The Winter’s Tale

The Winter’s Tale William Shakespeare Barbara A. Mowat Paul Werstine Edited for XML and encoded by Michael Poston Rebecca Niles Text released without textual notes Folger Shakespeare Library WT

201 East Capitol Street, SE Washington, DC 20003 https://shakespeare.folger.edu folgertexts@folger.edu

Distributed under a Creative Commons Attribution-NonCommercial 3.0 Unported License July, 2016 The Folger Shakespeare (formerly Folger Digital Texts) William Shakespeare The Winter’s Tale Barbara A. Mowat Paul Werstine New York Washington Square Press 1998 Adobe Digital Edition The most current version of the text

The Folger Shakespeare (formerly Folger Digital Texts) makes the texts of the Folger Shakespeare Library editions freely available for noncommercial use. The primary goal is to represent the source text faithfully, as simply as possible within the TEI P5 schema. Lineation and other typographic features from the print edition are reproduced, with the interpretations previously implicit in the print layout now made explicit in the encoding.

In addition, most elements are assigned a unique identifier. This facilitates our use of stand-off markup and provides the means for future works to point very specifically to words, lines, speeches, and arbitrary sections of the text.

Please note this project offers only the encoded text and textual notes (textual notes are forthcoming). For the explanatory notes, glosses, and illustrations, refer to the print edition and/or Adobe Digital Edition published by Simon & Schuster.

This XML document may include corrections and revisions made by the original Folger Edition editors. Where the text deviates from prior publications, the earlier readings are noted within critical apparatus entry tags.

Quotation marks (single and double quotes) are replaced with the q element, except when the quoted text refers to a name or title, in which case the name or title element is used. Apostrophes, as distinct from single quotes, are not tagged and are retained as-is within the text.

Hyphenation is generally retained. Hyphenated words are considered to be a single word, enclosed within a single word tag (w).

For all end-of-line hyphenation, the word fragments are rejoined into a single w tag. Often, the word is placed on the line where the word begins. When this would affect lineation (e.g., when the second word fragment is the only element on its line), the word is moved to the next line.

Soft end-of-line hyphens (i.e., those added only because of the line break) are silently removed. Editors Barbara A. Mowat and Paul Werstine determine whether the hyphen should be retained.

Acts are enclosed in div1 tags. Scenes are enclosed in div2 tags. Prologues, epilogues, inductions, and choruses are tagged using either div1 or div2, whichever is most appropriate.

Page breaks from the print edition are included in pb tags. Line breaks are enclosed in lb tags. The edRef attribute is used to identify line breaks that differ between editions.

Speeches are enclosed in sp tags. Speech tags usually contain a speech prefix (in the speaker tag), and an anonymous block (ab) containing the text of the speech.

Stage Directions are enclosed within stage tags. They may occur within or between speeches. Where appropriate, who attributes specify who participates in the stage direction.

Poems, songs, and letters are enclosed in seg tags, with the type attribute specifying the type. Segments split between speeches are linked through next and prev attributes. Some songs are prefaced with a header like "The Song", which is enclosed in a label tag.

Foreign words and phrases are enclosed in foreign tags.

Words, spaces, and punctuation marks are enclosed in w, c, and pc tags respectively.

Lines (verse and prose) are not segmented within l or line elements. They are noted through line breaks and milestone elements.

Lineation is determined by critical judgments, complicated by accidental features of publication. While this document marks the line breaks as they appear in the Folger editions, it is understood that other projects may wish to format the text differently. Therefore, the text itself is not enclosed in any kind of line tag (l or ab). Instead, the elements of a typographic line are combined using a milestone tag. Using milestone tags allows us to maintain the Folger line numbering system and offer additional information about the verse without imposing these features on the base text. Not insignificantly, this also helps to avoid overlapping hierarchies in the XML.

The ana attribute of the milestone tags designates the line as verse, prose, or short. Verse lines may use prev and next attributes to point to other typographic lines that complete the metrical line. When it is unclear how to combine an incomplete line into a full metrical line, or when it is unclear whether the line represents verse or prose, the line is designated as short.

Identifying formal units of verse requires another interpretation. This document notes when stanzas are indicated in the edition, often by indentation. Couplets are not generally indented, and therefore, unless part of a larger formal structure, their presence is not always acknowledged.

Stanzas often occur in poems and songs, but they may also be found in conversational verse. Indentations are sometimes noted through rend attributes, but this is less useful than attempting to define the structure of the stanza. However, marking verse units through lg tags is not feasible, because the text is not enclosed in l tags. Using l tags only here would be inconsistent with our encoding elsewhere and would lead to further difficulties with overlapping hierarchies (quotes spanning lines, verse lines split between speakers, etc.). Instead, milestones (milestone elements) link the typographic line (the FTLN milestone) to a stanza definition. The n attribute notes the corresponding line within the stanza. If the line is split, more than one typographic line may share the same n attribute. The prev and next attributes point to the next lines in the stanza. Couplets are generally marked only when they appear as part of a larger poetic unit.

Specifying who participates in a stage direction can be an interesting challenge, especially for ambiguous and permissive stage directions. We have created a new character referencing system to deal with the known and the ambiguous. Clearly identified individuals are identified with their mixed case name followed by the abbreviation of their most significant play. Thus, Hamlet is Hamlet_Ham, Falstaff is Falstaff_1H4 (even in 2H4), and the Duke of Gloucester in 3H6 is RichardIII_R3. Characters who do not have names may be identified in relation to a group of characters, expressed in capital letters. There is an attempt to develop a controlled vocabulary, so Mariners are SAILORS, Keepers are JAILERS, and Captains may be SOLDIERS. ATTENDANTS is a catch-all category that can include Lords, Gentlemen, Torchbearers, Servants, and others. A decimal-based system allows us to add more information as we have it. Brutus's soldier Titinius is SOLDIERS.BRUTUS.Titinius_JC. The First Soldier in that army is SOLDIERS.BRUTUS.1_JC. These still refer to individual characters. With messengers, for example, when we are not sure if the messenger in one scene is the same as the messenger in another, we use .X as a kind of algebraic variable. MESSENGERS.1 cannot be MESSENGERS.2, but MESSENGERS.X might be. When it is impossible to track an individual's entrances and exits, or when it is difficult to know how many characters are in the group, we prefer to track the group rather than individuals. The .0 modifier is used to single out actions by a subset of the group. If a group of ATTENDANTS enters, one is sent on an errand, and then the rest leave, that one is identified as ATTENDANTS.0.1.

Marks the beginning of a page in the print edition. The n attribute gives the page number. The spanTo attribute gives the xml:id of a milestone element marking the end of the page. When the unit = "page", marks the end of a page in the print edition. The n attribute gives the page number. The unit attribute has the value page. When the unit = "ftln", it describes a line of text. The corresp element notes the corresponding w, c, pc and anchor elements. The n attribute gives the line number. The ana attribute has the value verse, prose, or short. The prev and next attributes provide the means for reconstructing split verse lines. Finally, the attribute rend = turnunder for fragments of verse lines that are split only because they could not fit on the previous line in the print edition. Provides the act/scene header for the page, as given in the print edition. The n attribute gives the page number. The type attribute has the value header. Marks a line break in the print edition. Marks an act (or induction, prologue, epilogue). The type attribute gives the division type. The n attribute gives the canonical act number, where appropriate. Marks a scene (or prologue, epilogue, chorus). The type attribute gives the division type. The n attribute gives the canonical scene number, where appropriate. Provides the act/scene header, as given in the print edition. Marks stage directions. The n attribute gives the stage direction line number. The type attribute identifies the type of stage direction, as follows: entrance: marks character entrances exit: marks character exits. At the end of scenes (though not necessarily at the end of the play), dead characters are included in the exit direction delivery: marks directions on how a character speaks (asides, speaking to a specific character, reading, singing, disguising a voice) location: marks where the character speaks ("within", "above") modifier: usually marks a character in disguise (e.g., "as Balthazar") business: any other action, whether performed by a character or not. Directions such as "flourish" and "thunder and lightning" are considered to be "business", since someone will have to make them happen dumbshow: describes the action of a dumbshow mixed: a stage direction that combines several of the above The who attribute identifies the characters associated with that stage direction. Marks musical and other sound cues. The type attribute categorizes the type of cue, as follows: military: marks alarums, marches, retreats, parleys, and other cues related to combat flourish: marks flourishes, sennets, tuckets, and other such cues music sound: marks other sound cues, such as thunder, clocks, and bells The ana attribute may provide information such as the specific type of cue and the instrument used. Marks a speech within the text. The who attribute identifies the characters associated with that speech. Provides the speech prefix, as given in the print edition. Within sp tags, contains the text of the speech. Marks a word in a speech, stage direction, speech prefix, or header. The n attribute gives the line number, where appropriate. Marks a space character in a speech, stage direction, speech prefix, or header. The n attribute gives the line number, where appropriate. Marks a punctuation character in a speech, stage direction, speech prefix, or header. The n attribute gives the line number, where appropriate. Marks editorial placeholders where words are missing or unclear in the primary text. No longer used. In Beta versions, joined w, c, pc and anchor elements into a typographic line. The n attribute gives the line number. The type attribute has the value line. The ana attribute has the value verse, prose, or short. The prev and next attributes provide the means for reconstructing split verse lines. Creates a pointer for one or more w, c, pc, and anchor elements, used to link them to analytical interpretations such as textual notes or stanza identification. Often contains a song, poem, or letter, identified by its type attribute; or, if inside a w tag, identifies a word segment that may be quoted or emended. Marks the header to a song or dumbshow. No longer used. In Beta versions, used sparingly to contain a song or poem that seems distinct from the surrounding text and may not be attributed to a specific speaker. Contains quoted sections of text. Marks non-English words. The xml:lang attribute identifies the foreign language, where appropriate. Marks a proper name that may be quoted or italicized in the text. Marks a title that may be quoted or italicized in the text. Marks sections of text that are otherwise highlighted (generally italicized). Marks areas where content in a prior source text is not present in the current reading. Critical apparatus containing variant readings from prior publications.

Words, spaces, and punctuation characters are numbered sequentially, incremented by 10.

Most other elements begin with an element-specific prefix, followed by a reference to the Folger Through Line Number, a sequential numbering of the numbered lines in the text. If an element is inline with play text, it has the same line number as the line where it begins. If it begins on a line following play text, a decimal number is appended and incremented as necessary. If it falls between a speech prefix and the play text, a ".0" is appended to the value of the following line number.

English French Italian Latin Spanish Leontes

King of Sicilia

male Hermione

Queen of Sicilia

female Mamillius

their son

male Perdita

their daughter

female Perdita as an infant Polixenes

King of Bohemia

male Florizell

his son

male Camillo

a courtier, friend to Leontes and then to Polixenes

male Antigonus

a Sicilian courtier

male Paulina

his wife and lady-in-waiting to Hermione

female courtiers in Sicilia Cleomenes male Dion male Emilia

a lady-in-waiting to Hermione

female Shepherd

foster father to Perdita

male Shepherd’s Son male Autolycus

former servant to Florizell, now a rogue

male Archidamus

a Bohemian courtier

male Time

as Chorus

Two Ladies attending on Hermione female Indistinct members of the LADIES group

Lords, Servants, and Gentlemen attending on Leontes

male Indeterminate member of the SERVANTS group Indeterminate member of the SERVANTS group Indeterminate member of the SERVANTS group Indistinct members of the SERVANTS group Paulina’s Attendants Indistinct member of Paulina’s ATTENDANTS group male An Officer of the court male A Mariner male A Jailer male shepherdesses in Bohemia Mopsa female Dorcas female Servants attending on the Shepherd Servant to the Shepherd male

Shepherds and Shepherdesses

Twelve Countrymen disguised as satyrs

Version 0.9.2.3 released. Minor correction to #FromTheDirector. Corrected #w0174730 from "tune" to "time". Released as Version 0.9.2.2 Corrected #w0178270 from "than" to "thou". Released as Version 0.9.2.1 Version 0.9.2 released Identified turnunders (verse lines split because they could not fit on the previous line in the print edition). Version 0.9.0 released. Encoding updated. Character referencing system updated. Version 0.8.5 (Beta) released.

It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.

Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them.

The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theatre.

I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.

Michael WitmoreDirector, Folger Shakespeare Library

Until now, with the release of The Folger Shakespeare (formerly Folger Digital Texts), readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of Hamlet, two of King Lear, Henry V, Romeo and Juliet, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.

Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See The Tempest, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.

The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Shakespeare texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from Othello: “square bracketIf she in chains of magic were not bound,square bracket”), half-square brackets (for example, from Henry V: “With half-square bracketbloodhalf-square bracket and sword and fire to win your right,”), or angle brackets (for example, from Hamlet: “O farewell, honest angle bracketsoldier.angle bracket Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.

Because the Folger Shakespeare texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.

The “tale” of The Winter’s Tale unfolds in scenes set sixteen years apart. In the first part of the play, Leontes, king of Sicilia, plays host to his friend Polixenes, king of Bohemia. Suddenly, Leontes becomes unreasonably jealous of Polixenes and Leontes’s pregnant wife, Hermione. Leontes calls for Polixenes to be killed, but he escapes.

Hermione, under arrest, gives birth to a daughter; Leontes orders the baby to be taken overseas and abandoned. The death of the couple’s young son, Mamillius, brings Leontes to his senses, too late. Word arrives that Hermione, too, has died. In Bohemia, a shepherd finds and adopts the baby girl, Perdita.

Sixteen years later, the story resumes. Polixenes’s son, Florizell, loves Perdita. When Polixenes forbids the unequal match, the couple flees to Sicilia, where the tale reaches its conclusion. Perdita’s identity as a princess is revealed, allowing her and Florizell to marry; Leontes and Polixenes reconcile; and Hermione returns in the form of a statue, steps down from its pedestal, and reunites with her family.

ACT 1 Scene 1 Enter Camillo and Archidamus . ARCHIDAMUS If you shall chance , Camillo , to visit Bohemia on the like occasion whereon my services are now on foot , you shall see , as I have said , great difference betwixt our Bohemia and your Sicilia . CAMILLO I think this coming summer the King of Sicilia means to pay Bohemia the visitation which he justly owes him . ARCHIDAMUS Wherein our entertainment shall shame us ; we will be justified in our loves . For indeed — CAMILLO Beseech you — ARCHIDAMUS Verily , I speak it in the freedom of my knowledge . We cannot with such magnificence — in so rare — I know not what to say . We will give you sleepy drinks , that your senses , unintelligent of our insufficience , may , though they cannot praise us , as little accuse us . CAMILLO You pay a great deal too dear for what’s given freely . ARCHIDAMUS Believe me , I speak as my understanding instructs me and as mine honesty puts it to utterance . CAMILLO Sicilia cannot show himself over-kind to Bohemia . They were trained together in their childhoods , and there rooted betwixt them then such an ACT 1. SC. 2 affection which cannot choose but branch now . Since their more mature dignities and royal necessities made separation of their society , their encounters , though not personal , hath been royally attorneyed with interchange of gifts , letters , loving embassies , that they have seemed to be together though absent , shook hands as over a vast , and embraced as it were from the ends of opposed winds . The heavens continue their loves . ARCHIDAMUS I think there is not in the world either malice or matter to alter it . You have an unspeakable comfort of your young Prince Mamillius . It is a gentleman of the greatest promise that ever came into my note . CAMILLO I very well agree with you in the hopes of him . It is a gallant child — one that indeed physics the subject , makes old hearts fresh . They that went on crutches ere he was born desire yet their life to see him a man . ARCHIDAMUS Would they else be content to die ? CAMILLO Yes , if there were no other excuse why they should desire to live . ARCHIDAMUS If the King had no son , they would desire to live on crutches till he had one . They exit . Scene 2 Enter Leontes , Hermione , Mamillius , Polixenes , Camillo , and Attendants . POLIXENES Nine changes of the wat’ry star hath been The shepherd’s note since we have left our throne Without a burden . Time as long again ACT 1. SC. 2 Would be filled up , my brother , with our thanks , And yet we should for perpetuity Go hence in debt . And therefore , like a cipher , Yet standing in rich place , I multiply With one We thank you many thousands more That go before it . LEONTES Stay your thanks awhile , And pay them when you part . POLIXENES Sir , that’s tomorrow . I am questioned by my fears of what may chance Or breed upon our absence , that may blow No sneaping winds at home to make us say This is put forth too truly . Besides , I have stayed To tire your Royalty . LEONTES We are tougher , brother , Than you can put us to ’t . POLIXENES No longer stay . LEONTES One sev’nnight longer . POLIXENES Very sooth , tomorrow . LEONTES We’ll part the time between ’s , then , and in that I’ll no gainsaying . POLIXENES Press me not , beseech you , so . There is no tongue that moves , none , none i’ th’ world , So soon as yours could win me . So it should now , Were there necessity in your request , although ’Twere needful I denied it . My affairs Do even drag me homeward , which to hinder Were in your love a whip to me , my stay To you a charge and trouble . To save both , Farewell , our brother . LEONTES Tongue-tied , our queen ? Speak you . ACT 1. SC. 2 HERMIONE I had thought , sir , to have held my peace until You had drawn oaths from him not to stay . You , sir , Charge him too coldly . Tell him you are sure All in Bohemia’s well . This satisfaction The bygone day proclaimed . Say this to him , He’s beat from his best ward . LEONTES Well said , Hermione . HERMIONE To tell he longs to see his son were strong . But let him say so then , and let him go . But let him swear so and he shall not stay ; We’ll thwack him hence with distaffs . To Polixenes . Yet of your royal presence I’ll adventure The borrow of a week . When at Bohemia You take my lord , I’ll give him my commission To let him there a month behind the gest Prefixed for ’s parting . — Yet , good deed , Leontes , I love thee not a jar o’ th’ clock behind What lady she her lord . — You’ll stay ? POLIXENES No , madam . HERMIONE Nay , but you will ? POLIXENES I may not , verily . HERMIONE Verily ? You put me off with limber vows . But I , Though you would seek t’ unsphere the stars with oaths , Should yet say Sir , no going . Verily , You shall not go . A lady’s verily is As potent as a lord’s . Will you go yet ? Force me to keep you as a prisoner , Not like a guest , so you shall pay your fees When you depart and save your thanks . How say you ? ACT 1. SC. 2 My prisoner or my guest ? By your dread verily , One of them you shall be . POLIXENES Your guest , then , madam . To be your prisoner should import offending , Which is for me less easy to commit Than you to punish . HERMIONE Not your jailer , then , But your kind hostess . Come , I’ll question you Of my lord’s tricks and yours when you were boys . You were pretty lordings then ? POLIXENES We were , fair queen , Two lads that thought there was no more behind But such a day tomorrow as today , And to be boy eternal . HERMIONE Was not my lord The verier wag o’ th’ two ? POLIXENES We were as twinned lambs that did frisk i’ th’ sun And bleat the one at th’ other . What we changed Was innocence for innocence . We knew not The doctrine of ill-doing , nor dreamed That any did . Had we pursued that life , And our weak spirits ne’er been higher reared With stronger blood , we should have answered heaven Boldly Not guilty , the imposition cleared Hereditary ours . HERMIONE By this we gather You have tripped since . POLIXENES O my most sacred lady , Temptations have since then been born to ’s , for In those unfledged days was my wife a girl ; Your precious self had then not crossed the eyes Of my young playfellow . HERMIONE Grace to boot ! Of this make no conclusion , lest you say ACT 1. SC. 2 Your queen and I are devils . Yet go on . Th’ offenses we have made you do we’ll answer , If you first sinned with us , and that with us You did continue fault , and that you slipped not With any but with us . LEONTES Is he won yet ? HERMIONE He’ll stay , my lord . LEONTES At my request he would not . Hermione , my dearest , thou never spok’st To better purpose . HERMIONE Never ? LEONTES Never but once . HERMIONE What , have I twice said well ? When was ’t before ? I prithee tell me . Cram ’s with praise , and make ’s As fat as tame things . One good deed dying tongueless Slaughters a thousand waiting upon that . Our praises are our wages . You may ride ’s With one soft kiss a thousand furlongs ere With spur we heat an acre . But to th’ goal : My last good deed was to entreat his stay . What was my first ? It has an elder sister , Or I mistake you . O , would her name were Grace ! But once before I spoke to th’ purpose ? When ? Nay , let me have ’t ; I long . LEONTES Why , that was when Three crabbèd months had soured themselves to death Ere I could make thee open thy white hand And clap thyself my love ; then didst thou utter I am yours forever . HERMIONE ’Tis grace indeed . Why , lo you now , I have spoke to th’ purpose twice . ACT 1. SC. 2 The one forever earned a royal husband , Th’ other for some while a friend . She gives Polixenes her hand . LEONTES , aside Too hot , too hot ! To mingle friendship far is mingling bloods . I have tremor cordis on me . My heart dances , But not for joy , not joy . This entertainment May a free face put on , derive a liberty From heartiness , from bounty , fertile bosom , And well become the agent . ’T may , I grant . But to be paddling palms and pinching fingers , As now they are , and making practiced smiles As in a looking glass , and then to sigh , as ’twere The mort o’ th’ deer — O , that is entertainment My bosom likes not , nor my brows . — Mamillius , Art thou my boy ? MAMILLIUS Ay , my good lord . LEONTES I’ fecks ! Why , that’s my bawcock . What , hast smutched thy nose ? They say it is a copy out of mine . Come , captain , We must be neat — not neat , but cleanly , captain . And yet the steer , the heifer , and the calf Are all called neat . — Still virginalling Upon his palm ? — How now , you wanton calf ? Art thou my calf ? MAMILLIUS Yes , if you will , my lord . LEONTES Thou want’st a rough pash and the shoots that I have To be full like me ; yet they say we are Almost as like as eggs . Women say so , That will say anything . But were they false As o’erdyed blacks , as wind , as waters , false As dice are to be wished by one that fixes ACT 1. SC. 2 No bourn ’twixt his and mine , yet were it true To say this boy were like me . Come , sir page , Look on me with your welkin eye . Sweet villain , Most dear’st , my collop ! Can thy dam ? — may ’t be ? — Affection , thy intention stabs the center . Thou dost make possible things not so held , Communicat’st with dreams — how can this be ? With what’s unreal thou coactive art , And fellow’st nothing . Then ’tis very credent Thou may’st co-join with something ; and thou dost , And that beyond commission , and I find it , And that to the infection of my brains And hard’ning of my brows . POLIXENES What means Sicilia ? HERMIONE He something seems unsettled . POLIXENES How , my lord ? LEONTES What cheer ? How is ’t with you , best brother ? HERMIONE You look As if you held a brow of much distraction . Are you moved , my lord ? LEONTES No , in good earnest . How sometimes nature will betray its folly , Its tenderness , and make itself a pastime To harder bosoms ! Looking on the lines Of my boy’s face , methoughts I did recoil Twenty-three years , and saw myself unbreeched , In my green velvet coat , my dagger muzzled Lest it should bite its master and so prove , As ornaments oft do , too dangerous . How like , methought , I then was to this kernel , This squash , this gentleman . — Mine honest friend , Will you take eggs for money ? MAMILLIUS No , my lord , I’ll fight . ACT 1. SC. 2 LEONTES You will ? Why , happy man be ’s dole ! — My brother , Are you so fond of your young prince as we Do seem to be of ours ? POLIXENES If at home , sir , He’s all my exercise , my mirth , my matter , Now my sworn friend and then mine enemy , My parasite , my soldier , statesman , all . He makes a July’s day short as December , And with his varying childness cures in me Thoughts that would thick my blood . LEONTES So stands this squire Officed with me . We two will walk , my lord , And leave you to your graver steps . — Hermione , How thou lov’st us show in our brother’s welcome . Let what is dear in Sicily be cheap . Next to thyself and my young rover , he’s Apparent to my heart . HERMIONE If you would seek us , We are yours i’ th’ garden . Shall ’s attend you there ? LEONTES To your own bents dispose you . You’ll be found , Be you beneath the sky . Aside . I am angling now , Though you perceive me not how I give line . Go to , go to ! How she holds up the neb , the bill to him , And arms her with the boldness of a wife To her allowing husband ! Exit Hermione , Polixenes , and Attendants . Gone already . Inch thick , knee-deep , o’er head and ears a forked one ! — Go play , boy , play . Thy mother plays , and I Play too , but so disgraced a part , whose issue ACT 1. SC. 2 Will hiss me to my grave . Contempt and clamor Will be my knell . Go play , boy , play . — There have been , Or I am much deceived , cuckolds ere now ; And many a man there is , even at this present , Now while I speak this , holds his wife by th’ arm , That little thinks she has been sluiced in ’s absence , And his pond fished by his next neighbor , by Sir Smile , his neighbor . Nay , there’s comfort in ’t Whiles other men have gates and those gates opened , As mine , against their will . Should all despair That have revolted wives , the tenth of mankind Would hang themselves . Physic for ’t there’s none . It is a bawdy planet , that will strike Where ’tis predominant ; and ’tis powerful , think it , From east , west , north , and south . Be it concluded , No barricado for a belly . Know ’t , It will let in and out the enemy With bag and baggage . Many thousand on ’s Have the disease and feel ’t not . — How now , boy ? MAMILLIUS I am like you , they say . LEONTES Why , that’s some comfort . — What , Camillo there ? CAMILLO , coming forward Ay , my good lord . LEONTES Go play , Mamillius . Thou ’rt an honest man . Mamillius exits . Camillo , this great sir will yet stay longer . CAMILLO You had much ado to make his anchor hold . When you cast out , it still came home . LEONTES Didst note it ? ACT 1. SC. 2 CAMILLO He would not stay at your petitions , made His business more material . LEONTES Didst perceive it ? Aside . They’re here with me already , whisp’ring , rounding : Sicilia is a so-forth . ’Tis far gone When I shall gust it last . — How came ’t , Camillo , That he did stay ? CAMILLO At the good queen’s entreaty . LEONTES At the queen’s be ’t . Good should be pertinent , But so it is , it is not . Was this taken By any understanding pate but thine ? For thy conceit is soaking , will draw in More than the common blocks . Not noted , is ’t , But of the finer natures , by some severals Of headpiece extraordinary ? Lower messes Perchance are to this business purblind ? Say . CAMILLO Business , my lord ? I think most understand Bohemia stays here longer . LEONTES Ha ? CAMILLO Stays here longer . LEONTES Ay , but why ? CAMILLO To satisfy your Highness and the entreaties Of our most gracious mistress . LEONTES Satisfy ? Th’ entreaties of your mistress ? Satisfy ? Let that suffice . I have trusted thee , Camillo , With all the nearest things to my heart , as well My chamber-counsels , wherein , priestlike , thou Hast cleansed my bosom ; I from thee departed Thy penitent reformed . But we have been ACT 1. SC. 2 Deceived in thy integrity , deceived In that which seems so . CAMILLO Be it forbid , my lord ! LEONTES To bide upon ’t : thou art not honest ; or , If thou inclin’st that way , thou art a coward , Which hoxes honesty behind , restraining From course required ; or else thou must be counted A servant grafted in my serious trust And therein negligent ; or else a fool That seest a game played home , the rich stake drawn , And tak’st it all for jest . CAMILLO My gracious lord , I may be negligent , foolish , and fearful . In every one of these no man is free , But that his negligence , his folly , fear , Among the infinite doings of the world , Sometime puts forth . In your affairs , my lord , If ever I were willful-negligent , It was my folly ; if industriously I played the fool , it was my negligence , Not weighing well the end ; if ever fearful To do a thing where I the issue doubted , Whereof the execution did cry out Against the non-performance , ’twas a fear Which oft infects the wisest . These , my lord , Are such allowed infirmities that honesty Is never free of . But , beseech your Grace , Be plainer with me ; let me know my trespass By its own visage . If I then deny it , ’Tis none of mine . LEONTES Ha’ not you seen , Camillo — But that’s past doubt ; you have , or your eyeglass ACT 1. SC. 2 Is thicker than a cuckold’s horn — or heard — For to a vision so apparent , rumor Cannot be mute — or thought — for cogitation Resides not in that man that does not think — My wife is slippery ? If thou wilt confess — Or else be impudently negative To have nor eyes nor ears nor thought — then say My wife’s a hobby-horse , deserves a name As rank as any flax-wench that puts to Before her troth-plight . Say ’t , and justify ’t . CAMILLO I would not be a stander-by to hear My sovereign mistress clouded so without My present vengeance taken . ’Shrew my heart , You never spoke what did become you less Than this , which to reiterate were sin As deep as that , though true . LEONTES Is whispering nothing ? Is leaning cheek to cheek ? Is meeting noses ? Kissing with inside lip ? Stopping the career Of laughter with a sigh ? — a note infallible Of breaking honesty . Horsing foot on foot ? Skulking in corners ? Wishing clocks more swift ? Hours minutes ? Noon midnight ? And all eyes Blind with the pin and web but theirs , theirs only , That would unseen be wicked ? Is this nothing ? Why , then the world and all that’s in ’t is nothing , The covering sky is nothing , Bohemia nothing , My wife is nothing , nor nothing have these nothings , If this be nothing . CAMILLO Good my lord , be cured Of this diseased opinion , and betimes , For ’tis most dangerous . LEONTES Say it be , ’tis true . ACT 1. SC. 2 CAMILLO No , no , my lord . LEONTES It is . You lie , you lie . I say thou liest , Camillo , and I hate thee , Pronounce thee a gross lout , a mindless slave , Or else a hovering temporizer that Canst with thine eyes at once see good and evil , Inclining to them both . Were my wife’s liver Infected as her life , she would not live The running of one glass . CAMILLO Who does infect her ? LEONTES Why , he that wears her like her medal , hanging About his neck — Bohemia , who , if I Had servants true about me , that bare eyes To see alike mine honor as their profits , Their own particular thrifts , they would do that Which should undo more doing . Ay , and thou , His cupbearer — whom I from meaner form Have benched and reared to worship , who mayst see Plainly as heaven sees Earth earth and Earth earth sees heaven How I am galled — mightst bespice a cup To give mine enemy a lasting wink , Which draft to me were cordial . CAMILLO Sir , my lord , I could do this , and that with no rash potion , But with a ling’ring dram that should not work Maliciously like poison . But I cannot Believe this crack to be in my dread mistress , So sovereignly being honorable . I have loved thee — LEONTES Make that thy question , and go rot ! Dost think I am so muddy , so unsettled , To appoint myself in this vexation , sully The purity and whiteness of my sheets — Which to preserve is sleep , which being spotted ACT 1. SC. 2 Is goads , thorns , nettles , tails of wasps — Give scandal to the blood o’ th’ Prince , my son , Who I do think is mine and love as mine , Without ripe moving to ’t ? Would I do this ? Could man so blench ? CAMILLO I must believe you , sir . I do , and will fetch off Bohemia for ’t — Provided that , when he’s removed , your Highness Will take again your queen as yours at first , Even for your son’s sake , and thereby for sealing The injury of tongues in courts and kingdoms Known and allied to yours . LEONTES Thou dost advise me Even so as I mine own course have set down . I’ll give no blemish to her honor , none . CAMILLO My lord , Go then , and with a countenance as clear As friendship wears at feasts , keep with Bohemia And with your queen . I am his cupbearer . If from me he have wholesome beverage , Account me not your servant . LEONTES This is all . Do ’t and thou hast the one half of my heart ; Do ’t not , thou splitt’st thine own . CAMILLO I’ll do ’t , my lord . LEONTES I will seem friendly , as thou hast advised me . He exits . CAMILLO O miserable lady ! But , for me , What case stand I in ? I must be the poisoner Of good Polixenes , and my ground to do ’t Is the obedience to a master , one Who in rebellion with himself will have All that are his so too . To do this deed , ACT 1. SC. 2 Promotion follows . If I could find example Of thousands that had struck anointed kings And flourished after , I’d not do ’t . But since Nor brass , nor stone , nor parchment bears not one , Let villainy itself forswear ’t . I must Forsake the court . To do ’t or no is certain To me a breakneck . Happy star reign now ! Here comes Bohemia . Enter Polixenes . POLIXENES , aside This is strange . Methinks My favor here begins to warp . Not speak ? — Good day , Camillo . CAMILLO Hail , most royal sir . POLIXENES What is the news i’ th’ court ? CAMILLO None rare , my lord . POLIXENES The King hath on him such a countenance As he had lost some province and a region Loved as he loves himself . Even now I met him With customary compliment , when he , Wafting his eyes to th’ contrary and falling A lip of much contempt , speeds from me , and So leaves me to consider what is breeding That changes thus his manners . CAMILLO I dare not know , my lord . POLIXENES How , dare not ? Do not ? Do you know and dare not ? Be intelligent to me — ’tis thereabouts ; For to yourself what you do know , you must , And cannot say you dare not . Good Camillo , Your changed complexions are to me a mirror Which shows me mine changed too , for I must be ACT 1. SC. 2 A party in this alteration , finding Myself thus altered with ’t . CAMILLO There is a sickness Which puts some of us in distemper , but I cannot name the disease , and it is caught Of you that yet are well . POLIXENES How caught of me ? Make me not sighted like the basilisk . I have looked on thousands who have sped the better By my regard , but killed none so . Camillo , As you are certainly a gentleman , thereto Clerklike experienced , which no less adorns Our gentry than our parents’ noble names , In whose success we are gentle , I beseech you , If you know aught which does behoove my knowledge Thereof to be informed , imprison ’t not In ignorant concealment . CAMILLO I may not answer . POLIXENES A sickness caught of me , and yet I well ? I must be answered . Dost thou hear , Camillo ? I conjure thee by all the parts of man Which honor does acknowledge , whereof the least Is not this suit of mine , that thou declare What incidency thou dost guess of harm Is creeping toward me ; how far off , how near ; Which way to be prevented , if to be ; If not , how best to bear it . CAMILLO Sir , I will tell you , Since I am charged in honor and by him That I think honorable . Therefore mark my counsel , Which must be e’en as swiftly followed as I mean to utter it , or both yourself and me Cry lost , and so goodnight . ACT 1. SC. 2 POLIXENES On , good Camillo . CAMILLO I am appointed him to murder you . POLIXENES By whom , Camillo ? CAMILLO By the King . POLIXENES For what ? CAMILLO He thinks , nay with all confidence he swears , As he had seen ’t or been an instrument To vice you to ’t , that you have touched his queen Forbiddenly . POLIXENES O , then my best blood turn To an infected jelly , and my name Be yoked with his that did betray the Best ! Turn then my freshest reputation to A savor that may strike the dullest nostril Where I arrive , and my approach be shunned , Nay , hated too , worse than the great’st infection That e’er was heard or read . CAMILLO Swear his thought over By each particular star in heaven and By all their influences , you may as well Forbid the sea for to obey the moon As or by oath remove or counsel shake The fabric of his folly , whose foundation Is piled upon his faith and will continue The standing of his body . POLIXENES How should this grow ? CAMILLO I know not . But I am sure ’tis safer to Avoid what’s grown than question how ’tis born . If therefore you dare trust my honesty , That lies enclosèd in this trunk which you Shall bear along impawned , away tonight ! ACT 1. SC. 2 Your followers I will whisper to the business , And will by twos and threes at several posterns Clear them o’ th’ city . For myself , I’ll put My fortunes to your service , which are here By this discovery lost . Be not uncertain , For , by the honor of my parents , I Have uttered truth — which if you seek to prove , I dare not stand by ; nor shall you be safer Than one condemned by the King’s own mouth , thereon His execution sworn . POLIXENES I do believe thee . I saw his heart in ’s face . Give me thy hand . Be pilot to me and thy places shall Still neighbor mine . My ships are ready and My people did expect my hence departure Two days ago . This jealousy Is for a precious creature . As she’s rare , Must it be great ; and as his person’s mighty , Must it be violent ; and as he does conceive He is dishonored by a man which ever Professed to him , why , his revenges must In that be made more bitter . Fear o’ershades me . Good expedition be my friend , and comfort The gracious queen , part of his theme , but nothing Of his ill-ta’en suspicion . Come , Camillo , I will respect thee as a father if Thou bear’st my life off hence . Let us avoid . CAMILLO It is in mine authority to command The keys of all the posterns . Please your Highness To take the urgent hour . Come , sir , away . They exit . ACT 2 Scene 1 Enter Hermione , Mamillius , and Ladies . HERMIONE Take the boy to you . He so troubles me ’Tis past enduring . FIRST LADY Come , my gracious lord , Shall I be your playfellow ? MAMILLIUS No , I’ll none of you . FIRST LADY Why , my sweet lord ? MAMILLIUS You’ll kiss me hard and speak to me as if I were a baby still . — I love you better . SECOND LADY And why so , my lord ? MAMILLIUS Not for because Your brows are blacker — yet black brows , they say , Become some women best , so that there be not Too much hair there , but in a semicircle , Or a half-moon made with a pen . SECOND LADY Who taught this ? MAMILLIUS I learned it out of women’s faces . — Pray now , What color are your eyebrows ? FIRST LADY Blue , my lord . ACT 2. SC. 1 MAMILLIUS Nay , that’s a mock . I have seen a lady’s nose That has been blue , but not her eyebrows . FIRST LADY Hark ye , The Queen your mother rounds apace . We shall Present our services to a fine new prince One of these days , and then you’d wanton with us If we would have you . SECOND LADY She is spread of late Into a goodly bulk . Good time encounter her ! HERMIONE What wisdom stirs amongst you ? — Come , sir , now I am for you again . Pray you sit by us , And tell ’s a tale . MAMILLIUS Merry or sad shall ’t be ? HERMIONE As merry as you will . MAMILLIUS A sad tale’s best for winter . I have one Of sprites and goblins . HERMIONE Let’s have that , good sir . Come on , sit down . Come on , and do your best To fright me with your sprites . You’re powerful at it . MAMILLIUS There was a man — HERMIONE Nay , come sit down , then on . MAMILLIUS Dwelt by a churchyard . I will tell it softly , Yond crickets shall not hear it . HERMIONE Come on then , and give ’t me in mine ear . They talk privately . Enter Leontes , Antigonus , and Lords . LEONTES Was he met there ? His train ? Camillo with him ? ACT 2. SC. 1 LORD Behind the tuft of pines I met them . Never Saw I men scour so on their way . I eyed them Even to their ships . LEONTES How blest am I In my just censure , in my true opinion ! Alack , for lesser knowledge ! How accursed In being so blest ! There may be in the cup A spider steeped , and one may drink , depart , And yet partake no venom , for his knowledge Is not infected ; but if one present Th’ abhorred ingredient to his eye , make known How he hath drunk , he cracks his gorge , his sides , With violent hefts . I have drunk , and seen the spider . Camillo was his help in this , his pander . There is a plot against my life , my crown . All’s true that is mistrusted . That false villain Whom I employed was pre-employed by him . He has discovered my design , and I Remain a pinched thing , yea , a very trick For them to play at will . How came the posterns So easily open ? LORD By his great authority , Which often hath no less prevailed than so On your command . LEONTES I know ’t too well . To Hermione . Give me the boy . I am glad you did not nurse him . Though he does bear some signs of me , yet you Have too much blood in him . HERMIONE What is this ? Sport ? LEONTES , to the Ladies Bear the boy hence . He shall not come about her . Away with him , and let her sport herself ACT 2. SC. 1 With that she’s big with , ( to Hermione ) for ’tis Polixenes Has made thee swell thus . A Lady exits with Mamillius . HERMIONE But I’d say he had not , And I’ll be sworn you would believe my saying , Howe’er you lean to th’ nayward . LEONTES You , my lords , Look on her , mark her well . Be but about To say She is a goodly lady , and The justice of your hearts will thereto add ’Tis pity she’s not honest , honorable . Praise her but for this her without-door form , Which on my faith deserves high speech , and straight The shrug , the hum , or ha , these petty brands That calumny doth use — O , I am out , That mercy does , for calumny will sear Virtue itself — these shrugs , these hums and has , When you have said she’s goodly , come between Ere you can say she’s honest . But be ’t known , From him that has most cause to grieve it should be , She’s an adult’ress . HERMIONE Should a villain say so , The most replenished villain in the world , He were as much more villain . You , my lord , Do but mistake . LEONTES You have mistook , my lady , Polixenes for Leontes . O thou thing , Which I’ll not call a creature of thy place Lest barbarism , making me the precedent , Should a like language use to all degrees , And mannerly distinguishment leave out Betwixt the prince and beggar . — I have said She’s an adult’ress ; I have said with whom . More , she’s a traitor , and Camillo is A federary with her , and one that knows ACT 2. SC. 1 What she should shame to know herself But with her most vile principal : that she’s A bed-swerver , even as bad as those That vulgars give bold’st titles ; ay , and privy To this their late escape . HERMIONE No , by my life , Privy to none of this . How will this grieve you , When you shall come to clearer knowledge , that You thus have published me ! Gentle my lord , You scarce can right me throughly then to say You did mistake . LEONTES No . If I mistake In those foundations which I build upon , The center is not big enough to bear A schoolboy’s top . — Away with her to prison . He who shall speak for her is afar off guilty But that he speaks . HERMIONE There’s some ill planet reigns . I must be patient till the heavens look With an aspect more favorable . Good my lords , I am not prone to weeping , as our sex Commonly are , the want of which vain dew Perchance shall dry your pities . But I have That honorable grief lodged here which burns Worse than tears drown . Beseech you all , my lords , With thoughts so qualified as your charities Shall best instruct you , measure me ; and so The King’s will be performed . LEONTES Shall I be heard ? HERMIONE Who is ’t that goes with me ? Beseech your Highness My women may be with me , for you see My plight requires it . — Do not weep , good fools ; There is no cause . When you shall know your mistress Has deserved prison , then abound in tears As I come out . This action I now go on ACT 2. SC. 1 Is for my better grace . — Adieu , my lord . I never wished to see you sorry ; now I trust I shall . — My women , come ; you have leave . LEONTES Go , do our bidding . Hence ! Hermione exits , under guard , with her Ladies . LORD Beseech your Highness , call the Queen again . ANTIGONUS Be certain what you do , sir , lest your justice Prove violence , in the which three great ones suffer : Yourself , your queen , your son . LORD For her , my lord , I dare my life lay down — and will do ’t , sir , Please you t’ accept it — that the Queen is spotless I’ th’ eyes of heaven , and to you — I mean In this which you accuse her . ANTIGONUS If it prove She’s otherwise , I’ll keep my stables where I lodge my wife . I’ll go in couples with her ; Than when I feel and see her , no farther trust her . For every inch of woman in the world , Ay , every dram of woman’s flesh , is false , If she be . LEONTES Hold your peaces . LORD Good my lord — ANTIGONUS It is for you we speak , not for ourselves . You are abused , and by some putter-on That will be damned for ’t . Would I knew the villain ! I would land-damn him . Be she honor-flawed , I have three daughters — the eldest is eleven ; The second and the third , nine and some five ; If this prove true , they’ll pay for ’t . By mine honor , I’ll geld ’em all ; fourteen they shall not see To bring false generations . They are co-heirs , ACT 2. SC. 1 And I had rather glib myself than they Should not produce fair issue . LEONTES Cease . No more . You smell this business with a sense as cold As is a dead man’s nose . But I do see ’t and feel ’t , As you feel doing thus , and see withal The instruments that feel . ANTIGONUS If it be so , We need no grave to bury honesty . There’s not a grain of it the face to sweeten Of the whole dungy Earth earth . LEONTES What ? Lack I credit ? LORD I had rather you did lack than I , my lord , Upon this ground . And more it would content me To have her honor true than your suspicion , Be blamed for ’t how you might . LEONTES Why , what need we Commune with you of this , but rather follow Our forceful instigation ? Our prerogative Calls not your counsels , but our natural goodness Imparts this , which if you — or stupefied Or seeming so in skill — cannot or will not Relish a truth like us , inform yourselves We need no more of your advice . The matter , The loss , the gain , the ord’ring on ’t is all Properly ours . ANTIGONUS And I wish , my liege , You had only in your silent judgment tried it , Without more overture . LEONTES How could that be ? Either thou art most ignorant by age , Or thou wert born a fool . Camillo’s flight , Added to their familiarity — Which was as gross as ever touched conjecture , That lacked sight only , naught for approbation ACT 2. SC. 2 But only seeing , all other circumstances Made up to th’ deed — doth push on this proceeding . Yet , for a greater confirmation — For in an act of this importance ’twere Most piteous to be wild — I have dispatched in post To sacred Delphos , to Apollo’s temple , Cleomenes and Dion , whom you know Of stuffed sufficiency . Now from the oracle They will bring all , whose spiritual counsel had Shall stop or spur me . Have I done well ? LORD Well done , my lord . LEONTES Though I am satisfied and need no more Than what I know , yet shall the oracle Give rest to th’ minds of others , such as he Whose ignorant credulity will not Come up to th’ truth . So have we thought it good From our free person she should be confined , Lest that the treachery of the two fled hence Be left her to perform . Come , follow us . We are to speak in public , for this business Will raise us all . ANTIGONUS , aside To laughter , as I take it , If the good truth were known . They exit . Scene 2 Enter Paulina , a Gentleman , and Paulina’s Attendants . PAULINA , to Gentleman The keeper of the prison , call to him . Let him have knowledge who I am . Gentleman exits . Good lady , ACT 2. SC. 2 No court in Europe is too good for thee . What dost thou then in prison ? Enter Jailer , with the Gentleman . Now , good sir , You know me , do you not ? JAILER For a worthy lady And one who much I honor . PAULINA Pray you then , Conduct me to the Queen . JAILER I may not , madam . To the contrary I have express commandment . PAULINA Here’s ado , to lock up honesty and honor from Th’ access of gentle visitors . Is ’t lawful , pray you , To see her women ? Any of them ? Emilia ? JAILER So please you , madam , To put apart these your attendants , I Shall bring Emilia forth . PAULINA I pray now , call her . — Withdraw yourselves . Attendants and Gentleman exit . JAILER And , madam , I must be present at your conference . PAULINA Well , be ’t so , prithee . Jailer exits . Here’s such ado to make no stain a stain As passes coloring . Enter Emilia with Jailer . Dear gentlewoman , How fares our gracious lady ? EMILIA As well as one so great and so forlorn May hold together . On her frights and griefs , Which never tender lady hath borne greater , She is something before her time delivered . ACT 2. SC. 2 PAULINA A boy ? EMILIA A daughter , and a goodly babe , Lusty and like to live . The Queen receives Much comfort in ’t , says My poor prisoner , I am innocent as you . PAULINA I dare be sworn . These dangerous unsafe lunes i’ th’ King , beshrew them ! He must be told on ’t , and he shall . The office Becomes a woman best . I’ll take ’t upon me . If I prove honey-mouthed , let my tongue blister And never to my red-looked anger be The trumpet anymore . Pray you , Emilia , Commend my best obedience to the Queen . If she dares trust me with her little babe , I’ll show ’t the King and undertake to be Her advocate to th’ loud’st We do not know How he may soften at the sight o’ th’ child . The silence often of pure innocence Persuades when speaking fails . EMILIA Most worthy madam , Your honor and your goodness is so evident That your free undertaking cannot miss A thriving issue . There is no lady living So meet for this great errand . Please your Ladyship To visit the next room , I’ll presently Acquaint the Queen of your most noble offer , Who but today hammered of this design , But durst not tempt a minister of honor Lest she should be denied . PAULINA Tell her , Emilia , I’ll use that tongue I have . If wit flow from ’t As boldness from my bosom , let ’t not be doubted I shall do good . ACT 2. SC. 3 EMILIA Now be you blest for it ! I’ll to the Queen . Please you come something nearer . JAILER , to Paulina Madam , if ’t please the Queen to send the babe , I know not what I shall incur to pass it , Having no warrant . PAULINA You need not fear it , sir . This child was prisoner to the womb , and is By law and process of great nature thence Freed and enfranchised , not a party to The anger of the King , nor guilty of , If any be , the trespass of the Queen . JAILER I do believe it . PAULINA Do not you fear . Upon mine honor , I Will stand betwixt you and danger . They exit . Scene 3 Enter Leontes . LEONTES Nor night nor day no rest . It is but weakness To bear the matter thus , mere weakness . If The cause were not in being — part o’ th’ cause , She th’ adult’ress , for the harlot king Is quite beyond mine arm , out of the blank And level of my brain , plot-proof . But she I can hook to me . Say that she were gone , Given to the fire , a moiety of my rest Might come to me again . — Who’s there ? Enter a Servant . SERVANT My lord . ACT 2. SC. 3 LEONTES How does the boy ? SERVANT He took good rest tonight . ’Tis hoped His sickness is discharged . LEONTES To see his nobleness , Conceiving the dishonor of his mother . He straight declined , drooped , took it deeply , Fastened and fixed the shame on ’t in himself , Threw off his spirit , his appetite , his sleep , And downright languished . Leave me solely . Go , See how he fares . Servant exits . Fie , fie , no thought of him . The very thought of my revenges that way Recoil upon me — in himself too mighty , And in his parties , his alliance . Let him be Until a time may serve . For present vengeance , Take it on her . Camillo and Polixenes Laugh at me , make their pastime at my sorrow . They should not laugh if I could reach them , nor Shall she within my power . Enter Paulina , carrying the baby , with Servants , Antigonus , and Lords . LORD You must not enter . PAULINA Nay , rather , good my lords , be second to me . Fear you his tyrannous passion more , alas , Than the Queen’s life ? A gracious innocent soul , More free than he is jealous . ANTIGONUS That’s enough . SERVANT Madam , he hath not slept tonight , commanded None should come at him . PAULINA Not so hot , good sir . I come to bring him sleep . ’Tis such as you That creep like shadows by him and do sigh ACT 2. SC. 3 At each his needless heavings , such as you Nourish the cause of his awaking . I Do come with words as medicinal as true , Honest as either , to purge him of that humor That presses him from sleep . LEONTES What noise there , ho ? PAULINA No noise , my lord , but needful conference About some gossips for your Highness . LEONTES How ? — Away with that audacious lady . Antigonus , I charged thee that she should not come about me . I knew she would . ANTIGONUS I told her so , my lord , On your displeasure’s peril and on mine , She should not visit you . LEONTES What , canst not rule her ? PAULINA From all dishonesty he can . In this , Unless he take the course that you have done — Commit me for committing honor — trust it , He shall not rule me . ANTIGONUS La you now , you hear . When she will take the rein I let her run , But she’ll not stumble . PAULINA Good my liege , I come — And I beseech you hear me , who professes Myself your loyal servant , your physician , Your most obedient counselor , yet that dares Less appear so in comforting your evils Than such as most seem yours — I say I come From your good queen . LEONTES Good queen ? PAULINA Good queen , my lord , good queen , I say good queen , ACT 2. SC. 3 And would by combat make her good , so were I A man , the worst about you . LEONTES Force her hence . PAULINA Let him that makes but trifles of his eyes First hand me . On mine own accord I’ll off , But first I’ll do my errand . — The good queen , For she is good , hath brought you forth a daughter — Here ’tis — commends it to your blessing . She lays down the baby . LEONTES Out ! A mankind witch ! Hence with her , out o’ door . A most intelligencing bawd . PAULINA Not so . I am as ignorant in that as you In so entitling me , and no less honest Than you are mad — which is enough , I’ll warrant , As this world goes , to pass for honest . LEONTES Traitors , Will you not push her out ? To Antigonus . Give her the bastard , Thou dotard ; thou art woman-tired , unroosted By thy Dame Partlet here . Take up the bastard , Take ’t up , I say . Give ’t to thy crone . PAULINA , to Antigonus Forever Unvenerable be thy hands if thou Tak’st up the Princess by that forced baseness Which he has put upon ’t . LEONTES He dreads his wife . PAULINA So I would you did . Then ’twere past all doubt You’d call your children yours . LEONTES A nest of traitors ! ANTIGONUS I am none , by this good light . ACT 2. SC. 3 PAULINA Nor I , nor any But one that’s here , and that’s himself . For he The sacred honor of himself , his queen’s , His hopeful son’s , his babe’s , betrays to slander , Whose sting is sharper than the sword’s ; and will not — For , as the case now stands , it is a curse He cannot be compelled to ’t — once remove The root of his opinion , which is rotten As ever oak or stone was sound . LEONTES A callet Of boundless tongue , who late hath beat her husband And now baits me ! This brat is none of mine . It is the issue of Polixenes . Hence with it , and together with the dam Commit them to the fire . PAULINA It is yours , And , might we lay th’ old proverb to your charge , So like you ’tis the worse . — Behold , my lords , Although the print be little , the whole matter And copy of the father — eye , nose , lip , The trick of ’s frown , his forehead , nay , the valley , The pretty dimples of his chin and cheek , his smiles , The very mold and frame of hand , nail , finger . And thou , good goddess Nature , which hast made it So like to him that got it , if thou hast The ordering of the mind too , ’mongst all colors No yellow in ’t , lest she suspect , as he does , Her children not her husband’s . LEONTES A gross hag ! — And , losel , thou art worthy to be hanged That wilt not stay her tongue . ANTIGONUS Hang all the husbands That cannot do that feat , you’ll leave yourself Hardly one subject . ACT 2. SC. 3 LEONTES Once more , take her hence . PAULINA A most unworthy and unnatural lord Can do no more . LEONTES I’ll ha’ thee burnt . PAULINA I care not . It is an heretic that makes the fire , Not she which burns in ’t . I’ll not call you tyrant ; But this most cruel usage of your queen , Not able to produce more accusation Than your own weak-hinged fancy , something savors Of tyranny , and will ignoble make you , Yea , scandalous to the world . LEONTES , to Antigonus On your allegiance , Out of the chamber with her ! Were I a tyrant , Where were her life ? She durst not call me so If she did know me one . Away with her ! PAULINA , to Lords I pray you do not push me ; I’ll be gone . — Look to your babe , my lord ; ’tis yours . Jove send her A better guiding spirit . — What needs these hands ? You that are thus so tender o’er his follies Will never do him good , not one of you . So , so . Farewell , we are gone . She exits . LEONTES , to Antigonus Thou , traitor , hast set on thy wife to this . My child ? Away with ’t ! Even thou , that hast A heart so tender o’er it , take it hence , And see it instantly consumed with fire . Even thou , and none but thou . Take it up straight . Within this hour bring me word ’tis done , And by good testimony , or I’ll seize thy life , With what thou else call’st thine . If thou refuse And wilt encounter with my wrath , say so . ACT 2. SC. 3 The bastard brains with these my proper hands Shall I dash out . Go , take it to the fire , For thou sett’st on thy wife . ANTIGONUS I did not , sir . These lords , my noble fellows , if they please , Can clear me in ’t . LORDS We can , my royal liege . He is not guilty of her coming hither . LEONTES You’re liars all . LORD Beseech your Highness , give us better credit . We have always truly served you , and beseech So to esteem of us . And on our knees we beg , As recompense of our dear services Past and to come , that you do change this purpose , Which being so horrible , so bloody , must Lead on to some foul issue . We all kneel . LEONTES I am a feather for each wind that blows . Shall I live on to see this bastard kneel And call me father ? Better burn it now Than curse it then . But be it ; let it live . It shall not neither . To Antigonus . You , sir , come you hither , You that have been so tenderly officious With Lady Margery , your midwife there , To save this bastard’s life — for ’tis a bastard , So sure as this beard’s gray . What will you adventure To save this brat’s life ? ANTIGONUS Anything , my lord , That my ability may undergo And nobleness impose . At least thus much : I’ll pawn the little blood which I have left To save the innocent . Anything possible . ACT 2. SC. 3 LEONTES It shall be possible . Swear by this sword Thou wilt perform my bidding . ANTIGONUS , his hand on the hilt I will , my lord . LEONTES Mark , and perform it , seest thou ; for the fail Of any point in ’t shall not only be Death to thyself but to thy lewd-tongued wife , Whom for this time we pardon . We enjoin thee , As thou art liegeman to us , that thou carry This female bastard hence , and that thou bear it To some remote and desert place quite out Of our dominions , and that there thou leave it , Without more mercy , to it own protection And favor of the climate . As by strange fortune It came to us , I do in justice charge thee , On thy soul’s peril and thy body’s torture , That thou commend it strangely to some place Where chance may nurse or end it . Take it up . ANTIGONUS I swear to do this , though a present death Had been more merciful . — Come on , poor babe . He picks up the baby . Some powerful spirit instruct the kites and ravens To be thy nurses ! Wolves and bears , they say , Casting their savageness aside , have done Like offices of pity . To Leontes . Sir , be prosperous In more than this deed does require . — And blessing Against this cruelty fight on thy side , Poor thing , condemned to loss . He exits , carrying the baby . LEONTES No , I’ll not rear Another’s issue . Enter a Servant . SERVANT Please your Highness , posts ACT 2. SC. 3 From those you sent to th’ oracle are come An hour since . Cleomenes and Dion , Being well arrived from Delphos , are both landed , Hasting to th’ court . LORD , to Leontes So please you , sir , their speed Hath been beyond account . LEONTES Twenty-three days They have been absent . ’Tis good speed , foretells The great Apollo suddenly will have The truth of this appear . Prepare you , lords . Summon a session , that we may arraign Our most disloyal lady ; for , as she hath Been publicly accused , so shall she have A just and open trial . While she lives , My heart will be a burden to me . Leave me , And think upon my bidding . They exit . ACT 3 Scene 1 Enter Cleomenes and Dion . CLEOMENES The climate’s delicate , the air most sweet , Fertile the isle , the temple much surpassing The common praise it bears . DION I shall report , For most it caught me , the celestial habits — Methinks I so should term them — and the reverence Of the grave wearers . O , the sacrifice , How ceremonious , solemn , and unearthly It was i’ th’ off’ring ! CLEOMENES But of all , the burst And the ear-deaf’ning voice o’ th’ oracle , Kin to Jove’s thunder , so surprised my sense That I was nothing . DION If th’ event o’ th’ journey Prove as successful to the Queen — O , be ’t so ! — As it hath been to us rare , pleasant , speedy , The time is worth the use on ’t . CLEOMENES Great Apollo Turn all to th’ best ! These proclamations , So forcing faults upon Hermione , I little like . DION The violent carriage of it Will clear or end the business when the oracle , ACT 3. SC. 2 Thus by Apollo’s great divine sealed up , Shall the contents discover . Something rare Even then will rush to knowledge . Go . Fresh horses ; And gracious be the issue . They exit . Scene 2 Enter Leontes , Lords , and Officers . LEONTES This sessions , to our great grief we pronounce , Even pushes ’gainst our heart : the party tried The daughter of a king , our wife , and one Of us too much beloved . Let us be cleared Of being tyrannous , since we so openly Proceed in justice , which shall have due course Even to the guilt or the purgation . Produce the prisoner . OFFICER It is his Highness’ pleasure that the Queen Appear in person here in court . Enter Hermione , as to her trial , Paulina , and Ladies . Silence ! LEONTES Read the indictment . OFFICER reads Hermione , queen to the worthy Leontes , King of Sicilia , thou art here accused and arraigned of high treason , in committing adultery with Polixenes , King of Bohemia , and conspiring with Camillo to take away the life of our sovereign lord the King , thy royal husband ; the pretense whereof being by circumstances partly laid open , thou , Hermione , contrary to the faith and allegiance of a true subject , didst counsel and aid them , for their better safety , to fly away by night . ACT 3. SC. 2 HERMIONE Since what I am to say must be but that Which contradicts my accusation , and The testimony on my part no other But what comes from myself , it shall scarce boot me To say Not guilty . Mine integrity , Being counted falsehood , shall , as I express it , Be so received . But thus : if powers divine Behold our human actions , as they do , I doubt not then but innocence shall make False accusation blush and tyranny Tremble at patience . You , my lord , best know , Whom least will seem to do so , my past life Hath been as continent , as chaste , as true , As I am now unhappy ; which is more Than history can pattern , though devised And played to take spectators . For behold me , A fellow of the royal bed , which owe A moiety of the throne , a great king’s daughter , The mother to a hopeful prince , here standing To prate and talk for life and honor fore Who please to come and hear . For life , I prize it As I weigh grief , which I would spare . For honor , ’Tis a derivative from me to mine , And only that I stand for . I appeal To your own conscience , sir , before Polixenes Came to your court , how I was in your grace , How merited to be so ; since he came , With what encounter so uncurrent I Have strained t’ appear thus ; if one jot beyond The bound of honor , or in act or will That way inclining , hardened be the hearts Of all that hear me , and my near’st of kin Cry fie upon my grave . ACT 3. SC. 2 LEONTES I ne’er heard yet That any of these bolder vices wanted Less impudence to gainsay what they did Than to perform it first . HERMIONE That’s true enough , Though ’tis a saying , sir , not due to me . LEONTES You will not own it . HERMIONE More than mistress of Which comes to me in name of fault , I must not At all acknowledge . For Polixenes , With whom I am accused , I do confess I loved him as in honor he required , With such a kind of love as might become A lady like me , with a love even such , So and no other , as yourself commanded , Which not to have done , I think , had been in me Both disobedience and ingratitude To you and toward your friend , whose love had spoke , Even since it could speak , from an infant , freely That it was yours . Now , for conspiracy , I know not how it tastes , though it be dished For me to try how . All I know of it Is that Camillo was an honest man ; And why he left your court , the gods themselves , Wotting no more than I , are ignorant . LEONTES You knew of his departure , as you know What you have underta’en to do in ’s absence . HERMIONE Sir , You speak a language that I understand not . My life stands in the level of your dreams , Which I’ll lay down . LEONTES Your actions are my dreams . ACT 3. SC. 2 You had a bastard by Polixenes , And I but dreamed it . As you were past all shame — Those of your fact are so — so past all truth , Which to deny concerns more than avails ; for as Thy brat hath been cast out , like to itself , No father owning it — which is indeed More criminal in thee than it — so thou Shalt feel our justice , in whose easiest passage Look for no less than death . HERMIONE Sir , spare your threats . The bug which you would fright me with I seek . To me can life be no commodity . The crown and comfort of my life , your favor , I do give lost , for I do feel it gone , But know not how it went . My second joy And first fruits of my body , from his presence I am barred like one infectious . My third comfort , Starred most unluckily , is from my breast , The innocent milk in it most innocent mouth , Haled out to murder ; myself on every post Proclaimed a strumpet ; with immodest hatred The childbed privilege denied , which longs To women of all fashion ; lastly , hurried Here to this place , i’ th’ open air , before I have got strength of limit . Now , my liege , Tell me what blessings I have here alive , That I should fear to die ? Therefore proceed . But yet hear this ( mistake me not : no life , I prize it not a straw , but for mine honor , Which I would free ) , if I shall be condemned Upon surmises , all proofs sleeping else But what your jealousies awake , I tell you ’Tis rigor , and not law . Your Honors all , I do refer me to the oracle . Apollo be my judge . LORD This your request ACT 3. SC. 2 Is altogether just . Therefore bring forth , And in Apollo’s name , his oracle . Officers exit . HERMIONE The Emperor of Russia was my father . O , that he were alive and here beholding His daughter’s trial , that he did but see The flatness of my misery , yet with eyes Of pity , not revenge . Enter Cleomenes , Dion , with Officers . OFFICER , presenting a sword You here shall swear upon this sword of justice That you , Cleomenes and Dion , have Been both at Delphos , and from thence have brought This sealed-up oracle , by the hand delivered Of great Apollo’s priest , and that since then You have not dared to break the holy seal Nor read the secrets in ’t . CLEOMENES , DION All this we swear . LEONTES Break up the seals and read . OFFICER reads Hermione is chaste , Polixenes blameless , Camillo a true subject , Leontes a jealous tyrant , his innocent babe truly begotten ; and the King shall live without an heir if that which is lost be not found . LORDS Now blessèd be the great Apollo ! HERMIONE Praised ! LEONTES Hast thou read truth ? OFFICER Ay , my lord , even so as it is here set down . LEONTES There is no truth at all i’ th’ oracle . The sessions shall proceed . This is mere falsehood . ACT 3. SC. 2 Enter a Servant . SERVANT My lord the King , the King ! LEONTES What is the business ? SERVANT O sir , I shall be hated to report it . The Prince your son , with mere conceit and fear Of the Queen’s speed , is gone . LEONTES How ? Gone ? SERVANT Is dead . LEONTES Apollo’s angry , and the heavens themselves Do strike at my injustice . Hermione falls . How now there ? PAULINA This news is mortal to the Queen . Look down And see what death is doing . LEONTES Take her hence . Her heart is but o’ercharged . She will recover . I have too much believed mine own suspicion . Beseech you , tenderly apply to her Some remedies for life . Paulina exits with Officers carrying Hermione . Apollo , pardon My great profaneness ’gainst thine oracle . I’ll reconcile me to Polixenes , New woo my queen , recall the good Camillo , Whom I proclaim a man of truth , of mercy ; For , being transported by my jealousies To bloody thoughts and to revenge , I chose Camillo for the minister to poison ACT 3. SC. 2 My friend Polixenes , which had been done But that the good mind of Camillo tardied My swift command , though I with death and with Reward did threaten and encourage him , Not doing it and being done . He , most humane And filled with honor , to my kingly guest Unclasped my practice , quit his fortunes here , Which you knew great , and to the hazard Of all incertainties himself commended , No richer than his honor . How he glisters Through my rust , and how his piety Does my deeds make the blacker ! Enter Paulina . PAULINA Woe the while ! O , cut my lace , lest my heart , cracking it , Break too ! LORD What fit is this , good lady ? PAULINA , to Leontes What studied torments , tyrant , hast for me ? What wheels , racks , fires ? What flaying ? Boiling In leads or oils ? What old or newer torture Must I receive , whose every word deserves To taste of thy most worst ? Thy tyranny , Together working with thy jealousies , Fancies too weak for boys , too green and idle For girls of nine , O , think what they have done , And then run mad indeed , stark mad , for all Thy bygone fooleries were but spices of it . That thou betrayedst Polixenes , ’twas nothing ; That did but show thee of a fool , inconstant And damnable ingrateful . Nor was ’t much Thou wouldst have poisoned good Camillo’s honor , To have him kill a king : poor trespasses , More monstrous standing by , whereof I reckon ACT 3. SC. 2 The casting forth to crows thy baby daughter To be or none or little , though a devil Would have shed water out of fire ere done ’t . Nor is ’t directly laid to thee the death Of the young prince , whose honorable thoughts , Thoughts high for one so tender , cleft the heart That could conceive a gross and foolish sire Blemished his gracious dam . This is not , no , Laid to thy answer . But the last — O lords , When I have said , cry woe ! — the Queen , the Queen , The sweet’st , dear’st creature’s dead , and vengeance for ’t Not dropped down yet . LORD The higher powers forbid ! PAULINA I say she’s dead . I’ll swear ’t . If word nor oath Prevail not , go and see . If you can bring Tincture or luster in her lip , her eye , Heat outwardly or breath within , I’ll serve you As I would do the gods . — But , O thou tyrant , Do not repent these things , for they are heavier Than all thy woes can stir . Therefore betake thee To nothing but despair . A thousand knees Ten thousand years together , naked , fasting , Upon a barren mountain , and still winter In storm perpetual , could not move the gods To look that way thou wert . LEONTES Go on , go on . Thou canst not speak too much . I have deserved All tongues to talk their bitt’rest . LORD , to Paulina Say no more . Howe’er the business goes , you have made fault I’ th’ boldness of your speech . PAULINA I am sorry for ’t . All faults I make , when I shall come to know them , ACT 3. SC. 3 I do repent . Alas , I have showed too much The rashness of a woman . He is touched To th’ noble heart . — What’s gone and what’s past help Should be past grief . Do not receive affliction At my petition . I beseech you , rather Let me be punished , that have minded you Of what you should forget . Now , good my liege , Sir , royal sir , forgive a foolish woman . The love I bore your queen — lo , fool again ! — I’ll speak of her no more , nor of your children . I’ll not remember you of my own lord , Who is lost too . Take your patience to you , And I’ll say nothing . LEONTES Thou didst speak but well When most the truth , which I receive much better Than to be pitied of thee . Prithee , bring me To the dead bodies of my queen and son . One grave shall be for both . Upon them shall The causes of their death appear , unto Our shame perpetual . Once a day I’ll visit The chapel where they lie , and tears shed there Shall be my recreation . So long as nature Will bear up with this exercise , so long I daily vow to use it . Come , and lead me To these sorrows . They exit . Scene 3 Enter Antigonus carrying the babe , and a Mariner . ANTIGONUS Thou art perfect , then , our ship hath touched upon The deserts of Bohemia ? ACT 3. SC. 3 MARINER Ay , my lord , and fear We have landed in ill time . The skies look grimly And threaten present blusters . In my conscience , The heavens with that we have in hand are angry And frown upon ’s . ANTIGONUS Their sacred wills be done . Go , get aboard . Look to thy bark . I’ll not be long before I call upon thee . MARINER Make your best haste , and go not Too far i’ th’ land . ’Tis like to be loud weather . Besides , this place is famous for the creatures Of prey that keep upon ’t . ANTIGONUS Go thou away . I’ll follow instantly . MARINER I am glad at heart To be so rid o’ th’ business . He exits . ANTIGONUS Come , poor babe . I have heard , but not believed , the spirits o’ th’ dead May walk again . If such thing be , thy mother Appeared to me last night , for ne’er was dream So like a waking . To me comes a creature , Sometimes her head on one side , some another . I never saw a vessel of like sorrow , So filled and so becoming . In pure white robes , Like very sanctity , she did approach My cabin where I lay , thrice bowed before me , And , gasping to begin some speech , her eyes Became two spouts . The fury spent , anon Did this break from her : Good Antigonus , Since fate , against thy better disposition , Hath made thy person for the thrower-out Of my poor babe , according to thine oath , Places remote enough are in Bohemia . There weep , and leave it crying . And , for the babe Is counted lost forever , Perdita ACT 3. SC. 3 I prithee call ’t . For this ungentle business Put on thee by my lord , thou ne’er shalt see Thy wife Paulina more . And so , with shrieks , She melted into air . Affrighted much , I did in time collect myself and thought This was so and no slumber . Dreams are toys , Yet for this once , yea , superstitiously , I will be squared by this . I do believe Hermione hath suffered death , and that Apollo would , this being indeed the issue Of King Polixenes , it should here be laid , Either for life or death , upon the earth Of its right father . — Blossom , speed thee well . There lie , and there thy character ; there these , He lays down the baby , a bundle , and a box . Which may , if fortune please , both breed thee , pretty , And still rest thine . Thunder . The storm begins . Poor wretch , That for thy mother’s fault art thus exposed To loss and what may follow . Weep I cannot , But my heart bleeds , and most accurst am I To be by oath enjoined to this . Farewell . The day frowns more and more . Thou ’rt like to have A lullaby too rough . I never saw The heavens so dim by day . Thunder , and sounds of hunting . A savage clamor ! Well may I get aboard ! This is the chase . I am gone forever ! He exits , pursued by a bear . Enter Shepherd . SHEPHERD I would there were no age between ten and three-and-twenty , or that youth would sleep out the rest , for there is nothing in the between but getting wenches with child , wronging the ancientry , stealing , ACT 3. SC. 3 fighting — Hark you now . Would any but these boiled brains of nineteen and two-and-twenty hunt this weather ? They have scared away two of my best sheep , which I fear the wolf will sooner find than the master . If anywhere I have them , ’tis by the seaside , browsing of ivy . Good luck , an ’t be thy will , what have we here ? Mercy on ’s , a bairn ! A very pretty bairn . A boy or a child , I wonder ? A pretty one , a very pretty one . Sure some scape . Though I am not bookish , yet I can read waiting-gentlewoman in the scape . This has been some stair-work , some trunk-work , some behind-door work . They were warmer that got this than the poor thing is here . I’ll take it up for pity . Yet I’ll tarry till my son come . He halloed but even now . — Whoa-ho-ho ! Enter Shepherd’s Son . SHEPHERD’S SON Hilloa , loa ! SHEPHERD What , art so near ? If thou ’lt see a thing to talk on when thou art dead and rotten , come hither . What ail’st thou , man ? SHEPHERD’S SON I have seen two such sights , by sea and by land — but I am not to say it is a sea , for it is now the sky ; betwixt the firmament and it , you cannot thrust a bodkin’s point . SHEPHERD Why , boy , how is it ? SHEPHERD’S SON I would you did but see how it chafes , how it rages , how it takes up the shore . But that’s not to the point . O , the most piteous cry of the poor souls ! Sometimes to see ’em , and not to see ’em . Now the ship boring the moon with her mainmast , and anon swallowed with yeast and froth , as you’d thrust a cork into a hogshead . And then for the land service , to see how the bear tore out his shoulder-bone , how he cried to me for help , and said his ACT 3. SC. 3 name was Antigonus , a nobleman . But to make an end of the ship : to see how the sea flap-dragoned it . But , first , how the poor souls roared and the sea mocked them , and how the poor gentleman roared and the bear mocked him , both roaring louder than the sea or weather . SHEPHERD Name of mercy , when was this , boy ? SHEPHERD’S SON Now , now . I have not winked since I saw these sights . The men are not yet cold under water , nor the bear half dined on the gentleman . He’s at it now . SHEPHERD Would I had been by to have helped the old man . SHEPHERD’S SON I would you had been by the ship side , to have helped her . There your charity would have lacked footing . SHEPHERD Heavy matters , heavy matters . But look thee here , boy . Now bless thyself . Thou met’st with things dying , I with things newborn . Here’s a sight for thee . Look thee , a bearing cloth for a squire’s child . Look thee here . Take up , take up , boy . Open ’t . So , let’s see . It was told me I should be rich by the fairies . This is some changeling . Open ’t . What’s within , boy ? SHEPHERD’S SON , opening the box You’re a made old man . If the sins of your youth are forgiven you , you’re well to live . Gold , all gold . SHEPHERD This is fairy gold , boy , and ’twill prove so . Up with ’t , keep it close . Home , home , the next way . We are lucky , boy , and to be so still requires nothing but secrecy . Let my sheep go . Come , good boy , the next way home . SHEPHERD’S SON Go you the next way with your findings . I’ll go see if the bear be gone from the gentleman and how much he hath eaten . They are ACT 3. SC. 3 never curst but when they are hungry . If there be any of him left , I’ll bury it . SHEPHERD That’s a good deed . If thou mayest discern by that which is left of him what he is , fetch me to th’ sight of him . SHEPHERD’S SON Marry , will I , and you shall help to put him i’ th’ ground . SHEPHERD ’Tis a lucky day , boy , and we’ll do good deeds on ’t . They exit . ACT 4 Scene 1 Enter Time , the Chorus . TIME I , that please some , try all — both joy and terror Of good and bad , that makes and unfolds error — Now take upon me , in the name of Time , To use my wings . Impute it not a crime To me or my swift passage that I slide O’er sixteen years , and leave the growth untried Of that wide gap , since it is in my power To o’erthrow law and in one self-born hour To plant and o’erwhelm custom . Let me pass The same I am ere ancient’st order was Or what is now received . I witness to The times that brought them in . So shall I do To th’ freshest things now reigning , and make stale The glistering of this present , as my tale Now seems to it . Your patience this allowing , I turn my glass and give my scene such growing As you had slept between . Leontes leaving , Th’ effects of his fond jealousies so grieving That he shuts up himself , imagine me , Gentle spectators , that I now may be In fair Bohemia . And remember well I mentioned a son o’ th’ King’s , which Florizell I now name to you , and with speed so pace ACT 4. SC. 2 To speak of Perdita , now grown in grace Equal with wond’ring . What of her ensues I list not prophesy ; but let Time’s news Be known when ’tis brought forth . A shepherd’s daughter And what to her adheres , which follows after , Is th’ argument of Time . Of this allow , If ever you have spent time worse ere now . If never , yet that Time himself doth say He wishes earnestly you never may . He exits . Scene 2 Enter Polixenes and Camillo . POLIXENES I pray thee , good Camillo , be no more importunate . ’Tis a sickness denying thee anything , a death to grant this . CAMILLO It is fifteen years since I saw my country . Though I have for the most part been aired abroad , I desire to lay my bones there . Besides , the penitent king , my master , hath sent for me , to whose feeling sorrows I might be some allay — or I o’erween to think so — which is another spur to my departure . POLIXENES As thou lov’st me , Camillo , wipe not out the rest of thy services by leaving me now . The need I have of thee thine own goodness hath made . Better not to have had thee than thus to want thee . Thou , having made me businesses which none without thee can sufficiently manage , must either stay to execute them thyself or take away with thee the very services thou hast done , which if I have not enough considered , as too much I cannot , to be more thankful to thee shall be my study , and my profit therein the heaping friendships . Of that fatal country ACT 4. SC. 2 Sicilia , prithee speak no more , whose very naming punishes me with the remembrance of that penitent , as thou call’st him , and reconciled king my brother , whose loss of his most precious queen and children are even now to be afresh lamented . Say to me , when sawst thou the Prince Florizell , my son ? Kings are no less unhappy , their issue not being gracious , than they are in losing them when they have approved their virtues . CAMILLO Sir , it is three days since I saw the Prince . What his happier affairs may be are to me unknown , but I have missingly noted he is of late much retired from court and is less frequent to his princely exercises than formerly he hath appeared . POLIXENES I have considered so much , Camillo , and with some care , so far that I have eyes under my service which look upon his removedness , from whom I have this intelligence : that he is seldom from the house of a most homely shepherd , a man , they say , that from very nothing , and beyond the imagination of his neighbors , is grown into an unspeakable estate . CAMILLO I have heard , sir , of such a man , who hath a daughter of most rare note . The report of her is extended more than can be thought to begin from such a cottage . POLIXENES That’s likewise part of my intelligence , but , I fear , the angle that plucks our son thither . Thou shalt accompany us to the place , where we will , not appearing what we are , have some question with the shepherd , from whose simplicity I think it not uneasy to get the cause of my son’s resort thither . Prithee be my present partner in this business , and lay aside the thoughts of Sicilia . CAMILLO I willingly obey your command . ACT 4. SC. 3 POLIXENES My best Camillo . We must disguise ourselves . They exit . Scene 3 Enter Autolycus singing . AUTOLYCUS When daffodils begin to peer , With heigh , the doxy over the dale , Why , then comes in the sweet o’ the year , For the red blood reigns in the winter’s pale . The white sheet bleaching on the hedge , With heigh , the sweet birds , O how they sing ! Doth set my pugging tooth an edge , For a quart of ale is a dish for a king . The lark , that tirralirra chants , With heigh , with heigh , the thrush and the jay , Are summer songs for me and my aunts , While we lie tumbling in the hay . I have served Prince Florizell and in my time wore three-pile , but now I am out of service . But shall I go mourn for that , my dear ? The pale moon shines by night , And when I wander here and there , I then do most go right . If tinkers may have leave to live , And bear the sow-skin budget , Then my account I well may give , And in the stocks avouch it . ACT 4. SC. 3 My traffic is sheets . When the kite builds , look to lesser linen . My father named me Autolycus , who , being , as I am , littered under Mercury , was likewise a snapper-up of unconsidered trifles . With die and drab I purchased this caparison , and my revenue is the silly cheat . Gallows and knock are too powerful on the highway . Beating and hanging are terrors to me . For the life to come , I sleep out the thought of it . A prize , a prize ! Enter Shepherd’s Son . SHEPHERD’S SON Let me see , every ’leven wether tods , every tod yields pound and odd shilling ; fifteen hundred shorn , what comes the wool to ? AUTOLYCUS , aside If the springe hold , the cock’s mine . He lies down . SHEPHERD’S SON I cannot do ’t without counters . Let me see , what am I to buy for our sheep-shearing feast ? ( He reads a paper . ) Three pound of sugar , five pound of currants , rice — what will this sister of mine do with rice ? But my father hath made her mistress of the feast , and she lays it on . She hath made me four-and-twenty nosegays for the shearers , three-man song men all , and very good ones ; but they are most of them means and basses , but one Puritan amongst them , and he sings psalms to hornpipes . I must have saffron to color the warden pies ; mace ; dates , none , that’s out of my note ; nutmegs , seven ; a race or two of ginger , but that I may beg ; four pound of prunes , and as many of raisins o’ th’ sun . AUTOLYCUS , writhing as if in pain O , that ever I was born ! SHEPHERD’S SON I’ th’ name of me ! ACT 4. SC. 3 AUTOLYCUS O , help me , help me ! Pluck but off these rags , and then death , death . SHEPHERD’S SON Alack , poor soul , thou hast need of more rags to lay on thee rather than have these off . AUTOLYCUS O sir , the loathsomeness of them offends me more than the stripes I have received , which are mighty ones and millions . SHEPHERD’S SON Alas , poor man , a million of beating may come to a great matter . AUTOLYCUS I am robbed , sir , and beaten , my money and apparel ta’en from me , and these detestable things put upon me . SHEPHERD’S SON What , by a horseman , or a footman ? AUTOLYCUS A footman , sweet sir , a footman . SHEPHERD’S SON Indeed , he should be a footman by the garments he has left with thee . If this be a horseman’s coat , it hath seen very hot service . Lend me thy hand ; I’ll help thee . Come , lend me thy hand . AUTOLYCUS O , good sir , tenderly , O ! SHEPHERD’S SON Alas , poor soul . AUTOLYCUS O , good sir , softly , good sir . I fear , sir , my shoulder blade is out . SHEPHERD’S SON How now ? Canst stand ? AUTOLYCUS , stealing the Shepherd’s Son’s purse Softly , dear sir , good sir , softly . You ha’ done me a charitable office . SHEPHERD’S SON Dost lack any money ? I have a little money for thee . AUTOLYCUS No , good sweet sir , no , I beseech you , sir . I have a kinsman not past three-quarters of a mile hence , unto whom I was going . I shall there have money or anything I want . Offer me no money , I pray you ; that kills my heart . SHEPHERD’S SON What manner of fellow was he that robbed you ? ACT 4. SC. 3 AUTOLYCUS A fellow , sir , that I have known to go about with troll-my-dames . I knew him once a servant of the Prince . I cannot tell , good sir , for which of his virtues it was , but he was certainly whipped out of the court . SHEPHERD’S SON His vices , you would say . There’s no virtue whipped out of the court . They cherish it to make it stay there , and yet it will no more but abide . AUTOLYCUS Vices , I would say , sir . I know this man well . He hath been since an ape-bearer , then a process-server , a bailiff . Then he compassed a motion of the Prodigal Son , and married a tinker’s wife within a mile where my land and living lies , and , having flown over many knavish professions , he settled only in rogue . Some call him Autolycus . SHEPHERD’S SON Out upon him ! Prig , for my life , prig ! He haunts wakes , fairs , and bearbaitings . AUTOLYCUS Very true , sir : he , sir , he . That’s the rogue that put me into this apparel . SHEPHERD’S SON Not a more cowardly rogue in all Bohemia . If you had but looked big and spit at him , he’d have run . AUTOLYCUS I must confess to you , sir , I am no fighter . I am false of heart that way , and that he knew , I warrant him . SHEPHERD’S SON How do you now ? AUTOLYCUS Sweet sir , much better than I was . I can stand and walk . I will even take my leave of you and pace softly towards my kinsman’s . SHEPHERD’S SON Shall I bring thee on the way ? AUTOLYCUS No , good-faced sir , no , sweet sir . SHEPHERD’S SON Then fare thee well . I must go buy spices for our sheep-shearing . AUTOLYCUS Prosper you , sweet sir . Shepherd’s Son exits . Your purse is not hot enough to purchase your ACT 4. SC. 4 spice . I’ll be with you at your sheep-shearing too . If I make not this cheat bring out another , and the shearers prove sheep , let me be unrolled and my name put in the book of virtue . Sings . Jog on , jog on , the footpath way , And merrily hent the stile-a . A merry heart goes all the day , Your sad tires in a mile-a . He exits . Scene 4 Enter Florizell and Perdita . FLORIZELL These your unusual weeds to each part of you Does give a life — no shepherdess , but Flora Peering in April’s front . This your sheep-shearing Is as a meeting of the petty gods , And you the queen on ’t . PERDITA Sir , my gracious lord , To chide at your extremes it not becomes me ; O , pardon that I name them ! Your high self , The gracious mark o’ th’ land , you have obscured With a swain’s wearing , and me , poor lowly maid , Most goddesslike pranked up . But that our feasts In every mess have folly , and the feeders Digest it with a custom , I should blush To see you so attired , swoon , I think , To show myself a glass . FLORIZELL I bless the time When my good falcon made her flight across Thy father’s ground . PERDITA Now Jove afford you cause . To me the difference forges dread . Your greatness ACT 4. SC. 4 Hath not been used to fear . Even now I tremble To think your father by some accident Should pass this way as you did . O the Fates , How would he look to see his work , so noble , Vilely bound up ? What would he say ? Or how Should I , in these my borrowed flaunts , behold The sternness of his presence ? FLORIZELL Apprehend Nothing but jollity . The gods themselves , Humbling their deities to love , have taken The shapes of beasts upon them . Jupiter Became a bull , and bellowed ; the green Neptune A ram , and bleated ; and the fire-robed god , Golden Apollo , a poor humble swain , As I seem now . Their transformations Were never for a piece of beauty rarer , Nor in a way so chaste , since my desires Run not before mine honor , nor my lusts Burn hotter than my faith . PERDITA O , but sir , Your resolution cannot hold when ’tis Opposed , as it must be , by th’ power of the King . One of these two must be necessities , Which then will speak : that you must change this purpose Or I my life . FLORIZELL Thou dear’st Perdita , With these forced thoughts I prithee darken not The mirth o’ th’ feast . Or I’ll be thine , my fair , Or not my father’s . For I cannot be Mine own , nor anything to any , if I be not thine . To this I am most constant , Though destiny say no . Be merry , gentle . Strangle such thoughts as these with anything That you behold the while . Your guests are coming . ACT 4. SC. 4 Lift up your countenance as it were the day Of celebration of that nuptial which We two have sworn shall come . PERDITA O Lady Fortune , Stand you auspicious ! FLORIZELL See , your guests approach . Address yourself to entertain them sprightly , And let’s be red with mirth . Enter Shepherd , Shepherd’s Son , Mopsa , Dorcas , Shepherds and Shepherdesses , Servants , Musicians , and Polixenes and Camillo in disguise . SHEPHERD Fie , daughter , when my old wife lived , upon This day she was both pantler , butler , cook , Both dame and servant ; welcomed all ; served all ; Would sing her song and dance her turn , now here At upper end o’ th’ table , now i’ th’ middle ; On his shoulder , and his ; her face afire With labor , and the thing she took to quench it She would to each one sip . You are retired As if you were a feasted one and not The hostess of the meeting . Pray you bid These unknown friends to ’s welcome , for it is A way to make us better friends , more known . Come , quench your blushes and present yourself That which you are , mistress o’ th’ feast . Come on , And bid us welcome to your sheep-shearing , As your good flock shall prosper . PERDITA , to Polixenes Sir , welcome . It is my father’s will I should take on me The hostess-ship o’ th’ day . To Camillo . You’re welcome , sir . — Give me those flowers there , Dorcas . — Reverend sirs , ACT 4. SC. 4 For you there’s rosemary and rue . These keep Seeming and savor all the winter long . Grace and remembrance be to you both , And welcome to our shearing . POLIXENES Shepherdess — A fair one are you — well you fit our ages With flowers of winter . PERDITA Sir , the year growing ancient , Not yet on summer’s death nor on the birth Of trembling winter , the fairest flowers o’ th’ season Are our carnations and streaked gillyvors , Which some call nature’s bastards . Of that kind Our rustic garden’s barren , and I care not To get slips of them . POLIXENES Wherefore , gentle maiden , Do you neglect them ? PERDITA For I have heard it said There is an art which in their piedness shares With great creating nature . POLIXENES Say there be ; Yet nature is made better by no mean But nature makes that mean . So , over that art Which you say adds to nature is an art That nature makes . You see , sweet maid , we marry A gentler scion to the wildest stock , And make conceive a bark of baser kind By bud of nobler race . This is an art Which does mend nature , change it rather , but The art itself is nature . PERDITA So it is . POLIXENES Then make your garden rich in gillyvors , And do not call them bastards . PERDITA I’ll not put The dibble in earth to set one slip of them , ACT 4. SC. 4 No more than , were I painted , I would wish This youth should say ’twere well , and only therefore Desire to breed by me . Here’s flowers for you : Hot lavender , mints , savory , marjoram , The marigold , that goes to bed wi’ th’ sun And with him rises weeping . These are flowers Of middle summer , and I think they are given To men of middle age . You’re very welcome . CAMILLO I should leave grazing , were I of your flock , And only live by gazing . PERDITA Out , alas ! You’d be so lean that blasts of January Would blow you through and through . ( To Florizell . ) Now , my fair’st friend , I would I had some flowers o’ th’ spring , that might Become your time of day , ( to the Shepherdesses ) and yours , and yours , That wear upon your virgin branches yet Your maidenheads growing . O Proserpina , For the flowers now that , frighted , thou let’st fall From Dis’s wagon ! Daffodils , That come before the swallow dares , and take The winds of March with beauty ; violets dim , But sweeter than the lids of Juno’s eyes Or Cytherea’s breath ; pale primroses , That die unmarried ere they can behold Bright Phoebus in his strength — a malady Most incident to maids ; bold oxlips and The crown imperial ; lilies of all kinds , The flower-de-luce being one — O , these I lack To make you garlands of , and my sweet friend , To strew him o’er and o’er . FLORIZELL What , like a corse ? ACT 4. SC. 4 PERDITA No , like a bank for love to lie and play on , Not like a corse ; or if , not to be buried , But quick and in mine arms . Come , take your flowers . Methinks I play as I have seen them do In Whitsun pastorals . Sure this robe of mine Does change my disposition . FLORIZELL What you do Still betters what is done . When you speak , sweet , I’d have you do it ever . When you sing , I’d have you buy and sell so , so give alms , Pray so ; and for the ord’ring your affairs , To sing them too . When you do dance , I wish you A wave o’ th’ sea , that you might ever do Nothing but that , move still , still so , And own no other function . Each your doing , So singular in each particular , Crowns what you are doing in the present deeds , That all your acts are queens . PERDITA O Doricles , Your praises are too large . But that your youth And the true blood which peeps fairly through ’t Do plainly give you out an unstained shepherd , With wisdom I might fear , my Doricles , You wooed me the false way . FLORIZELL I think you have As little skill to fear as I have purpose To put you to ’t . But come , our dance , I pray . Your hand , my Perdita . So turtles pair That never mean to part . PERDITA I’ll swear for ’em . POLIXENES , to Camillo This is the prettiest lowborn lass that ever Ran on the greensward . Nothing she does or seems But smacks of something greater than herself , Too noble for this place . ACT 4. SC. 4 CAMILLO He tells her something That makes her blood look out . Good sooth , she is The queen of curds and cream . SHEPHERD’S SON , to Musicians Come on , strike up . DORCAS Mopsa must be your mistress ? Marry , garlic To mend her kissing with . MOPSA Now , in good time ! SHEPHERD’S SON Not a word , a word . We stand upon our manners . — Come , strike up . Music begins . Here a Dance of Shepherds and Shepherdesses . POLIXENES Pray , good shepherd , what fair swain is this Which dances with your daughter ? SHEPHERD They call him Doricles , and boasts himself To have a worthy feeding . But I have it Upon his own report , and I believe it . He looks like sooth . He says he loves my daughter . I think so too , for never gazed the moon Upon the water as he’ll stand and read , As ’twere , my daughter’s eyes . And , to be plain , I think there is not half a kiss to choose Who loves another best . POLIXENES She dances featly . SHEPHERD So she does anything , though I report it That should be silent . If young Doricles Do light upon her , she shall bring him that Which he not dreams of . Enter a Servant . SERVANT O , master , if you did but hear the peddler at the door , you would never dance again after a tabor and pipe ; no , the bagpipe could not move you . He ACT 4. SC. 4 sings several tunes faster than you’ll tell money . He utters them as he had eaten ballads and all men’s ears grew to his tunes . SHEPHERD’S SON He could never come better . He shall come in . I love a ballad but even too well if it be doleful matter merrily set down , or a very pleasant thing indeed and sung lamentably . SERVANT He hath songs for man or woman , of all sizes . No milliner can so fit his customers with gloves . He has the prettiest love songs for maids , so without bawdry , which is strange , with such delicate burdens of dildos and fadings , Jump her and thump her . And where some stretch-mouthed rascal would , as it were , mean mischief and break a foul gap into the matter , he makes the maid to answer Whoop , do me no harm , good man ; puts him off , slights him , with Whoop , do me no harm , good man . POLIXENES This is a brave fellow . SHEPHERD’S SON Believe me , thou talkest of an admirable conceited fellow . Has he any unbraided wares ? SERVANT He hath ribbons of all the colors i’ th’ rainbow ; points more than all the lawyers in Bohemia can learnedly handle , though they come to him by th’ gross ; inkles , caddises , cambrics , lawns — why , he sings ’em over as they were gods or goddesses . You would think a smock were a she-angel , he so chants to the sleeve-hand and the work about the square on ’t . SHEPHERD’S SON Prithee bring him in , and let him approach singing . PERDITA Forewarn him that he use no scurrilous words in ’s tunes . Servant exits . SHEPHERD’S SON You have of these peddlers that have more in them than you’d think , sister . ACT 4. SC. 4 PERDITA Ay , good brother , or go about to think . Enter Autolycus , wearing a false beard , singing . AUTOLYCUS Lawn as white as driven snow , Cypress black as e’er was crow , Gloves as sweet as damask roses , Masks for faces and for noses , Bugle bracelet , necklace amber , Perfume for a lady’s chamber , Golden coifs and stomachers For my lads to give their dears , Pins and poking-sticks of steel , What maids lack from head to heel , Come buy of me , come . Come buy , come buy . Buy , lads , or else your lasses cry . Come buy . SHEPHERD’S SON If I were not in love with Mopsa , thou shouldst take no money of me ; but being enthralled as I am , it will also be the bondage of certain ribbons and gloves . MOPSA I was promised them against the feast , but they come not too late now . DORCAS He hath promised you more than that , or there be liars . MOPSA He hath paid you all he promised you . Maybe he has paid you more , which will shame you to give him again . SHEPHERD’S SON Is there no manners left among maids ? Will they wear their plackets where they should bear their faces ? Is there not milking time , when you are going to bed , or kiln-hole , to whistle of these secrets , but you must be tittle-tattling before all our guests ? ’Tis well they are whisp’ring . Clamor your tongues , and not a word more . ACT 4. SC. 4 MOPSA I have done . Come , you promised me a tawdry lace and a pair of sweet gloves . SHEPHERD’S SON Have I not told thee how I was cozened by the way and lost all my money ? AUTOLYCUS And indeed , sir , there are cozeners abroad ; therefore it behooves men to be wary . SHEPHERD’S SON Fear not thou , man . Thou shalt lose nothing here . AUTOLYCUS I hope so , sir , for I have about me many parcels of charge . SHEPHERD’S SON What hast here ? Ballads ? MOPSA Pray now , buy some . I love a ballad in print alife , for then we are sure they are true . AUTOLYCUS Here’s one to a very doleful tune , how a usurer’s wife was brought to bed of twenty moneybags at a burden , and how she longed to eat adders’ heads and toads carbonadoed . MOPSA Is it true , think you ? AUTOLYCUS Very true , and but a month old . DORCAS Bless me from marrying a usurer ! AUTOLYCUS Here’s the midwife’s name to ’t , one Mistress Taleporter , and five or six honest wives that were present . Why should I carry lies abroad ? MOPSA , to Shepherd’s Son Pray you now , buy it . SHEPHERD’S SON , to Autolycus Come on , lay it by , and let’s first see more ballads . We’ll buy the other things anon . AUTOLYCUS Here’s another ballad , of a fish that appeared upon the coast on Wednesday the fourscore of April , forty thousand fathom above water , and sung this ballad against the hard hearts of maids . It was thought she was a woman , and was turned into a cold fish for she would not exchange flesh with one that loved her . The ballad is very pitiful , and as true . DORCAS Is it true too , think you ? ACT 4. SC. 4 AUTOLYCUS Five justices’ hands at it , and witnesses more than my pack will hold . SHEPHERD’S SON Lay it by too . Another . AUTOLYCUS This is a merry ballad , but a very pretty one . MOPSA Let’s have some merry ones . AUTOLYCUS Why , this is a passing merry one and goes to the tune of <w xml:id="w0329480" n="4.4.328">Two</w> <c xml:id="c0329490" n="4.4.328"> </c> <w xml:id="w0329500" n="4.4.328">Maids</w> <c xml:id="c0329510" n="4.4.328"> </c> <w xml:id="w0329520" n="4.4.328">Wooing</w> <c xml:id="c0329530" n="4.4.328"> </c> <w xml:id="w0329540" n="4.4.328">a</w> <c xml:id="c0329550" n="4.4.328"> </c> <w xml:id="w0329560" n="4.4.328">Man</w> <pc xml:id="p0329570" n="4.4.328">.</pc> There’s scarce a maid westward but she sings it . ’Tis in request , I can tell you . MOPSA We can both sing it . If thou ’lt bear a part , thou shalt hear ; ’tis in three parts . DORCAS We had the tune on ’t a month ago . AUTOLYCUS I can bear my part . You must know ’tis my occupation . Have at it with you . Song . AUTOLYCUS Get you hence , for I must go Where it fits not you to know . DORCAS Whither ? MOPSA O , whither ? DORCAS Whither ? MOPSA It becomes thy oath full well Thou to me thy secrets tell . DORCAS Me too . Let me go thither . MOPSA Or thou goest to th’ grange or mill . DORCAS If to either , thou dost ill . AUTOLYCUS Neither . DORCAS What , neither ? AUTOLYCUS Neither . DORCAS Thou hast sworn my love to be . MOPSA Thou hast sworn it more to me . Then whither goest ? Say whither . SHEPHERD’S SON We’ll have this song out anon by ourselves . My father and the gentlemen are in sad ACT 4. SC. 4 talk , and we’ll not trouble them . Come , bring away thy pack after me . — Wenches , I’ll buy for you both . — Peddler , let’s have the first choice . — Follow me , girls . He exits with Mopsa , Dorcas , Shepherds and Shepherdesses . AUTOLYCUS And you shall pay well for ’em . Song . Will you buy any tape , Or lace for your cape , My dainty duck , my dear-a ? Any silk , any thread , Any toys for your head , Of the new’st and fin’st , fin’st wear-a ? Come to the peddler . Money’s a meddler That doth utter all men’s ware-a . He exits . Enter a Servant . SERVANT , to Shepherd Master , there is three carters , three shepherds , three neatherds , three swineherds , that have made themselves all men of hair . They call themselves saultiers , and they have a dance which the wenches say is a gallimaufry of gambols , because they are not in ’t , but they themselves are o’ th’ mind , if it be not too rough for some that know little but bowling , it will please plentifully . SHEPHERD Away ! We’ll none on ’t . Here has been too much homely foolery already . — I know , sir , we weary you . POLIXENES You weary those that refresh us . Pray , let’s see these four threes of herdsmen . ACT 4. SC. 4 SERVANT One three of them , by their own report , sir , hath danced before the King , and not the worst of the three but jumps twelve foot and a half by th’ square . SHEPHERD Leave your prating . Since these good men are pleased , let them come in — but quickly now . SERVANT Why , they stay at door , sir . He admits the herdsmen . Here a Dance of twelve herdsmen , dressed as Satyrs . Herdsmen , Musicians , and Servants exit . POLIXENES , to Shepherd O father , you’ll know more of that hereafter . Aside to Camillo . Is it not too far gone ? ’Tis time to part them . He’s simple , and tells much . To Florizell . How now , fair shepherd ? Your heart is full of something that does take Your mind from feasting . Sooth , when I was young And handed love , as you do , I was wont To load my she with knacks . I would have ransacked The peddler’s silken treasury and have poured it To her acceptance . You have let him go And nothing marted with him . If your lass Interpretation should abuse and call this Your lack of love or bounty , you were straited For a reply , at least if you make a care Of happy holding her . FLORIZELL Old sir , I know She prizes not such trifles as these are . The gifts she looks from me are packed and locked Up in my heart , which I have given already , But not delivered . To Perdita . O , hear me breathe my life Before this ancient sir , who , it should seem , ACT 4. SC. 4 Hath sometime loved . I take thy hand , this hand As soft as dove’s down and as white as it , Or Ethiopian’s tooth , or the fanned snow that’s bolted By th’ northern blasts twice o’er . POLIXENES What follows this ? — How prettily th’ young swain seems to wash The hand was fair before . — I have put you out . But to your protestation . Let me hear What you profess . FLORIZELL Do , and be witness to ’t . POLIXENES And this my neighbor too ? FLORIZELL And he , and more Than he , and men — the Earth earth , the heavens , and all — That were I crowned the most imperial monarch , Thereof most worthy , were I the fairest youth That ever made eye swerve , had force and knowledge More than was ever man’s , I would not prize them Without her love ; for her employ them all , Commend them and condemn them to her service Or to their own perdition . POLIXENES Fairly offered . CAMILLO This shows a sound affection . SHEPHERD But my daughter , Say you the like to him ? PERDITA I cannot speak So well , nothing so well , no , nor mean better . By th’ pattern of mine own thoughts I cut out The purity of his . SHEPHERD Take hands , a bargain . — And , friends unknown , you shall bear witness to ’t : I give my daughter to him and will make Her portion equal his . ACT 4. SC. 4 FLORIZELL O , that must be I’ th’ virtue of your daughter . One being dead , I shall have more than you can dream of yet , Enough then for your wonder . But come on , Contract us fore these witnesses . SHEPHERD Come , your hand — And daughter , yours . POLIXENES , To Florizell Soft , swain , awhile , beseech you . Have you a father ? FLORIZELL I have , but what of him ? POLIXENES Knows he of this ? FLORIZELL He neither does nor shall . POLIXENES Methinks a father Is at the nuptial of his son a guest That best becomes the table . Pray you once more , Is not your father grown incapable Of reasonable affairs ? Is he not stupid With age and alt’ring rheums ? Can he speak ? Hear ? Know man from man ? Dispute his own estate ? Lies he not bedrid , and again does nothing But what he did being childish ? FLORIZELL No , good sir . He has his health and ampler strength indeed Than most have of his age . POLIXENES By my white beard , You offer him , if this be so , a wrong Something unfilial . Reason my son Should choose himself a wife , but as good reason The father , all whose joy is nothing else But fair posterity , should hold some counsel In such a business . FLORIZELL I yield all this ; But for some other reasons , my grave sir , ACT 4. SC. 4 Which ’tis not fit you know , I not acquaint My father of this business . POLIXENES Let him know ’t . FLORIZELL He shall not . POLIXENES Prithee let him . FLORIZELL No , he must not . SHEPHERD Let him , my son . He shall not need to grieve At knowing of thy choice . FLORIZELL Come , come , he must not . Mark our contract . POLIXENES , removing his disguise Mark your divorce , young sir , Whom son I dare not call . Thou art too base To be acknowledged . Thou a scepter’s heir That thus affects a sheep-hook ! — Thou , old traitor , I am sorry that by hanging thee I can But shorten thy life one week . — And thou , fresh piece Of excellent witchcraft , whom of force must know The royal fool thou cop’st with — SHEPHERD O , my heart ! POLIXENES I’ll have thy beauty scratched with briers and made More homely than thy state . — For thee , fond boy , If I may ever know thou dost but sigh That thou no more shalt see this knack — as never I mean thou shalt — we’ll bar thee from succession , Not hold thee of our blood , no , not our kin , Far’r than Deucalion off . Mark thou my words . Follow us to the court . To Shepherd . Thou , churl , for this time , Though full of our displeasure , yet we free thee From the dead blow of it . — And you , enchantment , Worthy enough a herdsman — yea , him too , ACT 4. SC. 4 That makes himself , but for our honor therein , Unworthy thee — if ever henceforth thou These rural latches to his entrance open , Or hoop his body more with thy embraces , I will devise a death as cruel for thee As thou art tender to ’t . He exits . PERDITA Even here undone . I was not much afeard , for once or twice I was about to speak and tell him plainly The selfsame sun that shines upon his court Hides not his visage from our cottage but Looks on alike . To Florizell . Will ’t please you , sir , be gone ? I told you what would come of this . Beseech you , Of your own state take care . This dream of mine — Being now awake , I’ll queen it no inch farther , But milk my ewes and weep . CAMILLO , to Shepherd Why , how now , father ? Speak ere thou diest . SHEPHERD I cannot speak , nor think , Nor dare to know that which I know . To Florizell . O sir , You have undone a man of fourscore three , That thought to fill his grave in quiet , yea , To die upon the bed my father died , To lie close by his honest bones ; but now Some hangman must put on my shroud and lay me Where no priest shovels in dust . To Perdita . O cursèd wretch , That knew’st this was the Prince , and wouldst adventure To mingle faith with him ! — Undone , undone ! If I might die within this hour , I have lived To die when I desire . He exits . FLORIZELL , to Perdita Why look you so upon me ? I am but sorry , not afeard ; delayed , ACT 4. SC. 4 But nothing altered . What I was , I am , More straining on for plucking back , not following My leash unwillingly . CAMILLO Gracious my lord , You know your father’s temper . At this time He will allow no speech , which I do guess You do not purpose to him ; and as hardly Will he endure your sight as yet , I fear . Then , till the fury of his Highness settle , Come not before him . FLORIZELL I not purpose it . I think Camillo ? CAMILLO , removing his disguise Even he , my lord . PERDITA , to Florizell How often have I told you ’twould be thus ? How often said my dignity would last But till ’twere known ? FLORIZELL It cannot fail but by The violation of my faith ; and then Let nature crush the sides o’ th’ Earth earth together And mar the seeds within . Lift up thy looks . From my succession wipe me , father . I Am heir to my affection . CAMILLO Be advised . FLORIZELL I am , and by my fancy . If my reason Will thereto be obedient , I have reason . If not , my senses , better pleased with madness , Do bid it welcome . CAMILLO This is desperate , sir . FLORIZELL So call it ; but it does fulfill my vow . I needs must think it honesty . Camillo , Not for Bohemia nor the pomp that may Be thereat gleaned , for all the sun sees or The close earth wombs or the profound seas hides ACT 4. SC. 4 In unknown fathoms , will I break my oath To this my fair beloved . Therefore , I pray you , As you have ever been my father’s honored friend , When he shall miss me , as in faith I mean not To see him anymore , cast your good counsels Upon his passion . Let myself and fortune Tug for the time to come . This you may know And so deliver : I am put to sea With her who here I cannot hold on shore . And most opportune to our need I have A vessel rides fast by , but not prepared For this design . What course I mean to hold Shall nothing benefit your knowledge , nor Concern me the reporting . CAMILLO O my lord , I would your spirit were easier for advice Or stronger for your need . FLORIZELL Hark , Perdita . — I’ll hear you by and by . Florizell and Perdita walk aside . CAMILLO He’s irremovable , Resolved for flight . Now were I happy if His going I could frame to serve my turn , Save him from danger , do him love and honor , Purchase the sight again of dear Sicilia And that unhappy king , my master , whom I so much thirst to see . FLORIZELL , coming forward Now , good Camillo , I am so fraught with curious business that I leave out ceremony . CAMILLO Sir , I think You have heard of my poor services i’ th’ love That I have borne your father ? FLORIZELL Very nobly Have you deserved . It is my father’s music ACT 4. SC. 4 To speak your deeds , not little of his care To have them recompensed as thought on . CAMILLO Well , my lord , If you may please to think I love the King And , through him , what’s nearest to him , which is Your gracious self , embrace but my direction , If your more ponderous and settled project May suffer alteration . On mine honor , I’ll point you where you shall have such receiving As shall become your Highness , where you may Enjoy your mistress — from the whom I see There’s no disjunction to be made but by , As heavens forfend , your ruin — marry her , And with my best endeavors in your absence , Your discontenting father strive to qualify And bring him up to liking . FLORIZELL How , Camillo , May this , almost a miracle , be done , That I may call thee something more than man , And after that trust to thee ? CAMILLO Have you thought on A place whereto you’ll go ? FLORIZELL Not any yet . But as th’ unthought-on accident is guilty To what we wildly do , so we profess Ourselves to be the slaves of chance , and flies Of every wind that blows . CAMILLO Then list to me . This follows : if you will not change your purpose But undergo this flight , make for Sicilia , And there present yourself and your fair princess , For so I see she must be , ’fore Leontes . She shall be habited as it becomes The partner of your bed . Methinks I see ACT 4. SC. 4 Leontes opening his free arms and weeping His welcomes forth , asks thee , the son , forgiveness , As ’twere i’ th’ father’s person ; kisses the hands Of your fresh princess ; o’er and o’er divides him ’Twixt his unkindness and his kindness . Th’ one He chides to hell and bids the other grow Faster than thought or time . FLORIZELL Worthy Camillo , What color for my visitation shall I Hold up before him ? CAMILLO Sent by the King your father To greet him and to give him comforts . Sir , The manner of your bearing towards him , with What you , as from your father , shall deliver , Things known betwixt us three , I’ll write you down , The which shall point you forth at every sitting What you must say , that he shall not perceive But that you have your father’s bosom there And speak his very heart . FLORIZELL I am bound to you . There is some sap in this . CAMILLO A course more promising Than a wild dedication of yourselves To unpathed waters , undreamed shores , most certain To miseries enough ; no hope to help you , But as you shake off one to take another ; Nothing so certain as your anchors , who Do their best office if they can but stay you Where you’ll be loath to be . Besides , you know Prosperity’s the very bond of love , Whose fresh complexion and whose heart together Affliction alters . PERDITA One of these is true . I think affliction may subdue the cheek But not take in the mind . ACT 4. SC. 4 CAMILLO Yea , say you so ? There shall not at your father’s house these seven years Be born another such . FLORIZELL My good Camillo , She’s as forward of her breeding as she is I’ th’ rear our birth . CAMILLO I cannot say ’tis pity She lacks instructions , for she seems a mistress To most that teach . PERDITA Your pardon , sir . For this I’ll blush you thanks . FLORIZELL My prettiest Perdita . But O , the thorns we stand upon ! — Camillo , Preserver of my father , now of me , The medicine of our house , how shall we do ? We are not furnished like Bohemia’s son , Nor shall appear in Sicilia . CAMILLO My lord , Fear none of this . I think you know my fortunes Do all lie there . It shall be so my care To have you royally appointed as if The scene you play were mine . For instance , sir , That you may know you shall not want , one word . They step aside and talk . Enter Autolycus . AUTOLYCUS Ha , ha , what a fool Honesty honesty is ! And Trust trust , his sworn brother , a very simple gentleman ! I have sold all my trumpery . Not a counterfeit stone , not a ribbon , glass , pomander , brooch , table book , ballad , knife , tape , glove , shoe tie , bracelet , horn ring , to keep my pack from fasting . They throng who should buy first , as if my trinkets had been hallowed and brought a benediction to the buyer ; by which means I saw whose purse was best in picture , and ACT 4. SC. 4 what I saw , to my good use I remembered . My clown , who wants but something to be a reasonable man , grew so in love with the wenches’ song that he would not stir his pettitoes till he had both tune and words , which so drew the rest of the herd to me that all their other senses stuck in ears . You might have pinched a placket , it was senseless ; ’twas nothing to geld a codpiece of a purse . I could have filed keys off that hung in chains . No hearing , no feeling , but my sir’s song and admiring the nothing of it . So that in this time of lethargy I picked and cut most of their festival purses . And had not the old man come in with a hubbub against his daughter and the King’s son , and scared my choughs from the chaff , I had not left a purse alive in the whole army . Camillo , Florizell , and Perdita come forward . CAMILLO , to Florizell Nay , but my letters , by this means being there So soon as you arrive , shall clear that doubt . FLORIZELL And those that you’ll procure from King Leontes — CAMILLO Shall satisfy your father . PERDITA Happy be you ! All that you speak shows fair . CAMILLO , noticing Autolycus Who have we here ? We’ll make an instrument of this , omit Nothing may give us aid . AUTOLYCUS , aside If they have overheard me now , why , hanging . CAMILLO How now , good fellow ? Why shak’st thou so ? Fear not , man . Here’s no harm intended to thee . AUTOLYCUS I am a poor fellow , sir . CAMILLO Why , be so still . Here’s nobody will steal that from thee . Yet for the outside of thy poverty we ACT 4. SC. 4 must make an exchange . Therefore discase thee instantly — thou must think there’s a necessity in ’t — and change garments with this gentleman . Though the pennyworth on his side be the worst , yet hold thee , there’s some boot . He hands Autolycus money . AUTOLYCUS I am a poor fellow , sir . Aside . I know you well enough . CAMILLO Nay , prithee , dispatch . The gentleman is half flayed already . AUTOLYCUS Are you in earnest , sir ? Aside . I smell the trick on ’t . FLORIZELL Dispatch , I prithee . AUTOLYCUS Indeed , I have had earnest , but I cannot with conscience take it . CAMILLO Unbuckle , unbuckle . Florizell and Autolycus exchange garments . Fortunate mistress — let my prophecy Come home to you ! — you must retire yourself Into some covert . Take your sweetheart’s hat And pluck it o’er your brows , muffle your face , Dismantle you , and , as you can , disliken The truth of your own seeming , that you may — For I do fear eyes over — to shipboard Get undescried . PERDITA I see the play so lies That I must bear a part . CAMILLO No remedy . — Have you done there ? FLORIZELL Should I now meet my father , He would not call me son . CAMILLO Nay , you shall have no hat . He gives Florizell’s hat to Perdita . Come , lady , come . — Farewell , my friend . AUTOLYCUS Adieu , sir . ACT 4. SC. 4 FLORIZELL O Perdita , what have we twain forgot ? Pray you , a word . They talk aside . CAMILLO , aside What I do next shall be to tell the King Of this escape , and whither they are bound ; Wherein my hope is I shall so prevail To force him after , in whose company I shall re-view Sicilia , for whose sight I have a woman’s longing . FLORIZELL Fortune speed us ! — Thus we set on , Camillo , to th’ seaside . CAMILLO The swifter speed the better . Camillo , Florizell , and Perdita exit . AUTOLYCUS I understand the business ; I hear it . To have an open ear , a quick eye , and a nimble hand is necessary for a cutpurse ; a good nose is requisite also , to smell out work for th’ other senses . I see this is the time that the unjust man doth thrive . What an exchange had this been without boot ! What a boot is here with this exchange ! Sure the gods do this year connive at us , and we may do anything extempore . The Prince himself is about a piece of iniquity , stealing away from his father with his clog at his heels . If I thought it were a piece of honesty to acquaint the King withal , I would not do ’t . I hold it the more knavery to conceal it , and therein am I constant to my profession . Enter Shepherd’s Son and Shepherd , carrying the bundle and the box . Aside , aside ! Here is more matter for a hot brain . Every lane’s end , every shop , church , session , hanging , yields a careful man work . He moves aside . ACT 4. SC. 4 SHEPHERD’S SON , to Shepherd See , see , what a man you are now ! There is no other way but to tell the King she’s a changeling and none of your flesh and blood . SHEPHERD Nay , but hear me . SHEPHERD’S SON Nay , but hear me ! SHEPHERD Go to , then . SHEPHERD’S SON She being none of your flesh and blood , your flesh and blood has not offended the King , and so your flesh and blood is not to be punished by him . Show those things you found about her , those secret things , all but what she has with her . This being done , let the law go whistle , I warrant you . SHEPHERD I will tell the King all , every word , yea , and his son’s pranks too ; who , I may say , is no honest man , neither to his father nor to me , to go about to make me the King’s brother-in-law . SHEPHERD’S SON Indeed , brother-in-law was the farthest off you could have been to him , and then your blood had been the dearer by I know how much an ounce . AUTOLYCUS , aside Very wisely , puppies . SHEPHERD Well , let us to the King . There is that in this fardel will make him scratch his beard . AUTOLYCUS , aside I know not what impediment this complaint may be to the flight of my master . SHEPHERD’S SON Pray heartily he be at’ palace . AUTOLYCUS , aside Though I am not naturally honest , I am so sometimes by chance . Let me pocket up my peddler’s excrement . ( He removes his false beard . ) How now , rustics , whither are you bound ? SHEPHERD To th’ palace , an it like your Worship . AUTOLYCUS Your affairs there ? What , with whom , the condition of that fardel , the place of your dwelling , ACT 4. SC. 4 your names , your ages , of what having , breeding , and anything that is fitting to be known , discover ! SHEPHERD’S SON We are but plain fellows , sir . AUTOLYCUS A lie ; you are rough and hairy . Let me have no lying . It becomes none but tradesmen , and they often give us soldiers the lie , but we pay them for it with stamped coin , not stabbing steel ; therefore they do not give us the lie . SHEPHERD’S SON Your Worship had like to have given us one , if you had not taken yourself with the manner . SHEPHERD Are you a courtier , an ’t like you , sir ? AUTOLYCUS Whether it like me or no , I am a courtier . Seest thou not the air of the court in these enfoldings ? Hath not my gait in it the measure of the court ? Receives not thy nose court odor from me ? Reflect I not on thy baseness court contempt ? Think’st thou , for that I insinuate and toze from thee thy business , I am therefore no courtier ? I am courtier cap-a-pie ; and one that will either push on or pluck back thy business there . Whereupon I command thee to open thy affair . SHEPHERD My business , sir , is to the King . AUTOLYCUS What advocate hast thou to him ? SHEPHERD I know not , an ’t like you . SHEPHERD’S SON , aside to Shepherd Advocate’s the court word for a pheasant . Say you have none . SHEPHERD , to Autolycus None , sir . I have no pheasant , cock nor hen . AUTOLYCUS How blest are we that are not simple men ! Yet Nature might have made me as these are . Therefore I will not disdain . SHEPHERD’S SON , to Shepherd This cannot be but a great courtier . ACT 4. SC. 4 SHEPHERD His garments are rich , but he wears them not handsomely . SHEPHERD’S SON He seems to be the more noble in being fantastical . A great man , I’ll warrant . I know by the picking on ’s teeth . AUTOLYCUS The fardel there . What’s i’ th’ fardel ? Wherefore that box ? SHEPHERD Sir , there lies such secrets in this fardel and box which none must know but the King , and which he shall know within this hour if I may come to th’ speech of him . AUTOLYCUS Age , thou hast lost thy labor . SHEPHERD Why , sir ? AUTOLYCUS The King is not at the palace . He is gone aboard a new ship to purge melancholy and air himself , for , if thou beest capable of things serious , thou must know the King is full of grief . SHEPHERD So ’tis said , sir — about his son , that should have married a shepherd’s daughter . AUTOLYCUS If that shepherd be not in handfast , let him fly . The curses he shall have , the tortures he shall feel , will break the back of man , the heart of monster . SHEPHERD’S SON Think you so , sir ? AUTOLYCUS Not he alone shall suffer what wit can make heavy and vengeance bitter ; but those that are germane to him , though removed fifty times , shall all come under the hangman — which , though it be great pity , yet it is necessary . An old sheep-whistling rogue , a ram tender , to offer to have his daughter come into grace ! Some say he shall be stoned , but that death is too soft for him , say I . Draw our throne into a sheepcote ? All deaths are too few , the sharpest too easy . SHEPHERD’S SON Has the old man e’er a son , sir , do you hear , an ’t like you , sir ? ACT 4. SC. 4 AUTOLYCUS He has a son , who shall be flayed alive ; then ’nointed over with honey , set on the head of a wasps’-nest ; then stand till he be three-quarters and a dram dead , then recovered again with aqua vitae or some other hot infusion ; then , raw as he is , and in the hottest day prognostication proclaims , shall he be set against a brick wall , the sun looking with a southward eye upon him , where he is to behold him with flies blown to death . But what talk we of these traitorly rascals , whose miseries are to be smiled at , their offenses being so capital ? Tell me — for you seem to be honest plain men — what you have to the King . Being something gently considered , I’ll bring you where he is aboard , tender your persons to his presence , whisper him in your behalfs ; and if it be in man besides the King to effect your suits , here is man shall do it . SHEPHERD’S SON , to Shepherd He seems to be of great authority . Close with him , give him gold ; and though authority be a stubborn bear , yet he is oft led by the nose with gold . Show the inside of your purse to the outside of his hand , and no more ado . Remember : stoned , and flayed alive . SHEPHERD , to Autolycus An ’t please you , sir , to undertake the business for us , here is that gold I have . I’ll make it as much more , and leave this young man in pawn till I bring it you . AUTOLYCUS After I have done what I promised ? SHEPHERD Ay , sir . AUTOLYCUS Well , give me the moiety . Shepherd hands him money . Are you a party in this business ? SHEPHERD’S SON In some sort , sir ; but though my case be a pitiful one , I hope I shall not be flayed out of it . AUTOLYCUS O , that’s the case of the shepherd’s son ! Hang him , he’ll be made an example . SHEPHERD’S SON , to Shepherd Comfort , good comfort . ACT 4. SC. 4 We must to the King , and show our strange sights . He must know ’tis none of your daughter nor my sister . We are gone else . — Sir , I will give you as much as this old man does when the business is performed , and remain , as he says , your pawn till it be brought you . AUTOLYCUS I will trust you . Walk before toward the seaside . Go on the right hand . I will but look upon the hedge , and follow you . SHEPHERD’S SON , to Shepherd We are blessed in this man , as I may say , even blessed . SHEPHERD Let’s before , as he bids us . He was provided to do us good . Shepherd and his son exit . AUTOLYCUS If I had a mind to be honest , I see Fortune would not suffer me . She drops booties in my mouth . I am courted now with a double occasion : gold , and a means to do the Prince my master good ; which who knows how that may turn back to my advancement ? I will bring these two moles , these blind ones , aboard him . If he think it fit to shore them again and that the complaint they have to the King concerns him nothing , let him call me rogue for being so far officious , for I am proof against that title and what shame else belongs to ’t . To him will I present them . There may be matter in it . He exits . ACT 5 Scene 1 Enter Leontes , Cleomenes , Dion , Paulina , and Servants . CLEOMENES Sir , you have done enough , and have performed A saintlike sorrow . No fault could you make Which you have not redeemed — indeed , paid down More penitence than done trespass . At the last , Do as the heavens have done : forget your evil ; With them forgive yourself . LEONTES Whilst I remember Her and her virtues , I cannot forget My blemishes in them , and so still think of The wrong I did myself , which was so much That heirless it hath made my kingdom and Destroyed the sweet’st companion that e’er man Bred his hopes out of . PAULINA True , too true , my lord . If one by one you wedded all the world , Or from the all that are took something good To make a perfect woman , she you killed Would be unparalleled . LEONTES I think so . Killed ? She I killed ? I did so , but thou strik’st me Sorely to say I did . It is as bitter ACT 5. SC. 1 Upon thy tongue as in my thought . Now , good now , Say so but seldom . CLEOMENES Not at all , good lady . You might have spoken a thousand things that would Have done the time more benefit and graced Your kindness better . PAULINA You are one of those Would have him wed again . DION If you would not so , You pity not the state nor the remembrance Of his most sovereign name , consider little What dangers by his Highness’ fail of issue May drop upon his kingdom and devour Incertain lookers-on . What were more holy Than to rejoice the former queen is well ? What holier than , for royalty’s repair , For present comfort , and for future good , To bless the bed of majesty again With a sweet fellow to ’t ? PAULINA There is none worthy , Respecting her that’s gone . Besides , the gods Will have fulfilled their secret purposes . For has not the divine Apollo said , Is ’t not the tenor of his oracle , That King Leontes shall not have an heir Till his lost child be found ? Which that it shall Is all as monstrous to our human reason As my Antigonus to break his grave And come again to me — who , on my life , Did perish with the infant . ’Tis your counsel My lord should to the heavens be contrary , Oppose against their wills . Care not for issue . The crown will find an heir . Great Alexander Left his to th’ worthiest ; so his successor Was like to be the best . ACT 5. SC. 1 LEONTES Good Paulina , Who hast the memory of Hermione , I know , in honor , O , that ever I Had squared me to thy counsel ! Then even now I might have looked upon my queen’s full eyes , Have taken treasure from her lips — PAULINA And left them More rich for what they yielded . LEONTES Thou speak’st truth . No more such wives , therefore no wife . One worse , And better used , would make her sainted spirit Again possess her corpse , and on this stage , Where we offenders now appear , soul-vexed , And begin Why to me ? PAULINA Had she such power , She had just cause . LEONTES She had , and would incense me To murder her I married . PAULINA I should so . Were I the ghost that walked , I’d bid you mark Her eye , and tell me for what dull part in ’t You chose her . Then I’d shriek , that even your ears Should rift to hear me , and the words that followed Should be Remember mine . LEONTES Stars , stars , And all eyes else dead coals ! Fear thou no wife ; I’ll have no wife , Paulina . PAULINA Will you swear Never to marry but by my free leave ? LEONTES Never , Paulina , so be blest my spirit . PAULINA Then , good my lords , bear witness to his oath . CLEOMENES You tempt him over-much . ACT 5. SC. 1 PAULINA Unless another As like Hermione as is her picture Affront his eye . CLEOMENES Good madam — PAULINA I have done . Yet if my lord will marry — if you will , sir , No remedy but you will — give me the office To choose you a queen . She shall not be so young As was your former , but she shall be such As , walked your first queen’s ghost , it should take joy To see her in your arms . LEONTES My true Paulina , We shall not marry till thou bid’st us . PAULINA That Shall be when your first queen’s again in breath , Never till then . Enter a Servant . SERVANT One that gives out himself Prince Florizell , Son of Polixenes , with his princess — she The fairest I have yet beheld — desires access To your high presence . LEONTES What with him ? He comes not Like to his father’s greatness . His approach , So out of circumstance and sudden , tells us ’Tis not a visitation framed , but forced By need and accident . What train ? SERVANT But few , And those but mean . LEONTES His princess , say you , with him ? SERVANT Ay , the most peerless piece of earth , I think , That e’er the sun shone bright on . ACT 5. SC. 1 PAULINA O Hermione , As every present time doth boast itself Above a better gone , so must thy grave Give way to what’s seen now . To Servant . Sir , you yourself Have said and writ so — but your writing now Is colder than that theme — she had not been Nor was not to be equalled . Thus your verse Flowed with her beauty once . ’Tis shrewdly ebbed To say you have seen a better . SERVANT Pardon , madam . The one I have almost forgot — your pardon ; The other , when she has obtained your eye , Will have your tongue too . This is a creature , Would she begin a sect , might quench the zeal Of all professors else , make proselytes Of who she but bid follow . PAULINA How , not women ? SERVANT Women will love her that she is a woman More worth than any man ; men , that she is The rarest of all women . LEONTES Go , Cleomenes . Yourself , assisted with your honored friends , Bring them to our embracement . Cleomenes and others exit . Still , ’tis strange He thus should steal upon us . PAULINA Had our prince , Jewel of children , seen this hour , he had paired Well with this lord . There was not full a month Between their births . LEONTES Prithee , no more ; cease . Thou know’st He dies to me again when talked of . Sure , When I shall see this gentleman , thy speeches ACT 5. SC. 1 Will bring me to consider that which may Unfurnish me of reason . They are come . Enter Florizell , Perdita , Cleomenes , and others . Your mother was most true to wedlock , prince , For she did print your royal father off , Conceiving you . Were I but twenty-one , Your father’s image is so hit in you , His very air , that I should call you brother , As I did him , and speak of something wildly By us performed before . Most dearly welcome , And your fair princess — goddess ! O , alas , I lost a couple that ’twixt heaven and Earth earth Might thus have stood , begetting wonder , as You , gracious couple , do . And then I lost — All mine own folly — the society , Amity too , of your brave father , whom , Though bearing misery , I desire my life Once more to look on him . FLORIZELL By his command Have I here touched Sicilia , and from him Give you all greetings that a king , at friend , Can send his brother . And but infirmity , Which waits upon worn times , hath something seized His wished ability , he had himself The lands and waters ’twixt your throne and his Measured to look upon you , whom he loves — He bade me say so — more than all the scepters And those that bear them living . LEONTES O my brother , Good gentleman , the wrongs I have done thee stir Afresh within me , and these thy offices , So rarely kind , are as interpreters Of my behindhand slackness . Welcome hither , As is the spring to th’ earth . And hath he too ACT 5. SC. 1 Exposed this paragon to th’ fearful usage , At least ungentle , of the dreadful Neptune , To greet a man not worth her pains , much less Th’ adventure of her person ? FLORIZELL Good my lord , She came from Libya . LEONTES Where the warlike Smalus , That noble honored lord , is feared and loved ? FLORIZELL Most royal sir , from thence , from him , whose daughter His tears proclaimed his , parting with her . Thence , A prosperous south wind friendly , we have crossed To execute the charge my father gave me For visiting your Highness . My best train I have from your Sicilian shores dismissed , Who for Bohemia bend , to signify Not only my success in Libya , sir , But my arrival and my wife’s in safety Here where we are . LEONTES The blessèd gods Purge all infection from our air whilst you Do climate here ! You have a holy father , A graceful gentleman , against whose person , So sacred as it is , I have done sin , For which the heavens , taking angry note , Have left me issueless . And your father’s blest , As he from heaven merits it , with you , Worthy his goodness . What might I have been Might I a son and daughter now have looked on , Such goodly things as you ? Enter a Lord . LORD Most noble sir , That which I shall report will bear no credit , ACT 5. SC. 1 Were not the proof so nigh . Please you , great sir , Bohemia greets you from himself by me , Desires you to attach his son , who has — His dignity and duty both cast off — Fled from his father , from his hopes , and with A shepherd’s daughter . LEONTES Where’s Bohemia ? Speak . LORD Here in your city . I now came from him . I speak amazedly , and it becomes My marvel and my message . To your court Whiles he was hast’ning — in the chase , it seems , Of this fair couple — meets he on the way The father of this seeming lady and Her brother , having both their country quitted With this young prince . FLORIZELL Camillo has betrayed me , Whose honor and whose honesty till now Endured all weathers . LORD Lay ’t so to his charge . He’s with the King your father . LEONTES Who ? Camillo ? LORD Camillo , sir . I spake with him , who now Has these poor men in question . Never saw I Wretches so quake . They kneel , they kiss the earth , Forswear themselves as often as they speak . Bohemia stops his ears and threatens them With divers deaths in death . PERDITA O my poor father ! The heaven sets spies upon us , will not have Our contract celebrated . LEONTES You are married ? FLORIZELL We are not , sir , nor are we like to be . ACT 5. SC. 1 The stars , I see , will kiss the valleys first . The odds for high and low’s alike . LEONTES My lord , Is this the daughter of a king ? FLORIZELL She is When once she is my wife . LEONTES That once , I see , by your good father’s speed Will come on very slowly . I am sorry , Most sorry , you have broken from his liking , Where you were tied in duty , and as sorry Your choice is not so rich in worth as beauty , That you might well enjoy her . FLORIZELL , to Perdita Dear , look up . Though Fortune , visible an enemy , Should chase us with my father , power no jot Hath she to change our loves . — Beseech you , sir , Remember since you owed no more to time Than I do now . With thought of such affections , Step forth mine advocate . At your request , My father will grant precious things as trifles . LEONTES Would he do so , I’d beg your precious mistress , Which he counts but a trifle . PAULINA Sir , my liege , Your eye hath too much youth in ’t . Not a month ’Fore your queen died , she was more worth such gazes Than what you look on now . LEONTES I thought of her Even in these looks I made . To Florizell . But your petition Is yet unanswered . I will to your father . Your honor not o’erthrown by your desires , I am friend to them and you . Upon which errand ACT 5. SC. 2 I now go toward him . Therefore follow me , And mark what way I make . Come , good my lord . They exit . Scene 2 Enter Autolycus and a Gentleman . AUTOLYCUS Beseech you , sir , were you present at this relation ? FIRST GENTLEMAN I was by at the opening of the fardel , heard the old shepherd deliver the manner how he found it , whereupon , after a little amazedness , we were all commanded out of the chamber . Only this , methought , I heard the shepherd say : he found the child . AUTOLYCUS I would most gladly know the issue of it . FIRST GENTLEMAN I make a broken delivery of the business , but the changes I perceived in the King and Camillo were very notes of admiration . They seemed almost , with staring on one another , to tear the cases of their eyes . There was speech in their dumbness , language in their very gesture . They looked as they had heard of a world ransomed , or one destroyed . A notable passion of wonder appeared in them , but the wisest beholder that knew no more but seeing could not say if th’ importance were joy or sorrow ; but in the extremity of the one it must needs be . Enter another Gentleman . Here comes a gentleman that happily knows more . — The news , Rogero ? SECOND GENTLEMAN Nothing but bonfires . The oracle is fulfilled : the King’s daughter is found ! Such a ACT 5. SC. 2 deal of wonder is broken out within this hour that ballad makers cannot be able to express it . Enter another Gentleman . Here comes the Lady Paulina’s steward . He can deliver you more . — How goes it now , sir ? This news which is called true is so like an old tale that the verity of it is in strong suspicion . Has the King found his heir ? THIRD GENTLEMAN Most true , if ever truth were pregnant by circumstance . That which you hear you’ll swear you see , there is such unity in the proofs . The mantle of Queen Hermione’s , her jewel about the neck of it , the letters of Antigonus found with it , which they know to be his character , the majesty of the creature in resemblance of the mother , the affection of nobleness which nature shows above her breeding , and many other evidences proclaim her with all certainty to be the King’s daughter . Did you see the meeting of the two kings ? SECOND GENTLEMAN No . THIRD GENTLEMAN Then have you lost a sight which was to be seen , cannot be spoken of . There might you have beheld one joy crown another , so and in such manner that it seemed sorrow wept to take leave of them , for their joy waded in tears . There was casting up of eyes , holding up of hands , with countenance of such distraction that they were to be known by garment , not by favor . Our king , being ready to leap out of himself for joy of his found daughter , as if that joy were now become a loss , cries O , thy mother , thy mother ! then asks Bohemia forgiveness , then embraces his son-in-law , then again worries he his daughter with clipping her . Now he thanks the old shepherd , which stands by ACT 5. SC. 2 like a weather-bitten conduit of many kings’ reigns . I never heard of such another encounter , which lames report to follow it and undoes description to do it . SECOND GENTLEMAN What , pray you , became of Antigonus , that carried hence the child ? THIRD GENTLEMAN Like an old tale still , which will have matter to rehearse though credit be asleep and not an ear open : he was torn to pieces with a bear . This avouches the shepherd’s son , who has not only his innocence , which seems much , to justify him , but a handkerchief and rings of his that Paulina knows . FIRST GENTLEMAN What became of his bark and his followers ? THIRD GENTLEMAN Wracked the same instant of their master’s death and in the view of the shepherd , so that all the instruments which aided to expose the child were even then lost when it was found . But O , the noble combat that ’twixt joy and sorrow was fought in Paulina . She had one eye declined for the loss of her husband , another elevated that the oracle was fulfilled . She lifted the Princess from the earth , and so locks her in embracing as if she would pin her to her heart that she might no more be in danger of losing . FIRST GENTLEMAN The dignity of this act was worth the audience of kings and princes , for by such was it acted . THIRD GENTLEMAN One of the prettiest touches of all , and that which angled for mine eyes — caught the water , though not the fish — was when at the relation of the Queen’s death — with the manner how she came to ’t bravely confessed and lamented by the King — how attentiveness wounded his daughter , ACT 5. SC. 2 till , from one sign of dolor to another , she did , with an Alas , I would fain say bleed tears , for I am sure my heart wept blood . Who was most marble there changed color ; some swooned , all sorrowed . If all the world could have seen ’t , the woe had been universal . FIRST GENTLEMAN Are they returned to the court ? THIRD GENTLEMAN No . The Princess hearing of her mother’s statue , which is in the keeping of Paulina — a piece many years in doing and now newly performed by that rare Italian master , Julio Romano , who , had he himself eternity and could put breath into his work , would beguile Nature of her custom , so perfectly he is her ape ; he so near to Hermione hath done Hermione that they say one would speak to her and stand in hope of answer . Thither with all greediness of affection are they gone , and there they intend to sup . SECOND GENTLEMAN I thought she had some great matter there in hand , for she hath privately twice or thrice a day , ever since the death of Hermione , visited that removed house . Shall we thither and with our company piece the rejoicing ? FIRST GENTLEMAN Who would be thence that has the benefit of access ? Every wink of an eye some new grace will be born . Our absence makes us unthrifty to our knowledge . Let’s along . The Three Gentlemen exit . AUTOLYCUS Now , had I not the dash of my former life in me , would preferment drop on my head . I brought the old man and his son aboard the Prince , told him I heard them talk of a fardel and I know not what . But he at that time , overfond of the shepherd’s daughter — so he then took her to be — who began to be much seasick , and himself little ACT 5. SC. 2 better , extremity of weather continuing , this mystery remained undiscovered . But ’tis all one to me , for had I been the finder-out of this secret , it would not have relished among my other discredits . Enter Shepherd and Shepherd’s Son , both dressed in rich clothing . Here come those I have done good to against my will , and already appearing in the blossoms of their fortune . SHEPHERD Come , boy , I am past more children , but thy sons and daughters will be all gentlemen born . SHEPHERD’S SON , to Autolycus You are well met , sir . You denied to fight with me this other day because I was no gentleman born . See you these clothes ? Say you see them not and think me still no gentleman born . You were best say these robes are not gentlemen born . Give me the lie , do , and try whether I am not now a gentleman born . AUTOLYCUS I know you are now , sir , a gentleman born . SHEPHERD’S SON Ay , and have been so any time these four hours . SHEPHERD And so have I , boy . SHEPHERD’S SON So you have — but I was a gentleman born before my father . For the King’s son took me by the hand and called me brother , and then the two kings called my father brother , and then the Prince my brother and the Princess my sister called my father father ; and so we wept , and there was the first gentlemanlike tears that ever we shed . SHEPHERD We may live , son , to shed many more . SHEPHERD’S SON Ay , or else ’twere hard luck , being in so preposterous estate as we are . AUTOLYCUS I humbly beseech you , sir , to pardon me all ACT 5. SC. 2 the faults I have committed to your Worship and to give me your good report to the Prince my master . SHEPHERD Prithee , son , do , for we must be gentle now we are gentlemen . SHEPHERD’S SON , to Autolycus Thou wilt amend thy life ? AUTOLYCUS Ay , an it like your good Worship . SHEPHERD’S SON Give me thy hand . I will swear to the Prince thou art as honest a true fellow as any is in Bohemia . SHEPHERD You may say it , but not swear it . SHEPHERD’S SON Not swear it , now I am a gentleman ? Let boors and franklins say it ; I’ll swear it . SHEPHERD How if it be false , son ? SHEPHERD’S SON If it be ne’er so false , a true gentleman may swear it in the behalf of his friend . — And I’ll swear to the Prince thou art a tall fellow of thy hands and that thou wilt not be drunk ; but I know thou art no tall fellow of thy hands and that thou wilt be drunk . But I’ll swear it , and I would thou wouldst be a tall fellow of thy hands . AUTOLYCUS I will prove so , sir , to my power . SHEPHERD’S SON Ay , by any means prove a tall fellow . If I do not wonder how thou dar’st venture to be drunk , not being a tall fellow , trust me not . Hark , the Kings and Princes , our kindred , are going to see the Queen’s picture . Come , follow us . We’ll be thy good masters . They exit . ACT 5. SC. 3 Scene 3 Enter Leontes , Polixenes , Florizell , Perdita , Camillo , Paulina , and Lords . LEONTES O grave and good Paulina , the great comfort That I have had of thee ! PAULINA What , sovereign sir , I did not well , I meant well . All my services You have paid home . But that you have vouchsafed , With your crowned brother and these your contracted Heirs of your kingdoms , my poor house to visit , It is a surplus of your grace which never My life may last to answer . LEONTES O Paulina , We honor you with trouble . But we came To see the statue of our queen . Your gallery Have we passed through , not without much content In many singularities ; but we saw not That which my daughter came to look upon , The statue of her mother . PAULINA As she lived peerless , So her dead likeness , I do well believe , Excels whatever yet you looked upon Or hand of man hath done . Therefore I keep it Lonely , apart . But here it is . Prepare To see the life as lively mocked as ever Still sleep mocked death . Behold , and say ’tis well . She draws a curtain to reveal Hermione ( like a statue ) . I like your silence . It the more shows off Your wonder . But yet speak . First you , my liege . Comes it not something near ? LEONTES Her natural posture ! — Chide me , dear stone , that I may say indeed Thou art Hermione ; or rather , thou art she ACT 5. SC. 3 In thy not chiding , for she was as tender As infancy and grace . — But yet , Paulina , Hermione was not so much wrinkled , nothing So agèd as this seems . POLIXENES O , not by much ! PAULINA So much the more our carver’s excellence , Which lets go by some sixteen years and makes her As she lived now . LEONTES As now she might have done , So much to my good comfort as it is Now piercing to my soul . O , thus she stood , Even with such life of majesty — warm life , As now it coldly stands — when first I wooed her . I am ashamed . Does not the stone rebuke me For being more stone than it ? — O royal piece , There’s magic in thy majesty , which has My evils conjured to remembrance and From thy admiring daughter took the spirits , Standing like stone with thee . PERDITA And give me leave , And do not say ’tis superstition , that I kneel , and then implore her blessing . She kneels . Lady , Dear queen , that ended when I but began , Give me that hand of yours to kiss . PAULINA O , patience ! The statue is but newly fixed ; the color’s Not dry . CAMILLO , to Leontes , who weeps My lord , your sorrow was too sore laid on , Which sixteen winters cannot blow away , So many summers dry . Scarce any joy Did ever so long live ; no sorrow But killed itself much sooner . ACT 5. SC. 3 POLIXENES Dear my brother , Let him that was the cause of this have power To take off so much grief from you as he Will piece up in himself . PAULINA Indeed , my lord , If I had thought the sight of my poor image Would thus have wrought you — for the stone is mine — I’d not have showed it . LEONTES Do not draw the curtain . PAULINA No longer shall you gaze on ’t , lest your fancy May think anon it moves . LEONTES Let be , let be . Would I were dead but that methinks already — What was he that did make it ? — See , my lord , Would you not deem it breathed ? And that those veins Did verily bear blood ? POLIXENES Masterly done . The very life seems warm upon her lip . LEONTES The fixture of her eye has motion in ’t , As we are mocked with art . PAULINA I’ll draw the curtain . My lord’s almost so far transported that He’ll think anon it lives . LEONTES O sweet Paulina , Make me to think so twenty years together ! No settled senses of the world can match The pleasure of that madness . Let ’t alone . PAULINA I am sorry , sir , I have thus far stirred you , but I could afflict you farther . LEONTES Do , Paulina , For this affliction has a taste as sweet ACT 5. SC. 3 As any cordial comfort . Still methinks There is an air comes from her . What fine chisel Could ever yet cut breath ? Let no man mock me , For I will kiss her . PAULINA Good my lord , forbear . The ruddiness upon her lip is wet . You’ll mar it if you kiss it , stain your own With oily painting . Shall I draw the curtain ? LEONTES No , not these twenty years . PERDITA , rising So long could I Stand by , a looker-on . PAULINA Either forbear , Quit presently the chapel , or resolve you For more amazement . If you can behold it , I’ll make the statue move indeed , descend And take you by the hand . But then you’ll think — Which I protest against — I am assisted By wicked powers . LEONTES What you can make her do I am content to look on ; what to speak , I am content to hear , for ’tis as easy To make her speak as move . PAULINA It is required You do awake your faith . Then all stand still — Or those that think it is unlawful business I am about , let them depart . LEONTES Proceed . No foot shall stir . PAULINA Music , awake her ! Strike ! Music sounds . ’Tis time . Descend . Be stone no more . Approach . Strike all that look upon with marvel . Come , I’ll fill your grave up . Stir , nay , come away . Bequeath to death your numbness , for from him Dear life redeems you . — You perceive she stirs . ACT 5. SC. 3 Hermione descends . Start not . Her actions shall be holy as You hear my spell is lawful . Do not shun her Until you see her die again , for then You kill her double . Nay , present your hand . When she was young , you wooed her ; now in age Is she become the suitor ? LEONTES O , she’s warm ! If this be magic , let it be an art Lawful as eating . POLIXENES She embraces him . CAMILLO She hangs about his neck . If she pertain to life , let her speak too . POLIXENES Ay , and make it manifest where she has lived , Or how stol’n from the dead . PAULINA That she is living , Were it but told you , should be hooted at Like an old tale , but it appears she lives , Though yet she speak not . Mark a little while . To Perdita . Please you to interpose , fair madam . Kneel And pray your mother’s blessing . To Hermione . Turn , good lady . Our Perdita is found . HERMIONE You gods , look down , And from your sacred vials pour your graces Upon my daughter’s head ! Tell me , mine own , Where hast thou been preserved ? Where lived ? How found Thy father’s court ? For thou shalt hear that I , Knowing by Paulina that the oracle Gave hope thou wast in being , have preserved Myself to see the issue . PAULINA There’s time enough for that , Lest they desire upon this push to trouble ACT 5. SC. 3 Your joys with like relation . Go together , You precious winners all . Your exultation Partake to everyone . I , an old turtle , Will wing me to some withered bough and there My mate , that’s never to be found again , Lament till I am lost . LEONTES O peace , Paulina . Thou shouldst a husband take by my consent , As I by thine a wife . This is a match , And made between ’s by vows . Thou hast found mine — But how is to be questioned , for I saw her , As I thought , dead , and have in vain said many A prayer upon her grave . I’ll not seek far — For him , I partly know his mind — to find thee An honorable husband . — Come , Camillo , And take her by the hand , whose worth and honesty Is richly noted and here justified By us , a pair of kings . Let’s from this place . To Hermione . What , look upon my brother ! Both your pardons That e’er I put between your holy looks My ill suspicion . This your son-in-law And son unto the King , whom heavens directing , Is troth-plight to your daughter . — Good Paulina , Lead us from hence , where we may leisurely Each one demand and answer to his part Performed in this wide gap of time since first We were dissevered . Hastily lead away . They exit . all or part of a full metrical line all or part of a prose speech a short line which cannot be joined with other lines to form a full metrical line, or which may not be definitively identified asverse or prose editorial emendation