The Oxford Shakespeare: The Complete Works
Page 370
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 favour. 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 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 barque and his followers?
THIRD GENTLEMAN Wrecked 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 Paulinal 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 till from one sign of dolour 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 colour. 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 Giulio 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. Exeunt Gentlemen
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 over-fond of the shepherd’s daughter—so he then took her to be—who began to be much sea-sick, and himself little 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 the Old Shepherd and the Clown, dressed as gentlemen
Here come those I have done good to against my will, and already appearing in the blossoms of their fortune.
OLD SHEPHERD Come, boy; I am past more children, but thy sons and daughters will be all gentlemen born.
CLOWN (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.
CLOWN Ay, and have been so any time these four hours. OLD SHEPHERD And so have I, boy.
CLOWN 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 gentleman-like tears that ever we shed.
OLD SHEPHERD We may live, son, to shed many more.
CLOWN Ay, or else ’twere hard luck, being in so preposterous estate as we are.
AUTOLYCUS I humbly beseech you, sir, to pardon me all the faults I have committed to your worship, and to give me your good report to the Prince my master.
OLD SHEPHERD Prithee, son, do, for we must be gentle now we are gentlemen.
CLOWN Thou wilt amend thy life?
AUTOLYCUS Ay, an it like your good worship.
CLOWN Give me thy hand. I will swear to the Prince thou art as honest a true fellow as any is in Bohemia.
OLD SHEPHERD You may say it, but not swear it.
CLOWN Not swear it now I am a gentleman? Let boors and franklins say it; I’ll swear it.
OLD SHEPHERD How if it be false, son?
CLOWN If it be ne’er so false, a true gentleman may swear it in the behalf of his friend, (to Autolycus) 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.
CLOWN 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.
⌈Flourishwithin⌉
Hark, the kings and princes, our kindred, are going to see the Queen’s picture. Come, follow us. We’ll be thy good masters.
Exeunt
5.3 Enter Leontes, Polixenes, Florizel, Perdita, Camillo, Paulina, Lords, and attendants
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 young
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 honour 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 what ever 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 and reveals the figure of Hermione, standing 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
In thy not chiding, for she was as tender
As infancy and grace. But yet, Paulina,
Hermione was not so much wrinkled, nothing
So aged 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. 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 colour’s
Not dry.
CAMILLO (to Leontes)
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.
POLIXENES (to Leontes)
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 (to Leontes)
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.
She makes to draw the curtain
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
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
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
(To Hermione) ’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.
(To Leontes) You perceive she stirs.
Hermione slowly 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.—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
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 honourable 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.
Exeunt
THE TRAGEDY OF KING LEAR
THE FOLIO TEXT
THE text of King Lear given here represents the revision made probably three or four years after the first version had been written and performed; it is based on the text printed in the 1623 Folio. This is the more obviously theatrical text. It makes a number of significant cuts, amounting to some 300 lines. The most conspicuous ones are the dialogue in which Lear’s Fool implicitly calls his master a fool (Quarto Sc. 4, 136―51); Kent’s account of the French invasion of England (Quarto Sc. 8, 21―33); Lear’s mock-trial, in his madness, of his daughters (Quarto Sc. 13, 13―52); Edgar’s generalizing couplets at the end of that scene (Quarto Sc. 13, 97―110); the brief, compassionate dialogue of two of Gloucester’s servants after his blinding (Quarto Sc. 14, 97―106); parts of Albany’s protest to Goneril about the sisters’ treatment of Lear (in Quarto Sc. 16); the entire scene (Quarto Sc. 17) in which a Gentleman tells Kent of Cordelia’s grief on hearing of her father’s condition; the presence of the Doctor and the musical accompaniment to the reunion of Lear and Cordelia (Quarto Sc. 21); and Edgar’s account of his meeting with Kent in which Kent’s ’strings of life | Began to crack’ (Quarto Sc. 24, 201―18). The Folio also adds about 100 lines that are not in the Quarto—mostly in short passages, including Kent’s statement that Albany and Cornwall have servants who are in the pay of France (3.1.13―20), Merlin’s prophecy spoken by the Fool at the end of 3.2, and the last lines of both the Fool and Lear. In addition, several speeches are differently assigned, and there are many variations in wording.