I will now hear. What say you of this gentlewoman?
I will now hear. What say you of this gentlewoman?
i will now hear. what say you of th's gentlewoman?
I will now hear. What say you of this gentlewoman?
The Steward (Rynaldo) speaks carefully, in elaborate qualifications — he is a man who weighs the costs of information before delivering it. His formality is not coldness; it is the professionalism of someone who knows that what he says will have consequences.
Madam, the care I have had to even your content, I wish might be found
in the calendar of my past endeavours; for then we wound our modesty,
and make foul the clearness of our deservings, when of ourselves we
publish them.
Madam, the care I have had to even your content, I wish might be found in the calendar of my past endeavours; for then we wound our modesty, and make foul the clearness of our deservings, when of ourselves we publish them.
madam, the c're i 've had to even your content, i wish might be found in the calendar of my past endeavours; for then we wound our modesty, and make foul the clearness of our deservings, when of ourselves we publish them.
Madam, the care I have had to even your content, I wish...
What does this knave here? Get you gone, sirrah. The complaints I have
heard of you I do not all believe; ’tis my slowness that I do not; for
I know you lack not folly to commit them, and have ability enough to
make such knaveries yours.
What does this knave here? Get you gone, sir. The complaints I have heard of you I do not all believe; ’is my slowness that I do not; for I know you lack not folly to commit them, and have ability enough to make such knaveries yours.
what does th's knave here? get you gone, sir. the complaints i 've heard of you i do not all believe; ’t's my slowness that i do not; for i know you lack not folly to commit them, and 've ability enough to make such knaveries yours.
What does this knave here? Get you gone, sir. The complaints I...
The Clown (named Lavatch in some editions) speaks in sustained logical tangles — he takes premises to absurd conclusions with perfect internal consistency. His jokes are always about desire, marriage, and hypocrisy. Watch for the moments when he says something crude that is also deeply true.
’Tis not unknown to you, madam, I am a poor fellow.
’is not unknown to you, madam, I am a poor fellow.
’t's not unknown to you, madam, i am a poor fellow.
’is not unknown to you, madam, I am a poor fellow.
Well, sir.
Well, sir.
well, sir.
Well, sir.
No, madam, ’tis not so well that I am poor, though many of the rich are
damned; but if I may have your ladyship’s good will to go to the world,
Isbel the woman and I will do as we may.
No, madam, ’is not so well that I am poor, though many of the rich are damned; but if I may have your ladyship’s good will to go to the world, Isbel the woman and I will do as we may.
no, madam, ’t's not so well that i am poor, though many of the rich 're damned; but if i may 've your ladyship’s good will to go to the world, isbel the woman and i will do as we may.
No, madam, ’is not so well that I am poor, though many...
Wilt thou needs be a beggar?
will you needs be a beggar?
will you needs be a beggar?
will you needs be a beggar?
I do beg your good will in this case.
I do beg your good will in this case.
i do beg your good will in th's case.
I do beg your good will in this case.
In what case?
In what case?
in what case?
In what case?
In Isbel’s case and mine own. Service is no heritage, and I think I
shall never have the blessing of God till I have issue of my body; for
they say barnes are blessings.
In Isbel’s case and mine own. Service is no heritage, and I think I shall never have the blessing of God till I have issue of my body; for they say barnes are blessings.
in isbel’s case and mine own. service 's no heritage, and i think i shall never 've the blessing of god till i 've issue of my body; for they say barnes 're blessings.
In Isbel’s case and mine own. Service is no heritage, and I...
Tell me thy reason why thou wilt marry.
Tell me your reason why you will marry.
tell me your reason why you will marry.
Tell me your reason why you will marry.
My poor body, madam, requires it; I am driven on by the flesh, and he
must needs go that the devil drives.
My poor body, madam, requires it; I am driven on by the flesh, and he must needs go that the devil drives.
my poor body, madam, requires it; i am driven on by the flesh, and he must needs go that the devil drives.
My poor body, madam, requires it; I am driven on by the...
Is this all your worship’s reason?
Is this all your worship’s reason?
's th's all your worship’s reason?
Is this all your worship’s reason?
Faith, madam, I have other holy reasons, such as they are.
Faith, madam, I have other holy reasons, such as they are.
faith, madam, i 've other holy reasons, such as they are.
Faith, madam, I have other holy reasons, such as they are.
May the world know them?
May the world know them?
may the world know them?
May the world know them?
I have been, madam, a wicked creature, as you and all flesh and blood
are; and indeed I do marry that I may repent.
I have been, madam, a wicked creature, as you and all flesh and blood are; and indeed I do marry that I may repent.
i 've been, madam, a wicked creature, as you and all flesh and blood are; and indeed i do marry that i may repent.
I have been, madam, a wicked creature, as you and all flesh...
Thy marriage, sooner than thy wickedness.
your marriage, sooner than your wickedness.
your marriage, sooner than your wickedness.
your marriage, sooner than your wickedness.
I am out of friends, madam, and I hope to have friends for my wife’s
sake.
I am out of friends, madam, and I hope to have friends for my wife’s sake.
i am out of friends, madam, and i hope to 've friends for my wife’s sake.
I am out of friends, madam, and I hope to have friends...
Helena's confession to the Countess is one of the bravest acts in the play — not because it takes physical courage, but because it voluntarily surrenders her only protection: secrecy. Once the Countess knows, Helena is exposed. What makes the scene remarkable is that Helena's love is perfectly calibrated in how it presents itself. She says: I love in vain, I know it is vain, I would not have him before I deserve him, and I have no idea how to deserve him. This is not delusion — it is absolute clarity about the social facts and a refusal to accept them as final. The Countess is moved by precisely this: not the love itself, but the quality of mind the love is paired with. Helena doesn't just feel. She thinks. And the Countess recognizes that combination as rare.
Such friends are thine enemies, knave.
Such friends are yours enemies, knave.
such friends 're yours enemies, knave.
Such friends are yours enemies, knave.
Y’are shallow, madam, in great friends; for the knaves come to do that
for me which I am a-weary of. He that ears my land spares my team, and
gives me leave to in the crop: if I be his cuckold, he’s my drudge. He
that comforts my wife is the cherisher of my flesh and blood; he that
cherishes my flesh and blood loves my flesh and blood; he that loves my
flesh and blood is my friend; ergo, he that kisses my wife is my
friend. If men could be contented to be what they are, there were no
fear in marriage; for young Charbon the puritan and old Poysam the
papist, howsome’er their hearts are sever’d in religion, their heads
are both one; they may jowl horns together like any deer i’ the herd.
Y’are shallow, madam, in great friends; for the knaves come to do that for me which I am a-weary of. He that ears my land spares my team, and gives me leave to in the crop: if I be his cuckold, he’s my drudge. He that comforts my wife is the cherisher of my flesh and blood; he that cherishes my flesh and blood loves my flesh and blood; he that loves my flesh and blood is my friend; ergo, he that kisses my wife is my friend. If men could be contented to be what they are, there were no fear in marriage; for young Charbon the puritan and old Poysam the papist, howsome’er their hearts are sever’d in religion, their heads are both one; they may jowl horns together like any deer i’ the herd.
y’'re shallow, madam, in great friends; for the knaves come to do that for me which i am a-weary of. he that ears my land spares my team, and gives me leave to in the crop: if i be h's cuckold, he’s my drudge. he that comforts my wife 's the cherisher of my flesh and blood; he that cherishes my flesh and blood loves my flesh and blood; he that loves my flesh and blood 's my friend; ergo, he that kisses my wife 's my friend. if men could be contented to be what they are, there were no fear in marriage; for young charbon the puritan and old poysam the papist, howsome’er their hearts 're sever’d in religion, their heads 're both one; they may jowl horns together like any deer i’ the herd.
Y’are shallow, madam, in great friends; for the knaves come to do...
Wilt thou ever be a foul-mouth’d and calumnious knave?
will you ever be a foul-mouth’d and calumnious knave?
will you ever be a foul-mouth’d and calumnious knave?
will you ever be a foul-mouth’d and calumnious knave?
A prophet I, madam; and I speak the truth the next way:
_For I the ballad will repeat,
Which men full true shall find;
Your marriage comes by destiny,
Your cuckoo sings by kind._
A prophet I, madam; and I speak the truth the next way: _For I the ballad will repeat, Which men full true shall find; Your marriage comes by destiny, Your cuckoo sings by kind._
a prophet i, madam; and i speak the truth the next way: _for i the ballad will repeat, which men full true shall find; your marriage comes by destiny, your cuckoo sings by kind._
A prophet I, madam; and I speak the truth the next way:...
Get you gone, sir; I’ll talk with you more anon.
Get you gone, sir; I’ll talk with you more soon.
get you gone, sir; i’ll talk with you more soon.
Get you gone, sir; I’ll talk with you more soon.
May it please you, madam, that he bid Helen come to you; of her I am to
speak.
May it please you, madam, that he bid Helen come to you; of her I am to speak.
may it please you, madam, that he bid helen come to you; of her i am to speak.
May it please you, madam, that he bid Helen come to you;...
Sirrah, tell my gentlewoman I would speak with her; Helen I mean.
sir, tell my gentlewoman I would speak with her; Helen I mean.
sir, tell my gentlewoman i would speak with her; helen i mean.
sir, tell my gentlewoman I would speak with her; Helen I mean.
_ Was this fair face the cause, quoth she,
Why the Grecians sacked Troy?
Fond done, done fond,
Was this King Priam’s joy?
With that she sighed as she stood,
With that she sighed as she stood,
And gave this sentence then:
Among nine bad if one be good,
Among nine bad if one be good,
There’s yet one good in ten._
_ Was this fair face the cause, quoth she, Why the Grecians sacked Troy? Fond done, done fond, Was this King Priam’s joy? With that she sighed as she stood, With that she sighed as she stood, And gave this sentence then: Among nine bad if one be good, Among nine bad if one be good, There’s yet one good in ten._
_ was th's fair face the cause, quoth she, why the grecians sacked troy? fond done, done fond, was th's king priam’s joy? with that she sighed as she stood, with that she sighed as she stood, and gave th's sentence then: among nine bad if one be good, among nine bad if one be good, there’s yet one good in ten._
_ Was this fair face the cause, quoth she, Why the Grecians...
What, one good in ten? You corrupt the song, sirrah.
What, one good in ten? You corrupt the song, sir.
what, one good in ten? you corrupt the song, sir.
What, one good in ten? You corrupt the song, sir.
One good woman in ten, madam, which is a purifying o’ the song. Would
God would serve the world so all the year! We’d find no fault with the
tithe-woman, if I were the parson. One in ten, quoth ’a! And we might
have a good woman born but or every blazing star, or at an earthquake,
’twould mend the lottery well; a man may draw his heart out ere he
pluck one.
One good woman in ten, madam, which is a purifying o’ the song. Would God would serve the world so all the year! We’d find no fault with the tithe-woman, if I were the parson. One in ten, quoth ’a! And we might have a good woman born but or every blazing star, or at an earthquake, ’twould mend the lottery well; a man may draw his heart out before he pluck one.
one good woman in ten, madam, which 's a purifying o’ the song. would god would serve the world so all the year! we’d find no fault with the tithe-woman, if i were the parson. one in ten, quoth ’a! and we might 've a good woman born but or every blazing star, or at an earthquake, ’twould mend the lottery well; a man may draw h's heart out before he pluck one.
One good woman in ten, madam, which is a purifying o’ the...
You’ll be gone, sir knave, and do as I command you!
You’ll be gone, sir knave, and do as I command you!
you’ll be gone, sir knave, and do as i command you!
You’ll be gone, sir knave, and do as I command you!
That man should be at woman’s command, and yet no hurt done! Though
honesty be no puritan, yet it will do no hurt; it will wear the
surplice of humility over the black gown of a big heart. I am going,
forsooth; the business is for Helen to come hither.
That man should be at woman’s command, and yet no hurt done! Though honesty be no puritan, yet it will do no hurt; it will wear the surplice of humility over the black gown of a big heart. I am going, truly; the business is for Helen to come here.
that man should be at woman’s command, and yet no hurt done! though honesty be no puritan, yet it will do no hurt; it will wear the surplice of humility over the black gown of a big heart. i am going, truly; the business 's for helen to come here.
That man should be at woman’s command, and yet no hurt done!...
Well, now.
Well, now.
well, now.
Well, now.
I know, madam, you love your gentlewoman entirely.
I know, madam, you love your gentlewoman entirely.
i know, madam, you love your gentlewoman entirely.
I know, madam, you love your gentlewoman entirely.
Faith I do. Her father bequeath’d her to me, and she herself, without
other advantage, may lawfully make title to as much love as she finds;
there is more owing her than is paid, and more shall be paid her than
she’ll demand.
Faith I do. Her father bequeath’d her to me, and she herself, without other advantage, may lawfully make title to as much love as she finds; there is more owing her than is paid, and more shall be paid her than she’ll demand.
faith i do. her father bequeath’d her to me, and she herself, without other advantage, may lawfully make title to as much love as she finds; there 's more owing her than 's paid, and more shall be paid her than she’ll demand.
Faith I do. Her father bequeath’d her to me, and she herself,...
Madam, I was very late more near her than I think she wish’d me; alone
she was, and did communicate to herself her own words to her own ears;
she thought, I dare vow for her, they touch’d not any stranger sense.
Her matter was, she loved your son. Fortune, she said, was no goddess,
that had put such difference betwixt their two estates; Love no god,
that would not extend his might only where qualities were level; Diana
no queen of virgins, that would suffer her poor knight surpris’d,
without rescue in the first assault or ransom afterward. This she
deliver’d in the most bitter touch of sorrow that e’er I heard virgin
exclaim in, which I held my duty speedily to acquaint you withal;
sithence, in the loss that may happen, it concerns you something to
know it.
Madam, I was very late more near her than I think she wish’d me; alone she was, and did communicate to herself her own words to her own ears; she thought, I dare vow for her, they touch’d not any stranger sense. Her matter was, she loved your son. Fortune, she said, was no goddess, that had put such difference between their two estates; Love no god, that would not extend his might only where qualities were level; Diana no queen of virgins, that would suffer her poor knight surpris’d, without rescue in the first assault or ransom afterward. This she deliver’d in the most bitter touch of sorrow that e’er I heard virgin exclaim in, which I held my duty speedily to acquaint you withal; sithence, in the loss that may happen, it concerns you something to know it.
madam, i was very late more near her than i think she wish’d me; alone she was, and did communicate to herself her own words to her own ears; she thought, i d're vow for her, they touch’d not any stranger sense. her matter was, she loved your son. fortune, she said, was no goddess, that had put such difference between their two estates; love no god, that would not extend h's might only where qualities were level; diana no queen of virgins, that would suffer her poor knight surpris’d, without rescue in the first assault or ransom afterward. th's she deliver’d in the most bitter touch of sorrow that e’er i heard virgin exclaim in, which i held my duty speedily to acquaint you withal; sithence, in the loss that may happen, it concerns you something to know it.
Madam, I was very late more near her than I think she...
You have discharg’d this honestly; keep it to yourself; many
likelihoods inform’d me of this before, which hung so tottering in the
balance that I could neither believe nor misdoubt. Pray you leave me;
stall this in your bosom; and I thank you for your honest care. I will
speak with you further anon.
You have discharg’d this honestly; keep it to yourself; many likelihoods inform’d me of this before, which hung so tottering in the balance that I could neither believe nor misdoubt. Pray you leave me; stall this in your bosom; and I thank you for your honest care. I will speak with you further soon.
you 've discharg’d th's honestly; keep it to yourself; many likelihoods inform’d me of th's before, which hung so tottering in the balance that i could neither believe nor misdoubt. pray you leave me; stall th's in your bosom; and i thank you for your honest care. i will speak with you further soon.
You have discharg’d this honestly; keep it to yourself; many likelihoods inform’d...
The Clown's extended riff on marriage and cuckoldry seems like broad comic interlude — and partly it is. But it is also doing something the rest of the play dances around: articulating the social facts of desire without romanticism. The Clown's argument is that everyone gets cuckolded eventually, that the puritan and the papist end up in the same condition regardless of their virtue or piety, and that marriage is essentially an exchange system for appetite. This is a bleak view — and it is not the play's view. But it serves as a kind of ironic counterpoint to Helena's idealism. The comedy and the romance are always in conversation in this play. The Clown says: everyone ends up with horns. Helena says: love can transcend all of this. The play asks: which is right? And the answer is complicated.
What is your pleasure, madam?
What is your pleasure, madam?
what 's your pleasure, madam?
What is your pleasure, madam?
You know, Helen,
I am a mother to you.
You know, Helen, I am a mother to you.
you know, helen, i am a mother to you.
You know, Helen, I am a mother to you.
Mine honourable mistress.
Mine honourable mistress.
mine honourable mistress.
Mine honourable mistress.
Nay, a mother.
Why not a mother? When I said a mother,
Methought you saw a serpent. What’s in mother,
That you start at it? I say I am your mother,
And put you in the catalogue of those
That were enwombed mine. ’Tis often seen
Adoption strives with nature, and choice breeds
A native slip to us from foreign seeds.
You ne’er oppress’d me with a mother’s groan,
Yet I express to you a mother’s care.
God’s mercy, maiden! does it curd thy blood
To say I am thy mother? What’s the matter,
That this distempered messenger of wet,
The many-colour’d Iris, rounds thine eye?
—Why, that you are my daughter?
no, a mother. Why not a mother? When I said a mother, Methought you saw a serpent. What’s in mother, That you start at it? I say I am your mother, And put you in the catalogue of those That were enwombed mine. ’is often seen Adoption strives with nature, and choice breeds A native slip to us from foreign seeds. You ne’er oppress’d me with a mother’s groan, Yet I express to you a mother’s care. God’s mercy, maiden! does it curd your blood To say I am your mother? What’s the matter, That this distempered messenger of wet, The many-colour’d Iris, rounds yours eye? —Why, that you are my daughter?
no, a mother. why not a mother? when i said a mother, methought you saw a serpent. what’s in mother, that you start at it? i say i am your mother, and put you in the catalogue of those that were enwombed mine. ’t's often seen adoption strives with nature, and choice breeds a native slip to us from foreign seeds. you ne’er oppress’d me with a mother’s groan, yet i express to you a mother’s care. god’s mercy, maiden! does it curd your blood to say i am your mother? what’s the matter, that th's distempered messenger of wet, the many-colour’d iris, rounds yours eye? —why, that you 're my daughter?
no, a mother. Why not a mother? When I said a mother,...
That I am not.
That I am not.
that i am not.
That I am not.
I say, I am your mother.
I say, I am your mother.
i say, i am your mother.
I say, I am your mother.
Pardon, madam;
The Count Rossillon cannot be my brother.
I am from humble, he from honoured name;
No note upon my parents, his all noble,
My master, my dear lord he is; and I
His servant live, and will his vassal die.
He must not be my brother.
Pardon, madam; The Count Rossillon cannot be my brother. I am from humble, he from honoured name; No note upon my parents, his all noble, My master, my dear lord he is; and I His servant live, and will his vassal die. He must not be my brother.
pardon, madam; the count rossillon cannot be my brother. i am from humble, he from honoured name; no note upon my parents, h's all noble, my master, my dear lord he is; and i h's servant live, and will h's vassal die. he must not be my brother.
Pardon, madam; The Count Rossillon cannot be my brother. I am from...
Nor I your mother?
Nor I your mother?
nor i your mother?
Nor I your mother?
The Countess of Rossillon is not the protagonist of this play — but she may be its wisest character. She already knows (or strongly suspects) Helena's secret before the scene begins. She designs the 'mother' trap to draw the truth out, not to shame Helena but to verify what she wants to support. When Helena confesses, the Countess immediately pivots from interrogation to backing — she gives money, servants, letters, and blessing. She will later, in 3-2, declare that she effectively disowns Bertram and claims Helena as her true child. No one in this play demonstrates more consistent good judgment. Shakespeare gives her the clarity that both the young lovers lack — and he makes her the person whose approval Helena needs to earn before the audience fully trusts her.
You are my mother, madam; would you were—
So that my lord your son were not my brother,—
Indeed my mother! or were you both our mothers,
I care no more for than I do for heaven,
So I were not his sister. Can’t no other,
But, I your daughter, he must be my brother?
You are my mother, madam; would you were— So that my lord your son were not my brother,— Indeed my mother! or were you both our mothers, I care no more for than I do for heaven, So I were not his sister. Can’t no other, But, I your daughter, he must be my brother?
you 're my mother, madam; would you were— so that my lord your son were not my brother,— indeed my mother! or were you both our mothers, i c're no more for than i do for heaven, so i were not h's sister. can’t no other, but, i your daughter, he must be my brother?
You are my mother, madam; would you were— So that my lord...
Yes, Helen, you might be my daughter-in-law.
God shield you mean it not! daughter and mother
So strive upon your pulse. What! pale again?
My fear hath catch’d your fondness; now I see
The mystery of your loneliness, and find
Your salt tears’ head. Now to all sense ’tis gross
You love my son; invention is asham’d,
Against the proclamation of thy passion
To say thou dost not. Therefore tell me true;
But tell me then, ’tis so; for, look, thy cheeks
Confess it, t’one to th’other; and thine eyes
See it so grossly shown in thy behaviours,
That in their kind they speak it; only sin
And hellish obstinacy tie thy tongue,
That truth should be suspected. Speak, is’t so?
If it be so, you have wound a goodly clew;
If it be not, forswear’t: howe’er, I charge thee,
As heaven shall work in me for thine avail,
To tell me truly.
Yes, Helen, you might be my daughter-in-law. God shield you mean it not! daughter and mother So strive upon your pulse. What! pale again? My fear has catch’d your fondness; now I see The mystery of your loneliness, and find Your salt tears’ head. Now to all sense ’is gross You love my son; invention is asham’d, Against the proclamation of your passion To say you do not. Therefore tell me true; But tell me then, ’is so; for, look, your cheeks Confess it, t’one to th’other; and yours eyes See it so grossly shown in your behaviours, That in their kind they speak it; only sin And hellish obstinacy tie your tongue, That truth should be suspected. Speak, is’t so? If it be so, you have wound a goodly clew; If it be not, forswear’t: howe’er, I charge you, As heaven shall work in me for yours avail, To tell me truly.
yes, helen, you might be my daughter-in-law. god shield you mean it not! daughter and mother so strive upon your pulse. what! pale again? my fear has catch’d your fondness; now i see the mystery of your loneliness, and find your salt tears’ head. now to all sense ’t's gross you love my son; invention 's asham’d, against the proclamation of your passion to say you do not. therefore tell me true; but tell me then, ’t's so; for, look, your cheeks confess it, t’one to th’other; and yours eyes see it so grossly shown in your behaviours, that in their kind they speak it; only sin and hellish obstinacy tie your tongue, that truth should be suspected. speak, is’t so? if it be so, you 've wound a goodly clew; if it be not, forswear’t: howe’er, i charge you, as heaven shall work in me for yours avail, to tell me truly.
Yes, Helen, you might be my daughter-in-law. God shield you mean it...
Good madam, pardon me.
Good madam, pardon me.
good madam, pardon me.
Good madam, pardon me.
Do you love my son?
Do you love my son?
do you love my son?
Do you love my son?
Your pardon, noble mistress.
Your pardon, noble mistress.
your pardon, noble mistress.
Your pardon, noble mistress.
Love you my son?
Love you my son?
love you my son?
Love you my son?
Do not you love him, madam?
Do not you love him, madam?
do not you love him, madam?
Do not you love him, madam?
Go not about; my love hath in’t a bond
Whereof the world takes note. Come, come, disclose
The state of your affection, for your passions
Have to the full appeach’d.
Go not about; my love has in’t a bond Whereof the world takes note. Come, come, disclose The state of your affection, for your passions Have to the full appeach’d.
go not about; my love has in’t a bond whereof the world takes note. come, come, disclose the state of your affection, for your passions 've to the full appeach’d.
Go not about; my love has in’t a bond Whereof the world...
Then I confess,
Here on my knee, before high heaven and you,
That before you, and next unto high heaven,
I love your son.
My friends were poor, but honest; so’s my love.
Be not offended; for it hurts not him
That he is lov’d of me; I follow him not
By any token of presumptuous suit,
Nor would I have him till I do deserve him;
Yet never know how that desert should be.
I know I love in vain, strive against hope;
Yet in this captious and inteemable sieve
I still pour in the waters of my love
And lack not to lose still. Thus, Indian-like,
Religious in mine error, I adore
The sun that looks upon his worshipper,
But knows of him no more. My dearest madam,
Let not your hate encounter with my love,
For loving where you do; but if yourself,
Whose aged honour cites a virtuous youth,
Did ever, in so true a flame of liking,
Wish chastely, and love dearly, that your Dian
Was both herself and love; O then, give pity
To her whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But riddle-like, lives sweetly where she dies!
Then I confess, Here on my knee, before high heaven and you, That before you, and next unto high heaven, I love your son. My friends were poor, but honest; so’s my love. Be not offended; for it hurts not him That he is lov’d of me; I follow him not By any token of presumptuous suit, Nor would I have him till I do deserve him; Yet never know how that desert should be. I know I love in vain, strive against hope; Yet in this captious and inteemable sieve I still pour in the waters of my love And lack not to lose still. Thus, Indian-like, Religious in mine error, I adore The sun that looks upon his worshipper, But knows of him no more. My dearest madam, Let not your hate encounter with my love, For loving where you do; but if yourself, Whose aged honour cites a virtuous youth, Did ever, in so true a flame of liking, Wish chastely, and love dearly, that your Dian Was both herself and love; O then, give pity To her whose state is such that cannot choose But lend and give where she is sure to lose; That seeks not to find that her search implies, But riddle-like, lives sweetly where she dies!
then i confess, here on my knee, before high heaven and you, that before you, and next unto high heaven, i love your son. my friends were poor, but honest; so’s my love. be not offended; for it hurts not him that he 's lov’d of me; i follow him not by any token of presumptuous suit, nor would i 've him till i do deserve him; yet never know how that desert should be. i know i love in vain, strive against hope; yet in th's captious and inteemable sieve i still pour in the waters of my love and lack not to lose still. thus, indian-like, religious in mine error, i adore the sun that looks upon h's worshipper, but knows of him no more. my dearest madam, let not your hate encounter with my love, for loving where you do; but if yourself, whose aged honour cites a virtuous youth, did ever, in so true a flame of liking, wish chastely, and love dearly, that your dian was both herself and love; o then, give pity to her whose state 's such that cannot choose but lend and give where she 's sure to lose; that seeks not to find that her search implies, but riddle-like, lives sweetly where she dies!
Then I confess, Here on my knee, before high heaven and you,...
Had you not lately an intent,—speak truly,—
To go to Paris?
Had you not lately an intent,—speak truly,— To go to Paris?
had you not lately an intent,—speak truly,— to go to paris?
Had you not lately an intent,—speak truly,— To go to Paris?
Madam, I had.
Madam, I had.
madam, i had.
Madam, I had.
Wherefore? tell true.
Wherefore? tell true.
wherefore? tell true.
Wherefore? tell true.
I will tell truth; by grace itself I swear.
You know my father left me some prescriptions
Of rare and prov’d effects, such as his reading
And manifest experience had collected
For general sovereignty; and that he will’d me
In heedfull’st reservation to bestow them,
As notes whose faculties inclusive were
More than they were in note. Amongst the rest
There is a remedy, approv’d, set down,
To cure the desperate languishings whereof
The king is render’d lost.
I will tell truth; by grace itself I swear. You know my father left me some prescriptions Of rare and prov’d effects, such as his reading And manifest experience had collected For general sovereignty; and that he will’d me In heedfull’st reservation to bestow them, As notes whose faculties inclusive were More than they were in note. Amongst the rest There is a remedy, approv’d, set down, To cure the desperate languishings whereof The king is render’d lost.
i will tell truth; by grace itself i swear. you know my father left me some prescriptions of r're and prov’d effects, such as h's reading and manifest experience had collected for general sovereignty; and that he will’d me in heedfull’st reservation to bestow them, as notes whose faculties inclusive were more than they were in note. amongst the rest there 's a remedy, approv’d, set down, to cure the desperate languishings whereof the king 's render’d lost.
I will tell truth; by grace itself I swear. You know my...
This was your motive
For Paris, was it? Speak.
This was your motive For Paris, was it? Speak.
th's was your motive for paris, was it? speak.
This was your motive For Paris, was it? Speak.
My lord your son made me to think of this;
Else Paris, and the medicine, and the king,
Had from the conversation of my thoughts
Haply been absent then.
My lord your son made me to think of this; Else Paris, and the medicine, and the king, Had from the conversation of my thoughts perhaps been absent then.
my lord your son made me to think of this; else paris, and the medicine, and the king, had from the conversation of my thoughts perhaps been absent then.
My lord your son made me to think of this; Else Paris,...
But think you, Helen,
If you should tender your supposed aid,
He would receive it? He and his physicians
Are of a mind; he, that they cannot help him;
They, that they cannot help. How shall they credit
A poor unlearned virgin, when the schools,
Embowell’d of their doctrine, have let off
The danger to itself?
But think you, Helen, If you should tender your supposed aid, He would receive it? He and his physicians Are of a mind; he, that they cannot help him; They, that they cannot help. How shall they credit A poor unlearned virgin, when the schools, Embowell’d of their doctrine, have let off The danger to itself?
but think you, helen, if you should tender your supposed aid, he would receive it? he and h's physicians 're of a mind; he, that they cannot help him; they, that they cannot help. how shall they credit a poor unlearned virgin, when the schools, embowell’d of their doctrine, 've let off the danger to itself?
But think you, Helen, If you should tender your supposed aid, He...
There’s something in’t
More than my father’s skill, which was the great’st
Of his profession, that his good receipt
Shall for my legacy be sanctified
By th’ luckiest stars in heaven; and would your honour
But give me leave to try success, I’d venture
The well-lost life of mine on his grace’s cure.
By such a day, an hour.
There’s something in’t More than my father’s skill, which was the great’st Of his profession, that his good receipt Shall for my legacy be sanctified By th’ luckiest stars in heaven; and would your honour But give me leave to try success, I’d venture The well-lost life of mine on his grace’s cure. By such a day, an hour.
there’s something in’t more than my father’s skill, which was the great’st of h's profession, that h's good receipt shall for my legacy be sanctified by th’ luckiest stars in heaven; and would your honour but give me leave to try success, i’d venture the well-lost life of mine on h's grace’s cure. by such a day, an hour.
There’s something in’t More than my father’s skill, which was the great’st...
Dost thou believe’t?
do you believe’t?
do you believe’t?
do you believe’t?
Ay, madam, knowingly.
Ay, madam, knowingly.
ay, madam, knowingly.
Ay, madam, knowingly.
Why, Helen, thou shalt have my leave and love,
Means and attendants, and my loving greetings
To those of mine in court. I’ll stay at home,
And pray God’s blessing into thy attempt.
Be gone tomorrow; and be sure of this,
What I can help thee to, thou shalt not miss.
Why, Helen, you shall have my leave and love, Means and attendants, and my loving greetings To those of mine in court. I’ll stay at home, And pray God’s blessing into your attempt. Be gone tomorrow; and be sure of this, What I can help you to, you shall not miss.
why, helen, you shall 've my leave and love, means and attendants, and my loving greetings to those of mine in court. i’ll stay at home, and pray god’s blessing into your attempt. be gone tomorrow; and be sure of this, what i can help you to, you shall not miss.
Why, Helen, you shall have my leave and love, Means and attendants,...
The Reckoning
This is the scene where the play's plan gets its mother's blessing. The Clown's comic routine at the start sets up the theme of marriage as appetite — then the Steward reports what he overheard Helena saying alone in the garden, and suddenly comedy turns into something else. When the Countess faces Helena with what she knows, it's one of the great confrontations between a maternal figure and a young woman: part interrogation, part recognition, part gift. Helena's confession — on her knees, willing to be shamed — earns the Countess's full support. The scene ends with both women aligned, the plan in motion.
If this happened today…
The household manager at a wealthy family estate tells the matriarch that he accidentally overheard the ward — the young woman who grew up in the house — talking to herself in the garden, confessing her love for the son. The matriarch calls the young woman in. She tries to call herself a 'daughter' of the house. The young woman panics. The matriarch presses: 'If you're my daughter, then Bertram is your brother.' Watch how quickly Helena untangles herself. It's a three-minute conversation that starts as a trap and ends as a pact: I know everything, I approve of everything, I'm funding your trip. Go.