• THE END
• SCENE: Rousillon; Paris; Florence; Marseilles
• ACT I. SCENE 1. Rousillon. The COUNT'S palace
• ACT I. SCENE 2. Paris. The KING'S palace
• ACT I. SCENE 3. Rousillon. The COUNT'S palace
• ACT II. SCENE 1. Paris. The KING'S palace
• ACT II. SCENE 2. Rousillon. The COUNT'S palace
• ACT II. SCENE 3. Paris. The KING'S palace
• ACT II. SCENE 4. Paris. The KING'S palace
• ACT II. SCENE 5. Paris. The KING'S palace
• ACT III. SCENE 1. Florence. The DUKE's palace
• ACT III. SCENE 2. Rousillon. The COUNT'S palace
• ACT III. SCENE 3. Florence. Before the DUKE's palace
• ACT III. SCENE 4. Rousillon. The COUNT'S palace
• ACT III. SCENE 5.
• ACT III. SCENE 6. Camp before Florence
• ACT III. SCENE 7. Florence. The WIDOW'S house
• ACT IV. SCENE 1. Without the Florentine camp
• ACT IV. SCENE 2. Florence. The WIDOW'S house
• ACT IV. SCENE 3. The Florentine camp
• ACT IV SCENE 4. The WIDOW'S house
• ACT IV SCENE 5. Rousillon. The COUNT'S palace
• ACT V. SCENE 1. Marseilles. A street
• ACT V SCENE 2. Rousillon. The inner court of the COUNT'S palace
• ACT V SCENE 3. Rousillon. The COUNT'S palace
• THE END
• DRAMATIS PERSONAE
• SCENE: The Roman Empire
• SCENE II. Alexandria. CLEOPATRA'S palace
• SCENE III. Alexandria. CLEOPATRA'S palace
• SCENE IV. Rome. CAESAR'S house
• SCENE V. Alexandria. CLEOPATRA'S palace
• ACT II. SCENE I. Messina. POMPEY'S house
• SCENE II. Rome. The house of LEPIDUS
• SCENE III. Rome. CAESAR'S house
• SCENE IV. Rome. A street
• SCENE V. Alexandria. CLEOPATRA'S palace
• SCENE VI. Near Misenum
• THE END
• DRAMATIS PERSONAE.
• SCENE: OLIVER'S house; FREDERICK'S court; and the Forest of Arden
• SCENE II. A lawn before the DUKE'S palace
• SCENE III. The DUKE's palace
• ACT II. SCENE I. The Forest of Arden
• SCENE II. The DUKE'S palace
• SCENE III. Before OLIVER'S house
• SCENE IV. The Forest of Arden
• SCENE V. Another part of the forest
• SCENE VI. The forest
• SCENE VII. The forest
• ACT III. SCENE I. The palace
• SCENE II. The forest
• SCENE III. The forest
• SCENE IV. The forest
• SCENE V. Another part of the forest
• ACT IV. SCENE I. The forest
• SCENE II. The forest
• SCENE III. The forest
• ACT V. SCENE I. The forest
• SCENE II. The forest
• SCENE III. The forest
• SCENE IV. The forest
• DRAMATIS PERSONAE
• SCENE: Ephesus
• THE COMEDY OF ERRORS
• SCENE 2
• ACT Il. SCENE 1
• SCENE 2
• ACT III. SCENE 1
• SCENE 2
• ACT IV. SCENE 1
• SCENE 2
• SCENE 3
• SCENE 4
• ACT V. SCENE 1
• THE END
• SCENE: Rome and the neighbourhood; Corioli and the neighbourhood; Antium
• ACT I. SCENE I. Rome. A street
• SCENE II. Corioli. The Senate House.
• SCENE III. Rome. MARCIUS' house
• SCENE IV. Before Corioli
• SCENE V. Within Corioli. A street
• SCENE VI. Near the camp of COMINIUS
• SCENE VII. The gates of Corioli
• SCENE VIII. A field of battle between the Roman and the Volscian camps
• SCENE IX. The Roman camp
• SCENE X. The camp of the Volsces
• ACT II. SCENE I. Rome. A public place
• SCENE II. Rome. The Capitol
• SCENE III. Rome. The Forum
• ACT III. SCENE I. Rome. A street
• SCENE II. Rome. The house of CORIOLANUS
• SCENE III. Rome. The Forum
• ACT IV. SCENE I. Rome. Before a gate of the city
• SCENE II. Rome. A street near the gate
• SCENE III. A highway between Rome and Antium
• SCENE IV. Antium. Before AUFIDIUS' house
• SCENE V. Antium. AUFIDIUS' house
• SCENE VI. Rome. A public place
• SCENE VII. A camp at a short distance from Rome
• ACT V. SCENE I. Rome. A public place
• SCENE II. The Volscian camp before Rome
• SCENE III. The tent of CORIOLANUS
• SCENE IV. Rome. A public place
• SCENE V. Rome. A street near the gate
• SCENE VI. Corioli. A public place
• THE END
• SCENE: Britain; Italy
• ACT I. SCENE I. Britain. The garden of CYMBELINE'S palace
• SCENE II. Britain. A public place
• SCENE III. Britain. CYMBELINE'S palace
• SCENE IV. Rome. PHILARIO'S house
• SCENE V. Britain. CYMBELINE'S palace
• SCENE VI. Britain. The palace
• ACT II. SCENE I. Britain. Before CYMBELINE'S palace
• SCENE II. Britain. IMOGEN'S bedchamber in CYMBELINE'S palace; a trunk in one corner
• SCENE III. CYMBELINE'S palace. An ante-chamber adjoining IMOGEN'S apartments
• SCENE IV. Rome. PHILARIO'S house
• SCENE V. Rome. Another room in PHILARIO'S house
• ACT III. SCENE I. Britain. A hall in CYMBELINE'S palace
• SCENE II. Britain. Another room in CYMBELINE'S palace
• SCENE III. Wales. A mountainous country with a cave
• SCENE IV. Wales, near Milford Haven
• SCENE V. Britain. CYMBELINE'S palace
• SCENE VI. Wales. Before the cave of BELARIUS
• SCENE VII. Rome. A public place
• ACT IV. SCENE I. Wales. Near the cave of BELARIUS
• SCENE II. Wales. Before the cave of BELARIUS
• SCENE III. Britain. CYMBELINE'S palace
• SCENE IV. Wales. Before the cave of BELARIUS
• ACT V. SCENE I. Britain. The Roman camp
• SCENE II. Britain. A field of battle between the British and Roman camps
• SCENE III. Another part of the field
• SCENE IV. Britain. A prison
• SCENE V. Britain. CYMBELINE'S tent
• THE TRAGEDY OF HAMLET, PRINCE OF DENMARK
• SCENE.- Elsinore.
• ACT I. Scene I. Elsinore. A platform before the Castle.
• Scene II. Elsinore. A room of state in the Castle.
• Scene III. Elsinore. A room in the house of Polonius.
• Scene IV. Elsinore. The platform before the Castle.
• Scene V. Elsinore. The Castle. Another part of the fortifications.
• Act II. Scene I. Elsinore. A room in the house of Polonius.
• ACT III. Scene I. Elsinore. A room in the Castle.
• Scene II. Elsinore. hall in the Castle.
• Scene III. A room in the Castle.
• Scene IV. The Queen's closet.
• ACT IV. Scene I. Elsinore. A room in the Castle.
• Scene II. Elsinore. A passage in the Castle.
• Scene III. Elsinore. A room in the Castle.
• Scene IV. Near Elsinore.
• Scene V. Elsinore. A room in the Castle.
• Scene VI. Elsinore. Another room in the Castle.
• Scene VII. Elsinore. Another room in the Castle.
• ACT V. Scene I. Elsinore. A churchyard.
• Scene II. Elsinore. A hall in the Castle.
• THE END
• SCENE.—England and Wales.
• ACT I. Scene I. London. The Palace.
• Scene II. London. An apartment of the Prince's.
• Scene III. London. The Palace.
• ACT II. Scene I. Rochester. An inn yard.
• Scene II. The highway near Gadshill.
• Scene III. Warkworth Castle.
• Scene IV. Eastcheap. The Boar's Head Tavern.
• ACT III. Scene I. Bangor. The Archdeacon's house.
• Scene II. London. The Palace.
• Scene III. Eastcheap. The Boar's Head Tavern.
• ACT IV. Scene I. The rebel camp near Shrewsbury.
• Scene II. A public road near Coventry.
• Scene III. The rebel camp near Shrewsbury.
• Scene IV. York. The Archbishop's Palace.
• ACT V. Scene I. The King's camp near Shrewsbury.
• Scene II. The rebel camp.
• Scene III. Plain between the camps.
• Scene IV. Another part of the field.
• Scene V. Another part of the field.
• THE END
• SECOND PART OF KING HENRY IV
• ACT I. SCENE I. Warkworth. Before NORTHUMBERLAND'S Castle
• SCENE II. London. A street
• SCENE III. York. The ARCHBISHOP'S palace
• ACT II. SCENE I. London. A street
• SCENE II. London. Another street
• SCENE III. Warkworth. Before the castle
• SCENE IV. London. The Boar's Head Tavern in Eastcheap
• ACT III. SCENE I. Westminster. The palace
• SCENE II. Gloucestershire. Before Justice, SHALLOW'S house
• ACT IV. SCENE I. Yorkshire. Within the Forest of Gaultree
• SCENE II. Another part of the forest
• SCENE III. Another part of the forest
• SCENE IV. Westminster. The Jerusalem Chamber
• SCENE V. Westminster. Another chamber
• ACT V. SCENE I. Gloucestershire. SHALLOW'S house
• SCENE II. Westminster. The palace
• SCENE III. Gloucestershire. SHALLOW'S orchard
• SCENE IV. London. A street
• SCENE V. Westminster. Near the Abbey
• THE END
• DRAMATIS PERSONAE
• SCENE: England and France
• ACT I. SCENE I. London. An ante-chamber in the KING'S palace
• SCENE II. London. The Presence Chamber in the KING'S palace
• ACT II. PROLOGUE.
• SCENE I. London. Before the Boar's Head Tavern, Eastcheap
• SCENE II. Southampton. A council-chamber
• SCENE III. Eastcheap. Before the Boar's Head tavern
• SCENE IV. France. The KING'S palace
• ACT III. PROLOGUE.
• SCENE I. France. Before Harfleur
• SCENE II. Before Harfleur
• SCENE III. Before the gates of Harfleur
• SCENE IV. Rouen. The FRENCH KING'S palace
• SCENE V. The FRENCH KING'S palace
• SCENE VI. The English camp in Picardy
• SCENE VII. The French camp near Agincourt
• ACT IV. PROLOGUE.
• SCENE I. France. The English camp at Agincourt
• SCENE II. The French camp
• SCENE III. The English camp
• SCENE IV. The field of battle
• SCENE V. Another part of the field of battle
• SCENE VI. Another part of the field
• SCENE VII. Another part of the field
• SCENE VIII. Before KING HENRY'S PAVILION
• ACT V. PROLOGUE.
• SCENE I. France. The English camp
• SCENE II. France. The FRENCH KING'S palace
• SCENE: England and France
• ACT I. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• SCENE 5.
• SCENE 6.
• ACT II. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• SCENE 5.
• ACT III. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• ACT IV. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• SCENE 5.
• SCENE 6.
• SCENE 7.
• ACT V. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• SCENE 5.
• THE END
• SCENE: England
• ACT I. SCENE I. London. The palace
• SCENE II. The DUKE OF GLOUCESTER'S house
• SCENE III. London. The palace
• SCENE IV. London. The DUKE OF GLOUCESTER'S garden
• ACT II. SCENE I. Saint Albans
• SCENE II. London. The DUKE OF YORK'S garden
• SCENE III. London. A hall of justice
• SCENE IV. London. A street
• ACT III. SCENE I. The Abbey at Bury St. Edmunds
• SCENE II. Bury St. Edmunds. A room of state
• SCENE III. London. CARDINAL BEAUFORT'S bedchamber
• ACT IV. SCENE I. The coast of Kent
• SCENE II. Blackheath
• SCENE III. Another part of Blackheath
• SCENE IV. London. The palace
• SCENE V. London. The Tower
• SCENE VI. London. Cannon street
• SCENE VII. London. Smithfield
• SCENE VIII. Southwark
• SCENE IX. Killing, worth Castle
• SCENE X. Kent. Iden's garden
• ACT V. SCENE I. Fields between Dartford and Blackheath
• SCENE II. Saint Albans
• SCENE III. Fields near Saint Albans
• THE END
• DRAMATIS PERSONAE
• SCENE: England and France
• SCENE II. Sandal Castle, near Wakefield, in Yorkshire
• SCENE III. Field of battle between Sandal Castle and Wakefield
• SCENE IV. Another part of the field
• ACT II. SCENE I. A plain near Mortimer's Cross in Herefordshire
• SCENE II. Before York
• SCENE III. A field of battle between Towton and Saxton, in Yorkshire
• SCENE IV. Another part of the field
• SCENE V. Another part of the field
• SCENE VI. Another part of the field
• ACT III. SCENE I. A chase in the north of England
• SCENE II. London. The palace
• SCENE III. France. The KING'S palace
• ACT IV. SCENE I. London. The palace
• SCENE II. A plain in Warwickshire
• SCENE III. Edward's camp, near Warwick
• SCENE IV. London. The palace
• SCENE V. A park near Middleham Castle in Yorkshire
• SCENE VI. London. The Tower
• SCENE VII. Before York
• SCENE VIII. London. The palace
• ACT V. SCENE I. Coventry
• SCENE II. A field of battle near Barnet
• SCENE III. Another part of the field
• SCENE IV. Plains wear Tewksbury
• SCENE V. Another part of the field
• SCENE VI. London. The Tower
• SCENE VII. London. The palace
• THE END
• DRAMATIS PERSONAE
• KING HENRY THE EIGHTH
• ACT I. SCENE 1.
• ACT I. SCENE 2.
• ACT I. SCENE 3.
• ACT I. SCENE 4.
• ACT II. SCENE 1.
• ACT II. SCENE 2.
• ACT II. SCENE 3.
• ACT II. SCENE 4.
• ACT III. SCENE 1.
• ACT III.SCENE 2.
• ACT IV. SCENE 1.
• ACT IV. SCENE 2.
• ACT V. SCENE 1.
• ACT V. SCENE 2.
• ACT V. SCENE 3.
• ACT V. SCENE 4.
• ACT V. SCENE 5.
• DRAMATIS PERSONAE
• SCENE: England and France
• ACT I. SCENE 1
• ACT II. SCENE 1
• ACT III. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• ACT IV. SCENE 1.
• SCENE 2.
• SCENE 3.
• ACT V. SCENE 1. England. KING JOHN'S palace
• SCENE 2. England. The DAUPHIN'S camp at Saint Edmundsbury
• SCENE 3.
• SCENE 4.
• SCENE 5.
• SCENE 6.
• SCENE 7.
• THE TRAGEDY OF JULIUS CAESAR
• SCENE: Rome, the conspirators' camp near Sardis, and the plains of Philippi.
• ACT I. SCENE I. Rome. A street.
• SCENE II. A public place.
• SCENE III. A street. Thunder and lightning.
• ACT II. SCENE I.
• SCENE II. Caesar's house. Thunder and lightning.
• SCENE III. A street near the Capitol.
• SCENE IV. Another part of the same street, before the house of Brutus.
• ACT III. SCENE I. Rome. Before the Capitol; the Senate sitting above. A crowd of people, among them Artemidorus and the Soothsayer.
• SCENE II. The Forum.
• SCENE III. A street.
• ACT IV. SCENE I. A house in Rome. Antony, Octavius, and Lepidus, seated at a table.
• SCENE II. Camp near Sardis. Before Brutus' tent. Drum.
• SCENE III. Brutus' tent.
• ACT V. SCENE I. The plains of Philippi.
• SCENE II. The field of battle.
• SCENE III. Another part of the field.
• SCENE IV. Another part of the field.
• SCENE V. Another part of the field.
• THE END
• THE TRAGEDY OF KING LEAR
• Scene: - Britain.
• ACT I. Scene I. [King Lear's Palace.]
• Scene II. The Earl of Gloucester's Castle.
• Scene III. The Duke of Albany's Palace.
• Scene IV. The Duke of Albany's Palace.
• Scene V. Court before the Duke of Albany's Palace.
• ACT II. Scene I. A court within the Castle of the Earl of Gloucester.
• Scene II. Before Gloucester's Castle.
• Scene III. The open country.
• Scene IV. Before Gloucester's Castle; Kent in the stocks.
• ACT III. Scene I. A heath.
• Scene II. Another part of the heath.
• Scene III. Gloucester's Castle.
• Scene IV. The heath. Before a hovel.
• Scene VI. A farmhouse near Gloucester's Castle.
• Scene VII. Gloucester's Castle.
• ACT IV. Scene I. The heath.
• Scene II. Before the Duke of Albany's Palace.
• Scene III. The French camp near Dover.
• Scene IV. The French camp.
• Scene V. Gloucester's Castle.
• Scene VI. The country near Dover.
• Scene VII. A tent in the French camp.
• ACT V. Scene I. The British camp near Dover.
• Scene II. A field between the two camps.
• Scene III. The British camp, near Dover.
• THE END
• SCENE: Navarre
• ACT I. SCENE I. Navarre. The King's park
• SCENE II. The park
• ACT II. SCENE II. The park
• ACT III. SCENE I. The park
• ACT IV. SCENE I. The park
• SCENE II. The park
• SCENE III. The park
• ACT V. SCENE I. The park
• SCENE II. The park
• WINTER
• SCENE: Scotland and England
• ACT I. SCENE I. A desert place. Thunder and lightning.
• SCENE II. A camp near Forres. Alarum within.
• SCENE III. A heath. Thunder.
• SCENE IV. Forres. The palace.
• SCENE V. Inverness. Macbeth's castle.
• SCENE VI. Before Macbeth's castle. Hautboys and torches.
• SCENE VII Macbeth's castle. Hautboys and torches.
• ACT II. SCENE I. Inverness. Court of Macbeth's castle.
• SCENE II. The same.
• SCENE III. The same.
• SCENE IV. Outside Macbeth's castle.
• ACT III. SCENE I. Forres. The palace.
• SCENE II. The palace.
• SCENE III. A park near the palace.
• SCENE IV. A Hall in the palace. A banquet prepared.
• SCENE V. A heath. Thunder.
• SCENE VI. Forres. The palace.
• ACT IV. SCENE I. A cavern. In the middle, a boiling cauldron. Thunder.
• SCENE II. Fife. Macduff's castle.
• SCENE III. England. Before the King's palace.
• ACT V. SCENE I. Dunsinane. Anteroom in the castle.
• SCENE II. The country near Dunsinane. Drum and colors.
• SCENE III. Dunsinane. A room in the castle.
• SCENE IV. Country near Birnam Wood. Drum and colors.
• SCENE V. Dunsinane. Within the castle.
• SCENE VI. Dunsinane. Before the castle.
• SCENE VII. Dunsinane. Before the castle. Alarums.
• SCENE VIII. Another part of the field.
• SCENE IX.
• MEASURE FOR MEASURE
• DRAMATIS PERSONAE
• SCENE: Vienna
• ACT I. SCENE I. The DUKE'S palace
• SCENE II. A street
• SCENE III. A monastery
• SCENE IV. A nunnery
• ACT II. Scene I. A hall in ANGELO'S house
• SCENE II. Another room in ANGELO'S house
• SCENE III. A prison
• SCENE IV. ANGELO'S house
• ACT III. SCENE I. The prison
• Scene II. The street before the prison
• Act IV. Scene I. The moated grange at Saint Duke's
• SCENE II. The prison
• SCENE III. The prison
• SCENE IV. ANGELO'S house
• SCENE V. Fields without the town
• SCENE VI. A street near the city gate
• ACT V. SCENE I. The city gate
• DRAMATIS PERSONAE
• SCENE: Venice, and PORTIA'S house at Belmont
• ACT I. SCENE I. Venice. A street
• SCENE II. Belmont. PORTIA'S house
• SCENE III. Venice. A public place
• ACT II. SCENE I. Belmont. PORTIA'S house
• SCENE II. Venice. A street
• SCENE III. Venice. SHYLOCK'S house
• SCENE IV. Venice. A street
• SCENE V. Venice. Before SHYLOCK'S house
• SCENE VI. Venice. Before SHYLOCK'S house
• SCENE VII. Belmont. PORTIA's house
• SCENE VIII. Venice. A street
• SCENE IX. Belmont. PORTIA'S house
• ACT III. SCENE I. Venice. A street
• SCENE II. Belmont. PORTIA'S house
• SCENE III. Venice. A street
• SCENE IV. Belmont. PORTIA'S house
• SCENE V. Belmont. The garden
• ACT IV. SCENE I. Venice. The court of justice
• SCENE II. Venice. A street
• ACT V. SCENE I. Belmont. The garden before PORTIA'S house
• SCENE: Windsor, and the neighbourhood
• ACT I. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• ACT II. SCENE 1.
• SCENE 2.
• SCENE 3.
• ACT III SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• SCENE 5.
• ACT IV. SCENE I.
• SCENE 2.
• SCENE 3.
• SCENE 4
• SCENE 5.
• SCENE 6.
• ACT V. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• SCENE 5.
• DRAMATIS PERSONAE
• SCENE: Athens and a wood near it
• ACT I. SCENE I. Athens. The palace of THESEUS
• SCENE II. Athens. QUINCE'S house
• ACT II. SCENE I. A wood near Athens
• SCENE II. Another part of the wood
• ACT III. SCENE I. The wood. TITANIA lying asleep
• SCENE II. Another part of the wood
• ACT IV. SCENE I. The wood. LYSANDER, DEMETRIUS, HELENA, and HERMIA, lying asleep
• SCENE II. Athens. QUINCE'S house
• ACT V. SCENE I. Athens. The palace of THESEUS
• MUCH ADO ABOUT NOTHING
• SCENE.—Messina.
• ACT I. Scene I. An orchard before Leonato's house.
• Scene II. A room in Leonato's house.
• Scene III. Another room in Leonato's house.]
• ACT II. Scene I. A hall in Leonato's house.
• Scene II. A hall in Leonato's house.
• Scene III. Leonato's orchard.
• ACT III. Scene I. Leonato's orchard.
• Scene II. A room in Leonato's house.
• Scene III. A street.
• Scene IV. A Room in Leonato's house.
• Scene V. The hall in Leonato's house.
• ACT IV. Scene I. A church.
• Scene II. A prison.
• ACT V. Scene I. The street, near Leonato's house.
• Scene II. Leonato's orchard.
• Scene III. A churchyard.
• Scene IV The hall in Leonato's house.
• THE END
• THE TRAGEDY OF OTHELLO, MOOR OF VENICE
• SCENE: Venice and Cyprus
• SCENE II. Another street.
• SCENE III. A council chamber. The Duke and Senators sitting at a table; Officers attending.
• ACT II. SCENE I. A seaport in Cyprus. An open place near the quay.
• SCENE II. A street.
• SCENE III. A hall in the castle.
• ACT III. SCENE I. Before the castle.
• SCENE II. A room in the castle.
• SCENE III. The garden of the castle.
• SCENE IV. Before the castle.
• ACT IV. SCENE I. Cyprus. Before the castle.
• SCENE II. A room in the castle.
• SCENE III. Another room in the castle.
• ACT V. SCENE I. Cyprus. A street.
• SCENE II. A bedchamber in the castle. Desdemona in bed asleep; a light burning.
• THE END
• KING RICHARD THE SECOND
• DRAMATIS PERSONAE
• SCENE: England and Wales
• ACT I. SCENE I. London. The palace
• SCENE 2. London. The DUKE OF LANCASTER'S palace
• SCENE 3. The lists at Coventry
• SCENE 4. London. The court
• ACT II. SCENE I. London. Ely House
• SCENE 2. Windsor Castle
• SCENE 3. Gloucestershire
• SCENE 4. A camp in Wales
• ACT III. SCENE I. BOLINGBROKE'S camp at Bristol
• SCENE 2. The coast of Wales. A castle in view
• SCENE 3. Wales. Before Flint Castle
• SCENE 4. The DUKE OF YORK's garden
• ACT IV. SCENE 1. Westminster Hall
• ACT V. SCENE 1. London. A street leading to the Tower
• SCENE 2. The DUKE OF YORK's palace
• SCENE 3. Windsor Castle
• SCENE 4. Windsor Castle
• SCENE 5. Pomfret Castle. The dungeon of the Castle
• SCENE 6. Windsor Castle
• SCENE: England
• ACT I. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• ACT II. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• ACT III. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4
• SCENE 5.
• SCENE 6.
• SCENE 7.
• ACT IV. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• SCENE 5.
• ACT V. SCENE 1.
• SCENE 2.
• SCENE 3.
• SCENE 4.
• SCENE 5.
• THE TRAGEDY OF ROMEO AND JULIET
• THE PROLOGUE
• ACT I. Scene I. Verona. A public place.
• Scene II. A Street.
• Scene III. Capulet's house.
• Scene IV. A street.
• Scene V. Capulet's house.
• PROLOGUE
• ACT II. Scene I. A lane by the wall of Capulet's orchard.
• Scene II. Capulet's orchard.
• Scene III. Friar Laurence's cell.
• Scene IV. A street.
• Scene V. Capulet's orchard.
• Scene VI. Friar Laurence's cell.
• ACT III. Scene I. A public place.
• Scene II. Capulet's orchard.
• Scene III. Friar Laurence's cell.
• Scene IV. Capulet's house
• Scene V. Capulet's orchard.
• ACT IV. Scene I. Friar Laurence's cell.
• Scene II. Capulet's house.
• Scene III. Juliet's chamber.
• Scene IV. Capulet's house.
• Scene V. Juliet's chamber.
• ACT V. Scene I. Mantua. A street.
• Scene II. Verona. Friar Laurence's cell.
• Scene III. Verona. A churchyard; in it the monument of the Capulets.
• THE TAMING OF THE SHREW
• ACT I. SCENE I. Padua. A public place
• SCENE II. Padua. Before HORTENSIO'S house
• ACT Il. SCENE I. Padua. BAPTISTA'S house
• ACT III. SCENE I. Padua. BAPTISTA'S house
• SCENE II. Padua. Before BAPTISTA'So house
• ACT IV. SCENE I. PETRUCHIO'S country house
• SCENE II. Padua. Before BAPTISTA'S house
• SCENE III. PETRUCHIO'S house
• SCENE IV. Padua. Before BAPTISTA'S house
• SCENE V. A public road
• ACT V. SCENE I. Padua. Before LUCENTIO'S house
• SCENE II. LUCENTIO'S house
• DRAMATIS PERSONAE
• SCENE: A ship at sea; afterwards an uninhabited island
• THE TEMPEST ACT I. SCENE 1
• SCENE 2
• ACT II. SCENE 1
• SCENE 2
• ACT III. SCENE 1
• SCENE 2
• SCENE 3
• ACT IV. SCENE 1
• ACT V. SCENE 1
• DRAMATIS PERSONAE
• SCENE: Athens and the neighbouring woods
• ACT I. SCENE I. Athens. TIMON'S house
• SCENE II. A room of state in TIMON'S house
• ACT II. SCENE I. A SENATOR'S house
• SCENE II. Before TIMON'S house
• ACT III. SCENE I. LUCULLUS' house
• SCENE II. A public place
• SCENE III. SEMPRONIUS' house
• SCENE IV. A hall in TIMON'S house
• SCENE V. The Senate House
• SCENE VI. A banqueting hall in TIMON'S house
• ACT IV. SCENE I. Without the walls of Athens
• SCENE II. Athens. TIMON's house
• SCENE III. The woods near the sea-shore. Before TIMON'S cave
• ACT V. SCENE I. The woods. Before TIMON's cave
• SCENE II. Before the walls of Athens
• SCENE III. The TIMON's cave, and a rude tomb seen
• SCENE IV. Before the walls of Athens
• SCENE: Rome and the neighbourhood
• ACT 1. SCENE I. Rome. Before the Capitol
• ACT II. SCENE I. Rome. Before the palace
• SCENE II. A forest near Rome
• SCENE III. A lonely part of the forest
• SCENE IV. Another part of the forest
• ACT III. SCENE I. Rome. A street
• SCENE II. Rome. TITUS' house
• ACT IV. SCENE I. Rome. TITUS' garden
• SCENE II. Rome. The palace
• SCENE III. Rome. A public place
• SCENE IV. Rome. Before the palace
• ACT V. SCENE I. Plains near Rome
• SCENE II. Rome. Before TITUS' house
• SCENE III. The court of TITUS' house
• DRAMATIS PERSONAE
• ACT I. SCENE 1. Troy. Before PRIAM'S palace
• ACT I. SCENE 2. Troy. A street
• ACT I. SCENE 3. The Grecian camp. Before AGAMEMNON'S tent
• ACT II. SCENE 1. The Grecian camp
• ACT II. SCENE 2. Troy. PRIAM'S palace
• ACT II. SCENE 3. The Grecian camp. Before the tent of ACHILLES
• ACT III. SCENE 1. Troy. PRIAM'S palace
• ACT III. SCENE 2. Troy. PANDARUS' orchard
• ACT III. SCENE 3. The Greek camp
• ACT IV. SCENE 1. Troy. A street
• ACT IV. SCENE 2. Troy. The court of PANDARUS' house
• ACT IV. SCENE 3. Troy. A street before PANDARUS' house
• ACT IV. SCENE 4. Troy. PANDARUS' house
• ACT IV. SCENE 5. The Grecian camp. Lists set out
• ACT V. SCENE 1. The Grecian camp. Before the tent of ACHILLES
• ACT V. SCENE 2. The Grecian camp. Before CALCHAS' tent
• ACT V. SCENE 3. Troy. Before PRIAM'S palace
• ACT V. SCENE 4. The plain between Troy and the Grecian camp
• ACT V. SCENE 5. Another part of the plain
• ACT V. SCENE 6. Another part of the plain
• ACT V. SCENE 7. Another part of the plain
• ACT V. SCENE 8. Another part of the plain
• ACT V. SCENE 9. Another part of the plain
• ACT V. SCENE 10. Another part of the plain
• TWELFTH NIGHT; OR, WHAT YOU WILL
• DRAMATIS PERSONAE
• SCENE: A city in Illyria; and the sea-coast near it
• ACT I. SCENE I. The DUKE'S palace
• SCENE II. The sea-coast
• SCENE III. OLIVIA'S house
• SCENE IV. The DUKE'S palace
• SCENE V. OLIVIA'S house
• ACT II. SCENE I. The sea-coast
• SCENE II. A street
• SCENE III. OLIVIA'S house
• SCENE IV. The DUKE'S palace
• SCENE V. OLIVIA'S garden
• ACT III. SCENE I. OLIVIA'S garden
• SCENE II. OLIVIA'S house
• SCENE III. A street
• SCENE IV. OLIVIA'S garden
• ACT IV. SCENE I. Before OLIVIA'S house
• SCENE II. OLIVIA'S house
• SCENE III. OLIVIA'S garden
• ACT V. SCENE I. Before OLIVIA's house
• DRAMATIS PERSONAE
• SCENE: Verona; Milan; the frontiers of Mantua
• ACT I. SCENE I. Verona. An open place
• SCENE II. Verona. The garden Of JULIA'S house
• SCENE III. Verona. ANTONIO'S house
• ACT II. SCENE I. Milan. The DUKE'S palace
• SCENE II. Verona. JULIA'S house
• SCENE III. Verona. A street
• SCENE IV. Milan. The DUKE'S palace
• SCENE V. Milan. A street
• SCENE VI. Milan. The DUKE's palace
• SCENE VII. Verona. JULIA'S house
• ACT III. SCENE I. Milan. The DUKE'S palace
• SCENE II. Milan. The DUKE'S palace
• ACT IV. SCENE I. The frontiers of Mantua. A forest
• SCENE II. Milan. Outside the DUKE'S palace, under SILVIA'S window
• SCENE III. Under SILVIA'S window
• SCENE IV. Under SILVIA'S Window
• ACT V. SCENE I. Milan. An abbey
• SCENE II. Milan. The DUKE'S palace
• SCENE III. The frontiers of Mantua. The forest
• SCENE IV. Another part of the forest
• ACT I. SCENE I. Sicilia. The palace of LEONTES
• SCENE II. Sicilia. The palace of LEONTES
• ACT II. SCENE I. Sicilia. The palace of LEONTES
• SCENE II. Sicilia. A prison
• SCENE III. Sicilia. The palace of LEONTES
• ACT III. SCENE I. Sicilia. On the road to the Capital
• SCENE II. Sicilia. A court of justice
• SCENE III. Bohemia. The sea-coast
• ACT IV. SCENE I.
• SCENE II. Bohemia. The palace of POLIXENES
• SCENE III. Bohemia. A road near the SHEPHERD'S cottage
• SCENE IV. Bohemia. The SHEPHERD'S cottage
• ACT V. SCENE I. Sicilia. The palace of LEONTES
• SCENE II. Sicilia. Before the palace of LEONTES
• SCENE III. Sicilia. A chapel in PAULINA's house

SCENE VII. The French camp near Agincourt

Enter the CONSTABLE OF FRANCE, the LORD RAMBURES, the DUKE OF ORLEANS, the DAUPHIN, with others

  CONSTABLE. Tut! I have the best armour of the world.
    Would it were day!
  ORLEANS. You have an excellent armour; but let my horse have his
    due.
  CONSTABLE. It is the best horse of Europe.
  ORLEANS. Will it never be morning?
  DAUPHIN. My Lord of Orleans and my Lord High Constable, you talk of
    horse and armour?
  ORLEANS. You are as well provided of both as any prince in the
    world.
  DAUPHIN. What a long night is this! I will not change my horse with
    any that treads but on four pasterns. Ca, ha! he bounds from the
    earth as if his entrails were hairs; le cheval volant, the
    Pegasus, chez les narines de feu! When I bestride him I soar, I
    am a hawk. He trots the air; the earth sings when he touches it;
    the basest horn of his hoof is more musical than the pipe of
    Hermes.
  ORLEANS. He's of the colour of the nutmeg.
  DAUPHIN. And of the heat of the ginger. It is a beast for Perseus:
    he is pure air and fire; and the dull elements of earth and water
    never appear in him, but only in patient stillness while his
    rider mounts him; he is indeed a horse, and all other jades you
    may call beasts.
  CONSTABLE. Indeed, my lord, it is a most absolute and excellent
    horse.
  DAUPHIN. It is the prince of palfreys; his neigh is like the
    bidding of a monarch, and his countenance enforces homage.
  ORLEANS. No more, cousin.
  DAUPHIN. Nay, the man hath no wit that cannot, from the rising of
    the lark to the lodging of the lamb, vary deserved praise on my
    palfrey. It is a theme as fluent as the sea: turn the sands into
    eloquent tongues, and my horse is argument for them all: 'tis a
    subject for a sovereign to reason on, and for a sovereign's
    sovereign to ride on; and for the world- familiar to us and
    unknown- to lay apart their particular functions and wonder at
    him. I once writ a sonnet in his praise and began thus: 'Wonder
    of nature'-
  ORLEANS. I have heard a sonnet begin so to one's mistress.
  DAUPHIN. Then did they imitate that which I compos'd to my courser;
    for my horse is my mistress.
  ORLEANS. Your mistress bears well.
  DAUPHIN. Me well; which is the prescript praise and perfection of a
    good and particular mistress.
  CONSTABLE. Nay, for methought yesterday your mistress shrewdly
    shook your back.
  DAUPHIN. So perhaps did yours.
  CONSTABLE. Mine was not bridled.
  DAUPHIN. O, then belike she was old and gentle; and you rode like a
    kern of Ireland, your French hose off and in your strait
    strossers.
  CONSTABLE. You have good judgment in horsemanship.
  DAUPHIN. Be warn'd by me, then: they that ride so, and ride not
    warily, fall into foul bogs. I had rather have my horse to my
    mistress.
  CONSTABLE. I had as lief have my mistress a jade.
  DAUPHIN. I tell thee, Constable, my mistress wears his own hair.
  CONSTABLE. I could make as true a boast as that, if I had a sow to
    my mistress.
  DAUPHIN. 'Le chien est retourne a son propre vomissement, et la
    truie lavee au bourbier.' Thou mak'st use of anything.
  CONSTABLE. Yet do I not use my horse for my mistress, or any such
    proverb so little kin to the purpose.
  RAMBURES. My Lord Constable, the armour that I saw in your tent
    to-night- are those stars or suns upon it?
  CONSTABLE. Stars, my lord.
  DAUPHIN. Some of them will fall to-morrow, I hope.
  CONSTABLE. And yet my sky shall not want.
  DAUPHIN. That may be, for you bear a many superfluously, and 'twere
    more honour some were away.
  CONSTABLE. Ev'n as your horse bears your praises, who would trot as
    well were some of your brags dismounted.
  DAUPHIN. Would I were able to load him with his desert! Will it
    never be day? I will trot to-morrow a mile, and my way shall be
    paved with English faces.
  CONSTABLE. I will not say so, for fear I should be fac'd out of my
    way; but I would it were morning, for I would fain be about the
    ears of the English.
  RAMBURES. Who will go to hazard with me for twenty prisoners?
  CONSTABLE. You must first go yourself to hazard ere you have them.
  DAUPHIN. 'Tis midnight; I'll go arm myself. Exit
  ORLEANS. The Dauphin longs for morning.
  RAMBURES. He longs to eat the English.
  CONSTABLE. I think he will eat all he kills.
  ORLEANS. By the white hand of my lady, he's a gallant prince.
  CONSTABLE. Swear by her foot, that she may tread out the oath.
  ORLEANS. He is simply the most active gentleman of France.
  CONSTABLE. Doing is activity, and he will still be doing.
  ORLEANS. He never did harm that I heard of.
  CONSTABLE. Nor will do none to-morrow: he will keep that good name
    still.
  ORLEANS. I know him to be valiant.
  CONSTABLE. I was told that by one that knows him better than you.
  ORLEANS. What's he?
  CONSTABLE. Marry, he told me so himself; and he said he car'd not
    who knew it.
  ORLEANS. He needs not; it is no hidden virtue in him.
  CONSTABLE. By my faith, sir, but it is; never anybody saw it but
      his lackey.
    'Tis a hooded valour, and when it appears it will bate.
  ORLEANS. Ill-wind never said well.
  CONSTABLE. I will cap that proverb with 'There is flattery in
    friendship.'
  ORLEANS. And I will take up that with 'Give the devil his due.'
  CONSTABLE. Well plac'd! There stands your friend for the devil;
    have at the very eye of that proverb with 'A pox of the devil!'
  ORLEANS. You are the better at proverbs by how much 'A fool's bolt
    is soon shot.'
  CONSTABLE. You have shot over.
  ORLEANS. 'Tis not the first time you were overshot.

Enter a MESSENGER

  MESSENGER. My Lord High Constable, the English lie within fifteen
    hundred paces of your tents.
  CONSTABLE. Who hath measur'd the ground?
  MESSENGER. The Lord Grandpre.
  CONSTABLE. A valiant and most expert gentleman. Would it were day!
    Alas, poor Harry of England! he longs not for the dawning as we
    do.
  ORLEANS. What a wretched and peevish fellow is this King of
    England, to mope with his fat-brain'd followers so far out of his
    knowledge!
  CONSTABLE. If the English had any apprehension, they would run
    away.
  ORLEANS. That they lack; for if their heads had any intellectual
    armour, they could never wear such heavy head-pieces.
  RAMBURES. That island of England breeds very valiant creatures;
    their mastiffs are of unmatchable courage.
  ORLEANS. Foolish curs, that run winking into the mouth of a Russian
    bear, and have their heads crush'd like rotten apples! You may as
    well say that's a valiant flea that dare eat his breakfast on the
    lip of a lion.
  CONSTABLE. Just, just! and the men do sympathise with the mastiffs
    in robustious and rough coming on, leaving their wits with their
    wives; and then give them great meals of beef and iron and steel;
    they will eat like wolves and fight like devils.
  ORLEANS. Ay, but these English are shrewdly out of beef.
  CONSTABLE. Then shall we find to-morrow they have only stomachs to
    eat, and none to fight. Now is it time to arm. Come, shall we
    about it?
  ORLEANS. It is now two o'clock; but let me see- by ten
    We shall have each a hundred Englishmen. Exeunt

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