad, and his friends are wanting to understand why so they can cheer him up.  But he will remain aloof and melancholy throughout the entire play, concerned more with those around him than for himself.  His sadness may be because he is in love with Bassanio, who is declaring that he needs to borrow money from Antonio in order to court Portia.  Antonio will seemingly do anything for Bassanio, as we shall see.  The idea that he might be in love with Bassanio might just explain this.  In fact, he loves him so much that he is willing to risk his very life to help him woo somebody else.  ‘Fish not with this melancholy bait’, is Gratiano’s advice to Antonio.

Act I

Scene ii

Belmont.  Portia’s house

Portia: “By my troth, Nerissa, my little body is aweary of this great world.”

Nerissa: “For ought I see, they are as sick as surfeit with too much as they that starve with nothing.”

Portia: “I can easier teach twenty what were good to be done than to be one of the twenty to follow mine own teaching.  The brain may devise laws for the blood, but a hot temper leaps over a cold decree.  I may neither choose who I would nor refuse who I dislike; so is the will of a living daughter curbed by the will of a dead father.”

Nerissa: “What warmth is there in your affection towards any of these princely suitors that are already come”.

Portia: “As thou namest them, I will describe them.”

Nerissa: “The Neopolitan Prince?”

Portia: “He doth nothing but talk of his horse.  I am afeared his mother played false with a smith.”

Nerissa: “The County Palatine?”

Portia: “He doth nothing but frown.  I fear he will prove the weeping philosopher when he grows old.”

Nerissa: “The French Lord?”

Portia: “ God made him, and therefore let him pass for a man.”

Nerissa: “Falconbridge, the young Baron of England?”

Portia: “Who can converse with a dumb-show?”

Nerissa: “The young German?”

Portia: “Very vilely in the morning when he is sober and most vilely in the afternoon when he is drunk.  When he is best he is little worse than a man, and when he is worst he is little better than a beast.”

Nerissa: “You need not fear, lady, the having any of these lords.  They have returned to their homes to trouble you no more.  Do you not remember, lady, a Venetian, a scholar and a soldier?”

Portia: “Yes, yes, it was Bassanio.”

Nerissa: “He, of all the men, was the best deserving of a fair lady.”

Portia: “I remember him well, and I remember him worthy of thy praise.  If I could bid the fifth welcome with so good heart as I can bid the other four farewell, I should be glad of his approach.”

The Prince of Morocco arrives as a suitor at the very end of the scene

Analysis

Our attention now turns to Portia and her attempt to secure a husband by a random lottery with a casket, which was her father’s directive upon his death.  Portia is very wealthy and her suitors come from around all over Europe and even Africa. Shakespeare has her making fun of the various suitors she is not the least bit interested in.  However, both women recall with great fondness, Bassanio. Clearly, they are each other’s preferred match.

Act I

Scene iii

Venice

Shylock: “Three thousand ducats – well.”

Bassanio: “Ah, sir, for three months.”

Shylock: “For three months – well.”

Bassanio: “For the which, as I told you, Antonio shall be bound.  Shall I know your answer?”

Shylock: “Antonio is a good man.  Yet his means are in supposition.  He hath an argosy bound to Tripolis, another to the Indies, a third at Mexico, a fourth for England.  But ships are but boards, sailors but men; there be land-rats, water-thieves and land-thieves – I mean pirates; and then there is the peril of water, wind and rocks.  I think I may take his bond.  May I speak to Antonio?”

Bassanio: “If it please you to dine with us.” 

Shylock: “Yes, to smell pork. I will buy with you, sell with you, talk with you, walk with you, but I will not eat with you, drink with you, nor pray with you.”

Antonio approaches

Shylock: (an aside) “I hate him for he is a Christian; he lends out money gratis, and brings down the rate of usance here with us in Venice.  If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him.  He hates our sacred nation, and he rails on me, my bargains,  and my well-won thrift, which he calls interest.  Cursed be my tribe if I forgive him.”

Shylock relates an Old Testament story about Jacob and how he made money from the selling of lambs.

Antonio: “Mark you, Bassanio, the devil can quote scripture for his purpose. Oh, what a goodly outside falsehood hath.”

Shylock: “Signior Antonio, many a times and often in the Rialto you have rated me about my money and my usances.  Still have I born it with a patient shrug, for sufferance is the badge of all our tribe; you call me misbeliever, cut-throat dog, and spit upon my Jewish gaberdine, and all for use of that which is mine own.  Well then, it now appears that you need my help; you come to me, and you say ‘Shylock, we would have money’.  You say so – you that did void your rheum upon my beard and foot me as you spurn a stranger cur.  What shall I say to you?  Should I not say ‘hath a dog money?  Is it possible a cur could lend three thousand ducats?  Or shall I say this: ‘Fair sir, you spit on me on Wednesday last, you spurned me such a day; another time you called me dog; and for these courtesies I’ll lend you thus such money?”

Antonio: “I am as like to call thee so again, to spit on thee again, to spurn thee too.  If thou wilt lend this money, lend it not as to thy friend – but lend it rather  to thine enemy, who if he break thou mayest with better face exact the penalty.”

Shylock: “Why, look you, how you storm!  I would be friends with you, and have your love, forget the shames that you have stained me with.  This kindness will I show. Go with me to a notary, seal me there your single bond, and, in a merry sport, if you repay me not on such a day, let the forfeit be an equal pound of your fair flesh, to be cut off and taken in what pat of your body pleaseth me.”

Antonio: “I’ll seal to such a bond and say there is much kindness in the Jew.”

Bassanio: “You shall not seal to such a bond for me.”

Antonio: “Fear not, man, I will not forfeit it.  I do expect return of thrice three times the value of this bond.  Yes, Shylock, I will seal unto this bond.  Hie thee, gentle Jew.”

Shylock departs

Antonio: “The Hebrew will turn Christian: he grows kind.”

Bassanio: “I like not fair terms and a villain’s mind.”

Antonio: “Come on; in this there can be no dismay; my ships come home a month before the day.”

Analysis

In scene iii we get to the meat of the matter at hand.  Here, Shylock agrees to lend Antonio three thousand ducets for his friend, Bassanio.  We learn much about the merchant and Shylock in this scene.  Shylock knows that Antonio has ships spread out all over the world and contemplates all that could go wrong with them at sea and on land.  When Bassanio invites Shylock to dinner with him and Antonio, Shylock snaps back at Bassanio, saying that while he may buy and sell and walk and talk with them he will never eat or pray with them.

Then in an aside Shylock tells us how much he hates Antonio because he lends money without interest, thus driving down the rate of usance.  According to Shylock Antonio hates his tribe.  Antonio shows up and in a famous passage Shylock recounts the various indignities he has had to endure from Antonio, including name calling, spitting into his beard and kicking.  And now Antonio wants to borrow money from Shylock, who considers what his response should be.  “Can a dog lend three thousand ducats?”

Antonio assures Shylock that all the abuses he heaps upon Shylock he will continue to do so and that Shylock should lend Antonio the money as an enemy and not as a friend.  Shylock claims he would be Antonio’s friend and forget all of the humiliation if only Antonio will agree, in sport, to a condition that if the loan is not repaid by a certain date that Shylock will extract a pound of flesh from Antonio.  There is no mention of interest.  Shylock simply wants his bond of Antonio’s flesh… and life.

They are really stuck in each other’s head.  Antonio really just wants the money for the sake of his friend but Shylock sees his chance at revenge in the event Antonio’s ships encounter problems and do not return.  It is the pound of flesh that Shylock wants now, not the money repaid.  Bassanio is horrified but Antonio assures him his money is extremely secure.  Antonio is very happy that his pound of flesh is the only term in the deal and reflects that Shylock ‘grows kind.’  He does not seem to understand Shylock’s motivation for providing Antonio the money for Bassanio.  

Shylock dominates this play with his seething intensity even though he has fewer lines than many.  The play may be named after Antonio, the merchant, but it is Shylock’s play.  The great question seems to be whether Shylock is a villain consumed by hate or if he is merely at that same breaking point as anyone would face in consideration of the abuse he endures at the hands of the wealthy Christians around the Rialto.  Certainly, Shakespeare gives us every reason to feel some sympathy for him, from this first scene where we learn how he has always been treated by Antonio and the others as well as from the scenes to come involving his daughter and especially in the famous courtroom scene in Act IV.  He hates them with reason.  Can we say the same of the Christians?

The plot has been established.  Bassanio will pursue his Portia with money provided by Shylock’s loan to Antonio.  In Act II we shall witness Portia manage her suitors to her advantage, as Shylock begins to face his numerous and treacherous losses.  Act III will see Antonio’s ships lost and an obsessed Shylock licking his chops for his long-sought revenge.  Act IV will be the big resolution scene in court and, in this play, Act V is something of an afterthought of reconciliation in idyllic Belmont, for all but Shylock.  Buckle up!

Act II 

Scene i

Belmont

Morocco: “Mislike me not for my complexion.”

Portia: “The lottery of my destiny bars me the right of voluntary choosing.”

Morocco: “Lead me to the caskets to try my fortune.”

Portia: “You must take your chances.”

Analysis:

This is the first scene where we see Portia and her suitors.  It’s just a setup.  Morocco will choose his casket later in the act.  What’s important here is that she cannot choose and they must ‘take their chances’.

Act II

Scene ii

Venice

Launcelot: “Certainly my conscience will serve me to run from this Jew, my master.  The fiend is at mine elbow and tempts me, saying to me: ‘Launcelot Gobbo, use your legs, take the start, run away.’  My conscience says: ‘No, take heed, honest Launcelot, do not run.’  To be ruled by my conscience, I should stay with the Jew, my master, who is a kind of devil, and, to run away from the Jew, I should be ruled by the fiend, who is the devil himself.  Certainly, the Jew is the very devil incarnate.  The fiend gives the more friendly counsel.  I will run, fiend.

Launcelot’s father, Old Gobbo, shows up.  He is sand blind and does not recognise his son.  Lancelot tells Old Gobbo that his son is deceased and then asks him if he recognizes him.   He finally tells him that he is, indeed, his son and that he is running away from the employment of the Jew, ‘for I am a Jew if I serve the Jew any longer.’  Bassanio arrives and Launcelot offers his services to Bassanio and is accepted.  Gratiano arrives and tells Bassanio that he must accompany him to Belmont.  Bassanio accepts but also chides Gratiano: “Thou art too wild, too rude and bold of voice… take pain to allay with some cold drops of modesty thy skipping spirit.”

Analysis:

Launcelot is the first to abandon his relationship with Shylock.  His conscience tells him to stay, as though that were the right thing to do, but ‘the fiend’ tells him to run from Shylock.  He chooses the ‘more friendly’ advice from ‘the fiend’ and leaves his Jewish employer.

The lines with Launcelot and his father may seem curious but it is typical of Shakespeare to bring a simply humorous scene between working class members to an otherwise difficult and painful play such as Merchant.   And a little laugh goes a long way in this play.  This is essentially the one comedic break.

Act II

Scene iii

Venice – Shylock’s home

Jessica: “I am sorry thou wilt leave my father.  Our house is hell; and thou a merry devil.  But fare thee well.”

Launcelot: “Adieu!  Most beautiful pagan, most sweet Jew!”

Jessica: “Farewell, good Launcelot.  Alack, what heinous sin is it in me to be ashamed to be my father’s child!  O Lorenzo, If thou keep promise, I shall end this strife, become a Christian and thy loving wife.”

Analysis

We have already met Shylock but now our opinion of him is derived further by those closest to him, Launcelot and Jessica, who are deserting him.  This is the second time we have felt sympathy for Shylock.  The first was when we learned that Antonio routinely spits at him, kicks him and calls him dog and will do so again and again.  Now both Launcelot, against the advice of his conscience, and Jessica, who feels she is committing a sin, are leaving him for the Christians Bassanio and Lorenzo.  Shylock’s descent has begun.

Act II

Scene iv

Venice

Gratiano: “Was not that letter from fair Jessica?”

Lorenzo: “She hath directed how I shall take her from her father’s house and what gold and jewels she is furnished with.  If ever the Jew, her father, come to heaven, it will be for his gentle daughter’s sake.”

Analysis

Now we see that when Jessica leaves her father’s house for the Christian Lorenzo, she is also taking his money, gold and jewels as well and abandoning her Jewish faith.  We can only imagine, given what he routinely faces at the hands of the Christians, how he will handle all of this.  Once again, Shakespeare sets us up to feel pity for Shylock and to justify his raging fury to come.

Act II

Scene v

Before Shylock’s house 

Shylock (to Launcelot): “Well, thou shalt see the difference of Old Shylock and Bassanio.”

Shylock: “I am bid forth to supper, Jessica.  But wherefore shall I go?  I am not bid for love; they flatter me; but yet I’ll go in hate, to feed upon the prodigal Christian.  Jessica, my girl, look to my house.  I am right loathe to go; There is some ill a brewing… for I did dream of money bags tonight.  Lock up my doors.”

Analysis

Shylock is portrayed as a serious miser but he is not cruel to Launcelot when told he is leaving.  He even speaks tenderly to his daughter: “Jessica, my girl, look to my house.”  He is clearly not the monster the Christians have made him out to be:  at least not before the shocks he is about to endure.  Shylock has a prophetic sense about this particular night, from a dream he had with money bags.  Nonetheless, he does leave Jessica and his house and the world he used to know. 

Act II

Scene vi

Near Shylock’s house

Gratiano is waiting for Lorenzo to show up at Shylock’s house.

Gratiano: “Lovers ever run before the clocks.  Who riseth from a feast with that keen appetite that he sits down?  All things that are are with more spirit chased than  enjoyed.

Lorenzo approaches.

Jessica: “Who are you?”

Lorenzo: “Lorenzo, and thy love.”

Jessica: “Lorenzo, certain, and my love indeed.  Here, catch this casket; it is worth the pains… I am much ashamed at my exchange.  But love is blind, and lovers cannot see the pretty follies that themselves commit. I will make fast the doors and gild myself with more ducets.”

Gratiano: “By my hood, a gentle, and no Jew.”

Lorenzo: “I love her heartily, for she is wise, fair and true.”

Antonio arrives and tells Gratiano that the wind is good and Bassanio prepares for Belmont.  Gratiano departs for the ship.

Analysis

Why is Jessica piling up Shylock’s ducats, gold and jewels for Lorenzo?  Does she have to pay a price to be saved by the Christians?  Would Lorenzo not take her otherwise?  Does she hate her father this much?  Many questions of this nature exist in this play, ultimately asking: How much of all of this is Shylock’s fault?  How deserving is he of his spiraling fate?  How much responsibility lies with Antonio and the Christians who hate Shylock?  How much do they hate him because he is a Jew and how much is because they genuinely do not like him personally?  This play has always been produced in one of two ways, as either a scathing indictment of Shlock or of his Christian counterparts.  I believe Shakespeare left it right there for us to determine which is more true for us, in every new time and place it is staged.  

Act II

Scene vii

Belmont.  Portia’s house

Morocco: “The first, of gold, who this inscription bears: ‘Who chooseth me shall gain what many men desire’.  The second, silver, which this promise carries: ‘Who chooses me shall get as much as he deserves’.  The third, dull lead, with warning all as blunt: ‘Who chooseth me must give and hazard all he hath’.  How shall I know if I choose the right?”

Portia: “One of them contains my picture, Prince.  If you choose that, then I am yours, withal.”

Morocco: “Some god direct my judgement.  The silver: ‘as much as he deserves’… Pause there, Morocco, and weigh thy value with an even hand.  I do in birth deserve her, and in fortunes, in graces, and in qualities of breeding, in love I do deserve.  In gold: ‘what many men desire’… Why, that’s the lady!  All the world desires her.  Is it likely that lead contains her? Twere a damnation to think so base a thought. Or shall I think in silver she is immured? O sinful thought.  Never so rich a gem was set in worse than gold.  Deliver me the key.  Here do I choose and thrive as I may.”

Portia: “There, take it, Prince, and if my form lie there, then I am yours.”

Morocco unlocks and opens the golden casket.

Morocco: “Oh hell! What have we here? A carrion death, within whose empty eye there is a written scroll.  I’ll read the writing: ‘All that glitters is not gold… fare you well, your suit is cold.’

Portia: “A gentle riddance.  Let all of his complexion choose me so.”

Analysis

Portia is very rich and considerably self centered.  Morocco thinks hard about which casket to choose.  He is wrong and she is heartily relieved.  Apparently, she is not enamoured of Africans…

Act II

Scene viii

Venice

Solanio: “The villain Jew, with outcries raised the Duke, who went with him to search Bassanio’s ship.”

Salerio: “He came too late, the ship was under sail.”

Solanio: “I never heard a passion so confused, so strange, outrageous, and so variable, as the dog Jew did utter in the streets: ‘My daughter! O my ducats! O my daughter!  Fled with a Christian! O my Christian ducats! Justice! The law! My ducats and my daughter!  Two sealed bags of ducats, of double ducats, stolen from me by my own daughter!  Find the girl.’”

Salerio: “Why all the boys in Venice follow him, crying, ‘his stones, his daughter, his ducats.’”

Solanio: “Let good Antonio look he keep his day, or he shall pay for this.”

Salerio: “In the narrow seas that part the French and the English, there miscarried a vessel of our country richly fraught.  I thought upon Antonio and wished in silence that it were not his.”

Analysis

Solanio and Solerio are having fun with Shylock’s misery.  The younger men follow Shylock and taunt him further.  Meanwhile, a rumour is out there that a certain ship, richly fraught, has miscarried at sea.  They are wishful that it is not Antonio’s ship, since Shylock is now enraged at his losses at the hands of these Christians and will want his bond, his pound of Antonio’s flesh.

Act II

Scene ix

Belmont

Once more does Portia have to entertain a suitor, this time from Arragon.  

Arragon: “What says the golden chest? Ha!  Let me see: ‘Who chooses me shall gain what many men desire’.  What many men desire – that ‘many’ may be meant by the fool’s multitude, that chose by show.  I will not choose what many men desire because I will not jump with common spirits.  Why then, to thee, thou silver treasure house! ‘Who chooseth me shall get as much as he deserves.’  I will assume desert.  Give me a key for this and instantly unlock my fortune.”

Arragon opens the silver casket

Arragon: “What’s here? The portrait of a blinking idiot. How much unlike my hopes and my deservings!  Did I deserve no more than a fool’s head? Is that my prize? Are my deserts no better? With one fool’s head I came to woo, but I go away with two.” 

Portia: “O these deliberate fools!  When they do choose, they have the wisdom by their wit to lose.”

Servant: “Madam, there is alighted at your gate a young Venetian.  Yet I have not seen so likely an ambassador of love.”

Portia: “Come, come, Nerissa, for I long to see quick Cupid’s post that comes so mannerly.”

Nerissa: “Bassanio, Lord Love, if thy will it be.”

Analysis

Arragon suffers a similar fate to that of Morocco, paving the way for ‘Lord Love, Bassanio’.  The plot is inching forward.  Shylock is incensed to get his pound of flesh, Antonio’s ships may be in danger and Bassanio is next in line for the casket game.  The set up is over. Act III will plunge headlong toward a crisis requiring the Act IV resolution scene to straighten it all out.

Act III

Scene i

The Realto in Venice

We learn from Solanio and Salerio that Antonio has lost a ship.  Shylock arrives and asks the two Venitians if they were aware of his daughter’s flight.

Salerio: “That’s certain.  I, for my part, knew the tailor that made the wings she flew withal.”

Shylock: “She is damned for it.”

Salerio: “That’s certain, if the devil may be her judge.  But tell us, do you hear whether Antonio has had any loss at sea or not?”

Shylock: “Let him look to his bond.”

Salerio: “I am sure, if he forfeit, thou wilt not take his flesh.  What’s that good for?

Shylock: “To bait fish withal.  If it will feed nothing else, it will feed my revenge.  He hath disgraced me, and hindered me a half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies.  And what’s his reason?  I am a Jew.  Hath not a Jew eyes?  Hath not a Jew hands, organs, dimensions, senses, affections, passions, fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is?  If you prick us, do we not bleed?  If you tickle us, do we not laugh, if you poison us, do we not die?  And if you wrong us, do we not revenge?  If we are like you in the rest, we will resemble you in that.  If a Jew wrong a Christian, what is his humility?  Revenge.  If a Christian wrong a Jew, what should his sufferance be by Christian example?  Why, revenge.  The villainy you teach me I will execute; and it shall go hard but I will better the instruction.

Shylock speaks with his Jewish friend Tubal:

Shylock: “Tubal, hast thou found my daughter?”

Tubal: “I cannot find her.”

Shylock: “The curse never fell upon our nation until now; I never felt it till now.  Two-thousand ducats and other precious, precious jewels.  I would my daughter were dead at my foot and the jewels in her ears and the ducats in her coffin.  Loss upon loss!  The thief gone with so much and so much to find the thief and no satisfaction, no revenge.”

Tubal: “Other men have ill luck too: Antonio, as I heard in Genoa….”

Shylock: “What, what, what?  Ill luck, ill luck?”

Tubal: “Hath an argosy cast away, coming from Tripolis.”

Shylock: “I thank God.  I thank God.  Is it true?  Is it true?”

Tubal: “I spoke with sailors who survived the wreck.”

Shylock: “I thank thee, good Tubal, Good news, good news!  Ha Ha!”

Tubal: “Your daughter spent, in Genoa, as I heard, in one night, fourscore ducats.”

Shylock: “Thou stick’st a dagger in me – I shall never see my gold again.  Fourscore ducats at a sitting!  Fourscore ducats!”

Tubal: “Antonio’s creditors swear he cannot choose but break.”

Shylock: “I’ll plague him, I’ll torture him; I am glad for it.”

Tubal: “One of them showed me a ring that he had of your daughter for a monkey.”

Shylock: “Out upon her!  Thou torturest me, Tubal.  It was my turquoise; I had it of Leah when I was a bachelor; I would not have given it for a wilderness of monkeys.”

Tubal: “But Antonio is certainly undone.”

Shylock: “I will have the heart of him, if he forfeit.”

Analysis

After Solanio and Salerio torment Shylock, as usual, on the Rialto, he breaks into the most famous passage of the play.  He wants his revenge due to the abuse he has suffered at Christian hands.  He finally appeals to their humanity, asking  ‘Hath not a Jew eyes…” and “If you prick us do we not bleed.”  And “If you wrong us, shall we not revenge.”  And “if we are like you in the rest, we will resemble you in this, by Christian example…” Only “I will better the instruction.” 

It is hard not to relate to Shylock here, as a matter of pure anti-Semitism.  He has been goaded and galled, and principally at the hands of Antonio, whose bond and pound of flesh is finally within his reach.  This is only the main example of Shakespeare exposing the Christians for what they have done to this man.  The endless mockeries and physical assaults, their complicity in the loss of his servant, his daughter and his fortune.  And what is the reason for all of this cruelty? “(because) I am a Jew.”

To be sure, Shylock is not a likable character in this story.  But were we able to witness the prequal to this drama we might well understand his rancor.  Yes, this villainous character is absolutely willing to carve out a pound of flesh from Antonio’s chest.  However, we see clearly that his motivation is not without justification in this smug Venice of anti-Semitic Christian Merchants.

Immediately following this famous passage is the conversation between Shylock and Tubal, in which Tubal bounces back and forth with bad and good news for Shylock.  Tubal could not find Shylock’s daughter but knows that she spends his fortune at a furious pace, including a precious ring that his wife had given him before they were married.  Shylock is devastated.  However, Antonio is losing ships now and it is reported that he will financially break.  Tubal’s bad news makes his good news all the better.  Shylock is determined he will have his bond – his pound of Antonio’s flesh.  

Act III

Scene ii

Portia’s house in Belmont

Portia: “I pray you, tarry; pause a day or two before you hazard; for, in choosing wrong, I lose your company; therefore, forebear awhile.  I would detain you here some month or two before you venture for me.  I could teach you how to choose right.”

Bassanio: “Let me choose.  Let me to my fortune and the caskets.”

Portia: “Away, then: I am locked in one of them.  If you do love me, you will find me out.”

While Bassanio ponders the three caskets Portia proceeds to sing a song with lines that end with bred, head and fed, all rhyming with lead.  Hmmmm.

Bassanio: “So may the outward shows be least themselves; the world is still deceived with ornament… Ornament is but the guiled shore to a most dangerous sea.  Therefore thou gaudy gold, I will none of thee.  But thou, thou meager lead, thy plainness moves me more than eloquence, and here choose I.  Joy be the consequence.”  (opening the casket) “What find I here?  Fair Portia’s counterfeit!  What demi-god hath come so near creation?”

Portia: “You see me, Lord Bassanio, where I stand, such as I am.  Though for myself alone, I would not be ambitious in my wish to wish myself much better, yet for you I would be trebled twenty times myself, a thousand times more fair, ten thousand times more rich, that only to stand high in your account I might in virtues, beauties, livings, friends, exceed account.  But the full sum of me is sum of something which, to term in gross, is an unlessoned girl, unschooled, unpracticed; happy in this, she is not yet so old but she my learn; happier than this, she is not bred so dull but she can learn; happiest of all is that her gentle spirit commits itself to yours to be directed, as from her Lord, her governor, her king.  Myself and what is mine to you and yours is now converted.  But now I was the lord of this fair mansion, master of my servants, queen over myself, and even now, but now, this house, these servants, and this same myself, are yours, my Lord’s.  I give them with this ring, which when you part from, lose or give away, let it presage the ruin of your love.”

Bassanio; “When this ring parts from this finger, then parts life from hence.”

Gratiano arrives.

Gratiano: “My Lord Bassanio, and my gentle lady, I wish you all the joy that you can wish.  And… I do beseech you that I may be married too.  You saw the mistress, I beheld the maid, you loved, I loved.”

Portia: “Is this true, Nerissa?”

Nerissa: “Madam, it is.”

Lorenzo, Jessica and Salerio arrive.

Salerio: “Lord Bassanio, Signior Antonio  commends him to you.” (gives Bassanio a letter, which he reads)

Portia: ”There are some shrewd contents in yonder paper, that steals the colour from Bassanio’s cheek.  What, worse and worse!  With leave, Bassanio; I am half yourself, and I must freely have half of anything that this same paper brings to you.”

Bassanio: “O, sweet Portia, here are a few of the unpleasent’st words that ever blotted paper… I have engaged myself to a dear friend, engaged my friend to his mere enemy, to feed my means.  Is it true Salerio?  Hath all his ventures failed and not one vessel ‘scaped?”

Salerio: “Not one, my Lord.  Besides, if he had the present money to discharge to the Jew, he would not take it.  No one can drive him from the envious plea of justice and his bond.”

Jessica: “When I was with him, I have heard him swear that he would rather have Antonio’s flesh than twenty times the value that he did owe him.”

Portia: “What sum owes he the Jew?”

Bassanio: “For me, three-thousand ducats.”

Portia: “What! No more?  Pay him six-thousand, and then treble that, before a friend of this description shall lose a hair through Bassanio’s fault.  Never shall you lie by Portia’s side with an unquiet soul.  You shall have gold to pay the petty debt twenty times over.  But let me hear the letter of your friend.”

Bassanio: (reads) “Sweet Bassanio, my ships have all miscarried., my creditors grow cruel, my estate is very low, and my bond to the Jew is forfeit.  All debts are cleared between you and I, if I might see you at my death.”

Analysis

Here is a scene that really shakes things up nicely.  Portia at first does not even want Bassanio to choose caskets for fear he will choose incorrectly and then have to depart.  She even suggests he just hang around for a few months before choosing.  She goes as far as to say she could help him to choose correctly.  After he insists on choosing she sings him a little song where three times words that rhyme with lead are emphasized: bred, head and fed.  Then, lo and behold, he chooses correctly.  Perhaps Portia always manages to get what she wants.  We will see further evidence of this in the forthcoming trial scene.  Once he wins her she delivers a beautiful speech about how only for Bassanio’s sake does Portia desire that she were better than she is in terms of being fair, wealthy and having many friends.  She goes as far as to claim to be no more than an unlessoned girl, unschooled and unpracticed, only happy that she is not yet old, is able to learn and is willing to be Bassanio’s to direct as her lord, her governor and her king. Everything considerable that she possesses is now conferred to him.  She seals the deal with a ring she presents to him and states that when he either loses it, parts from it or gives it away, that will indicate the ruin of his love.  He acknowledges, in a foreshadowing of act 5, that when the ring parts from his finger, then parts his life. 

Act III

Scene iii

A street in Venice

Shylock: “Gaoler, look to him and tell me not of mercy.”

Antonio: “Hear me yet, good Shylock.”

Shylock: “I’ll have my bond; speak not against my bond.  Thou call’dst me a dog.  Since I am a dog, beware my fangs.  The Duke shall grant me justice.”

Antonio: “I pray thee hear me speak.”

Shylock: “I’ll have my bond; therefore speak no more.”

Solanio: “It is the most impenetrable cur that ever kept with men.”

Antonio: “Let him alone.  He seeks my life; his reasons well I know… pray good Bassanio come, to see me pay his debt, and then I care not.”

Analysis

Scene iii is only 36 lines long yet the word bond is uttered by Shylock 6 different times.  He is singularly obsessed with the revenge which finally seems within his reach.  He will not listen to reason.  It is as if he were seeking justice for every wrong ever committed against him by the Christians.  Solanio hopes the Duke might save Antonio from his fate but Antonio reminds Solanio that the Duke must uphold the laws of Venice in order to preserve the integrity of the state.

Act III

Scene iv

Belmont.  Portia’s house

Portia: “Come on, Nerissa, I have work in hand that you yet know not of.  When we are both accoutred like young men, I have within my mind a thousand raw tricks of these bragging jacks, which I will practice.”

Analysis

Portia has a plan alright.  She plans on pretending on her and Nerissa being in contemplation at a nearby monastery, when disguised as men, they actually appear in the Venetian court as judge and clerk in Antonio’s trial.  

Act III

Scene v

Belmont.  The gardens.

Launcelot: “The sins of the father are to be laid upon the children; for truly I think you are damned.  You may partly hope that your father got you not – that you are not the Jew’s daughter.

Jessica: “The sins of my mother should be visited upon me.”

Launcelot: “Truly, I fear you are damned both by father and mother.  You are gone both ways.”

Jessica: “I shall be saved by my husband; he hath made me a Christian.”

Launcelot: “This making of Christians will raise the price of hogs, if we grow all to be pork eaters.”

Analysis

This is purely a scene of comic relief between Launcelot and Jessica, who are quite close, having both lived in the house with Shylock.  A light scene before the trial begins.

Act IV

Scene i

Venice.  The Court of Justice.

Duke: “Shylock, the world thinks, and I think so too, that thou but leadest this fashion of thy malice to the last hour of act, and then, tis thought, thou’lt show thy mercy and remorse, and where thou now exacts the penalty, which is a pound of this poor merchant’s flesh, thou wilt, touched with human gentleness and love, forgive of the principle, glancing an eye of pity on his losses.  We all expect a gentle answer, Jew.”

Shylock: “By our holy Sabbath have I sworn to have the due and forfeit of my bond.  You’ll ask me why I rather choose to have a weight of carrion flesh than to receive three-thousand ducats… it is my humour.  I give no reason, more than a lodged hate and a certain loathing I bear Antonio.”

Bassanio: “This is no answer, thou unfeeling man.”

Shylock: “I am not bound to please thee with my answers.”

Bassanio: “For thy three-thousand ducats here is six-thousand.

Shylock: “If every ducat in six-thousand ducats were in six parts, and every part a ducat, I would not draw them; I would have my bond.  The pound of flesh which I demand of him tis mine and I will have it.”

Bassanio: “Why dost thou whet thy knife so earnestly?”

Shylock: “To cut the forfeiture from that bankrupt there.”

Gratiano: “O, be thou damn’d, inexecrable dog.”

Duke: “This letter doth commend a young and learned doctor to our court.”

The Duke had called upon a judge to try the case but he is ill and cannot make it and Portia and Nerissa, dressed as Bathazar the judge and a clerk, have arrived to hear the case.

Portia: “Is your name Shylock?”

Shylock: “Shylock is my name.”

Portia: “Of a strange nature is the suit you follow.  Then must the Jew be merciful.”

Shylock: “On what compulsion must I?”

Portia: “The quality of mercy is not strained, it droppeth as a gentle rain from heaven upon the place beneath.  It is twice blest: it blesses he that gives and he that takes.  Tis mightiest in the mightiest; it becomes the throned monarch better than his crown.  Mercy is enthroned in the hearts of kings, it is an attribute to God himself; therefore, Jew, though justice be thy plea, consider this – that in the course of justice none of us should see salvation; we do pray for mercy.

Shylock: “I crave the law.”

Portia: “Is he not able to discharge the money?”

Bassanio: “Yea, twice the sum; if that will not suffice, then ten times over.  To do a great right, do a little wrong, and curb this cruel devil of his will.”

Portia: “It must not be; there is no power in Venice can alter a decree established.”

Shylock: “A Daniel come to judgement.  O wise young judge, how I do honour thee.”

Portia: “I pray you, let me look at the bond.”

Shylock: “Here tis, most reverend doctor.”

Portia: “Lawfully the Jew may claim a pound of flesh, to be by him cut off nearest the merchant’s heart.  Be merciful.  Take thrice thy money.”

Shylock: “Proceed to judgement.  I stay here on my bond.”

Portia: “Why then, thus it is.  You must prepare your bosom for his knife.”

Shylock: “O noble judge! O excellent young man!”

Portia: “Are there balances here to weigh the flesh?”

Shylock: “I have them ready.”

Portia: “Have by some surgeon, lest he do bleed to death.”

Shylock: “Is it so nominated in the bond?  I cannot find it.  Tis not in the bond.”

Portia: “Merchant, have you anything to say?”

Antonio: “But little: give me your hand, Bassanio; fair thee well.  Speak me fair in death.”

Bassanio: “Antonio, I am married to a wife who is as dear to me as life itself; but life itself, my wife, and all the world, are not with me esteemed above thy life.”

Portia: “Your wife would give you little thanks for that.  A pound of that same merchant’s flesh is thine.  The court awards it and the law doth give it.”

Shylock: “Most rightful judge!  Most learned judge!”

Portia: “Tarry a little; there is something else.  This bond doth give thee here no jot of blood; the words expressly are ‘a pound of flesh’.  Take thou thy pound of flesh; but, in the cutting it, if thou dost shed one drop of Christian blood, thy lands and goods are by the laws of Venice confiscated.”

Gratiano: “O upright judge!  Mark, Jew.  O learned judge!”

Shylock: “Is that the law?  I take this offer then; pay the bond thrice, and let the Christian go.”

Bassanio: “Here is the money.”

Portia: “Soft!  No haste.  He shall have nothing but the penalty.  Therefore, prepare thee to cut off the flesh.  But just a pound of flesh.; if thou takest more or less than a just pound thou diest and all thy goods are confiscated.”

Shylock: “Give me my principle and let me go.”

Portia: “He shall have merely justice, and his bond.”

Shylock: “I’ll stay no longer.”

Portia: “Tarry, jew.  The law hath yet another hold on you.  It is enacted in the laws of Venice, if it be proved that he seek the life of any citizen, the party against the which he doth contrive shall seize one half his goods; the other half comes to the privy coffer of the state; and the offender’s life lies in the mercy of the Duke.”

Gratiano: “Beg that thou mayst have leave to hang thyself; and yet, thy wealth being forfeit to the state, thou hast not left the value of a cord; therefore thou must be hanged at the state’s charge.”

Duke: “I pardon thee thy life before thou ask it, for half thy wealth, it is Antonio’s; the other half comes to the general state.”

Shylock: “Nay, take my life and all, for you take my life when you do take the means whereby I live.”

Portia: “What mercy can you render him, Antonio?”

Gratiano: “A halter gratis; nothing else, for God’s sake.”

Antonio: “To quit the fine for one-half of his goods.  I am content.  Two things provided more: that he presently become a Christian; the other, that he do record gifts, here in the court, of all he dies possessed unto his son Lorenzo and his daughter.”

Duke: “He shall do this.”

Portia: “Are thou contented, Jew?”

Shylock: “I am content.  I pray you, give me leave to go from hence; I am not well.”

Duke: “Get thee gone.  Antonio, gratify this gentleman, for in my mind you are much bound to him.”

Portia: “He is well paid that is well satisfied, and I, delivering you, am satisfied, and therein do account myself well paid.

Bassanio: “Dear sir, take some remembrance of us, as a tribute.”

Portia: (to Bassanio) “For your love, I’ll take this ring from you.”

Bassanio: “Good sir, this ring was given me by my wife; and, when she put it on, she made me vow that I should neither sell, nor give, nor lose it.”

Antonio: “My lord Bassanio, let him have the ring.”

Bassanio: “Go, Gratiano, run and overtake him.  Give him the ring.”

Analysis

This trial scene is one of the most famous scenes in all of Shakespeare, although it is hardly played out on the up and up.  You just know that Shylock will pay for his rage against Antonio and for simply being Jewish.  Portia has already stated that Bassanio will never lie beside her with an unquiet soul.  She will appear as an unbiased legal authority, but we know that she is Bassanio’s wife, in disguise.  This does not bode well for Shylock.  At first he is delirious about being granted his bond.  He will hear of nothing else.  And it actually looks good for him for a while.  Portia appeals to Shylock for mercy, in one of Shakespeare’s most famous passages, which Shylock dismisses out of hand. Bassanio offers to pay ten times the bond but Shylock refuses to consider anything less than his pound of flesh.  He is a landlocked Ahab and Antonio is clearly his leviathan. Portia declares that the bond is valid and that Antonio must prepare himself for the knife.  In a twist of irony Bassanio declares that his love for Antonio exceeds his love of his wife or of life itself.  Portia, his disguised wife, states that his wife is not likely to appreciate such a sentiment.  Just as Shylock approaches Antonio with his knife Portia stops the proceedings to remind Shylock that the bond specifies only the pound of flesh and that if a single drop of blood is spilt he will forfeit all of his possessions and his life. Naturally, she has found a way to save Antonio.  At this point he quickly states that he will take the original three-thousand ducats but Portia explains that, having threatened the life of a Venetian citizen, Shylock must surrender half of his possessions to the state and half to Antonio.  Now Portia pounces on poor Shylock, to the excitement of the assemblage.  His life may only be saved by the mercy of the Duke, who does, in fact, spare Shylock’s life.  Antonio offers to return his share of Shylock’s money but also insists that Shylock convert to Christianity and surrender all of his possessions to Lorenzo and his daughter upon his death.

Is this a racist play by Shakespeare?  I do not believe it is.  Shylock has been twisted into what he is seen to be by these racist Christians.  If Shakespeare exposes anything it is this: Renaissance Venice was anti-Semitic in the extreme.  Shylock has been badly abused, spat upon, called vile names, has had his beard pulled, etc, etc, etc…. because he is a Jew.  Shylock’s ‘Hath not a Jew Eyes’ speech is at the very heart of this question.  ‘Hath not a Jew eyes… fed with the same food… hurt with the same weapons… as a Christian is?  If you prick us do we not bleed?  And if you wrong us, shall we not revenge?’  There it is.  He has learned from the Christians.  ‘If we are like you in the rest, will we not resemble you in this?  If a Christian wrong a Jew, what should his sufferance be by Christian example?  Why, revenge.  The villainy you teach me I will execute… and I will better the instruction.’  Hardly a racist play, rather it exposes the racism of the Christians toward this one Jew.  Interestingly, Lorenzo marries Shylock’s daughter and she does not seem at all subjected to the anti-Semitism reserved for Shylock.  They may tease her but they also embrace her.  The great irony to me is Portia’s mercy speech because no mercy will be accorded Shylock.  “Mercy is twice blessed: it blesses him that gives and him that takes… it is an attribute to God himself.  Therefore, Jew, since justice be your plea, we do pray for mercy.’  Mercy from the Jew, yes, but never mercy for the Jew.  She asks his name and thereafter merely refers to him as ‘The Jew’, as in ‘The Jew must be merciful’, and ‘Therefore Jew, we pray for mercy’, and ‘lawfully, the Jew may claim a pound of flesh’, and ‘Thou shall have nothing but the forfeiture, Jew’, and ‘Tarry, Jew, the law hath yet another hold on you’, and finally, once she has rendered him utterly destroyed, humiliated and stripped bare of all possessions, Portia has the audacity to ask of Shylock ‘art thou contented, Jew?’  The Duke’s final words to Shylock are ‘get thee gone!’  And meanwhile, the most racist of all the Christians, Gratiano, constantly and brutally insults Shylock.  If anything this a play exposing the Christians for their hatred and anti-Semitism.  In no way is this a racist and anti-Semitic play by William Shakespeare, any more than To Kill a Mockingbird by Harper lee is a racist novel or Bury My Heart at Wound Knee by Dee Brown is a racist work of non-fiction merely because it exposes the prejudice of white America.

Act V

Scene I

Portia’s house in Belmont

Lorenzo and Jessica are chilling together in beautiful Belmont.  Musicians enter and Lorenzo reflects on the power of music:

The man that hath no music in himself, nor is not moved with concord of sweet sounds, is fit for treasons, stratagems and spoils;  The motions of his spirit are as dull as night, and his affections as dark as Erebus. Let no such man be trusted.  Mark the music.

Portia and Nerissa return home as themselves.  No longer are they clothed as the lawyer and his clerk.  Soon thereafter Bassanio, Antonio and Gratiano arrive.  The ring scene begins as the two wives, disguised in court, managed to get the rings from their husbands.  Gratiano and Nerissa are quarrelling over the ring which Gratiano promised never to remove from his finger  until his hour of death.  He claims to have given it to the court clerk (who we know to be Nerissa) as a fee for his services.  Portia pipes in: 

“You are to blame to part so slightly with your wife’s first gift, a thing stuck on with oaths upon your finger.  I gave my love a ring, and made him swear never to part with it, and here he stands; I dare be sworn for him he would not leave it nor pluck it from his finger for the wealth that the world masters. 

Gratiano: My Lord Bassanio gave his ring away unto the judge that begged it, and then the boy, his clerk, begged mine.”

Portia pounces: “What ring gave you, my Lord?”

Bassanio: “You see my finger hath not the ring upon it;  it is gone.”

Portia: “By heaven, I will never come into your bed until I see the ring.”

Nerissa to Gratiano: “Nor I to yours till I again see mine.”

Bassanio: “Sweet Portia, If you did know to whom I gave the ring, if you did know for whom I gave the ring, and would conceive for what I gave the ring, and how unwillingly I left the ring, when nought would be accepted but the ring, you would abate the strength of your displeasure.”

Portia: “If you had known the virtue of the ring, or half her worthiness that gave the ring, or your honour to contain the ring, you would not then have parted with the ring.

Bassanio: “No woman had it, but a civil doctor and begged the ring; the which I did deny him.  I was enforced to send it after him.  Pardon me, good lady.”

Portia: “I will become as liberal as you; I’ll not deny him anything I have, no, not my body, nor my husband’s bed.  Know him I shall!  I’ll have that doctor for my bedfellow.”

Nerissa: “And I his clerk.”

Portia to Antonio: “Give him this.”

Antonio: “Here, Lord Bassanio, swear to keep this ring.”

Bassanio: “By heaven, it is the same I gave the doctor!”

Portia: “Pardon me, Bassanio, for, by this ring, the doctor lay with me.”

Nerissa: “And pardon me, Gratiano, the doctor’s clerk, last night did lie with me.”

Portia: “You are all amazed.  Here is a letter.  You shall find that Portia was the doctor, Nerissa there her clerk.”

Bassanio: “Were you the doctor and I knew you not?  Sweet doctor, you shall be my bedfellow.”

Analysis

As stated earlier, this is the odd Act 5 which is mere reconciliation and gaiety.  The real resolution took place in Act 4.  A cute ending for a difficult play.

Final Thoughts:

Merchant of Venice is a troubling play in which the audience must necessarily squirm as the Christians lay waste to Jewish Shylock.  He may be a difficult character but we certainly learn throughout the play just why this is the case  He is the constant target of derision for the merchant, Antonio, and all of his Christian companions.  He is brutalized for being a Jew until he stumbles upon a situation wherein he might finally exact his revenge on at least one of his tormentors: Antonio, the merchant.  What we do know is that historical Venice was a hotbed of anti-Semitism.  The word Ghetto was created here, as the island in Venice where Jews were forced to abide every night, complete with guards on the bridges.  It remains today as Ille d’ Ghetto, a sordid reminder of the darker times we encounter in the play.  In the Germany of the Nazis and across Eastern Europe there were Jewish ‘Ghettoes’ in nearly every town and city.  In Shakespeare’s England all Jews were expelled from the country in 1215.  Anti-Semitism was a perverse reality throughout most of European history, as it continues to thrive today, especially in the East.

King Lear

Introduction

For the first three years of the reign of King James, Shakespeare’s productivity seemed like a thing of the past.  Since the beginning of the new regime three years earlier he had written two plays, Measure for Measure and Timon of Athens, the latter a collaboration with Thomas Middleton.  It was not unusual, during his Elizabethan years, for Shakespeare to write three or four plays a year.  But he was younger then.  Up and coming rivals in 1606 may have thought that Master Shakespeare was all but finished as a playwright, just as he was finished acting and touring.  1606 was the first year, ever since he began writing plays, that not a single publication of his appeared in print or on the stage.  He had turned 46 years old in 1606 at a time when the life expectancy was in the mid-forties.  In these plague-ridden times, he had done well to get this far.  Only one of his four sisters survived childhood and only one of his three brothers ever saw 40.  His own son, Hamnet, died in childhood.  It is believed that all of these deaths are related to the plague.

As it turns out, Shakespeare was not retiring in 1606.  In fact, 1606 would be an exceptionally good year for Will, albeit a very bad one for England.  In fact, those two realities went hand in hand.  The plague struck London with yet another vengeance and Shakespeare quietly quarantined while the theatres were closed and wrote King Lear, Macbeth and Antony and Cleopatra, making 1606 the most prolific year of his career.  1606 was indeed a severe plague year, but it was also the first year the Union Jack was designed and flown and the year the first English ships would set sail to the first permanent colony in America, at Jamestown.

In 1605 John Wright started selling copies of a new play called King Leir, which first appeared around London in 1590.  Shakespeare virtually lived around the corner from Write’s bookstore and no doubt picked up a copy of King Leir.  As we have noted, Shakespeare did not write many original plots.  Rather, he would overhaul old plays, most from the deep collection of The Queen’s Men during Elizabeth’s reign.  He reworked Richard III, Henry IV, Henry V and others to his own liking.  King Leir was fixated upon royal succession, as was Shakespeare, evident in Titus Andronicus, the Henry VI trilogy, Richard III, King John, Richard II, both parts of Henry IV, Henry V, Julius Caesar and Hamlet.  Again and again, Shakespeare explored just what cunning, wit, legitimacy and ambition was required to seize and hold the crown.  This obsession only increased in the final debilitating years in the life of Queen Elizabeth, who never married and had no direct heir.  In March of 1603, as Elizabeth was clearly dying, the theatres were closed due to a fear of civil unrest and they remained closed after her death to commemorate an extended period of mourning.

But then there was suddenly good news.  The new King, James I, chose Shakespeare’s company as his official troupe of players, to be known as The King’s Men.  This meant that Shakespeare and his theatrical group of 8 players were permitted to perform at court, in the Globe and across the realm, if they so desired.

Unfortunately, the plague struck again just then.  By February, 1603, just in time for the coronation of the king, over a thousand were dying of the plague every week in a town of 200,000. By August the number of dead exceeded 3,000 per week.  Nearly one-third of the population of London was infected and over 30,000 were dead.  Theatres were closed.  The King’s Men survived by playing the countryside, where the plague was nothing compared to what it was in London.  The general rule was that if the number of dead exceeded 20-30 per day, then the playhouses were closed immediately.     

Whenever the theatres were opened James requested plays be staged for him.  He called for many more plays by Shakespeare than Elizabeth ever had.  I suppose he had some catching up to do.  From early November, 1604, until February 1605, when the plague permitted, The King’s Men put on Othello, The Merry Wives of Windsor, The Comedy of Errors, Measure for Measure, Love’s Labour’s Lost, Henry V and The Merchant of Venice twice.  It is thought that by 1606 James had finally seen all of Shakespeare’s productions from the Elizabethan era.   By 1606 it was definitely time for some new work and he turned to an old favourite of The Queen’s Men, King Leir.  

Shakespeare had a brilliant lead man in Richard Burbage, the single most accomplished tragedian of his time.  He was already famous for playing Richard III, Othello and Hamlet.  1606 would offer Burbage three new lead roles in King Lear, Macbeth and Antony.  Surely no actor has ever faced a more daunting challenge than to learn and play all three of these seminal roles in so short a period of time.  The troupe had lost its equally as famous comedian, Will Kemp, who set off on a solo career in 1599 and was replaced by Robert Armin, a very different type of comedian.  Shakespeare endeavored to create new comedic roles for Armin and nailed it perfectly with Lear’s fool in King Lear.  This will be the defining role of Armin’s star-studded career.  The fool would be unlike any character ever written, before or since.  He was saucy, pathetic, lonely, angry and prophetic.  In previous plays kings and fools were kept apart, but Lear’s fool accompanies him as a sidekick throughout much of the play.  In fact, Lear loves his fool and treats him like a child (a son?).  Shakespeare usually wrote a part for himself, but not this time.  By 1606 he had stopped acting and simply wrote, which meant he had much more time to compose and soon to collaborate.  Half of his last 10 plays were collaborations.  When he acted there were morning and afternoon rehearsals and acting had become a young man’s pursuit.  Very few actors continued to perform into their 40s, especially actors who happened to also be dedicated playwrights with significant pressure to produce new works every year.

King Lear is about an old king who decides to divide up his kingdom among his three daughters.  In 1599 the then King James VI of Scotland (later King James I of England in 1603) wrote a political handbook for his eldest son, Prince Henry, about the dangers of dividing a kingdom among children.  “Make your eldest son inheritor of your entire kingdom.  Otherwise you shall leave the seeds of division and discord among your prosterity.”  This royal treatise became a bestseller after James assumed the English throne.  James lectured the parliament about the dangers of a divided kingdom.  Shakespeare has Lear’s opening words launch directly into the debate on dividing your kingdom between your children: “Meanwhile we shall express our darker purpose. Give me the map there.  Know that we have divided in three our kingdom; and tis our fast intent to shake all cares and business from our age, conferring them on younger strengths, while we unburdened crawl toward death.”  Two of Lear’s daughters are married to The Duke of Cornwall and the Duke of Albany.  Shakespeare’s audiences would have known well that King James’ older son was the current Duke of Cornwall and his younger (future King Charles I) was the current Duke of Albany.  James himself had once been the Duke of Albany, as had his father.  So there is much juice in Shakespeare’s King Lear for King James, right from the start, as there had been in Macbeth.  Much of Shakespeare’s earlier work, including all of the histories, had been more recent English plays.  Now, with King James arguing in favour of a united Britain of England, Scotland, Wales and Ireland Shakespeare places both Macbeth and King Lear in the era of ancient Britain.  The play King Lear will focus precisely on Lear’s ill-fated decision to divide his kingdom among his three daughters rather than unite them, as James implored his son to do as recently as 1590.

King Lear borrows extensively from the earlier King Leir, but Shakespeare guts it in favour of his own framing and innovation.  This was his gift, to enhance the various flaws of earlier productions and to reinvent the characters and plots accordingly.  In this case, Shakespeare chooses to highlight a counterpoint to Lear’s blindness, by including Gloucester, who will literally be blinded and who will also be betrayed by a child and therefore play the counterpoint to Lear himself.  Shakespeare had read a romance by Sir Philip Sydney, an Elizabethan writer, in which a blinded old man is lead to the edge of a cliff by his own son.  This will be Gloucester.  Shakespeare scraps the meandering middle section of the old play and then completely rewrites the original happy ending with two of the most heartbreaking recognition scenes he will ever pen.  The first is between blind Gloucester and mad Lear and the second between Lear and his daughter Cordelia.  

King Lear is a torturously painful drama to read or watch.  The sense of nihilistic nothingness is a recurring theme throughout the play.  The words ‘never’ and ‘nothing’ appear more than 30 times, the word ‘no’ 120 times and the word ‘not’ over 200 times.  The prefix un- recurs 60 times.  The result is the darkest tragedy Shakespeare ever wrote.  In every Act of King Lear both pity and terror reach their climax.  At no point in Lear is there any loosening of the tragic tension.  Shakespeare was aiming for a total theatrical effect. This is a play for which even the gods remain silent.  King Lear is often considered the height of Shakespeare’s achievement in tragedy.  It seems to lay waste to all ideals and strips man down to the barest of essentials.  The ‘nothingness’ is all pervasive until the only ‘something’ to emerge from the play is pity.  Otherwise it is merely being confronted with unavoidable destinies and death, with little or no consolation other than pity.  No other play offers such a hopeless perspective on the tragic element of human mortality.  This is easily Shakespeare’s most devastating work.  

The great Black Death ravaged Europe in 1347-50, killing up to a third of the continent’s population.  But this same plague would revisit time and time again.  In fact, Shakespeare’s greatest accomplishment may not be King Lear or Hamlet, but merely that he managed to survive the many episodes of plague all around him throughout his life.  In 1606 the government shut down the theatres in London whenever the number of weekly dead exceeded 30.  The plague hit London very hard in each of King James’ first seven years on the English throne.  During quarantines (that’s right!) those caught leaving their homes would be whipped if they were clean and executed if they were infected.  Unlike today, they did not mess around.  Funeral attendance was limited to six persons, including the pallbearers and minister. All of the dogs who ran free in London were massacred by people paid a penny per carcass.  The homeless were all expelled from the city and the authorities posted watchmen in front of infected houses.  They had no idea what the cause of the plague was.  The top three suspected causes were interplanetary alignment, divine anger and bad air quality.  In case it was god, the best the churches could suggest was that people cease to do evil and learn to do good.  Those between the ages of 10-35 were especially vulnerable.  More centuries would pass before scientists detected the bacteria transmitted by fleas and rats and passed around by coughing or merely breathing.  Shakespeare rented his room in a house from the William Tailer family.  Their family servant died in November of 1606, then William Tailer himself died in December, followed in a week by the death of a second servant, then by William’s two sons.  Only his daughter survived and was she christened Cordelia, while Shakespeare wrote King Lear in a room upstairs.  The name Cordelia was virtually unknown in London at that time.  

King Lear is the tragic history of a slave of passion and of the ravages of uncontrolled anger.  Sheer fury and rage drive Lear relentlessly toward his madness as he struggles to gain control of his passion and abate the storm of his mind.  Shakespeare’s portrait of Lear’s increasing madness suggests his surprising familiarity of the complete onset of mental and emotional derangement.  The culmination of his madness occurs on the storm-swept heath, where the power of the tempest is a manifestation of the forces that have entered his state of mind. Earlier in the play Lear pleads: “Oh, let me not be mad… not mad.”  Somewhat later he reports to Kent that “my wits have begun to turn.”  It isn’t until he is out there near naked on the stormy heath with ‘Poor Tom’ that Lear becomes completely deranged.  His short-lived reunion with Cordelia allays his madness briefly until she dies in his arms, after which the madness returns in full.  He dies having to believe that she still lives in his arms.  Only in death can Lear find release from his profound grief, making this perhaps the darkest pessimistic expression in all of world literature.

King Lear and Hamlet baffle commentary as they transcend the very limits of literature.  They have become the secular scriptures of western consciousness.  Their profundity is beyond all other expressions in either drama or prose, Hamlet for its intellectual and philosophical musings and King Lear for its penultimate suffering.  Reading King Lear is like no other literary experience.  Lear’s torment is born of the universal and timeless architype of generational strife.  He is king, father and perhaps the best literary example of the White European Male.

As tragic as King Lear is as a play, it is important to note that however unlovable the king may appear in the first two acts he is in fact deeply loved by all of the play’s worthy individuals, just as he is hated by the villains.  The most hard-core villain, Edmund, never shares the stage for even the briefest exchange with Lear, as they are so very different.  The essence of Lear is that he is lovable, loving and greatly loved by anyone in the play at all worthy of his affections.

The tragic but brilliant poetic language between Lear and Gloucester in Act IV may be the finest art ever expressed in all of Shakespeare. Their madness and blindness out on the violent heath bind together the entire play.   They are both slain by the intensity of paternal love.  The real genius of Shakespeare is how he manages to plunge us fully into the tragedy and despair of this play, as we are made to follow the suffering of Lear and Gloucester to the very limits of their agony.

Lear himself can hardly speak without disturbing us.  Nothing in world literature wounds so deeply as Lear’s range of utterances.  As he surges through his madness and raging fury he is the finest example of love desperately sought but blindly denied ever written or staged.  He is a study in being outraged and represents paternal love at it’s most ineffectual, themes alive and well everywhere and always.  Welcome again to the tragedies of William Shakespeare.  Macbeth, King Lear and Hamlet remain in a league of their own after well over 400 years, explaining why we are still returning to them, along with so much else that he left us in a world where nothing else comes close.

Overview

King Lear is the aging king in ancient Britain, circa 800 BC.  He decides to step down and divide his kingdom between his three daughters according to which of them can most convincingly profess their love to him.  No pressure!  Goneril and Regan, the elder two sisters, flatter their father with their scheming and clearly insincere words.  Cordelia, his favourite child, says little and refuses to flatter, saying that she has no words to describe how much she loves her father.  Old Lear flies into a rage and dramatically disowns Cordelia.  The King of France says that he will marry Cordelia, and they head off to France.

It is not long before Lear learns of the foolishness of his decision, when he visits each of his eldest two daughter and is treated very badly now that they have their land.  He is furious and very deeply hurt and we see the seeds of his madness emerging, as he heads out on to the stormy heath with his fool.

It is the decision to divide his kingdom among his daughter that drives the plot of the play.  The consequences will be horrific and unbearable for nearly all of the characters.  There are no free rides in King Lear.

We meet Gloucester when his bastard son, Edmund, the play’s principle villain, deceives him into believing that his legitimate son, the heroic Edgar, is plotting to kill him.  Edgar escapes disguised as an insane beggar named ‘Poor Tom’ and winds up out there on the same death-defying heath as Lear.

When Gloucester hears that his friend Lear has been abandoned by his daughters he decides to try to help him.  When Lear’s daughter, Regan, and her husband, Cornwall, capture Gloucester, they blind him and he is left to wander the heath, craving death.

As the play plunges further and further into the depths of tragedy much of the focus in on Lear, Gloucester, Poor Tom and the punishing heath and on the cunning sisters and Edmund in their complicated entanglement.  The inhospitable heath becomes as powerful a reference point in the play as any character.

Edmund gets sexually involved with both of Lear’s ungrateful daughters.  Edgar, disguised as ‘Poor Tom’, encounters both his blinded father and Lear and tries to help them both to survive.

Finally, Cordelia is led by a small French army to rescue her father.  They are defeated by an English army headed by Edmund.  Both Lear and Cordelia are captured and in the final reckoning scene ‘Poor Tom’ reveals himself to be Edgar and he murders Edmund for all that he has done.  When Goneril learns that Edmund is dead she poisons Regan and kills herself.  Cordelia is executed in prison and Lear dies of grief.

This is a play with characters either good or bad, with very little grey area in between.  King Lear, Cordelia, Edgar, Lear’s Fool and Gloucester are victims of those more unsavory characters, including Goneril, Regan, Regan’s husband Cornwall and Edmund.  There are perpetrators and victims of evil.

Basically, there are two families:  Lear, his fool, his three daughters and their two husbands and then there is Gloucester and his two sons.  There is a deliberate parallel established between the two fathers and their one good child each and then the three pretty bad seedlings.  Lear’s figurative blindness to what he is doing is in counterpoint to Gloucester’s literal blindness, as they share the heath with the crazed ‘Poor Tom’.

This is the most difficult Shakespeare play to read because of the extreme pain and suffering endured by nearly everyone.  The only redeeming quality it brings out in anyone is pity.  In the face of such outrageous misfortune all we can do is pity one another.  The spirits, witches, ghosts and gods do not even make an appearance. Lear’s pitiful utterances are apocryphal and the rest is silence.

Act I

Scene i

King Lear begins with Gloucester introduces Kent to his bastard son, Edmund.  

Kent: “Is not this your son, my Lord?”

Gloucester: “His breeding, sir, hath been at my charge.  I have so often blushed to acknowledge him that now I am brazened to it.  Yet his mother was fair and there was good sport at his making and the whoreson must be acknowledged.

Enter King Lear and his court.

Lear: “Meantime, we shall express our darker purpose.  Give me the map there.  Know that we have divided in three our kingdom; and tis our fast intent to shake all cares and business from our age, conferring them on younger strengths, while we unburdened crawl toward death. Tell me, my daughters, which of you shall say we say doth love us most, that we our largest bounty may extend?  Goneril, our eldest-born, speak first.”

Goneril: “Sir, I love you more than words can wield the matter; beyond what can be valued, rich or rare; no less than life… as much as child ever loved, or father found; a love that makes breath poor and speech unable: beyond all manner of so much I love you.”

Cordelia: (an aside) “What shall Cordelia speak? Love and be silent.”

Lear: “What says our second daughter, our dearest Regan, wife of Cornwall? Speak.”

Regan: “I am made of that self-metal as my sister, only she comes too short, that I profess myself an enemy to all other joys.”

Cordelia: (an aside) “Then poor Cordelia!  And yet not so; since I am sure my love’s more ponderous than my tongue.”

Lear: “To thee remain this ample third of our fair kingdom, no less than that conferred on Goneril.  Now our joy, what can you say to draw a third more opulent than your sisters? Speak.”

Cordelia: “Nothing, my lord.”

Lear: “Nothing!”

Cordelia: “Nothing.”

Lear: “Nothing will come of nothing.  Speak again.”

Cordelia: “Unhappy that I am, I cannot heave my heart into my mouth.  I love your majesty according to my bond, no more no less.”

Lear: “How, how, Cordelia! Mend your speech a little, lest you may mar your fortunes.”

Cordelia: “Good, my lord; you have begot me, bred me, loved me; I return those duties back, obey you, love you and most honour you.”

Lear: “So young and so untender?”

Cordelia: “So young, my lord, and true.”

Lear: “Let it be so! Thy truth, then, be thy dower!  Here I disclaim all my parental care and as a stranger to my heart and me hold thee from this forever.”

Kent: “Good, my liege.”

Lear: “Please, Kent.  Come not between the dragon and his wrath.  I loved her most.” (to Cordelia) “Hence, avoid my sight.”

Kent: “Royal Lear, whom I have honoured as my king, loved as my father. The youngest daughter does not love thee least… see better Lear… I’ll tell thee, thou dost evil.”

Lear banishes Kent from the kingdom upon death.

The King of France has come for the hand of Cordelia

Lear: “When she was dear to us, we did hold her so; but now her price is fallen.  Sir, there she stands… I would not match you where I hate.” (to Cordelia) ”Better thou hadst not been born than not to have pleased me better.”

France: “Fairest Cordelia, that art most rich, being poor; most choice, forsaken; and most loved, despised! Thee and thy virtues here I seize upon.  I take up what’s been cast away.”

Lear: “Let her be thine; for we have no such daughter, nor shall ever see the face of hers again.”

Cordelia: (to her sisters) “Love well our father.  But yet, alas, I would prefer him to a better place… time shall unfold what plighted cunning hides.”

Goneril: (to Regan) “He always loved our sister most; and with what poor judgement he hath now cast her off appears too grossly.”

Regan: “Tis the infirmity of his age.”

Analysis:

It is only right that the play begins with Gloucester and his son, Edmund, as they will both emerge as very important to the story in the very next scene.  By the end of scene ii both primary plots will be well underway:  Lear’s division of his kingdom amongst his two daughters, having banished Cordelia, and bastard Edmund’s plot to destroy his brother and gain the inheritance from Gloucester, their father.

We hear Gloucester admitting to Kent that while there was ‘good sport at his making’ that he often blushes when acknowledging Edmund as his own.  So here we have our principle villain and his motivation.  Edmund is a bastard child and has no hope of success.  Bastards were an embarrassment and he has had enough.  Edmund is one of Shakespeare’s most accomplished villains for what he will get away with in this play.  Watch him weave his magic in scene ii.

The foolishness of King Lear is evident as soon as he opens his mouth.

“Meantime, we shall express our darker purpose.”  No kidding.  His decision to divide his kingdom based on the expressed love of his three daughters is what drives this play toward the horror and madness that is coming soon.  Lear comes across as a foolish old petty and jealous miser of the heart and a pathetic old man, whose insecurities will require that he be constantly reassured of his very own importance.  But his importance is much attached to the crown he wears and he is presently surrendering it.  Who will Lear be when he is no longer king? If he is hoping to hear the truth from his daughters then he should close his ears when Goneril and Regan speak because they merely want their portion of his kingdom and will flatter him to no ends in order to secure their shares.  The extent of their flattery is nonetheless shockingly boastful and self-serving, and it is into this trap of false love and flattery that Lear will plunge.  Dear Cordelia knows no such false love or flattery and cannot bring herself to be so inauthentic with her father.  The great mistake that Lear makes is that he thinks Goneril and Regan as true and Cordelia as false, just as Gloucester will think of the bastard Edmund as true and his worthier of sons, Edgar, as false.  Both Lear and Gloucester are blind to their fates that they permit. Scenes i and ii of Act I are the triggers for the tragedy that follows in King Lear.

The tremendous Shakespearean line “nothing will come of nothing” is profoundly prophetic.  There is a strong nihilistic component to this entire play and Lear simply bets on the wrong horse here.  Cordelia’s inability to quantify her love in words may indeed amount to a certain nothing for Cordelia, but she does leave beloved of the King of France and will miss much of the worst of this tragedy that will consume her in the end.  But another even more striking “nothing will come of nothing” is the false comfort Lear experiences when the other two sisters express what is truly nothing to their father, which is also what he will get back from them once they possess his kingdom. That is where the true madness begins.  First he loses his one true daughter, as Kent tries to convince him that she is true, and then he finds out that the ones he thought to be true are false indeed.  For a proud and insecure man who has just surrendered his ‘all- defining’ crown, that is all too much to withstand and off he stumbles onto the dreaded heath, where all who endure its wrath are transfixed and transformed by its pitiful and madness inspired horrors.

Act I

Scene ii

Edmund is at home in Gloucester’s castle and he is musing on his plight:

“Why bastard?  Wherefore base?  When my dimensions are as well compact, my mind as generous, and my shape as true, why brand they us bastards?  Well then, legitimate Edgar, I must have your land.  Edmund the base shall top the legitimate.  I grow; I prosper.  Now, gods, stand up for bastards.”

Gloucester enters and Edmund pretends to suddenly be putting a piece of paper away so that Gloucester cannot see it.

Gloucester: “What paper were you reading?”

Edmund: “Nothing, my lord.”

There’s that word again…

Gloucester: “What needed then that terrible dispatch of it into your pocket? The quality of nothing hath not much need to hide itself.  Let’s see.”

Edmund: “It is a letter from my brother.  I find it unfit for your over-looking.”

Gloucester: “Give me the letter.  Let’s see.  Let’s see.”

Gloucester reads a letter that is apparently from Edgar to Edmund.  “This reverence for age keeps our fortunes from us. If our father would only sleep until I waked him, you should enjoy half of his revenue forever.”  

Gloucester is convinced: “Conspiracy… my son Edgar… O villain, villain! Abhorred villain! Unnatural, detested, brutish villain!  I’ll apprehend him!  He cannot be such a monster to his father, who so tenderly and entirely loves him.  These late eclipses in the sun and moon portend no good to us.  We have seen the best of our time: hollowness, treachery, and all ruinous disorders follow us disquietly into our graves.”

Gloucester exits

Edmund: (an aside) “This is the excellent foppery of the world, that, when we are sick in fortune, often the surfeits of our own behaviour, we make guilty of our disasters the sun, the moon and the stars; as if we were villains on necessity; fools by heavenly compulsion; knaves, thieves, and treachers, by spherical predominance; drunkards, liars and adulterers, by an enforced obedience of planetary influence.”

Edgar arrives and the two brothers speak.

Edmund: “When saw you my father last?  Bethink yourself wherein you may have offended him.  Forebear his presence, until some little time hath qualified the heat of his displeasure, which at this instant do rageth in him.”

Edgar: “Some villain hath done me wrong.”  (Bingo!)

Edmund: “That’s my fear.  Pray ye go.  Pray you, away.”

Analysis

These two opening scenes echo one another.  Each father has been played false.  Lear by Goneril and Regan and Gloucester by Edmund, while each true child, Cordelia and Edgar, will be rejected and banished.  In Edmund we see a complex character and villain.  He wants his proper inheritance but he also desires respectability and even handedness for being an illegitimate bastard, more the fault of his father than himself.  He has ample motivation to have his half-brother villainized for a change and have his father support him for once.  Edmund’s plan works and he wins over his father and Edgar to his device, as Gloucester swears he will get Edgar and Edgar is on the run.  

We have noted in previous plays how the heavens can display irregularities when all is not well with royal personages on earth.  Here we see it again, as Gloucester notes the eclipses of both sun and moon to Edmund.  However, Edmund views it as ‘excellent foppery’ that man, when things go poorly due to his own bad decisions and behaviours, ascribes the cause of his misfortune to the heavens and the gods.  Edmund is far too cynical, practical and intelligent to believe such a thing, although he will accept any divine intervention that suits his purposes: “Now, gods, stand up for bastards.”

Act I

Scene iii

In Goneril’s and the Duke of Albany’s palace.

Goneril: “Did my father strike my gentleman for the chiding of his fool?”

Oswald: “Ay, madam.”

Goneril: “By day and night, he wrongs me… I’ll not endure it.  His knights grow riotous and he upbraids us on every trifle.  Let him stay with my sister.  Idle old man that still would manage those authorities that he hath given away!  Now, by my life, old fools are babes again.”

Analysis

Only a few pages after Goneril spilled her guts about how much she absolutely loves and adores her father, now we see her in possession of her half of his kingdom and her attitude toward him has changed completely.  He is no more than a nuisance now and she treats him with utter disrespect.  Hence does the plot proceed.  Perhaps we begin to understand why King James I warned his son about the dividing of a kingdom among heirs.  Lear has made a dreadful mistake, as we can see in this and the remaining scenes of Act I.  But the consequences will grow greater and greater.  We have only just begun.

Act I

Scene iv

Kent, Lear’s loyal Earl, has returned in disguise, to continue to serve his king.

Lear has come to stay with Goneril and Albany at their castle.  He wishes to speak with Goneril but is told she is not well.  He also keeps asking for his fool.

Lear strikes Oswald, Goneril’s steward, for a perceived slight.  Then Kent trips him, as well.  There is clearly tension between Lear and his entourage and Goneril and hers.  

Lear’s fool arrives and Lear is thrilled to see him:

Lear: “How now, my pretty knave!  How dost thou?”

Fool: “Sirrah, I’ll teach thee a speech.”

Lear: “Do”

Fool: “Mark it, nuncle: have more than thou showest, speak less than thou knowest, lend less than thou owest, ride more than thou goest, learn more than thou trowest, leave thy drink and thy whore, and keep in a door, and thou shalt have more than two tens to a score.”

Lear: “This is nothing, fool.”

Fool: “You gave me nothing for it.  Can you make no use of nothing, nuncle?”

Lear: “Why, no boy, nothing can be made out of nothing.  Dost thou call me fool, boy?”

Fool: “All thy other titles thou hast given away, that thou wast born with… Thou hadst little wit in thy bald crown when thou gav’st thy golden one away… I am better than thou art now; I am a fool, thou art nothing.” (again and again, that word)

Goneril finally arrives to see her father, who is exasperated by his treatment at the hands of her staff and his fool.

Lear: “Does any here know me? This is not Lear.  Who is it can tell me who I am?”

Fool: “Lear’s shadow.”

Goneril: “As you are old and reverend, you should be wise.  Here do you keep a hundred knights; Men so disordered, that this our court shows more like a tavern or a brothel.”

Lear: “Darkness and devils!  Saddle my horses.  Degenerate bastard!  I’ll not trouble thee; yet have I left a daughter.”

Goneril: “You strike my people and your disordered rabble make servants of their betters.”

Lear: “Detested kite!  Thou liest.  My train are men of choice and rarest parts, that all particulars of duty know.  O Lear, Lear, Lear!  Beat at this gate that let thy folly in. (strikes his own head) Hear, nature, hear: hear, goddess, hear.  Suspend thy purpose, if thou did’st intend to make this creature fruitful.  Into her womb convey sterility: create her child of spleen, that it may live and be a thwart disnatured torment to her, that she may feel how sharper than a serpent’s tooth it is to have a thankless child.  Away, away!  I am ashamed that thou hast power to shake my manhood thus.  The untended woundings of a father’s curse pierce every sense about thee.  Ha!  Has it come to this?  Let it be so.  I have another daughter.  When she should hear this of thee, with her nails she’ll flay thy wolfish visage.”

 Analysis

The good people remain good and the bad people pretty much remain bad in this play.  It should not surprise, therefore, when banished Kent returns to loyally serve his king.

It is a bit hard to know where the division of fault lies in the scene at Goneril’s palace.  She has instructed her staff to be hard with Lear and his men, so Oswald may have provoked Lear to smack him across the face.  Then again, Lear is clearly approaching his wit’s end and had no right to hit a servant of Goneril’s.

We meet Lear’s fool in this scene and he immediately rips into Lear about having foolishly sent away his innocent daughter and given away his kingdom to these ingrates.  This fool is Shakespeare’s finest, as he accompanies his king down the rabbit hole of madness and despair.  Lear’s own reflective musings and those of his fool comprise much of the best and most insightful writing in the play.  The fool loved Cordelia and his king and now misses Cordelia and accompanies Lear’s want of his authority and wit, his lost kingdom and the loveless daughters of his inheritance.  The fool is very frustrated with Lear for giving everything away:  Cordelia, his crown, his kingdom and his sanity.  The end is near and the fool knows it and can speak with immunity, as fools are want to do.

Act I

Scene v

Lear and his fool are leaving Goneril’s palace.

Lear: “I did her wrong.”

Fool: “I can tell why a snail has a house.”

Lear: “Why?”

Fool: “To put its head in; not to give it away to his daughters. If thou wert my fool, nuncle, I’d have thee beaten for being old before thy time.”

Lear: “How’s that?”

Fool: Thou shouldst not have been old till thou hadst been wise.”

Lear: “O, let me not be mad, not mad, sweet heaven.  Keep me in temper, I would not be mad!”

Analysis

Leaving Goneril’s is a time for reflection and Lear hits it precisely when he tells his fool that he did Cordelia wrong.  He can see it now, but it is already too late, as Cordelia is married to the King of France and Goneril and Regan have the right and every inclination to abuse their father, having been given the reigns of his kingdom.

As they proceed to Regan’s palace, she remains Lear’s only remaining hope.  She is all that remains between Lear and his madness and his date with the storm-ridden blasted Scottish heath.

“O, let me be not mad” is a foreshadowing of all that is to come, once we advance the plot in Act II with Gloucester and his two sons and Regan and her one-time king-father.

Act II

Act I introduced us to everyone important to the play.  Lear banished his one true daughter and has embraced his two scheming daughters and their husbands, who are turning against him.  Similarly, Gloucester has been tricked by Edmund into cutting off his true son and embracing the bastard, Edmund.  Lear and Gloucester will become victims of their wayward children, increasingly descending through progressive stages of suffering and madness.  Right now, they are both shocked at their predicament.  Soon they will embrace one another on the heath, reduced to despair and pity.

Act II advances the essential plots of the play.  Edmund weaves his magic, convincing his father, Gloucester, of Edgar’s worst intentions, while Lear is increasingly rejected by the daughters he has given everything to.  Act III opens upon the heath, so we see where the first two acts were headed.  

Act II

Scene i

Curan, a courtier in Gloucester’s house, has news from abroad that there could be a war brewing on behalf of the King against the two sisters and their husbands.  That would be Cordelia, the Queen of France, trying to rescue her father from his humiliation at the hands of his two daughters.

Edmund has just come across Edgar, who has been hiding about the castle:

Edmund: “Oh sir, fly this place; intelligence is given where you are hid.  I hear my father coming.  Pardon me, in cunning I must draw my sword upon you.  Draw and seem to defend yourself… Now quit you before my father comes.  Farewell.” (aside) “Some blood drawn on me would beget opinion.” (wounds his own arm)

“Father, father!”

Gloucester: “Edmund, where is the villain?”

Edmund: “Here stood he in the dark, his sharp sword out, mumbling of wicked charms, conjuring the moon.  Look, sir, I bleed.”

Gloucester: “Pursue him!  He which finds him shall deserve our thanks.  Bring the murderous coward to the stake; he that conceals him, death.  All ports I’ll bar; the villain shall not escape.”

Cornwall: “For you, Edmund, whose virtue and obedience doth this instant so much commend itself, you shall be ours.”

Edmund: “I shall serve you, sir.”

Analysis

The very last thing either of Lear’s daughters or their husbands want is for Lear to get help from France to remedy his quarrel with his daughters.  Cordelia will want to help her father, as we shall see.

Bastard Edmund has done a brilliant job driving a game of creating a wedge between Gloucester and Edgar.  He also connects to Cornwall and Regan, who are as evil, if not as smart, as he.  The sides are being formed and are lining up nicely in time for the next three acts: (The good: Lear, Cordelia, the Fool, Edgar (Poor Tom), Kent and Gloucester.  The bad: Edmund, Regan, Goneril, Cornwall and Oswald)

Act II

Scene ii

Kent had a run in with Oswald in Act I and behaves very rudely when he encounters him again, calling him every name under the sun and drawing his sword on him.  Oswald still can’t figure why Kent hates him so terribly and calls for help.  Edmund, Gloucester, Cornwall and Reagan arrive and the latter two decide to put Kent in the stocks for his insult to Oswald.  Kent protests that he serves the king but Cornwall insists he be punished.  When Gloucester tells Cornwall that the king will take it ill to see his messenger in the stocks, Cornwall’s response is: “I’ll answer that.”  It would seem there is no longer sufficient cause for anyone to be frightened of the king, who has been stripped of every power.

Analysis

This scene helps to establish the lineup of good vs evil.  Kent is loyal to his king and Oswald, Cornwall, Regan, Goneril and Edmund are certainly not.  Lear’s dividing of his kingdom has caused all of this and so much more to come.

Act II  

Scene iii

Edgar has fled out of necessity.  He knows there are few places he can hide, so he covers his face with grime, dresses in naked rags, assumes the name of ‘Poor Tom’ and heads out onto the heath.

Analysis

Edgar is the first to reach the heath.  He will soon be joined by Lear and his fool, and then his own father, Gloucester.  On the heath all men are reduced to the same fate.  Nature is punishing, regardless of who you were before you arrived here.

Act II

Scene iv

Lear approaches Gloucester’s castle, wondering why Kent, his messenger, never returned.  Then he finds Kent in the stocks and can hardly believe his eyes.  He wants to hear from Kent who did this to him.

Kent: “Both Cornwall and Regan.”

Lear: “No.”

Kent: “Yes.”

Lear: “No, I say.”

Kent: “I say, yea.” 

Lear: “No, no; they would not.”

Kent: “Yes, they have.”

Lear: “By Jupiter, I swear, no.”

Kent: “By Juno, I swear, ay.”

Lear: “They durst not do it; they could not, would not do it.  Tis worst than murder… Down thou climbing sorrow.  Where is this daughter?  Vengeance! Plague! Death! Confusion!  We are not ourselves when nature, being oppressed, commands the mind… O me, my heart, my rising heart.”

Cornwall and Regan enter

Lear: “Beloved Regan, thy sister’s naught; she hath tied sharp-toothed unkindness, like a vulture, here, in my heart.”

Regan: “I cannot think my sister in the least would fail her obligation.”

Lear: “My curses on her.”

Regan: “O, sir, you are old… You should be ruled and led by some discretion that discerns your state better than you yourself.  Therefore, I pray you that to our sister you do make return: say you have wronged her, sir.”

Lear: “Ask for her forgiveness?  Daughter, I confess that I am old.  Age is unnecessary.  On my knees I beg that you’ll vouchsafe me bed and food.”

Regan: “Good sir, no more; these are unsightly tricks.  Return you to my sister.”

Lear: “Never, Regan.  She struck me with her tongue, most serpent like, upon my very heart… all the stored vengeances of heaven fall on her and strike her young bones with lameness.  You nimble lightening, dart your flames into her scornful eyes and infect her beauty.”

Regan: “So will you wish on me when the rash mood is on.”

Lear: “No, Regan, thou shalt never have my curse.  Her eyes are fierce but thine do comfort and not burn.  Tis not in thee to grudge my pleasures, to oppose the bolt against my coming in.  Thou better knowest the bond of childhood, dues of gratitude, thy half of the kingdom hast thou not forgot wherein I thee endowed.”

Regan: “Good sir, to the purpose.”

Lear: “Who put my man in the stocks?”

But just then Goneril arrives.

Lear: (to Goneril) “Art not ashamed to look upon this beard? How came my man in the stocks?”

Cornwall: “I set him there.”

Lear: “You!  Did you?”

Regan: “I pray you, father, being weak, seem so.  If you will, return and sojourn with my sister.”

Lear: “Return to her.  No, rather I abjure all roofs, and choose to wage against the enmity of the air, to be a comrade with the wolf and owl.”

Goneril: “At your choice, sir.”

Lear: “I prithee, daughter, do not make me mad.  I will not trouble thee, my child. Farewell.  We’ll no more meet, no more see one another.  But yet thou art my flesh, my blood, my daughter; or rather a disease that is in my flesh, which I must needs call mine; thou art a boil, a plague sore, a carbuncle in my corrupted blood.  I can stay with Regan, I and my hundred knights.”

Regan: “Not altogether so… Fifty followers.  What should you need of more?  I entreat you to bring but five and twenty.  To no more will I give place.”

Lear: “I gave you all.”

Regan: “And in good time you gave it.”

Lear: (to Goneril) “I’ll go with thee. Thy fifty yet doth double five or twenty.  And thou art twice her love.”

Gonerial: “Hear me, my Lord: What need you five and twenty, ten or five?

Regan: “What need one?”

Lear: “O, reason not the need… For true need… give me patience, patience I need. You see me here, you gods, a poor old man, as full of grief as age; wretched in both.  You unnatural hags, I will have such revenge on you both – I will do such things – they shall be the terrors of the earth.  You think I’ll weep.  No, I’ll not weep.  O fool, I shall go mad!”

Cornwall: “Let us withdraw, twill be a storm.”

Regan: “This house is little.  The old man cannot be well bestowed.”

Goneril: “Tis his own blame… he needs taste his folly.”

Gloucester: “The king is in high rage.”

Goneril: “Entreat him by no means to stay.”

Gloucester: “Alack, the night comes on and the high winds do sorely ruffle and for many miles about there is scarce a bush.”

Regan: “O sir, to willful men the injuries that they themselves procure must be their schoolmasters.  Shut up your doors.”

Cornwall: “Shut up your doors.  Tis a wild night.  My Regan counsels well.”

Analysis

Lear suffers the indignity of his daughters refusing to speak with him initially, his servant being put in the stocks, being called old and weak by the daughters he has just handed over his kingdom to and not being permitted to have his servants with him were he to stay at Goneril’s or Regan’s.  He finally determines to survive on the blasted heath before staying with his daughters.  And they think that is fine too.  His sadness and anger surge, as he has always been a powerful king.  But the moment he gave up his kingdom to his daughters he is no longer their king, or anyone else’s, for that matter.  He is as vulnerable as any man. Act Three begins on the heath, where blind madness awaits.

Act III

Lear and his fool are now firmly established on the raging heath, stripped bare and increasingly mad.  In a hovel they discover Poor Tom.  Lear begins to feel pity for the wretched, including Poor Tom and his own fool.   

Gloucester is still back at his palace, getting in deeper and deeper trouble with Goneril, Regan, Cornwall and Edmund because he wishes to help his king.  Gloucester confides in Edmund that he is appalled by how Lear is being treated by Goneril, Regan and Cornwall and how furthermore he is in secret communication with Cordelia and the French forces.  Edmund enthusiastically reveals this information to Cornwall, hoping this will condemn Gloucester to death, enabling Edmund to assume the title of Earl of Gloucester.  Edmund is truly one of Shakespeare’s most ambitious and conniving villains.

Gloucester finds them all and brings them back near his castle, where there are needed provisions.  Lear is growing increasingly mad.  Gloucester directs the group toward Dover, when he uncovers a plot to have Lear killed, no doubt by Cornwall and Edmund.

Gloucester is captured and brutalized by Cornwall and Regan.  They gauge out both is eyes and send him out to wander the heath with the other lost souls.

Act III

Scene i

On the heath

Kent: “Where is the king?”

Gentleman: “Contending with the fretful elements.  He bids the wind to blow the earth into the sea and tears his white hair.  This night unbonneted he runs.”

Kent: “But who is with him?”

Gentleman: “None but the fool.”

Kent: “There is a division ‘twixt Albany and Cornwall.  From France there comes a power who already have secret feet in some of our best ports. Make speed to Dover.  If you should see Cordelia give her this ring.”

Analysis

Kent learns that Lear is somewhere on the heath with his fool.  He has also learned that help is arriving for the king at Dover, where Cordelia may accompany a fighting force intended to support her father.  Kent gives the gentleman a ring to give to Cordelia so she will know that he and others support the king as well.  

Act III

Scene ii

On the heath

Lear: “Blow, winds, and crack your cheeks; rage, blow.  You sulph’rous and thought-executing fires, singe my white head.”

Fool: “Good Nuncle, ask thy daughter’s blessing.  Here’s a night pities neither wise men nor fools.”

Lear: “Spit, fire; spout, rain.  Let fall our horrible pleasure.  Here I stand, your slave, a poor, infirm, weak and despised old man.”

Kent: “Alas, sir, are you here? Things that love night love not such nights as these.  Since I was a man such sheets of fire, such bursts of horrid thunder, such groans of roaring wind and rain, I never remember to have heard.  Man’s nature cannot carry the affliction nor the fear.”

Lear: “I am a man more sinned against than sinning.”

Kent: “Alack, bare-headed! Gracious my lord, hard by here is a hovel.  Some friendship will it lend you against the tempest.”

Lear: “My wits begin to turn.  Come on, my boy.  How dost, my boy?  Art cold?  Poor fool and knave, I have one part in my heart that’s sorry yet for thee.  Come, bring us to this hovel.”

Analysis

We are finally with Lear and his fool out on the heath and Lear is screaming at the elements to give him all they have got.  Kent arrives and suggests they seek protection in a nearby hovel.  Lear admits that his wits have begun to turn.  However, it is at this point that he demonstrates pity toward his fool.  He is regaining his humanity through suffering.  That is the bargain. By being reduced to the lowest commoner, our one-time king knows what it is like to be rejected and to have nothing and this is what opens up his heart, even as his mind is deteriorating badly. 

Act III

Scene iii

At Gloucester’s castle

Gloucester still trusts his bastard-son, Edmund, so he speaks openly to him about what Goneril, Reagan and Cornwall have done.  They have forbid him to help the king in any way or to even speak of him.  They have also taken over his house.  He tells Edmund that he has a letter indicating a rift between the Dukes of Cornwall and Albany and evidence that a force is landing at Dover to assist the king.  Edmund tells us that he will immediately go directly to Cornwall with this information. “The younger rises when the old doth fall.”

Analysis

Edmund has betrayed both his brother, Edgar, and his father, Gloucester.  The evil ones are all working together now: Edmund, Goneril, Reagan and Cornwall.  They are essentially the law now that the king has surrendered his kingdom to his daughters and son in laws. 

Act III

Scene iv

Near a hovel on the heath

Kent: “Here is the place, my lord; enter.”

Lear: “Leave me alone.  Thou think’st ‘tis much that this contentious storm invades us to the skin; so ‘tis to thee, but where the greater malady is fixed, the lesser is scarcely felt.  This tempest in my mind doth from my senses take all feeling else, save what beats there, filial ingratitude.  In such a night to shut me out.  Pour on.  I will endure.  O Regan, Goneril!  Your old kind father, whose frank heart gave all! O, that way madness lies; let me shun that; no more of that.  But I’ll go in.  In boy; go first.”

Fool: “Come not in here, Nuncle, here’s a spirit.  He says his name is Poor Tom.”

Edgar disguised as Poor Tom: “Away!  The foul fiend follows me.”

Lear: “Didst thou give all to thy daughters?  And art thou come to this?”

Tom: “Who gives anything to Poor Tom.  Bless thy five wits.  Tom’s cold.  Do Poor Tom some charity.”

Lear: “What, have his daughters brought him to this?  Would’st thou give them all?  Now all the plagues in the pendulous air that hang fated over men’s faults light on thy daughters.”

Kent: “He hath no daughters, sir”

Lear: “Death, traitor!  Nothing could have subdued nature to such a lowness but his unkind daughters.”

Fool: “This cold night will turn us all to fools and madmen.”

Lear: “What hast thou been?”

Poor Tom: “I swore as many oaths as I spake words, and broke them in the sweet face of heaven; wine loved I deeply’ dice dearly; and in women out-paramoured the Turk.  False of heart, light of ear, bloody in hand; hog in sloth, fox in stealth, wolf in greediness, dog in madness, lion in prey.  Keep thy foot out of brothels, thy hand out of pockets, thy pen from lender’s books, and defy the foul fiend.”

Lear: “Is man no more than this?  Consider him well.  Thou art the thing itself: unaccommodated man is no more but such a poor, bare, forked animal as thou art.  Off you lending.  Come, unbutton here (tearing off his clothes).

Fool: “Prithee Nuncle, be contented; ‘tis a naughty night to swim in.”

Gloucester arrives

Gloucester: “What are you there?  Your names?”

Poor Tom: “Poor Tom.”

Gloucester: “What, hath your grace no better company?  My duty cannot suffer to obey all of your daughters’ hard commands.  Though their injunction be to bar my doors, and let this tyrannous night take hold upon you.  Yet have I ventured to come seek you out and bring you to where both fire and food is ready.  Poor banished man!  Thou sayest the king grows mad; I’ll tell thee, friend, I am almost mad myself.  I had a son, now outlawed from my blood.; he sought my life.  I loved him.  The grief has crazed my wits.  What a night’s this!

Analysis

Kent seeks to protect Lear by directing him into a hovel but Lear does not want to go in and explains to Kent that he can hardly notice the elements when he considers the greater malady, filial ingratitude.   He wants his fool to go into the hovel first, thinking that, as king, he did not do enough for the wretched and the meek.  Lear’s heart is beginning to pry open, even as his mind is leaning toward madness.  He even prays, but for the poor wretches of the world.  His humanity is expanding as his mind loses its grip.  He is accustomed to being ruler of his world and now he is a half-naked ‘bare, forked animal’ and feels the sympathetic pain of the disregarded and oppressed.  He is beginning to understand that beneath the clothing each person is very similarly naked and vulnerable.  The only difference is the clothes. 

The fool comes running out of the hovel, where he has just encountered Poor Tom, who we know to be Edgar, Gloucester’s son and Edmund’s brother.  When Lear hears Poor Tom say that devilish fiends possess his body Lear asks him if this is because he gave everything away to his daughters.  When told that. He has no daughters, Lear will not believe it, for he thinks only unkind daughters could have caused this.  He rips off his clothes to seem more like Poor Tom.  

Gloucester arrives and does not realize that Poor Tom is really Edgar, his own son.  He explains to Lear, his fool, Kent and Poor Tom that he is nearly mad with grief since he once had a son who he loved but who tried to take his life.  

Act III

Scene v

Gloucester’s castle

Cornwall: “I will have my revenge ere I depart his house.”

Edmund: “This is the letter he spoke of, which approves him an intelligent party to the advantages of France and the King.”  

Cornwall: “Seek out where thy father is, that he may be ready for our apprehension. I will lay trust upon thee; and thou shalt find a dearer father in my love.”

Analysis

Edmund is in deep now.  His brother is impersonating a madman out on the heath and he is about to turn his own father over to Cornwall.  Then he shall be made Earl of Gloucester and be set for life once Gloucester is dealt with and accompanies Lear as just one more broken man on the heath.  Cornwall claims he will find ‘a dearer father’ in him.  

Act III

Scene vi

A farmhouse on Gloucester’s property

Gloucester, Lear, his fool and Kent arrive at near Gloucester’s castle, where Gloucester hopes to secure provisions for Lear.  While he is away Lear runs a mock trial of his daughters.  Gloucester returns with news that there is a plot to kill Lear and he instructs the group to advance toward Dover, where Cordelia and the French are arriving to support Lear.  Poor Tom claims that his own suffering seems much less having encountered the greater suffering of Lear: “My tears begin to take his part so much they mar my counterfeiting.”

Analysis

All of the principle characters, other than Cordelia, are either in or about Gloucester’s castle.  Gloucester goes into the castle and finds provisions for Lear and his party.  While he is in there he overhears of a plot to kill the king and warns them to quickly leave for Dover, where they will find support for the king.  Lear’s humanity has spread to Poor Tom, who feels very little of his own suffering when he considers the enormous suffering demonstrated by Lear.  One scene remains of Act III and it is one of the most brutal scenes in all of Shakespeare.  We have seen the last of the fool in this scene.  He simply disappears from the play.  It is thought that the fool and Cordelia were played by the same person, as we never see the two together in the play.  Likely, he rushed off to change into Cordelia’s clothes as he/she will appear soon in Act IV, Scene iv.  However, it may be that Lear is so mad by this point in the play that he can no longer make sense of the witty fool and will be led by Poor Tom and Gloucester from here on out.

Act III

Scene vii

Gloucester’s castle

Cornwall: “The army of France has landed – seek out the traitor Gloucester.”

Reagan: “Hang him instantly.”

Goneril: “Pluck out his eyes.”

Cornwall: “Leave him to my displeasure.  Edmund, keep you our sister company.  The revenges we are bound to take upon your traitorous father are not fit for your beholding.  Where is the king?”

Oswald: “Gloucester hath conveyed him hence, toward Dover, where they boast to have well-armed friends.”

Cornwall: “Go seek the traitor Gloucester and bring him before us.”

Gloucester is brought into the room 

Cornwall: “Who is there?  The traitor?  Bind fast his arms.”

Gloucester: “What means your graces?  Good my friends, consider you are my guests.  Do me no foul play, friends.”

Cornwall: “Bind him, I say.”

Reagan: “Hard, hard. O filthy traitor.”

Cornwall: “To this chair bind him.”

Reagan plucks his beard.

Gloucester: “Naughty lady.  I am your host.”

Cornwall: Where hast thou sent the king?”

Gloucester: “To Dover.”

Reagan: “Wherefore to Dover?”

Gloucester: “Because I would not see thy cruel nails pluck out his poor old eyes.”

Cornwall: “Fellows, hold the chair.  Upon these eyes of thine I will set my foot.”

Digs out one of his eyes, throws it on the floor and steps on it.

Gloucester: “O cruel! O you Gods!”

Regan: “One side will mock another; the other too.”

Servant 1: “I have served you ever since I was a child.”

The servant and Cornwall fight.  Cornwall is wounded.  Reagan kills the servant.

Cornwall plucks out the other eye from Gloucester: “Out vile jelly!”

Gloucester: “All dark and comfortless.  Where is my son, Edmund?”

Reagan: Thou call’st on him that hates thee.  It was he that made the overture of thy treason to us”

Gloucester: “O my folly.  Then Edgar was abused.”

Reagan: “Go thrust him out at the gates and let him smell his way to Dover.”

Two of Gloucester’s servants leave to join him to apply flax and egg whites upon his bleeding face.  

Analysis

Right away in this scene Cornwall wants his hands upon Gloucester.  In fact, Goneril’s first utterance in the scene is “pluck out his eyes.”  After warning Edmund that what they are about to do to his father is ‘not for your beholding’, Gloucester arrives and the violence commences.

When Gloucester is brought into the room the cruelty is immediate.  They bind him hard, pluck out his beard and Cornwall digs out both eyes.  There is much violence in Shakespeare, although a significant amount of it is suggested off stage.  Not in this scene.  Here, Cornwall actually appears to pluck out both eyes right on the stage.  At one memorable production I was seated in the second row and when Cornwall removed the second eye ball he held it high in his grip and then squeezed it so the juice spurted all over the first several rows of the audience.  This is the point of no return in the play.  Insults can be retracted but not blindness.  Lear has been figuratively blind by giving his kingdom to his daughters and soon he will be joined by his literally blind friend, blinded by the same group that has Lear’s kingdom.  However, Cornwall received a serious wound and is led off the stage bleeding badly.  The sisters and Edmund are left together and so are Lear, Poor Tom, Kent and Gloucester.  Cordelia is arriving in Dover.  The stage is set for Act IV.

Act IV

Act IV

Scene i

Edgar encounters his blinded father and leads him across the heath as Poor Tom.  Albany is furious at Goneril for the cruelty done to Lear and Gloucester.  He goes so far as to vow revenge.  Kent arrives in Dover to find Cordelia in charge of the French army and Lear unwilling to meet Cordelia, due to the guilt he feels over his treatment of her.  

Regan gets word that Cornwall has died from his injuries and she wants to marry Edmund.  Goneril also wants to have an affair with Edmund, as she and Albany are badly estranged.

Edgar and Gloucester encounter a raging Lear on the open heath.  Lear and Cordelia are finally reunited although Lear is a bit too crazed to understand exactly what is happening.  An Act V battle is approaching between Cordelia’s army and that of Edmund and his two suitors.

Act IV

Scene i

Gloucester’s old servant is leading Gloucester upon the heath.

Gloucester: “Get thee away, good friend.”

Servant: “But you cannot see your way.”

Gloucester: “I have no way, and therefore want no eyes.  O dear son, Edgar, might I but live to see thee in my touch, I’d say I had eyes again.”

Servant: “Who is there? Tis Poor Mad Tom.”

Poor Tom: “And worse I may be yet.  The worst is not so long as we can say ‘This is the worst’.” 

Gloucester: “As flies to wanton boys are we to the gods – they kill us for their sport.”

Poor Tom: “How should this be?  Bad is the trade that must play fool to sorrow. Bless thee, master.”

Gloucester: “Is that the naked fellow?”

Servant: “Alack, sir, he is mad.”

Gloucester: “’Tis the time’s plague when madmen lead the blind.  Sirrah, naked fellow… Come hither.

Poor Tom: (an aside) “And yet I must – Bless thy sweet eyes, they bleed.”

Gloucester; “Know’st thou the way to Dover?”

Poor Tom: “Both stile and gate, horseway and footpath.”

Gloucester: “There is a cliff.  Bring me to the very brim of it.  From that place I will no leading need.”

Poor Tom: “Give me thy arm.  Poor Tom shall lead thee.”

Analysis

This is a tragically powerful scene of Gloucester being reunited with his true son, Edgar, although he knows it not because Edgar is disguised as Poor Tom.  They are both in a terrible state.  Poor Tom knows this is his disfigured father and Gloucester takes pity on Poor Tom as they head off together, father and son, to Dover, where Gloucester wishes to leap from the White Cliffs.  This is a scene of utter hopelessness and despair.  The reuniting of father and son under these circumstances is hard to witness.  Poor Tom did not think things could get any worse until he sees his tortured and blind father.  

Act IV

Scene ii

Goneril is asking Oswald where his master, Albany, is.  Oswald says Albany is happy the French troops are arriving and angry that Goneril is around.  Goneril has had it with Albany and flirts with Edmund.  Albany arrives.

Albany: “O Goneril! You are not worth the dust which the rude wind blows in your face.  Wisdom and goodness to the vile seem vile.  Filth savours but themselves.  What have you done?  Tigers not daughters.”

Goneril: “Milk-livered man!”

Albany: “See thyself, devil. Proper deformity shows not in the fiend so horrid as in woman.”

Goneril: “O vain fool.”

Albany: “Thou art a fiend.”

Messenger: “Cornwall is dead, killed by a servant, when putting out Gloucester’s eyes.”

Albany: “O, poor Gloucester. Where was his son when they did take his eyes?”

Messenger: “Ay, my good lord; ‘twas he who informed against him.”

Albany: “Gloucester, I live to thank thee for the love thou show’dst the king, and to revenge thine eyes.”

Analysis

This scene separates Albany from the villains, although he be Goneril’s husband.  Albany is the only one to experience redemption in this play, so at least we know it is possible.  With Cornwall dead and Albany redeemed, the villains are incestuously reduced to Edmund, Regan and Goneril, the three wayward children.  Both women crave Edmund so you know something has to give between the three of them.

Act IV

Scene iii

Kent is asking of a gentleman if Cordelia expressed any grief when she read Kent’s letters. The gentleman says that her grief was expressed not in rage but rather with patience and sorrow.  She pressed the name of her father  to her heart and cursed her sisters for putting him out in such a storm.  Kent reports that Lear refuses to see Cordelia due to the guilt he feels for banishing her as he did. His mind burns with shame.  

Analysis

We finally approach Cordelia.  Her grief has not incapacitated her but her heart is full of sorrow at the report of her father’s pitiful state.  Her genuine love for her father stands in vivid contrast to her sisters. Lear is so guilt ridden over his treatment of Cordelia that he will not even consent to seeing her.  This scene fully anticipates the next scene when we encounter Cordelia for the first time since Act I.

Act IV

Scene iv

Lear is in a neighbouring cornfield dressed in rags, crowned with weeds and singing loudly his madness.  This scene is strangely reminiscent of Ophelia in Hamlet. Cordelia sends someone to bring him to her and asks the doctor what might be done to restore him.  The doctor insists he needs sleep.  A messenger announces that the English army approaches.  

Analysis

Scene iv establishes that Cordelia has arrived to save her father from further madness.  Obviously, he requires rest.  He hides from her out of shame and she seek him out of love.  Unfortunately, the English army, led by Edmund, approaches. 

Act IV

Scene v

Regan and Oswald in Gloucester’s castle

Regan: “It was great ignorance, Gloucester’s eyes being out, to let him live; where he arrives he moves all hearts against us.  Edmund, I think, is gone to dispatch his life and to descry the strength of the enemy.”

Oswald: “I must needs after him, madam, with my letter.”

Regan: “Why should she write to Edmund?  I’ll love thee much.  Let me unseal the letter.  I know your lady does not love Albany, her husband.  I am sure of that. She gave strange looks to noble Edmund, and more convenient is he for my hand than for your lady’s.”

Analysis

Of course, the evil ones are attracted to one another and both sisters want Edmund.  This will play out badly for everyone in Act V, as we can only imagine. The great reckoning act awakes.  We can see the various characters lining up for their comeuppance.  But this is not like any other play.  In fact, for over 200 years the ending was changed into a happy one because theatre goers could not manage the tragedy as it were.  It was simply too much.  Many people have hated this play because of its nihilistic and hopeless nature.  Let’s not forget that Shakespeare was quarantined from a deadly virus for much of 1606 and was likely not in the least in any comedic mood. 

Act IV

Scene vi

Gloucester and Poor Tom (Edgar) at the Cliffs of Dover

Gloucester: “When shall I come to the top of that hill?”

Poor Tom: “Here’s the place.  And dizzy ‘tis to cast one eyes so low.  The fishermen look like mice.”

Gloucester: “Set me where you stand.”

Poor Tom: “You are now within a foot of the extreme verge.”

Gloucester: “Let go my hand. Bid me farewell.”

Poor Tom: “Fare ye well, good sir.”

Gloucester: “O, you mighty gods!  This world I do renounce… If Edgar live, O, bless him.”

Gloucester faints, believing he has cast himself down.

Poor Tom: “Alive or dead?  He revives.”

Gloucester: “Away and let me die.”

Poor Tom: “Thou hast perpendicularly fell.  Thy life’s a miracle.  This is above all strangeness.”

Gloucester: “Henceforth I’ll bear affliction till it do cry out itself.”

Enter Lear fantastically dressed with weeds

Poor Tom: “Who comes here?”

Lear: “I am the king himself.”

Poor Tom: “O thy side-piercing sight.”

Lear: “Nature’s above art in that respect.”

Gloucester: “I know that voice.  Is it not the king?”

Lear: “Every inch a king.  When I do stare, see how the subject quakes?  I pardon that man’s life.  What was thy cause?  Adultery?  Thou shall not die.  Die for adultery?  No.  Let copulation thrive; for Gloucester’s bastard son  was kinder to his father than my daughters.  Down from the waist they are centaurs, though women all above; but to the girdle do the gods inherit, beneath is all the fiends’; there’s hell, there’s darkness, there is the sulphurous pit – burning, scalding, stench, consumption.”

Gloucester: “O, let me kiss that hand.”

Lear: “Let me wipe it first; it smells of mortality.

Gloucester: O, ruined piece of nature.  Dost thou know me?”

Lear: “You have no eyes in your head and no money in your purse?  Yet you see how this world goes.”

Gloucester: “I see it feelingly.”

Lear: “What, art mad? A man may see how this world goes with no eyes.  Look with thine ears.”

Poor Tom: “O, matter and impertinency mixed! Reason in madness!”

Lear: “If thou wilt weep my fortunes, take my eyes.  I know thee well enough; thy name is Gloucester. Thou must be patient, we came crying hither.  When we are born, we cry that we are come to this great stage of fools.  And when I have stolen upon these son-in-laws, then kill, kill, kill, kill, kill, kill.” 

A gentleman arrives with news that Cordelia is nearby

Lear: “Let me have surgeons.  I am cut to the brain.  I will die bravely. I am a king.”

Gentleman: “A sight most pitiful in the meanest wretch, past speaking of in a king.”

Poor Tom: “How near is the other army?”

Gentleman: “Near and on speedy foot.  The queen is here.”

Oswald stumbles upon the group and prepares to kill Gloucester.

Poor Tom: “Come not near the old man.”

Oswald: “Out, dunghill.”

They fight and Oswald is killed.

Poor Tom finds letters on Oswald and reads them. They are letters from Goneril to Edmund instructing him to kill Albany so that they can be a couple.  

Poor Tom: “O, indistinguish’d space of a woman’s will.  A plot upon her virtuous husband’s life and in the exchange my brother.”  

Gloucester: “The king is mad: how stiff is my vile sense.  Better I were distract: so should my thoughts be severed from my griefs, and woes by wrong imaginations lose the knowledge of themselves.”

Analysis

The scene where Poor Tom leads his own father, Gloucester, to jump off the White Cliffs of Dover, is indicative that we are nearing Act V.  Gloucester wants to die but Poor Tom protects him and then convinces him that the gods have saved him with a miracle and therefore want him to live.  He promises to better bear his afflictions and Poor Tom advises him toward ‘free and patient thoughts’.

Lear shows up and Gloucester is devastated to see his ruin.  However, then he wishes himself to be as mad as the king so that his thoughts ‘be severed from his griefs and his woes lose knowledge of themselves.  There is enough suffering to go around in this play.

Act IV

Scene vii

In the French camp

Cordelia: “O thou good Kent, how shall I live and work to match thy goodness?  My life will be too short and every measure fail me.”  

Kent: “To be acknowledged madam, is overpaid.”

Cordelia: “How does the king, Doctor?”

Doctor: “madam, he sleeps still.”

Cordelia: “O you kind gods, cure this great breach in his abused nature.”

The doctor draws the curtain and Cordelia sees Lear

Cordelia: “O my dear father!  Restoration hang thy medicine upon my lips, and let this kiss repair those violent harms that my two sisters have in thy reverence made… He wakes… How does my royal lord?”

Lear: “You do me wrong to take me out of the grave.  Thou art a soul in bliss; but I am bound upon a wheel of fire, that mine own tears do scald like molten lead.”

Cordelia: “sir, do you know me?”

Lear: “You are a spirit.  Where did you die?”

Doctor: “He is scarcely awake.”

Lear: “Where have I been?  Where am I?  I am mightily abused.  I know not what to say.  I will not swear these are my hands.  Pray, do not mock me: I am a very foolish fond old man, and, to deal plainly, I fear I am not in my perfect mind.  Methinks I should know you.  Yet I am doubtful.  Do not laugh at me.  I think this lady to be my child Cordelia.”

Cordelia: “And so I am, I am.”

Lear: “I pray weep not.  If you have poison for me I will drink it.  I know you do not love me; for you sisters have, as I remember, done me wrong: you have some cause, they have not.”

Cordelia: “No cause, no cause.”

Lear: “You must bear with me. Pray you now, forget and forgive.  I am old and foolish.”

Analysis

All of the good folks are coming together, as are the bad.  Dear Cordelia, loyal Kent, blind Gloucester, wronged Old Tom (Edgar) and mad Lear are near the French Camp and evil Edmund, conniving Goneril and treacherous Regan are after them, which is why there is such a thing as an act V.  Cordelia is finally with her father again and though he believes she has cause to do him wrong, she insists that there is ‘no cause… no cause’.  She has come in love and peace to her bereaved father.   She is a good soul, as we have known all along.  The final confrontation between good and evil is upon us.  Buckle in.

Act V

As the final battle approaches between Cordelia and the French forces and Edmund and the English, the two sisters are sparing over their lust for Edmund.  Edmund has led them both on and will wait till after the battle to decide which of the two he will be with.

The battle is over quickly and Cordelia and Lear have been captured.

Just as Regan and Goneril are pursuing Edmund, Edgar arrives and challenges Edmund to a duel.  Many deaths crowd the stage in this most tragic of endings, as Edgar becomes King of England.

At V

Scene I

Regan: (to Edmund) “Now, sweet lord, you know the goodness I intend upon you.  Tell me – but truly – do you not love my sister?”

Edmund: “In honoured love.”

Regan: “I shall never endure her.  Dear my lord, be not familiar with her.”

Edmund: “Fear me not.”

Enter Albany and Goneril

Goneril: “I had rather lose the battle than that sister should loosen him and me.”

Albany: “This I hear: the king has come to his daughter.”

Analysis

Act V begins with the nest of lust that exists between Edmund and the two sisters who each want him.  He leads them both on and will decide which to pursue after the battle.  He is very much enjoying this situation, as the battle commences.  

Act V

Scene ii

On a field, between the two camps

Edgar: “Here father, take the shadow of this tree for your good host.  If ever I return to you again I’ll bring you comfort.”

Edgar returns

Edgar: “Away, old man, away!  King Lear hath lost and his daughter taken.”

Gloucester: “No further, sir; a man may rot even here.”

Edgar: “What? In ill thoughts again? Men must endure their going hence, even as they’re coming hither: ripeness is all. Come on.

Analysis

A very short scene (12 lines) tells us that the armies have met and the King has been defeated and his forces led by Cordelia captured.  Edgar tries to ensure that Gloucester does not return to his bleak despair.  Not looking promising for the good guys…

At V

Scene iii

This is the final scene in King Lear.  The battle is over and Lear and Cordelia are being led away to prison.  

Edmund: “Officers, take them away.”

Lear: “Come, let’s go to prison.  We two alone will sing like birds in the cage.  We’ll live, and pray, and sing, and tell old tales, and laugh.”

Edmund: “Come hither, Captain, hark. Take thou this note; go follow them to prison.  Either say thou’lt do it, or thrive by other means.”

Captain: “I’ll do it, my lord.”

Albany: (to Edmund) “You have the captives.  I do require them of you.”

Edmund: “I thought it fit to send the old and miserable king to some retention and appointed guard.   With him I sent the queen.”

Regan: “I am not well.” (hmmm)  

Albany pulls out the letter he has on him.

Albany: “Edmund, I arrest thee on capital treason… and this guilded serpent (Goneril)”

Edmund: “What in the world he is that names me traitor, villain-like he lies.”

Regan: “My sickness grows upon me.” (hmmmmmmmmm)

Herald: “If any man will maintain upon Edmund that he is a manifold traitor, let him appear.”

Enter Edgar

Edgar: “Edmund, draw thy sword.  Thou art a traitor; false to thy gods, thy brother, and thy father; a most toad-spotted traitor.”

Edmund: “Back do I toss these treasons to thy head.”

Edgar and Edmund fight.  Edmund falls.

Albany: (to Edmund) “Most monstrous! O, knowest thou this paper?”

Edmund: “What you have charged me with, that I have done, and more, much more.  Time will bring it out.  But what art thou that hast this fortune on me?”

Edgar: “I am no less in blood than thou art, Edmund.  My name is Edgar, and thy father’s son.  The dark and vicious place where thee he got cost him his eyes.”

Edmund: “’Tis True. The wheel is come full circle.”

Albany: (to Edgar) “I must embrace thee. Where have you hid yourself?   How have you known the miseries of your father?”

Edgar: “By nursing them, my lord.  I assumed a semblance that very dogs disdained; and in this habit met I my father with his bleeding rings, led him, begged for him, saved him from despair; Never – o fault! – revealed myself unto him until some half hour past.  I asked his blessings, but his flawed heart ‘twixt two extremes of passion, joy and grief, burst smilingly.”

Edmund: “This speech of yours hath moved me, and shall perchance do good.”

Enter a gentleman with a bloody knife

Gentleman: “Help, help, o, help!”

Edgar: “What means this bloody knife?”

Gentleman: “She is dead.”

Albany: “Who dead?”

Gentleman: “Your lady, sir, and her sister by her is poisoned; she confesses it.”

Edmund: “I was contracted to them both.”

Albany: “Where is the king? And where is Cordelia?”

The bodies of Goneril and Regan are brought forth.

Edmund: “Yet Edmund was beloved.  The one the other poisoned for my sake, and after slew herself.  Some good I mean to do.  Quickly send to the castle; for my writ is on the life of Lear and Cordelia.”

Albany: “Run, run, O, run!  Haste thee, for thy life.”

They are too late. Enter Lear with Cordelia dead in his arms.

Lear: “Howl, howl, howl, howl!  O, you are men of stones.  Had I your tongue and eyes, I’d use them so that heavens vault should crack.  She’s gone forever.  Lend me a looking glass; if that her breath will mist or stain the stone, why, then she lives.  This feather stirs.  She lives.  If it be so, it is a chance which does redeem all sorrows that ever I have felt.  A plague upon you murderers, traitors all!  I might have saved her; now she’s gone forever.  Cordelia, Cordelia, stay a little. Ha!  I killed the slave that was a hanging thee.”

Captain: “Is true, my lords, he did.”

Kent: “Your eldest daughters have fordone themselves and desperately are dead.”

Lear: “Ay, so I think.”

Messenger: “Edmund is dead, my lord.”

Albany: “That’s but a trifle here.  You lords and noble friends, know our intent.  All friends shall taste the wages of their virtue, and all foes the cup of their deservings.”

Lear: “And my poor fool is hanged! No, no ,no life?  Why should a dog, a horse, a rat have life, and thou no breath at all? Thou’lt come no more.  Never, never, never, never, never.  Do you see this? Look on her. Look, her lips.  Look there, look there!”

Lear dies, perhaps believe that Cordelia is alive.

Kent: “Break heart; I prithee break. O, let him pass!  He hates him that would upon the rack of this tough world stretch him out longer.  He but usurped his life.”

Albany: “Our present business is general woe.”  (to Kent and Edgar) “You twain rule in this realm.”

Kent: “I have a journey, sir, shortly to go.  My master calls me; I must not say no.”

Edgar: “The weight of this sad time we must obey; speak what we feel, not what we ought to say.  The oldest hath born most; we that are young shall never see so much or live so long.”

Analysis

The final scene of King Lear is Shakespeare’s most tragic and it opens with Lear and Cordelia being directed to prison by Edmund.  Nonetheless, Lear is in excellent cheer and his madness abates, as he is finally reunited with his one true loving daughter.  He says they will sing and laugh like caged birds.  

Unfortunately, we overhear Edmund instructing the Captain to ensure their fate, which he agrees to perform.  When Albany requests possession of the prisoners Edmund explains that he thought it best they be presently confined.

Things happen fast here, as Albany announces he is charging Edmund and Goneril with Capital Treason for the letters that he has in his possession from Edmund, declaring their commitment to killing Albany and betraying Lear and Cordelia.

Edmund prepares to fight a duel against any man who calls him a traitor and Edgar, still in disguise, enters the room and calls him a most foul traitor. They fight and Edmund is seriously hurt.  It is at this point that Edgar reveals his identity.  Edmund admits to his crimes.

Albany wants to know how it was that Edgar came to know of his father’s miseries and Edgar’s answer is that he knew them because he tended to them.  He explains that only in the past half hour did he reveal himself to Gloucester  as his son.  The combined joy and grief of this news took what remained of his life.  Edmund claims that he is moved by this news and determines to do good.

A gentleman arrives with news that Goneril has poisoned Regan and then has committed suicide.  Their bodies arrive.  Edmund reflects that he was beloved by both and that one killed the other and then herself for him.  He alerts Albany and Edgar that, by his orders, Lear and Cordelia are fated to be killed.  As panic ensues Lear arrives with dead Ophelia in his arms.  Lear immediately retreats back into his madness and deep despair.  He is informed that his other two daughters are dead as well.  He response is curt: “Ay, so I think.”

A messenger arrives to announce that Edmund has succumbed to his wounds.  Albany is quick to judge that “this is but a trifle here,” considering all else. 

Lear informs us that his fool has been hanged.  In his final lines he believes Cordelia is breathing, so perhaps he dies believing he has outlived her.  This is about as happy an ending as Shakespeare affords us.

Albany, Kent and Edgar are all that remain.  Edmund was killed by Edgar, Goneril poisoned Regan and then killed herself, the fool has been hung, Cordelia has died from her near hanging, Lear and Gloucester, the two old friends, both die of their prolonged grief and tragic despair.  

Albany suggests that Kent and Edgar rule England.  Kent has a date with death from old age and cannot say no to it.  So the kingship falls upon Edgar, or Poor Tom, who knows all there is to know about suffering, pity, loyalty and righteousness.  This is the only good that comes of the tragedy of King Lear.  Edgar will no doubt be a good King, but the play ends to the sound of a funeral march.  There is plenty of healing to get through and bodies aplenty upon the stage to trip over.

Final thoughts:

There are at least 10 deaths in King Lear and only 3 survivors.  All of the evil folks are dead, including Cornwall, Oswald, Edmund, Regan and Goneril.  Of the better angels, Lear, Cordelia, Gloucester, the fool and a servant to Gloucester are dead.  

It’s no wonder the 16th century rewrote Shakespeare’s tragedy, to make it more tolerable.  It is the most nihilistic and painful play in the canon and perhaps in all of literature, as evil finally consumes itself and most of those it touches. Edmund comes dangerously close to being crowned king of England, with both dukes and sisters’ dead.  But in that sense goodness triumphs, albiet with a totally gloomy and depressed ending and the stage littered with the bodies of Goneril, Regan, Cordelia and Lear… the King and his three daughters.  The secondary family, Gloucester and Edmund, along with the fool, die off stage.

King Lear starts the play full of arrogance and ends it a broken, ragged and humbled man consumed by regret and despair.  He learns about pity and compassion and it fills him with a certain madness stained humanity that sustains him as long as it does, until that final travesty of his dead child in his weak arms.

Lear’s two evil daughters are all fire and ice, like their father, but without his dignity, honour, integrity and grace, which belong to Cordelia.  The entire play is essentially Lear figuring out a way to internalize and embody these qualities and reach Cordelia in Act V.

The fool is one of Shakespeare’s most profound characters, as he spars with Lear and others and has many great insightful punchlines.  Shakespeare will feature many fools, but none like this.  They are all wise fools but no other attain the status of such a  biting political and psychological satirist.

Gloucester is the counterpoint, or shadow, to Lear in the play; just another old man who mistakes his children as Lear has done with his daughters.  Cordelia and Edgar are true and good but spend most of the play banished, while Goneril, Regan and Edmund spin their webs of intrigue and bring the entire house of cards crashing down all around the stage.  Edmund is one of Shakespeare’s most alluring villains.  He is smart, cunning and morally vacant until the final scene of the play.

Edgar, the next king of England, has to totally redefine himself in order to survive his brother’s cunning.  Poor Tom suffers with grace and only reveals himself for who he really is in that final Act five scene.

King Lear is about what happens when we mistake reason for a monstrosity.  ‘Reason not the need’ Lear declares. He knows he is flirting with tragedy by dividing his kingdom based on which daughter expresses her love best.  Among his first words in the play are : “Meantime, we shall express our darker purpose… while unburdened we crawl toward death.” That is quite the foreshadowing.  He is nothing if not unburdened by the play’s end. The fool consistently speaks reasonably and only gives sound advice, which Lear can hear but cannot abide.

But it is out there on the blasted heath that the more admirable characters, Lear, his fool, Poor Tom, Kent and Gloucester find hope, as they embrace what little fragment of humanity remains, in the gentle caring and kindness directed to one another.  We must believe that in all of the years on his throne Lear never experienced this.  He could only learn these lessons upon the apocalyptic heath, as we all must do.  

Shakespeare connects us so well to these suffering fools that we experience their despair and madness in their most grotesque manifestations.  Lear was likely a strong and good king but his ‘darker purpose’ leads him on a whirlwind of betrayal, suffering and madness  By the time Act 5 arrives he has finally made his peace with being no more than ‘a foolish old man’.  This, of course, evaporates when he arrives with dead Cordelia in his arms.  We can only take so much.  He was loved by those who truly loved him, not by those who merely professed to love.  Hence, among the finally lines in the play in Act V, Scene iii is this by Edgar: “The weight of this sad time we must obey; speak what we feel, not what we ought to say.”  In this sense the lesson has been learned from Act I, Scene I and henceforth we have come full circle.  Edmund also states in the play’s final scene: “The wheel has come full circle.”   This is the restoration scene in King Lear.   But Lear’s lessons are dealt a final, fatal blow and are learned too late to take hold in the face of the death of his beloved child in his arms.  The significance of everything pales in the face of such a terrible reckoning.  Enough is enough.  Wheh!

Macbeth

Introduction to Macbeth

With Macbeth we directly enter into the prime of William Shakespeare’s career. Queen Elizabeth died in 1602 without a direct heir to the throne, so a cousin, King James VI of Scotland, became King James I of England. In what must be regarded as the most prolific creative explosion in literary history, between 1599 and 1606 Shakespeare wrote As You Like It, Henry V, Julius Caesar, Hamlet, Twelfth Night, Measure for Measure, Othello, All’s Well That Ends Well, Macbeth, King Lear and Anthony & Cleopatra.

Macbeth is the story of a very good and a very brave man who is corrupted by ‘vaulted ambition’ after three witches promise that he will be king and that his accompanied friend Banquo will have his descendants become kings after Macbeth’s reign. As well, his wife encourages, prods and mocks him into killing King Duncan in order to ensure the witches’ prophecy and accelerate the process. But after killing the king and being crowned in his place, it all begins to unravel. Macbeth assumes the throne but then becomes increasingly paranoid of Banquo and has him murdered. The killing continues, as ‘blood will have blood’. Lady Macbeth is likewise wracked with guilt and finally commits suicide. King Duncan’s son and MacDuff rally the forces who oppose Macbeth and he is defeated and killed in accordance with the witches’ prophecy.

Macbeth is as much about the ascension of a Renaissance Scottish King to the English throne, and his fascination with witches, as anything else. This was a play clearly intended to please, intrigue and flatter Shakespeare’s new monarch. King James became the patron of Shakespeare’s acting troupe, conferring upon them the honored title of “The King’s Men”. As he won over the heart of his English Queen he will do so again with his Scottish King.

Drawn from Holinshed’s ‘Chronicle of Scottish History’, the loosely based Banquo is a supposed direct ancestor to King James and Shakespeare lavishes his sympathy upon this character. Banquo is assured by the witches that, while he himself will not be king, his descendants will be. King James must have been pleased indeed to witness the staging of this play where ancient witches prophecized and predicted his English Kingship. James had hunted down witches in Scotland between 1590-92 and had over 70 of them imprisoned, while he personally interrogated many of them at their trials before most were burned at the stake. They usually confessed grotesque and improbable deeds under the torture preceding their murders. Three of these witches had personally assured King James that he was indeed a decendant of Banquo. King James even wrote a treatise on witches, titled ‘Daemonologie’, which lashed out at the increasingly popular belief that there were no such thing as witches or witchcraft. Witches were hunted and burned until well into the 1700s in both Scotland and England. It is no coincidence that the witches encountered by Macbeth and Banquo conform precisely to King James’ beliefs. Shakespeare had done his homework. They are ugly old hags who have sold their souls to the devil in exchange for the gift of half-awful powers. They traffic with the Prince of Darkness and this must have enthralled King James. Naturally, today’s audiences tend to see Macbeth’s psychological state as more important than the witches curse as a driver of the action in the play. Shakespeare was merely adapting King James’ own beliefs into memorable theatre.

Macbeth is one of the shortest of Shakespeare plays and the plot develops rapidly, with a speed unmatched in any of the other tragedies. It is almost relentless in its pace. There is no relief whatsoever from the singular, focused and gripping plot. Attention remains fixed upon the crimes and their two perpetrators. Macbeth is an uncanny unity of setting, plot and characters, fused together beyond comparison with any other Shakespeare work.

Like Richard III, Macbeth is a victim of criminal ambition. The actual historical Macbeth killed King Duncan in battle and ruled for 14 years before Duncan’s son, Malcom, fought and killed Macbeth and assumed his father’s throne. Other than that, Shakespeare completely creates his own version of Macbeth, as he did with Richard III.

Shakespeare’s Macbeth, before the curtain rises to our play, had been a loyal and brave subject to King Duncan. It is ambition, ignited by the prophecy of the witches and his crown hungry wife, that alter his character profoundly and sweep away all moral restraints. Unlike Richard III, Macbeth is heroic and altogether stable when we first encounter him, which explains why we relate to him as readily as we do. Almost immediately he subordinates his good soldierly qualities of loyalty, bravery, nobility and valour to those of ambition and superstition, and his downfall is assured. The onset of conscience and the face of his terrifying assaults of fear create a character that has fascinated audiences for centuries. His old courage is blotted out by his horrific fear of what he has done and become. Macbeth suffers intensely from knowing that he does evil, and that he must go on to do worse yet. After the murder of King Duncan, Macbeth finds he has given birth to a new and intolerable self, a self he must remain until he is slaughtered.

The ghost of murdered Banquo is an awful projection of Macbeth’s persistent dread and the figment of an imagination half crazed by fear. But ‘blood will have blood’ and the only path that Macbeth traverses is as a butcher and a killer. His wickedness deprives his life of all meaning. He is a magnificent monster and his soliloquies are tirades.

Lady Macbeth moves to her catastrophe by a different course from that of her husband. She ‘unsexes’ herself and tries to breathe her determination for the crown into the will of Macbeth. But as he concocts murder after murder, her repressed nature sinks under the strain of nerve wracked sleeplessness and despair. She may inspire her husband to hardness and murder but in the end she lacks that very hardness of heart necessary to survive this play. Macbeth himself refuses to follow his wife into madness and suicide. Again, like Richard III, Macbeth will learn that killing himself to the throne will never bring contentment. He must kill and kill again, trapped in a cycle of violence and haunted by an active imagination. Like most of the tragedies, Macbeth is a very dark play, as nightmares await those with a guilty conscience. It is a tragedy of the imagination, seeped in blood. Macbeth becomes a great killing machine endowed with an imagination so vividly portrayed as phantasmagoria that it must be Shakespeare’s own. At the very least, Macbeth represents an inner emblem of that faculty in Shakespeare.

The witches, his wife, his own ‘heat oppressed brain’ and a good dose of paranoia persuade and propel Macbeth toward self-abandonment. No one else in all of Shakespeare is as occult as Macbeth. His language and imaginings are those of a seer and his great utterances repeatedly break through his plunging and diabolical confusions. He is as much a natural poet as a natural killer. The ultimate irony of Macbeth are divisions in the self – both his and ours. His consciousness seems to have our contours and we have no choice but to participate in his journey from genuine authenticity to the charnel house.

Shakespeare was clearly interested in the psychology of murder and the way one man’s nightmare can quickly become that of an entire nation. Macbeth is the study of someone fated with self-knowledge coupled with self-loathing and journeying deeper and deeper into a kind of ‘existential hell’, which we can see coming from the moment he stops to listen to the witches. After the murder of King Duncan there is no turning back. He bought his ticket and must take the ride. Every subsequent murder only further destroys him until his life loses all meaning and becomes ‘a tale, told by an idiot, full of sound and fury, signifying nothing.’

Shakespeare depicts a strong marriage breaking down before our eyes, leaving both partners psychologically vulnerable and imbalanced. They were once both strong characters, who become blood obsessed shadows of their former selves under the intense scrutiny of their crimes. They were likely Shakespeare’s happiest married couple until the play begins. They are like two friends, despite their crimes.

The audience is pulled in tight to their relationship with this very good man turned Machiavellian murderer, as his last traces of human decency are obliterated. We become even closer to Macbeth as he initially resists temptation and vaulting ambition. We identify with him because, as Shakespeare knew well, our own imaginations can be as frightening an archetype as Macbeth’s. Also, this singular character so dominates his own play that we often have nowhere else to turn, other than to Lady Macbeth and her imaginings, which offer little respite. We journey inward down Macbeth’s ‘Heart of Darkness’. The enigma of Macbeth is the lead character’s hold upon our sympathy. He is Mr Hyde to our Dr Jekyll. Jekyll, you recall, turns into Hyde and cannot get back. Shakespeare suggests we could share such a fate. Macbeth is a visionary maniac, not unlike Captain Ahab from Herman Melville’s Moby Dick, a work profoundly influenced by Shakespeare and Macbeth. They both become world destroyers, as the Atlantic Ocean and the Scottish heath amalgamate. One of Shakespeare’s great strengths is radical internalization and this is his most internalized drama, played out in the guilty imagination that we share with Macbeth.

Macbeth is a very superstitious play, seeped in witches, blood and murder. To this day actors refuse to use the name “Macbeth”, but rather refer to it as the “Scottish Play”, a clear tribute to Shakespeare’s vivid imagination and dark envisionings.

The London theatre scene was a pretty wild and raucous environment in Shakespeare’s day. There are countless examples of groundlings expressing their displeasure with fruit, vegetables, bottles and even chairs. Many performances had to pull the curtain on plays too disrupted to continue. The year before Macbeth premiered at the Globe King James passed an obscenity law, ensuring that the vulgar and dirty bits were removed from all performances. The groundlings loved the dirty bits. Remember, Shakespeare is trying to appeal to the aristocracy in the cushy seats as well as the groundlings who, for a penny, could stand right up against the stage. With Macbeth, Shakespeare astonishes them all in Act I, Scene I, which is eleven lines long. As the curtain rises there are three witches and they are waiting for Macbeth. No one threw fruit or veggies, let alone bottles or chairs. The entire audience was enchanted and the speed of the plot development maintained their fixation on Macbeth, his wife, his witches, his victims and the blood and imagination that never lets up until the curtain comes down just 22 lines after Macduff appears with Macbeth’s head.

Act I

Scene i

An open place.

Enter three witches

Witch # 1: “When shall we three meet again?”

Witch # 2: “Upon the heath.”

Witch # 3: “There to meet Macbeth.”

All 3 witches: “Fair is foul and foul is fair.

Summary and Analysis

The dark superstitious tone is set along with the dire premonition by these malignant forces. ‘Fair is foul and foul is fair’ proves true throughout the play as the welcoming and wholesome nature of Macbeth’s fair castle will transform into a scene of the grotesque and foul murder of a king, inspired by the seemingly gracious hostess, Lady Macbeth. Things are indeed not what the appear to be, as the witches warn. This opening scene immediately plunges the audience into a state of disorder and chaos. And we haven’t even encountered Macbeth yet, although his name is already on the witch’s lips. The stormy thunderous revolt of nature will mark the rest of the play. Shakespeare gets our attention early. Are these unnatural hags predicting Macbeth’s future or causing it? A spell has been cast on us as well as Macbeth

Act I

Scene ii

A military camp

Enter King Duncan and Malcolm with attendants, meeting s bleeding sergeant.

Duncan: “What bloody man is this?”

Malcolm: “This is the sergeant who fought against my captivity. Hail, brave friend! Say to the king the knowledge of the broil as thou did leave it.”

Sergeant: “Doubtful it stood, as the merciless Macdonwald, worthy to be a rebel, showed like a rebel’s whore. But for brave Macbeth – well he deserves that name – disdaining fortune, with his brandished steel, which smoked with bloody execution, like valour’s minion, carved out his passage and faced the slave till he unseamed him from the nave to the chaps, and fixed his head upon our battlements.”

Duncan: “O valiant cousin! Most worthy gentleman!”

Sergeant: “But the Norwegian lord, surveying advantage, with furbished arms and a new supply of men, began a fresh assault.”

Duncan: “Dismayed not this our captains, Macbeth and Banquo?”

Sergeant: “Yes, but I must report they were as canons overcharged and they doubly redoubled strokes upon the foe. But i am faint; my gashes cry for help.”

Duncan: “So well thy words become thee as thy wounds. They smack of honour both – Go, get him surgeons.”

Enter Ross

Ross: “God save the King!”

Duncan: “Whence came thou, worthy thane?”

Ross: “From Fife, great King, where the Norwegian banners flout the sky and fan our people cold. Norway himself, with terrible numbers, assisted by that most disloyal traitor, the Thane of Cawdor, began a dismal conflict, till Macbeth confronted him point against point, arm against arm, curbing his lavish spirit; and to conclude, the victory fell on us.”

Duncan: “Great happiness! No more shall that Thane of Cawdor deceive our bosom. Go pronounce his present death, and with his former title greet MacBeth. What he hath lost, noble Macbeth hath won.”

Summary and Analysis

We still don’t meet Macbeth in scene ii but we learn only wonderful and admirable things about him. A battle has just occurred against Norway and a dying sergeant tells King Duncan and his son Malcolm what transpired on the bloody field: ‘that brave Macbeth – well deserving of that name – disdaining fortune, and with brandished steel smoked with bloody executioin, carved out his passage. Macbeth and Banquo, bathing in reeking wounds, redoubled strokes upon the foe until the victory fell on us.’ The King is so impressed and delighted that he assigns the great title of Thane of Cawdor upon Macbeth, just as the witches predicted. The plot is advanced by our hearing about the brave and good Macbeth, for so he was. This scene is very violent in its description of Macbeth in battle and in the wounded soldier who tells the story. His violence is a foreshadowing of so much blood to come.

Act I

Scene iii

Upon a blasted heath

Enter the three witches

1 Witch: “Where hast thou been, sister?”

2 Witch: “Killing swine.”

3 Witch: “Sister, where thou?”

1 Witch: “A sailor’s wife had chestnuts in her lap and mounched and mounched and mounched. ‘Give me’ quote I. ‘Aroint thee, witch’ she cried. ‘I’ll do, I’ll do, and I’ll do. I’ll give thee a wind and the very ports they blow, that sleep shall neither night nor day hang upon his lid. He shall be tempest-tost. Here I have the sailor’s thumbwrecked as homeward he did come.”

3 Witch: “A drum, a drum! Macbeth doth come.”

Enter Macbeth and Banquo

Macbeth: “So foul and fair a day I have not seen.”

Banquo: “What are these? So withered and so wild in their attire, that look not like the inhabitants of the earth, and yet are on it. ‘You should be women, and yet your beards forgive me to interpret that you are so.’

Macbeth: “Speak if you can. What are you?”

1 Witch: “All hail, Macbeth, Thane of Glamis.”

2 Witch: “ All hail, Macbeth, Thane of Cawdor.”

3 Witch: “All hail Macbeth, that shalt be king hereafter.”

Banquo: “Good sir, why do you start, and seem to fear things that do sound so fair? In the name of truth are thee fantastical, as outwardly ye show? My noble partner you greet with great prediction of royal hope that he seems rapt withal. To me you speak not. Speak then to me.”

1 Witch: “Hail!”

2 Witch: “Hail!”

3 Witch: “Hail!”

1 Witch: “Lesser than Macbeth and greater.”

Witch # 3: “Thou shalt get kings, though thou be none. So, all hail, Macbeth and Banquo.”

Macbeth: “Stay, you imperfect speakers. Say from whence you owe this strange intelligence, or why upon this blasted heath you stop our way with such prophetic greeting.”

The witches vanish.

Banquo: “Were such things here as we do speak about? Or have we eaten on the insane root that takes the reason prisoner?”

Mabeth: “Your children shall be kings.”

Banquo: “You shall be king.”

Macbeth: “And Thane of Cawdor, too.”

Enter Ross and Angus

Ross: “The King hath happily received, Macbeth, the news of thy success. As thick as tale came post with post, and every one did bear thy praises in his kingdom’s great defence.”

Angus: “We are sent to give thee thanks and call thee Thane of Cawdor. Hail most worthy Thane, for it is thine.”

Banquo: “What, can the devil speak true?”

Macbeth: (aside to Banquo) “Do you not hope your children shall be kings?”

Banquo: (aside to Macbeth) “Tis strange, but oftentimes to win us to our harm the instruments of darkness tell us truths.

Macbeth: (aside) “Why do I yield to that suggestion whose horrid image doth unfix my hair and make my seated heart knock at my ribs against the use of nature? Present fears are less than horrible imaginings. My thought shakes so my single state of man that function is smothered in surmise, and nothing is but what is not. If chance will have me king, why, chance may crown me. Come what may, time and the hour runs through the roughest day.

Banquo: “Look how our partner is rapt. New honours come upon him.”

Macbeth: “Let us toward the King.” (aside to Banquo) “Think upon what hath chanced; and, at more time, the interim having weighed it, let us speak our free hearts each to other.”

Banquo: (aside to MacBeth) “Very gladly.”

Summary and Analysis

So good Macbeth and good Banquo have met the witches and have heard their predictions. They are intrigued, but such superstition is dubious, to be sure. But then they meet Ross, who announces that he has been named the Thane of Cawdor, exactly as the witches foretold. The thoughts begin to pour in on Macbeth that he could be king as well, just as he is being led to meet the very good and the very grateful King Duncan himself. Banquo is more cautious, warning Macbeth that the witches prophecies could lead him into danger. Is Macbeth’s fate sealed or does he still maintain the power to shape his own destiny? Clearly his ambition has been ignited and his impulses and desires will set the stage for his eventual downfall. How much did the witches know? They speak of his future greatness but they leave out the cost and the consequences of achieving it. Macbeth wants to trust the witches but fails to recognize the danger of pursuing power through dark deeds. The witches may have set these events into motion but Macbeth’s own choices will eventually bring about his downfall.

Act I

Scene iv

The King’s palace.

Enter King Duncan and Malcolm, his son.

King Duncan: “Is execution done on Cawdor?”

Malcolm: “My liege, I have spoke with one who saw him die and did report that very frankly he confessed his treasons, and implored your pardon, and set forth a deep repentance. Nothing in his life became him like the leaving it.

Enter Macbeth

KIng Duncan: “O, worthiest cousin. More is thy due than more than all can pay.”

Macbeth: “The service and the loyalty I owe, in doing it, pays itself. Your highness’ part is to receive our duties, and our duties are to your throne.”

King Duncan: “Welcome hither. I have begun to plant thee, and will labour to make thee full of growing. Know, we will establish our estate upon our eldest, Malcolm, whom we name here-after the Prince of Cumberland and successor to our throne. My worthy Cawdor.”

Macbeth: (an aside to the audience) “The Prince of Cumberland! That is a step upon which I must fall down, or else overleap, for in my way it lies. Stars, hide your fires, let not light see my black and deep desires. The eye winks at the hand; yet let that be which the eye fears, when it is done, to see.

Summary and Analysis

King Duncan welcomes Macbeth as a returning hero and decides to spend a night in his castle just as Macbeth determines that only Malcolm stands between he and the throne of Scotland. The king is very trusting of Macbeth, who admits to himself that he is consumed and affected enough to ‘ignite his black and deep desires’. How quickly the plot thickens. Macbeth is already caught between his loyalty to his king and his sudden expectation that the throne might be his. He is frustrated that the king has announced that his son, Malcolm, will be the successor to the throne. Duncan’s visit to Macbeth’s castle foreshadows that murder that is soon to take place. But does Macbeth have it in him to murder his very able king, or will he need to be spurred on by his wife we are about to meet?

Act I

Scene v

Inverness. Macbeth’s castle.

Enter Lady Macbeth, reading a letter.

Lady Macbeth: ‘They met me in the day of success and have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished. While I stood rapt in the wonder of it, came missives from the king, who all-hailed me “Thane of Cawdor’, by which title, before, these weird sisters saluted me with “hail king that ye shall be!’ This have I thought good to deliver thee, my dearest partner of greatness, that thou might not lose the dues of rejoicing by being ignorant by what greatness is promised thee. Lay it to thy heart and farewell.’ “Cawdor thou art; and shall be what thou are promised. Yet do I fear thy nature; it is too full of the milk of human kindness to catch the nearest way. Thou would be great; art not without ambition, but without the illness that should attend it. Thou would have that which cries ‘thus thou must do’ if thou have it; and that which rather thou does fear to do than wishes should be undone. Hie thee hither, that I may pour my spirits into thine ear and chastise thee with the valour of my tongue all that impedes thee from the golden round which fate and metaphysical aid doth seem to have thee crowned withal.”

Enter messenger

Messenger: “The King comes here tonight.”

Lady Macbeth: “Thou art mad to say it. Is not thy master with him?

Messenger: “Our Thane is coming.”

Lady Macbeth: “Give him tending: he brings great news.”

Exit messenger

Lady Macbeth: (aside) “The raven himself is hoarse who croaks the fatal entrance of Duncan under my battlements. Come you spirits that tend on mortal thoughts, unsex me here; and fill me, from the crown to the toe, top full of direst cruelty. Make thick my blood, stop up the access and passage to remorse, that no compunctious visitings of nature shake my fell purpose nor keep peace between the effect and it. Come to my woman’s breast, and take my milk for gall, you murdering ministers, wherever in your sightless substances you wait on nature’s mischief. Come, thick night, and pall thee in the smoke of hell, that my keen knife sees not the wound it makes, nor heaven peep through the blanket of the dark to cry ‘Hold, hold’.

Enter Macbeth

Lady Macbeth: “Worthy Cawdor! Thy letters have transported me beyond this ignorant present, and I feel now the future is the instant.”

Macbeth: “My dearest love, King Duncan comes here tonight.”

Lady Macbeth: “And when goes hence?”

Macbeth: Tomorrow, as he purposes.”

Lady Macbeth: “O never shall sun that morrow see! Your face, my thane, is as a book where men may read strange manners. To beguile the time, look like the time; bear welcome in your eye, your hand, your tongue; look like the innocent flower, but be the serpent under it. You shall put this night’s great business into my dispatch; which shall to all our nights and days to come give solely sovereign sway and masterdom.

Macbeth: “We will speak further.”

Lady Macbeth: “Leave all the rest to me.”

Summary and Analysis

Lady Macbeth reads the letter about the witches prophecy but worries that Macbeth is too honourable to ensure the fulfilment of the prophecy. So the witches intrigue him, his wife propels him forward and Duncan affords them the opportunity, as he resides for this one night in their castle. Macbeth seems too good a man to agree to kill his cousin and king, but his unsexed wife is not done with him yet. When he arrives home she immediately set to work on him, urging him to act swiftly to kill King Duncan and seize the throne. ‘Leave all the rest to me’ she tells her husband, sensing that the crown is near and the opportunity is now. She is single-minded in her desire for power and her determination to attain it on this night. Her ambition far exceeds that of Macbeth, who remains troubled about the consequences of such a murder. When she pleads to the spirits to unsex her she reveals her desire to reject the traditional feminine qualities of nurturing compassion and become more masculine in her ruthlessness. To get what she wants she must embrace a more aggressive and unyeilding role. It will be Lady Macbeth who drives the action of the play, manipulating her husband to act on his desires and strongly persuading him to murder King Duncan. She is relentless in pushing him to overcome his doubts and take action. She is a key instigator in the events that will follow. She seizes control of his free will and shapes his fate herself.

Act I

Scene vi

Inverness. Macbeth’s castle

Enter King Duncan, Malcolm and Donalbain (the King’s sons), Banquo, lords and attendants

King Duncan: “This castle hath a pleasant seat; the air sweetly recommends itself unto our gentle senses.”

Enter Lady Macbeth

King Duncan: “See, see, our honoured hostess!”

Lady Macbeth: “All our service in every point twice done, and then done double.”

King Duncan: “Fair and noble hostess, we are your guest tonight. Give me your hand; conduct me to my host. We love him highly.”

Summary and Analysis

This can be a very uncomfortable scene, as we know King Duncan is in danger, although he appears quite comfortable at the Macbeth castle. And the person who greets him most warmly is the same Lady Macbeth who so wants him dead… tonight! Unsuspecting Duncan walks straight into the trap his hosts have set for him. This scene highlights the theme of appearance vs reality. Duncan speaks of the castle as a warm and gentle place, contrasting vividly with the evil plans being set in motion. The Macbeths are very graceful toward their king just before they kill him. Fair is foul indeed. And the audience knows what Duncan does not, creating excellent dramatic irony.

Act I

Scene vii

Inverness. Macbeth’s castle

Enter Macbeth

Macbeth: (aside) “If it were done when ‘tis done, then ‘twere well it were done quickly. If the assassination could trammel up the consequence, that but this blow might be the be-all and the end-all here. But here upon this bank and shoal of time, we still have judgement, that we but teach bloody instructions, which being taught return to plague the inventor. This even-handed justice commends the ingredience of our poisoned chalice to our own lips. He is here in double trust; First, as I am his kinsman and his subject – strong both against the deed; then as his host, who should against the murderers shut the door, not bear the knife myself. Besides, this Duncan hath born his faculties so meek, hath been so clear in his great office, that his virtues will plead like angels, trumpet-tongued, against the deep damnation of his taking off. And pity… like a naked new-born babe… shall blow the horrid deed in every eye, that tears shall drown the wind. I have no spur to prick the sides of my intent, but only vaulting ambition, which over-leaps itself, and falls on the other.

Enter Lady Macbeth

Lady Macbeth: “How now. What news?”

Macbeth: “We will proceed no further in this business. He has honoured me of late.”

Lady Macbeth: “Was the hope drunk wherein you dressed yourself? Hath it slept since, and wakes it now to look so green and pale at what it did so freely? From this time such I account thy love. Are thou afeared to be the same in thine own act and valour as thou art in desire? Would thou have that which thou esteems the ornament of life, and live a coward in thine own esteem, letting ‘I dare not’ wait upon ‘I would’, like the poor cat in the adage?”

Macbeth: “Prithee, peace; I dare do all that may become a man; who dares do more is none.”

Lady Macbeth: “What beast was it then that made you break this enterprise to me? Then you were a man; and to be more than what you were, you would be so much more the man. I have given suck, and know how tender it is to love the babe who ilks me – I would, while it was smiling in my face, have plucked my nipple from his boneless gums, and dashed the brains out, had I so sworn as you have done to this.

Macbeth: “If we should fail?”

Lady Macbeth: “We fail! But screw your courage to the sticking place, and we’ll not fail. When Duncan is asleep, his two chamberlains will I with wine… and when in a swinish sleep their drenched natures lie as in a death, what cannot you and I perform upon the unguarded Duncan? What not put upon his spongy officers, who shall bear the guilt of our great quell?”

Macbeth: ”Bring forth men children only; for thy undaunted mettle should compose nothing but males. Will it not be received, when we have marked with blood those sleepy two of his own chamber, and used their very daggers, that they have done it.”

Lady Macbeth: “Who dares receive it other, as we shall make our griefs and clamour roar upon his death?”

Macbeth: “I am settled to this terrible feat. Away, and mock the time with fairest show. False face must hide what the false heart doth know.

Analysis

That’s it. She did it. He’s in. We know he has been an honourable man, so we identify with him. The dramatic premise is established. The witches have ignited his ‘vaulting ambition’, his wife has pricked his intent and Duncan is in his castle tonight – for one night only. This is a very dark play. Much of it takes place at night, amid witches, battlefields and murderous plots, ghosts and excessive guilt, pains of conscience, revenge and blood… lots and lots of blood. Lady Macbeth is the great plot advancer and likely the most interesting character in the play. Macbeth is clearly leaning on his own rational and moral compass until she challenges his manhood by taunting when persuasion fails and he readily falls under her spell. There is no turning back now. This scene showcases Macbeth’s deep moral struggle and the forces influencing him to carry out the crime. He soliloquizes his deep conflict about murdering the king. He knows it is a grave sin that will have terrible consequences, but his ambition pushes him on. And then enter Lady Macbeth, who immediately criticizes his wavering, calls him a coward, questions his manhood and convinces him to perform the deed. The central conflict within Macbeth between ambition and conscience, between the drive for power and moral consequence, is heavily influenced by his wife’s ruthless determination to push him into action. This scene sets the stage for the tragic downfall that follows throughout the remainder of the play.

Act II

Scene i

Inverness. Macbeth’s castle

Enter Banquo and his son, Fleance

Banquo: “How goes the night, boy?”

Fleance: “The moon in down.”

Banquo: “There’s husbandry in heaven; their candles are all out.

Enter Macbeth

Banquo: “What, sir, not yet at rest? The king’s in bed. He has been in unusual pleasure. All’s well. I dreamt last night of the three weird sisters. To you they have shown some truth.”

Macbeth: “I think not of them. Good repose the while.”

Exit Banquo and Fleance

Exit Banquo and Fleance.

Macbeth: “Is this a dagger which I see before me, the handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible to feel as to sight? Or art thou but a dagger of the mind, a false creation. proceeding from the heat-oppressed brain? I see thee still; and on thy blade gouts of blood, which was not so before. There’s no such thing: it is the bloody business which informs thus to my eyes. Now witchcraft celebrates withered murder. (a bell rings) I go and it is done. The bell invites me. Hear it not, Duncan, for it is a knell that summons thee to heaven or to hell.”

Summary and Analysis

The real action begins. Macbeth opens the scene with another soliloque, expressing his deep anxiety and guilt about what he is about to do. Macbeth is alone as he prepares to murder his king, when his first of several bouts of excessive imagination strikes him: ‘Is this a dagger which I see before me… Or art thou but a dagger of the mind, a false creation, proceeding from the heat-oppressed brain?’ All of his hesitation was for good reason, we shall see, as he will never be the same man again and begins the plummet from ‘good and brave Macbeth’ to the final scene where McDuff exhibits ‘the usurper’s cursed head’ and Malcolm speaks in eulogy of ‘this dead butcher and his fiend-like queen’.

This scene marks a turning point in Macbeth and it is masterfully tense. There’s no action yet—just a slow, psychological descent. It’s the calm before the storm. By the time the scene ends, we know that murder is moments away, and that Macbeth, once a noble warrior, is now stepping into darkness.

Act II

Scene ii

Inverness. Macbeth’s castle

Enter Lady Macbeth

Lady Macbeth: “That which has made them drunk has made me bold; what has quenched them has given me fire. The surfeited grooms do mock their charges with snores.”

Macbeth: (within) “Who’s there! What, ho!”

Lady Macbeth: “Alack! I am afraid they have awoken, and it tis not done. The attempt, and not the deed, confounds us.”

Enter Macbeth

Lady Macbeth: “My husband!”

Macbeth: “I have done the deed. Did thou not hear a noise?”

Lady Macbeth: “I heard the owl scream and the crickets cry.”

Macbeth: (looking at his bloody hands) “This is a sorry sight.”

Lady Macbeth: “A foolish thought to say a sorry sight.”

Macbeth: “Who lies in the second chamber?”

Lady Macbeth: “Malcolm and Donalbain, his sons.”

Macbeth: “One did laugh in his sleep and one cried ‘Murder!’ and they did wake each other. I stood and heard them; but they did say their prayers, which addressed them again to sleep. One cried ‘God bless us’, and ‘Amen’ the other, as if they had seen me with these hangman’s hands. Listening to their fear, I could not say ‘Amen’ when they did say ‘God Bless us’!

Lady Macbeth: “Consider it not so deeply.

Macbeth: “But wherefore could I not pronounce “Amen’? I had most need of blessing and “Amen’ stuck in my throat.

Lady Macbeth: “These deeds must not be thought. It will make us mad.

Macbeth: “Methought I heard a voice cry ‘Sleep no more.’ Macbeth does murder sleep – the innocent sleep. Sleep that knits up the ravelled sleave of care. The death of each day’s life, sore labour’s bath, balm of hurt minds, great nature’s second course, chief nourisher in life’s feast.

Lady Macbeth: “What do you mean?”

Macbeth: “Still it cried ‘Sleep no more’ to all the house; Cawdor has murdered sleep, and therefore Cawdor shall sleep no more – Macbeth shall sleep no more.

Lady Macbeth: “Who was it that thus cried? Why, worthy Thane, you do unbend your noble strength to think so brain sickly of things. Go get some water and wash this filthy witness from your hands. Why did you bring these daggers from the place? They must lie there. Go carry them and smear the sleepy grooms with blood.”

Macbeth: “I’ll go no more: I am afraid to think what I have done; look on it again I dare not.”

Lady Macbeth: “Infirm of purpose! Give me the daggers. The sleeping and the dead are but as pictures. If he do bleed I’ll gild the faces of the grooms withal, for it must seem their guilt.”

Exit Lady Macbeth

Macbeth: (Looking at his hands) “What hands are here? They pluck out my eyes. Will all great Neptune’s ocean wash this blood clean from my hands?”

Re-enter Lady Macbeth

Lady Macbeth: “My hands are of your colour; but I shame to wear a heart so white. I hear a knocking; retire we to our chamber. A little water clears us of this deed. How easy it is then! Your constancy has left you unattended. (knock) Hark! More knocking. Be not lost so poorly in your thoughts.

Macbeth: “To know my deed, ’twere best not to know myself. (knock). Wake King Duncan with thy knocking. I would thou could.

Summary and Analysis

This scene is a masterclass in psychological tension. If Scene i was the tense build-up, Scene ii is the emotional fallout. The deed is done but we now witness the psychological shockwave rippling through Macbeth and Lady Macbeth. The murder happens off stage, in our minds as well as in Macbeth’s. When Macbeth enters, fresh from killing Duncan, he is badly shaken. He’s not triumphant—he’s horrified. His hands are covered in blood, and his speech is fragmented and full of dread. He’s clearly traumatized. “This is a sorry sight,” he says, looking at his bloody hands. He begins to unravel, feeling that he will never be able to wash the blood off his hands. His wife tries to hold it together, assuring him that a little water will clear them of the deed. But the reality of what he has done is far worse than he ever imagined and he feels haunted: ‘Sleep no more. Macbeth murders sleep’, foreshadowing his long steady breakdown over the remainder of the play. He already knows he has destroyed his own inner peace forever. Lady Macbeth, cold and clinical at first, is deeply unnerved by her husband’s descent into madness. The real horror of this murder is as much psychological as it is physical. Their minds are affected the instant the deed is carried out. Here is the beginning of the transition from Macbeth the conflicted man to a paranoid tyrant. It is also the beginning of his wife’s slide into madness, although she continues to put on a brave face for a spell. Everything shifts in this scene. There is no going back.

Act II

Scene iii

Macbeth’s castle

Enter the porter

Porter: (knock) “Knock, knock! Who’s there in the name of Beelzebub? (knock) Knock, knock! Who’s there, in the other devil’s name? Faith, here’s an equivocator, that could swear in both the scales against either scale; who created treason enough for God’s sake, yet could not equivocate to heaven. O, come in equivocator. (knock) Knock, knock, knock! Who’s there? (knock) Knock, knock; never at quiet! What are you? But this place is too cold for hell. I’ll devil-porter it no further. I had thought to have let in some of all professions that go the primrose way to the everlasting bonfire. (knock) Anon, anon! (opens the gate) I pray you remember the porter.”

Enter Mcduff and Lennox

Macduff: “Was it so late, friend, ere you went to bed, that you do lie so late?”

Porter: “Faith, sir, we were carousing. Drink, sir, is a great provoker of three things.”

Macduff: “What three things does drink especially provoke?”

Porter: “Marry, sir, nose-painting, sleep and urine. Lechery, sir, provokes and unprovokes: it provokes the desire, but it takes away the performance. Therefore much drink may be said to be an equivotator with lechery: it makes him and it mars him; it sets him on, and it takes him off; it persuades him and disheartens him; makes him stand to and not stand to; in conclusion, equivocates him into a sleep, and, giving him the lie, leaves him.

Macduff: “I believe drink gave thee the lie last night.”

Porter: “That it did, sir.”

Macduff: “Is thy master stirring? (enter Macbeth) Our knocking has awakened him; here he comes. Is the king stirring, noble Thane?”

Macbeth: “Not yet.”

Macduff: “He did command me to call timely on him.”

Macbeth: “I’ll bring you to him.”

Macduff: “I’ll make so bold to call.” (exit Macduff)

Lennox: “Goes the King hence today?”

Macbeth: “He does.”

Lennox: “The night has been unruly. Where we lay, our chimneys were blown down and lamentings heard in the air, strange screams of death and prophesying, with accents terrible, of old dire combustion and confused events new hatched to the woeful time. Some say the earth was feverous and did shake.”

Macbeth: “T’was a rough night.

Lennox: “My young remembrance cannot parallel a fellow to it.”

Re-enter Macduff

Macduff: “O horror, horror, horror! Tongue nor heart cannot conceive nor name thee.”

Lennox, Macbeth: “What’s the matter?”

Macduff: “Confusion has now made his masterpiece. Most sacreligious murder hath broke open. Approach his chamber, and destroy your sight with a new gorgon. Do not bid me speak.”

Exit Lennox and Macbeth

Macduff: “Awake! Awake! Ring the alarum bell. Murder and treason! Banquo! Donalbain! Malcolm! Awake! Shake off this downy sleep, death’s counterfeit, and look on death itself. Up, up, and see the great doom’s image! Malcolm! Banquo! As from your graves rise up and walk like sprites to countenance this horror! Ring the bell!” (bell rings)

Lady Macbeth enters

Lady Macbeth: “What’s the business, that such a hideous trumpet calls to parley the sleepers of the house? Speak, speak!”

Macduff: “O gentle lady, ‘tis not for you to hear what I can speak! The repetition in a woman’s ear would murder as it fell.”

Enter Banquo

Macduff: “O Banquo, Banquo, our royal master’s murdered!”

Lady Macbeth: “Woe, alas! What, in our house?”

Banquo: “Too cruel anywhere. Dear Duff, I prithee, contradict thyself, and say it is not so.”

Re-enter Macbeth and Lennox

Macbeth: “Had I but died an hour before this chance, I had lived a blessed time. Renown and grace is dead.”

Enter King Duncan’s sons, Malcolm and Donalbain

Donalbain: “What is amiss?

Macbeth: “You are and do not know it.

Macduff: “Your royal father’s murdered.”

Malcolm: “By whom?”

Lennox: “Those of his chamber, as it seemed, had done it. Their hands and faces were all badged with blood; so were their daggers.”

Macbeth: “Yet I do repent me of my fury that I did kill them.”

Macduff: “Wherefore did you so?”

Macbeth: “Who can be wise, amazed, temperate and furious, loyal and neutral in a moment? No man. Here lay Duncan and his gashed stabs looked like a breach in nature for ruin’s wasteful entrance. There, the murderers, steeped in the colours of their trade, their daggers unmannerly breached with gore. Who could refrain that had a heart to love.”

Lady Macbeth: “Help me hence, ho!”

Macduff: “Look to the lady.”

Malcolm: (aside to Donalbain) “Why do we hold our tongues that most may claim this argument for ours?”

Donalbain: (aside to Malcolm) “What should be spoken here, where our fate, may rush and seize us? Let’s away. Our tears are not yet brewed.”

Lady Macbeth is carried out

Banquo: “When we have our naked frailties hid, that suffer in exposure, let us meet, and question this most bloody piece of work, to know it further. Fears and scruples shake us. In the great hand of God I stand and against the undivulged pretence, I fight treasonous malice.”

Macduff: “And so do I.”

Macbeth: “Let’s briefly put on manly readiness and meet in the hall together.”

Exit all but Malcolm and Donalbain

Malcolm: “What will you do? Let’s not consort with them. I’ll to England.”

Donalbain: “To Ireland I; our separated fortune will keep us both the safer. Where we are, there are daggers in men’s smiles. The near in blood the nearer bloody.”

Malcolm: “This murderous shaft that’s shot has not yet lighted, and our safest way is to avoid the aim. Therefore to our horses.”

Summary and Analysis

This is where everything explodes into the open. It’s often referred to as the porter scene, but it does far more than provide comic relief. This scene shifts us from the private world of guilt and fear into the public world of discovery and disorder. The scene opens with the Porter staggering to the door, drunkenly pretending to be the gatekeeper to hell. He imagines himself as the devil-porter, welcoming in all sorts of sinners. On the surface, this is comic relief after the darkness of Duncan’s murder, but the castle really has become a kind of hell and Macbeth, its host, has turned murderer. The “equivocator” in particular is a sly reference to someone who twists the truth—just like Macbeth, who cloaks ambition and says one thing while doing another. When Macduff and Lennox arrive, Lennox mentions that the night was strangely stormy, with “lamentings heard i’ the air,” and “strange screams of death.” This sense of unnatural disturbance reinforces a classic Shakespearean theme: when a rightful king is murdered, nature itself reacts. The world is out of joint.

Then comes the shocking moment: Macduff discovers Duncan’s body and likening the murder to the destruction of God’s anointed temple. It’s a powerful moment that places Duncan’s death as a sacrilege against the natural and divine order. Chaos erupts as the castle awakens. Lady Macbeth arrives, feigning ignorance and horror, pretending she’s too delicate to even hear about the murder. Banquo is stunned but already starts to question the situation. He asks Macbeth why he killed the guards who apparently murdered King Duncan. Macbeth claims it was done in the rage of the moment. The scene closes with Malcolm and Donalbain, Duncan’s sons, realizing they’re likely next, deciding to flee: Malcolm to England, Donalbain to Ireland.

This scene marks the turning point where the private crime becomes a public crisis. The castle, once a place of hospitality, becomes a crime scene. The natural order is upside down. Macbeth’s carefully laid plan is working, for now, but already the cracks are showing, the guilt is growing, and suspicion is forming.

Act II

Scene iv

Inverness

Enter Ross with an old man

Old Man: “Threescore and ten I can remember well; within the volume of which time I have seen hours dreadful and things strange; but this sore night has trifled former knowings.”

Ross: “Ah, good father, thou sees the heavens as troubled with man’s act, threatening his bloody stage. By the clock ’tis day, and yet dark night strangles the travelling lamp. Is it night’s predominance, or the day’s shame, that darkness does the face of earth entomb, when living light should kiss it?”

Ross: “Duncan’s horses, beautious and swift, the minions of their race, turned wild in nature, broke their stalls, flung out, contending against obedience, as they would make war with mankind.”

Old Man: “Tis said they ate each other.”

Ross: “They did so; to the amazement of my eyes that looked upon it.”

Enter Macduff

Ross: “Is it known who did this more than bloody deed?”

Macduff: “Those who Macbeth has slain. Malcolm and Donalbain, the KIng’s two sons, are stolen away and fled; which puts upon them suspicion of the deed.”

Ross: “Against nature still. Then tis most likely the sovereignty will fall upon Macbeth.”

Macduff: “He is already named and gone to be invested.”

Summary and Analysis

So suspicion lies with the dead grooms, the sons of Duncan’s and perhaps Macbeth. The heavens and nature are out of sorts again and for good reason. If Scene iii was the chaotic eruption of discovery, Scene iv is like the unsettling morning after—when the dust begins to settle, but everything feels wrong.

The scene begins outside Macbeth’s castle. An old man speaks with Ross, one of the thanes, about the strange and unnatural events that have followed Duncan’s death. The old man says he’s lived seventy years and has never seen a night so ominous. Ross agrees, describing how Duncan’s horses went wild and even ate each other. It sounds bizarre, almost mythic—but in Shakespeare’s world, these supernatural signs are symbolic of deeper truths: the world is out of balance. This conversation between Ross and the old man serves a few key functions. First, it shows that Duncan’s murder is more than a political event—it’s a cosmic disruption. Second, it lets the audience feel the growing unease of the people. There’s fear in the air. Everyone knows something terrible has happened, but they can’t quite make sense of it yet. Then Macduff enters, and the political consequences start to come into focus. He tells Ross that Duncan’s sons, Malcolm and Donalbain, have fled—Malcolm to England, Donalbain to Ireland. Their flight makes them look suspicious, and Macbeth is set to be crowned king at Scone. But Macduff doesn’t go to the coronation. That’s important. He chooses instead to return to his home in Fife. His absence is a subtle but powerful gesture of doubt, and it hints at future opposition. We’re beginning to see fault lines form between Macbeth and those around him. Loyalty is fraying. So, in just a few short lines, this scene tells us a lot. The natural world is disturbed. The political world is unstable. Macbeth has maneuvered his way to the crown, but cracks are beginning to show.

Act III

Scene i

The palace

Enter Banquo

Banquo: (aside) “Thou has it now: King, Cawdor, all as the weird sisters promised; and I feared thou played most foully for it; yet it was said it should not stand in thy posterity; but that myself should be the root and father of many kings.”

Enter Macbeth, as King, and Lady Macbeth, as Queen

Macbeth: “Here’s our chief guest. Tonight we hold a solemn supper, sir, and I’ll request your presence.”

Banquo: “Let your highness command me.”

Macbeth: “Ride you this afternoon?”

Banquo: “Ay, my good lord.”

Macbeth: “Fail not our feast.”

Banquo: “My lord, I will not.”

Macbeth: “We hear our bloody cousins are bestowed in England and in Ireland, not confessing their cruel parricide. Hie you to horse; adieu, till you return tonight. Goes Fleance with you?”

Banquo: “Ay, my good lord.”

Exit all but Macbeth and a servant

Macbeth: “Sirrah, a word with you. Attend those men our pleasure?”

Servant: “They are, my lord, outside the palace gate.”

Macbeth: “Bring them before us.”

Exit servant

Macbeth: (aside) “To be thus is nothing, but to be safely thus. Our fears in Banquo stick deep. There is none but he whose being I do fear. He chid the sisters when first they put the name of King upon me, and he bade them speak to him; then, prophet like, they hailed him father to a line of kings. Upon my head they placed a fruitless crown and put a barren sceptre in my grip, no son of mine succeeding. If it be so, for Banquo’s issue the gracious Duncan have I murdered. Rather than so, come, fate. Who’s there?

Enter two murderers

Macbeth: “Was it not yesterday we spoke together?”

1 Murderer: “I was, so please your highness.”

Macbeth: “Well then, now have you considered that it was he, in past times, who held you so under fortune?”

1 Murderer: “You made it known to us.”

Macbeth: “I did so, and went further. Do you find your patience so predominant in your nature that you can let this go. Are you so gospell’d, to pray for this good man and hs issue, whose heavy hand has bowed you to the grave and beggar’d yours forever?”

1 Murderer: “We are men, my liege.”

Macbeth: “in the catalogue ye go for men; as hounds, greyhounds, mongrels, spaniels, curs and demi-wolves are clept all by the name of dogs.”

2 Murderer: “I am one, my liege, whom the vile blows of the world have so incensed that I am wreckless what to do to spite the world.”

1 Murderer: “And I another, so weary with disasters, that I would set my life on any chance to mend it.”

Macbeth: “Both of you know Banquo was your enemy.”

Both Murderers: “True, my lord.”

Macbeth: “So he is mine, and every minute of his being thrusts against my nearest of life. And thence it is that I to your assistance do make love.”

2 Murderer: “We shall, my lord, perform what you command us.”

Macbeth: :”Your spirits shine through you. I will advise you where to plant yourselves. It must be done tonight. I require clearness and no botches in the work. Fleance, his son, who keeps his company, whose absence is no less material to me than is his father’s, must embrace the fate of that dark hour.”

Both Murderers: “We are resolved, my lord.”‘

Exit murderers

Macbeth: (aside) “It is concluded: Banquo, thy soul’s flight, if it find heaven, must find it tonight.”

Summary and Analysis

This scene is one of the most psychologically rich and crucial turning points in the play. Macbeth is now king, but rather than bask in the glory, he’s already looking over his shoulder. This scene marks the moment when Macbeth moves from ambitious opportunist to cold-blooded plotter. The crown isn’t enough. He wants security, and to get it, he’s prepared to kill again. Instead of experiencing peace at having attained the crown, Macbeth is riddled with anxiety because the witches’ prophecy didn’t stop with Macbeth: they said Banquo would father a line of kings. So in Macbeth’s eyes, Banquo is a threat to the throne. Act III, Scene i shows Macbeth’s mind beginning to fracture under the weight of power, insecurity, and prophecy. Banquo knows the witches’ prophecy came true for Macbeth, and he suspects Macbeth may have killed Duncan to make it happen. This is where we really start to see the dangerous twist in his thinking: murder got him the crown, so maybe murder is the way to keep it. This is a bitter moment. Macbeth realizes that he’s done all this, murdered a good man, ruined his soul, only to hand the kingdom to Banquo’s children. That’s an important shift. His moral boundaries are dissolving. This isn’t about ambition anymore, it’s about maintenance of power. He was wracked with guilt over Duncan. Now he’s calm, strategic, and remorseless. But having Banquo murdered will prove no easier on his nerves or psyche than murdering King Duncan, as the remainder of Act III will demonstrate. Macbeth’s mind is being governed by his interpretation of fate. The witches’ words are driving him deeper into darkness.

Act III

Scene ii

The Palace

Enter Lady Macbeth

Lady Macbeth: (aside) “‘Tis safer to be that which we destroy, than by destruction dwell in doubtful joy.”

Enter Macbeth

Lady Macbeth: “How now, my lord! Why do you keep alone, using those thoughts which should indeed have died with them they think on? Things without all remedy should be without regard. What’s done is done.”

Macbeth: “We have scorched the snake, not killed it.”

Lady Macbeth: “Gentle my lord, be bright and jovial among your guests tonight.”

Macbeth: “So shall I, love. But O, full of scorpions is my mind, dear wife. Thou knowest that Banquo, and his Fleance, live. There’s comfort yet; they are assailable. There shall be done a deed of dreadful note.”

Lady Macbeth: “What’s to be done?”

Macbeth: “Be innocent of the knowledge, dearest, till thou applaud the deed. Good things of day begin to droop and drowse, while night’s black agents to their preys do rouse.”

Analysis

There is a transition afoot in this middle act. Earlier Lady Macbeth was insistent that they murder Duncan and seize the crown. She really had to work over Macbeth before he would agree to commit such a crime. Ever since, she has had to try to control his fits of imagination and ensure that he is able to mask his crime and get on with his kingship. The upcoming banquet scene is a quintessential example of this. But eventually we will see that Macbeth and his wife seem to be trading roles. He lacked the resolve needed to kill Duncan, yet it is she who becomes more and more uncomfortable about each additional slaughter. In Act I she told him to ‘look like the innocent flower but be the serpent under it.” Now he tells her “Let’s make our faces visors to our hearts, disguising who we are.” They are awakening to the realization that this crown they acquired with blood will not bring them contentment but is rather fraught with inner turmoil, paranoia and minds ‘full of scorpions’, as they sink deeper and deeper into blood and tyranny.

Act III

Scene iii

A forest near the palace

Enter thee murderers

1 Murderer: “But who did bid thee join with us?”

3 Murderer: “Macbeth.”

1 Murderer: “Then stand with us. Near approaches the subject of our watch.”

3 Murderer: “Hark! I hear horses.”

2 Murderer: “Then ’tis he.”

Enter Banquo and Fleance with a torch

Banquo: “It will rain tonight.”

1 Murderer: “Let it come down.” (he stabs Banquo)

Banquo: “O, treachery! Fly, good Fleance, fly, fly, fly! Thou may revenge.”

Banquo dies. Fleance escapes.

3 Murderer: “There is but one down. The son has fled.”

1 Murderer: “Well, let’s away, and so how much is done.

Summary and Analysis

It was never Banquo so much as his son that most affrighted Macbeth, so we can anticipate that he will be sorely disposed when he hears the news of the half successful murder. Fleance’s escape means the witches prophecy, that Banquo’s descendents will rule, still hangs over Macbeth like a curse, ensuring that the killing must continue just as the tyrnannous ambition is spiralling out of control.

Act III

Scene iv

The palace

Enter Macbeth, Lady Macbeth, Ross, Lennox, Lords and attendants

Macbeth: “Sit down with hearty welcome.”

Lords: “Thanks to your Majesty.”

Macbeth: “Ourself will mingle and play the humble host, but our hostess we will require her welcome.”

Lady Macbeth: “Pronounce it for me, sir, to all our friends; for my heart speaks they are welcome.”

A knock on the door. Macbeth goes to answer it. It is one of the murderers.

Macbeth: “There is blood upon thy face.”

1 Murderer: “‘Tis Banquo’s then.”

Macbeth: “Is he dispatched?”

1 Murderer: “My lord, his throat is cut. That I did for him.”

Macbeth: “Thou art the best of the the cut-throats; yet he’s good who did the like for Fleance.”

1 Murderer: “Most royal sir, Fleanced is escaped.”

Macbeth: “Then comes my fit again. I had else been perfect, whole as the marble. But now I am cabined, cribbed, confined, bound in to saucy doubts and fears. The grown serpent lies; the worm that’s fled has nature that in time will venom breed. Get thee gone.”

Exit murderer

Macbeth returns to the banquet. Enter the ghost of Banquo sitting at Macbeth’s place.

Lennox: “May it please your Highness to sit?”

Macbeth: “The table is full.”

Lennox: “Here is a place reserved, sir. What is it that moves your Highness?”

Macbeth alone sees Banquo’s ghost

Macbeth: “Which of you have done this?”

Lords: “What, my good lord?”

Macbeth: (to the ghost) “Thou cannot say I did it; never shake thy gory locks at me.”

Lords: “What, my good lord?”

Ross: “Gentlemen, rise; his Highness is not well.”

Lady Macbeth: “Sit, worthy friends. My Lord is often thus, and hath been from his youth. Pray you, keep your seats. The fit is momentary; upon a thought he will again be well. If much you note him, you shall offend him and extend his passion. Regard him not.”

Lady Macbeth: (aside to Macbeth) “Are you a man?”

Macbeth: “Ay, and a bold one that dare look on that which might appal the devil.”

Lady Macbeth: (aside to Macbeth) “This is the very painting of your fear. This is the air-drawn dagger again. Oh these flaws and starts… would well become a woman’s story authorized by her grandam. Shame itself. Why do you make such faces? When all’s done, you look but on a stool.”

Macbeth: “Prithee see there. Behold! Look! ‘How say you? If thou can nod, speak too.’”

Exit the ghost

Lady Macbeth: “What, quite unmanned in folly?”

Macbeth: “I saw him”

Lady Macbeth: “Fie, for shame!”

Macbeth: “The time has been that when the brains were out the man would die… but now they rise again and push us from our stools. This is more strange than such a murder is.”

Lady Macbeth: “My worthy Lord, your noble friends do lack you.”

Macbeth: “Do not muse at me, my most worthy friends; I have a strange infirmity, which is nothing to those who know me. Come, love and health to all. Give me some wine, fill full.”

The ghost reappears.

Macbeth: “I drink to the general, to our dear friend Banquo, whom we miss. Would he were here! (to the ghost) Avaunt and quit my sight. Let the earth hide thee. Thy bones are marrowless, thy blood is cold. Thou has no speculation in those eyes which thou does glare with!”

Lady Macbeth: “Think of this, good peers, but as a thing of custom. ‘Tis no other; only it spoils the pleasure of the time.”

Macbeth: “Take any shape but that, and my firm nerves shall never tremble… Hence horrible shadow! Unreal mockery, hence!”

The ghost exits.

Macbeth: “Why so, being gone, I am a man again. Pray you, lords, sit still.”

Lady Macbeth: “You have displaced the mirth, broke the good meeting, with most admired disorder.”

Macbeth: “Can such a thing be without our special wonder? You make me strange when now I think that you can behold such sights and keep the natural ruby of your cheeks when mine is blanched with fear.”

Ross: “What sights my Lord?”

Lady Macbeth: “I pray you, speak not; he grows worse and worse. Questions enrage him. At once, good night. Go at once!”

Lennox: “Good night and better health attend his majesty.”

Lady Macbeth: “A kind good night to all!”

Exit all but Macbeth and Lady Macbeth

Macbeth: “It will have blood. They say blood will have blood. How sayest thou that Macduff denies his person at our great bidding? I will to the Weird Sisters; more shall they speak; for now I am bent to know by the worst means the worst… I am in blood stepped in so far that, should I wade no more, returning were as tedious as going over.

Lady Macbeth: “You lack the season of all natures, sleep.”

Macbeth: “We are yet but young in deed.”

Analysis

The banquet scene may be the apex of the plot. In Act II Macbeth’s imagination presented to him the very dagger with which to kill King Duncan, even if it was merely a dagger of the mind. But in this scene the very ghost of Macbeth’s latest victim, Banquo, returns to haunt him during the banquet intended to celebrate the new king and queen. Throughout Shakespeare, the supernatural and the unnatural appear as harbingers of a wickedness that is soon accompanied by a downfall. As in the heavens and in nature so be it on earth. Banquo’s ghost and the witches’ appearance once again later in the act are clear indicators to the audience of ill omens brought on by Macbeth’s transgressions. It’s a downward spiralling slope right to the end for the overwhelmed Macbeth, his badly and increasingly agitated wife and every suspicious and alerted guest at the feast, who know now how mentally troubled their new king is. This is the turning point of the play. The rise of the unholy couple has been depicted. The fall proceeds from here, although Macbeth is not yet done. The most disturbing of his actions still await us in Act IV. But as for now our royal couple must confront the undeniable reality of their dreadful deeds coming back to haunt them. And how appropriate it is in this play that King James’ very ancestor should be the one to haunt Macbeth so vehemently. In Holinshed’s Chronicles Banquo and Macbeth were accomplices in Duncan’s murder. But Shakespeare’s play is written for King James, who, as descendant of Banquo’s, no doubt delighted in the depiction of his kin as heroic. As well, when Macduff flees to England to join King Duncan’s son, Malcolm, King Edward the Confessor supplies a large army for the Scottish lords to defeat Macbeth, celebrating, again for Shakespeare’s new King James, the bond between England and his Scottish homeland.

Act III

Scene v

The heath

Enter three witches and Hecate, the queen of the witches

1 Witch: “Why, how now, Hecat! You look augerly.”

Hecate: “Have I not reason, saucy and overbold as you are? How did you dare to trade and traffic with Macbeth in riddles and affairs of death; and I, mistress of your charms, was never called to bear my part, or show the glory of our art? And which is worse, all you have done have been but for a wayward son, spiteful and wrathful; who, as others do, loves for his own ends, not for you. But make amends now. Get you gone, and meet me in the morning, where he will come to know his destiny. Your vessels and your spells provide, your harms, and everything beside shall draw him on to his confusion. He shall spurn fate, scorn death and bear his hopes above wisdom, grace and fear. And you all know security is mortal’s chiefest enemy.”

Summary and Analysis

Hecate is angry at the witches for interfering with Macbeth without her permission. She finds Macbeth unworthy of their attention. She plans to step in and take control of his downfall, by luring him in to a false sense of security with illusions of his own invulnerability. There is hierarchy in the witches’ world and Hecate is the boss.

Act III

Scene vi

The palace

Enter Lennox and another lord

Lennox: “My former speeches have but hit your thoughts, which can interpret farther. Only I say things have been strangely born. The gracious Duncan was pitied of Macbeth. Marry, he is dead. And the right-valiant Banquo walked too late, whom you may say, if it please you, Fleance killed, for Fleance fled. Who cannot want the thought how monstous it was for Malcolm and Donalbain to kill their gracious father? Damned fact! How did it grieve Macbeth? Did he not straight, in pious rage, the two delinquents tear, who were the slaves of drink? Was not that nobly done? Ay, and wisely too. He has born all things well; and I do think that had he Duncan’s sons under his key they should find what it were to kill a father; so should Fleance. But peace, because he failed his presence at the tyrant’s feast, I hear Mcduff lives in disgrace. Sir, can you tell me where he bestows himself?”

Lord: “The son of Duncan lives in the English court and is received by the most pious Edward. Thither Macduff is gone to pray to the holy king upon his aid to wake Northumberland and warlike Siward, that by the help of these we may again give to our tables meat free from bloody knives. The King prepares for some attempt at war.”

Lennox: “Some holy angel fly to the court of England, that a swift blessing may soon return to this our suffering country under a hand accursed.”

Analysis

This brief scene offers critical insight into the growing unrest in Scotland under Macbeth’s rule, as suspicions are building among the Scottish nobles. Clearly, following the banquet, the lords are deeply perturbed by recent events and are beginning to connect the dots. Lennox is unapologetically sarcastic about the murder of Duncan and Banquo, the suspicion hovering over their children and McDuff’s sudden flight to England. This is the first time we hear the nobles openly, if cautiously, criticizing Macbeth. Macduff’s trip to England foreshadows the uprising that will eventually overthrow Macbeth. His grip on power is weakening and opposition is growing both at home and abroad.

Act IV

Scene i

A dark cave, with a cauldron boiling

Enter the three witches

1 Witch: “Round about the cauldron go; in the poison’d entrails throw.”

All: “Double, double, toil and trouble; fire burn and cauldron bubble.

2 Witch: “Fillet of a fenny snake, in the caudron boil and bake; eye of newt and toe of frog, wool of bat and tongue of dog.”

All: “Double, double, toil and trouble; fire burn and cauldron bubble.”

3 Witch: “Scale of dragon, tooth of wolf, liver of blaspheming Jew; nose of Turk and Tartar’s lips, finger of birth-strangled babe.”

All: “Double , double, toil and trouble; fire burn and cauldron bubble.”

2 Witch: “Cool it with a baboon’s blood, then the charm is firm and good.”

Enter Hecate

Hecate: “O, well done! I commend your pains.”

2 Witch: “By the pricking of my thumbs, something wicked this way comes.”

Enter Macbeth

Macbeth: “How now, you secret, black and midnight hags! What is it you do?”

All: “A deed without a name.”

Macbeth: “I conjure you – answer me to what I ask you.”

1 Witch: “Speak.”

2 Witch: “Demand.”

3 Witch: “We’ll answer,”

1 Witch: “Say, if thou would rather hear it from our mouths or from our masters.”

Macbeth: “Call ’em; let me see ’em.”

Thunder. First Apparition, an armed head.

Macbeth: “Tell me, thou unknown power.”

1 Witch: “He knows thy thought. Hear his speech but say thou nought.”

Apparition: “Macbeth! Macbeth! Macbeth! Beware Macduff.”

The apparition descends into the earth.

Macbeth: “Whatever thou art, for thy good caution, thanks. But one word more.”

1 Witch: “He will not be commanded. Here’s another, more potent than the first.

Thunder. Second Apparition, a Bloody Child.

Apparition: “Macbeth! Macbeth! Macbeth! Be bloody, bold and resolute, for none of woman born shall harm Macbeth.”

The apparition descends into the earth.

Macbeth: “Then live, Macduff; what need I fear of thee? But yet I’ll make assurance double sure. Thou shall not live, that I might sleep in spite of thunder.”

Thunder. Third Apparition, a Child Crowned, with a tree in his hand.

Macbeth: “What is this?”

All: “Listen, but speak not to it.”

Apparition: “Be lion-mettled, proud and take no care who or where conspirers are; Macbeth shall never be vanquished until Great Birnam Wood to High Dunsinane Hill shall come against him.”

The Apparition descends into the earth.

Macbeth: “That will never be. Who can impress the forest, bid the tree unfixed his earth-bound root? Good! Rebellion’s head rise never till the wood of Birnam rise. Yet my heart throbs to know one thing: tell me – if your art can tell so much – shall Banquo’s issue ever reign in this kingdom?”

All: “Seek no more to know.”

Macbeth: “I will be satisfied. Deny me this, and an eternal curse fall on you! Let me know, why sinks that cauldron, and what noise is this?”

1 Witch: “Show!”

2 Witch: “Show!”

3 Witch: “Show!

All: “Show his eyes, and grieve his heart; come like shadows, so depart!”

A show of eight kings, the last king with a looking glass in his hand, and Banquo.

Macbeth: “Thou art too like the spirit of Banquo; down! Thy crown does sear my eye-balls. Filthy hags! Why do you show me this? A fourth? What, will the line stretch out to the crack of doom? Another yet? A seventh? I’ll see no more. And yet the eighth appears, who bears a glass which shows me many more. Horrible sight! Now I see it’s true. So the bloody Banquo smiles upon me and points at them for his.”

The show of kings and Banquo vanish.

Macbeth: “What! Is this so?”

1 Witch: “Ay, sir, all this is so. But why stands Macbeth thus amazedly? Come, sisters, cheer we up his spirits and show the best of our delights, that this great king may kindly say, our duties did his welcome pay.”

The witches dance and vanish.

Macbeth: “Where are they? Gone? Let this pernicious hour stand accursed in the calendar.

Enter Lennox

Lennox: “What’s our Grace’s will?”

Macbeth: “Saw you the Weird Sisters?”

Lennox: “No, my lord.”

Mabeth: “Infected be the air whereon they ride; and damn’d all those who trust them!”

Lennox: “Macduff is fled to England.

Macbeth: “Fled to England?”

Lennox: “Ay, my good lord.”

Macbeth: (aside) “Time, thou anticipates my dread exploits. From this moment the very firstlings of my heart shall be the firstlings of my hand. And even now, to crown my thoughts with acts, be it thought and done: the castle of Macduff I will surprise, seize it and give it to the edge of the sword his wife, his babes, and all unfortunate souls that trace him in his line. This deed I’ll do before this purpose cools.”

Summary and Analysis

Act IV, scene i opens with the Weird Sisters brewing a strange and sinister potion in a cauldron. These witches are powerful and sinister creatures and their spell prepares the audience for the dark prophecies to come. This is a classic Shakespearean atmosphere for something ominous. The scene marks a turning point in Macbeth’s psychological descent, as he becomes fully ensnared by the witches’ manipulations and his own vaulting ambition. The witches feed Macbeth’s arrogance while subtly warning him. It’s a clever trap. Each prophecy contains a hidden truth, but Macbeth only hears what he wants to hear. The armed head refers to the war that is inevitable against Macbeth, led by Macduff. The bloody child is a reference to Macduff’s caesarean birth, as he is not therefore born of woman. The child crowned with a tree in his hand is clearly Malcolm, who will bring forth branches of Birnam Woods to Dunsinane. And the procession of kings are all of those heirs of Banquo. The mirror carried by the last descendent suggests it is King James himself, a distant descendent of Banquo’s, in the audience seeing his own reflection in the mirror. Well crafted, Mr Bard! The witches offer deliberately ambiguous prophecies that Macbeth interprets in ways that feed his sense of invincibility. “None of woman born” and “Birnam Wood to Dunsinane” seem to promise eternal safety. Yet the truth is buried in the phrasing, and Macbeth, blinded by overconfidence, fails to see how these riddles might unravel him. Each prophecy is true but misleading and his demand for answers and his response to the apparitions show a man who no longer respects moral or natural limits; he’s willing to kill preemptively, including the innocent, to protect his crumbling power. This scene marks the point where he gives up on reason entirely. Shakespeare uses it to explore the dangerous human tendency to hear only what we want to hear, and the consequences of trying to control fate through force and fear. The supernatural, once eerie and mysterious, now becomes a mirror of Macbeth’s own corrupted mind. These witches with their bubbling cauldron and grotesque ingredients must have been quite the riveting sight in Shakespeare’s theatre around about 1606. They are still impressive today.

Act IV

Scene ii

Macduff’s castle

Enter Lady Macduff, her son and Ross.

Lady Macduff: “What had he done to make him fly the land?”

Ross: “You must have patience, madam.”

Lady Macduff: “He had none; his flight was madness. When our actions do not, our fears do make us traitors.”

Ross: “You know not whether it was his wisdom or his fear.”

Lady Macduff: “Wisdom! To leave his wife, to leave his babes, his mansion and his titles in a place from whence himself does fly? He loves us not; he wants the natural touch; for the poor wren, the most diminutive of birds, will fight, her young ones in her nest, against the owl. All is the fear, and nothing is the love; little is the wisdom, where the flight so runs against all reason.

Ross: “My dear coz, I pray you, your husband is noble, wise, judicious and best knows the fits of the season. I dare not speak much further; but cruel are the times, when we are traitors and do not know ourselves; when we hold rumour from what we fear, yet know not what we fear. I take my leave of you. Things at the worse will cease, or else climb upward to what they were before. My pretty cousin, blessing upon you.”

Exit Ross

Lady Macduff: “Sirrah, your father is dead, and what will you do now? How will you live?”

Son: “As birds do mother. My father is not dead.”

Lady Macduff: “Yes, he is dead. How will thou do for a father?”

Son: “Nay, how will you do for a husband? Was my father a traitor, mother?”

Lady Macduff: “Ay, that he was. God help thee, poor monkey! “

Son: “If he were dead, you’d weep for him.”

Lady Macduff: “Poor prattler, how thou talks.”

Enter a messenger

Messenger: “Bless you, fair dame! I am not to you known, though some danger does approach you nearly. If you will take a homely man’s advice, be not found here; hence with your little ones. Heaven preserve you! I dare abide no longer.”

Exit Ross

Lady Macduff: “Whither should I fly? I have done no harm. But I remember now I am in this earthly world, where to do harm is often laudable, and to do good sometime accounted dangerous folly. Why then, alas, do I put up that womanly defence to say I have done no harm?”

Enter murderers

Lady Macduff: “What are these faces?”

1 Murderer: “Where is your husband?”

Lady Macduff: “I hope, in no place so unsanctified, where such as though may find him.”

1 Murderer: “He’s a traitor.”

Son: “Thou lies, thou shagged-eared villain.”

1 Murderer: “What, you egg? (he stabs him). Young fry of treachery.”

Son: “He has killed me, mother. Run away, I pray you!” (he dies)

Exit Lady Macduff, crying murder!

Summary and Analysis

In this scene Shakespeare draws us into a domestic moment, as Lady Macduff and her son appear onstage for the first, and tragically, last time. The scene opens with Lady Macduff furious and bewildered by her husband’s sudden departure for England, which she interprets as abandonment and cowardice. She voices a truth that reverberates through the play: in a world turned upside down by Macbeth’s tyranny, “to do harm is often laudable, to do good sometimes accounted dangerous folly.” A messenger arrives, urging them to flee, and within moments Macbeth’s hired murderers burst in. The boy is stabbed and killed onstage, while Lady Macduff’s fate, and that of her remaining children and servants, is sealed offstage. This scene, though brief, is emotionally charged. It illustrates the far-reaching consequences of Macbeth’s descent into tyranny, showing how the innocent are now caught in the wake of his paranoia. Shakespeare heightens the audience’s sense of horror and injustice here, making Macduff’s later quest for vengeance both inevitable and righteous. This is the most senseless crime of the play and marks Macbeth’s moral point of no return. It also explains why Act V will open with Lady Macbeth being attended by a medical doctor. He has finally pushed even his ‘dreadful queen’ over the edge with his senseless and horrific savagery.

Act IV, Scene iii

England, before King Edward’s palace.

Enter Malcolm and Macduff

Malcolm: “Let us seek out some desolate shade and weep our sad bosoms empty.”

Macduff: “Let us rather hold fast the mortal sword, and like good men bestride our down fallen birthdom. Each new morn new widows howl, new orphans cry and new sorrows strike heaven on the face.”

Malcolm: “What I believe, I’ll wail, and what I can redress I will. This tyrant, whose sole name blisters our tongues, was once thought honest; you have loved him well. He has not touched you yet.”

Macduff: “I am not treacherous.”

Malcolm: “But Macbeth is. I shall crave your pardon. That which you are, my thoughts cannot transpose. Though all things foul would wear the brows of grace, yet grace must still look so. You may be rightly just, whatever I shall think.”

Macduff: “I have lost my hopes. Bleed, bleed, poor country. Fare thee well, lord. I would not be the villain that thou thinks.”

Malcolm: “Be not offended. I speak not as in absolute fear of you. I think our country sinks beneath the yoke; it weeps; it bleeds; and each new day a gash is added to her wounds. And here, from gracious England, have I offer of goodly thousands. But, for all this, when I shall tread on the tyrant’s head, or wear it on my sword, yet my poor country shall have more vices than it had before, by him that shall succeed.”

Macduff: “Who shall he be?”

Malcolm: “It is myself I mean; in whom I know all the particulars of vice so grafted that, when they shall be opened, black Macbeth will seem as pure as snow.”

Macduff: “Not in the legions of horrid hell can come a devil more damned in evils to top Macbeth.”

Malcolm: “I grant him bloody, luxurious, false, deceitful, malicious, smacking in every sin that has a name; but there is no bottom, none, in my voluptuousness. Your wives, your daughters, your matrons and your maids could not fill up the cistern of my lust. Better Macbeth than such a one to reign.”

Macduff: “There cannot be that vulture in you to devour so many as will to greatness dedicate themselves.”

Malcolm: “There grows in my most ill-composed affection such a stanchless avarice that, were I king, I should cut off the nobles fo their lands, and my more having would be as a sauce to make me hunger all the more.”

Macduff: “Yet do not fear; all these are portable, with other graces weighed.”

Malcolm: “But I have none. The king-becoming graces, as justice, temperance, stableness, perseverance, mercy, devotion, patience, courage, and fortitude; I have no relish of them, but abound in the division of each several crime, acting it out in many ways. Nay, had I power, I should pour the sweet milk of concord into hell, uproar the universal peace and confound all unity on earth.”

Macduff: “O Scotland, Scotland!”

Malcolm: “If such a one be fit to govern, speak. I am as I have spoken.”

Macduff: “Fit to govern? No, not to live! O my breast, thy hope ends here!”

Malcolm: “Macduff, this noble passion, child of integrity, has from my soul wiped the black scruples, reconciled my thoughts to thy good truth and honour. For even now I put myself to thy direction and here abjure the taints and blames I laid upon myself for strangers to my nature. I am yet unknown to woman, never was forsworn, scarcely have coveted what was my own, at no time broke my faith and delight no less in truth than life. My first false speaking was this upon myself. What I am truly is thine and my poor country’s to command. Why are you silent?”

Macduff: “Such welcome and unwelcome things at once tis hard to reconcile.”

Enter Ross

Macduff: “See, who comes here, my ever gentle cousin.”

Ross: “Sir, amen.”

Macduff: “Stands Scotland where it did?”

Ross: “Alas, poor country, almost afraid to know itself! It cannot be called our mother, but our grave, where violent sorrow seems a modern ecstasy and good men’s lives expire before the flowers in their cap.”

Malcolm: “What’s the newest grief?”

Ross: “Each minute teems a new one.”

Macduff: “How does my wife?”

Ross: “Why, well.”

Macduff: “And all my children?”

Ross: “Well too.”

Macduff: :”The tyrant has not battered at their peace?”

Ross: “They were at peace when I did leave them.”

Malcolm: “Be it their comfort. We are coming thither. Gracious England has lent us ten thousand men.”

Ross: “Would I could answer this comfort with the like! But I have words that would be howled out in the desert air.”

Macduff: “What concern they? The general cause or due to some single breast?”

Ross: “The main part pertains to you alone.”

Macduff: “If it be mine, keep it not from me; quickly let me have it.”

Ross: “Let not your eyes despise my tongue forever, which shall possess them with the heaviest sound that ever yet they heard. Your castle is surprised; your wife and babes savagely slaughtered. To relate the manner were to add the death of you.”

Macduff: “Merciful heaven! My children too?”

Ross: “Wife, children, servants, all that could be found.”

Macduff: “My wife killed too?”

Ross: “I have said.”

Malcolm: “Be comforted. Let us make medicines of our great revenge to cure this deadly grief.”

Macduff: “He has no children. Did you say all?”

Malcolm: “Dispute it like a man.”

Macduff: “I shall do so; but I must also feel it like a man. Did heaven look on, and would not take their part? Sinful Macbeth, they were all struck for thee, and not for their own demerits but for mine.

Malcolm: “Be this the whetstone of your sword. Let grief convert to anger; blunt not the heart; enrage it.”

Macduff: “Bring thou this fiend of Scotland and myself; within my sword’s length set him.”

Malcolm: “Come, go we to the king. Our power is ready. Macbeth is ripe for shaking. Receive what cheer you may; the night is long that never finds a day.

Analysis

This is one of the most emotionally resonant and thematically complex scenes in Macbeth, as it marks a critical contrast between Macbeth and the forces opposing him. Set in England, the scene begins with Malcolm testing Macduff’s loyalty through a lengthy and elaborate deception, claiming to be darker and more sinister than Macbeth ever could be, in order to gauge whether Macduff is truly trustworthy. We can understand why Malcolm is at first doubtful of Macduff. After all, when Macbeth was thought to be honest he and Macduff were dear friends who quite loved each other. Furthermore, Macduff’s life has not yet been affected by Macbeth. Once he has Macduff convinced and absolutely devastated by his declaration of evil personified, he realizes that Macduff can be trusted and he comes clean and the two are ready to join forces against Macbeth. Then Ross arrives with the devastating news that Macbeth has slaughtered Macduff’s wife and children. This moment naturally shatters Macduff, who breaks down before transforming his grief into a sacred vow of vengeance, exacted in Act V. Malcolm and Macduff now each have reason enough to rage, and rage they will.

Act V

Scene i

Macbeth’s castle

Enter a doctor and Lady Macbeth’s gentlewoman

Doctor: “I have two nights watched with you, but can perceive no truth in your report. When was it she last walked?”

Gentlewoman: “Since his majesty went into the field, I have seen her rise from her bed, take forth paper, fold it, write upon it, read it, afterward seal it, and again return to bed; yet all this while in a most fast sleep.”

Doctor: “A great perturbation in nature, to receive at once the benefit of sleep and do the effects of watching! In this slumb’ry agitation, what have you heard her say?”

Gentlewoman: “That, sir, which I will not report.”

Doctor: “You may to me.”

Gentlewoman: “Neither to you nor anyone.”

Enter Lady Macbeth with a candle.

Gentlewoman: “Lo you, here she comes! This is her very guise; and upon my life, fast asleep. Observe her; stand close.”

Doctor: “How came she by that light?”

Gentlewoman: “She has light by her continually; tis her command.”

Doctor: “You see her eyes are open.”

Gentlewoman: “Ay, but their sense is shut.”

Doctor: “What is it she does now? Look how she rubs her hands.”

Gentlewoman: “It is an accustomed action with her to seem thus washing her hands. I have known her to continue in this a quarter of an hour. Hark, she speaks.”

Lady Macbeth: “Yet here’s a spot. Out damned spot! Out, I say. Hell is murky. What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him?

Doctor: “Did you mark that?”

Lady Macbeth: “The Thane of Fife had a wife; where is she now? What, will these hands never be clean? No more of that, my Lord, no more of that.”

Doctor: “Go to, go to; you have known what you should not.”

Gentlewoman: “She has spoken what she should not, I am sure of that. Heaven knows what she has known.”

Lady Macbeth: “Here’s the smell of blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!”

Doctor: “What a sigh there is. The heart is sorely charged.”

Gentlewoman: “I would not have such a heart in my bosom for the dignity of the whole body.”

Doctor: “This disease is beyond my practice.”

Lady Macbeth: “Wash your hands, put on your nightgown, look not so pale. I tell you yet again; Banquo is buried; he cannot come out of his grave.”

Doctor: “Even so?”

Lady Macbeth: “What’s done cannot be undone. To bed, to bed, to bed.”

Exit Lady Macbeth

Doctor: “Will she now got to bed?”

Gentlewoman: “Directly.”

Doctor: “Foul whisperings are abroad. Unnatural deeds do breed unnatural troubles; infected minds to their deaf pillows will discharge their secrets. More needs she the divine than the physician. God forgive us all. Look after her and remove from her the means of all annoyance, and still keep eyes upon her. Good night. My mind she has mated, and amazed my sight. I think but dare not speak.”

Gentlewoman: “Good night, dear doctor.”

Analysis

In this scene Lady Macbeth’s sleepwalking episode reveals the devastating weight of guilt that has consumed her. She has clearly gone over the edge. Her repeated line, “Out, damned spot!” is more than a cry to remove imagined blood; it’s a futile attempt to cleanse herself of a moral stain that cannot be washed away. There is no way she can wash the blood off her hands at this point and this scene recalls her telling Macbeth in Act II that ‘just a little water clears us of this deed.’ They are that much further in blood now. Lady Macbeth once mocked Macbeth’s conscience and took the lead in planning Duncan’s murder, and is now the one undone by psychological torment. Both Macbeth and his lady have difficult sleeps now, harking back to the foreshadowing in Act II, when Macbeth thinks he hears a voice declare that ‘Macbeth does murder sleep’. The doctor quickly links Lady Macbeth’s sleepwalking to a ‘great perturbation in nature’ and that ‘unnatural deeds do breed unnatural troubles.’ These troubles are beyond the doctor’s practice, as she requires the divine more so than a physician. Her breakdown marks the beginning of the final unraveling of the Macbeth regime. Macbeth flies solo from here on out and he is hardly in much better shape than his sickly wife

Act V

Scene ii

Near Dunsinane

Enter Menteith, Caithness, Angus and soldiers

Menteith: “The English power is near, led on by Malcolm and the good Macduff. Revenges burn in them.”

Angus: “Near Birnam Wood shall we meet them.”

Menteith: “What does the tyrant?”

Caithness: “Great Dunsinane he strongly fortifies. Some say he’s mad; others, who lesser hate him, do call it valiant fury; but for certain he cannot buckle his distemper’d cause within the best of rule.”

Angus: “Now does he feel his secret murders sticking on his hands. Those he commands move only in command, none in love. Now does he feel his title hang loose about him, like a giant’s robe upon a dwarfish thief.

Summary and Analysis

In this brief scene, these Scottish lords discuss the situation while their forces gather near Birnam Wood, preparing to confront Macbeth. The English army of 10,000 men is approaching Macbeth’s castle, ‘burning with revenge’ and led by Macduff and Malcolm while Macbeth fortifies his castle and prepares for the battle. Angus delivers the stunning line that Macbeth’s title ‘hangs loose about him like a giant’s robe upon a dwarfish thief’. This scene suggests there is a sense of growing momentum and inevitability around the convergence of Macbeth’s enemies, as the gathering storm of justice aligns itself against the tyrant’s reign.

Act V

Scene iii

Macbeth’s castle

Enter Macbeth, the doctor and attendants

Macbeth: “Bring me no more reports till Birnam Wood removes to Dunsinane. What’s the boy Malcolm? Was he not born of woman? The spirits that know all mortal consequences have pronounced me thus: ‘Fear not, Macbeth; no man that’s born of woman shall ever have power upon thee’. The mind I sway by and the heart I bear shall never sag with doubt nor shake with fear.”

Servant: “There are ten thousand soldiers.”

Macbeth: “I am sick at heart. I have lived long enough, and that which should accompany old age, as honour, love, obedience, troops of friends, I must not look to have; but in their stead, curses. I’ll fight till from my bones my flesh be hacked. Give me my armour. Hang those who talk of fear. How does your patient, doctor?

Doctor: “Not so sick, my lord, as she is troubled with thick coming fancies that keep her from her rest.”

Macbeth: “Cure her of that. Can thou not minister to a mind diseased, pluck from the memory a rooted sorrow, raze out the written troubles of the brain, and with some sweet oblivious antidote cleanse the stuffed bosom of that perilous stuff which weighs upon the heart?”

Doctor: “Therein the patient must minister to herself.

Macbeth: “Throw physic to the dogs – I’ll none of it. If thou could, doctor, find her disease and purge it to a sound and pristine health. I would applaud thee to the very echo that should applaud again. Pull it off, I say.”

Summary and Analysis

There are ups and downs in this act for Macbeth. The witches have given him confidence that unless Birnam Woods moves toward his castle and a man not born of woman he should have to fight, then he is safe. Both of these occurrences are so unimaginable to Macbeth that he does not even desire fresh reports from the field. He is that cocky now. But yet when he is informed that 10,000 English soldiers are approaching, he is suddenly sick at heart and has lived long enough, but still claiming he will fight till the flesh is hacked from his bones. Then again, he is dismayed by the doctor’s report on his wife. Macbeth is all over the place in Act V, responding strongly to every bit of news, both bad and good, that comes his way. It is as though he were swaying in the wind. The contrast between his outward bravado and inward collapse sets the stage nicely for his inevitable pending downfall.

Act V

Scene iv

Before Birnam Wood

Enter Malcolm, Siward, Macduff and Menteith

Malcolm: “I hope the days are at hand that chambers will be safe.”

Menteith: “We doubt it not.”

Siward: “What wood is this before us?”

Menteith: “The wood of Birnam.”

Malcolm: “Let every soldier hew him down a bough and bear it before him, and thereby shadow our numbers.”

Siward: “The confident tyrant keeps still in Dunsinane.”

Malcolm: “More have given him the revolt, and none serve him but the constrained, whose hearts are absent.”

Summary and Analysis

As Malcolm, Macduff and the English troops approach Birnam Woods they decide to have every soldier hew himself a branch or a bough and carry it in front of himself. In that way it would be impossible for Macbeth’s forces to accurately determine the number of English soldiers. This is also the way that Birnam Woods can be seen to be moving toward Macbeth’s castle and thereby explains the witches’ prophecy. Nature itself appears to be turning against this unnatural king.

Act V

Scene v

Macbeth’s castle

Enter Macbeth, Seyton and soldiers

Macbeth: “Hang our banners on the outward walls. Our castle’s strength will laugh a siege to scorn. Here let them lie till famine eats them up.”

A cry within of women

Macbeth: “Wherefore was that cry?”

Seyton: “The Queen, my lord, is dead.”

Macbeth: “She should have died hereafter. There would have been a time for such a word. Tomorrow and tomorrow and tomorrow, creeps in this petty pace from day to day to the last syllable of recorded time, and all our yesterdays have lighted fools the way to dusty death. Out, out brief candle! Life is but a walking shadow, a poor player, that struts and frets his hour upon the stage and then is heard no more; it is a tale told by an idiot, full of sound and fury, signifying nothing.”

Enter a messenger

Messenger: “Gracious my lord, I should report that which I say I saw, but know not how to do it. As I did stand my watch I looked toward Birnam and anon me thought the woods began to move.”

Macbeth: “Liar and slave!”

Messenger: “Within three miles you may see it coming.”

Macbeth: “If thou speak false, upon the next tree shall thou hang alive, till famine cling to thee. ’Fear not till Birnam Woods do come to Dunsinane’ and now it comes toward Dunsinane. Arm! Arm! Ring the alarum bell. Blow wind, come wrack; at least we’ll die with a harness on our back.”

Summary and Analysis

Again, good news which gets overwhelmed by bad news. Macbeth is certain his castle could withstand a siege when news arrives that Lady Macbeth is dead. His solilique in response to this news is the finest writing in the entire play and some of the finest in all of English literature, expressed in a very dark, dismal language of searing poetic quality. It is regarded as among the finest quotes in the entire Shakespearean canon.

Shakespeare will often use acting, the stage and theatre in general as a metaphor for life. Here, he writes of we poor players, who strut and fret what seems an hour upon this stage of life and then we are gone, done. Furthermore, ‘it is a tale told by an idiot (what do we know in the face of it all?), full of sound and fury (oh the racket we make while we occupy this tiny space), signifying nothing (and what has it all meant?)’ What a beautifully tragic passage on the futility of life, expressed in the finest poetry our language has ever witnessed. Macbeth is so low. His despair is existential… deep and profound. This passage can stand beside Hamlet’s ‘To Be Or Not To Be’ solilique or Richard III’s opening speech to his audience. And just as Macbeth gets this eulogy for his queen off his tongue he is informed that the impossible prophecy has come true, that Birnam wood is actually moving toward the castle. He knows the end is near and all he can do is to declare that at least he will die fighting. His fall is now precipitous.

Act V

Scene vi

Dunsinane before the castle

Enter Malcolm, Macduff and their army

Malcolm:”Now near enough; your leafy screens throw down and show like those you are. Lead our battle, worthy Macduff, and we shall take upon whatever else remains to do.”

Macduff: “Make all our trumpets speak; give them all breath, those clamorous harbingers of blood and death.”

Summary and Analysis

The beginning of the final confrontation is at hand. Malcolm gives the order to fight and we are thrust into action. Its the moment when fate arrives at Macbeth’s door and there is no stopping it. The fuse is lit. Here they come for Macbeth, who has murdered Malcolm’s father, the king, and slaughtered Macduff’s entire family. This is indeed a tragedy and can only end one way.

Act V

Scene vii

The field of battle

Enter Macbeth

Macbeth: “They have tied me to a stake. I cannot fly, but bear-like I must fight. What’s he who was not born of woman? Such a one am I to fear, or none.”

Enter Siward

Siward: “What is thy name?”

Macbeth: “Thou would be afraid to hear it. My name is Macbeth.”

Siward: “The devil himself could not pronounce a title more hateful to my ear.”

Macbeth: “Nor more fearful.”

Siward: “Thou liest, abhorred tyrant, and with my sword I’ll prove the lie thou speaks.”

They fight and Siward is slain

Macbeth: “Thou was born of woman and swords I laugh at brandished by a man of a woman born.

Enter Macduff

Macduff: “Tyrant, show thy face. If thou be slain with no stroke of mine, my wife and children’s ghost will haunt me still. Let me find him, fortune, and more I beg not.”

Summary and Analysis

We are in the midst of the battle and Macbeth, spurned on by the witches’ promise that no man born of woman may defeat him, is fighting heroically. He slays the son of the most renowned soldier in the English army. The scene switches to Macduff who, is fighting fanatically and desperately seeking out Macbeth.

Act V

Scene viii

Another part of the field of battle

Enter Macbeth and Macduff

Macduff: “Turn hell-hound, turn.”

Macbeth: “Of all men else I have avoided thee. But get thee back; my soul is too much charged with blood of thine already.”

Macduff: “I have no words – my voice is in my sword.”

Macbeth: “I bear a charmed life, which must not yield to one of woman born.”

Macduff: “Despair thy charm; Macduff was from his mother’s womb untimely ripped.”

Macbeth: “Accursed be that tongue that tells me so. I’ll not fight with thee and yet I will not yield to kiss the ground before young Malcolm’s feet and be baited with the rabble’s curse, though Birnam Wood come to Dunsinane, and thou opposed, being of no woman born, yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff.”

They exit, fighting

Enter Malcolm, old Siward, lords and soldiers

Malcolm: “I would the friends we miss were safe arrived.”

Siward: “Some must go off, and yet I see so great a day as this is cheaply bought.”

Malcolm: “Macduff is missing.”

Macduff enters with Macbeth’s head.

Macduff: “Hail, King! For so thou art. Behold where stands the usurper’s cursed head. The time is free. Hail, King of Scotland!”

Malcolm: “Calling home our exiled friends abroad who fled the snares of watchful tyranny of this dead butcher and his fiend-like queen. So thanks to all at once and to each one, whom we invite to see us crowned at Scone.”

Summary and Analysis

On the battlefield Macbeth confidently confronts Macduff until he is informed that he was never born of woman but delivered by caesarean section. Macbeth realizes that the witches’ messages were merely riddles intended to lure him into a false sense of security. He may have trusted their words, but his own choices determined his fate. They fight and Macduff rightly becomes the agent of justice and returns to his men holding Macbeth’s severed head aloft. Malcolm is the King of a liberated Scotland and becomes the steady, rational and respectful King, everything Macbeth was not.

Just like Duncan’s murder and Lady Macbeth’s suicide, we do not witness the death scene. Rather Macduff will enter the castle carrying Macbeth’s severed head in his hand and proclaiming Malcolm the King of Scotland. Typical of the tragedies, the villainous protagonist does not survive his own play. This is true as well for Romeo and Juliet, Hamlet, King Lear, Titus Andronicus, Julius Caesar, Othello and Antony and Cleopatra. It is rather the definition of a tragedy. Some good people usually are traumatized but remain alive enough to pick up the pieces and carry on, such as Malcolm and Macduff in this play, about a Scottish King who murders a Scottish King in a play written for a Scottish King who is descendent of a line of Scottish Kings from the play. Huh?

Final Thoughts on Macbeth

What I love most about Macbeth is the economy of time, the relentless pace and the progression of the two lead characters, Macbeth and his Lady, throughout the play, as they change and evolve toward their inevitable fates. This play is short, moves fast, is character driven and is thematically as rich as any work by Shakespeare. In a sense it is a very simple play about the rise and fall of our two lead characters, much like the other tragedies, wherein the temptations and complexities of the human heart are what launch the principal personages into their tragic orbits amid all the others in the drama who they affect. In a play this short hardly a word is wasted, while the plot proceeds like a snowball going downhill, increasing speed until the final spectacular crash into the classic reckoning for some and reconciliation for others. The secondary characters who surround our two main personages are as interesting as the Macbeth’s themselves. Banquo, his ghost, King Duncan, Malcolm, the witches, the Macduffs, the doctor and the porter are all brilliantly presented with well-rounded clarity. And it’s not merely the characters who excite us in this play. The heath itself, the witches, their cualdron and all that they throw into it, the dagger of the mind, the sleepwalking and sleeplessness, the blood, the prophecies, the incomparable language, the brilliant asides, the tone, the moods, the psychological states of the various characters, the metaphors, the violence, the blind ambition, the political coup, the disintegration of a once great man and the finest marriage in all of Shakespeare, the murders, nightmares, revenge, and the great reckoning and reconciliation. What a feast!

Shakespeare started his career as a playwright with the tragedy of Titus Andronicus in 1589. Six years and nine histories and comedies later he created his second tragedy in Romeo and Juliet in 1595. Then he wrote another ten histories and comedies over the next four years before his return to tragedy in 1601 with Hamlet and Juliet Caesar. Once King James assumes the throne in 1603 several brilliant tragedies follow with Othello (1604), Macbeth (1605), King Lear (1606), Antony and Cleopatra (1606) and Coriolanus (1608). Even his comedies are less simple, less purely comedic and charged with more tragic elements in the period of King James’ reign. These later ‘comedies’ are often referred to increasingly as ‘the problem plays’ because they become impossible to neatly categorize and are unlike anything else ever written. Watching Shakespeare boldly experiment and develop his craft over the 24 years between his first play, Titus, in 1589, and his final work, Two Noble Kinsman, in 1613, is in so much like following some of his principle characters’ journeys through their own plays. They change in three hours as Shakespeare does over 24 years. In this sense each play becomes a micro-burst of the mental prowess and imagination the Bard displayed over that incomparable career of 40 plays, 154 sonnets and several lengthy poems. Shakespeare’s journey has become our own, as he created his art from his observations of our unconscious and interior states in countless manifestations and then merely presented them back to us for our consideration in the finest poetry ever written. I sit in the midst of his work and meditate, ruminate, analyse and postulate on the meaning of my own life and that of the world around me in the personages, themes and plots that float by in scene after scene and line after line of utter genius. “Lay on, Macduff”, indeed. ‘This is the stuff that dreams are made on.’