Madam, this letter, and some certain jewels,
Lay with you in your coffer, which are
At your command. Know you the character?
I leave my daughter Marina in your care. Raise her to be good and kind. I cannot stay. Fortune hunts me still. Protect her from the world.
Marina is yours now. Raise her right. I have to go. Life keeps trying to kill me, and I do not want her to die with me.
take marina. i have to leave. before i destroy her too.
It is my lord’s.
That I was shipp’d at sea, I well remember,
Even on my groaning time; but whether there
Deliver’d, by the holy gods,
I cannot rightly say. But since King Pericles,
My wedded lord, I ne’er shall see again,
A vestal livery will I take me to,
And never more have joy.
This tomb is my lord's—I remember being shipped at sea, though whether I delivered a child or not, I cannot rightly say. But since King Pericles, my husband, I shall never see again, I will take the veil of a priestess and dedicate myself to chastity. I will know joy no more.
This tomb is his—I remember being on a ship, but I can't say for certain what happened. But my husband's gone, and I'll never see him again. So I'm becoming a priestess—I'm done with joy, done with life.
my husband is gone. i'll never see him. i'm taking the veil. no more joy. no more life.
Thaisa's decision to become a vestal is not simply resignation — it is structural genius. By choosing Diana's temple, she positions herself at the exact location where the play's climactic reunion must take place. Diana will appear to Pericles in a dream and direct him to Ephesus; Thaisa is waiting there. The play doesn't contrive this through coincidence but through each character making the most reasonable choice available to them. Pericles couldn't know she was alive; Thaisa couldn't know where Pericles was going. The geometry of the play — grief leading to grief leading to unexpected joy — only works if each piece falls into its place through natural human decision-making. Shakespeare, or whoever shaped this text, understood that the most satisfying resolution is one where the characters' own choices, made in ignorance, accidentally align into miracle.
Madam, if this you purpose as ye speak,
Diana’s temple is not distant far,
Where you may abide till your date expire.
Moreover, if you please, a niece of mine
Shall there attend you.
Madam, if this is truly your intention, the temple of Diana is not far from here. You can dwell there until the end of your days. Moreover, if you will have it, my own niece can attend to you.
If that's what you want, the temple of Diana is close by. You can live there for the rest of your life. And my niece can take care of you if you'd like.
diana's temple is near. you can live there. my niece will care for you.
My recompense is thanks, that’s all;
Yet my good will is great, though the gift small.
My repayment is thanks—that is all I have to offer. Yet my goodwill is sincere, even if my gift is small.
I can only repay you with thanks. That's all I have. But I mean it completely.
thank you. that's all i have. but it's from my heart.
The Reckoning
This is the briefest scene in the play, and perhaps the most quietly devastating. Thaisa has been revived, she has read the letter from her husband, she has understood what happened — and she concludes that she will never see him again. She doesn't rant or weep. She makes a clean, clear decision: if I cannot be his wife, I will be Diana's servant. There's no self-pity, no long monologue. Just a woman putting her life in order with the information she has.
If this happened today…
A woman wakes up in a hospital after a near-death experience. She reads a note from her husband explaining that he thought she died, that he's gone back to his country for urgent reasons, and that he may not know where she is. She sits with it for a moment. Then she tells the doctor: if I can't find him and he can't find me, I need a purpose. Is there a hospice nearby that needs a volunteer?