William Shakespeare: The Complete Works 2nd Edition (566 page)
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Authors: William Shakespeare
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BOOK: William Shakespeare: The Complete Works 2nd Edition
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TRINCULO I have been in such a pickle since I saw you last that, I fear me, will never out of my bones. I shall not fear fly-blowing.
SEBASTIAN Why, how now, Stefano?
STEFANO O, touch me not! I am not Stefano, but a cramp.
PROSPERO You’d be king o’the isle, sirrah?
STEFANO I should have been a sore one, then.
ALONSO
(pointing to Caliban)
This is a strange thing as e’er I looked on.
(pointing to Caliban)
This is a strange thing as e’er I looked on.
PROSPERO
He is as disproportioned in his manners
As in his shape.
(To Caliban)
Go, sirrah, to my cell.
Take with you your companions. As you look
To have my pardon, trim it handsomely.
As in his shape.
(To Caliban)
Go, sirrah, to my cell.
Take with you your companions. As you look
To have my pardon, trim it handsomely.
CALIBAN
Ay, that I will; and I’ll be wise hereafter,
And seek for grace. What a thrice-double ass
Was I to take this drunkard for a god,
And worship this dull fooll
And seek for grace. What a thrice-double ass
Was I to take this drunkard for a god,
And worship this dull fooll
PROSPERO
Go to, away!
Exit Caliban
ALONSO (
to Stefano and Trinculo
)
to Stefano and Trinculo
)
Hence, and bestow your luggage where you found it.
SEBASTIAN Or stole it, rather.
Exeunt Stefano and Trinculo
PROSPERO (
to Alonso
)
to Alonso
)
Sir, I invite your highness and your train
To my poor cell, where you shall take your rest
For this one night; which part of it I’ll waste
With such discourse as I not doubt shall make it
Go quick away: the story of my life,
And the particular accidents gone by
Since I came to this isle. And in the morn
I’ll bring you to your ship, and so to Naples,
Where I have hope to see the nuptial
Of these our dear-belovèd solemnized;
And thence retire me to my Milan, where
Every third thought shall be my grave.
To my poor cell, where you shall take your rest
For this one night; which part of it I’ll waste
With such discourse as I not doubt shall make it
Go quick away: the story of my life,
And the particular accidents gone by
Since I came to this isle. And in the morn
I’ll bring you to your ship, and so to Naples,
Where I have hope to see the nuptial
Of these our dear-belovèd solemnized;
And thence retire me to my Milan, where
Every third thought shall be my grave.
ALONSO I long
To hear the story of your life, which must
Take the ear strangely.
Take the ear strangely.
PROSPERO
I’ll deliver all,
And promise you calm seas, auspicious gales,
And sail so expeditious that shall catch
Your royal fleet far off.
(Aside to Ariel)
My Ariel, chick,
That is thy charge. Then to the elements
Be free, and fare thou well.
And sail so expeditious that shall catch
Your royal fleet far off.
(Aside to Ariel)
My Ariel, chick,
That is thy charge. Then to the elements
Be free, and fare thou well.
Exit Ariel
Please you, draw near.
Exeunt
⌈
all but Prospero
⌉
Epilogue
PROSPERO
Now my charms are all o’erthrown,
And what strength I have’s mine own,
Which is most faint. Now ’tis true
I must be here confined by you
Or sent to Naples. Let me not,
Since I have my dukedom got,
And pardoned the deceiver, dwell
In this bare island by your spell;
But release me from my bands
With the help of your good hands.
Gentle breath of yours my sails
Must fill, or else my project fails,
Which was to please. Now I want
Spirits to enforce, art to enchant;
And my ending is despair
Unless I be relieved by prayer,
Which pierces so, that it assaults
Mercy itself, and frees all faults.
As you from crimes would pardoned be,
Let your indulgence set me free.
And what strength I have’s mine own,
Which is most faint. Now ’tis true
I must be here confined by you
Or sent to Naples. Let me not,
Since I have my dukedom got,
And pardoned the deceiver, dwell
In this bare island by your spell;
But release me from my bands
With the help of your good hands.
Gentle breath of yours my sails
Must fill, or else my project fails,
Which was to please. Now I want
Spirits to enforce, art to enchant;
And my ending is despair
Unless I be relieved by prayer,
Which pierces so, that it assaults
Mercy itself, and frees all faults.
As you from crimes would pardoned be,
Let your indulgence set me free.
He awaits applause, then exit
CARDENIO
A BRIEF ACCOUNT
MANY plays acted in Shakespeare’s time have failed to survive; they may easily include some that he wrote. The mystery of
Love’s Labour’s Won
is discussed elsewhere (pp. xxxvii, 337). Certain manuscript records of the seventeenth century suggest that at least one other play in which he had a hand may have disappeared. On 9 September 1653 the London publisher Humphrey Moseley entered in the Stationers’ Register a batch of plays including
‘The History of Cardenio,
by Mr Fletcher and Shakespeare’. Cardenio is a character in Part One of Cervantes’
Don Quixote
, published in English translation in 1612. Two earlier allusions suggest that the King’s Men owned a play on this subject at the time that Shakespeare was collaborating with John Fletcher (1579-1625). On 20 May 1613 the Privy Council authorized payment of £20 to John Heminges, as leader of the King’s Men, for the presentation at court of six plays, one listed as ‘Cardenno’. On 9 July of the same year Heminges received £6 13
s
. 4
d
. for his company’s performance of a play ‘called Cardenna’ before the ambassador of the Duke of Savoy.
Love’s Labour’s Won
is discussed elsewhere (pp. xxxvii, 337). Certain manuscript records of the seventeenth century suggest that at least one other play in which he had a hand may have disappeared. On 9 September 1653 the London publisher Humphrey Moseley entered in the Stationers’ Register a batch of plays including
‘The History of Cardenio,
by Mr Fletcher and Shakespeare’. Cardenio is a character in Part One of Cervantes’
Don Quixote
, published in English translation in 1612. Two earlier allusions suggest that the King’s Men owned a play on this subject at the time that Shakespeare was collaborating with John Fletcher (1579-1625). On 20 May 1613 the Privy Council authorized payment of £20 to John Heminges, as leader of the King’s Men, for the presentation at court of six plays, one listed as ‘Cardenno’. On 9 July of the same year Heminges received £6 13
s
. 4
d
. for his company’s performance of a play ‘called Cardenna’ before the ambassador of the Duke of Savoy.
No more information about this play survives from the seventeenth century, but in 1728 Lewis Theobald published a play based on the story of Cardenio and called
Double Falsehood, or The Distrest Lovers,
which he claimed to have ‘revised and adapted’ from one ‘written originally by W. Shakespeare’. It had been successfully produced at Drury Lane on 13 December 1727, and was given thirteen times up to 1 May 1728. Other performances are recorded in 1740, 1741, 1767 (when it was reprinted), 1770, and 1847. In 1770 a newspaper stated that ‘the original manuscript’ was ‘treasured up in the Museum of Covent Garden Playhouse’; fire destroyed the theatre, including its library, in 1808.
Double Falsehood, or The Distrest Lovers,
which he claimed to have ‘revised and adapted’ from one ‘written originally by W. Shakespeare’. It had been successfully produced at Drury Lane on 13 December 1727, and was given thirteen times up to 1 May 1728. Other performances are recorded in 1740, 1741, 1767 (when it was reprinted), 1770, and 1847. In 1770 a newspaper stated that ‘the original manuscript’ was ‘treasured up in the Museum of Covent Garden Playhouse’; fire destroyed the theatre, including its library, in 1808.
Theobald claimed to own several manuscripts of an original play by Shakespeare, and remarked that some of his contemporaries thought the style was Fletcher’s, not Shakespeare’s. When he himself came to edit Shakespeare’s plays he did not include either
Double Falsehood
or the play on which he claimed to have based it; he simply edited the plays of the First Folio, not adding either
Pericles or The Two Noble Kinsmen,
though he believed they were partly by Shakespeare. It is quite possible that
Double Falsehood
is based (however distantly) on a play of Shakespeare’s time; if so, the play is likely to have been the one performed by the King’s Men and ascribed by Moseley in 1653 to Fletcher and Shakespeare.
Double Falsehood
or the play on which he claimed to have based it; he simply edited the plays of the First Folio, not adding either
Pericles or The Two Noble Kinsmen,
though he believed they were partly by Shakespeare. It is quite possible that
Double Falsehood
is based (however distantly) on a play of Shakespeare’s time; if so, the play is likely to have been the one performed by the King’s Men and ascribed by Moseley in 1653 to Fletcher and Shakespeare.
Double Falsehood
is a tragicomedy; the characters’ names differ from those in
Don Quixote
, and the story is varied. Henriquez rapes Violante, then falls in love with Leonora, loved by his friend Julio. Her parents agree to the marriage, but Julio interrupts the ceremony. Leonora (who had intended to kill herself) swoons and later takes sanctuary in a nunnery. Julio goes mad with desire for vengeance on his false friend; and the wronged Violante, disguised as a boy, joins a group of shepherds, and is almost raped by one of them. Henriquez’s virtuous brother, Roderick, ignorant of his villainy, helps him to abduct Leonora. Leonora and Violante both denounce Henriquez to Roderick. Finally Henriquez repents and marries Violante, while Julio (now sane) marries Leonora.
is a tragicomedy; the characters’ names differ from those in
Don Quixote
, and the story is varied. Henriquez rapes Violante, then falls in love with Leonora, loved by his friend Julio. Her parents agree to the marriage, but Julio interrupts the ceremony. Leonora (who had intended to kill herself) swoons and later takes sanctuary in a nunnery. Julio goes mad with desire for vengeance on his false friend; and the wronged Violante, disguised as a boy, joins a group of shepherds, and is almost raped by one of them. Henriquez’s virtuous brother, Roderick, ignorant of his villainy, helps him to abduct Leonora. Leonora and Violante both denounce Henriquez to Roderick. Finally Henriquez repents and marries Violante, while Julio (now sane) marries Leonora.
Some of the motifs of
Double Falsehood,
such as the disguised heroine wronged by her lover and, particularly, the reuniting and reconciliation of parents with children, recall Shakespeare’s late plays. But most of the dialogue seems un-Shakespearian. Though the play deserved its limited success, it is now no more than an interesting curiosity.
Double Falsehood,
such as the disguised heroine wronged by her lover and, particularly, the reuniting and reconciliation of parents with children, recall Shakespeare’s late plays. But most of the dialogue seems un-Shakespearian. Though the play deserved its limited success, it is now no more than an interesting curiosity.
ALL IS TRUE
(HENRY VIII)
BY WILLIAM SHAKESPEARE AND JOHN FLETCHER
ON 29 June 1613 the firing of cannon at the Globe Theatre ignited its thatch and burned it to the ground. According to a letter of 4 July the house was full of spectators who had come to see ‘a new play called
All is True,
which had been acted not passing two or three times before’. No one was hurt ‘except one man who was scalded with the fire by adventuring in to save a child which otherwise had been burnt’. This establishes the play’s date with unusual precision. Though two other accounts of the fire refer to a play ‘of’—which may mean simply ‘about’—Henry VIII, yet another two unequivocally call it
All is True;
and these words also end the refrain of a ballad about the fire. When the play came to be printed as the last of the English history plays—all named after kings—in the 1623 Folio it was as
The Famous History of the Life of King Henry the Eighth.
We restore the title by which it was known to its first audiences.
All is True,
which had been acted not passing two or three times before’. No one was hurt ‘except one man who was scalded with the fire by adventuring in to save a child which otherwise had been burnt’. This establishes the play’s date with unusual precision. Though two other accounts of the fire refer to a play ‘of’—which may mean simply ‘about’—Henry VIII, yet another two unequivocally call it
All is True;
and these words also end the refrain of a ballad about the fire. When the play came to be printed as the last of the English history plays—all named after kings—in the 1623 Folio it was as
The Famous History of the Life of King Henry the Eighth.
We restore the title by which it was known to its first audiences.
No surviving account of the fire says who wrote the play that caused it. In 1850, James Spedding (prompted by Tennyson) suggested that Shakespeare collaborated on it with John Fletcher (1579-1625). We have external evidence that the two dramatists worked together in or around 1613 on the lost
Cardenio and on The Two Noble Kinsmen.
For their collaboration in
All is True
the evidence is wholly internal, stemming from the initial perception of two distinct verse styles within the play; later, more rigorous examination of evidence provided by both the play’s language and its dramatic technique has convinced most scholars of Fletcher’s hand in it. The passages most confidently attributed to Shakespeare are Act 1, Scenes 1 and 2; Act 2, Scenes 3 and 4; Act 3, Scene 2 to line 204; and Act 5, Scene 1.
Cardenio and on The Two Noble Kinsmen.
For their collaboration in
All is True
the evidence is wholly internal, stemming from the initial perception of two distinct verse styles within the play; later, more rigorous examination of evidence provided by both the play’s language and its dramatic technique has convinced most scholars of Fletcher’s hand in it. The passages most confidently attributed to Shakespeare are Act 1, Scenes 1 and 2; Act 2, Scenes 3 and 4; Act 3, Scene 2 to line 204; and Act 5, Scene 1.
The historical material derives, often closely, from the chronicles of Raphael Holinshed and Edward Hall, supplemented by John Foxe’s
Book of Martyrs
(1563, etc.) for the Cranmer episodes in Act 5. It covers only part of Henry’s reign, from the opening description of the Field of the Cloth of Gold, of 1520, to the christening of Princess Elizabeth, in 1533. It depicts the increasing abuse of power by Cardinal Wolsey; the execution, brought about by Wolsey’s machinations, of the Duke of Buckingham; the King’s abandonment of his Queen, Katherine of Aragon; the rise to the King’s favour of Anne Boleyn; Wolsey’s disgrace; and the birth to Henry and Anne of a daughter instead of the hoped-for son.
Book of Martyrs
(1563, etc.) for the Cranmer episodes in Act 5. It covers only part of Henry’s reign, from the opening description of the Field of the Cloth of Gold, of 1520, to the christening of Princess Elizabeth, in 1533. It depicts the increasing abuse of power by Cardinal Wolsey; the execution, brought about by Wolsey’s machinations, of the Duke of Buckingham; the King’s abandonment of his Queen, Katherine of Aragon; the rise to the King’s favour of Anne Boleyn; Wolsey’s disgrace; and the birth to Henry and Anne of a daughter instead of the hoped-for son.
Sir Henry Wotton, writing of the fire, said that the play represented ‘some principal pieces of the reign of Henry 8, which was set forth with many extraordinary circumstances of pomp and majesty’. It has continued popular in performance for the opportunities that it affords for spectacle and for the dramatic power of certain episodes such as Buckingham’s speeches before execution (2.1), Queen Katherine’s defence of the validity of her marriage (2.4), Wolsey’s farewell to his greatness (3.2), and Katherine’s dying scene (4.2). Though the play depicts a series of falls from greatness, it works towards the birth of the future Elizabeth I, fulsomely celebrated in the last scene (not attributed to Shakespeare) along with her successor, the patron of the King’s Men.
THE PERSONS OF THE PLAY
Prologue
Enter Prologue
Enter Prologue
PROLOGUE
I come no more to make you laugh. Things now
That bear a weighty and a serious brow,
Sad, high, and working, full of state and woe—
Such noble scenes as draw the eye to flow
We now present. Those that can pity here
May, if they think it well, let fall a tear.
The subject will deserve it. Such as give
Their money out of hope they may believe,
May here find truth, too. Those that come to see
Only a show or two, and so agree
The play may pass, if they be still, and willing,
I’ll undertake may see away their shilling
Richly in two short hours. Only they
That come to hear a merry bawdy play,
A noise of targets, or to see a fellow
In a long motley coat guarded with yellow,
Will be deceived. For, gentle hearers, know
To rank our chosen truth with such a show
As fool and fight is, beside forfeiting
Our own brains, and the opinion that we bring
To make that only true we now intend,
Will leave us never an understanding friend.
Therefore, for goodness’ sake, and as you are known
The first and happiest hearers of the town,
Be sad as we would make ye. Think ye see
The very persons of our noble story
As they were living; think you see them great,
And followed with the general throng and sweat
Of thousand friends; then, in a moment, see
How soon this mightiness meets misery. 30
And if you can be merry then, I’ll say
A man may weep upon his wedding day.
That bear a weighty and a serious brow,
Sad, high, and working, full of state and woe—
Such noble scenes as draw the eye to flow
We now present. Those that can pity here
May, if they think it well, let fall a tear.
The subject will deserve it. Such as give
Their money out of hope they may believe,
May here find truth, too. Those that come to see
Only a show or two, and so agree
The play may pass, if they be still, and willing,
I’ll undertake may see away their shilling
Richly in two short hours. Only they
That come to hear a merry bawdy play,
A noise of targets, or to see a fellow
In a long motley coat guarded with yellow,
Will be deceived. For, gentle hearers, know
To rank our chosen truth with such a show
As fool and fight is, beside forfeiting
Our own brains, and the opinion that we bring
To make that only true we now intend,
Will leave us never an understanding friend.
Therefore, for goodness’ sake, and as you are known
The first and happiest hearers of the town,
Be sad as we would make ye. Think ye see
The very persons of our noble story
As they were living; think you see them great,
And followed with the general throng and sweat
Of thousand friends; then, in a moment, see
How soon this mightiness meets misery. 30
And if you can be merry then, I’ll say
A man may weep upon his wedding day.
Exit
1.1⌈
A cloth of state throughout the play
.⌉
Enter the Duke of Norfolk at one door; at the other door enter the Duke of Buckingham and the Lord Abergavenny
BUCKINGHAM (
to Norfolk
)
to Norfolk
)
Good morrow, and well met. How have ye done
Since last we saw in France?
Since last we saw in France?
NORFOLK
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