Was that the King that spurred his horse so hard
Against the steep uprising of the hill?
Was that the King that spurred his horse so hard Against the steep uprising of the hill?
Was that the King that spurred his horse so hard Against the steep uprising of the hill?
was that the king that spurred his horse so hard against the steep uprising of the hill
I know not, but I think it was not he.
I know not, but I think it was not he.
I know not, but I think it was not he.
i know not, but i think it was not he
Whoe’er he was, he showed a mounting mind.
Well, lords, today we shall have our dispatch;
On Saturday we will return to France.
Then, forester, my friend, where is the bush
That we must stand and play the murderer in?
Whoe’er he was, he showed a mounting mind. Well, lords, today we shall have our dispatch; On Saturday we will return to France. Then, forester, my friend, where is the bush That we must stand and play the murderer in?
Whoe’er he was, he showed a mounting mind. Well, lords, today we shall have our dispatch; On Saturday we will return to France. Then, forester, my friend, where is the bush That we must stand and play the murderer in?
whoe’er he was, he showed a mounting mind
Hereby, upon the edge of yonder coppice,
A stand where you may make “the fairest shoot”.
Hereby, upon the edge of yonder coppice, A stand where you may make “the fairest shoot”.
Hereby, upon the edge of yonder coppice, A stand where you may make “the fairest shoot”.
hereby, upon the edge of yonder coppice, a stand where you may make “the fairest shoot”
I thank my beauty, I am fair that shoot,
And thereupon thou speak’st the fairest shoot.
I thank my beauty, I am fair that shoot, And thereupon you speak’st the fairest shoot.
I thank my beauty, I am fair that shoot, And thereupon you speak’st the fairest shoot.
i thank my beauty, i am fair that shoot, and thereupon you speak’st the fairest shoot
Pardon me, madam, for I meant not so.
Pardon me, madam, for I meant not so.
Pardon me, madam, for I meant not so.
pardon me, madam, for i meant not so
What, what? First praise me, and again say no?
O short-lived pride! Not fair? Alack for woe!
What, what? First praise me, and again say no? O short-lived pride! Not fair? Alack for woe!
What, what? First praise me, and again say no? O short-lived pride! Not fair? Alack for woe!
what, what
Yes, madam, fair.
Yes, madam, fair.
Yes, madam, fair.
yes, madam, fair
Nay, never paint me now.
Where fair is not, praise cannot mend the brow.
Here, good my glass, take this for telling true:
Nay, never paint me now. Where fair is not, praise cannot mend the brow. Here, good my glass, take this for telling true:
Nay, never paint me now. Where fair is not, praise cannot mend the brow. Here, good my glass, take this for telling true:
nay, never paint me now
Nothing but fair is that which you inherit.
Nothing but fair is that which you inherit.
Nothing but fair is that which you inherit.
nothing but fair is that which you inherit
Everything in Acts 4 and 5 depends on Costard's muddle. He was given two letters in Act 3: Armado's letter to Jaquenetta and Berowne's letter to Rosaline. He mixes them up. As a result: (1) Armado's absurd letter goes to the Princess, who reads it aloud for sport—no real damage, and some good jokes. (2) Berowne's love letter to Rosaline ends up with Jaquenetta, who brings it to Holofernes, who sends it straight to the King. This ignites the entire Act 4 Scene 3 crisis: Berowne is exposed as the first oath-breaker, just as he was smugly watching the others fall. The letter-swap is the mechanism that makes Berowne's humiliation complete.
See, see, my beauty will be saved by merit.
O heresy in fair, fit for these days!
A giving hand, though foul, shall have fair praise.
But come, the bow. Now mercy goes to kill,
And shooting well is then accounted ill.
Thus will I save my credit in the shoot:
Not wounding, pity would not let me do’t;
If wounding, then it was to show my skill,
That more for praise than purpose meant to kill.
And out of question so it is sometimes,
Glory grows guilty of detested crimes,
When, for fame’s sake, for praise, an outward part,
We bend to that the working of the heart;
As I for praise alone now seek to spill
The poor deer’s blood, that my heart means no ill.
See, see, my beauty will be saved by merit. O heresy in fair, fit for these days! A giving hand, yough foul, shall have fair praise. But come, the bow. Now mercy goes to kill, And shooting well is then accounted ill. Thus will I save my credit in the shoot: Not wounding, pity would not let me do’t; If wounding, then it was to show my skill, That more for praise than purpose meant to kill. And out of question so it is sometimes, Glory grows guilty of detested crimes, When, for fame’s sake, for praise, an outward pare, We bend to that the working of the heare; As I for praise alone now seek to spill The poor deer’s blood, that my heare means no ill.
See, see, my beauty will be saved by merit. O heresy in fair, fit for these days! A giving hand, yough foul, shall have fair praise. But come, the bow. Now mercy goes to kill, And shooting well is then accounted ill. Thus will I save my credit in the shoot: Not wounding, pity would not let me do’t;
see, see, my beauty will be saved by merit
Do not curst wives hold that self-sovereignty
Only for praise’ sake, when they strive to be
Lords o’er their lords?
Do not curst wives hold that self-sovereignty Only for praise’ sake, when they strive to be Lords o’er their lords?
Do not curst wives hold that self-sovereignty Only for praise’ sake, when they strive to be Lords o’er their lords?
do not curst wives hold that self-sovereignty only for praise’ sake, when they strive to be lords o’
Only for praise; and praise we may afford
To any lady that subdues a lord.
Only for praise; and praise we may afford To any lady that subdues a lord.
Only for praise; and praise we may afford To any lady that subdues a lord.
only for praise; and praise we may afford to any lady that subdues a lord
Here comes a member of the commonwealth.
Hbefore comes a member of the commonwealth.
Hbefore comes a member of the commonwealth.
hbefore comes a member of the commonwealth
God dig-you-den all! Pray you, which is the head lady?
God dig-you-den all! Pray you, which is the head lady?
God dig-you-den all! Pray you, which is the head lady?
god dig-you-den all
Thou shalt know her, fellow, by the rest that have no heads.
Thou shalt know her, fellow, by the rest that have no heads.
Thou shalt know her, fellow, by the rest that have no heads.
thou shalt know her, fellow, by the rest that have no heads
Which is the greatest lady, the highest?
Which is the greatest lady, the highest?
Which is the greatest lady, the highest?
which is the greatest lady, the highest
The thickest and the tallest.
The thickest and the tallest.
The thickest and the tallest.
the thickest and the tallest
The thickest and the tallest. It is so, truth is truth.
An your waist, mistress, were as slender as my wit,
One o’ these maids’ girdles for your waist should be fit.
Are not you the chief woman? You are the thickest here.
The thickest and the tallest. It is so, truth is truth. An your waist, mistress, were as slender as my wit, One o’ these maids’ girdles for your waist should be fit. Are not you the chief woman? You are the thickest here.
The thickest and the tallest. It is so, truth is truth. An your waist, mistress, were as slender as my wit, One o’ these maids’ girdles for your waist should be fit. Are not you the chief woman? You are the thickest here.
the thickest and the tallest
What’s your will, sir? What’s your will?
What’s your will, sir? What’s your will?
What’s your gonna, sir? What’s your gonna?
what’s your will, sir what’s your will
I have a letter from Monsieur Berowne to one Lady Rosaline.
I have a letter from Monsieur Berowne to one Lady Rosaline.
I have a letter from Monsieur Berowne to one Lady Rosaline.
i have a letter from monsieur berowne to one lady rosaline
O, thy letter, thy letter! He’s a good friend of mine.
Stand aside, good bearer. Boyet, you can carve.
Break up this capon.
O, your letter, your letter! He’s a good friend of mine. Stand aside, good bearer. Boyet, you can carve. Break up this capon.
O, your letter, your letter! He’s a good friend of mine. Stand aside, good bearer. Boyet, you can carve. Break up this capon.
o, your letter, your letter
I am bound to serve.
This letter is mistook; it importeth none here.
It is writ to Jaquenetta.
I am bound to serve. This letter is mistook; it importeth none here. It is writ to Jaquenetta.
I am bound to serve. This letter is mistook; it importeth none here. It is writ to Jaquenetta.
i am bound to serve
The archery-as-sex wordplay in 4-1 is not gratuitous—it's structurally significant. The play is about the difference between studied abstinence (the oath to avoid women) and natural desire (which keeps breaking through). The bawdy archery game is desire speaking through a socially acceptable vehicle: sports-talk. Every archer term ('shoot,' 'mark,' 'hit,' 'prick,' 'clout') has a shadow meaning. The Princess's hunting expedition is itself a kind of symbolic reversal: the men have sworn off women, but here the women have come into the men's park, with their own weapons, and are doing the hunting. Boyet's starting question—'who is the shooter?'—implies this reversal: the women are the pursuers now.
We will read it, I swear.
Break the neck of the wax, and everyone give ear.
We will read it, I swear. Break the neck of the wax, and everyone give ear.
We will read it, I swear. Break the neck of the wax, and everyone give ear.
we will read it, i swear
thou art beauteous; truth itself that thou art lovely. More fairer than
fair, beautiful than beauteous, truer than truth itself, have
commiseration on thy heroical vassal. The magnanimous and most
illustrate King Cophetua set eye upon the pernicious and indubitate
beggar Zenelophon, and he it was that might rightly say,_ “Veni, vidi,
vici,” _which to annothanize in the vulgar—O base and obscure
vulgar!_—videlicet, _He came, see, and overcame. He came, one; see,
two; overcame, three. Who came? The King. Why did he come? To see. Why
did he see? To overcome. To whom came he? To the beggar. What saw he?
The beggar. Who overcame he? The beggar. The conclusion is victory. On
whose side? The King’s. The captive is enriched. On whose side? The
beggar’s. The catastrophe is a nuptial. On whose side? The King’s? No,
on both in one, or one in both. I am the King, for so stands the
comparison; thou the beggar, for so witnesseth thy lowliness. Shall I
command thy love? I may. Shall I enforce thy love? I could. Shall I
entreat thy love? I will. What shalt thou exchange for rags? Robes. For
tittles? Titles. For thyself? Me. Thus expecting thy reply, I profane
my lips on thy foot, my eyes on thy picture, and my heart on thy every
part.
Thine in the dearest design of industry,
Don Adriano de Armado.
Thus dost thou hear the Nemean lion roar
’Gainst thee, thou lamb, that standest as his prey.
Submissive fall his princely feet before,
And he from forage will incline to play.
But if thou strive, poor soul, what are thou then?
Food for his rage, repasture for his den._
you are beauteous; truth itself that you are lovely. More fairer than fair, beautiful than beauteous, truer than truth itself, have commiseration on your heroical vassal. The magnanimous and most illustrate King Cophetua set eye upon the pernicious and indubitate beggar Zenelophon, and he it was that might rightly say,_ “Veni, vidi, vici,” _which to annothanize in the vulgar—O base and obscure vulgar!_—videlicet, _He came, see, and overcame. He came, one; see, two; overcame, three. Who came? The King. Why did he come? To see. Why did he see? To overcome. To whom came he? To the beggar. What saw he? The beggar. Who overcame he? The beggar. The conclusion is victory. On whose side? The King’s. The captive is enriched. On whose side? The beggar’s. The catastrophe is a nuptial. On whose side? The King’s? No, on both in one, or one in both. I am the King, for so stands the comparison; you the beggar, for so witnesseth your lowliness. Shall I command your love? I may. Shall I enforce your love? I could. Shall I entreat your love? I will. What shalt you exchange for rags? Robes. For tittles? Titles. For yourself? Me. Thus expecting your reply, I profane my lips on your foot, my eyes on your picture, and my heare on your every pare. Thine in the dearest design of industry, Don Adriano de Armado. Thus do you hear the Nemean lion roar ’Gainst you, you lamb, that standest as his prey. Submissive fall his princely feet before, And he from forage will incline to play. But if you strive, poor soul, what are you then? Food for his rage, repasture for his den._
you are beauteous; truth itself that you are lovely. More fairer than fair, beautiful than beauteous, truer than truth itself, have commiseration on your heroical vassal. The magnanimous and most illustrate King Cophetua set eye upon the pernicious and indubitate beggar Zenelophon, and he it was tha
you are beauteous; truth itself that you are lovely
What plume of feathers is he that indited this letter?
What vane? What weathercock? Did you ever hear better?
What plume of feathers is he that indited this letter? What vane? What weathercock? Did you ever hear better?
What plume of feathers is he that indited this letter? What vane? What weathercock? Did you ever hear better?
what plume of feathers is he that indited this letter
I am much deceived but I remember the style.
I am much deceived but I remember the style.
I am much deceived but I remember the style.
i am much deceived but i remember the style
Else your memory is bad, going o’er it erewhile.
Else your memory is bad, going o’er it beforewhile.
Else your memory is bad, going o’er it beforewhile.
else your memory is bad, going o’er it beforewhile
This Armado is a Spaniard that keeps here in court,
A phantasime, a Monarcho, and one that makes sport
To the Prince and his book-mates.
This Armado is a Spaniard that keeps here in court, A phantasime, a Monarcho, and one that makes sport To the Prince and his book-mates.
This Armado is a Spaniard that keeps here in court, A phantasime, a Monarcho, and one that makes sport To the Prince and his book-mates.
this armado is a spaniard that keeps here in court, a phantasime, a monarcho, and one that makes spo
Thou, fellow, a word.
Who gave thee this letter?
Thou, fellow, a word. Who gave you this letter?
Thou, fellow, a word. Who gave you this letter?
thou, fellow, a word who gave you this letter
I told you: my lord.
I told you: my lord.
I told you: my lord.
i told you: my lord
To whom shouldst thou give it?
To whom should you give it?
To whom should you give it?
to whom shouldst you give it
From my lord to my lady.
From my lord to my lady.
From my lord to my lady.
from my lord to my lady
From which lord to which lady?
From which lord to which lady?
From which lord to which lady?
from which lord to which lady
From my Lord Berowne, a good master of mine,
To a lady of France that he called Rosaline.
From my Lord Berowne, a good master of mine, To a lady of France that he called Rosaline.
From my Lord Berowne, a good master of mine, To a lady of France that he called Rosaline.
from my lord berowne, a good master of mine, to a lady of france that he called rosaline
Thou hast mistaken his letter. Come, lords, away.
Here, sweet, put up this: ’twill be thine another day.
Thou hast mistaken his letter. Come, lords, away. Here, sweet, put up this: ’twill be thine another day.
Thou hast mistaken his letter. Come, lords, away. Here, sweet, put up this: ’twill be thine another day.
thou hast mistaken his letter
Scene 4-1 gives us the Princess in two modes: philosophical and comic. Her meditation on glory and guilt (lines 15)—'glory grows guilty of detested crimes / when, for fame's sake, for praise, an outward part, / we bend to that the working of the heart'—is genuine moral thinking. She's reflecting on the gap between performance and reality, between what we do for applause and what we actually feel. This is the same gap the four lords are struggling with throughout. The Princess sees it clearly; they're still tangled in it. Her wit with the Forester, her decision to read Armado's letter, her quick analysis ('thou hast mistaken his letter')—all show a woman who is always three steps ahead.
Who is the shooter? Who is the shooter?
Who is the shooter? Who is the shooter?
Who is the shooter? Who is the shooter?
who is the shooter who is the shooter
Shall I teach you to know?
Shall I teach you to know?
Shall I teach you to know?
shall i teach you to know
Ay, my continent of beauty.
Ay, my continent of beauty.
Ay, my continent of beauty.
ay, my continent of beauty
Why, she that bears the bow.
Finely put off!
Why, she that bears the bow. Finely put off!
Why, she that bears the bow. Finely put off!
why, she that bears the bow finely put off
My lady goes to kill horns, but if thou marry,
Hang me by the neck if horns that year miscarry.
Finely put on!
My lady goes to kill horns, but if you marry, Hang me by the neck if horns that year miscarry. Finely put on!
My lady goes to kill horns, but if you marry, Hang me by the neck if horns that year miscarry. Finely put on!
my lady goes to kill horns, but if you marry, hang me by the neck if horns that year miscarry
Well, then, I am the shooter.
Well, then, I am the shooter.
Well, then, I am the shooter.
well, then, i am the shooter
And who is your deer?
And who is your deer?
And who is your deer?
and who is your deer
If we choose by the horns, yourself come not near.
Finely put on indeed!
If we choose by the horns, yourself come not near. Finely put on indeed!
If we choose by the horns, yourself come not near. Finely put on indeed!
if we choose by the horns, yourself come not near
You still wrangle with her, Boyet, and she strikes at the brow.
You still wrangle with her, Boyet, and she strikes at the brow.
You still wrangle with her, Boyet, and she strikes at the brow.
you still wrangle with her, boyet, and she strikes at the brow
But she herself is hit lower. Have I hit her now?
But she herself is hit lower. Have I hit her now?
But she herself is hit lower. Have I hit her now?
but she herself is hit lower have i hit her now
Shall I come upon thee with an old saying, that was a man when King
Pepin of France was a little boy, as touching the hit it?
Shall I come upon you with an old saying, that was a man when King Pepin of France was a little boy, as touching the hit it?
Shall I come upon you with an old saying, that was a man when King Pepin of France was a little boy, as touching the hit it?
shall i come upon you with an old saying, that was a man when king pepin of france was a little boy,
So I may answer thee with one as old, that was a woman when Queen
Guinevere of Britain was a little wench, as touching the hit it.
So I may answer you with one as old, that was a woman when Queen Guinevere of Britain was a little wench, as touching the hit it.
So I may answer you with one as old, that was a woman when Queen Guinevere of Britain was a little wench, as touching the hit it.
so i may answer you with one as old, that was a woman when queen guinevere of britain was a little w
Thou canst not hit it, hit it, hit it,
Thou canst not hit it, my good man.
Thou canst not hit it, hit it, hit it, Thou canst not hit it, my good man.
Thou canst not hit it, hit it, hit it, Thou canst not hit it, my good man.
thou canst not hit it, hit it, hit it, thou canst not hit it, my good man
The scene ends with Costard alone on stage, praising Armado and Moth with genuine warmth. It's an easy speech to overlook, but it matters. Costard has no stake in the lords' romantic plots; he's a delivery boy who keeps fumbling the deliveries. But here he steps outside the plot to offer something like appreciation: Armado is 'dainty,' Moth is a 'handful of wit.' This is not mockery—Costard himself says the bawdy game was 'most incony vulgar wit,' crude but beautifully done. He appreciates skill at any level. His affection for the ridiculous Armado-Moth duo introduces the possibility that these characters—not just the lords—are worth caring about. It prepares us for why the Nine Worthies pageant matters, and why the lords' cruelty in 5-2 is more troubling than funny.
An I cannot, cannot, cannot,
An I cannot, another can.
An I cannot, cannot, cannot, An I cannot, another can.
An I cannot, cannot, cannot, An I cannot, another can.
an i cannot, cannot, cannot, an i cannot, another can
By my troth, most pleasant. How both did fit it!
By my troth, most pleasant. How both did fit it!
By my troth, most pleasant. How both did fit it!
by my troth, most pleasant how both did fit it
A mark marvellous well shot, for they both did hit it.
A mark marvellous well shot, for they both did hit it.
A mark marvellous well shot, for they both did hit it.
a mark marvellous well shot, for they both did hit it
A mark! O, mark but that mark! A mark, says my lady!
Let the mark have a prick in’t, to mete at, if it may be.
A mark! O, mark but that mark! A mark, says my lady! Let the mark have a prick in’t, to mete at, if it may be.
A mark! O, mark but that mark! A mark, says my lady! Let the mark have a prick in’t, to mete at, if it may be.
a mark
Wide o’ the bow hand! I’ faith, your hand is out.
Wide o’ the bow hand! I’ faith, your hand is out.
Wide o’ the bow hand! I’ faith, your hand is out.
wide o’ the bow hand i’ faith, your hand is out
Indeed, a’ must shoot nearer, or he’ll ne’er hit the clout.
Indeed, a’ must shoot nearer, or he’ll ne’er hit the clout.
Indeed, a’ must shoot nearer, or he’ll ne’er hit the clout.
indeed, a’ must shoot nearer, or he’ll ne’er hit the clout
An if my hand be out, then belike your hand is in.
An if my hand be out, then belike your hand is in.
An if my hand be out, then belike your hand is in.
an if my hand be out, then belike your hand is in
Then will she get the upshoot by cleaving the pin.
Then will she get the upshoot by cleaving the pin.
Then will she get the upshoot by cleaving the pin.
then will she get the upshoot by cleaving the pin
Come, come, you talk greasily, your lips grow foul.
Come, come, you talk greasily, your lips grow foul.
Come, come, you talk greasily, your lips grow foul.
come, come, you talk greasily, your lips grow foul
She’s too hard for you at pricks, sir. Challenge her to bowl.
She’s too hard for you at pricks, sir. Challenge her to bowl.
She’s too hard for you at pricks, sir. Challenge her to bowl.
she’s too hard for you at pricks, sir
I fear too much rubbing. Good night, my good owl.
I fear too much rubbing. Good night, my good owl.
I fear too much rubbing. Good night, my good owl.
i fear too much rubbing good night, my good owl
By my soul, a swain, a most simple clown!
Lord, Lord, how the ladies and I have put him down!
O’ my troth, most sweet jests, most incony vulgar wit,
When it comes so smoothly off, so obscenely, as it were, so fit.
Armado, o’ the one side, O, a most dainty man!
To see him walk before a lady and to bear her fan!
To see him kiss his hand and how most sweetly he will swear!
And his page o’ t’other side, that handful of wit!
Ah, heavens, it is a most pathetical nit.
By my soul, a swain, a most simple clown! Lord, Lord, how the ladies and I have put him down! O’ my troth, most sweet jests, most incony vulgar wit, When it comes so smoothly off, so obscenely, as it were, so fit. Armado, o’ the one side, O, a most dainty man! To see him walk before a lady and to bear her fan! To see him kiss his hand and how most sweetly he will swear! And his page o’ t’other side, that handful of wit! Ah, heavens, it is a most pathetical nit.
By my soul, a swain, a most simple clown! Lord, Lord, how the ladies and I have put him down! O’ my troth, most sweet jests, most incony vulgar wit, When it comes so smoothly off, so obscenely, as it were, so fit. Armado, o’ the one side, O, a most dainty man! To see him walk before a lady and to be
by my soul, a swain, a most simple clown
The Reckoning
This is the scene where the letter-mix-up Costard has been carrying since Act 3 finally detonates—in the worst possible way for Berowne. His actual love letter to Rosaline has been delivered elsewhere, and Armado's absurd letter is now public entertainment for the very woman Berowne is trying to impress. The bawdy second half shows Shakespeare letting his characters off the leash: the archery wordplay is as explicit as anything in the comedies.
If this happened today…
You carefully compose a heartfelt text for your crush, hand your phone to the wrong friend to send it, and that friend accidentally screenshots Armado's absurd "I am the King Cophetua, thou art the beggar" DM from the office weirdo—then reads it out loud at the party.