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Act 3, Scene 2 — Ephesus. A room in Cerimon’s house.
on stage:
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The argument Gower's chorus covers months of action: the wedding night, the news from Tyre summoning Pericles home, Thaisa's pregnancy, and the fatal storm at sea where she apparently dies in childbirth. A baby girl survives; Thaisa's body is sealed in a chest and committed to the sea. The scene then cuts to Ephesus, where Lord Cerimon — a physician-scholar who wakes at midnight to treat the sick — receives the chest cast up by the sea, finds a woman apparently dead inside, and revives her.
PERICLES

Now sleep yslaked hath the rouse;

No din but snores about the house,

Made louder by the o’erfed breast

Of this most pompous marriage feast.

The cat, with eyne of burning coal,

Now couches fore the mouse’s hole;

And crickets sing at the oven’s mouth,

Are the blither for their drouth.

Hymen hath brought the bride to bed,

Where, by the loss of maidenhead,

A babe is moulded. Be attent,

And time that is so briefly spent

With your fine fancies quaintly eche:

What’s dumb in show I’ll plain with speech.

Dumb-show. Enter, Pericles and Simonides at one door with Attendants;

a Messenger meets them, kneels, and gives Pericles a letter: Pericles

shows it Simonides; the Lords kneel to him. Then enter Thaisa with

child, with Lychorida, a nurse. The King shows her the letter; she

rejoices: she and Pericles take leave of her father, and depart, with

Lychorida and their Attendants. Then exeunt Simonides and the rest.

By many a dern and painful perch

Of Pericles the careful search,

By the four opposing coigns

Which the world together joins,

Is made with all due diligence

That horse and sail and high expense

Can stead the quest. At last from Tyre,

Fame answering the most strange enquire,

To th’ court of King Simonides

Are letters brought, the tenour these:

Antiochus and his daughter dead;

The men of Tyrus on the head

Of Helicanus would set on

The crown of Tyre, but he will none:

The mutiny he there hastes t’oppress;

Says to ’em, if King Pericles

Come not home in twice six moons,

He, obedient to their dooms,

Will take the crown. The sum of this,

Brought hither to Pentapolis

Y-ravished the regions round,

And everyone with claps can sound,

‘Our heir apparent is a king!

Who dreamt, who thought of such a thing?’

Brief, he must hence depart to Tyre:

His queen with child makes her desire—

Which who shall cross?—along to go:

Omit we all their dole and woe:

Lychorida, her nurse, she takes,

And so to sea. Their vessel shakes

On Neptune’s billow; half the flood

Hath their keel cut: but fortune’s mood

Varies again; the grisled north

Disgorges such a tempest forth,

That, as a duck for life that dives,

So up and down the poor ship drives:

The lady shrieks, and well-a-near

Does fall in travail with her fear:

And what ensues in this fell storm

Shall for itself itself perform.

I nill relate, action may

Conveniently the rest convey;

Which might not what by me is told.

In your imagination hold

This stage the ship, upon whose deck

The sea-tost Pericles appears to speak.

Thou god of this great vast, rebuke these surges,

Which wash both heaven and hell; and thou that hast

Upon the winds command, bind them in brass,

Having call’d them from the deep! O, still

Thy deafening, dreadful thunders; gently quench

Thy nimble, sulphurous flashes! O, how, Lychorida,

How does my queen? Thou stormest venomously;

Wilt thou spit all thyself? The seaman’s whistle

Is as a whisper in the ears of death,

Unheard. Lychorida! - Lucina, O!

Divinest patroness, and midwife gentle

To those that cry by night, convey thy deity

Aboard our dancing boat; make swift the pangs

Of my queen’s travails! Now, Lychorida!

Here is a thing too young for such a place,

Who, if it had conceit, would die, as I

Am like to do: take in your arms this piece

Of your dead queen.

How? how, Lychorida?

Patience, good sir; do not assist the storm.

Here’s all that is left living of your queen,

A little daughter: for the sake of it,

Be manly, and take comfort.

O you gods!

Why do you make us love your goodly gifts,

And snatch them straight away? We here below

Recall not what we give, and therein may

Vie honour with you.

Patience, good sir.

Even for this charge.

Now, mild may be thy life!

For a more blustrous birth had never babe:

Quiet and gentle thy conditions! for

Thou art the rudeliest welcome to this world

That ever was prince’s child. Happy what follows!

Thou hast as chiding a nativity

As fire, air, water, earth, and heaven can make,

To herald thee from the womb.

Even at the first thy loss is more than can

Thy portage quit, with all thou canst find here,

Now, the good gods throw their best eyes upon’t!

What courage, sir? God save you!

Courage enough: I do not fear the flaw;

It hath done to me the worst. Yet, for the love

Of this poor infant, this fresh new sea-farer,

I would it would be quiet.

Slack the bolins there! Thou wilt not, wilt thou? Blow, and split

thyself.

But sea-room, and the brine and cloudy billow kiss the moon, I care

not.

Sir, your queen must overboard: the sea works high, the wind is loud

and will not lie till the ship be cleared of the dead.

That’s your superstition.

Pardon us, sir; with us at sea it has been still observed; and we are

strong in custom. Therefore briefly yield her; for she must overboard

straight.

As you think meet. Most wretched queen!

Here she lies, sir.

A terrible childbed hast thou had, my dear;

No light, no fire: th’unfriendly elements

Forgot thee utterly; nor have I time

To give thee hallow’d to thy grave, but straight

Must cast thee, scarcely coffin’d, in the ooze;

Where, for a monument upon thy bones,

And e’er-remaining lamps, the belching whale

And humming water must o’erwhelm thy corpse,

Lying with simple shells. O Lychorida.

Bid Nestor bring me spices, ink and paper,

My casket and my jewels; and bid Nicander

Bring me the satin coffer: lay the babe

Upon the pillow: hie thee, whiles I say

A priestly farewell to her: suddenly, woman.

Sir, we have a chest beneath the hatches, caulked and bitumed ready.

I thank thee. Mariner, say what coast is this?

We are near Tarsus.

Thither, gentle mariner,

Alter thy course for Tyre. When canst thou reach it?

By break of day, if the wind cease.

O, make for Tarsus!

There will I visit Cleon, for the babe

Cannot hold out to Tyrus. There I’ll leave it

At careful nursing. Go thy ways, good mariner:

I’ll bring the body presently.

Sleep has satisfied the celebration; there's no noise but snores in the house, made louder by overstuffed bellies from this pompous wedding feast. The cat hunts near the mouse hole while crickets sing by the oven, happier because of their thirst. The wedding night arrives—through the loss of virginity, a child is formed. Listen carefully, and in the short time you have, use your imagination to fill in what I'll show silently. (Pericles and Simonides enter; a messenger brings news; Thaisa appears pregnant with her nurse; they read the letter and take leave, departing. Simonides exits.) Through many difficult and painful travels Pericles searches carefully. By the four corners where the world comes together, his search is conducted with all diligence—horses, ships, and great expense aid the quest. At last, from Tyre, answering his strange inquiry, letters come to King Simonides' court: Antiochus and his daughter are dead. The men of Tyre want Helicanus to be king, but he refuses. He promises that if Pericles doesn't return within twelve months, he'll take the crown. This news spreads through Pentapolis, and everyone rejoices: 'Our heir apparent is a king!' He must return to Tyre. His pregnant queen wants to go with him. They set sail. But the ship shakes on Neptune's waves—fortune changes. A terrible storm erupts. The ship is tossed like a diving duck. The lady shrieks in labor and fear. What happens next, I won't describe—action will show it. Imagine this stage as a ship where the sea-tossed Pericles now speaks.

Okay, everyone's sleeping off the wedding party. All you hear is snoring from people who ate too much. The cat's hunting by the mouse hole, crickets are singing. It's the wedding night—the princess gets pregnant. Watch what happens in pantomime: messengers bring bad news, the king and queen find out Pericles has to go back to Tyre. (The scene plays out silently.) So Pericles travels everywhere looking for stuff, but luck turns bad. He's got a pregnant wife, she needs to get home. They sail but—storm. Lightning, huge waves, the ship's getting destroyed. The wife's going into labor from fear. It's a disaster. Just imagine: we're on the ship now, Pericles is about to talk.

party ends. every one sleeping. wedding night. princess pregnant. messengers come. bad news. pericles must go. pregnant wife sails. storm hits. labor and fear. imagine the ship.

"What's dumb in show I'll plain with speech" Gower is describing his own function: he glosses the dumbshow (silent action) in verse. This self-aware narrator commenting on his own theatrical methods is unusual even for Shakespeare's period.
"O you gods! / Why do you make us love your goodly gifts, / And snatch them straight away?" This is the play's theological complaint in miniature. Pericles asks a question the play will spend two more acts answering: why do the gods give, then take? The answer — implicit in the structure — is that they don't take permanently, only temporarily.
"A terrible childbed hast thou had, my dear; / No light, no fire" Pericles's farewell speech to Thaisa is one of the most quietly devastating passages in the play. The specific details — no light, no fire, the ooze, the whale, the shells — are not melodrama but exact grief: the inventory of everything she was denied.
Why it matters The vast chunk 3-2-001 does the work of what would normally be two or three full scenes. Gower covers the wedding night, nine months of pregnancy, and the sea voyage in verse; then dissolves into the storm itself, where the lines shift without warning between Gower's narration and the characters' speech. The play does this deliberately to compress time and force the audience to feel the catastrophe as sudden and overwhelming — because it is.
Enter Cerimon, with a Servant, and some Persons who have been
shipwrecked.
First appearance
CERIMON

Cerimon is the play's ideal of practical wisdom. He has wealth and standing, but devotes both to medicine and learning. He's awake at midnight tending to storm survivors. He acts quickly, correctly, without drama. When he brings Thaisa back to life, he does it not with mystical invocation but with fire, warmth, music, and knowledge of Egyptian precedent. He is Helicanus's counterpart in a different domain: both choose learning and service over status.

CERIMON

Philemon, ho!

Philemon, hey!

Philemon!

philemon!

Enter Philemon.
PHILEMON

Doth my lord call?

Does my lord call me?

Yes, sir?

yes?

CERIMON ≋ verse

Get fire and meat for these poor men:

’T has been a turbulent and stormy night.

Get fire and food for these poor men. There's been a terrible and violent storm.

Get these guys some heat and food. Hell of a storm last night.

fire. food. for them.

SERVANT ≋ verse

I have been in many; but such a night as this,

Till now, I ne’er endured.

I've been in many storms, but never one like this until now.

I've seen bad storms, but nothing like that.

worst storm ever.

CERIMON

Your master will be dead ere you return;

There’s nothing can be minister’d to nature

That can recover him. [_To Philemon._] Give this to the ’pothecary,

And tell me how it works.

Your master will be dead by the time you get back. Nothing can be given to nature that can bring him back. Give this medicine to the apothecary and tell me how it works.

The guy won't make it. There's no medicine that'll save him. Give this to the pharmacist and tell me if it helps.

he'll die. nothing saves him. try this medicine.

Why it matters Cerimon's blunt clinical judgment — 'he will be dead before you return' — establishes him immediately as a physician, not a magician. His reviving of Thaisa later will feel more credible because we see him accurately diagnosing a hopeless case here.
[_Exeunt all but Cerimon._]
Enter two Gentlemen.
FIRST GENTLEMAN

Good morrow.

Good morning.

Morning.

morning.

SECOND GENTLEMAN

Good morrow to your lordship.

Good morning to your lordship.

Good morning, sir.

morning, sir.

CERIMON

Gentlemen, why do you stir so early?

Gentlemen, why are you awake so early?

Why are you guys up so early?

why up so early?

FIRST GENTLEMAN ≋ verse

Sir, our lodgings, standing bleak upon the sea,

Shook as the earth did quake;

The very principals did seem to rend,

And all to topple: pure surprise and fear

Made me to quit the house.

Sir, our lodgings stand exposed on the sea. They shook as if the earth quaked. The whole building seemed about to collapse. Pure terror made me flee the house.

Sir, our rooms are right on the beach. They shook like an earthquake. Everything was falling apart. I ran out of there.

lodgings shook. like earthquake. everything falling. ran out.

SECOND GENTLEMAN ≋ verse

That is the cause we trouble you so early;

’Tis not our husbandry.

That's why we trouble you so early. It's not our carelessness or poor housekeeping.

That's why we're bothering you. We're not just being lazy.

that's why. storm woke us.

CERIMON

O, you say well.

You speak well.

I understand.

understood.

FIRST GENTLEMAN ≋ verse

But I much marvel that your lordship, having

Rich tire about you, should at these early hours

Shake off the golden slumber of repose.

’Tis most strange,

Nature should be so conversant with pain.

Being thereto not compell’d.

But I'm amazed that your lordship, being wealthy with fine clothes, would be awake at these early hours shaking from fear as we are.

But I'm surprised a rich guy like you is up here shaking like us poor guys.

surprised you're scared too. rich guy.

CERIMON ≋ verse

I hold it ever,

Virtue and cunning were endowments greater

Than nobleness and riches: careless heirs

May the two latter darken and expend;

But immortality attends the former,

Making a man a god. ’Tis known, I ever

Have studied physic, through which secret art,

By turning o’er authorities, I have,

Together with my practice, made familiar

To me and to my aid the blest infusions

That dwell in vegetives, in metals, stones;

And I can speak of the disturbances

That nature works, and of her cures; which doth give me

A more content in course of true delight

Than to be thirsty after tottering honour,

Or tie my pleasure up in silken bags,

To please the fool and death.

I believe that virtue and knowledge are greater gifts than nobility and wealth. Careless heirs squander riches, but virtue never fades.

I think being good and smart beats being rich and fancy. Rich kids throw away money, but good character lasts forever.

virtue beats wealth. careless heirs lose it. goodness lasts.

"Virtue and cunning were endowments greater / Than nobleness and riches" This speech is Cerimon's credo and the play's clearest statement about what kind of greatness matters. 'Cunning' here means skill and expertise, not trickery. Cerimon is Shakespeare's portrait of the ideal physician-scholar: wealthy but not attached to wealth, knowledgeable but not arrogant about it.
Why it matters This is the scene's philosophical foundation. Cerimon tells us, before he performs the miracle, exactly why he is able to perform it: a lifetime of study and practice, freely chosen over the easier path of noble leisure. The miracle that follows isn't magic — it's earned expertise.
SECOND GENTLEMAN ≋ verse

Your honour has through Ephesus pour’d forth

Your charity, and hundreds call themselves

Your creatures, who by you have been restored:

And not your knowledge, your personal pain, but even

Your purse, still open, hath built Lord Cerimon

Such strong renown as time shall never—

Sir, through Ephesus you've poured out your charity. Hundreds call themselves your servants because of your kindness.

Sir, you've given so much to this city. Hundreds of people work for you because you're generous.

charity throughout. hundreds serve you. generous.

Enter two or three Servants with a chest.
FIRST SERVANT

So, lift there.

Come on, lift!

Lift!

lift!

CERIMON

What’s that?

What's that?

What is it?

what?

FIRST SERVANT ≋ verse

Sir, even now

Did the sea toss upon our shore this chest:

’Tis of some wreck.

Sir, the sea just threw this chest on shore. It's from some wreck.

Sir, the ocean just washed this chest up. It's from a shipwreck.

sea washed it up. wreck.

CERIMON

Set’t down, let’s look upon’t.

Set it down. Let's examine it.

Put it down. Let's look at it.

put down. look.

SECOND GENTLEMAN

’Tis like a coffin, sir.

It looks like a coffin, sir.

Looks like a coffin.

looks like coffin.

CERIMON ≋ verse

Whate’er it be,

’Tis wondrous heavy. Wrench it open straight:

If the sea’s stomach be o’ercharged with gold,

’Tis a good constraint of fortune it belches upon us.

Whatever it is, it's wonderfully heavy. Wrench it open now. If the sea brought it up from a shipwreck's belly, we should open it.

Whatever it is, it's heavy. Pry it open. If it washed up from a wreck, let's see what's inside.

heavy. pry open. see inside.

SECOND GENTLEMAN

’Tis so, my lord.

It is, my lord.

Yes, sir.

yes.

CERIMON ≋ verse

How close ’tis caulk’d and bitumed!

Did the sea cast it up?

How tightly sealed and waterproofed it is! Did the sea cast it up?

It's sealed tight. The ocean brought it up?

sealed tight. from sea.

FIRST SERVANT ≋ verse

I never saw so huge a billow, sir,

As toss’d it upon shore.

I never saw a wave so huge that it threw this on shore.

I've never seen a wave big enough to throw this up.

never saw wave that big.

CERIMON ≋ verse

Wrench it open;

Soft! it smells most sweetly in my sense.

Pry it open. Wait—it smells so sweet to me.

Get it open. Wait—it smells nice.

smells sweet.

Why it matters The sweet smell is the pivot of the scene. Cerimon stops at it because a sealed chest cast up from a storm-wreck shouldn't smell sweet — it should smell of brine and death. The smell tells him spices were used in preservation. His physician's mind immediately registers the implication.
SECOND GENTLEMAN

A delicate odour.

A delicate smell.

Smells good.

good smell.

CERIMON ≋ verse

As ever hit my nostril. So up with it.

O you most potent gods! what’s here? a corpse!

As sweet as I've ever smelled. Open it up. Oh gods! What's this? A body!

Best smell I've ever got. Pry it open. Oh my god! There's a body in here!

open. body! corpse!

FIRST GENTLEMAN

Most strange!

Most strange!

Incredible!

what?!

CERIMON ≋ verse [absolutely devastated, breaking apart]

Shrouded in cloth of state; balm’d and entreasured

With full bags of spices! A passport too!

Apollo, perfect me in the characters!

Wrapped in royal cloth, covered with balm and full of spices! Even a passport! Apollo, help me—this is a noble person. There's a note as well.

It's wrapped in fancy cloth, covered in oils and spices! There's even a passport! This is someone important—a noble. And a note.

royal cloth. balm and spices. passport. note.

[_Reads from a scroll._]
_Here I give to understand,
If e’er this coffin drives a-land,
I, King Pericles, have lost
This queen, worth all our mundane cost.
Who finds her, give her burying;
She was the daughter of a king:
Besides this treasure for a fee,
The gods requite his charity._
If thou livest, Pericles, thou hast a heart
That even cracks for woe! This chanced tonight.
SECOND GENTLEMAN

Most likely, sir.

Most likely, sir.

Probably, sir.

probably.

CERIMON ≋ verse

Nay, certainly tonight;

For look how fresh she looks! They were too rough

That threw her in the sea. Make a fire within

Fetch hither all my boxes in my closet.

No, tonight definitely. Look how fresh she still looks! Whoever threw her in the sea was too rough. The medicine will work—she's alive!

No, she'll wake up tonight. Look—she's still fresh-looking. Whoever threw her overboard was careless. My medicine works—she's alive!

tonight she wakes. still fresh. alive! medicine works.

Why it matters The word 'fresh' is everything. Cerimon doesn't say 'she looks as if she might still be alive' — he says she looks fresh. The professional certainty is immediate. His next actions are not hopeful gestures; they are a treatment plan.
[_Exit a Servant._]
Death may usurp on nature many hours,
And yet the fire of life kindle again
The o’erpress’d spirits. I heard of an Egyptian
That had nine hours lain dead,
Who was by good appliance recovered.
Re-enter a Servant with napkins and fire.
Well said, well said; the fire and cloths.
The rough and woeful music that we have,
Cause it to sound, beseech you
The viol once more: how thou stirr’st, thou block!
The music there!—I pray you, give her air.
Gentlemen, this queen will live.
Nature awakes; a warmth breathes out of her.
She hath not been entranced above five hours.
See how she ’gins to blow into life’s flower again!
FIRST GENTLEMAN ≋ verse

The heavens, through you, increase our wonder

And sets up your fame for ever.

The heavens, through you, increase our wonder and establish your fame forever.

The gods work through you. You'll be remembered forever.

gods work through you. famous forever.

CERIMON ≋ verse

She is alive; behold, her eyelids,

Cases to those heavenly jewels which Pericles hath lost,

Begin to part their fringes of bright gold;

The diamonds of a most praised water doth appear,

To make the world twice rich. Live, and make us weep

To hear your fate, fair creature, rare as you seem to be.

She's alive! Look at her eyelids—cases for those heavenly eyes that Pericles lost—beginning to move.

She's alive! Look at her eyes opening—the beautiful ones Pericles lost—they're moving!

alive! eyes opening. beautiful eyes. pericles' love.

"Cases to those heavenly jewels which Pericles hath lost" Cerimon knows from the letter that this woman belongs to Pericles, who believes her dead. He is therefore looking at her eyes and already thinking of the reunion that hasn't happened yet — seeing in her the gift that Fortune took.
Why it matters This is the play's first miracle. Cerimon's speech frames it not as triumph but as wonder — he speaks to Thaisa before she can respond, welcoming her back to life. The imagery (gold, diamonds, jewels) is the language of treasure recovered, which is precisely what she is.
🎭 Dramatic irony Cerimon says Thaisa's eyes are 'those heavenly jewels which Pericles hath lost' — he knows from the letter who she belongs to. The audience watches him revive a woman her husband believes is at the bottom of the sea. Two characters are reunited through an intermediary who will never witness the reunion.
[_She moves._]
THAISA ≋ verse

O dear Diana,

Where am I? Where’s my lord? What world is this?

Oh Diana! Where am I? Where's my husband? What world is this?

Diana! Where am I? Where's my husband? What's happening?

where am i? where's my husband? what happened?

"O dear Diana" Her first words invoke the goddess of chastity and the moon — the same goddess she will later serve as a priestess. There is something prophetic in this: Diana's name is on her lips the moment she wakes from death.
Why it matters Thaisa's first words after being raised from death ask for her husband. The disorientation is complete — she doesn't know where she is, what world she's in — but she knows who she wants. The simplicity of 'Where is my lord?' is heartbreaking.
SECOND GENTLEMAN

Is not this strange?

Isn't that strange?

That's crazy!

insane!

FIRST GENTLEMAN

Most rare.

Most remarkable.

Incredible.

incredible.

CERIMON ≋ verse

Hush, my gentle neighbours!

Lend me your hands; to the next chamber bear her.

Get linen: now this matter must be look’d to,

For her relapse is mortal. Come, come;

And Aesculapius guide us!

Hush, my gentle neighbors! Help me carry her to the next room. Get clean cloths. This will help her recover quickly.

Quiet, everyone. Help me move her to the other room. Get some clean linens. This'll help her get better fast.

help me. clean cloth. quick recovery.

[_Exeunt, carrying her away._]

The Reckoning

This scene is the hinge of the whole play. Everything before it has been about Pericles losing things — his courage, his country, his armor, his bearings. Now he loses his wife in the most brutal way imaginable: on a ship in a storm, no fire, no light, the sailors superstitious, the body committed to the sea scarcely coffined. And then — in the same scene, without pause — Cerimon cracks open that chest and brings her back. The play doesn't let us mourn. It pivots from catastrophe to miracle in the span of a few lines. That is entirely deliberate. This is a play about the patience of Fortune's wheel, and the wheel keeps turning.

If this happened today…

A man gets the call he's been dreading: his company is on the verge of collapse without him, he has to fly back immediately. His wife insists on coming, even though she's nine months pregnant. She goes into labor mid-flight over the Atlantic during a severe storm. She survives the birth but goes into cardiac arrest and can't be revived. They land the plane, emergency services pronounce her dead. Miles away, a brilliant emergency physician gets the body with a note in the pocket. He finds vital signs no one else caught. He brings her back.

Continue to 3.3 →