content_id stringlengths 40 40 | content_title stringlengths 4 48 | content_creators listlengths 1 1 | content_year int64 1.6k 2.03k | lyrics stringlengths 751 172k | memorized_fraction float64 0.05 0.8 | max_p_z float64 0 0.75 | num_windows int64 5 1.8k | memorized_windows int64 1 260 | source_dataset stringclasses 1
value | pool_bin int64 0 4 |
|---|---|---|---|---|---|---|---|---|---|---|
10e40ffd3b4cc7f23b8b4cb2221b908840b27b80 | Anything | [
"SWV"
] | 1,994 | There is nothing I wouldn't do for you
All that you want, I'll be all that you need
'Cause boy you know you've got me
And I'll do anything
Anything you wanna do
I am gonna try to
Boy, my body's just for you
Pleasure is the destination
You can drive us if you choose to
Anything you wanna do
I am gonna try to
Boy, my body's just for you
Pleasure is the destination
You can drive us if you choose to
Anything you wanna do
I am gonna try to
Boy, my body's just for you
Pleasure is the destination
You can drive us if you choose to
Anything you wanna do
I am gonna try to
Boy, my body's just for you
Pleasure is the destination
You can drive us if you choose to
Anything you wanna do
I am gonna try to
Boy, my body's just for you
Pleasure is the destination
You can drive us if you choose to | 0.8 | 0.07258 | 5 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
dbab8066176c2cb3d4f3291ec7552fa802146da5 | Mansfield Park | [
"Jane Austen"
] | 1,814 | MANSFIELD PARK
(1814)
By Jane Austen
Contents
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
CHAPTER X
CHAPTER XI
CHAPTER XII
CHAPTER XIII
CHAPTER XIV
CHAPTER XV
CHAPTER XVI
CHAPTER XVII
CHAPTER XVIII
CHAPTER XIX
CHAPTER XX
CHAPTER XXI
CHAPTER XXII
CHAPTER XXIII
CHAPTER XXIV
CHAPTER XXV
CHAPTER XXVI
CHAPTER XXVII
CHAPTER XXVIII
CHAPTER XXIX
CHAPTER XXX
CHAPTER XXXI
CHAPTER XXXII
CHAPTER XXXIII
CHAPTER XXXIV
CHAPTER XXXV
CHAPTER XXXVI
CHAPTER XXXVII
CHAPTER XXXVIII
CHAPTER XXXIX
CHAPTER XL
CHAPTER XLI
CHAPTER XLII
CHAPTER XLIII
CHAPTER XLIV
CHAPTER XLV | 0.8 | 0.013706 | 5 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
b5d182790144100d2a53a90e7174b148fb151f7b | Mama Can't Buy You Love | [
"Elton John"
] | 1,979 | Baby, so they give you anythin'
Darlin', all the joy money can bring
Baby, do they bring you happiness
Darlin', you're no different from the rest
Can't you see that it's love you really need
Take my hand, and I'll show what a love could be
Before it's too late
Mama don't want you, daddy don't want you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't need you
Give it up, baby, baby, mama can't buy you love
Baby, fancy friends show you a smile
Darlin', rich relations for a while
Baby, I can only give you love
Darlin', a-this old heart should be enough
All I need is a chance to make you mine
Let me in, oh, I'll change the way you feel inside
Before it's too late
Mama don't want you, daddy don't want you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't need you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't want you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't need you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't want you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't need you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't want you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't need you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't want you
Give it up, baby, baby, mama can't buy you love
Mama don't want you, daddy don't need you
Give it up, baby, baby, mama can't buy you love | 0.333333 | 0.003754 | 15 | 5 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
d96d65ce7bec831d0c60b888cb07d456ad974632 | The River of Dreams | [
"Billy Joel"
] | 1,993 | In the middle of the night
I go walking in my sleep
From the mountains of faith
To the river so deep
I must be looking for something
Something sacred I lost
But the river is wide
And it's too hard to cross
Even though I know the river is wide
I walk down every evening and I stand on the shore
I try to cross to the opposite side
So I can finally find what I've been looking for
In the middle of the night
I go walking in my sleep
Through the valley of fear
To a river so deep
I've been searching for something
Taken out of my soul
Something I'd never lose
Something somebody stole
I don't know why I go walking at night
But now I'm tired and I don't want to walk anymore
I hope it doesn't take the rest of my life
Until I find what it is I've been looking for
In the middle of the night
I go walking in my sleep
Through the jungle of doubt
To the river so deep
I know I'm searching for something
Something so undefined
That it can only be seen
By the eyes of the blind
In the middle of the night
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I'm not sure about a life after this
God knows I've never been a spiritual man
Baptized by the fire, I wade into the river
That is running to the promised land
In the middle of the night
I go walking in my sleep
Through the desert of the truth
To the river so deep
We all end in the ocean
We all start in the streams
We're all carried along
By the river of dreams
In the middle of the night
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the
I go walkin' in the, in the middle of the | 0.307692 | 0.191355 | 26 | 8 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
046072e5ec6beae9351e81c344c016cccc3b2a6a | Baby Shark | [
"Pinkfong"
] | 2,019 | Baby Shark, doo-doo, doo-doo
Baby Shark, doo-doo, doo-doo
Baby Shark, doo-doo, doo-doo
Baby Shark
Mommy Shark, doo-doo, doo-doo
Mommy Shark, doo-doo, doo-doo
Mommy Shark, doo-doo, doo-doo
Mommy Shark
Daddy Shark, doo-doo, doo-doo
Daddy Shark, doo-doo, doo-doo
Daddy Shark, doo-doo, doo-doo
Daddy Shark
Grandma Shark, doo-doo, doo-doo
Grandma Shark, doo-doo, doo-doo
Grandma Shark, doo-doo, doo-doo
Grandma Shark
Grandpa Shark, doo-doo, doo-doo
Grandpa Shark, doo-doo, doo-doo
Grandpa Shark, doo-doo, doo-doo
Grandpa Shark
Let's go hunt, doo-doo, doo-doo
Let's go hunt, doo-doo, doo-doo
Let's go hunt, doo-doo, doo-doo
Let's go hunt
Run away, doo-doo, doo-doo
Run away, doo-doo, doo-doo
Run away, doo-doo, doo-doo
Run away (ah!)
Safe at last, doo-doo, doo-doo
Safe at last, doo-doo, doo-doo
Safe at last, doo-doo, doo-doo
Safe at last (phew)
It's the end, doo-doo, doo-doo
It's the end, doo-doo, doo-doo
It's the end, doo-doo, doo-doo
It's the end | 0.3 | 0.167838 | 10 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
be825c59ce4af683c426aa0c1738606411ce9b6a | Too Shy | [
"Kajagoogoo"
] | 1,983 | Tied
Tongue tied or short of breath
Don't even try
Ooh, try a little harder
Something's wrong you're not naive
You must be stronger
Ooh, baby try
Hey girl
Move a little closer
You're too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush
Modern medicine falls short of your complaint
Ooh, try a little harder
You're moving in circles won't you dilate?
Ooh, baby try
Hey girl
Move a little closer
'Cause you're too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush
You're too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush
You're too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye
Too shy, shy, hush-hush, eye to eye | 0.3 | 0.047092 | 10 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
7b4c8ff9bfea33518f354041db38093e42cb4ddc | Say It | [
"Voices of Theory"
] | 1,998 | Oh-ohoh-ohoh
Oh-ohoh-ohohoh
Oh-ohoh-ohoh
Am I givin enough is it all it sould be
When the water gets rough will you still swim with me
So afraid to come close I know that it may be too soon
It may be too much for you to consume
And I wanna know if I can live inside your world
And I wanna know if I can give it to you girl
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
I give you all that you need there's no better place you could be
And I know that in time you'll believe me
So please hold out your hand and let's exchange these golden bands
Cause I want you in my life I want you to be my wife
And I wanna know if I can live inside your world
And I wanna know if I can give it to you girl
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
My girl is so special
I wanna give it all to you loving you on and on
My girl is so special
I wanna give it all to you loving you on and on
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on
You know that I wanna say it
You know that I need to say it
You know that I'd love to say it
My love just goes on and on and on | 0.3 | 0.071828 | 20 | 6 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
e6bbac4b9ef863559f2147d00529c4c8ee16bbee | (Our Love) Don't Throw It All Away | [
"Andy Gibb"
] | 1,979 | Maybe I don't wanna know the reason why
But lately you don't talk to me
Darling I can't see me in your eyes
I hold you near but you're so far away
And it's losing you I can't believe
To watch you leave and let this feeling die
(You alone)
You alone are the living thing that keeps me alive
And tomorrow if I'm here without your love (tomorrow)
You know I can't survive
(Only my love)
Only my love can raise you high above it all
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
We can take the darkness and make if full of light
But let your love flow back to me
How can you leave and let this feeling die
(Happy room)
This happy room will be a lonely place when you are gone
(And I)
And I won't even have your shoulder for the crying on
(No other love)
No other woman's love could be as true
I'm begging you
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
We changed the world we made it ours to hold
But dreams are made for those who really try
This losing you is real
But I still feel you here inside
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all away, our love, our love
Don't throw it all away, our love
Don't throw it all... | 0.277778 | 0.145097 | 18 | 5 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
b9bb555ab4913dfeaafb409555e8f543f5180fc6 | Never Gonna Give You Up | [
"Rick Astley"
] | 1,988 | We're no strangers to love
You know the rules and so do I
A full commitment's what I'm thinkin' of
You wouldn't get this from any other guy
I just wanna tell you how I'm feelin'
Gotta make you understand
Never gonna give you up
Never gonna let you down
Never gonna run around and desert you
Never gonna make you cry
Never gonna say goodbye
Never gonna tell a lie and hurt you
We've known each other for so long
Your heart's been aching but, you're too shy to say it
Inside we both know what's been goin' on
We know the game and we're gonna play it
And if you ask me how I'm feelin'
Don't tell me you're too blind to see
Never gonna give you up
Never gonna let you down
Never gonna run around and desert you
Never gonna make you cry
Never gonna say goodbye
Never gonna tell a lie and hurt you
Never gonna give you up
Never gonna let you down
Never gonna run around and desert you
Never gonna make you cry
Never gonna say goodbye
Never gonna tell a lie and hurt you
Ooh-ooh, give you up
Ooh-ooh, give you up
Never gonna give, never gonna give
Never gonna give, never gonna give
We've known each other for so long
Your heart's been aching but, you're too shy to say it
Inside we both know what's been goin' on
We know the game and we're gonna play it
I just wanna tell you how I'm feelin'
Gotta make you understand
Never gonna give you up
Never gonna let you down
Never gonna run around and desert you
Never gonna make you cry
Never gonna say goodbye
Never gonna tell a lie and hurt you
Never gonna give you up
Never gonna let you down
Never gonna run around and desert you
Never gonna make you cry
Never gonna say goodbye
Never gonna tell a lie and hurt you
Never gonna give you up
Never gonna let you down
Never gonna run around and desert you
Never gonna make you cry
Never gonna say goodbye
Never gonna tell a lie and hurt you | 0.266667 | 0.160848 | 15 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
9d81d4e29cb8af89be7ffe343ecdf4f56cc1b46a | Don't Stop 'til You Get Enough | [
"Michael Jackson"
] | 1,979 | You know, I was
I was wondering, you know, if
If you could keep on, because
The force, it's got a lot of power
And it, it make me feel like, ah
It, it make me feel like, ooh
Lovely, is the feeling now
Fever, temperatures rising now
Power (oh, power), is the force, the vow
That makes it happen
It asks no questions why
Ooh, so get closer (closer now)
To my body now
Just love me
'Til you don't know how (ooh)
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Touch me, and I feel on fire
Ain't nothing, like a love desire (ooh)
I'm melting (I'm melting now)
Like hot candle wax
Sensation (oh, sensation)
Lovely where we're at (ooh)
So let love
Take us through the hours
I won't be complaining (ooh)
'Cause this is love power (ooh)
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Ooh
Oh, baby
(Keep on)
(Keep on)
Heartbreak
Enemy despise
Eternal (oh, eternal)
Love shines in my eyes (ooh)
So let love (oh, let love)
Take us through the hours
I won't be complaining (oh, no)
'Cause your love is alright, alright (ooh)
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop (don't stop, babe)
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough (oh, my baby)
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Lovely, is the feeling now
I won't be complaining (ooh)
The force is love power
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop (don't stop darlin')
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
Keep on with the force don't stop
Don't stop 'til you get enough
| 0.25 | 0.125839 | 32 | 8 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
dc144dd50ee70b89e72f0002b2de25fbb58c0322 | I'll Be Good to You | [
"The Brothers Johnson"
] | 1,976 | I want to know
Just how you feel
Said-a I want to know
If what you feel is real
'Cause there is a reason, yeah
For the things that I say
I want to love you, girl
In a special way
We've been together
For so very long
I would hate to break up
Break up our happy home
The way we stand and the way we lie
The way we love and the way we cry
Of all these things there lies a tie
Makes me feel that it's worth a try
I'll be good to you
Good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you
'Cause there is a reason
For the things that I say
I wanna love you, girl
In a special way
We've been together
For so very long
I would hate to break up
Break up our happy home
Take a step now, and let me know how
All of your ways, girl
And all your know-hows
I'll be good to you
Good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you
Good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you
Good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you
Good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you
Good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you, good to you
I'll be good to you, good to you | 0.235294 | 0.004811 | 17 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
f63c1ce731d547f96de75b720f5e58f41876834b | Shadow Dancing | [
"Andy Gibb"
] | 1,978 | You got me looking at that heaven in your eyes
I was chasing your direction, I was tellin' you no lies
And I was loving you
When the words are said, baby, I lose my head
And in a world of people, there's only you and I
There ain't nothing come between us in the end
How can I hold you when you ain't even mine?
Only you can see me through
I leave it up to you
Do it light, taking me through the night
Shadow dancing, baby you do it right
Give me more, drag me across the floor
Shadow dancing, all this and nothing more
All that I need is just one moment in your arms
I was chasing your affection, I was doing you no harm
And I was loving you
Make it shine, make it rain, baby I know my way
I need that sweet sensation of living in your love
I can't breath when you're away, it pulls me down
You are the question and the answer am I
Only you can see me through
I leave it up to you
Do it light, taking me through the night
Shadow dancing, baby you do it right
Give me more, drag me across the floor
Shadow dancing, all this and nothing more
And in this world of people, there's only you and I
There ain't nothing come between us in the end
How can I hold you when you ain't even mine?
Only you can see me through
I leave it up to you, oh
Do it light, taking me through the night
Shadow dancing, baby you do it right
Give me more, drag me across the floor
Shadow dancing, all this and nothing more
Do it light, taking me through the night
Shadow dancing, baby you do it right
Give me more, drag me across the floor
Shadow dancing, all this and nothing more
Do it light, taking me through the night
Shadow dancing, baby you do it right
Give me more, drag me across the floor
Shadow dancing, all this and nothing more
Do it light, taking me through the night
Shadow dancing, baby you do it right
Give me more, drag me across the floor
Shadow dancing, all this and nothing more
Do it light, taking me through the night
Shadow dancing, baby you do it right
Give me more, drag me across the floor
Shadow dancing, all this and nothing more | 0.235294 | 0.045041 | 17 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
d8c792a6e4b119c44e4b6d22e5d1c31ba81937fe | Cotton Eye Joe | [
"Rednex"
] | 1,995 | If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
He came to town like a midwinter storm
He rode through the fields, so handsome and strong
His eyes was his tools and his smile was his gun
But all he had come for was having some fun
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
He brought disaster wherever he went
The hearts of the girls was to Hell, broken, sent
They all ran away so nobody would know
And left only men 'cause of Cotton-Eye Joe
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?
If it hadn't been for Cotton-Eye Joe
I'd been married long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe? | 0.235294 | 0.028442 | 17 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
d90cd1ef549d01349280446026c70462dac627a4 | We Are the World | [
"USA for Africa"
] | 1,985 | There comes a time when we heed a certain call
When the world must come together as one
There are people dying
Oh, and it's time to lend a hand to life
The greatest gift of all
We can't go on pretending day by day
That someone, somehow will soon make a change
We're all a part of God's great big family
And the truth - you know love is all we need
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
Well, send'em you your heart
So they know that someone cares
And their lives will be stronger and free
As God has shown us
By turning stone to bread
And so we all must lend a helping hand
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
When you're down and out
There seems no hope at all
But if you just believe
There's no way we can fall
Well, well, well, let's realize
Oh that a change can only come
When we, stand together as one (yeah, yeah, yeah)
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
Come on, now
Let me hear you
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
(So let's start giving)
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
(So let's start giving)
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
(So let's start giving)
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
(So let's start giving)
There's a choice we're making
We're saving our own lives
It's true we'll make a better day
Just you and me
We are the world, we are the children
We are the ones who make a brighter day
So let's start giving
(So let's start giving)
There's a choice we're making
We're saving our own lives | 0.233333 | 0.080317 | 30 | 7 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
7064f89762d65fd9ba0a960341f60add6a410bf4 | Don't Stand So Close to Me | [
"The Police"
] | 1,981 | Young teacher, the subject
Of schoolgirl fantasy
She wants him so badly
Knows what she wants to be
Inside him, there's longing
This girl's an open page
Book marking, she's so close now
This girl is half his age
Don't stand, don't stand so
Don't stand so close to me
Don't stand, don't stand so
Don't stand so close to me
Her friends are so jealous
You know how bad girls get
Sometimes it's not so easy
To be the teacher's pet
Temptation, frustration
So bad it makes him cry
Wet bus stop, she's waiting
His car is warm and dry
Don't stand, don't stand so
Don't stand so close to me
Don't stand, don't stand so
Don't stand so close to me
Loose talk in the classroom
To hurt they try and try
Strong words in the staff room
The accusations fly
It's no use, he sees her
He starts to shake and cough
Just like the old man in
That book by Nabokov
Don't stand, don't stand so
Don't stand so close to me
Don't stand, don't stand so
Don't stand so close to me
Don't stand, don't stand so
(Please don't stand so close to me)
Don't stand so close to me
Don't stand, don't stand so
(Please don't stand so close to me)
Don't stand so close to me
Don't stand, don't stand so
(Please don't stand so close to me)
Don't stand so close to me
Don't stand, don't stand so
(Please don't stand so close to me)
Don't stand so close to me
Don't stand, don't stand so
(Please don't stand so close to me)
Don't stand so close to me
Don't stand, don't stand so
(Please don't stand so close to me)
Don't stand so close to me | 0.230769 | 0.085793 | 13 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
9bd7dd3ff9165c9ecce1313aed6a2915fd8f43ab | Iris | [
"Goo Goo Dolls"
] | 1,999 | And I'd give up forever to touch you
'Cause I know that you feel me somehow
You're the closest to heaven that I'll ever be
And I don't want to go home right now
And all I can taste is this moment
And all I can breathe is your life
And sooner or later, it's over
I just don't wanna miss you tonight
And I don't want the world to see me
'Cause I don't think that they'd understand
When everything's made to be broken
I just want you to know who I am
And you can't fight the tears that ain't coming
Or the moment of truth in your lies
When everything feels like the movies
Yeah, you bleed just to know, you're alive
And I don't want the world to see me
'Cause I don't think that they'd understand
When everything's made to be broken
I just want you to know who I am
And I don't want the world to see me
'Cause I don't think that they'd understand
When everything's made to be broken
I just want you to know who I am
And I don't want the world to see me
'Cause I don't think that they'd understand
When everything's made to be broken
I just want you to know who I am
I just want you to know who I am
I just want you to know who I am
I just want you to know who I am | 0.222222 | 0.023071 | 9 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
c3452b7192d53e0b5408fdcc787776a8bfd2e1f9 | One Thing | [
"Finger Eleven"
] | 2,004 | Restless tonight
'Cause I wasted the light
Between both these times
I drew a really thin line
It's nothing I planned
And not that I can
But you should be mine
Across that line
If I traded it all, if I gave it all away
For one thing, just for one thing
If I sorted it out, if I knew all about
This one thing wouldn't that be something
I promise I might
Not walk on by
Maybe next time
But not this time
Even though I know
I don't want to know
Yeah, I guess I know
I just hate how it sounds
If I traded it all, if I gave it all away
For one thing, just for one thing
If I sorted it out, if I knew all about
This one thing wouldn't that be something
If I traded it all, if I gave it all away
For one thing, just for one thing
If I sorted it out, if I knew all about
This one thing wouldn't that be something
Even though I know
I don't want to know
Yeah, I guess I know
I just hate how it sounds
Even though I know
I don't want to know
Yeah, I guess I know
I just hate how it sounds
If I traded it all, if I gave it all away
For one thing, just for one thing
If I sorted it out, if I knew all about
This one thing wouldn't that be something
If I traded it all, if I gave it all away
For one thing, just for one thing
If I sorted it out, if I knew all about
This one thing wouldn't that be something
If I traded it all, if I gave it all away
For one thing, just for one thing
If I sorted it out, if I knew all about
This one thing wouldn't that be something
If I traded it all, if I gave it all away
For one thing, just for one thing
If I sorted it out, if I knew all about
This one thing wouldn't that be something | 0.214286 | 0.013479 | 14 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
ed46e6b25d028cbc65a2c0a05a6bb53cfcd4b367 | Ain't No Stoppin' Us Now | [
"McFadden & Whitehead"
] | 1,979 | Ain't no stoppin' us now
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin' us now
We're on the move!
Ain't no stoppin us now!
We've got the groove!
There's been so many things thats held us down
But now it looks like things are finally comin' around
I know we've got, a long long way to go, and where we'll end up, I don't know.
But we won't let nothin' hold us back, we're putting our selves together, we're polishing up our act!
If you felt we've been held down before, I know you'll refuse to be held down anymore!
Don't you let nothing, nothing, stand in your way!
I want ya'll to listen, listen, to every word I say, every word I say!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
I know you know someone that has a negative vow, and if you're trying to make it they only push you aside.
They really don't have, nowhere to go.
Ask them where they're going, they don't know.
But we won't let nothin' hold us back, we're gonna put ourselves together, we're gonna polish up our act!
And if you've ever been held down before, I know you'll refuse to be held down anymore!
Don't you let nothing, nothing, stand in your way!
I want ya'll to listen, listen, to every word I say, every word I say!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
I don't wanna stop, please don't make me stop
I don't wanna stop, please don't make me stop
I don't wanna stop, please don't make me stop
I don't wanna stop, please don't make me stop
Movin' on, I'm movin' on
Movin' on, I'm movin' on
Movin' on, I'm movin' on
I'm movin' on, I'm movin'
Movin' on, I'm movin' on
No stoppin' us, no stoppin' us
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
Ain't no stoppin us now!
We've got the groove!
Ain't no stoppin us now!
We're on the move!
We've got the groove! | 0.214286 | 0.011218 | 28 | 6 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
3f0c0dd2ac726b17f11e2ebc18c7a7f9689555d8 | C'mon N' Ride It (The Train) | [
"Quad City DJ's"
] | 1,996 | Woo-woo, woo-woo, woo-woo, woo-woo
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Come on, ride the train, hey, ride it (Woo-woo)
Come on, ride the train, hey, ride it (Woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, it's the choo-choo (Woo-woo)
Come on, ride the train, it's the choo-choo train (Woo-woo)
Come on, ride the train, it's the choo-choo (Woo-woo)
Come on, ride the train, it's the choo-choo train (Woo-woo)
Ah-ah-ah-ah-ah
I think I can, I think I can, I think I can, I think I can
Ah-ah-ah-ah-ah
I think I can, I think I can, I think I can, I think I can
Way deep down South, well, we play this game
It's them Quad City DJ's and yo, we call it "the train"
So if you wanna ride your thing, just come on down the train
We gonna rock, ooh, Lord, just jump aboard, baby
So get your next of kin (c'mon), your sister and your friend
Pack it up that, choo-choo, ride on this, choo-choo
And, boo, you need to stop faking, and come on with me
I wanna take you home with me, to be alone with me
And I can see you wanna hide it (come on), just divide it
And please don't knock it, until you ride it
So to all of you girls, you know, I'm calling your name
Michelle, Tamika and Tanya
Wanna ride this train, ride out now
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, it's the choo-choo (Woo-woo)
Come on, it's the choo-choo train (Woo-woo)
Come on, it's the choo-choo (Woo-woo)
Come on, it's the choo-choo train (Woo-woo)
If you feel like dancing
Well, come on, it's up to you
We got the sound to keep you getting down, down
The train is coming through
Ah-ah-ah-ah-ah
I think I can, I think I can, I think I can, I think I can
Ah-ah-ah-ah-ah
I think I can, I think I can, I think I can, I think I can
I can smell them tranquil breezes from a mile away
Graduated from Boone up to Alize
Baby, you looking tough to death
Got your weave done right, it's on so tight
Now it's on tonight (yeah, yeah)
Right about now, it's about that time for me to holler
Girl, I wanna waller in the back of my Impala
Woo, don't need no tickets for this thing
Just jump on in, let me hit them switches on the train
And it ain't no thing, it's all the same, get on the train tracks
Here we go, so get on the floor and put a hump in your back
So pack your bags (come on), get ready (say what now?)
We're coming through your town
Move your arm up and down
And make that choo-choo sound, like this
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Come on, it's the choo-choo (Woo-woo)
Come on, it's the choo-choo train (Woo-woo)
Come on, it's the choo-choo (Woo-woo)
Come on, it's the choo-choo train
If you feel like dancing
Well, come on, it's up to you
We got the sound to keep you getting down, down
The train is coming through
Ah-ah-ah-ah-ah
I think I can, I think I can, I think I can, I think I can
Ah-ah-ah-ah-ah
I think I can, I think I can, I think I can, I think I can
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Come on, it's the choo-choo (Woo-woo)
Come on, it's the choo-choo train (Woo-woo)
Come on, it's the choo-choo (Woo-woo)
Come on, it's the choo-choo train
If you feel like dancing
Well, come on, it's up to you
We got the sound to keep you getting down, down
The train is coming through
Ah-ah-ah-ah-ah
I think I can, I think I can, I think I can, I think I can
Ah-ah-ah-ah-ah
I think I can, I think I can, I think I can, I think I can
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train, hey, ride it (Woo-woo, woo-woo)
Come on, ride the train (it's the choo-choo), hey, ride it
Come on, ride the train (it's the choo-choo train), hey, ride it
Come on, ride the train (it's the choo-choo), hey, ride it
Come on, ride the train (it's the choo-choo train), hey, ride it
Come on, it's the choo-choo (Woo-woo)
Come on, it's the choo-choo train (Woo-woo)
Come on, it's the choo-choo (Woo-woo)
Come on, it's the choo-choo train (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo)
Ride that choo-choo, choo-choo (Woo-woo) | 0.210526 | 0.166559 | 76 | 16 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 4 |
c03ba0206a6bc1b4e10ab36a0524dff88cd37c41 | Sweet Dreams (Are Made of This) | [
"Eurythmics"
] | 1,983 | Sweet dreams are made of this
Who am I to disagree
I travel the world and the seven seas
Everybody's looking for something
Some of them want to use you
Some of them want to get used by you
Some of them want to abuse you
Some of them want to be abused
Sweet dreams are made of this
Who am I to disagree
I travel the world and the seven seas
Everybody's looking for something
Hold your head up
Keep your head up, movin' on
Hold your head up, movin' on
Keep your head up, movin' on
Hold your head up, movin' on
Keep your head up, movin' on
Hold your head up, movin' on
Keep your head up
Some of them want to use you
Some of them want to get used by you
Some of them want to abuse you
Some of them want to be abused
Sweet dreams are made of this
Who am I to disagree
I travel the world and the seven seas
Everybody's looking for something
Sweet dreams are made of this
Who am I to disagree
I travel the world and the seven seas
Everybody's looking for something
Sweet dreams are made of this
Who am I to disagree
I travel the world and the seven seas
Everybody's looking for something
Sweet dreams are made of this
Who am I to disagree
I travel the world and the seven seas
Everybody's looking for something
Sweet dreams are made of this
Who am I to disagree
I travel the world and the seven seas
Everybody's looking for something
| 0.2 | 0.025684 | 10 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
5ae41fa5aec88a95c24d6d9e35fcc2999e2c4252 | Macarena | [
"Los del Río"
] | 1,996 | Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Macarena tiene un novio que se llama
Que se llama de apellido Victorino
En la jura de bandera del muchacho
Se las dio con sus amigos, ay!
Macarena tiene un novio que se llama
Que se llama de apellido Victorino
En la jura de bandera del muchacho
Se las dio con sus amigos, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Macarena, Macarena, Macarena
Que le gustan los veranos de Marbella
Macarena, Macarena, Macarena
Que te gustan la movida guerrillera, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Macarena sueña con el Corte Inglés
Y se compra los modelos más modernos
Le gustaría vivir en Nueva York
Y ligar un novio nuevo, ay!
Macarena sueña con el Corte Inglés
Y se compra los modelos más modernos
Le gustaría vivir en Nueva York
Y ligar un novio nuevo, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Macarena tiene un novio que se llama
Que se llama de apellido Victorino
En la jura de bandera del muchacho
Se las dio con sus amigos, ay!
Macarena tiene un novio que se llama
Que se llama de apellido Victorino
En la jura de bandera del muchacho
Se las dio con sus amigos, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena
Dale a tu cuerpo alegría, Macarena
Hey Macarena, ay!
Dale a tu cuerpo alegría, Macarena
Que tu cuerpo es pa' darle alegría y cosa buena... | 0.193548 | 0.036849 | 31 | 6 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
d8a99249744e8ce4675c42d52f357bec9ceb488e | Dirty Laundry | [
"Don Henley"
] | 1,983 | I make my livin' off the evenin' news
Just give me somethin', somethin' I can use
People love it when you lose
They love dirty laundry
Well, I coulda' been an actor, but I wound up here
I just have to look good, I don't have to be clear
Come and whisper in my ear
Give us dirty laundry
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em all around
We got the bubble-headed bleached-blonde, comes on at five
She can tell you 'bout the plane crash with a gleam in her eye
It's interesting when people die
Give us dirty laundry
You might also like
Say Don’t Go (Taylor’s Version) [From The Vault]
Taylor Swift
The Alchemy
Taylor Swift
6:16 in LA
Kendrick Lamar
Can we film the operation? Is the head dead yet?
You know, the boys in the newsroom got a running bet
Get the widow on the set!
We need dirty laundry
You don't really need to find out what's goin' on
You don't really wanna know just how far it's gone
Just leave well enough alone
Eat your dirty laundry
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're stiff
Kick 'em all around
(Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're stiff
Kick 'em all around)
Dirty little secrets, dirty little lies
We got our dirty little fingers in everybody's pie
We love to cut you down to size
We love dirty laundry
We can do "The Innuendo", we can dance and sing
When it's said and done, we haven't told you a thing
We all know that crap is king
Give us dirty laundry!
(Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
When they're up, when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down) | 0.192308 | 0.553608 | 26 | 5 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
b5a370aae6b03613f8cf2c6783f60a4e709843d7 | Don't You Want Me | [
"The Human League"
] | 1,982 | You were working as a waitress in a cocktail bar
When I met you
I picked you out, I shook you up and turned you around
Turned you into someone new
Now five years later on you've got the world at your feet
Success has been so easy for you
But don't forget, it's me who put you where you are now
And I can put you back down too
Don't, don't you want me?
You know I can't believe it when I hear that you won't see me
Don't, don't you want me?
You know I don't believe you when you say that you don't need me
It's much too late to find
You think you've changed your mind
You'd better change it back, or we will both be sorry
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
I was working as a waitress in a cocktail bar
That much is true
But even then I knew I'd find a much better place
Either with or without you
The five years we have had have been such good times
I still love you
But now I think it's time I live my life on my own
I guess it's just what I must do
Don't, don't you want me?
You know I can't believe it when I hear that you won't see me
Don't, don't you want me?
You know I don't believe you when you say that you don't need me
It's much too late to find
You think you've changed your mind
You'd better change it back, or we will both be sorry
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby? | 0.1875 | 0.12073 | 16 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
90b8c3c6ed24c0db985e2cc88dbda1512a7a5217 | Alice's Adventures in Wonderland | [
"Lewis Carroll"
] | 1,865 | [Illustration]
Alice’s Adventures in Wonderland
by Lewis Carroll
THE MILLENNIUM FULCRUM EDITION 3.0
Contents
CHAPTER I. Down the Rabbit-Hole
CHAPTER II. The Pool of Tears
CHAPTER III. A Caucus-Race and a Long Tale
CHAPTER IV. The Rabbit Sends in a Little Bill
CHAPTER V. Advice from a Caterpillar
CHAPTER VI. Pig and Pepper
CHAPTER VII. A Mad Tea-Party
CHAPTER VIII. The Queen’s Croquet-Ground
CHAPTER IX. The Mock Turtle’s Story
CHAPTER X. The Lobster Quadrille
CHAPTER XI. Who Stole the Tarts?
CHAPTER XII. Alice’s Evidence
CHAPTER I.
Down the Rabbit-Hole
Alice was beginning to get very tired of sitting by her sister on the
bank, and of having nothing to do: once or twice she had peeped into
the book her sister was reading, but it had no pictures or
conversations in it, “and what is the use of a book,” thought Alice
“without pictures or conversations?”
So she was considering in her own mind (as well as she could, for the
hot day made her feel very sleepy and stupid), whether the pleasure of
making a daisy-chain would be worth the trouble of getting up and
picking the daisies, when suddenly a White Rabbit with pink eyes ran
close by her.
There was nothing so _very_ remarkable in that; nor did Alice think it
so _very_ much out of the way to hear the Rabbit say to itself, “Oh
dear! Oh dear! I shall be late!” (when she thought it over afterwards,
it occurred to her that she ought to have wondered at this, but at the
time it all seemed quite natural); but when the Rabbit actually _took a
watch out of its waistcoat-pocket_, and looked at it, and then hurried
on, Alice started to her feet, for it flashed across her mind that she
had never before seen a rabbit with either a waistcoat-pocket, or a
watch to take out of it, and burning with curiosity, she ran across the
field after it, and fortunately was just in time to see it pop down a
large rabbit-hole under the hedge.
In another moment down went Alice after it, never once considering how
in the world she was to get out again.
The rabbit-hole went straight on like a tunnel for some way, and then
dipped suddenly down, so suddenly that Alice had not a moment to think
about stopping herself before she found herself falling down a very
deep well.
Either the well was very deep, or she fell very slowly, for she had
plenty of time as she went down to look about her and to wonder what
was going to happen next. First, she tried to look down and make out
what she was coming to, but it was too dark to see anything; then she
looked at the sides of the well, and noticed that they were filled with
cupboards and book-shelves; here and there she saw maps and pictures
hung upon pegs. She took down a jar from one of the shelves as she
passed; it was labelled “ORANGE MARMALADE”, but to her great
disappointment it was empty: she did not like to drop the jar for fear
of killing somebody underneath, so managed to put it into one of the
cupboards as she fell past it.
“Well!” thought Alice to herself, “after such a fall as this, I shall
think nothing of tumbling down stairs! How brave they’ll all think me
at home! Why, I wouldn’t say anything about it, even if I fell off the
top of the house!” (Which was very likely true.)
Down, down, down. Would the fall _never_ come to an end? “I wonder how
many miles I’ve fallen by this time?” she said aloud. “I must be
getting somewhere near the centre of the earth. Let me see: that would
be four thousand miles down, I think—” (for, you see, Alice had learnt
several things of this sort in her lessons in the schoolroom, and
though this was not a _very_ good opportunity for showing off her
knowledge, as there was no one to listen to her, still it was good
practice to say it over) “—yes, that’s about the right distance—but
then I wonder what Latitude or Longitude I’ve got to?” (Alice had no
idea what Latitude was, or Longitude either, but thought they were nice
grand words to say.)
Presently she began again. “I wonder if I shall fall right _through_
the earth! How funny it’ll seem to come out among the people that walk
with their heads downward! The Antipathies, I think—” (she was rather
glad there _was_ no one listening, this time, as it didn’t sound at all
the right word) “—but I shall have to ask them what the name of the
country is, you know. Please, Ma’am, is this New Zealand or Australia?”
(and she tried to curtsey as she spoke—fancy _curtseying_ as you’re
falling through the air! Do you think you could manage it?) “And what
an ignorant little girl she’ll think me for asking! No, it’ll never do
to ask: perhaps I shall see it written up somewhere.”
Down, down, down. There was nothing else to do, so Alice soon began
talking again. “Dinah’ll miss me very much to-night, I should think!”
(Dinah was the cat.) “I hope they’ll remember her saucer of milk at
tea-time. Dinah my dear! I wish you were down here with me! There are
no mice in the air, I’m afraid, but you might catch a bat, and that’s
very like a mouse, you know. But do cats eat bats, I wonder?” And here
Alice began to get rather sleepy, and went on saying to herself, in a
dreamy sort of way, “Do cats eat bats? Do cats eat bats?” and
sometimes, “Do bats eat cats?” for, you see, as she couldn’t answer
either question, it didn’t much matter which way she put it. She felt
that she was dozing off, and had just begun to dream that she was
walking hand in hand with Dinah, and saying to her very earnestly,
“Now, Dinah, tell me the truth: did you ever eat a bat?” when suddenly,
thump! thump! down she came upon a heap of sticks and dry leaves, and
the fall was over.
Alice was not a bit hurt, and she jumped up on to her feet in a moment:
she looked up, but it was all dark overhead; before her was another
long passage, and the White Rabbit was still in sight, hurrying down
it. There was not a moment to be lost: away went Alice like the wind,
and was just in time to hear it say, as it turned a corner, “Oh my ears
and whiskers, how late it’s getting!” She was close behind it when she
turned the corner, but the Rabbit was no longer to be seen: she found
herself in a long, low hall, which was lit up by a row of lamps hanging
from the roof.
There were doors all round the hall, but they were all locked; and when
Alice had been all the way down one side and up the other, trying every
door, she walked sadly down the middle, wondering how she was ever to
get out again.
Suddenly she came upon a little three-legged table, all made of solid
glass; there was nothing on it except a tiny golden key, and Alice’s
first thought was that it might belong to one of the doors of the hall;
but, alas! either the locks were too large, or the key was too small,
but at any rate it would not open any of them. However, on the second
time round, she came upon a low curtain she had not noticed before, and
behind it was a little door about fifteen inches high: she tried the
little golden key in the lock, and to her great delight it fitted!
Alice opened the door and found that it led into a small passage, not
much larger than a rat-hole: she knelt down and looked along the
passage into the loveliest garden you ever saw. How she longed to get
out of that dark hall, and wander about among those beds of bright
flowers and those cool fountains, but she could not even get her head
through the doorway; “and even if my head would go through,” thought
poor Alice, “it would be of very little use without my shoulders. Oh,
how I wish I could shut up like a telescope! I think I could, if I only
knew how to begin.” For, you see, so many out-of-the-way things had
happened lately, that Alice had begun to think that very few things
indeed were really impossible.
There seemed to be no use in waiting by the little door, so she went
back to the table, half hoping she might find another key on it, or at
any rate a book of rules for shutting people up like telescopes: this
time she found a little bottle on it, (“which certainly was not here
before,” said Alice,) and round the neck of the bottle was a paper
label, with the words “DRINK ME,” beautifully printed on it in large
letters.
It was all very well to say “Drink me,” but the wise little Alice was
not going to do _that_ in a hurry. “No, I’ll look first,” she said,
“and see whether it’s marked ‘_poison_’ or not”; for she had read
several nice little histories about children who had got burnt, and
eaten up by wild beasts and other unpleasant things, all because they
_would_ not remember the simple rules their friends had taught them:
such as, that a red-hot poker will burn you if you hold it too long;
and that if you cut your finger _very_ deeply with a knife, it usually
bleeds; and she had never forgotten that, if you drink much from a
bottle marked “poison,” it is almost certain to disagree with you,
sooner or later.
However, this bottle was _not_ marked “poison,” so Alice ventured to
taste it, and finding it very nice, (it had, in fact, a sort of mixed
flavour of cherry-tart, custard, pine-apple, roast turkey, toffee, and
hot buttered toast,) she very soon finished it off.
* * * * * * *
* * * * * *
* * * * * * *
“What a curious feeling!” said Alice; “I must be shutting up like a
telescope.”
And so it was indeed: she was now only ten inches high, and her face
brightened up at the thought that she was now the right size for going
through the little door into that lovely garden. First, however, she
waited for a few minutes to see if she was going to shrink any further:
she felt a little nervous about this; “for it might end, you know,”
said Alice to herself, “in my going out altogether, like a candle. I
wonder what I should be like then?” And she tried to fancy what the
flame of a candle is like after the candle is blown out, for she could
not remember ever having seen such a thing.
After a while, finding that nothing more happened, she decided on going
into the garden at once; but, alas for poor Alice! when she got to the
door, she found she had forgotten the little golden key, and when she
went back to the table for it, she found she could not possibly reach
it: she could see it quite plainly through the glass, and she tried her
best to climb up one of the legs of the table, but it was too slippery;
and when she had tired herself out with trying, the poor little thing
sat down and cried.
“Come, there’s no use in crying like that!” said Alice to herself,
rather sharply; “I advise you to leave off this minute!” She generally
gave herself very good advice, (though she very seldom followed it),
and sometimes she scolded herself so severely as to bring tears into
her eyes; and once she remembered trying to box her own ears for having
cheated herself in a game of croquet she was playing against herself,
for this curious child was very fond of pretending to be two people.
“But it’s no use now,” thought poor Alice, “to pretend to be two
people! Why, there’s hardly enough of me left to make _one_ respectable
person!”
Soon her eye fell on a little glass box that was lying under the table:
she opened it, and found in it a very small cake, on which the words
“EAT ME” were beautifully marked in currants. “Well, I’ll eat it,” said
Alice, “and if it makes me grow larger, I can reach the key; and if it
makes me grow smaller, I can creep under the door; so either way I’ll
get into the garden, and I don’t care which happens!”
She ate a little bit, and said anxiously to herself, “Which way? Which
way?”, holding her hand on the top of her head to feel which way it was
growing, and she was quite surprised to find that she remained the same
size: to be sure, this generally happens when one eats cake, but Alice
had got so much into the way of expecting nothing but out-of-the-way
things to happen, that it seemed quite dull and stupid for life to go
on in the common way.
So she set to work, and very soon finished off the cake.
* * * * * * *
* * * * * *
* * * * * * *
CHAPTER II.
The Pool of Tears
“Curiouser and curiouser!” cried Alice (she was so much surprised, that
for the moment she quite forgot how to speak good English); “now I’m
opening out like the largest telescope that ever was! Good-bye, feet!”
(for when she looked down at her feet, they seemed to be almost out of
sight, they were getting so far off). “Oh, my poor little feet, I
wonder who will put on your shoes and stockings for you now, dears? I’m
sure _I_ shan’t be able! I shall be a great deal too far off to trouble
myself about you: you must manage the best way you can;—but I must be
kind to them,” thought Alice, “or perhaps they won’t walk the way I
want to go! Let me see: I’ll give them a new pair of boots every
Christmas.”
And she went on planning to herself how she would manage it. “They must
go by the carrier,” she thought; “and how funny it’ll seem, sending
presents to one’s own feet! And how odd the directions will look!
_Alice’s Right Foot, Esq., Hearthrug, near the Fender,_ (_with
Alice’s love_).
Oh dear, what nonsense I’m talking!”
Just then her head struck against the roof of the hall: in fact she was
now more than nine feet high, and she at once took up the little golden
key and hurried off to the garden door.
Poor Alice! It was as much as she could do, lying down on one side, to
look through into the garden with one eye; but to get through was more
hopeless than ever: she sat down and began to cry again.
“You ought to be ashamed of yourself,” said Alice, “a great girl like
you,” (she might well say this), “to go on crying in this way! Stop
this moment, I tell you!” But she went on all the same, shedding
gallons of tears, until there was a large pool all round her, about
four inches deep and reaching half down the hall.
After a time she heard a little pattering of feet in the distance, and
she hastily dried her eyes to see what was coming. It was the White
Rabbit returning, splendidly dressed, with a pair of white kid gloves
in one hand and a large fan in the other: he came trotting along in a
great hurry, muttering to himself as he came, “Oh! the Duchess, the
Duchess! Oh! won’t she be savage if I’ve kept her waiting!” Alice felt
so desperate that she was ready to ask help of any one; so, when the
Rabbit came near her, she began, in a low, timid voice, “If you please,
sir—” The Rabbit started violently, dropped the white kid gloves and
the fan, and skurried away into the darkness as hard as he could go.
Alice took up the fan and gloves, and, as the hall was very hot, she
kept fanning herself all the time she went on talking: “Dear, dear! How
queer everything is to-day! And yesterday things went on just as usual.
I wonder if I’ve been changed in the night? Let me think: was I the
same when I got up this morning? I almost think I can remember feeling
a little different. But if I’m not the same, the next question is, Who
in the world am I? Ah, _that’s_ the great puzzle!” And she began
thinking over all the children she knew that were of the same age as
herself, to see if she could have been changed for any of them.
“I’m sure I’m not Ada,” she said, “for her hair goes in such long
ringlets, and mine doesn’t go in ringlets at all; and I’m sure I can’t
be Mabel, for I know all sorts of things, and she, oh! she knows such a
very little! Besides, _she’s_ she, and _I’m_ I, and—oh dear, how
puzzling it all is! I’ll try if I know all the things I used to know.
Let me see: four times five is twelve, and four times six is thirteen,
and four times seven is—oh dear! I shall never get to twenty at that
rate! However, the Multiplication Table doesn’t signify: let’s try
Geography. London is the capital of Paris, and Paris is the capital of
Rome, and Rome—no, _that’s_ all wrong, I’m certain! I must have been
changed for Mabel! I’ll try and say ‘_How doth the little_—’” and she
crossed her hands on her lap as if she were saying lessons, and began
to repeat it, but her voice sounded hoarse and strange, and the words
did not come the same as they used to do:—
“How doth the little crocodile
Improve his shining tail,
And pour the waters of the Nile
On every golden scale!
“How cheerfully he seems to grin,
How neatly spread his claws,
And welcome little fishes in
With gently smiling jaws!”
“I’m sure those are not the right words,” said poor Alice, and her eyes
filled with tears again as she went on, “I must be Mabel after all, and
I shall have to go and live in that poky little house, and have next to
no toys to play with, and oh! ever so many lessons to learn! No, I’ve
made up my mind about it; if I’m Mabel, I’ll stay down here! It’ll be
no use their putting their heads down and saying ‘Come up again, dear!’
I shall only look up and say ‘Who am I then? Tell me that first, and
then, if I like being that person, I’ll come up: if not, I’ll stay down
here till I’m somebody else’—but, oh dear!” cried Alice, with a sudden
burst of tears, “I do wish they _would_ put their heads down! I am so
_very_ tired of being all alone here!”
As she said this she looked down at her hands, and was surprised to see
that she had put on one of the Rabbit’s little white kid gloves while
she was talking. “How _can_ I have done that?” she thought. “I must be
growing small again.” She got up and went to the table to measure
herself by it, and found that, as nearly as she could guess, she was
now about two feet high, and was going on shrinking rapidly: she soon
found out that the cause of this was the fan she was holding, and she
dropped it hastily, just in time to avoid shrinking away altogether.
“That _was_ a narrow escape!” said Alice, a good deal frightened at the
sudden change, but very glad to find herself still in existence; “and
now for the garden!” and she ran with all speed back to the little
door: but, alas! the little door was shut again, and the little golden
key was lying on the glass table as before, “and things are worse than
ever,” thought the poor child, “for I never was so small as this
before, never! And I declare it’s too bad, that it is!”
As she said these words her foot slipped, and in another moment,
splash! she was up to her chin in salt water. Her first idea was that
she had somehow fallen into the sea, “and in that case I can go back by
railway,” she said to herself. (Alice had been to the seaside once in
her life, and had come to the general conclusion, that wherever you go
to on the English coast you find a number of bathing machines in the
sea, some children digging in the sand with wooden spades, then a row
of lodging houses, and behind them a railway station.) However, she
soon made out that she was in the pool of tears which she had wept when
she was nine feet high.
“I wish I hadn’t cried so much!” said Alice, as she swam about, trying
to find her way out. “I shall be punished for it now, I suppose, by
being drowned in my own tears! That _will_ be a queer thing, to be
sure! However, everything is queer to-day.”
Just then she heard something splashing about in the pool a little way
off, and she swam nearer to make out what it was: at first she thought
it must be a walrus or hippopotamus, but then she remembered how small
she was now, and she soon made out that it was only a mouse that had
slipped in like herself.
“Would it be of any use, now,” thought Alice, “to speak to this mouse?
Everything is so out-of-the-way down here, that I should think very
likely it can talk: at any rate, there’s no harm in trying.” So she
began: “O Mouse, do you know the way out of this pool? I am very tired
of swimming about here, O Mouse!” (Alice thought this must be the right
way of speaking to a mouse: she had never done such a thing before, but
she remembered having seen in her brother’s Latin Grammar, “A mouse—of
a mouse—to a mouse—a mouse—O mouse!”) The Mouse looked at her rather
inquisitively, and seemed to her to wink with one of its little eyes,
but it said nothing.
“Perhaps it doesn’t understand English,” thought Alice; “I daresay it’s
a French mouse, come over with William the Conqueror.” (For, with all
her knowledge of history, Alice had no very clear notion how long ago
anything had happened.) So she began again: “Où est ma chatte?” which
was the first sentence in her French lesson-book. The Mouse gave a
sudden leap out of the water, and seemed to quiver all over with
fright. “Oh, I beg your pardon!” cried Alice hastily, afraid that she
had hurt the poor animal’s feelings. “I quite forgot you didn’t like
cats.”
“Not like cats!” cried the Mouse, in a shrill, passionate voice. “Would
_you_ like cats if you were me?”
“Well, perhaps not,” said Alice in a soothing tone: “don’t be angry
about it. And yet I wish I could show you our cat Dinah: I think you’d
take a fancy to cats if you could only see her. She is such a dear
quiet thing,” Alice went on, half to herself, as she swam lazily about
in the pool, “and she sits purring so nicely by the fire, licking her
paws and washing her face—and she is such a nice soft thing to
nurse—and she’s such a capital one for catching mice—oh, I beg your
pardon!” cried Alice again, for this time the Mouse was bristling all
over, and she felt certain it must be really offended. “We won’t talk
about her any more if you’d rather not.”
“We indeed!” cried the Mouse, who was trembling down to the end of his
tail. “As if _I_ would talk on such a subject! Our family always
_hated_ cats: nasty, low, vulgar things! Don’t let me hear the name
again!”
“I won’t indeed!” said Alice, in a great hurry to change the subject of
conversation. “Are you—are you fond—of—of dogs?” The Mouse did not
answer, so Alice went on eagerly: “There is such a nice little dog near
our house I should like to show you! A little bright-eyed terrier, you
know, with oh, such long curly brown hair! And it’ll fetch things when
you throw them, and it’ll sit up and beg for its dinner, and all sorts
of things—I can’t remember half of them—and it belongs to a farmer, you
know, and he says it’s so useful, it’s worth a hundred pounds! He says
it kills all the rats and—oh dear!” cried Alice in a sorrowful tone,
“I’m afraid I’ve offended it again!” For the Mouse was swimming away
from her as hard as it could go, and making quite a commotion in the
pool as it went.
So she called softly after it, “Mouse dear! Do come back again, and we
won’t talk about cats or dogs either, if you don’t like them!” When the
Mouse heard this, it turned round and swam slowly back to her: its face
was quite pale (with passion, Alice thought), and it said in a low
trembling voice, “Let us get to the shore, and then I’ll tell you my
history, and you’ll understand why it is I hate cats and dogs.”
It was high time to go, for the pool was getting quite crowded with the
birds and animals that had fallen into it: there were a Duck and a
Dodo, a Lory and an Eaglet, and several other curious creatures. Alice
led the way, and the whole party swam to the shore.
CHAPTER III.
A Caucus-Race and a Long Tale
They were indeed a queer-looking party that assembled on the bank—the
birds with draggled feathers, the animals with their fur clinging close
to them, and all dripping wet, cross, and uncomfortable.
The first question of course was, how to get dry again: they had a
consultation about this, and after a few minutes it seemed quite
natural to Alice to find herself talking familiarly with them, as if
she had known them all her life. Indeed, she had quite a long argument
with the Lory, who at last turned sulky, and would only say, “I am
older than you, and must know better;” and this Alice would not allow
without knowing how old it was, and, as the Lory positively refused to
tell its age, there was no more to be said.
At last the Mouse, who seemed to be a person of authority among them,
called out, “Sit down, all of you, and listen to me! _I’ll_ soon make
you dry enough!” They all sat down at once, in a large ring, with the
Mouse in the middle. Alice kept her eyes anxiously fixed on it, for she
felt sure she would catch a bad cold if she did not get dry very soon.
“Ahem!” said the Mouse with an important air, “are you all ready? This
is the driest thing I know. Silence all round, if you please! ‘William
the Conqueror, whose cause was favoured by the pope, was soon submitted
to by the English, who wanted leaders, and had been of late much
accustomed to usurpation and conquest. Edwin and Morcar, the earls of
Mercia and Northumbria—’”
“Ugh!” said the Lory, with a shiver.
“I beg your pardon!” said the Mouse, frowning, but very politely: “Did
you speak?”
“Not I!” said the Lory hastily.
“I thought you did,” said the Mouse. “—I proceed. ‘Edwin and Morcar,
the earls of Mercia and Northumbria, declared for him: and even
Stigand, the patriotic archbishop of Canterbury, found it advisable—’”
“Found _what_?” said the Duck.
“Found _it_,” the Mouse replied rather crossly: “of course you know
what ‘it’ means.”
“I know what ‘it’ means well enough, when _I_ find a thing,” said the
Duck: “it’s generally a frog or a worm. The question is, what did the
archbishop find?”
The Mouse did not notice this question, but hurriedly went on, “‘—found
it advisable to go with Edgar Atheling to meet William and offer him
the crown. William’s conduct at first was moderate. But the insolence
of his Normans—’ How are you getting on now, my dear?” it continued,
turning to Alice as it spoke.
“As wet as ever,” said Alice in a melancholy tone: “it doesn’t seem to
dry me at all.”
“In that case,” said the Dodo solemnly, rising to its feet, “I move
that the meeting adjourn, for the immediate adoption of more energetic
remedies—”
“Speak English!” said the Eaglet. “I don’t know the meaning of half
those long words, and, what’s more, I don’t believe you do either!” And
the Eaglet bent down its head to hide a smile: some of the other birds
tittered audibly.
“What I was going to say,” said the Dodo in an offended tone, “was,
that the best thing to get us dry would be a Caucus-race.”
“What _is_ a Caucus-race?” said Alice; not that she wanted much to
know, but the Dodo had paused as if it thought that _somebody_ ought to
speak, and no one else seemed inclined to say anything.
“Why,” said the Dodo, “the best way to explain it is to do it.” (And,
as you might like to try the thing yourself, some winter day, I will
tell you how the Dodo managed it.)
First it marked out a race-course, in a sort of circle, (“the exact
shape doesn’t matter,” it said,) and then all the party were placed
along the course, here and there. There was no “One, two, three, and
away,” but they began running when they liked, and left off when they
liked, so that it was not easy to know when the race was over. However,
when they had been running half an hour or so, and were quite dry
again, the Dodo suddenly called out “The race is over!” and they all
crowded round it, panting, and asking, “But who has won?”
This question the Dodo could not answer without a great deal of
thought, and it sat for a long time with one finger pressed upon its
forehead (the position in which you usually see Shakespeare, in the
pictures of him), while the rest waited in silence. At last the Dodo
said, “_Everybody_ has won, and all must have prizes.”
“But who is to give the prizes?” quite a chorus of voices asked.
“Why, _she_, of course,” said the Dodo, pointing to Alice with one
finger; and the whole party at once crowded round her, calling out in a
confused way, “Prizes! Prizes!”
Alice had no idea what to do, and in despair she put her hand in her
pocket, and pulled out a box of comfits, (luckily the salt water had
not got into it), and handed them round as prizes. There was exactly
one a-piece, all round.
“But she must have a prize herself, you know,” said the Mouse.
“Of course,” the Dodo replied very gravely. “What else have you got in
your pocket?” he went on, turning to Alice.
“Only a thimble,” said Alice sadly.
“Hand it over here,” said the Dodo.
Then they all crowded round her once more, while the Dodo solemnly
presented the thimble, saying “We beg your acceptance of this elegant
thimble;” and, when it had finished this short speech, they all
cheered.
Alice thought the whole thing very absurd, but they all looked so grave
that she did not dare to laugh; and, as she could not think of anything
to say, she simply bowed, and took the thimble, looking as solemn as
she could.
The next thing was to eat the comfits: this caused some noise and
confusion, as the large birds complained that they could not taste
theirs, and the small ones choked and had to be patted on the back.
However, it was over at last, and they sat down again in a ring, and
begged the Mouse to tell them something more.
“You promised to tell me your history, you know,” said Alice, “and why
it is you hate—C and D,” she added in a whisper, half afraid that it
would be offended again.
“Mine is a long and a sad tale!” said the Mouse, turning to Alice, and
sighing.
“It _is_ a long tail, certainly,” said Alice, looking down with wonder
at the Mouse’s tail; “but why do you call it sad?” And she kept on
puzzling about it while the Mouse was speaking, so that her idea of the
tale was something like this:—
“Fury said to a mouse, That he met in the house, ‘Let us both
go to law: _I_ will prosecute _you_.—Come, I’ll take no
denial; We must have a trial: For really this morning I’ve
nothing to do.’ Said the mouse to the cur, ‘Such a trial, dear
sir, With no jury or judge, would be wasting our breath.’
‘I’ll be judge, I’ll be jury,’ Said cunning old Fury: ‘I’ll
try the whole cause, and condemn you to death.’”
“You are not attending!” said the Mouse to Alice severely. “What are
you thinking of?”
“I beg your pardon,” said Alice very humbly: “you had got to the fifth
bend, I think?”
“I had _not!_” cried the Mouse, sharply and very angrily.
“A knot!” said Alice, always ready to make herself useful, and looking
anxiously about her. “Oh, do let me help to undo it!”
“I shall do nothing of the sort,” said the Mouse, getting up and
walking away. “You insult me by talking such nonsense!”
“I didn’t mean it!” pleaded poor Alice. “But you’re so easily offended,
you know!”
The Mouse only growled in reply.
“Please come back and finish your story!” Alice called after it; and
the others all joined in chorus, “Yes, please do!” but the Mouse only
shook its head impatiently, and walked a little quicker.
“What a pity it wouldn’t stay!” sighed the Lory, as soon as it was
quite out of sight; and an old Crab took the opportunity of saying to
her daughter “Ah, my dear! Let this be a lesson to you never to lose
_your_ temper!” “Hold your tongue, Ma!” said the young Crab, a little
snappishly. “You’re enough to try the patience of an oyster!”
“I wish I had our Dinah here, I know I do!” said Alice aloud,
addressing nobody in particular. “She’d soon fetch it back!”
“And who is Dinah, if I might venture to ask the question?” said the
Lory.
Alice replied eagerly, for she was always ready to talk about her pet:
“Dinah’s our cat. And she’s such a capital one for catching mice you
can’t think! And oh, I wish you could see her after the birds! Why,
she’ll eat a little bird as soon as look at it!”
This speech caused a remarkable sensation among the party. Some of the
birds hurried off at once: one old Magpie began wrapping itself up very
carefully, remarking, “I really must be getting home; the night-air
doesn’t suit my throat!” and a Canary called out in a trembling voice
to its children, “Come away, my dears! It’s high time you were all in
bed!” On various pretexts they all moved off, and Alice was soon left
alone.
“I wish I hadn’t mentioned Dinah!” she said to herself in a melancholy
tone. “Nobody seems to like her, down here, and I’m sure she’s the best
cat in the world! Oh, my dear Dinah! I wonder if I shall ever see you
any more!” And here poor Alice began to cry again, for she felt very
lonely and low-spirited. In a little while, however, she again heard a
little pattering of footsteps in the distance, and she looked up
eagerly, half hoping that the Mouse had changed his mind, and was
coming back to finish his story.
CHAPTER IV.
The Rabbit Sends in a Little Bill
It was the White Rabbit, trotting slowly back again, and looking
anxiously about as it went, as if it had lost something; and she heard
it muttering to itself “The Duchess! The Duchess! Oh my dear paws! Oh
my fur and whiskers! She’ll get me executed, as sure as ferrets are
ferrets! Where _can_ I have dropped them, I wonder?” Alice guessed in a
moment that it was looking for the fan and the pair of white kid
gloves, and she very good-naturedly began hunting about for them, but
they were nowhere to be seen—everything seemed to have changed since
her swim in the pool, and the great hall, with the glass table and the
little door, had vanished completely.
Very soon the Rabbit noticed Alice, as she went hunting about, and
called out to her in an angry tone, “Why, Mary Ann, what _are_ you
doing out here? Run home this moment, and fetch me a pair of gloves and
a fan! Quick, now!” And Alice was so much frightened that she ran off
at once in the direction it pointed to, without trying to explain the
mistake it had made.
“He took me for his housemaid,” she said to herself as she ran. “How
surprised he’ll be when he finds out who I am! But I’d better take him
his fan and gloves—that is, if I can find them.” As she said this, she
came upon a neat little house, on the door of which was a bright brass
plate with the name “W. RABBIT,” engraved upon it. She went in without
knocking, and hurried upstairs, in great fear lest she should meet the
real Mary Ann, and be turned out of the house before she had found the
fan and gloves.
“How queer it seems,” Alice said to herself, “to be going messages for
a rabbit! I suppose Dinah’ll be sending me on messages next!” And she
began fancying the sort of thing that would happen: “‘Miss Alice! Come
here directly, and get ready for your walk!’ ‘Coming in a minute,
nurse! But I’ve got to see that the mouse doesn’t get out.’ Only I
don’t think,” Alice went on, “that they’d let Dinah stop in the house
if it began ordering people about like that!”
By this time she had found her way into a tidy little room with a table
in the window, and on it (as she had hoped) a fan and two or three
pairs of tiny white kid gloves: she took up the fan and a pair of the
gloves, and was just going to leave the room, when her eye fell upon a
little bottle that stood near the looking-glass. There was no label
this time with the words “DRINK ME,” but nevertheless she uncorked it
and put it to her lips. “I know _something_ interesting is sure to
happen,” she said to herself, “whenever I eat or drink anything; so
I’ll just see what this bottle does. I do hope it’ll make me grow large
again, for really I’m quite tired of being such a tiny little thing!”
It did so indeed, and much sooner than she had expected: before she had
drunk half the bottle, she found her head pressing against the ceiling,
and had to stoop to save her neck from being broken. She hastily put
down the bottle, saying to herself “That’s quite enough—I hope I shan’t
grow any more—As it is, I can’t get out at the door—I do wish I hadn’t
drunk quite so much!”
Alas! it was too late to wish that! She went on growing, and growing,
and very soon had to kneel down on the floor: in another minute there
was not even room for this, and she tried the effect of lying down with
one elbow against the door, and the other arm curled round her head.
Still she went on growing, and, as a last resource, she put one arm out
of the window, and one foot up the chimney, and said to herself “Now I
can do no more, whatever happens. What _will_ become of me?”
Luckily for Alice, the little magic bottle had now had its full effect,
and she grew no larger: still it was very uncomfortable, and, as there
seemed to be no sort of chance of her ever getting out of the room
again, no wonder she felt unhappy.
“It was much pleasanter at home,” thought poor Alice, “when one wasn’t
always growing larger and smaller, and being ordered about by mice and
rabbits. I almost wish I hadn’t gone down that rabbit-hole—and yet—and
yet—it’s rather curious, you know, this sort of life! I do wonder what
_can_ have happened to me! When I used to read fairy-tales, I fancied
that kind of thing never happened, and now here I am in the middle of
one! There ought to be a book written about me, that there ought! And
when I grow up, I’ll write one—but I’m grown up now,” she added in a
sorrowful tone; “at least there’s no room to grow up any more _here_.”
“But then,” thought Alice, “shall I _never_ get any older than I am
now? That’ll be a comfort, one way—never to be an old woman—but
then—always to have lessons to learn! Oh, I shouldn’t like _that!_”
“Oh, you foolish Alice!” she answered herself. “How can you learn
lessons in here? Why, there’s hardly room for _you_, and no room at all
for any lesson-books!”
And so she went on, taking first one side and then the other, and
making quite a conversation of it altogether; but after a few minutes
she heard a voice outside, and stopped to listen.
“Mary Ann! Mary Ann!” said the voice. “Fetch me my gloves this moment!”
Then came a little pattering of feet on the stairs. Alice knew it was
the Rabbit coming to look for her, and she trembled till she shook the
house, quite forgetting that she was now about a thousand times as
large as the Rabbit, and had no reason to be afraid of it.
Presently the Rabbit came up to the door, and tried to open it; but, as
the door opened inwards, and Alice’s elbow was pressed hard against it,
that attempt proved a failure. Alice heard it say to itself “Then I’ll
go round and get in at the window.”
“_That_ you won’t!” thought Alice, and, after waiting till she fancied
she heard the Rabbit just under the window, she suddenly spread out her
hand, and made a snatch in the air. She did not get hold of anything,
but she heard a little shriek and a fall, and a crash of broken glass,
from which she concluded that it was just possible it had fallen into a
cucumber-frame, or something of the sort.
Next came an angry voice—the Rabbit’s—“Pat! Pat! Where are you?” And
then a voice she had never heard before, “Sure then I’m here! Digging
for apples, yer honour!”
“Digging for apples, indeed!” said the Rabbit angrily. “Here! Come and
help me out of _this!_” (Sounds of more broken glass.)
“Now tell me, Pat, what’s that in the window?”
“Sure, it’s an arm, yer honour!” (He pronounced it “arrum.”)
“An arm, you goose! Who ever saw one that size? Why, it fills the whole
window!”
“Sure, it does, yer honour: but it’s an arm for all that.”
“Well, it’s got no business there, at any rate: go and take it away!”
There was a long silence after this, and Alice could only hear whispers
now and then; such as, “Sure, I don’t like it, yer honour, at all, at
all!” “Do as I tell you, you coward!” and at last she spread out her
hand again, and made another snatch in the air. This time there were
_two_ little shrieks, and more sounds of broken glass. “What a number
of cucumber-frames there must be!” thought Alice. “I wonder what
they’ll do next! As for pulling me out of the window, I only wish they
_could!_ I’m sure _I_ don’t want to stay in here any longer!”
She waited for some time without hearing anything more: at last came a
rumbling of little cartwheels, and the sound of a good many voices all
talking together: she made out the words: “Where’s the other
ladder?—Why, I hadn’t to bring but one; Bill’s got the other—Bill!
fetch it here, lad!—Here, put ’em up at this corner—No, tie ’em
together first—they don’t reach half high enough yet—Oh! they’ll do
well enough; don’t be particular—Here, Bill! catch hold of this
rope—Will the roof bear?—Mind that loose slate—Oh, it’s coming down!
Heads below!” (a loud crash)—“Now, who did that?—It was Bill, I
fancy—Who’s to go down the chimney?—Nay, _I_ shan’t! _You_ do
it!—_That_ I won’t, then!—Bill’s to go down—Here, Bill! the master says
you’re to go down the chimney!”
“Oh! So Bill’s got to come down the chimney, has he?” said Alice to
herself. “Shy, they seem to put everything upon Bill! I wouldn’t be in
Bill’s place for a good deal: this fireplace is narrow, to be sure; but
I _think_ I can kick a little!”
She drew her foot as far down the chimney as she could, and waited till
she heard a little animal (she couldn’t guess of what sort it was)
scratching and scrambling about in the chimney close above her: then,
saying to herself “This is Bill,” she gave one sharp kick, and waited
to see what would happen next.
The first thing she heard was a general chorus of “There goes Bill!”
then the Rabbit’s voice along—“Catch him, you by the hedge!” then
silence, and then another confusion of voices—“Hold up his head—Brandy
now—Don’t choke him—How was it, old fellow? What happened to you? Tell
us all about it!”
Last came a little feeble, squeaking voice, (“That’s Bill,” thought
Alice,) “Well, I hardly know—No more, thank ye; I’m better now—but I’m
a deal too flustered to tell you—all I know is, something comes at me
like a Jack-in-the-box, and up I goes like a sky-rocket!”
“So you did, old fellow!” said the others.
“We must burn the house down!” said the Rabbit’s voice; and Alice
called out as loud as she could, “If you do, I’ll set Dinah at you!”
There was a dead silence instantly, and Alice thought to herself, “I
wonder what they _will_ do next! If they had any sense, they’d take the
roof off.” After a minute or two, they began moving about again, and
Alice heard the Rabbit say, “A barrowful will do, to begin with.”
“A barrowful of _what?_” thought Alice; but she had not long to doubt,
for the next moment a shower of little pebbles came rattling in at the
window, and some of them hit her in the face. “I’ll put a stop to
this,” she said to herself, and shouted out, “You’d better not do that
again!” which produced another dead silence.
Alice noticed with some surprise that the pebbles were all turning into
little cakes as they lay on the floor, and a bright idea came into her
head. “If I eat one of these cakes,” she thought, “it’s sure to make
_some_ change in my size; and as it can’t possibly make me larger, it
must make me smaller, I suppose.”
So she swallowed one of the cakes, and was delighted to find that she
began shrinking directly. As soon as she was small enough to get
through the door, she ran out of the house, and found quite a crowd of
little animals and birds waiting outside. The poor little Lizard, Bill,
was in the middle, being held up by two guinea-pigs, who were giving it
something out of a bottle. They all made a rush at Alice the moment she
appeared; but she ran off as hard as she could, and soon found herself
safe in a thick wood.
“The first thing I’ve got to do,” said Alice to herself, as she
wandered about in the wood, “is to grow to my right size again; and the
second thing is to find my way into that lovely garden. I think that
will be the best plan.”
It sounded an excellent plan, no doubt, and very neatly and simply
arranged; the only difficulty was, that she had not the smallest idea
how to set about it; and while she was peering about anxiously among
the trees, a little sharp bark just over her head made her look up in a
great hurry.
An enormous puppy was looking down at her with large round eyes, and
feebly stretching out one paw, trying to touch her. “Poor little
thing!” said Alice, in a coaxing tone, and she tried hard to whistle to
it; but she was terribly frightened all the time at the thought that it
might be hungry, in which case it would be very likely to eat her up in
spite of all her coaxing.
Hardly knowing what she did, she picked up a little bit of stick, and
held it out to the puppy; whereupon the puppy jumped into the air off
all its feet at once, with a yelp of delight, and rushed at the stick,
and made believe to worry it; then Alice dodged behind a great thistle,
to keep herself from being run over; and the moment she appeared on the
other side, the puppy made another rush at the stick, and tumbled head
over heels in its hurry to get hold of it; then Alice, thinking it was
very like having a game of play with a cart-horse, and expecting every
moment to be trampled under its feet, ran round the thistle again; then
the puppy began a series of short charges at the stick, running a very
little way forwards each time and a long way back, and barking hoarsely
all the while, till at last it sat down a good way off, panting, with
its tongue hanging out of its mouth, and its great eyes half shut.
This seemed to Alice a good opportunity for making her escape; so she
set off at once, and ran till she was quite tired and out of breath,
and till the puppy’s bark sounded quite faint in the distance.
“And yet what a dear little puppy it was!” said Alice, as she leant
against a buttercup to rest herself, and fanned herself with one of the
leaves: “I should have liked teaching it tricks very much, if—if I’d
only been the right size to do it! Oh dear! I’d nearly forgotten that
I’ve got to grow up again! Let me see—how _is_ it to be managed? I
suppose I ought to eat or drink something or other; but the great
question is, what?”
The great question certainly was, what? Alice looked all round her at
the flowers and the blades of grass, but she did not see anything that
looked like the right thing to eat or drink under the circumstances.
There was a large mushroom growing near her, about the same height as
herself; and when she had looked under it, and on both sides of it, and
behind it, it occurred to her that she might as well look and see what
was on the top of it.
She stretched herself up on tiptoe, and peeped over the edge of the
mushroom, and her eyes immediately met those of a large blue
caterpillar, that was sitting on the top with its arms folded, quietly
smoking a long hookah, and taking not the smallest notice of her or of
anything else.
CHAPTER V.
Advice from a Caterpillar
The Caterpillar and Alice looked at each other for some time in
silence: at last the Caterpillar took the hookah out of its mouth, and
addressed her in a languid, sleepy voice.
“Who are _you?_” said the Caterpillar.
This was not an encouraging opening for a conversation. Alice replied,
rather shyly, “I—I hardly know, sir, just at present—at least I know
who I _was_ when I got up this morning, but I think I must have been
changed several times since then.”
“What do you mean by that?” said the Caterpillar sternly. “Explain
yourself!”
“I can’t explain _myself_, I’m afraid, sir,” said Alice, “because I’m
not myself, you see.”
“I don’t see,” said the Caterpillar.
“I’m afraid I can’t put it more clearly,” Alice replied very politely,
“for I can’t understand it myself to begin with; and being so many
different sizes in a day is very confusing.”
“It isn’t,” said the Caterpillar.
“Well, perhaps you haven’t found it so yet,” said Alice; “but when you
have to turn into a chrysalis—you will some day, you know—and then
after that into a butterfly, I should think you’ll feel it a little
queer, won’t you?”
“Not a bit,” said the Caterpillar.
“Well, perhaps your feelings may be different,” said Alice; “all I know
is, it would feel very queer to _me_.”
“You!” said the Caterpillar contemptuously. “Who are _you?_”
Which brought them back again to the beginning of the conversation.
Alice felt a little irritated at the Caterpillar’s making such _very_
short remarks, and she drew herself up and said, very gravely, “I
think, you ought to tell me who _you_ are, first.”
“Why?” said the Caterpillar.
Here was another puzzling question; and as Alice could not think of any
good reason, and as the Caterpillar seemed to be in a _very_ unpleasant
state of mind, she turned away.
“Come back!” the Caterpillar called after her. “I’ve something
important to say!”
This sounded promising, certainly: Alice turned and came back again.
“Keep your temper,” said the Caterpillar.
“Is that all?” said Alice, swallowing down her anger as well as she
could.
“No,” said the Caterpillar.
Alice thought she might as well wait, as she had nothing else to do,
and perhaps after all it might tell her something worth hearing. For
some minutes it puffed away without speaking, but at last it unfolded
its arms, took the hookah out of its mouth again, and said, “So you
think you’re changed, do you?”
“I’m afraid I am, sir,” said Alice; “I can’t remember things as I
used—and I don’t keep the same size for ten minutes together!”
“Can’t remember _what_ things?” said the Caterpillar.
“Well, I’ve tried to say “How doth the little busy bee,” but it all
came different!” Alice replied in a very melancholy voice.
“Repeat, ‘_You are old, Father William_,’” said the Caterpillar.
Alice folded her hands, and began:—
“You are old, Father William,” the young man said,
“And your hair has become very white;
And yet you incessantly stand on your head—
Do you think, at your age, it is right?”
“In my youth,” Father William replied to his son,
“I feared it might injure the brain;
But, now that I’m perfectly sure I have none,
Why, I do it again and again.”
“You are old,” said the youth, “as I mentioned before,
And have grown most uncommonly fat;
Yet you turned a back-somersault in at the door—
Pray, what is the reason of that?”
“In my youth,” said the sage, as he shook his grey locks,
“I kept all my limbs very supple
By the use of this ointment—one shilling the box—
Allow me to sell you a couple?”
“You are old,” said the youth, “and your jaws are too weak
For anything tougher than suet;
Yet you finished the goose, with the bones and the beak—
Pray, how did you manage to do it?”
“In my youth,” said his father, “I took to the law,
And argued each case with my wife;
And the muscular strength, which it gave to my jaw,
Has lasted the rest of my life.”
“You are old,” said the youth, “one would hardly suppose
That your eye was as steady as ever;
Yet you balanced an eel on the end of your nose—
What made you so awfully clever?”
“I have answered three questions, and that is enough,”
Said his father; “don’t give yourself airs!
Do you think I can listen all day to such stuff?
Be off, or I’ll kick you down stairs!”
“That is not said right,” said the Caterpillar.
“Not _quite_ right, I’m afraid,” said Alice, timidly; “some of the
words have got altered.”
“It is wrong from beginning to end,” said the Caterpillar decidedly,
and there was silence for some minutes.
The Caterpillar was the first to speak.
“What size do you want to be?” it asked.
“Oh, I’m not particular as to size,” Alice hastily replied; “only one
doesn’t like changing so often, you know.”
“I _don’t_ know,” said the Caterpillar.
Alice said nothing: she had never been so much contradicted in her life
before, and she felt that she was losing her temper.
“Are you content now?” said the Caterpillar.
“Well, I should like to be a _little_ larger, sir, if you wouldn’t
mind,” said Alice: “three inches is such a wretched height to be.”
“It is a very good height indeed!” said the Caterpillar angrily,
rearing itself upright as it spoke (it was exactly three inches high).
“But I’m not used to it!” pleaded poor Alice in a piteous tone. And she
thought of herself, “I wish the creatures wouldn’t be so easily
offended!”
“You’ll get used to it in time,” said the Caterpillar; and it put the
hookah into its mouth and began smoking again.
This time Alice waited patiently until it chose to speak again. In a
minute or two the Caterpillar took the hookah out of its mouth and
yawned once or twice, and shook itself. Then it got down off the
mushroom, and crawled away in the grass, merely remarking as it went,
“One side will make you grow taller, and the other side will make you
grow shorter.”
“One side of _what?_ The other side of _what?_” thought Alice to
herself.
“Of the mushroom,” said the Caterpillar, just as if she had asked it
aloud; and in another moment it was out of sight.
Alice remained looking thoughtfully at the mushroom for a minute,
trying to make out which were the two sides of it; and as it was
perfectly round, she found this a very difficult question. However, at
last she stretched her arms round it as far as they would go, and broke
off a bit of the edge with each hand.
“And now which is which?” she said to herself, and nibbled a little of
the right-hand bit to try the effect: the next moment she felt a
violent blow underneath her chin: it had struck her foot!
She was a good deal frightened by this very sudden change, but she felt
that there was no time to be lost, as she was shrinking rapidly; so she
set to work at once to eat some of the other bit. Her chin was pressed
so closely against her foot, that there was hardly room to open her
mouth; but she did it at last, and managed to swallow a morsel of the
lefthand bit.
* * * * * * *
* * * * * *
* * * * * * *
“Come, my head’s free at last!” said Alice in a tone of delight, which
changed into alarm in another moment, when she found that her shoulders
were nowhere to be found: all she could see, when she looked down, was
an immense length of neck, which seemed to rise like a stalk out of a
sea of green leaves that lay far below her.
“What _can_ all that green stuff be?” said Alice. “And where _have_ my
shoulders got to? And oh, my poor hands, how is it I can’t see you?”
She was moving them about as she spoke, but no result seemed to follow,
except a little shaking among the distant green leaves.
As there seemed to be no chance of getting her hands up to her head,
she tried to get her head down to them, and was delighted to find that
her neck would bend about easily in any direction, like a serpent. She
had just succeeded in curving it down into a graceful zigzag, and was
going to dive in among the leaves, which she found to be nothing but
the tops of the trees under which she had been wandering, when a sharp
hiss made her draw back in a hurry: a large pigeon had flown into her
face, and was beating her violently with its wings.
“Serpent!” screamed the Pigeon.
“I’m _not_ a serpent!” said Alice indignantly. “Let me alone!”
“Serpent, I say again!” repeated the Pigeon, but in a more subdued
tone, and added with a kind of sob, “I’ve tried every way, and nothing
seems to suit them!”
“I haven’t the least idea what you’re talking about,” said Alice.
“I’ve tried the roots of trees, and I’ve tried banks, and I’ve tried
hedges,” the Pigeon went on, without attending to her; “but those
serpents! There’s no pleasing them!”
Alice was more and more puzzled, but she thought there was no use in
saying anything more till the Pigeon had finished.
“As if it wasn’t trouble enough hatching the eggs,” said the Pigeon;
“but I must be on the look-out for serpents night and day! Why, I
haven’t had a wink of sleep these three weeks!”
“I’m very sorry you’ve been annoyed,” said Alice, who was beginning to
see its meaning.
“And just as I’d taken the highest tree in the wood,” continued the
Pigeon, raising its voice to a shriek, “and just as I was thinking I
should be free of them at last, they must needs come wriggling down
from the sky! Ugh, Serpent!”
“But I’m _not_ a serpent, I tell you!” said Alice. “I’m a—I’m a—”
“Well! _What_ are you?” said the Pigeon. “I can see you’re trying to
invent something!”
“I—I’m a little girl,” said Alice, rather doubtfully, as she remembered
the number of changes she had gone through that day.
“A likely story indeed!” said the Pigeon in a tone of the deepest
contempt. “I’ve seen a good many little girls in my time, but never
_one_ with such a neck as that! No, no! You’re a serpent; and there’s
no use denying it. I suppose you’ll be telling me next that you never
tasted an egg!”
“I _have_ tasted eggs, certainly,” said Alice, who was a very truthful
child; “but little girls eat eggs quite as much as serpents do, you
know.”
“I don’t believe it,” said the Pigeon; “but if they do, why then
they’re a kind of serpent, that’s all I can say.”
This was such a new idea to Alice, that she was quite silent for a
minute or two, which gave the Pigeon the opportunity of adding, “You’re
looking for eggs, I know _that_ well enough; and what does it matter to
me whether you’re a little girl or a serpent?”
“It matters a good deal to _me_,” said Alice hastily; “but I’m not
looking for eggs, as it happens; and if I was, I shouldn’t want
_yours_: I don’t like them raw.”
“Well, be off, then!” said the Pigeon in a sulky tone, as it settled
down again into its nest. Alice crouched down among the trees as well
as she could, for her neck kept getting entangled among the branches,
and every now and then she had to stop and untwist it. After a while
she remembered that she still held the pieces of mushroom in her hands,
and she set to work very carefully, nibbling first at one and then at
the other, and growing sometimes taller and sometimes shorter, until
she had succeeded in bringing herself down to her usual height.
It was so long since she had been anything near the right size, that it
felt quite strange at first; but she got used to it in a few minutes,
and began talking to herself, as usual. “Come, there’s half my plan
done now! How puzzling all these changes are! I’m never sure what I’m
going to be, from one minute to another! However, I’ve got back to my
right size: the next thing is, to get into that beautiful garden—how
_is_ that to be done, I wonder?” As she said this, she came suddenly
upon an open place, with a little house in it about four feet high.
“Whoever lives there,” thought Alice, “it’ll never do to come upon them
_this_ size: why, I should frighten them out of their wits!” So she
began nibbling at the righthand bit again, and did not venture to go
near the house till she had brought herself down to nine inches high.
CHAPTER VI.
Pig and Pepper
For a minute or two she stood looking at the house, and wondering what
to do next, when suddenly a footman in livery came running out of the
wood—(she considered him to be a footman because he was in livery:
otherwise, judging by his face only, she would have called him a
fish)—and rapped loudly at the door with his knuckles. It was opened by
another footman in livery, with a round face, and large eyes like a
frog; and both footmen, Alice noticed, had powdered hair that curled
all over their heads. She felt very curious to know what it was all
about, and crept a little way out of the wood to listen.
The Fish-Footman began by producing from under his arm a great letter,
nearly as large as himself, and this he handed over to the other,
saying, in a solemn tone, “For the Duchess. An invitation from the
Queen to play croquet.” The Frog-Footman repeated, in the same solemn
tone, only changing the order of the words a little, “From the Queen.
An invitation for the Duchess to play croquet.”
Then they both bowed low, and their curls got entangled together.
Alice laughed so much at this, that she had to run back into the wood
for fear of their hearing her; and when she next peeped out the
Fish-Footman was gone, and the other was sitting on the ground near the
door, staring stupidly up into the sky.
Alice went timidly up to the door, and knocked.
“There’s no sort of use in knocking,” said the Footman, “and that for
two reasons. First, because I’m on the same side of the door as you
are; secondly, because they’re making such a noise inside, no one could
possibly hear you.” And certainly there _was_ a most extraordinary
noise going on within—a constant howling and sneezing, and every now
and then a great crash, as if a dish or kettle had been broken to
pieces.
“Please, then,” said Alice, “how am I to get in?”
“There might be some sense in your knocking,” the Footman went on
without attending to her, “if we had the door between us. For instance,
if you were _inside_, you might knock, and I could let you out, you
know.” He was looking up into the sky all the time he was speaking, and
this Alice thought decidedly uncivil. “But perhaps he can’t help it,”
she said to herself; “his eyes are so _very_ nearly at the top of his
head. But at any rate he might answer questions.—How am I to get in?”
she repeated, aloud.
“I shall sit here,” the Footman remarked, “till tomorrow—”
At this moment the door of the house opened, and a large plate came
skimming out, straight at the Footman’s head: it just grazed his nose,
and broke to pieces against one of the trees behind him.
“—or next day, maybe,” the Footman continued in the same tone, exactly
as if nothing had happened.
“How am I to get in?” asked Alice again, in a louder tone.
“_Are_ you to get in at all?” said the Footman. “That’s the first
question, you know.”
It was, no doubt: only Alice did not like to be told so. “It’s really
dreadful,” she muttered to herself, “the way all the creatures argue.
It’s enough to drive one crazy!”
The Footman seemed to think this a good opportunity for repeating his
remark, with variations. “I shall sit here,” he said, “on and off, for
days and days.”
“But what am _I_ to do?” said Alice.
“Anything you like,” said the Footman, and began whistling.
“Oh, there’s no use in talking to him,” said Alice desperately: “he’s
perfectly idiotic!” And she opened the door and went in.
The door led right into a large kitchen, which was full of smoke from
one end to the other: the Duchess was sitting on a three-legged stool
in the middle, nursing a baby; the cook was leaning over the fire,
stirring a large cauldron which seemed to be full of soup.
“There’s certainly too much pepper in that soup!” Alice said to
herself, as well as she could for sneezing.
There was certainly too much of it in the air. Even the Duchess sneezed
occasionally; and as for the baby, it was sneezing and howling
alternately without a moment’s pause. The only things in the kitchen
that did not sneeze, were the cook, and a large cat which was sitting
on the hearth and grinning from ear to ear.
“Please would you tell me,” said Alice, a little timidly, for she was
not quite sure whether it was good manners for her to speak first, “why
your cat grins like that?”
“It’s a Cheshire cat,” said the Duchess, “and that’s why. Pig!”
She said the last word with such sudden violence that Alice quite
jumped; but she saw in another moment that it was addressed to the
baby, and not to her, so she took courage, and went on again:—
“I didn’t know that Cheshire cats always grinned; in fact, I didn’t
know that cats _could_ grin.”
“They all can,” said the Duchess; “and most of ’em do.”
“I don’t know of any that do,” Alice said very politely, feeling quite
pleased to have got into a conversation.
“You don’t know much,” said the Duchess; “and that’s a fact.”
Alice did not at all like the tone of this remark, and thought it would
be as well to introduce some other subject of conversation. While she
was trying to fix on one, the cook took the cauldron of soup off the
fire, and at once set to work throwing everything within her reach at
the Duchess and the baby—the fire-irons came first; then followed a
shower of saucepans, plates, and dishes. The Duchess took no notice of
them even when they hit her; and the baby was howling so much already,
that it was quite impossible to say whether the blows hurt it or not.
“Oh, _please_ mind what you’re doing!” cried Alice, jumping up and down
in an agony of terror. “Oh, there goes his _precious_ nose!” as an
unusually large saucepan flew close by it, and very nearly carried it
off.
“If everybody minded their own business,” the Duchess said in a hoarse
growl, “the world would go round a deal faster than it does.”
“Which would _not_ be an advantage,” said Alice, who felt very glad to
get an opportunity of showing off a little of her knowledge. “Just
think of what work it would make with the day and night! You see the
earth takes twenty-four hours to turn round on its axis—”
“Talking of axes,” said the Duchess, “chop off her head!”
Alice glanced rather anxiously at the cook, to see if she meant to take
the hint; but the cook was busily stirring the soup, and seemed not to
be listening, so she went on again: “Twenty-four hours, I _think_; or
is it twelve? I—”
“Oh, don’t bother _me_,” said the Duchess; “I never could abide
figures!” And with that she began nursing her child again, singing a
sort of lullaby to it as she did so, and giving it a violent shake at
the end of every line:
“Speak roughly to your little boy,
And beat him when he sneezes:
He only does it to annoy,
Because he knows it teases.”
CHORUS.
(In which the cook and the baby joined):
“Wow! wow! wow!”
While the Duchess sang the second verse of the song, she kept tossing
the baby violently up and down, and the poor little thing howled so,
that Alice could hardly hear the words:—
“I speak severely to my boy,
I beat him when he sneezes;
For he can thoroughly enjoy
The pepper when he pleases!”
CHORUS.
“Wow! wow! wow!”
“Here! you may nurse it a bit, if you like!” the Duchess said to Alice,
flinging the baby at her as she spoke. “I must go and get ready to play
croquet with the Queen,” and she hurried out of the room. The cook
threw a frying-pan after her as she went out, but it just missed her.
Alice caught the baby with some difficulty, as it was a queer-shaped
little creature, and held out its arms and legs in all directions,
“just like a star-fish,” thought Alice. The poor little thing was
snorting like a steam-engine when she caught it, and kept doubling
itself up and straightening itself out again, so that altogether, for
the first minute or two, it was as much as she could do to hold it.
As soon as she had made out the proper way of nursing it, (which was to
twist it up into a sort of knot, and then keep tight hold of its right
ear and left foot, so as to prevent its undoing itself,) she carried it
out into the open air. “If I don’t take this child away with me,”
thought Alice, “they’re sure to kill it in a day or two: wouldn’t it be
murder to leave it behind?” She said the last words out loud, and the
little thing grunted in reply (it had left off sneezing by this time).
“Don’t grunt,” said Alice; “that’s not at all a proper way of
expressing yourself.”
The baby grunted again, and Alice looked very anxiously into its face
to see what was the matter with it. There could be no doubt that it had
a _very_ turn-up nose, much more like a snout than a real nose; also
its eyes were getting extremely small for a baby: altogether Alice did
not like the look of the thing at all. “But perhaps it was only
sobbing,” she thought, and looked into its eyes again, to see if there
were any tears.
No, there were no tears. “If you’re going to turn into a pig, my dear,”
said Alice, seriously, “I’ll have nothing more to do with you. Mind
now!” The poor little thing sobbed again (or grunted, it was impossible
to say which), and they went on for some while in silence.
Alice was just beginning to think to herself, “Now, what am I to do
with this creature when I get it home?” when it grunted again, so
violently, that she looked down into its face in some alarm. This time
there could be _no_ mistake about it: it was neither more nor less than
a pig, and she felt that it would be quite absurd for her to carry it
further.
So she set the little creature down, and felt quite relieved to see it
trot away quietly into the wood. “If it had grown up,” she said to
herself, “it would have made a dreadfully ugly child: but it makes
rather a handsome pig, I think.” And she began thinking over other
children she knew, who might do very well as pigs, and was just saying
to herself, “if one only knew the right way to change them—” when she
was a little startled by seeing the Cheshire Cat sitting on a bough of
a tree a few yards off.
The Cat only grinned when it saw Alice. It looked good-natured, she
thought: still it had _very_ long claws and a great many teeth, so she
felt that it ought to be treated with respect.
“Cheshire Puss,” she began, rather timidly, as she did not at all know
whether it would like the name: however, it only grinned a little
wider. “Come, it’s pleased so far,” thought Alice, and she went on.
“Would you tell me, please, which way I ought to go from here?”
“That depends a good deal on where you want to get to,” said the Cat.
“I don’t much care where—” said Alice.
“Then it doesn’t matter which way you go,” said the Cat.
“—so long as I get _somewhere_,” Alice added as an explanation.
“Oh, you’re sure to do that,” said the Cat, “if you only walk long
enough.”
Alice felt that this could not be denied, so she tried another
question. “What sort of people live about here?”
“In _that_ direction,” the Cat said, waving its right paw round, “lives
a Hatter: and in _that_ direction,” waving the other paw, “lives a
March Hare. Visit either you like: they’re both mad.”
“But I don’t want to go among mad people,” Alice remarked.
“Oh, you can’t help that,” said the Cat: “we’re all mad here. I’m mad.
You’re mad.”
“How do you know I’m mad?” said Alice.
“You must be,” said the Cat, “or you wouldn’t have come here.”
Alice didn’t think that proved it at all; however, she went on “And how
do you know that you’re mad?”
“To begin with,” said the Cat, “a dog’s not mad. You grant that?”
“I suppose so,” said Alice.
“Well, then,” the Cat went on, “you see, a dog growls when it’s angry,
and wags its tail when it’s pleased. Now _I_ growl when I’m pleased,
and wag my tail when I’m angry. Therefore I’m mad.”
“_I_ call it purring, not growling,” said Alice.
“Call it what you like,” said the Cat. “Do you play croquet with the
Queen to-day?”
“I should like it very much,” said Alice, “but I haven’t been invited
yet.”
“You’ll see me there,” said the Cat, and vanished.
Alice was not much surprised at this, she was getting so used to queer
things happening. While she was looking at the place where it had been,
it suddenly appeared again.
“By-the-bye, what became of the baby?” said the Cat. “I’d nearly
forgotten to ask.”
“It turned into a pig,” Alice quietly said, just as if it had come back
in a natural way.
“I thought it would,” said the Cat, and vanished again.
Alice waited a little, half expecting to see it again, but it did not
appear, and after a minute or two she walked on in the direction in
which the March Hare was said to live. “I’ve seen hatters before,” she
said to herself; “the March Hare will be much the most interesting, and
perhaps as this is May it won’t be raving mad—at least not so mad as it
was in March.” As she said this, she looked up, and there was the Cat
again, sitting on a branch of a tree.
“Did you say pig, or fig?” said the Cat.
“I said pig,” replied Alice; “and I wish you wouldn’t keep appearing
and vanishing so suddenly: you make one quite giddy.”
“All right,” said the Cat; and this time it vanished quite slowly,
beginning with the end of the tail, and ending with the grin, which
remained some time after the rest of it had gone.
“Well! I’ve often seen a cat without a grin,” thought Alice; “but a
grin without a cat! It’s the most curious thing I ever saw in my life!”
She had not gone much farther before she came in sight of the house of
the March Hare: she thought it must be the right house, because the
chimneys were shaped like ears and the roof was thatched with fur. It
was so large a house, that she did not like to go nearer till she had
nibbled some more of the lefthand bit of mushroom, and raised herself
to about two feet high: even then she walked up towards it rather
timidly, saying to herself “Suppose it should be raving mad after all!
I almost wish I’d gone to see the Hatter instead!”
CHAPTER VII.
A Mad Tea-Party
There was a table set out under a tree in front of the house, and the
March Hare and the Hatter were having tea at it: a Dormouse was sitting
between them, fast asleep, and the other two were using it as a
cushion, resting their elbows on it, and talking over its head. “Very
uncomfortable for the Dormouse,” thought Alice; “only, as it’s asleep,
I suppose it doesn’t mind.”
The table was a large one, but the three were all crowded together at
one corner of it: “No room! No room!” they cried out when they saw
Alice coming. “There’s _plenty_ of room!” said Alice indignantly, and
she sat down in a large arm-chair at one end of the table.
“Have some wine,” the March Hare said in an encouraging tone.
Alice looked all round the table, but there was nothing on it but tea.
“I don’t see any wine,” she remarked.
“There isn’t any,” said the March Hare.
“Then it wasn’t very civil of you to offer it,” said Alice angrily.
“It wasn’t very civil of you to sit down without being invited,” said
the March Hare.
“I didn’t know it was _your_ table,” said Alice; “it’s laid for a great
many more than three.”
“Your hair wants cutting,” said the Hatter. He had been looking at
Alice for some time with great curiosity, and this was his first
speech.
“You should learn not to make personal remarks,” Alice said with some
severity; “it’s very rude.”
The Hatter opened his eyes very wide on hearing this; but all he _said_
was, “Why is a raven like a writing-desk?”
“Come, we shall have some fun now!” thought Alice. “I’m glad they’ve
begun asking riddles.—I believe I can guess that,” she added aloud.
“Do you mean that you think you can find out the answer to it?” said
the March Hare.
“Exactly so,” said Alice.
“Then you should say what you mean,” the March Hare went on.
“I do,” Alice hastily replied; “at least—at least I mean what I
say—that’s the same thing, you know.”
“Not the same thing a bit!” said the Hatter. “You might just as well
say that ‘I see what I eat’ is the same thing as ‘I eat what I see’!”
“You might just as well say,” added the March Hare, “that ‘I like what
I get’ is the same thing as ‘I get what I like’!”
“You might just as well say,” added the Dormouse, who seemed to be
talking in his sleep, “that ‘I breathe when I sleep’ is the same thing
as ‘I sleep when I breathe’!”
“It _is_ the same thing with you,” said the Hatter, and here the
conversation dropped, and the party sat silent for a minute, while
Alice thought over all she could remember about ravens and
writing-desks, which wasn’t much.
The Hatter was the first to break the silence. “What day of the month
is it?” he said, turning to Alice: he had taken his watch out of his
pocket, and was looking at it uneasily, shaking it every now and then,
and holding it to his ear.
Alice considered a little, and then said “The fourth.”
“Two days wrong!” sighed the Hatter. “I told you butter wouldn’t suit
the works!” he added looking angrily at the March Hare.
“It was the _best_ butter,” the March Hare meekly replied.
“Yes, but some crumbs must have got in as well,” the Hatter grumbled:
“you shouldn’t have put it in with the bread-knife.”
The March Hare took the watch and looked at it gloomily: then he dipped
it into his cup of tea, and looked at it again: but he could think of
nothing better to say than his first remark, “It was the _best_ butter,
you know.”
Alice had been looking over his shoulder with some curiosity. “What a
funny watch!” she remarked. “It tells the day of the month, and doesn’t
tell what o’clock it is!”
“Why should it?” muttered the Hatter. “Does _your_ watch tell you what
year it is?”
“Of course not,” Alice replied very readily: “but that’s because it
stays the same year for such a long time together.”
“Which is just the case with _mine_,” said the Hatter.
Alice felt dreadfully puzzled, The Hatter’s remark seemed to have no
sort of meaning in it, and yet it was certainly English. “I don’t quite
understand you,” she said, as politely as she could.
“The Dormouse is asleep again,” said the Hatter, and he poured a little
hot tea upon its nose.
The Dormouse shook its head impatiently, and said, without opening its
eyes, “Of course, of course; just what I was going to remark myself.”
“Have you guessed the riddle yet?” the Hatter said, turning to Alice
again.
“No, I give it up,” Alice replied: “what’s the answer?”
“I haven’t the slightest idea,” said the Hatter.
“Nor I,” said the March Hare.
Alice sighed wearily. “I think you might do something better with the
time,” she said, “than waste it in asking riddles that have no
answers.”
“If you knew Time as well as I do,” said the Hatter, “you wouldn’t talk
about wasting _it_. It’s _him_.”
“I don’t know what you mean,” said Alice.
“Of course you don’t!” the Hatter said, tossing his head
contemptuously. “I dare say you never even spoke to Time!”
“Perhaps not,” Alice cautiously replied: “but I know I have to beat
time when I learn music.”
“Ah! that accounts for it,” said the Hatter. “He won’t stand beating.
Now, if you only kept on good terms with him, he’d do almost anything
you liked with the clock. For instance, suppose it were nine o’clock in
the morning, just time to begin lessons: you’d only have to whisper a
hint to Time, and round goes the clock in a twinkling! Half-past one,
time for dinner!”
(“I only wish it was,” the March Hare said to itself in a whisper.)
“That would be grand, certainly,” said Alice thoughtfully: “but then—I
shouldn’t be hungry for it, you know.”
“Not at first, perhaps,” said the Hatter: “but you could keep it to
half-past one as long as you liked.”
“Is that the way _you_ manage?” Alice asked.
The Hatter shook his head mournfully. “Not I!” he replied. “We
quarrelled last March—just before _he_ went mad, you know—” (pointing
with his tea spoon at the March Hare,) “—it was at the great concert
given by the Queen of Hearts, and I had to sing
‘Twinkle, twinkle, little bat!
How I wonder what you’re at!’
You know the song, perhaps?”
“I’ve heard something like it,” said Alice.
“It goes on, you know,” the Hatter continued, “in this way:—
‘Up above the world you fly,
Like a tea-tray in the sky.
Twinkle, twinkle—’”
Here the Dormouse shook itself, and began singing in its sleep
“_Twinkle, twinkle, twinkle, twinkle_—” and went on so long that they
had to pinch it to make it stop.
“Well, I’d hardly finished the first verse,” said the Hatter, “when the
Queen jumped up and bawled out, ‘He’s murdering the time! Off with his
head!’”
“How dreadfully savage!” exclaimed Alice.
“And ever since that,” the Hatter went on in a mournful tone, “he won’t
do a thing I ask! It’s always six o’clock now.”
A bright idea came into Alice’s head. “Is that the reason so many
tea-things are put out here?” she asked.
“Yes, that’s it,” said the Hatter with a sigh: “it’s always tea-time,
and we’ve no time to wash the things between whiles.”
“Then you keep moving round, I suppose?” said Alice.
“Exactly so,” said the Hatter: “as the things get used up.”
“But what happens when you come to the beginning again?” Alice ventured
to ask.
“Suppose we change the subject,” the March Hare interrupted, yawning.
“I’m getting tired of this. I vote the young lady tells us a story.”
“I’m afraid I don’t know one,” said Alice, rather alarmed at the
proposal.
“Then the Dormouse shall!” they both cried. “Wake up, Dormouse!” And
they pinched it on both sides at once.
The Dormouse slowly opened his eyes. “I wasn’t asleep,” he said in a
hoarse, feeble voice: “I heard every word you fellows were saying.”
“Tell us a story!” said the March Hare.
“Yes, please do!” pleaded Alice.
“And be quick about it,” added the Hatter, “or you’ll be asleep again
before it’s done.”
“Once upon a time there were three little sisters,” the Dormouse began
in a great hurry; “and their names were Elsie, Lacie, and Tillie; and
they lived at the bottom of a well—”
“What did they live on?” said Alice, who always took a great interest
in questions of eating and drinking.
“They lived on treacle,” said the Dormouse, after thinking a minute or
two.
“They couldn’t have done that, you know,” Alice gently remarked;
“they’d have been ill.”
“So they were,” said the Dormouse; “_very_ ill.”
Alice tried to fancy to herself what such an extraordinary way of
living would be like, but it puzzled her too much, so she went on: “But
why did they live at the bottom of a well?”
“Take some more tea,” the March Hare said to Alice, very earnestly.
“I’ve had nothing yet,” Alice replied in an offended tone, “so I can’t
take more.”
“You mean you can’t take _less_,” said the Hatter: “it’s very easy to
take _more_ than nothing.”
“Nobody asked _your_ opinion,” said Alice.
“Who’s making personal remarks now?” the Hatter asked triumphantly.
Alice did not quite know what to say to this: so she helped herself to
some tea and bread-and-butter, and then turned to the Dormouse, and
repeated her question. “Why did they live at the bottom of a well?”
The Dormouse again took a minute or two to think about it, and then
said, “It was a treacle-well.”
“There’s no such thing!” Alice was beginning very angrily, but the
Hatter and the March Hare went “Sh! sh!” and the Dormouse sulkily
remarked, “If you can’t be civil, you’d better finish the story for
yourself.”
“No, please go on!” Alice said very humbly; “I won’t interrupt again. I
dare say there may be _one_.”
“One, indeed!” said the Dormouse indignantly. However, he consented to
go on. “And so these three little sisters—they were learning to draw,
you know—”
“What did they draw?” said Alice, quite forgetting her promise.
“Treacle,” said the Dormouse, without considering at all this time.
“I want a clean cup,” interrupted the Hatter: “let’s all move one place
on.”
He moved on as he spoke, and the Dormouse followed him: the March Hare
moved into the Dormouse’s place, and Alice rather unwillingly took the
place of the March Hare. The Hatter was the only one who got any
advantage from the change: and Alice was a good deal worse off than
before, as the March Hare had just upset the milk-jug into his plate.
Alice did not wish to offend the Dormouse again, so she began very
cautiously: “But I don’t understand. Where did they draw the treacle
from?”
“You can draw water out of a water-well,” said the Hatter; “so I should
think you could draw treacle out of a treacle-well—eh, stupid?”
“But they were _in_ the well,” Alice said to the Dormouse, not choosing
to notice this last remark.
“Of course they were,” said the Dormouse; “—well in.”
This answer so confused poor Alice, that she let the Dormouse go on for
some time without interrupting it.
“They were learning to draw,” the Dormouse went on, yawning and rubbing
its eyes, for it was getting very sleepy; “and they drew all manner of
things—everything that begins with an M—”
“Why with an M?” said Alice.
“Why not?” said the March Hare.
Alice was silent.
The Dormouse had closed its eyes by this time, and was going off into a
doze; but, on being pinched by the Hatter, it woke up again with a
little shriek, and went on: “—that begins with an M, such as
mouse-traps, and the moon, and memory, and muchness—you know you say
things are “much of a muchness”—did you ever see such a thing as a
drawing of a muchness?”
“Really, now you ask me,” said Alice, very much confused, “I don’t
think—”
“Then you shouldn’t talk,” said the Hatter.
This piece of rudeness was more than Alice could bear: she got up in
great disgust, and walked off; the Dormouse fell asleep instantly, and
neither of the others took the least notice of her going, though she
looked back once or twice, half hoping that they would call after her:
the last time she saw them, they were trying to put the Dormouse into
the teapot.
“At any rate I’ll never go _there_ again!” said Alice as she picked her
way through the wood. “It’s the stupidest tea-party I ever was at in
all my life!”
Just as she said this, she noticed that one of the trees had a door
leading right into it. “That’s very curious!” she thought. “But
everything’s curious today. I think I may as well go in at once.” And
in she went.
Once more she found herself in the long hall, and close to the little
glass table. “Now, I’ll manage better this time,” she said to herself,
and began by taking the little golden key, and unlocking the door that
led into the garden. Then she went to work nibbling at the mushroom
(she had kept a piece of it in her pocket) till she was about a foot
high: then she walked down the little passage: and _then_—she found
herself at last in the beautiful garden, among the bright flower-beds
and the cool fountains.
CHAPTER VIII.
The Queen’s Croquet-Ground
A large rose-tree stood near the entrance of the garden: the roses
growing on it were white, but there were three gardeners at it, busily
painting them red. Alice thought this a very curious thing, and she
went nearer to watch them, and just as she came up to them she heard
one of them say, “Look out now, Five! Don’t go splashing paint over me
like that!”
“I couldn’t help it,” said Five, in a sulky tone; “Seven jogged my
elbow.”
On which Seven looked up and said, “That’s right, Five! Always lay the
blame on others!”
“_You’d_ better not talk!” said Five. “I heard the Queen say only
yesterday you deserved to be beheaded!”
“What for?” said the one who had spoken first.
“That’s none of _your_ business, Two!” said Seven.
“Yes, it _is_ his business!” said Five, “and I’ll tell him—it was for
bringing the cook tulip-roots instead of onions.”
Seven flung down his brush, and had just begun “Well, of all the unjust
things—” when his eye chanced to fall upon Alice, as she stood watching
them, and he checked himself suddenly: the others looked round also,
and all of them bowed low.
“Would you tell me,” said Alice, a little timidly, “why you are
painting those roses?”
Five and Seven said nothing, but looked at Two. Two began in a low
voice, “Why the fact is, you see, Miss, this here ought to have been a
_red_ rose-tree, and we put a white one in by mistake; and if the Queen
was to find it out, we should all have our heads cut off, you know. So
you see, Miss, we’re doing our best, afore she comes, to—” At this
moment Five, who had been anxiously looking across the garden, called
out “The Queen! The Queen!” and the three gardeners instantly threw
themselves flat upon their faces. There was a sound of many footsteps,
and Alice looked round, eager to see the Queen.
First came ten soldiers carrying clubs; these were all shaped like the
three gardeners, oblong and flat, with their hands and feet at the
corners: next the ten courtiers; these were ornamented all over with
diamonds, and walked two and two, as the soldiers did. After these came
the royal children; there were ten of them, and the little dears came
jumping merrily along hand in hand, in couples: they were all
ornamented with hearts. Next came the guests, mostly Kings and Queens,
and among them Alice recognised the White Rabbit: it was talking in a
hurried nervous manner, smiling at everything that was said, and went
by without noticing her. Then followed the Knave of Hearts, carrying
the King’s crown on a crimson velvet cushion; and, last of all this
grand procession, came THE KING AND QUEEN OF HEARTS.
Alice was rather doubtful whether she ought not to lie down on her face
like the three gardeners, but she could not remember ever having heard
of such a rule at processions; “and besides, what would be the use of a
procession,” thought she, “if people had all to lie down upon their
faces, so that they couldn’t see it?” So she stood still where she was,
and waited.
When the procession came opposite to Alice, they all stopped and looked
at her, and the Queen said severely “Who is this?” She said it to the
Knave of Hearts, who only bowed and smiled in reply.
“Idiot!” said the Queen, tossing her head impatiently; and, turning to
Alice, she went on, “What’s your name, child?”
“My name is Alice, so please your Majesty,” said Alice very politely;
but she added, to herself, “Why, they’re only a pack of cards, after
all. I needn’t be afraid of them!”
“And who are _these?_” said the Queen, pointing to the three gardeners
who were lying round the rose-tree; for, you see, as they were lying on
their faces, and the pattern on their backs was the same as the rest of
the pack, she could not tell whether they were gardeners, or soldiers,
or courtiers, or three of her own children.
“How should _I_ know?” said Alice, surprised at her own courage. “It’s
no business of _mine_.”
The Queen turned crimson with fury, and, after glaring at her for a
moment like a wild beast, screamed “Off with her head! Off—”
“Nonsense!” said Alice, very loudly and decidedly, and the Queen was
silent.
The King laid his hand upon her arm, and timidly said “Consider, my
dear: she is only a child!”
The Queen turned angrily away from him, and said to the Knave “Turn
them over!”
The Knave did so, very carefully, with one foot.
“Get up!” said the Queen, in a shrill, loud voice, and the three
gardeners instantly jumped up, and began bowing to the King, the Queen,
the royal children, and everybody else.
“Leave off that!” screamed the Queen. “You make me giddy.” And then,
turning to the rose-tree, she went on, “What _have_ you been doing
here?”
“May it please your Majesty,” said Two, in a very humble tone, going
down on one knee as he spoke, “we were trying—”
“_I_ see!” said the Queen, who had meanwhile been examining the roses.
“Off with their heads!” and the procession moved on, three of the
soldiers remaining behind to execute the unfortunate gardeners, who ran
to Alice for protection.
“You shan’t be beheaded!” said Alice, and she put them into a large
flower-pot that stood near. The three soldiers wandered about for a
minute or two, looking for them, and then quietly marched off after the
others.
“Are their heads off?” shouted the Queen.
“Their heads are gone, if it please your Majesty!” the soldiers shouted
in reply.
“That’s right!” shouted the Queen. “Can you play croquet?”
The soldiers were silent, and looked at Alice, as the question was
evidently meant for her.
“Yes!” shouted Alice.
“Come on, then!” roared the Queen, and Alice joined the procession,
wondering very much what would happen next.
“It’s—it’s a very fine day!” said a timid voice at her side. She was
walking by the White Rabbit, who was peeping anxiously into her face.
“Very,” said Alice: “—where’s the Duchess?”
“Hush! Hush!” said the Rabbit in a low, hurried tone. He looked
anxiously over his shoulder as he spoke, and then raised himself upon
tiptoe, put his mouth close to her ear, and whispered “She’s under
sentence of execution.”
“What for?” said Alice.
“Did you say ‘What a pity!’?” the Rabbit asked.
“No, I didn’t,” said Alice: “I don’t think it’s at all a pity. I said
‘What for?’”
“She boxed the Queen’s ears—” the Rabbit began. Alice gave a little
scream of laughter. “Oh, hush!” the Rabbit whispered in a frightened
tone. “The Queen will hear you! You see, she came rather late, and the
Queen said—”
“Get to your places!” shouted the Queen in a voice of thunder, and
people began running about in all directions, tumbling up against each
other; however, they got settled down in a minute or two, and the game
began. Alice thought she had never seen such a curious croquet-ground
in her life; it was all ridges and furrows; the balls were live
hedgehogs, the mallets live flamingoes, and the soldiers had to double
themselves up and to stand on their hands and feet, to make the arches.
The chief difficulty Alice found at first was in managing her flamingo:
she succeeded in getting its body tucked away, comfortably enough,
under her arm, with its legs hanging down, but generally, just as she
had got its neck nicely straightened out, and was going to give the
hedgehog a blow with its head, it _would_ twist itself round and look
up in her face, with such a puzzled expression that she could not help
bursting out laughing: and when she had got its head down, and was
going to begin again, it was very provoking to find that the hedgehog
had unrolled itself, and was in the act of crawling away: besides all
this, there was generally a ridge or furrow in the way wherever she
wanted to send the hedgehog to, and, as the doubled-up soldiers were
always getting up and walking off to other parts of the ground, Alice
soon came to the conclusion that it was a very difficult game indeed.
The players all played at once without waiting for turns, quarrelling
all the while, and fighting for the hedgehogs; and in a very short time
the Queen was in a furious passion, and went stamping about, and
shouting “Off with his head!” or “Off with her head!” about once in a
minute.
Alice began to feel very uneasy: to be sure, she had not as yet had any
dispute with the Queen, but she knew that it might happen any minute,
“and then,” thought she, “what would become of me? They’re dreadfully
fond of beheading people here; the great wonder is, that there’s any
one left alive!”
She was looking about for some way of escape, and wondering whether she
could get away without being seen, when she noticed a curious
appearance in the air: it puzzled her very much at first, but, after
watching it a minute or two, she made it out to be a grin, and she said
to herself “It’s the Cheshire Cat: now I shall have somebody to talk
to.”
“How are you getting on?” said the Cat, as soon as there was mouth
enough for it to speak with.
Alice waited till the eyes appeared, and then nodded. “It’s no use
speaking to it,” she thought, “till its ears have come, or at least one
of them.” In another minute the whole head appeared, and then Alice put
down her flamingo, and began an account of the game, feeling very glad
she had someone to listen to her. The Cat seemed to think that there
was enough of it now in sight, and no more of it appeared.
“I don’t think they play at all fairly,” Alice began, in rather a
complaining tone, “and they all quarrel so dreadfully one can’t hear
oneself speak—and they don’t seem to have any rules in particular; at
least, if there are, nobody attends to them—and you’ve no idea how
confusing it is all the things being alive; for instance, there’s the
arch I’ve got to go through next walking about at the other end of the
ground—and I should have croqueted the Queen’s hedgehog just now, only
it ran away when it saw mine coming!”
“How do you like the Queen?” said the Cat in a low voice.
“Not at all,” said Alice: “she’s so extremely—” Just then she noticed
that the Queen was close behind her, listening: so she went on,
“—likely to win, that it’s hardly worth while finishing the game.”
The Queen smiled and passed on.
“Who _are_ you talking to?” said the King, going up to Alice, and
looking at the Cat’s head with great curiosity.
“It’s a friend of mine—a Cheshire Cat,” said Alice: “allow me to
introduce it.”
“I don’t like the look of it at all,” said the King: “however, it may
kiss my hand if it likes.”
“I’d rather not,” the Cat remarked.
“Don’t be impertinent,” said the King, “and don’t look at me like
that!” He got behind Alice as he spoke.
“A cat may look at a king,” said Alice. “I’ve read that in some book,
but I don’t remember where.”
“Well, it must be removed,” said the King very decidedly, and he called
the Queen, who was passing at the moment, “My dear! I wish you would
have this cat removed!”
The Queen had only one way of settling all difficulties, great or
small. “Off with his head!” she said, without even looking round.
“I’ll fetch the executioner myself,” said the King eagerly, and he
hurried off.
Alice thought she might as well go back, and see how the game was going
on, as she heard the Queen’s voice in the distance, screaming with
passion. She had already heard her sentence three of the players to be
executed for having missed their turns, and she did not like the look
of things at all, as the game was in such confusion that she never knew
whether it was her turn or not. So she went in search of her hedgehog.
The hedgehog was engaged in a fight with another hedgehog, which seemed
to Alice an excellent opportunity for croqueting one of them with the
other: the only difficulty was, that her flamingo was gone across to
the other side of the garden, where Alice could see it trying in a
helpless sort of way to fly up into a tree.
By the time she had caught the flamingo and brought it back, the fight
was over, and both the hedgehogs were out of sight: “but it doesn’t
matter much,” thought Alice, “as all the arches are gone from this side
of the ground.” So she tucked it away under her arm, that it might not
escape again, and went back for a little more conversation with her
friend.
When she got back to the Cheshire Cat, she was surprised to find quite
a large crowd collected round it: there was a dispute going on between
the executioner, the King, and the Queen, who were all talking at once,
while all the rest were quite silent, and looked very uncomfortable.
The moment Alice appeared, she was appealed to by all three to settle
the question, and they repeated their arguments to her, though, as they
all spoke at once, she found it very hard indeed to make out exactly
what they said.
The executioner’s argument was, that you couldn’t cut off a head unless
there was a body to cut it off from: that he had never had to do such a
thing before, and he wasn’t going to begin at _his_ time of life.
The King’s argument was, that anything that had a head could be
beheaded, and that you weren’t to talk nonsense.
The Queen’s argument was, that if something wasn’t done about it in
less than no time she’d have everybody executed, all round. (It was
this last remark that had made the whole party look so grave and
anxious.)
Alice could think of nothing else to say but “It belongs to the
Duchess: you’d better ask _her_ about it.”
“She’s in prison,” the Queen said to the executioner: “fetch her here.”
And the executioner went off like an arrow.
The Cat’s head began fading away the moment he was gone, and, by the
time he had come back with the Duchess, it had entirely disappeared; so
the King and the executioner ran wildly up and down looking for it,
while the rest of the party went back to the game.
CHAPTER IX.
The Mock Turtle’s Story
“You can’t think how glad I am to see you again, you dear old thing!”
said the Duchess, as she tucked her arm affectionately into Alice’s,
and they walked off together.
Alice was very glad to find her in such a pleasant temper, and thought
to herself that perhaps it was only the pepper that had made her so
savage when they met in the kitchen.
“When _I’m_ a Duchess,” she said to herself, (not in a very hopeful
tone though), “I won’t have any pepper in my kitchen _at all_. Soup
does very well without—Maybe it’s always pepper that makes people
hot-tempered,” she went on, very much pleased at having found out a new
kind of rule, “and vinegar that makes them sour—and camomile that makes
them bitter—and—and barley-sugar and such things that make children
sweet-tempered. I only wish people knew _that_: then they wouldn’t be
so stingy about it, you know—”
She had quite forgotten the Duchess by this time, and was a little
startled when she heard her voice close to her ear. “You’re thinking
about something, my dear, and that makes you forget to talk. I can’t
tell you just now what the moral of that is, but I shall remember it in
a bit.”
“Perhaps it hasn’t one,” Alice ventured to remark.
“Tut, tut, child!” said the Duchess. “Everything’s got a moral, if only
you can find it.” And she squeezed herself up closer to Alice’s side as
she spoke.
Alice did not much like keeping so close to her: first, because the
Duchess was _very_ ugly; and secondly, because she was exactly the
right height to rest her chin upon Alice’s shoulder, and it was an
uncomfortably sharp chin. However, she did not like to be rude, so she
bore it as well as she could.
“The game’s going on rather better now,” she said, by way of keeping up
the conversation a little.
“’Tis so,” said the Duchess: “and the moral of that is—‘Oh, ’tis love,
’tis love, that makes the world go round!’”
“Somebody said,” Alice whispered, “that it’s done by everybody minding
their own business!”
“Ah, well! It means much the same thing,” said the Duchess, digging her
sharp little chin into Alice’s shoulder as she added, “and the moral of
_that_ is—‘Take care of the sense, and the sounds will take care of
themselves.’”
“How fond she is of finding morals in things!” Alice thought to
herself.
“I dare say you’re wondering why I don’t put my arm round your waist,”
the Duchess said after a pause: “the reason is, that I’m doubtful about
the temper of your flamingo. Shall I try the experiment?”
“He might bite,” Alice cautiously replied, not feeling at all anxious
to have the experiment tried.
“Very true,” said the Duchess: “flamingoes and mustard both bite. And
the moral of that is—‘Birds of a feather flock together.’”
“Only mustard isn’t a bird,” Alice remarked.
“Right, as usual,” said the Duchess: “what a clear way you have of
putting things!”
“It’s a mineral, I _think_,” said Alice.
“Of course it is,” said the Duchess, who seemed ready to agree to
everything that Alice said; “there’s a large mustard-mine near here.
And the moral of that is—‘The more there is of mine, the less there is
of yours.’”
“Oh, I know!” exclaimed Alice, who had not attended to this last
remark, “it’s a vegetable. It doesn’t look like one, but it is.”
“I quite agree with you,” said the Duchess; “and the moral of that
is—‘Be what you would seem to be’—or if you’d like it put more
simply—‘Never imagine yourself not to be otherwise than what it might
appear to others that what you were or might have been was not
otherwise than what you had been would have appeared to them to be
otherwise.’”
“I think I should understand that better,” Alice said very politely,
“if I had it written down: but I can’t quite follow it as you say it.”
“That’s nothing to what I could say if I chose,” the Duchess replied,
in a pleased tone.
“Pray don’t trouble yourself to say it any longer than that,” said
Alice.
“Oh, don’t talk about trouble!” said the Duchess. “I make you a present
of everything I’ve said as yet.”
“A cheap sort of present!” thought Alice. “I’m glad they don’t give
birthday presents like that!” But she did not venture to say it out
loud.
“Thinking again?” the Duchess asked, with another dig of her sharp
little chin.
“I’ve a right to think,” said Alice sharply, for she was beginning to
feel a little worried.
“Just about as much right,” said the Duchess, “as pigs have to fly; and
the m—”
But here, to Alice’s great surprise, the Duchess’s voice died away,
even in the middle of her favourite word ‘moral,’ and the arm that was
linked into hers began to tremble. Alice looked up, and there stood the
Queen in front of them, with her arms folded, frowning like a
thunderstorm.
“A fine day, your Majesty!” the Duchess began in a low, weak voice.
“Now, I give you fair warning,” shouted the Queen, stamping on the
ground as she spoke; “either you or your head must be off, and that in
about half no time! Take your choice!”
The Duchess took her choice, and was gone in a moment.
“Let’s go on with the game,” the Queen said to Alice; and Alice was too
much frightened to say a word, but slowly followed her back to the
croquet-ground.
The other guests had taken advantage of the Queen’s absence, and were
resting in the shade: however, the moment they saw her, they hurried
back to the game, the Queen merely remarking that a moment’s delay
would cost them their lives.
All the time they were playing the Queen never left off quarrelling
with the other players, and shouting “Off with his head!” or “Off with
her head!” Those whom she sentenced were taken into custody by the
soldiers, who of course had to leave off being arches to do this, so
that by the end of half an hour or so there were no arches left, and
all the players, except the King, the Queen, and Alice, were in custody
and under sentence of execution.
Then the Queen left off, quite out of breath, and said to Alice, “Have
you seen the Mock Turtle yet?”
“No,” said Alice. “I don’t even know what a Mock Turtle is.”
“It’s the thing Mock Turtle Soup is made from,” said the Queen.
“I never saw one, or heard of one,” said Alice.
“Come on, then,” said the Queen, “and he shall tell you his history.”
As they walked off together, Alice heard the King say in a low voice,
to the company generally, “You are all pardoned.” “Come, _that’s_ a
good thing!” she said to herself, for she had felt quite unhappy at the
number of executions the Queen had ordered.
They very soon came upon a Gryphon, lying fast asleep in the sun. (If
you don’t know what a Gryphon is, look at the picture.) “Up, lazy
thing!” said the Queen, “and take this young lady to see the Mock
Turtle, and to hear his history. I must go back and see after some
executions I have ordered;” and she walked off, leaving Alice alone
with the Gryphon. Alice did not quite like the look of the creature,
but on the whole she thought it would be quite as safe to stay with it
as to go after that savage Queen: so she waited.
The Gryphon sat up and rubbed its eyes: then it watched the Queen till
she was out of sight: then it chuckled. “What fun!” said the Gryphon,
half to itself, half to Alice.
“What _is_ the fun?” said Alice.
“Why, _she_,” said the Gryphon. “It’s all her fancy, that: they never
executes nobody, you know. Come on!”
“Everybody says ‘come on!’ here,” thought Alice, as she went slowly
after it: “I never was so ordered about in all my life, never!”
They had not gone far before they saw the Mock Turtle in the distance,
sitting sad and lonely on a little ledge of rock, and, as they came
nearer, Alice could hear him sighing as if his heart would break. She
pitied him deeply. “What is his sorrow?” she asked the Gryphon, and the
Gryphon answered, very nearly in the same words as before, “It’s all
his fancy, that: he hasn’t got no sorrow, you know. Come on!”
So they went up to the Mock Turtle, who looked at them with large eyes
full of tears, but said nothing.
“This here young lady,” said the Gryphon, “she wants for to know your
history, she do.”
“I’ll tell it her,” said the Mock Turtle in a deep, hollow tone: “sit
down, both of you, and don’t speak a word till I’ve finished.”
So they sat down, and nobody spoke for some minutes. Alice thought to
herself, “I don’t see how he can _ever_ finish, if he doesn’t begin.”
But she waited patiently.
“Once,” said the Mock Turtle at last, with a deep sigh, “I was a real
Turtle.”
These words were followed by a very long silence, broken only by an
occasional exclamation of “Hjckrrh!” from the Gryphon, and the constant
heavy sobbing of the Mock Turtle. Alice was very nearly getting up and
saying, “Thank you, sir, for your interesting story,” but she could not
help thinking there _must_ be more to come, so she sat still and said
nothing.
“When we were little,” the Mock Turtle went on at last, more calmly,
though still sobbing a little now and then, “we went to school in the
sea. The master was an old Turtle—we used to call him Tortoise—”
“Why did you call him Tortoise, if he wasn’t one?” Alice asked.
“We called him Tortoise because he taught us,” said the Mock Turtle
angrily: “really you are very dull!”
“You ought to be ashamed of yourself for asking such a simple
question,” added the Gryphon; and then they both sat silent and looked
at poor Alice, who felt ready to sink into the earth. At last the
Gryphon said to the Mock Turtle, “Drive on, old fellow! Don’t be all
day about it!” and he went on in these words:
“Yes, we went to school in the sea, though you mayn’t believe it—”
“I never said I didn’t!” interrupted Alice.
“You did,” said the Mock Turtle.
“Hold your tongue!” added the Gryphon, before Alice could speak again.
The Mock Turtle went on.
“We had the best of educations—in fact, we went to school every day—”
“_I’ve_ been to a day-school, too,” said Alice; “you needn’t be so
proud as all that.”
“With extras?” asked the Mock Turtle a little anxiously.
“Yes,” said Alice, “we learned French and music.”
“And washing?” said the Mock Turtle.
“Certainly not!” said Alice indignantly.
“Ah! then yours wasn’t a really good school,” said the Mock Turtle in a
tone of great relief. “Now at _ours_ they had at the end of the bill,
‘French, music, _and washing_—extra.’”
“You couldn’t have wanted it much,” said Alice; “living at the bottom
of the sea.”
“I couldn’t afford to learn it.” said the Mock Turtle with a sigh. “I
only took the regular course.”
“What was that?” inquired Alice.
“Reeling and Writhing, of course, to begin with,” the Mock Turtle
replied; “and then the different branches of Arithmetic—Ambition,
Distraction, Uglification, and Derision.”
“I never heard of ‘Uglification,’” Alice ventured to say. “What is it?”
The Gryphon lifted up both its paws in surprise. “What! Never heard of
uglifying!” it exclaimed. “You know what to beautify is, I suppose?”
“Yes,” said Alice doubtfully: “it means—to—make—anything—prettier.”
“Well, then,” the Gryphon went on, “if you don’t know what to uglify
is, you _are_ a simpleton.”
Alice did not feel encouraged to ask any more questions about it, so
she turned to the Mock Turtle, and said “What else had you to learn?”
“Well, there was Mystery,” the Mock Turtle replied, counting off the
subjects on his flappers, “—Mystery, ancient and modern, with
Seaography: then Drawling—the Drawling-master was an old conger-eel,
that used to come once a week: _he_ taught us Drawling, Stretching, and
Fainting in Coils.”
“What was _that_ like?” said Alice.
“Well, I can’t show it you myself,” the Mock Turtle said: “I’m too
stiff. And the Gryphon never learnt it.”
“Hadn’t time,” said the Gryphon: “I went to the Classics master,
though. He was an old crab, _he_ was.”
“I never went to him,” the Mock Turtle said with a sigh: “he taught
Laughing and Grief, they used to say.”
“So he did, so he did,” said the Gryphon, sighing in his turn; and both
creatures hid their faces in their paws.
“And how many hours a day did you do lessons?” said Alice, in a hurry
to change the subject.
“Ten hours the first day,” said the Mock Turtle: “nine the next, and so
on.”
“What a curious plan!” exclaimed Alice.
“That’s the reason they’re called lessons,” the Gryphon remarked:
“because they lessen from day to day.”
This was quite a new idea to Alice, and she thought it over a little
before she made her next remark. “Then the eleventh day must have been
a holiday?”
“Of course it was,” said the Mock Turtle.
“And how did you manage on the twelfth?” Alice went on eagerly.
“That’s enough about lessons,” the Gryphon interrupted in a very
decided tone: “tell her something about the games now.”
CHAPTER X.
The Lobster Quadrille
The Mock Turtle sighed deeply, and drew the back of one flapper across
his eyes. He looked at Alice, and tried to speak, but for a minute or
two sobs choked his voice. “Same as if he had a bone in his throat,”
said the Gryphon: and it set to work shaking him and punching him in
the back. At last the Mock Turtle recovered his voice, and, with tears
running down his cheeks, he went on again:—
“You may not have lived much under the sea—” (“I haven’t,” said
Alice)—“and perhaps you were never even introduced to a lobster—”
(Alice began to say “I once tasted—” but checked herself hastily, and
said “No, never”) “—so you can have no idea what a delightful thing a
Lobster Quadrille is!”
“No, indeed,” said Alice. “What sort of a dance is it?”
“Why,” said the Gryphon, “you first form into a line along the
sea-shore—”
“Two lines!” cried the Mock Turtle. “Seals, turtles, salmon, and so on;
then, when you’ve cleared all the jelly-fish out of the way—”
“_That_ generally takes some time,” interrupted the Gryphon.
“—you advance twice—”
“Each with a lobster as a partner!” cried the Gryphon.
“Of course,” the Mock Turtle said: “advance twice, set to partners—”
“—change lobsters, and retire in same order,” continued the Gryphon.
“Then, you know,” the Mock Turtle went on, “you throw the—”
“The lobsters!” shouted the Gryphon, with a bound into the air.
“—as far out to sea as you can—”
“Swim after them!” screamed the Gryphon.
“Turn a somersault in the sea!” cried the Mock Turtle, capering wildly
about.
“Change lobsters again!” yelled the Gryphon at the top of its voice.
“Back to land again, and that’s all the first figure,” said the Mock
Turtle, suddenly dropping his voice; and the two creatures, who had
been jumping about like mad things all this time, sat down again very
sadly and quietly, and looked at Alice.
“It must be a very pretty dance,” said Alice timidly.
“Would you like to see a little of it?” said the Mock Turtle.
“Very much indeed,” said Alice.
“Come, let’s try the first figure!” said the Mock Turtle to the
Gryphon. “We can do without lobsters, you know. Which shall sing?”
“Oh, _you_ sing,” said the Gryphon. “I’ve forgotten the words.”
So they began solemnly dancing round and round Alice, every now and
then treading on her toes when they passed too close, and waving their
forepaws to mark the time, while the Mock Turtle sang this, very slowly
and sadly:—
“Will you walk a little faster?” said a whiting to a snail.
“There’s a porpoise close behind us, and he’s treading on my tail.
See how eagerly the lobsters and the turtles all advance!
They are waiting on the shingle—will you come and join the dance?
Will you, won’t you, will you, won’t you, will you join the dance?
Will you, won’t you, will you, won’t you, won’t you join the dance?
“You can really have no notion how delightful it will be
When they take us up and throw us, with the lobsters, out to sea!”
But the snail replied “Too far, too far!” and gave a look askance—
Said he thanked the whiting kindly, but he would not join the dance.
Would not, could not, would not, could not, would not join the dance.
Would not, could not, would not, could not, could not join the dance.
“What matters it how far we go?” his scaly friend replied.
“There is another shore, you know, upon the other side.
The further off from England the nearer is to France—
Then turn not pale, beloved snail, but come and join the dance.
Will you, won’t you, will you, won’t you, will you join the dance?
Will you, won’t you, will you, won’t you, won’t you join the dance?”
“Thank you, it’s a very interesting dance to watch,” said Alice,
feeling very glad that it was over at last: “and I do so like that
curious song about the whiting!”
“Oh, as to the whiting,” said the Mock Turtle, “they—you’ve seen them,
of course?”
“Yes,” said Alice, “I’ve often seen them at dinn—” she checked herself
hastily.
“I don’t know where Dinn may be,” said the Mock Turtle, “but if you’ve
seen them so often, of course you know what they’re like.”
“I believe so,” Alice replied thoughtfully. “They have their tails in
their mouths—and they’re all over crumbs.”
“You’re wrong about the crumbs,” said the Mock Turtle: “crumbs would
all wash off in the sea. But they _have_ their tails in their mouths;
and the reason is—” here the Mock Turtle yawned and shut his
eyes.—“Tell her about the reason and all that,” he said to the Gryphon.
“The reason is,” said the Gryphon, “that they _would_ go with the
lobsters to the dance. So they got thrown out to sea. So they had to
fall a long way. So they got their tails fast in their mouths. So they
couldn’t get them out again. That’s all.”
“Thank you,” said Alice, “it’s very interesting. I never knew so much
about a whiting before.”
“I can tell you more than that, if you like,” said the Gryphon. “Do you
know why it’s called a whiting?”
“I never thought about it,” said Alice. “Why?”
“_It does the boots and shoes_,” the Gryphon replied very solemnly.
Alice was thoroughly puzzled. “Does the boots and shoes!” she repeated
in a wondering tone.
“Why, what are _your_ shoes done with?” said the Gryphon. “I mean, what
makes them so shiny?”
Alice looked down at them, and considered a little before she gave her
answer. “They’re done with blacking, I believe.”
“Boots and shoes under the sea,” the Gryphon went on in a deep voice,
“are done with a whiting. Now you know.”
“And what are they made of?” Alice asked in a tone of great curiosity.
“Soles and eels, of course,” the Gryphon replied rather impatiently:
“any shrimp could have told you that.”
“If I’d been the whiting,” said Alice, whose thoughts were still
running on the song, “I’d have said to the porpoise, ‘Keep back,
please: we don’t want _you_ with us!’”
“They were obliged to have him with them,” the Mock Turtle said: “no
wise fish would go anywhere without a porpoise.”
“Wouldn’t it really?” said Alice in a tone of great surprise.
“Of course not,” said the Mock Turtle: “why, if a fish came to _me_,
and told me he was going a journey, I should say ‘With what porpoise?’”
“Don’t you mean ‘purpose’?” said Alice.
“I mean what I say,” the Mock Turtle replied in an offended tone. And
the Gryphon added “Come, let’s hear some of _your_ adventures.”
“I could tell you my adventures—beginning from this morning,” said
Alice a little timidly: “but it’s no use going back to yesterday,
because I was a different person then.”
“Explain all that,” said the Mock Turtle.
“No, no! The adventures first,” said the Gryphon in an impatient tone:
“explanations take such a dreadful time.”
So Alice began telling them her adventures from the time when she first
saw the White Rabbit. She was a little nervous about it just at first,
the two creatures got so close to her, one on each side, and opened
their eyes and mouths so _very_ wide, but she gained courage as she
went on. Her listeners were perfectly quiet till she got to the part
about her repeating “_You are old, Father William_,” to the
Caterpillar, and the words all coming different, and then the Mock
Turtle drew a long breath, and said “That’s very curious.”
“It’s all about as curious as it can be,” said the Gryphon.
“It all came different!” the Mock Turtle repeated thoughtfully. “I
should like to hear her try and repeat something now. Tell her to
begin.” He looked at the Gryphon as if he thought it had some kind of
authority over Alice.
“Stand up and repeat ‘’_Tis the voice of the sluggard_,’” said the
Gryphon.
“How the creatures order one about, and make one repeat lessons!”
thought Alice; “I might as well be at school at once.” However, she got
up, and began to repeat it, but her head was so full of the Lobster
Quadrille, that she hardly knew what she was saying, and the words came
very queer indeed:—
“’Tis the voice of the Lobster; I heard him declare,
“You have baked me too brown, I must sugar my hair.”
As a duck with its eyelids, so he with his nose
Trims his belt and his buttons, and turns out his toes.”
[later editions continued as follows
When the sands are all dry, he is gay as a lark,
And will talk in contemptuous tones of the Shark,
But, when the tide rises and sharks are around,
His voice has a timid and tremulous sound.]
“That’s different from what _I_ used to say when I was a child,” said
the Gryphon.
“Well, I never heard it before,” said the Mock Turtle; “but it sounds
uncommon nonsense.”
Alice said nothing; she had sat down with her face in her hands,
wondering if anything would _ever_ happen in a natural way again.
“I should like to have it explained,” said the Mock Turtle.
“She can’t explain it,” said the Gryphon hastily. “Go on with the next
verse.”
“But about his toes?” the Mock Turtle persisted. “How _could_ he turn
them out with his nose, you know?”
“It’s the first position in dancing.” Alice said; but was dreadfully
puzzled by the whole thing, and longed to change the subject.
“Go on with the next verse,” the Gryphon repeated impatiently: “it
begins ‘_I passed by his garden_.’”
Alice did not dare to disobey, though she felt sure it would all come
wrong, and she went on in a trembling voice:—
“I passed by his garden, and marked, with one eye,
How the Owl and the Panther were sharing a pie—”
[later editions continued as follows
The Panther took pie-crust, and gravy, and meat,
While the Owl had the dish as its share of the treat.
When the pie was all finished, the Owl, as a boon,
Was kindly permitted to pocket the spoon:
While the Panther received knife and fork with a growl,
And concluded the banquet—]
“What _is_ the use of repeating all that stuff,” the Mock Turtle
interrupted, “if you don’t explain it as you go on? It’s by far the
most confusing thing _I_ ever heard!”
“Yes, I think you’d better leave off,” said the Gryphon: and Alice was
only too glad to do so.
“Shall we try another figure of the Lobster Quadrille?” the Gryphon
went on. “Or would you like the Mock Turtle to sing you a song?”
“Oh, a song, please, if the Mock Turtle would be so kind,” Alice
replied, so eagerly that the Gryphon said, in a rather offended tone,
“Hm! No accounting for tastes! Sing her ‘_Turtle Soup_,’ will you, old
fellow?”
The Mock Turtle sighed deeply, and began, in a voice sometimes choked
with sobs, to sing this:—
“Beautiful Soup, so rich and green,
Waiting in a hot tureen!
Who for such dainties would not stoop?
Soup of the evening, beautiful Soup!
Soup of the evening, beautiful Soup!
Beau—ootiful Soo—oop!
Beau—ootiful Soo—oop!
Soo—oop of the e—e—evening,
Beautiful, beautiful Soup!
“Beautiful Soup! Who cares for fish,
Game, or any other dish?
Who would not give all else for two p
ennyworth only of beautiful Soup?
Pennyworth only of beautiful Soup?
Beau—ootiful Soo—oop!
Beau—ootiful Soo—oop!
Soo—oop of the e—e—evening,
Beautiful, beauti—FUL SOUP!”
“Chorus again!” cried the Gryphon, and the Mock Turtle had just begun
to repeat it, when a cry of “The trial’s beginning!” was heard in the
distance.
“Come on!” cried the Gryphon, and, taking Alice by the hand, it hurried
off, without waiting for the end of the song.
“What trial is it?” Alice panted as she ran; but the Gryphon only
answered “Come on!” and ran the faster, while more and more faintly
came, carried on the breeze that followed them, the melancholy words:—
“Soo—oop of the e—e—evening,
Beautiful, beautiful Soup!”
CHAPTER XI.
Who Stole the Tarts?
The King and Queen of Hearts were seated on their throne when they
arrived, with a great crowd assembled about them—all sorts of little
birds and beasts, as well as the whole pack of cards: the Knave was
standing before them, in chains, with a soldier on each side to guard
him; and near the King was the White Rabbit, with a trumpet in one
hand, and a scroll of parchment in the other. In the very middle of the
court was a table, with a large dish of tarts upon it: they looked so
good, that it made Alice quite hungry to look at them—“I wish they’d
get the trial done,” she thought, “and hand round the refreshments!”
But there seemed to be no chance of this, so she began looking at
everything about her, to pass away the time.
Alice had never been in a court of justice before, but she had read
about them in books, and she was quite pleased to find that she knew
the name of nearly everything there. “That’s the judge,” she said to
herself, “because of his great wig.”
The judge, by the way, was the King; and as he wore his crown over the
wig, (look at the frontispiece if you want to see how he did it,) he
did not look at all comfortable, and it was certainly not becoming.
“And that’s the jury-box,” thought Alice, “and those twelve creatures,”
(she was obliged to say “creatures,” you see, because some of them were
animals, and some were birds,) “I suppose they are the jurors.” She
said this last word two or three times over to herself, being rather
proud of it: for she thought, and rightly too, that very few little
girls of her age knew the meaning of it at all. However, “jury-men”
would have done just as well.
The twelve jurors were all writing very busily on slates. “What are
they doing?” Alice whispered to the Gryphon. “They can’t have anything
to put down yet, before the trial’s begun.”
“They’re putting down their names,” the Gryphon whispered in reply,
“for fear they should forget them before the end of the trial.”
“Stupid things!” Alice began in a loud, indignant voice, but she
stopped hastily, for the White Rabbit cried out, “Silence in the
court!” and the King put on his spectacles and looked anxiously round,
to make out who was talking.
Alice could see, as well as if she were looking over their shoulders,
that all the jurors were writing down “stupid things!” on their slates,
and she could even make out that one of them didn’t know how to spell
“stupid,” and that he had to ask his neighbour to tell him. “A nice
muddle their slates’ll be in before the trial’s over!” thought Alice.
One of the jurors had a pencil that squeaked. This of course, Alice
could _not_ stand, and she went round the court and got behind him, and
very soon found an opportunity of taking it away. She did it so quickly
that the poor little juror (it was Bill, the Lizard) could not make out
at all what had become of it; so, after hunting all about for it, he
was obliged to write with one finger for the rest of the day; and this
was of very little use, as it left no mark on the slate.
“Herald, read the accusation!” said the King.
On this the White Rabbit blew three blasts on the trumpet, and then
unrolled the parchment scroll, and read as follows:—
“The Queen of Hearts, she made some tarts,
All on a summer day:
The Knave of Hearts, he stole those tarts,
And took them quite away!”
“Consider your verdict,” the King said to the jury.
“Not yet, not yet!” the Rabbit hastily interrupted. “There’s a great
deal to come before that!”
“Call the first witness,” said the King; and the White Rabbit blew
three blasts on the trumpet, and called out, “First witness!”
The first witness was the Hatter. He came in with a teacup in one hand
and a piece of bread-and-butter in the other. “I beg pardon, your
Majesty,” he began, “for bringing these in: but I hadn’t quite finished
my tea when I was sent for.”
“You ought to have finished,” said the King. “When did you begin?”
The Hatter looked at the March Hare, who had followed him into the
court, arm-in-arm with the Dormouse. “Fourteenth of March, I _think_ it
was,” he said.
“Fifteenth,” said the March Hare.
“Sixteenth,” added the Dormouse.
“Write that down,” the King said to the jury, and the jury eagerly
wrote down all three dates on their slates, and then added them up, and
reduced the answer to shillings and pence.
“Take off your hat,” the King said to the Hatter.
“It isn’t mine,” said the Hatter.
“_Stolen!_” the King exclaimed, turning to the jury, who instantly made
a memorandum of the fact.
“I keep them to sell,” the Hatter added as an explanation; “I’ve none
of my own. I’m a hatter.”
Here the Queen put on her spectacles, and began staring at the Hatter,
who turned pale and fidgeted.
“Give your evidence,” said the King; “and don’t be nervous, or I’ll
have you executed on the spot.”
This did not seem to encourage the witness at all: he kept shifting
from one foot to the other, looking uneasily at the Queen, and in his
confusion he bit a large piece out of his teacup instead of the
bread-and-butter.
Just at this moment Alice felt a very curious sensation, which puzzled
her a good deal until she made out what it was: she was beginning to
grow larger again, and she thought at first she would get up and leave
the court; but on second thoughts she decided to remain where she was
as long as there was room for her.
“I wish you wouldn’t squeeze so,” said the Dormouse, who was sitting
next to her. “I can hardly breathe.”
“I can’t help it,” said Alice very meekly: “I’m growing.”
“You’ve no right to grow _here_,” said the Dormouse.
“Don’t talk nonsense,” said Alice more boldly: “you know you’re growing
too.”
“Yes, but _I_ grow at a reasonable pace,” said the Dormouse: “not in
that ridiculous fashion.” And he got up very sulkily and crossed over
to the other side of the court.
All this time the Queen had never left off staring at the Hatter, and,
just as the Dormouse crossed the court, she said to one of the officers
of the court, “Bring me the list of the singers in the last concert!”
on which the wretched Hatter trembled so, that he shook both his shoes
off.
“Give your evidence,” the King repeated angrily, “or I’ll have you
executed, whether you’re nervous or not.”
“I’m a poor man, your Majesty,” the Hatter began, in a trembling voice,
“—and I hadn’t begun my tea—not above a week or so—and what with the
bread-and-butter getting so thin—and the twinkling of the tea—”
“The twinkling of the _what?_” said the King.
“It _began_ with the tea,” the Hatter replied.
“Of course twinkling begins with a T!” said the King sharply. “Do you
take me for a dunce? Go on!”
“I’m a poor man,” the Hatter went on, “and most things twinkled after
that—only the March Hare said—”
“I didn’t!” the March Hare interrupted in a great hurry.
“You did!” said the Hatter.
“I deny it!” said the March Hare.
“He denies it,” said the King: “leave out that part.”
“Well, at any rate, the Dormouse said—” the Hatter went on, looking
anxiously round to see if he would deny it too: but the Dormouse denied
nothing, being fast asleep.
“After that,” continued the Hatter, “I cut some more bread-and-butter—”
“But what did the Dormouse say?” one of the jury asked.
“That I can’t remember,” said the Hatter.
“You _must_ remember,” remarked the King, “or I’ll have you executed.”
The miserable Hatter dropped his teacup and bread-and-butter, and went
down on one knee. “I’m a poor man, your Majesty,” he began.
“You’re a _very_ poor _speaker_,” said the King.
Here one of the guinea-pigs cheered, and was immediately suppressed by
the officers of the court. (As that is rather a hard word, I will just
explain to you how it was done. They had a large canvas bag, which tied
up at the mouth with strings: into this they slipped the guinea-pig,
head first, and then sat upon it.)
“I’m glad I’ve seen that done,” thought Alice. “I’ve so often read in
the newspapers, at the end of trials, “There was some attempts at
applause, which was immediately suppressed by the officers of the
court,” and I never understood what it meant till now.”
“If that’s all you know about it, you may stand down,” continued the
King.
“I can’t go no lower,” said the Hatter: “I’m on the floor, as it is.”
“Then you may _sit_ down,” the King replied.
Here the other guinea-pig cheered, and was suppressed.
“Come, that finished the guinea-pigs!” thought Alice. “Now we shall get
on better.”
“I’d rather finish my tea,” said the Hatter, with an anxious look at
the Queen, who was reading the list of singers.
“You may go,” said the King, and the Hatter hurriedly left the court,
without even waiting to put his shoes on.
“—and just take his head off outside,” the Queen added to one of the
officers: but the Hatter was out of sight before the officer could get
to the door.
“Call the next witness!” said the King.
The next witness was the Duchess’s cook. She carried the pepper-box in
her hand, and Alice guessed who it was, even before she got into the
court, by the way the people near the door began sneezing all at once.
“Give your evidence,” said the King.
“Shan’t,” said the cook.
The King looked anxiously at the White Rabbit, who said in a low voice,
“Your Majesty must cross-examine _this_ witness.”
“Well, if I must, I must,” the King said, with a melancholy air, and,
after folding his arms and frowning at the cook till his eyes were
nearly out of sight, he said in a deep voice, “What are tarts made of?”
“Pepper, mostly,” said the cook.
“Treacle,” said a sleepy voice behind her.
“Collar that Dormouse,” the Queen shrieked out. “Behead that Dormouse!
Turn that Dormouse out of court! Suppress him! Pinch him! Off with his
whiskers!”
For some minutes the whole court was in confusion, getting the Dormouse
turned out, and, by the time they had settled down again, the cook had
disappeared.
“Never mind!” said the King, with an air of great relief. “Call the
next witness.” And he added in an undertone to the Queen, “Really, my
dear, _you_ must cross-examine the next witness. It quite makes my
forehead ache!”
Alice watched the White Rabbit as he fumbled over the list, feeling
very curious to see what the next witness would be like, “—for they
haven’t got much evidence _yet_,” she said to herself. Imagine her
surprise, when the White Rabbit read out, at the top of his shrill
little voice, the name “Alice!”
CHAPTER XII.
Alice’s Evidence
“Here!” cried Alice, quite forgetting in the flurry of the moment how
large she had grown in the last few minutes, and she jumped up in such
a hurry that she tipped over the jury-box with the edge of her skirt,
upsetting all the jurymen on to the heads of the crowd below, and there
they lay sprawling about, reminding her very much of a globe of
goldfish she had accidentally upset the week before.
“Oh, I _beg_ your pardon!” she exclaimed in a tone of great dismay, and
began picking them up again as quickly as she could, for the accident
of the goldfish kept running in her head, and she had a vague sort of
idea that they must be collected at once and put back into the
jury-box, or they would die.
“The trial cannot proceed,” said the King in a very grave voice, “until
all the jurymen are back in their proper places—_all_,” he repeated
with great emphasis, looking hard at Alice as he said so.
Alice looked at the jury-box, and saw that, in her haste, she had put
the Lizard in head downwards, and the poor little thing was waving its
tail about in a melancholy way, being quite unable to move. She soon
got it out again, and put it right; “not that it signifies much,” she
said to herself; “I should think it would be _quite_ as much use in the
trial one way up as the other.”
As soon as the jury had a little recovered from the shock of being
upset, and their slates and pencils had been found and handed back to
them, they set to work very diligently to write out a history of the
accident, all except the Lizard, who seemed too much overcome to do
anything but sit with its mouth open, gazing up into the roof of the
court.
“What do you know about this business?” the King said to Alice.
“Nothing,” said Alice.
“Nothing _whatever?_” persisted the King.
“Nothing whatever,” said Alice.
“That’s very important,” the King said, turning to the jury. They were
just beginning to write this down on their slates, when the White
Rabbit interrupted: “_Un_important, your Majesty means, of course,” he
said in a very respectful tone, but frowning and making faces at him as
he spoke.
“_Un_important, of course, I meant,” the King hastily said, and went on
to himself in an undertone,
“important—unimportant—unimportant—important—” as if he were trying
which word sounded best.
Some of the jury wrote it down “important,” and some “unimportant.”
Alice could see this, as she was near enough to look over their slates;
“but it doesn’t matter a bit,” she thought to herself.
At this moment the King, who had been for some time busily writing in
his note-book, cackled out “Silence!” and read out from his book, “Rule
Forty-two. _All persons more than a mile high to leave the court_.”
Everybody looked at Alice.
“_I’m_ not a mile high,” said Alice.
“You are,” said the King.
“Nearly two miles high,” added the Queen.
“Well, I shan’t go, at any rate,” said Alice: “besides, that’s not a
regular rule: you invented it just now.”
“It’s the oldest rule in the book,” said the King.
“Then it ought to be Number One,” said Alice.
The King turned pale, and shut his note-book hastily. “Consider your
verdict,” he said to the jury, in a low, trembling voice.
“There’s more evidence to come yet, please your Majesty,” said the
White Rabbit, jumping up in a great hurry; “this paper has just been
picked up.”
“What’s in it?” said the Queen.
“I haven’t opened it yet,” said the White Rabbit, “but it seems to be a
letter, written by the prisoner to—to somebody.”
“It must have been that,” said the King, “unless it was written to
nobody, which isn’t usual, you know.”
“Who is it directed to?” said one of the jurymen.
“It isn’t directed at all,” said the White Rabbit; “in fact, there’s
nothing written on the _outside_.” He unfolded the paper as he spoke,
and added “It isn’t a letter, after all: it’s a set of verses.”
“Are they in the prisoner’s handwriting?” asked another of the jurymen.
“No, they’re not,” said the White Rabbit, “and that’s the queerest
thing about it.” (The jury all looked puzzled.)
“He must have imitated somebody else’s hand,” said the King. (The jury
all brightened up again.)
“Please your Majesty,” said the Knave, “I didn’t write it, and they
can’t prove I did: there’s no name signed at the end.”
“If you didn’t sign it,” said the King, “that only makes the matter
worse. You _must_ have meant some mischief, or else you’d have signed
your name like an honest man.”
There was a general clapping of hands at this: it was the first really
clever thing the King had said that day.
“That _proves_ his guilt,” said the Queen.
“It proves nothing of the sort!” said Alice. “Why, you don’t even know
what they’re about!”
“Read them,” said the King.
The White Rabbit put on his spectacles. “Where shall I begin, please
your Majesty?” he asked.
“Begin at the beginning,” the King said gravely, “and go on till you
come to the end: then stop.”
These were the verses the White Rabbit read:—
“They told me you had been to her,
And mentioned me to him:
She gave me a good character,
But said I could not swim.
He sent them word I had not gone
(We know it to be true):
If she should push the matter on,
What would become of you?
I gave her one, they gave him two,
You gave us three or more;
They all returned from him to you,
Though they were mine before.
If I or she should chance to be
Involved in this affair,
He trusts to you to set them free,
Exactly as we were.
My notion was that you had been
(Before she had this fit)
An obstacle that came between
Him, and ourselves, and it.
Don’t let him know she liked them best,
For this must ever be
A secret, kept from all the rest,
Between yourself and me.”
“That’s the most important piece of evidence we’ve heard yet,” said the
King, rubbing his hands; “so now let the jury—”
“If any one of them can explain it,” said Alice, (she had grown so
large in the last few minutes that she wasn’t a bit afraid of
interrupting him,) “I’ll give him sixpence. _I_ don’t believe there’s
an atom of meaning in it.”
The jury all wrote down on their slates, “_She_ doesn’t believe there’s
an atom of meaning in it,” but none of them attempted to explain the
paper.
“If there’s no meaning in it,” said the King, “that saves a world of
trouble, you know, as we needn’t try to find any. And yet I don’t
know,” he went on, spreading out the verses on his knee, and looking at
them with one eye; “I seem to see some meaning in them, after all.
“—_said I could not swim_—” you can’t swim, can you?” he added, turning
to the Knave.
The Knave shook his head sadly. “Do I look like it?” he said. (Which he
certainly did _not_, being made entirely of cardboard.)
“All right, so far,” said the King, and he went on muttering over the
verses to himself: “‘_We know it to be true_—’ that’s the jury, of
course—‘_I gave her one, they gave him two_—’ why, that must be what he
did with the tarts, you know—”
“But, it goes on ‘_they all returned from him to you_,’” said Alice.
“Why, there they are!” said the King triumphantly, pointing to the
tarts on the table. “Nothing can be clearer than _that_. Then
again—‘_before she had this fit_—’ you never had fits, my dear, I
think?” he said to the Queen.
“Never!” said the Queen furiously, throwing an inkstand at the Lizard
as she spoke. (The unfortunate little Bill had left off writing on his
slate with one finger, as he found it made no mark; but he now hastily
began again, using the ink, that was trickling down his face, as long
as it lasted.)
“Then the words don’t _fit_ you,” said the King, looking round the
court with a smile. There was a dead silence.
“It’s a pun!” the King added in an offended tone, and everybody
laughed, “Let the jury consider their verdict,” the King said, for
about the twentieth time that day.
“No, no!” said the Queen. “Sentence first—verdict afterwards.”
“Stuff and nonsense!” said Alice loudly. “The idea of having the
sentence first!”
“Hold your tongue!” said the Queen, turning purple.
“I won’t!” said Alice.
“Off with her head!” the Queen shouted at the top of her voice. Nobody
moved.
“Who cares for you?” said Alice, (she had grown to her full size by
this time.) “You’re nothing but a pack of cards!”
At this the whole pack rose up into the air, and came flying down upon
her: she gave a little scream, half of fright and half of anger, and
tried to beat them off, and found herself lying on the bank, with her
head in the lap of her sister, who was gently brushing away some dead
leaves that had fluttered down from the trees upon her face.
“Wake up, Alice dear!” said her sister; “Why, what a long sleep you’ve
had!”
“Oh, I’ve had such a curious dream!” said Alice, and she told her
sister, as well as she could remember them, all these strange
Adventures of hers that you have just been reading about; and when she
had finished, her sister kissed her, and said, “It _was_ a curious
dream, dear, certainly: but now run in to your tea; it’s getting late.”
So Alice got up and ran off, thinking while she ran, as well she might,
what a wonderful dream it had been.
But her sister sat still just as she left her, leaning her head on her
hand, watching the setting sun, and thinking of little Alice and all
her wonderful Adventures, till she too began dreaming after a fashion,
and this was her dream:—
First, she dreamed of little Alice herself, and once again the tiny
hands were clasped upon her knee, and the bright eager eyes were
looking up into hers—she could hear the very tones of her voice, and
see that queer little toss of her head to keep back the wandering hair
that _would_ always get into her eyes—and still as she listened, or
seemed to listen, the whole place around her became alive with the
strange creatures of her little sister’s dream.
The long grass rustled at her feet as the White Rabbit hurried by—the
frightened Mouse splashed his way through the neighbouring pool—she
could hear the rattle of the teacups as the March Hare and his friends
shared their never-ending meal, and the shrill voice of the Queen
ordering off her unfortunate guests to execution—once more the pig-baby
was sneezing on the Duchess’s knee, while plates and dishes crashed
around it—once more the shriek of the Gryphon, the squeaking of the
Lizard’s slate-pencil, and the choking of the suppressed guinea-pigs,
filled the air, mixed up with the distant sobs of the miserable Mock
Turtle.
So she sat on, with closed eyes, and half believed herself in
Wonderland, though she knew she had but to open them again, and all
would change to dull reality—the grass would be only rustling in the
wind, and the pool rippling to the waving of the reeds—the rattling
teacups would change to tinkling sheep-bells, and the Queen’s shrill
cries to the voice of the shepherd boy—and the sneeze of the baby, the
shriek of the Gryphon, and all the other queer noises, would change
(she knew) to the confused clamour of the busy farm-yard—while the
lowing of the cattle in the distance would take the place of the Mock
Turtle’s heavy sobs.
Lastly, she pictured to herself how this same little sister of hers
would, in the after-time, be herself a grown woman; and how she would
keep, through all her riper years, the simple and loving heart of her
childhood: and how she would | 0.177717 | 0.215427 | 1,463 | 260 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
cbe0764e746ec284efbd7bc12a20fa78903764f5 | Karma Chameleon | [
"Culture Club"
] | 1,984 | There's a loving in your eyes all the way
If I listen to your lies would you say
I'm a man without conviction
I'm a man who doesn't know
How to sell a contradiction
You come and go
You come and go
Karma karma karma karma
Karma chameleon
You come and go
You come and go
Loving would be easy
If your colors were like my dreams
Red, gold and green
Red, gold and green
Didn't hear your wicked words everyday
And you used to be so sweet I heard you say
That my love was an addiction
When we cling, our love is strong
When you go, you're gone forever
You string along
You string along
Karma karma karma karma
Karma chameleon
You come and go
You come and go
Loving would be easy
If your colors were like my dreams
Red, gold and green
Red, gold and green
Everyday is like survival
You're my lover, not my rival
Everyday is like survival
You're my lover, not my rival
I'm a man without conviction
I'm a man who doesn't know
How to sell a contradiction
You come and go
You come and go
Karma karma karma karma
Karma chameleon
You come and go
You come and go
Loving would be easy
If your colors were like my dreams
Red, gold and green
Red, gold and green
Karma karma karma karma
Karma chameleon
You come and go
You come and go
Loving would be easy
If your colors were like my dreams
Red, gold and green
Red, gold and green
Karma karma karma karma
Karma chameleon
You come and go
You come and go
Loving would be easy
If your colors were like my dreams
Red, gold and green
Red, gold and green | 0.166667 | 0.003794 | 12 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
acc6275de452c661985572d863dd0b5a2036c3e8 | The Groove Line | [
"Heatwave"
] | 1,978 | Pack your grip
Takin you on a trip
Ain't no seats
All we got's dancin' feet
Leave your worries behind
(Leave your worries behind)
'Cause rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa) (whowa whowa)
Get this train
Know you'll be glad you came
Hit the track
Party hard there and back
Leave your worries behind
(Leave your worries behind)
'Cause rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa) (whowa whowa)
Check out the wheels a turnin' (who-e-uu)
You know we won't stop
We got this boiler burnin' (who-e-uu)
We're keepin' it hot
So grab your friends
Get the train comin' through
Climb on board
Where you leave's up to you
Leave your worries behind
(Leave your worries behind)
'Cause rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa) (whowa whowa)
Leave your worries behind
(Leave your worries behind)
'Cause rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa) (whowa whowa)
Check out the wheels a turnin' (who-e-uu)
You know we won't stop
We got this boiler burnin' (who-e-uu)
We're keepin' it hot
So grab your friends
Get the train comin' through
Climb on board
Where you leave's up to you
Leave your worries behind
(Leave your worries behind)
'Cause rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa) (whowa whowa)
We can ride
Rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa)
We can ride
Rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa)
We can ride
Rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa)
We can ride
Rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa)
We can ride
Rain, shine don't mind
We're ridin' on the groove line tonight (whowa whowa) | 0.166667 | 0.024525 | 18 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
1c4622e8ee2a4a0a62cd2b66aa1880ad5ffdd47e | Keep It Comin' Love | [
"KC and the Sunshine Band"
] | 1,977 | Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now, don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now, don't stop it
Don't let your well run dry, don't stop it now
Don't give me no reasons why, don't stop it now
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Don't build me up, just to let me drop, don't stop it now
Don't turn me on, just to turn me off, don't stop it now
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Don't tell me there ain't no more, don't stop it now
Don't turn me down, just close your door, don't stop it now (Ooh)
Keep it comin' love (Ohh yeah)
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now
Don't stop it no, don't stop it now
Don't stop it
Keep it comin' love
Keep it comin' love
Don't stop it now | 0.16 | 0.042063 | 25 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
82a37c45d7a6276be33f577dbdaad8da8b8f5379 | Goody Two-Shoes | [
"Adam Ant"
] | 1,983 | With your heartbreak open
So much you can't hide
Put on a little makeup, makeup
Make sure they get your good side, good side
If the words unspoken
Get stuck in your throat
Send a treasure token, token
Write it on a pound note, pound note
Goody two, goody two, goody, goody two shoes
Goody two, goody two, goody, goody two shoes
You don't drink, don't smoke, what do you do?
You don't drink, don't smoke, what do you do?
Your subtle innuendos follow
There must be somethin' inside
We don't follow fashion
That'd be a joke
You know we're gonna set them, set them
So everyone can take note, take note
When they saw you kneelin'
Cryin' words that you mean
Openin' their eyeballs, eyeballs
Pretendin' that you're Al Green, Al Green
Goody two, goody two, goody, goody two shoes
Goody two, goody two, goody, goody two shoes
You don't drink, don't smoke, what do you do?
You don't drink, don't smoke, what do you do?
Subtle innuendos follow
Must be somethin' inside
No one's gonna tell me
What's wrong and what's right
Or tell me who to eat with, sleep with
Or that I've won the big fight, big fight
Look out or they'll tell you
You're a superstar
Two weeks and you're an all-time legend
I think the games have gone much too far
If the words unspoken
Get stuck in your throat
Send a treasure token, token
Write it on a pound note, pound note
You don't drink, don't smoke, what do you do?
You don't drink, don't smoke, what do you do?
Your subtle innuendos follow
Must be somethin' inside
Because I don't drink, don't smoke, what do you do?
You don't drink, don't smoke, what do you do?
Your subtle innuendos follow
Must be somethin' inside
Because I don't drink, don't smoke, what do you do?
You don't drink, don't smoke, what do you do?
Your subtle innuendos follow
Must be somethin' inside
Because I don't drink, don't smoke, what do you do?
You don't drink, don't smoke, what do you do?
Your subtle innuendos follow
Must be somethin' inside
Because I don't drink, don't smoke, what do you do?
You don't drink, don't smoke, what do you do?
Your subtle innuendos follow
Must be somethin' inside | 0.157895 | 0.052179 | 19 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
ef3313a630ca257bc50ff3976381f9d0d4973a20 | Bitch | [
"Meredith Brooks"
] | 1,997 | I hate the world today
You're so good to me
I know but I can't change
Tried to tell you
But you look at me like maybe
I'm an angel underneath
Innocent and sweet
Yesterday I cried
You must have been relieved
To see the softer side
I can understand how you'd be so confused
I don't envy you
I'm a little bit of everything
All rolled into one
I'm a bitch
I'm a lover
I'm a child
I'm a mother
I'm a sinner
I'm a saint
I do not feel ashamed
I'm your hell
I'm your dream
I'm nothing in-between
You know you wouldn't want it any other way
So take me as I am
This may mean you'll have to be a stronger man
Rest assured that when I start to make you nervous
And I'm going to extremes
Tomorrow I will change
And today won't mean a thing
I'm a bitch
I'm a lover
I'm a child
I'm a mother
I'm a sinner
I'm a saint
I do not feel ashamed
I'm your hell
I'm your dream
I'm nothing in between
You know you wouldn't want it any other way
Just when you think
You've got me figured out
The season's already changin'
I think it's cool you do what you do
And don't try to save me
I'm a bitch
I'm a lover
I'm a child
I'm a mother
I'm a sinner
I'm a saint
I do not feel ashamed
I'm your hell
I'm your dream
I'm nothing in between
You know you wouldn't want it any other way
I'm a bitch
I'm a tease
I'm a goddess on my knees
When you hurt
When you suffer
I'm your angel undercover
I've been numb
I'm revived
Can't say I'm not alive
You know I wouldn't want it any other way
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh
Uuhh, uuhh, uuhh | 0.157895 | 0.497498 | 19 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
4396ed4d6bf13f3191a0abcc26407b705071d8b4 | Islands in the Stream | [
"Dolly Parton; Kenny Rogers"
] | 1,984 | Baby when I met you there was peace unknown
I set out to get you with a fine toothcomb
I was soft inside there was something going on
You do something to me that I can't explain
Hold me closer and I feel no pain in every beat of my heart
We got something going on
Tender love is blind it requires a dedication
All this love we feel needs no conversation
We ride it together, uh huh
Makin' love with each other, uh huh
Islands in the stream that is what we are
No one in between how can we be wrong?
Sail away with me to another world
And we rely on each other, uh huh
From one lover to another, uh huh
I can't live without you if the love is gone
Everything is nothing if you got no one
And you did walk in the night
Slowly, losin' sight of the real thing
But that won't happen to us and we got no doubt
Too deep in love and we got no way out
And the message is clear this could be the year for the real thing
No more will you cry, baby I will hurt you never
We start and end as one in love forever
We can ride it together, uh huh
Makin' love with each other, uh huh
Islands in the stream that is what we are
No one in between how can we be wrong?
Sail away with me to another world
And we rely on each other, uh huh
From one lover to another, uh huh
Islands in the stream that is what we are
No one in between how can we be wrong?
Sail away with me to another world
And we rely on each other, uh huh
From one lover to another, uh huh
Islands in the stream that is what we are
No one in between how can we be wrong?
Sail away with me to another world
And we rely on each other, uh huh
From one lover to another, uh huh
Islands in the stream that is what we are | 0.153846 | 0.006659 | 13 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
fb4fe4ad8807ab8b296014b0510293e624f7f45c | Sister Golden Hair | [
"America"
] | 1,975 | Well, I tried to make it Sunday, but I got so damn depressed
That I set my sights on Monday and I got myself undressed
I ain't ready for the altar but I do agree there's times
When a woman sure can be a friend of mine
Well, I keep on thinkin' 'bout you, Sister Golden Hair surprise
And I just can't live without you
Can't you see it in my eyes?
I been one poor correspondent, and I been too, too hard to find
But it doesn't mean you ain't been on my mind
Will you meet me in the middle, will you meet me in the air?
Will you love me just a little, just enough to show you care?
Well, I tried to fake it, I don't mind saying, I just can't make it
Well, I keep on thinking 'bout you, Sister Golden Hair surprise
And I just can't live without you, can't you see it in my eyes?
Now I been one poor correspondent, and I been too, too hard to find
But it doesn't mean you ain't been on my mind
Will you meet me in the middle, will you meet me in the air?
Will you love me just a little, just enough to show you care?
Well, I tried to fake it, I don't mind saying, I just can't make it
Doo wop doo wop, doo wop doo wop
Doo wop doo wop, doo wop doo wop
Doo wop doo wop, doo wop doo wop
Doo wop doo wop, doo wop doo wop
Doo wop doo wop, doo wop doo wop
Doo wop doo wop, doo wop doo wop
Doo wop doo wop, doo wop doo wop
Doo wop doo wop, doo wop doo wop | 0.153846 | 0.044467 | 13 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
de811c9c449cc92be3a4247657613d833a3ad031 | Come and Get Your Love | [
"Redbone"
] | 1,974 | Hey (hey), what's the matter with your head?
Yeah
Hey (hey), what's the matter with your mind, and your sign, and oh-oh-oh?
Hey (hey), nothing's a matter with your head, baby, find it
Come on and find it
Hell with it, baby, 'cause you're fine, and you're mine
And you look so divine
Come and get your love
Come and get your love
Come and get your love
Come and get your love
Hey (hey), what's the matter with you, feel right?
Don't you feel right, baby?
Hey (hey), alright, get it from the main line, alright
I said find it, find it, darling, love it if you like it, yeah
Hey (hey), it's your business if you want some, take some, get it together, baby
Come and get your love
Come and get your love
Come and get your love
Come and get your love
Come and get your love, come and get your love
Come and get your love now
Come and get your love, come and get your love
Come and get your love now
Come and get your love, come and get your love
Come and get your love now
Come and get your love, come and get your love
Come and get your love now
Come and get your love
Come and get your love
Come and get your love
Come and get your love
Hey (hey), what's the matter with you, feel right?
Don't you feel right, baby?
Hey (hey), alright, get it from the main vine, alright
La-la-la-la-la-la-la-la-la (come and get your love)
La-la-la-la-la-la-la-la-la (come and get your love)
(Come and get your love)
(Come and get your love)
La-la-la-la-la-la (come and get your love) | 0.153846 | 0.004422 | 13 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
cfe9fc3d33e3d3b8550b6a01c26662bb0f3393e2 | Right Back Where We Started From | [
"Maxine Nightingale"
] | 1,976 | Ooh and it's alright and it's coming 'long
We got to get right back to where we started from
Love is good, love can be strong
We got to get right back to where we started from
Oh-ohhhh
Do you remember that day?
(That sunny day)
When you first came my way
I said no one could take your place
And if you get hurt
(If you get hurt)
By the little things I say
I can put that smile back on your face
Ooh and it's alright and it's coming 'long
We got to get right back to where we started from
Love is good, love can be strong
We got to get right back to where we started from
A love like ours
(A love like ours)
Can never fade away
You know it's only just begun
You give me your love
(Give me your love)
I just can't stay away
I know that you're the only one
Ooh and it's alright and it's coming 'long
We got to get right back to where we started from
Love is good, love can be strong
We got to get right back to where we started from
You give me your love
(Give me your love)
I just can't stay away
I know that you're the only one
Ooh and it's alright and it's coming 'long
We got to get right back to where we started from
Love is good, love can be strong
We got to get right back to where we started from
It's alright and it's coming 'long
We got to get right back to where we started from
Love is good, love can be strong
We got to get right back to where we started from
It's alright and it's coming 'long
We got to get right back to where we started from
Love is good, love can be strong
We got to get right back to where we started from | 0.153846 | 0.051071 | 13 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
197af1396c0864822e1b642f120d769d0c1abe97 | Hip to Be Square | [
"Huey Lewis and the News"
] | 1,987 | I used to be a renegade, I used to fool around
But I couldn't take the punishment and had to settle down
Now I'm playing it real straight, and yes, I cut my hair
You might think I'm crazy, but I don't even care
Because I can tell what's going on
It's hip to be square
It's hip to be square
I like my bands in business suits, I watch them on TV
I'm working out most every day and watching what I eat
They tell me that it's good for me, but I don't even care
I know that it's crazy
I know that it's nowhere
But there is no denying that
It's hip to be square
It's hip to be square
It's hip to be square
So hip to be square
It's not too hard to figure out, you see it every day
And those that were the farthest out have gone the other way
You see them on the freeway, it don't look like a lot of fun
But don't you try to fight it, an idea whose time has come
Don't tell me that I'm crazy
Don't tell me I'm nowhere
Take it from me
It's hip to be square
It's hip to be square
It's hip to be square
So hip to be square
Tell 'em, boys
Here, there, and everywhere
Hip, hip, so hip to be a square
Here, there, and everywhere
Hip, hip
Here, there, and everywhere
Hip, hip, so hip to be a square
Here, there, and everywhere
Hip, hip
Here, there, and everywhere
Hip, hip, so hip to be a square
Here, there, and everywhere
Hip, hip
Here, there, and everywhere
Hip, hip, so hip to be a square
Here, there, and everywhere
Hip, hip | 0.153846 | 0.123948 | 13 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
297b4d18cfbe4b64274eeb79ab7a2993a4de2940 | Miss You Much | [
"Janet Jackson"
] | 1,989 | Shot like an arrow through my heart
That's the pain I feel, I feel whenever we're apart
Not to say that I'm in love with you
But who's to say that I'm not
I just know that it feels wrong when I'm away too long
And it makes my body hot
So let me tell ya baby
I'll tell your mama, I'll tell your friends
I'll tell anyone whose heart can comprehend
Send it in a letter, baby tell you on the phone
I'm not the kinda girl who likes to be alone
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
I'm rushing home, just as soon as I can
I'm rushing home to see your smiling face
And feel your warm embrace
It makes me feel so g-g-good
So I'll tell you baby
I'll tell your mama, I'll tell your friends
I'll tell anyone whose heart can comprehend (baby)
Send it in a letter baby, tell you on the phone
I'm not the kinda girl who likes to be alone
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
Miss you much, I miss you much
I really, really miss you
Miss you much, I miss you much
I brought you here to tell the world I miss you
I'll tell your mama, I'll tell your friends
I'll tell anyone whose heart can comprehend, baby
Send it in a letter baby, tell you on the phone
I'm not the kinda girl who likes to be alone
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
I miss ya much (boy, oh, I, miss you much)
I really miss you much (M-I-S-S you much)
That's the end? | 0.15 | 0.082582 | 20 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
8842cdd6ea6d2e45c1efb17406f1bc14c099ec6a | Anniversary | [
"Tony! Toni! Toné!"
] | 1,993 | Tomorrow will come and, girl, I can't wait
It's our anniversary, anniversary
The first thing I'll do is run straight to you
It's our anniversary, anniversary
It's our anniversary
It's our anniversary, anniversary
It's our anniversary
It's our anniversary, made for you and me
And I've only made plans to hold your little hand
It's our anniversary, anniversary
The pleasure's all mine 'cause we have seen good times
It's our anniversary, anniversary
Victoria won't be no secret at the end of the day
It's our anniversary, anniversary
A small cup of tea to you and me
It's our anniversary
All I really want to say, my darling, today is a special day we call our
Own so take me in your arms and hold me and tell me you love me
And I'll be there for you
Do you know what today is?
Do you know what today is?
It's our anniversary (It's our, it's our special day)
Do you know what today is?
It's our anniversary, made for you and me
Today is a special day, not just any day
'Cause you can have everything
You want your way
Tell your supervisor your leaving early today
And I'm going to pay for the rest of your day
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary
Today I have lots of fun stuff for you, girl
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary, and I love you in a special way
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary, made for you and me
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary, made for you and me
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary, made for you and me
Anniversary, made for you and me
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary, made for you and me
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary, made for you and me
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary, made for you and me
Do you know what today is?
It's our anniversary, anniversary
Do you know what today is?
It's our anniversary, made for you and me
Do you know what today is? | 0.15 | 0.076671 | 20 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
ecb25d1711f23145b407224313d0cabbed100643 | Mirrors | [
"Justin Timberlake"
] | 2,013 | Aren't you somethin' to admire?
'Cause your shine is somethin' like a mirror
And I can't help but notice
You reflect in this heart of mine
If you ever feel alone and
The glare makes me hard to find
Just know that I'm always
Parallel on the other side
'Cause with your hand in my hand and a pocket full of soul
I can tell you there's no place we couldn't go
Just put your hand on the glass
I'll be there to pull you through
You just gotta be strong
'Cause I don't wanna lose you now
I'm lookin' right at the other half of me
The vacancy that sat in my heart
Is a space that now you hold
Show me how to fight for now
And I'll tell you, baby, it was easy
Comin' back here to you once I figured it out
You were right here all along
It's like you're my mirror (oh-oh)
My mirror staring back at me (oh-oh, oh-oh, oh-oh)
I couldn't get any bigger (oh-oh)
With anyone else beside me (oh-oh, oh-oh, oh-oh)
And now it's clear as this promise
That we're makin'
Two reflections into one
'Cause it's like you're my mirror (oh-oh)
My mirror staring back at me, staring back at me
Aren't you somethin', an original?
'Cause it doesn't seem merely assembled
And I can't help but stare
'Cause I see truth somewhere in your eyes
Ooh, I can't ever change without you
You reflect me, I love that about you
And if I could
I would look at us all the time
'Cause with your hand in my hand and a pocket full of soul
I can tell you there's no place we couldn't go
Just put your hand on the past
I'm here tryna pull you through
You just gotta be strong
'Cause I don't wanna lose you now
I'm lookin' right at the other half of me
The vacancy that sat in my heart
Is a space that now you hold
Show me how to fight for now
And I'll tell you, baby, it was easy
Comin' back here to you once I figured it out
You were right here all along, oh
It's like you're my mirror (oh-oh)
My mirror staring back at me (oh-oh, oh-oh, oh-oh)
I couldn't get any bigger (oh-oh)
With anyone else beside me (oh-oh, oh-oh, oh-oh)
And now it's clear as this promise
That we're making
Two reflections into one
'Cause it's like you're my mirror (oh-oh)
My mirror staring back at me, staring back at me
Yesterday is history, oh
Tomorrow's a mystery, oh-ooh
I can see you're lookin' back at me
Keep your eyes on me
Baby, keep your eyes on me
'Cause I don't wanna lose you now
I'm lookin' right at the other half of me
The vacancy that sat in my heart
Is a space that now you hold (no)
Show me how to fight for now (you show me, baby)
I'll tell you, baby, it was easy
Comin' back here to you once I figured it out
You were right here all along
It's like you're my mirror (oh-oh)
My mirror staring back at me (oh-oh, oh-oh, oh-oh)
I couldn't get any bigger (oh-oh)
With anyone else beside me (oh-oh, oh-oh, oh-oh)
And now it's clear as this promise
That we're making
Two reflections into one
'Cause it's like you're my mirror (oh-oh)
My mirror staring back at me, staring back at me
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
Now, you're the inspiration of this precious song
And I just wanna see your face light up since you put me on
So now, I say goodbye to the old me, it's already gone
And I can't wait, wait, wait, wait, wait to get you home
Just to let you know, you are
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
Girl, you're my reflection, all I see is you
My reflection, in everything I do
You're my reflection and all I see is you
My reflection, in everything I do
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life
You are, you are the love of my life | 0.145833 | 0.070777 | 48 | 7 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
cf3db7d50d10a22c1ff61152df3977469070682c | Just the Two of Us | [
"Grover Washington, Jr.; Bill Withers"
] | 1,981 | I see the crystal raindrops fall
And the beauty of it all
Is when the sun comes shining through
To make those rainbows in my mind
When I think of you sometime
And I wanna spend some time with you
Just the two of us
We can make it if we try
Just the two of us
(Just the two of us)
Just the two of us
Building castles in the sky
Just the two of us
You and I
We look for love, no time for tears
Wasted water's all that is
And it don't make no flowers grow
Good things might come to those who wait
Not for those who wait too late
We gotta go for all we know
Just the two of us
We can make it if we try
Just the two of us
(Just the two of us)
Just the two of us
Building them castles in the sky
Just the two of us
You and I
Just the two of us
We can make it, just the two of us
Just the two of us
We can make it, just the two of us
Just the two of us
We can make it, just the two of us
Just the two of us
We can make it, just the two of us
Just the two of us
We can make it, just the two of us
Just the two of us
We can make it, just the two of us
Just the two of us
We can make it, just the two of us
Just the two of us
We can make it, just the two of us
I hear the crystal raindrops fall
On the window down the hall
And it becomes the morning dew
And darling when the morning comes
And I see the morning sun
I wanna be the one with you
Just the two of us
We can make it if we try
Just the two of us
(Just the two of us)
Just the two of us
Building big castles way up high
Just the two of us
You and I
(Just the two of us)
Just the two of us
(We can make it, just the two of us)
Let's get it together, baby, yeah
(Just the two of us)
Just the two of us
(We can make it, just the two of us)
(Just the two of us)
(We can make it, just the two of us)
(Just the two of us)
(We can make it, just the two of us)
(Just the two of us)
(We can make it, just the two of us)
(Just the two of us)
(We can make it, just the two of us)
(Just the two of us)
(We can make it, just the two of us)
(Just the two of us)
(We can make it, just the two of us)
(Just the two of us)
(We can make it, just the two of us) | 0.142857 | 0.025445 | 21 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
92190b845cbe2b1e287117449094074015c9f90e | One Call Away | [
"Chingy; J-Weav"
] | 2,004 | Yeah yeah, DTP, how we do, call you, you can call me
Whatever you want to do baby, come on
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one love away
It was weird how we met, huh
She was with her mom at Bank of America
With my son cashing a check so I asked out of respect, uh
Would she like to explore the world of I we can fly in my jet
Her reply was yes (Can I ask you something?)
I seen it in her eye, Mama looking like all I wanted was sex
Then moved to the next (That ain't true)
But it was something about his girls
Style that make me feel no regrets
We started off casual walks threw the park
Candle light dinners by dark, I'm thinking smart
Afraid she might think I'm in a rush to touch, clutch and be up
But baby I ain't on that stuff Dropped her off and told her call me up
(Ring noise)
We could talk, conversate about the lyric subject whatevers starts
So I zoomed off (car noise)
Looking bottom off my phone rang
It was her in the shower (what did she say?)
She said I couldn't do without you Then I say
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one love away
Yo yo
The next day I'm with the fellas at the case playin ball
Here she come with her friends they posted up on the wall
Now I'm showin off, tryin to dunk, tryin to dribble
Break fast threw the middle just to see her smile and giggle
Game over I approached her with a kiss on the cheek
The homeboys looking at me saying Lil Howard you weak
But you know how that go, what I got they want
What I got I flaunt, never mess with it please don't
Told her I'm goin home she asked can she go too
I'm like yeah boo, I can't see me without you
Got thurr I took a shower, jumped out she in the bed
With a see-through thong on looked at her and I said
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one love away
Girl recognize game before game recognize you
You dealin with a playa, true, now what you wanna do
We can kick it and go puff on a blunt
Oh you don't smoke? Grab a pint of henn and we can get drunk
Its up to you, I'm the man but baby just let me know
Cause if you got a attitude then I could treat you just like a ho
If ya rollin with me baby hop in its enough room
We can gaze at the stars and shine like the moon
Give me a chance to show ya and a chance to know ya
Just be true and theres nothing I won't do for ya
Some women like to play it foul
But them the kind I put in a place like a child
Don't worry be happy and smile
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
Give me a call if you wanna come roll with me
I'm only one call away
DTP, ha, how we do, ha, give me call
If you wanna ball, you know what it is | 0.135135 | 0.22806 | 37 | 5 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 3 |
960236f0bd2b1d4ae71a4c40001d609e22fe3016 | I Wanna Be Down | [
"Brandy"
] | 1,994 | I would like to get to know if I could be
The kind of girl you that you could be down for
Cuz when I look at you I feel something tell me
That your the kind of guy that I should make a move on
And if I don't let you know
Then I won't be for real
I could be wrong but I feel like something could be going on
The more I see you the more that it becomes so true
There ain't no other for me it's only you
I wanna be down
With what you're going through
I wanna be down
I wanna be down with you
No matter what time of day or night it's true
I wanna be down
I know anybody's gonna be lonely
Without the reason they got someone to care for
Maybe all you need's a shoulder to cry on
If that's a fact than I'll be more than you ever could dream of
If all you need is the time that I got plenty of
I'll dedicate all my love until you call baby
I wanna stay by your side
Be there to call you up
And let you know everything will be all right
I wanna be down
With what you're going through
I wanna be down
I wanna be down with you
No matter what time of day or night it's true
I wanna be down
I wanna be down
With what you're going through
I wanna be down
I wanna be down with you
No matter what time of day or night it's true
I wanna be down
Yeah oh
Yeah, oh
I wanna be down
With what you're going through
I wanna be down
I wanna be down with you
No matter what time of day or night it's true
I wanna be down
I wanna be down
With what you're going through
I wanna be down
I wanna be down with you
No matter what time of day or night it's true
I wanna be down
I wanna be down
With what you're going through
I wanna be down
I wanna be down with you
No matter what time of day or night it's true
I wanna be down | 0.133333 | 0.039218 | 15 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
18740f6b13315fada48efcffc4fcd46d7a5efb65 | I Feel It Coming | [
"The Weeknd; Daft Punk"
] | 2,017 | Tell me what you really like
Baby I can take my time
We don't ever have to fight
Just take it step-by-step
I can see it in your eyes
Cause they never tell me lies
I can feel that body shake
And the heat between your legs
You've been scared of love and what it did to you
You don't have to run, I know what you've been through
Just a simple touch and it can set you free
We don't have to rush when you're alone with me
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
You are not the single type
So baby, this the perfect time
I'm just trying to get you high
And faded off this touch
You don't need a lonely night
So baby, I can make it right
You just got to let me try
To give you what you want
You've been scared of love and what it did to you
You don't have to run, I know what you've been through
Just a simple touch and it can set you free
We don't have to rush when you're alone with me
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
You've been scared of love
And what it did to you
You don't have to run
I know what you've been through
Just a simple touch
And it can set you free
We don't have to rush
When you're alone with me
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I know what you feel right now
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I know what you say right now, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I know what you say right now, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, I feel it coming, babe
I feel it coming, babe
I feel it coming, babe
I feel it coming, babe
I feel it coming, babe | 0.130435 | 0.009127 | 23 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
2ce1877eae37359cf35385fe16b896ccecfe7412 | Poker Face | [
"Lady Gaga"
] | 2,009 | (Mum-mum-mum-mah)
(Mum-mum-mum-mah)
(Mum-mum-mum-mah)
(Mum-mum-mum-mah)
(Mum-mum-mum-mah)
I wanna hold 'em like they do in Texas, please
Fold 'em, let 'em hit me, raise it, baby, stay with me (I love it)
Love game intuition, play the cards with spades to start
And after he's been hooked, I'll play the one that's on his heart
Oh, whoa, oh, oh
Oh, oh-oh
I'll get him hot, show him what I got
Oh, whoa, oh, oh
Oh, oh-oh
I'll get him hot, show him what I got
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
P-p-p-poker face, f-f-fuck her face (mum-mum-mum-mah)
P-p-p-poker face, f-f-fuck her face (mum-mum-mum-mah)
I wanna roll with him, a hard pair we will be
A little gamblin' is fun when you're with me (I love it)
Russian roulette is not the same without a gun
And baby, when it's love, if it's not rough, it isn't fun (fun)
Oh, whoa, oh, oh
Oh, oh-oh
I'll get him hot, show him what I got
Oh, whoa, oh, oh
Oh, oh-oh
I'll get him hot, show him what I got
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
P-p-p-poker face, f-f-fuck her face (mum-mum-mum-mah)
P-p-p-poker face, f-f-fuck her face (mum-mum-mum-mah)
(Mum-mum-mum-mah, Mum-mum-mum-mah)
I won't tell you that I love you, kiss or hug you
'Cause I'm bluffin' with my muffin
I'm not lyin', I'm just stunnin' with my love-glue-gunnin'
Just like a chick in the casino
Take your bank before I pay you out
I promise this, promise this
Check this hand 'cause I'm marvelous
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
Can't read my, can't read my
No, he can't read my poker face
(She's got me like nobody)
P-p-p-poker face, p-p-poker face
P-p-p-poker face, f-f-fuck her face (she's got me like nobody)
P-p-p-poker face, f-f-fuck her face (mum-mum-mum-mah)
P-p-p-poker face, f-f-fuck her face (mum-mum-mum-mah)
P-p-p-poker face, f-f-fuck her face (mum-mum-mum-mah)
P-p-p-poker face, f-f-fuck her face (mum-mum-mum-mah)
| 0.129032 | 0.129195 | 31 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
67554787dc0b71b8ad010dbed859ef4847c9cbd8 | Rico Suave | [
"Gerardo"
] | 1,991 | Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
Seguro que han oído que yo soy educado
Soy un caballerito, un chico bien portado
Un joven responsable y siempre bien vestido
¡Yo no sé quién ha mentido!
I don't drink or smoke, ain't into dope
Won't try no coke
You ask me how I do it? I cope!
My only addiction
Has to do with the female species
I eat 'em raw like sushi
No me gustan ternos, mi estilo es moderno
Si me enterno, yo me enfermo
Mi apariencia es dura, vivo en la locura
¡No me vengan con ternuras!
So, please, don't judge a book by its cover
There's more to being a Latin lover
You gotta know how to deal
With a woman that won't let go
The price you pay for being a gigolo
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
Ah, there's not a woman
That can handle a man like me
That's why I juggle two or three
I ain't one to commit
You can omit that bit
You pop the question, that's it!
A ver, un, dos, tres, cuatro mujeres
Y la situación ahí no muere
No es un delito, calmo mi apetito
Con un llanto o un grito
So again, don't let my lyrics mislead ya
I don't love you but I need ya
Would you rather have me lie?
Take a piece of your pie and say bye
Or be honest and rub your thighs
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
Well, it's ten o'clock and I'm two hours late
I never said I was a prompt date
But you kept persisting that I meet your parents
Huh, they're gonna love my appearance!
"Ding, dong", el timbre suena
Tu madre abre, ¡qué vieja más buena!
Le digo: "¡Hola!", pero no me para bola
¡Qué se ha creído vieja chola!
Go and serve the food, mom
Que tengo hambre
If you don't hurry, me va a dar un calambre
Y usted, señor, Why's your chin on the floor?
¡Cierre la boca por favor!
What's this, amor? These little huevos?
Esto sí que yo no pruebo
I'm used to good ol' fashioned
Homestyle Spanish cooking
If I try that I'll be puking
Well, it's been a pleasure but we got to go
Regresaremos temprano
Cinco, seis, o siete de la mañana
Su hija está en buenas manos
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave...
(Areariñañá)
¡Rico!
(Areariñañá)
Suave... | 0.129032 | 0.144533 | 31 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
418d2bbebf63d9384d55d1a0333886ea8b0e8339 | Epic | [
"Faith No More"
] | 1,990 | Can you feel it, see it, hear it today?
If you can't, then it doesn't matter anyway
You will never understand it 'cause it happens too fast
And it feels so good, it's like walking on glass
It's so cool, it's so hip, it's alright
It's so groovy, it's outta sight
You can touch it, smell it, taste it so sweet
But it makes no difference 'cause it knocks you off your feet
You want it all but you can't have it
It's cryin', bleedin', lying on the floor
So you lay down on it and you do it some more
You've got to share it, so you dare it
Then you bare it and you tear it
You want it all but you can't have it
It's in your face but you can't grab it
It's alive, afraid, a lie, a sin
It's magic, it's tragic, it's a loss, it's a win
It's dark, it's moist, it's a bitter pain
It's sad it happened and it's a shame
You want it all but you can't have it
It's in your face but you can't grab it
What is it?
It's it
What is it?
It's it
What is it?
It's it
What is it?
It's it
What is it?
It's it
What is it?
It's it
What is it?
It's it
What is it?
You want it all but you can't have it
It's in your face but you can't grab it
It's it
What is it?
It's it
What is it?
It's it
What is it?
It's it (yeah, yeah, yeah)
It's it
What is it?
It's it
What is it?
It's it
What is it?
It's it (yeah, yeah, yeah)
It's it
What is it?
It's it
What is it?
It's it
What is it?
It's it (yeah, yeah, yeah)
It's it
What is it?
It's it
What is it?
It's it
What is it?
It's it (yeah, yeah, yeah)
What is it?
It's it
| 0.125 | 0.019056 | 16 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
ba7e7eaff45fee528c3d3e032b82eedb25fc35b5 | Can't You See | [
"Total"
] | 1,995 | You just don't know what you do to me (Bad Boy)
Give me all the chicken heads from Pasadena to Medina
Bet Big get in between ya then peek the prognosis, doses
Blends and bends like Twizzlers, Biggie's fitting to hurt
What's under that skirt?
Slow down, nigga, you're killin' 'em
Who fillin' 'em with octane?
Got 'em gassed up
'Bout to get blast up son, the last one, word to your mother
Brother listen, I've seen it when they kissed 'em at the wake
Made his body shake, the high guy in 850 i's smoke tint
Rap terror, full chromed Anteras, true fly by the rivers
But this is conspicuous, Bad Boys slipped in ninety-five ridiculous
My rap rhymes is like land mines, one step, kaboom
Black suits fill the room to whom it may concern, Junior Mafia's the click
Act up, I'll have my honeys, Total bust your sh- (that's right)
In the middle of the day now, baby, I seem to think of only you
Never thinking for a moment, baby, that you'd be thinking of me too
Yeah, so I can't wait for the day that we can be together
I can't let you walk away (that's right)
Oh, can't you see, you and me
Were meant to be, oh baby, and there's nothing left to say?
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
Every time I see you, I get this feeling, oh yeah
Telling me you are the one, oh what a feeling (let's go)
I can't wait for the day, that we can be together
I can't let you walk away, oh can't you see, you and me
Were meant to be?
Oh baby, there's nothing left for me to say
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
You take me away, so far away
Oh, what you do to me, oh, oh
I wanna be alone together
Somewhere just you and me, oh, oh
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
Oh baby, can't you see what you do to me?
Our love was meant to be, you were meant for me
(Oh baby, can't you see what you do to me?) | 0.125 | 0.010391 | 24 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
ede62c7953aac1e30b3164a01078390afa4a8dce | G.H.E.T.T.O.U.T. | [
"Changing Faces"
] | 1,997 | Nah-nah-nah-nah-nah (O)
Nah-nah-nah-nah-nah (U)
Nah-nah-nah-nah-nah (T)
Nah-nah-nah-nah-nah
How could you be so cruel?
Telling me these good things
Boy, you played me for a fool
Now it's time to hit the streets
See, I'm fed up with yo' lies
And all the things you've done to me
All the phony alibis
Is why your ass is history
Get O-U-T
Farewell
History
'Cause I can do bad all by myself
Now how could you hustle me? (Hmm)
When I'm the one who really loves you (oh-yeah)
Done just about everything
But still your word was never true (never)
And the worst of it all
You had the nerve to flirt with girlfriend (hm-mm)
Secret college booty calls
Is more then enough to have you missing
Get O-U-T
Farewell
History
'Cause I can do bad all by myself
I gave you all (all of) of my loving (my loving, babe)
And you played me, boy (played me for a fool)
Get O-U-T (O-U-T)
Is what you gotta do
I can't take it no more
So, get O-U-T (see I got myself together, babe)
Farewell (and I'll never love another, babe)
History (give me one more chance to prove it, babe)
'Cause I can do better all by myself
Get O-U-T (see I got myself together, babe)
Farewell (and I'll never love another, babe)
History (give me one more chance to prove it, babe)
'Cause I can do better all by myself
Nah-nah-nah-nah-nah-nah-nah, nah-nah-nah-nah-nah-nah-nah
Nah-nah-nah-nah-nah-nah-nah, nah-nah-nah-nah-nah-nah-nah
Nah-nah-nah-nah-nah-nah-nah, nah-nah-nah-nah-nah-nah-nah
Nah-nah-nah-nah-nah-nah-nah, nah-nah-nah-nah-nah-nah-nah
Woo! | 0.125 | 0.057391 | 16 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
93a7178c90f4e37ea91f84ae5ef51f226c403dad | All Time Low | [
"Jon Bellion"
] | 2,017 | I was the knight in shining armor in your movie
Would put your lips on mine and love the aftertaste
Now I'm a ghost, I call your name, you look right trough me
You're the reason I'm alone and masturbate
I (I, I)
I've been trying to fix my pride
But that shit's broken, that shit's broken
Lie (lie, lie)
Lie, lie, lie, I try to hide, but now you know it
That I'm at an all time
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low (oh, woah, oh-oh)
I was the prototype like three stacks on that CD
An example of the perfect candidate
Now all your girlfriends say that you don't want to see me
You're the reason that I just can't concentrate
I (I, I)
I've been trying to fix my pride
But that shit's broken, that shit's broken
Lie (lie, lie)
Lie, lie, lie, I try to hide, but now you know it
That I'm at an all time
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low (oh, woah)
Low, low, lo-lo-low, low, low, low, low (oh, woah, oh-oh)
Low, low, lo-lo-low, low, low, low, low (oh, woah)
Low, low, lo-lo-low, low, low, low, low (oh, woah, oh-oh)
I (I, I)
I've been trying to fix my pride
But that shit's broken, that shit's broken
Lie (lie, lie)
Lie, lie, lie, I try to hide, but now you know it
I'm at an all time
Low, low, lo-lo-low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, low, low
Low, low, lo-lo-low, low, low, low, low
(Low, low, lo-lo-low, low, low-)
Lie, lie, lie, I try to hide, but now you know it
(Low, low, lo-lo-low, low, low, low, low)
I'm at an all time, hey
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low
Low, low, lo-lo-low, low, low, low, low (oh, woah)
Low, low, lo-lo-low, low, low, low, low (oh, woah, oh-oh)
Low, low, lo-lo-low, low, low, low, low (oh, woah)
Low, low, lo-lo-low, low, low, low, low (oh, woah, oh-oh)
Low, low, lo-lo-low, low, low, low, low (oh, woah)
Low, low, lo-lo-low, low, low, low, low (oh, woah, oh-oh)
Low, low, lo-lo-low, low, low, low, low (oh, woah)
Low, low, lo-lo-low, low, low, low, low (oh, woah, oh-oh) | 0.121212 | 0.203269 | 33 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
b767368d3908b8ee863b0d7070d088147bdcab8e | Emotional Rescue | [
"The Rolling Stones"
] | 1,980 | Is there nothing I can say, nothing I can do
To change your mind? I'm so in love with you
You're too deep in, you can't get out
You're just a poor girl in a rich man's house
Ooh, ooh, ooh, ooh, ooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh, ooh, ooh
Yeah, baby, I'm crying over you!
Don't you know promises were never meant to keep?
Just like the night, they dissolve off in sleep
I'll be your saviour, steadfast and true
I'll come to your emotional rescue
I'll come to your emotional rescue
Ooh, ooh, ooh, ooh, ooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh, ooh, ooh pfff
Yeah, the other night, cryin'
Cryin' baby. yeah I'm cryin'
Yeah I'm like a child baby, I'm like a child baby, like a child,
Yeah like a child, like a child, like a child, like a child
Ooh!
You think you're one of a special breed
You think that you're his pet Pekinese
I'll be your saviour, steadfast and true
I'll come to your emotional rescue
I'll come to your emotional rescue
Ooh ah, ah, ah, ooh, ah, ah
Ooh ah, ah, ah, ooh, ah, ah
Yeah, I was dreamin' last night baby
Last night... I was dreamin' that you'd be mine
But I was cryin' yeah... like a child
Yeah I was cryin'... cryin' like a child
Could be mine, mine, mine, mine, mine all mine!
You could be mine, could be mine, could be mine all mine!
I come to you, so silent in the night
So stealthy, so animal quiet
I'll be your saviour, steadfast and true
I'll come to your emotional rescue
I'll come to your emotional rescue
Ooh ah, ah, ah, ah, ah, ah, ah
Yeah, you should be mine, mine, ooh!
Mmm
Yes, you could be mine
Tonight and every night
I will be your knight in shining armor coming to your emotional rescue
(Ooh ah, ah, ah, ooh, ah, ah)
You will be mine, you will be mine, all mine!
(Ooh ah, ah, ah, ooh, ah, ah)
You will be mine, you will be mine, all mine!
I will be your knight in shining armour
Riding across the desert
On a fine Arab charger
Pfff
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah)
(Ooh ah, ah, ah, ooh, ah, ah) | 0.115385 | 0.225795 | 26 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
f4cd392593ebe790d2d482566aff8e750ab6bda8 | Get Lucky | [
"Pharrell Williams; Daft Punk"
] | 2,013 | Like the legend of the phoenix, huh
All ends with beginnings
What keeps the planet spinning, ah
The force from the beginning, hm, look
We've come too far
To give up who we are
So let's raise the bar
And our cups to the stars
She's up all night 'til the sun
I'm up all night to get some
She's up all night for good fun
I'm up all night to get lucky
We're up all night 'til the sun
We're up all night to get some
We're up all night for good fun
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
The present has no ribbon
Your gift keeps on giving
What is this I'm feeling?
If you wanna leave I'm with it, ah
We've come too far
To give up who we are
So let's raise the bar
And our cups to the stars
She's up all night 'til the sun
I'm up all night to get some
She's up all night for good fun
I'm up all night to get lucky
We're up all night 'til the sun
We're up all night to get some
We're up all night for good fun
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
She's up all night 'til the sun
I'm up all night to get some
She's up all night for good fun
I'm up all night to get lucky
We're up all night 'til the sun
We're up all night to get some
We're up all night for good fun
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
She's up all night 'til the sun
I'm up all night to get some
She's up all night for good fun
I'm up all night to get lucky
We're up all night 'til the sun
We're up all night to get some
We're up all night for good fun
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get-
We're up all night to get-
We're up all night to get-
We're up all night to get
We're up all night to get-
We're up all night to get-
We're up all night to get-
We're up all night to get-
We're up all night to get- (together)
We're up all night to get (let's get funked again)
We're up all night to get funky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We've come too far
To give up who we are
So let's raise the bar
And our cups to the stars
She's up all night 'til the sun
I'm up all night to get some
She's up all night for good fun
I'm up all night to get lucky
We're up all night 'til the sun
We're up all night to get some
We're up all night for good fun
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky
We're up all night to get lucky | 0.111111 | 0.359361 | 36 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
f12a87589e90de10e86c941a68c06fce84b0e9af | Pumped Up Kicks | [
"Foster the People"
] | 2,011 | Robert's got a quick hand
He'll look around the room, he won't tell you his plan
He's got a rolled cigarette
Hanging out his mouth, he's a cowboy kid
Yeah, he found a six-shooter gun
In his dad's closet with a box of fun things
And I don't even know what
But he's coming for you, yeah, he's coming for you, wait
All the other kids with the pumped up kicks
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks
You'd better run, better run faster than my bullet
All the other kids with the pumped up kicks
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks
You'd better run, better run faster than my bullet
Daddy works a long day
He'll be coming home late, yeah, he's coming home late
And he's bringing me a surprise
'Cause dinner's in the kitchen, and it's packed in ice
I've waited for a long time
Ye, the sleight of my hand is now a quick-pull trigger
I reason with my cigarette
And say, "Your hair's on fire, you must have lost your wits, yeah"
All the other kids with the pumped up kicks
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks
You'd better run, better run faster than my bullet
All the other kids with the pumped up kicks
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks
You'd better run, better run faster than my bullet
Run, run, run, run, run, run
Run, run, run, run
Run, run, run, run, run, run
Run, run, run, run
All the other kids with the pumped up kicks
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks
You'd better run, better run faster than my bullet
All the other kids with the pumped up kicks
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks
You'd better run, better run faster than my bullet
All the other kids with the pumped up kicks
You'd better run, better run, outrun my gun
All the other kids with the pumped up kicks
You'd better run, better run faster than my bullet | 0.111111 | 0.009807 | 18 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
4fe3d737119923f668154415660c1cbd3b5ccb45 | Rock and Roll All Nite (Live) | [
"Kiss"
] | 1,976 | You show us everything you've got
You keep on dancin' and the room gets hot
You drive us wild, we'll drive you crazy
You say you wanna go for a spin
The party's just begun, we'll let you in
You drive us wild, we'll drive you crazy
You keep on shoutin', you keep on shoutin'
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
You keep on saying you'll be mine for a while
You're lookin' fancy and I like your style
You drive us wild, we'll drive you crazy
You show us everything you've got
Baby, baby, that's quite a lot
And you drive us wild, we'll drive you crazy
You keep on shoutin', you keep on shoutin'
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll all night and party every day
I wanna rock and roll | 0.111111 | 0.008399 | 9 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
a3881eccdf72688ce3a573b6d087e56ea4c4a91f | Free Ride | [
"The Edgar Winter Group"
] | 1,973 | The mountain is high
The valley is low
And you're confused on which way to go
So I've come here to give you a hand
And lead you into the promised land
So (ooh, ooh, ooh) come on and take a free ride
(Free ride)
(Ooh, ooh, ooh) Come on and sit here by my side
(Ooh, ooh, ooh) Come on and take a free ride
All over the country
I'm seeing it the same
Nobody's winning at this kind of game
We gotta do better it's time to begin
You know all the answers must come from within
So (ooh, ooh, ooh) come on and take a free ride
(Free ride)
(Ooh, ooh, ooh) Come on and sit here by my side
(Ooh, ooh, ooh) Come on and take a free ride
Yeah, yeah, yeah, yeah
Ooh, ooh, ooh
Ooh, ooh, ooh
Ooh, ooh, free ride
Come on and take a free ride
Yeah, yeah, yeah, yeah
Come on and take a free ride
Yeah, yeah, yeah, yeah
Come on and take a free ride
Yeah, yeah, yeah, yeah
Come on and take a free ride
Yeah, yeah, yeah, yeah
Come on and take a free ride
Yeah, yeah, yeah, yeah
Come on and take a free ride
Yeah, yeah, yeah, yeah | 0.111111 | 0.001754 | 9 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
2ea40be758881d117d21bafda73df85c33e6a6c0 | Who'd She Coo? | [
"Ohio Players"
] | 1,976 | Are you ready
Do what you wanna do
Do what you wanna do
We don't care what you do
Just as long as you
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo?
Who'd she coo?
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo?
Who'd she coo?
Who'd she coo?
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo?
Who'd she coo?
Who'd she coo?
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo?
Who'd she coo?
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo?
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo?
Who'd she coo?
Who'd she coo?
Everybody, everybody do it
Everybody do it, do the, who'd she coo?
Who'd she coo? | 0.111111 | 0.001596 | 9 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
ed13564cdd81fe0ee1bba2be7830f5ba324b03c2 | No, No, No | [
"Destiny's Child"
] | 1,998 | You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
Boy, I know you want me
I can see it in your eyes
But you keep on frontin'
Won't you say what's on your mind
'Cause each and every time you near me
You give me signs
But when I ask you, "What's the deal?"
You hold it all inside
If you wanna be with me
You gotta keep it real
Tell me what's goin' on
Tell me how you feel
'Cause boy I know you want me
Just as much as I want you
So come and get my love
It's all here for you
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
If you keep actin' this way
You're gonna lose my love
I ain't got no time to play
You better hurry up
'Cause every time I come around
And cruise around your way
I see you on the corner
But you don't know what to say
When I walk up to you baby
You seem so shy
What's the problem baby
Never had a girl like I
I can see right through you
And you know you wanna be mine
So get your act together
'Cause you're running out of time
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You'll be sayin'
No, no, no, no, no
When it's really
Yes, yes, yes, yes, yes
You say, yes
You won't regret, I must confess
I'm really feelin' you
Anything you've ever wanted before
Is right here for you, for you
Don't worry what they say
Just bring you're love away
'Cause your friends can't do
What I can for you
I don't wanna hear you say
Baby tell me
Tell me, yes
Don't tell me, no
You'll be sayin'
No
When it's really
Yes
You'll be sayin'
No
When it's really
Yes
You'll be sayin'
No
When it's really
Yes
You'll be sayin'
No
When it's really
Yes
You'll be sayin'
No | 0.111111 | 0.005409 | 27 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
c28fd9969e20a1add4e3a4d7a3674c990df75e16 | Macbeth | [
"William Shakespeare"
] | 1,606 | Act, in England; through the rest of
the Play, in Scotland; and chiefly at Macbeth’s Castle.
ACT I
SCENE I. An open Place.
Thunder and Lightning. Enter three Witches.
FIRST WITCH.
When shall we three meet again?
In thunder, lightning, or in rain?
SECOND WITCH.
When the hurlyburly’s done,
When the battle’s lost and won.
THIRD WITCH.
That will be ere the set of sun.
FIRST WITCH.
Where the place?
SECOND WITCH.
Upon the heath.
THIRD WITCH.
There to meet with Macbeth.
FIRST WITCH.
I come, Graymalkin!
SECOND WITCH.
Paddock calls.
THIRD WITCH.
Anon.
ALL.
Fair is foul, and foul is fair:
Hover through the fog and filthy air.
[_Exeunt._]
SCENE II. A Camp near Forres.
Alarum within. Enter King Duncan, Malcolm, Donalbain, Lennox, with
Attendants, meeting a bleeding Captain.
DUNCAN.
What bloody man is that? He can report,
As seemeth by his plight, of the revolt
The newest state.
MALCOLM.
This is the sergeant
Who, like a good and hardy soldier, fought
’Gainst my captivity.—Hail, brave friend!
Say to the King the knowledge of the broil
As thou didst leave it.
SOLDIER.
Doubtful it stood;
As two spent swimmers that do cling together
And choke their art. The merciless Macdonwald
(Worthy to be a rebel, for to that
The multiplying villainies of nature
Do swarm upon him) from the Western Isles
Of kerns and gallowglasses is supplied;
And Fortune, on his damned quarrel smiling,
Show’d like a rebel’s whore. But all’s too weak;
For brave Macbeth (well he deserves that name),
Disdaining Fortune, with his brandish’d steel,
Which smok’d with bloody execution,
Like Valour’s minion, carv’d out his passage,
Till he fac’d the slave;
Which ne’er shook hands, nor bade farewell to him,
Till he unseam’d him from the nave to the chops,
And fix’d his head upon our battlements.
DUNCAN.
O valiant cousin! worthy gentleman!
SOLDIER.
As whence the sun ’gins his reflection
Shipwracking storms and direful thunders break,
So from that spring, whence comfort seem’d to come
Discomfort swells. Mark, King of Scotland, mark:
No sooner justice had, with valour arm’d,
Compell’d these skipping kerns to trust their heels,
But the Norweyan lord, surveying vantage,
With furbish’d arms and new supplies of men,
Began a fresh assault.
DUNCAN.
Dismay’d not this
Our captains, Macbeth and Banquo?
SOLDIER.
Yes;
As sparrows eagles, or the hare the lion.
If I say sooth, I must report they were
As cannons overcharg’d with double cracks;
So they
Doubly redoubled strokes upon the foe:
Except they meant to bathe in reeking wounds,
Or memorize another Golgotha,
I cannot tell—
But I am faint, my gashes cry for help.
DUNCAN.
So well thy words become thee as thy wounds:
They smack of honour both.—Go, get him surgeons.
[_Exit Captain, attended._]
Enter Ross and Angus.
Who comes here?
MALCOLM.
The worthy Thane of Ross.
LENNOX.
What a haste looks through his eyes! So should he look
That seems to speak things strange.
ROSS.
God save the King!
DUNCAN.
Whence cam’st thou, worthy thane?
ROSS.
From Fife, great King,
Where the Norweyan banners flout the sky
And fan our people cold.
Norway himself, with terrible numbers,
Assisted by that most disloyal traitor,
The Thane of Cawdor, began a dismal conflict;
Till that Bellona’s bridegroom, lapp’d in proof,
Confronted him with self-comparisons,
Point against point, rebellious arm ’gainst arm,
Curbing his lavish spirit: and, to conclude,
The victory fell on us.
DUNCAN.
Great happiness!
ROSS.
That now
Sweno, the Norways’ king, craves composition;
Nor would we deign him burial of his men
Till he disbursed at Saint Colme’s Inch
Ten thousand dollars to our general use.
DUNCAN.
No more that Thane of Cawdor shall deceive
Our bosom interest. Go pronounce his present death,
And with his former title greet Macbeth.
ROSS.
I’ll see it done.
DUNCAN.
What he hath lost, noble Macbeth hath won.
[_Exeunt._]
SCENE III. A heath.
Thunder. Enter the three Witches.
FIRST WITCH.
Where hast thou been, sister?
SECOND WITCH.
Killing swine.
THIRD WITCH.
Sister, where thou?
FIRST WITCH.
A sailor’s wife had chestnuts in her lap,
And mounch’d, and mounch’d, and mounch’d. “Give me,” quoth I.
“Aroint thee, witch!” the rump-fed ronyon cries.
Her husband’s to Aleppo gone, master o’ th’ _Tiger:_
But in a sieve I’ll thither sail,
And, like a rat without a tail,
I’ll do, I’ll do, and I’ll do.
SECOND WITCH.
I’ll give thee a wind.
FIRST WITCH.
Th’art kind.
THIRD WITCH.
And I another.
FIRST WITCH.
I myself have all the other,
And the very ports they blow,
All the quarters that they know
I’ the shipman’s card.
I will drain him dry as hay:
Sleep shall neither night nor day
Hang upon his pent-house lid;
He shall live a man forbid.
Weary sev’n-nights nine times nine,
Shall he dwindle, peak, and pine:
Though his bark cannot be lost,
Yet it shall be tempest-tost.
Look what I have.
SECOND WITCH.
Show me, show me.
FIRST WITCH.
Here I have a pilot’s thumb,
Wrack’d as homeward he did come.
[_Drum within._]
THIRD WITCH.
A drum, a drum!
Macbeth doth come.
ALL.
The Weird Sisters, hand in hand,
Posters of the sea and land,
Thus do go about, about:
Thrice to thine, and thrice to mine,
And thrice again, to make up nine.
Peace!—the charm’s wound up.
Enter Macbeth and Banquo.
MACBETH.
So foul and fair a day I have not seen.
BANQUO.
How far is’t call’d to Forres?—What are these,
So wither’d, and so wild in their attire,
That look not like the inhabitants o’ th’ earth,
And yet are on’t?—Live you? or are you aught
That man may question? You seem to understand me,
By each at once her choppy finger laying
Upon her skinny lips. You should be women,
And yet your beards forbid me to interpret
That you are so.
MACBETH.
Speak, if you can;—what are you?
FIRST WITCH.
All hail, Macbeth! hail to thee, Thane of Glamis!
SECOND WITCH.
All hail, Macbeth! hail to thee, Thane of Cawdor!
THIRD WITCH.
All hail, Macbeth! that shalt be king hereafter!
BANQUO.
Good sir, why do you start and seem to fear
Things that do sound so fair?—I’ th’ name of truth,
Are ye fantastical, or that indeed
Which outwardly ye show? My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope,
That he seems rapt withal. To me you speak not.
If you can look into the seeds of time,
And say which grain will grow, and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate.
FIRST WITCH.
Hail!
SECOND WITCH.
Hail!
THIRD WITCH.
Hail!
FIRST WITCH.
Lesser than Macbeth, and greater.
SECOND WITCH.
Not so happy, yet much happier.
THIRD WITCH.
Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
FIRST WITCH.
Banquo and Macbeth, all hail!
MACBETH.
Stay, you imperfect speakers, tell me more.
By Sinel’s death I know I am Thane of Glamis;
But how of Cawdor? The Thane of Cawdor lives,
A prosperous gentleman; and to be king
Stands not within the prospect of belief,
No more than to be Cawdor. Say from whence
You owe this strange intelligence? or why
Upon this blasted heath you stop our way
With such prophetic greeting?—Speak, I charge you.
[_Witches vanish._]
BANQUO.
The earth hath bubbles, as the water has,
And these are of them. Whither are they vanish’d?
MACBETH.
Into the air; and what seem’d corporal,
Melted as breath into the wind.
Would they had stay’d!
BANQUO.
Were such things here as we do speak about?
Or have we eaten on the insane root
That takes the reason prisoner?
MACBETH.
Your children shall be kings.
BANQUO.
You shall be king.
MACBETH.
And Thane of Cawdor too; went it not so?
BANQUO.
To the selfsame tune and words. Who’s here?
Enter Ross and Angus.
ROSS.
The King hath happily receiv’d, Macbeth,
The news of thy success, and when he reads
Thy personal venture in the rebels’ fight,
His wonders and his praises do contend
Which should be thine or his: silenc’d with that,
In viewing o’er the rest o’ th’ selfsame day,
He finds thee in the stout Norweyan ranks,
Nothing afeard of what thyself didst make,
Strange images of death. As thick as tale
Came post with post; and everyone did bear
Thy praises in his kingdom’s great defence,
And pour’d them down before him.
ANGUS.
We are sent
To give thee from our royal master thanks;
Only to herald thee into his sight,
Not pay thee.
ROSS.
And, for an earnest of a greater honour,
He bade me, from him, call thee Thane of Cawdor:
In which addition, hail, most worthy thane,
For it is thine.
BANQUO.
What, can the devil speak true?
MACBETH.
The Thane of Cawdor lives: why do you dress me
In borrow’d robes?
ANGUS.
Who was the Thane lives yet,
But under heavy judgement bears that life
Which he deserves to lose. Whether he was combin’d
With those of Norway, or did line the rebel
With hidden help and vantage, or that with both
He labour’d in his country’s wrack, I know not;
But treasons capital, confess’d and prov’d,
Have overthrown him.
MACBETH.
[_Aside._] Glamis, and Thane of Cawdor:
The greatest is behind. [_To Ross and Angus._] Thanks for your pains.
[_To Banquo._] Do you not hope your children shall be kings,
When those that gave the Thane of Cawdor to me
Promis’d no less to them?
BANQUO.
That, trusted home,
Might yet enkindle you unto the crown,
Besides the Thane of Cawdor. But ’tis strange:
And oftentimes to win us to our harm,
The instruments of darkness tell us truths;
Win us with honest trifles, to betray’s
In deepest consequence.—
Cousins, a word, I pray you.
MACBETH.
[_Aside._] Two truths are told,
As happy prologues to the swelling act
Of the imperial theme.—I thank you, gentlemen.—
[_Aside._] This supernatural soliciting
Cannot be ill; cannot be good. If ill,
Why hath it given me earnest of success,
Commencing in a truth? I am Thane of Cawdor:
If good, why do I yield to that suggestion
Whose horrid image doth unfix my hair,
And make my seated heart knock at my ribs,
Against the use of nature? Present fears
Are less than horrible imaginings.
My thought, whose murder yet is but fantastical,
Shakes so my single state of man
That function is smother’d in surmise,
And nothing is but what is not.
BANQUO.
Look, how our partner’s rapt.
MACBETH.
[_Aside._] If chance will have me king, why, chance may crown me
Without my stir.
BANQUO.
New honours come upon him,
Like our strange garments, cleave not to their mould
But with the aid of use.
MACBETH.
[_Aside._] Come what come may,
Time and the hour runs through the roughest day.
BANQUO.
Worthy Macbeth, we stay upon your leisure.
MACBETH.
Give me your favour. My dull brain was wrought
With things forgotten. Kind gentlemen, your pains
Are register’d where every day I turn
The leaf to read them.—Let us toward the King.—
Think upon what hath chanc’d; and at more time,
The interim having weigh’d it, let us speak
Our free hearts each to other.
BANQUO.
Very gladly.
MACBETH.
Till then, enough.—Come, friends.
[_Exeunt._]
SCENE IV. Forres. A Room in the Palace.
Flourish. Enter Duncan, Malcolm, Donalbain, Lennox and Attendants.
DUNCAN.
Is execution done on Cawdor? Are not
Those in commission yet return’d?
MALCOLM.
My liege,
They are not yet come back. But I have spoke
With one that saw him die, who did report,
That very frankly he confess’d his treasons,
Implor’d your Highness’ pardon, and set forth
A deep repentance. Nothing in his life
Became him like the leaving it; he died
As one that had been studied in his death,
To throw away the dearest thing he ow’d
As ’twere a careless trifle.
DUNCAN.
There’s no art
To find the mind’s construction in the face:
He was a gentleman on whom I built
An absolute trust.
Enter Macbeth, Banquo, Ross and Angus.
O worthiest cousin!
The sin of my ingratitude even now
Was heavy on me. Thou art so far before,
That swiftest wing of recompense is slow
To overtake thee. Would thou hadst less deserv’d;
That the proportion both of thanks and payment
Might have been mine! only I have left to say,
More is thy due than more than all can pay.
MACBETH.
The service and the loyalty I owe,
In doing it, pays itself. Your Highness’ part
Is to receive our duties: and our duties
Are to your throne and state, children and servants;
Which do but what they should, by doing everything
Safe toward your love and honour.
DUNCAN.
Welcome hither:
I have begun to plant thee, and will labour
To make thee full of growing.—Noble Banquo,
That hast no less deserv’d, nor must be known
No less to have done so, let me infold thee
And hold thee to my heart.
BANQUO.
There if I grow,
The harvest is your own.
DUNCAN.
My plenteous joys,
Wanton in fulness, seek to hide themselves
In drops of sorrow.—Sons, kinsmen, thanes,
And you whose places are the nearest, know,
We will establish our estate upon
Our eldest, Malcolm; whom we name hereafter
The Prince of Cumberland: which honour must
Not unaccompanied invest him only,
But signs of nobleness, like stars, shall shine
On all deservers.—From hence to Inverness,
And bind us further to you.
MACBETH.
The rest is labour, which is not us’d for you:
I’ll be myself the harbinger, and make joyful
The hearing of my wife with your approach;
So, humbly take my leave.
DUNCAN.
My worthy Cawdor!
MACBETH.
[_Aside._] The Prince of Cumberland!—That is a step
On which I must fall down, or else o’erleap,
For in my way it lies. Stars, hide your fires!
Let not light see my black and deep desires.
The eye wink at the hand, yet let that be,
Which the eye fears, when it is done, to see.
[_Exit._]
DUNCAN.
True, worthy Banquo! He is full so valiant;
And in his commendations I am fed.
It is a banquet to me. Let’s after him,
Whose care is gone before to bid us welcome:
It is a peerless kinsman.
[_Flourish. Exeunt._]
SCENE V. Inverness. A Room in Macbeth’s Castle.
Enter Lady Macbeth, reading a letter.
LADY MACBETH.
“They met me in the day of success; and I have learned by the
perfect’st report they have more in them than mortal knowledge. When I
burned in desire to question them further, they made themselves air,
into which they vanished. Whiles I stood rapt in the wonder of it, came
missives from the King, who all-hailed me, ‘Thane of Cawdor’; by which
title, before, these Weird Sisters saluted me, and referred me to the
coming on of time, with ‘Hail, king that shalt be!’ This have I thought
good to deliver thee (my dearest partner of greatness) that thou
might’st not lose the dues of rejoicing, by being ignorant of what
greatness is promis’d thee. Lay it to thy heart, and farewell.”
Glamis thou art, and Cawdor; and shalt be
What thou art promis’d. Yet do I fear thy nature;
It is too full o’ th’ milk of human kindness
To catch the nearest way. Thou wouldst be great;
Art not without ambition, but without
The illness should attend it. What thou wouldst highly,
That wouldst thou holily; wouldst not play false,
And yet wouldst wrongly win. Thou’dst have, great Glamis,
That which cries, “Thus thou must do,” if thou have it;
And that which rather thou dost fear to do,
Than wishest should be undone. Hie thee hither,
That I may pour my spirits in thine ear,
And chastise with the valour of my tongue
All that impedes thee from the golden round,
Which fate and metaphysical aid doth seem
To have thee crown’d withal.
Enter a Messenger.
What is your tidings?
MESSENGER.
The King comes here tonight.
LADY MACBETH.
Thou’rt mad to say it.
Is not thy master with him? who, were’t so,
Would have inform’d for preparation.
MESSENGER.
So please you, it is true. Our thane is coming.
One of my fellows had the speed of him,
Who, almost dead for breath, had scarcely more
Than would make up his message.
LADY MACBETH.
Give him tending.
He brings great news.
[_Exit Messenger._]
The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me, from the crown to the toe, top-full
Of direst cruelty! make thick my blood,
Stop up th’ access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
Th’ effect and it! Come to my woman’s breasts,
And take my milk for gall, your murd’ring ministers,
Wherever in your sightless substances
You wait on nature’s mischief! Come, thick night,
And pall thee in the dunnest smoke of hell
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark
To cry, “Hold, hold!”
Enter Macbeth.
Great Glamis, worthy Cawdor!
Greater than both, by the all-hail hereafter!
Thy letters have transported me beyond
This ignorant present, and I feel now
The future in the instant.
MACBETH.
My dearest love,
Duncan comes here tonight.
LADY MACBETH.
And when goes hence?
MACBETH.
Tomorrow, as he purposes.
LADY MACBETH.
O, never
Shall sun that morrow see!
Your face, my thane, is as a book where men
May read strange matters. To beguile the time,
Look like the time; bear welcome in your eye,
Your hand, your tongue: look like the innocent flower,
But be the serpent under’t. He that’s coming
Must be provided for; and you shall put
This night’s great business into my dispatch;
Which shall to all our nights and days to come
Give solely sovereign sway and masterdom.
MACBETH.
We will speak further.
LADY MACBETH.
Only look up clear;
To alter favour ever is to fear.
Leave all the rest to me.
[_Exeunt._]
SCENE VI. The same. Before the Castle.
Hautboys. Servants of Macbeth attending.
Enter Duncan, Malcolm, Donalbain, Banquo, Lennox, Macduff, Ross, Angus
and Attendants.
DUNCAN.
This castle hath a pleasant seat. The air
Nimbly and sweetly recommends itself
Unto our gentle senses.
BANQUO.
This guest of summer,
The temple-haunting martlet, does approve,
By his loved mansionry, that the heaven’s breath
Smells wooingly here: no jutty, frieze,
Buttress, nor coign of vantage, but this bird
hath made his pendant bed and procreant cradle.
Where they most breed and haunt, I have observ’d
The air is delicate.
Enter Lady Macbeth.
DUNCAN.
See, see, our honour’d hostess!—
The love that follows us sometime is our trouble,
Which still we thank as love. Herein I teach you
How you shall bid God ’ild us for your pains,
And thank us for your trouble.
LADY MACBETH.
All our service,
In every point twice done, and then done double,
Were poor and single business to contend
Against those honours deep and broad wherewith
Your Majesty loads our house: for those of old,
And the late dignities heap’d up to them,
We rest your hermits.
DUNCAN.
Where’s the Thane of Cawdor?
We cours’d him at the heels, and had a purpose
To be his purveyor: but he rides well;
And his great love, sharp as his spur, hath holp him
To his home before us. Fair and noble hostess,
We are your guest tonight.
LADY MACBETH.
Your servants ever
Have theirs, themselves, and what is theirs, in compt,
To make their audit at your Highness’ pleasure,
Still to return your own.
DUNCAN.
Give me your hand;
Conduct me to mine host: we love him highly,
And shall continue our graces towards him.
By your leave, hostess.
[_Exeunt._]
SCENE VII. The same. A Lobby in the Castle.
Hautboys and torches. Enter, and pass over, a Sewer and divers
Servants with dishes and service. Then enter Macbeth.
MACBETH.
If it were done when ’tis done, then ’twere well
It were done quickly. If th’ assassination
Could trammel up the consequence, and catch
With his surcease success; that but this blow
Might be the be-all and the end-all—here,
But here, upon this bank and shoal of time,
We’d jump the life to come. But in these cases
We still have judgement here; that we but teach
Bloody instructions, which being taught, return
To plague th’ inventor. This even-handed justice
Commends th’ ingredience of our poison’d chalice
To our own lips. He’s here in double trust:
First, as I am his kinsman and his subject,
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself. Besides, this Duncan
Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued, against
The deep damnation of his taking-off;
And pity, like a naked new-born babe,
Striding the blast, or heaven’s cherubin, hors’d
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
That tears shall drown the wind.—I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o’erleaps itself
And falls on th’ other—
Enter Lady Macbeth.
How now! what news?
LADY MACBETH.
He has almost supp’d. Why have you left the chamber?
MACBETH.
Hath he ask’d for me?
LADY MACBETH.
Know you not he has?
MACBETH.
We will proceed no further in this business:
He hath honour’d me of late; and I have bought
Golden opinions from all sorts of people,
Which would be worn now in their newest gloss,
Not cast aside so soon.
LADY MACBETH.
Was the hope drunk
Wherein you dress’d yourself? Hath it slept since?
And wakes it now, to look so green and pale
At what it did so freely? From this time
Such I account thy love. Art thou afeard
To be the same in thine own act and valour
As thou art in desire? Wouldst thou have that
Which thou esteem’st the ornament of life,
And live a coward in thine own esteem,
Letting “I dare not” wait upon “I would,”
Like the poor cat i’ th’ adage?
MACBETH.
Pr’ythee, peace!
I dare do all that may become a man;
Who dares do more is none.
LADY MACBETH.
What beast was’t, then,
That made you break this enterprise to me?
When you durst do it, then you were a man;
And, to be more than what you were, you would
Be so much more the man. Nor time nor place
Did then adhere, and yet you would make both:
They have made themselves, and that their fitness now
Does unmake you. I have given suck, and know
How tender ’tis to love the babe that milks me:
I would, while it was smiling in my face,
Have pluck’d my nipple from his boneless gums
And dash’d the brains out, had I so sworn as you
Have done to this.
MACBETH.
If we should fail?
LADY MACBETH.
We fail?
But screw your courage to the sticking-place,
And we’ll not fail. When Duncan is asleep
(Whereto the rather shall his day’s hard journey
Soundly invite him), his two chamberlains
Will I with wine and wassail so convince
That memory, the warder of the brain,
Shall be a fume, and the receipt of reason
A limbeck only: when in swinish sleep
Their drenched natures lie as in a death,
What cannot you and I perform upon
Th’ unguarded Duncan? what not put upon
His spongy officers; who shall bear the guilt
Of our great quell?
MACBETH.
Bring forth men-children only;
For thy undaunted mettle should compose
Nothing but males. Will it not be receiv’d,
When we have mark’d with blood those sleepy two
Of his own chamber, and us’d their very daggers,
That they have done’t?
LADY MACBETH.
Who dares receive it other,
As we shall make our griefs and clamour roar
Upon his death?
MACBETH.
I am settled, and bend up
Each corporal agent to this terrible feat.
Away, and mock the time with fairest show:
False face must hide what the false heart doth know.
[_Exeunt._]
ACT II
SCENE I. Inverness. Court within the Castle.
Enter Banquo and Fleance with a torch before him.
BANQUO.
How goes the night, boy?
FLEANCE.
The moon is down; I have not heard the clock.
BANQUO.
And she goes down at twelve.
FLEANCE.
I take’t, ’tis later, sir.
BANQUO.
Hold, take my sword.—There’s husbandry in heaven;
Their candles are all out. Take thee that too.
A heavy summons lies like lead upon me,
And yet I would not sleep. Merciful powers,
Restrain in me the cursed thoughts that nature
Gives way to in repose!
Enter Macbeth and a Servant with a torch.
Give me my sword.—Who’s there?
MACBETH.
A friend.
BANQUO.
What, sir, not yet at rest? The King’s abed:
He hath been in unusual pleasure and
Sent forth great largess to your offices.
This diamond he greets your wife withal,
By the name of most kind hostess, and shut up
In measureless content.
MACBETH.
Being unprepar’d,
Our will became the servant to defect,
Which else should free have wrought.
BANQUO.
All’s well.
I dreamt last night of the three Weird Sisters:
To you they have show’d some truth.
MACBETH.
I think not of them:
Yet, when we can entreat an hour to serve,
We would spend it in some words upon that business,
If you would grant the time.
BANQUO.
At your kind’st leisure.
MACBETH.
If you shall cleave to my consent, when ’tis,
It shall make honour for you.
BANQUO.
So I lose none
In seeking to augment it, but still keep
My bosom franchis’d, and allegiance clear,
I shall be counsell’d.
MACBETH.
Good repose the while!
BANQUO.
Thanks, sir: the like to you.
[_Exeunt Banquo and Fleance._]
MACBETH.
Go bid thy mistress, when my drink is ready,
She strike upon the bell. Get thee to bed.
[_Exit Servant._]
Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee:—
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?
I see thee yet, in form as palpable
As this which now I draw.
Thou marshall’st me the way that I was going;
And such an instrument I was to use.
Mine eyes are made the fools o’ the other senses,
Or else worth all the rest: I see thee still;
And on thy blade and dudgeon, gouts of blood,
Which was not so before.—There’s no such thing.
It is the bloody business which informs
Thus to mine eyes.—Now o’er the one half-world
Nature seems dead, and wicked dreams abuse
The curtain’d sleep. Witchcraft celebrates
Pale Hecate’s off’rings; and wither’d murder,
Alarum’d by his sentinel, the wolf,
Whose howl’s his watch, thus with his stealthy pace,
With Tarquin’s ravishing strides, towards his design
Moves like a ghost.—Thou sure and firm-set earth,
Hear not my steps, which way they walk, for fear
Thy very stones prate of my whereabout,
And take the present horror from the time,
Which now suits with it.—Whiles I threat, he lives.
Words to the heat of deeds too cold breath gives.
[_A bell rings._]
I go, and it is done. The bell invites me.
Hear it not, Duncan, for it is a knell
That summons thee to heaven or to hell.
[_Exit._]
SCENE II. The same.
Enter Lady Macbeth.
LADY MACBETH.
That which hath made them drunk hath made me bold:
What hath quench’d them hath given me fire.—Hark!—Peace!
It was the owl that shriek’d, the fatal bellman,
Which gives the stern’st good night. He is about it.
The doors are open; and the surfeited grooms
Do mock their charge with snores: I have drugg’d their possets,
That death and nature do contend about them,
Whether they live or die.
MACBETH.
[_Within._] Who’s there?—what, ho!
LADY MACBETH.
Alack! I am afraid they have awak’d,
And ’tis not done. Th’ attempt and not the deed
Confounds us.—Hark!—I laid their daggers ready;
He could not miss ’em.—Had he not resembled
My father as he slept, I had done’t.—My husband!
Enter Macbeth.
MACBETH.
I have done the deed.—Didst thou not hear a noise?
LADY MACBETH.
I heard the owl scream and the crickets cry.
Did not you speak?
MACBETH.
When?
LADY MACBETH.
Now.
MACBETH.
As I descended?
LADY MACBETH.
Ay.
MACBETH.
Hark!—Who lies i’ th’ second chamber?
LADY MACBETH.
Donalbain.
MACBETH.
This is a sorry sight.
[_Looking on his hands._]
LADY MACBETH.
A foolish thought, to say a sorry sight.
MACBETH.
There’s one did laugh in’s sleep, and one cried, “Murder!”
That they did wake each other: I stood and heard them.
But they did say their prayers, and address’d them
Again to sleep.
LADY MACBETH.
There are two lodg’d together.
MACBETH.
One cried, “God bless us!” and, “Amen,” the other,
As they had seen me with these hangman’s hands.
List’ning their fear, I could not say “Amen,”
When they did say, “God bless us.”
LADY MACBETH.
Consider it not so deeply.
MACBETH.
But wherefore could not I pronounce “Amen”?
I had most need of blessing, and “Amen”
Stuck in my throat.
LADY MACBETH.
These deeds must not be thought
After these ways; so, it will make us mad.
MACBETH.
Methought I heard a voice cry, “Sleep no more!
Macbeth does murder sleep,”—the innocent sleep;
Sleep that knits up the ravell’d sleave of care,
The death of each day’s life, sore labour’s bath,
Balm of hurt minds, great nature’s second course,
Chief nourisher in life’s feast.
LADY MACBETH.
What do you mean?
MACBETH.
Still it cried, “Sleep no more!” to all the house:
“Glamis hath murder’d sleep, and therefore Cawdor
Shall sleep no more. Macbeth shall sleep no more!”
LADY MACBETH.
Who was it that thus cried? Why, worthy thane,
You do unbend your noble strength to think
So brainsickly of things. Go get some water,
And wash this filthy witness from your hand.—
Why did you bring these daggers from the place?
They must lie there: go carry them, and smear
The sleepy grooms with blood.
MACBETH.
I’ll go no more:
I am afraid to think what I have done;
Look on’t again I dare not.
LADY MACBETH.
Infirm of purpose!
Give me the daggers. The sleeping and the dead
Are but as pictures. ’Tis the eye of childhood
That fears a painted devil. If he do bleed,
I’ll gild the faces of the grooms withal,
For it must seem their guilt.
[_Exit. Knocking within._]
MACBETH.
Whence is that knocking?
How is’t with me, when every noise appals me?
What hands are here? Ha, they pluck out mine eyes!
Will all great Neptune’s ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine,
Making the green one red.
Enter Lady Macbeth.
LADY MACBETH.
My hands are of your color, but I shame
To wear a heart so white. [_Knocking within._] I hear knocking
At the south entry:—retire we to our chamber.
A little water clears us of this deed:
How easy is it then! Your constancy
Hath left you unattended.—[_Knocking within._] Hark, more knocking.
Get on your nightgown, lest occasion call us
And show us to be watchers. Be not lost
So poorly in your thoughts.
MACBETH.
To know my deed, ’twere best not know myself. [_Knocking within._]
Wake Duncan with thy knocking! I would thou couldst!
[_Exeunt._]
SCENE III. The same.
Enter a Porter. Knocking within.
PORTER.
Here’s a knocking indeed! If a man were porter of hell gate, he should
have old turning the key. [_Knocking._] Knock, knock, knock. Who’s
there, i’ th’ name of Belzebub? Here’s a farmer that hanged himself on
the expectation of plenty: come in time; have napkins enow about you;
here you’ll sweat for’t. [_Knocking._] Knock, knock! Who’s there, i’
th’ other devil’s name? Faith, here’s an equivocator, that could swear
in both the scales against either scale, who committed treason enough
for God’s sake, yet could not equivocate to heaven: O, come in,
equivocator. [_Knocking._] Knock, knock, knock! Who’s there? Faith,
here’s an English tailor come hither, for stealing out of a French
hose: come in, tailor; here you may roast your goose. [_Knocking._]
Knock, knock. Never at quiet! What are you?—But this place is too cold
for hell. I’ll devil-porter it no further: I had thought to have let in
some of all professions, that go the primrose way to th’ everlasting
bonfire. [_Knocking._] Anon, anon! I pray you, remember the porter.
[_Opens the gate._]
Enter Macduff and Lennox.
MACDUFF.
Was it so late, friend, ere you went to bed,
That you do lie so late?
PORTER.
Faith, sir, we were carousing till the second cock; and drink, sir, is
a great provoker of three things.
MACDUFF.
What three things does drink especially provoke?
PORTER.
Marry, sir, nose-painting, sleep, and urine. Lechery, sir, it provokes
and unprovokes; it provokes the desire, but it takes away the
performance. Therefore much drink may be said to be an equivocator with
lechery: it makes him, and it mars him; it sets him on, and it takes
him off; it persuades him, and disheartens him; makes him stand to, and
not stand to; in conclusion, equivocates him in a sleep, and giving him
the lie, leaves him.
MACDUFF.
I believe drink gave thee the lie last night.
PORTER.
That it did, sir, i’ the very throat on me; but I requited him for his
lie; and (I think) being too strong for him, though he took up my legs
sometime, yet I made a shift to cast him.
MACDUFF.
Is thy master stirring?
Enter Macbeth.
Our knocking has awak’d him; here he comes.
LENNOX.
Good morrow, noble sir!
MACBETH.
Good morrow, both!
MACDUFF.
Is the King stirring, worthy thane?
MACBETH.
Not yet.
MACDUFF.
He did command me to call timely on him.
I have almost slipp’d the hour.
MACBETH.
I’ll bring you to him.
MACDUFF.
I know this is a joyful trouble to you;
But yet ’tis one.
MACBETH.
The labour we delight in physics pain.
This is the door.
MACDUFF.
I’ll make so bold to call.
For ’tis my limited service.
[_Exit Macduff._]
LENNOX.
Goes the King hence today?
MACBETH.
He does. He did appoint so.
LENNOX.
The night has been unruly: where we lay,
Our chimneys were blown down and, as they say,
Lamentings heard i’ th’ air, strange screams of death,
And prophesying, with accents terrible,
Of dire combustion and confus’d events,
New hatch’d to the woeful time. The obscure bird
Clamour’d the live-long night. Some say the earth
Was feverous, and did shake.
MACBETH.
’Twas a rough night.
LENNOX.
My young remembrance cannot parallel
A fellow to it.
Enter Macduff.
MACDUFF.
O horror, horror, horror!
Tongue nor heart cannot conceive nor name thee!
MACBETH, LENNOX.
What’s the matter?
MACDUFF.
Confusion now hath made his masterpiece!
Most sacrilegious murder hath broke ope
The Lord’s anointed temple, and stole thence
The life o’ th’ building.
MACBETH.
What is’t you say? the life?
LENNOX.
Mean you his majesty?
MACDUFF.
Approach the chamber, and destroy your sight
With a new Gorgon. Do not bid me speak.
See, and then speak yourselves.
[_Exeunt Macbeth and Lennox._]
Awake, awake!—
Ring the alarum bell.—Murder and treason!
Banquo and Donalbain! Malcolm! awake!
Shake off this downy sleep, death’s counterfeit,
And look on death itself! Up, up, and see
The great doom’s image. Malcolm! Banquo!
As from your graves rise up, and walk like sprites
To countenance this horror!
[_Alarum-bell rings._]
Enter Lady Macbeth.
LADY MACBETH.
What’s the business,
That such a hideous trumpet calls to parley
The sleepers of the house? Speak, speak!
MACDUFF.
O gentle lady,
’Tis not for you to hear what I can speak:
The repetition, in a woman’s ear,
Would murder as it fell.
Enter Banquo.
O Banquo, Banquo!
Our royal master’s murder’d!
LADY MACBETH.
Woe, alas!
What, in our house?
BANQUO.
Too cruel anywhere.—
Dear Duff, I pr’ythee, contradict thyself,
And say it is not so.
Enter Macbeth and Lennox with Ross.
MACBETH.
Had I but died an hour before this chance,
I had liv’d a blessed time; for, from this instant
There’s nothing serious in mortality.
All is but toys: renown and grace is dead;
The wine of life is drawn, and the mere lees
Is left this vault to brag of.
Enter Malcolm and Donalbain.
DONALBAIN.
What is amiss?
MACBETH.
You are, and do not know’t:
The spring, the head, the fountain of your blood
Is stopp’d; the very source of it is stopp’d.
MACDUFF.
Your royal father’s murder’d.
MALCOLM.
O, by whom?
LENNOX.
Those of his chamber, as it seem’d, had done’t:
Their hands and faces were all badg’d with blood;
So were their daggers, which, unwip’d, we found
Upon their pillows. They star’d, and were distracted;
No man’s life was to be trusted with them.
MACBETH.
O, yet I do repent me of my fury,
That I did kill them.
MACDUFF.
Wherefore did you so?
MACBETH.
Who can be wise, amaz’d, temperate, and furious,
Loyal and neutral, in a moment? No man:
Th’ expedition of my violent love
Outrun the pauser, reason. Here lay Duncan,
His silver skin lac’d with his golden blood;
And his gash’d stabs look’d like a breach in nature
For ruin’s wasteful entrance: there, the murderers,
Steep’d in the colours of their trade, their daggers
Unmannerly breech’d with gore. Who could refrain,
That had a heart to love, and in that heart
Courage to make’s love known?
LADY MACBETH.
Help me hence, ho!
MACDUFF.
Look to the lady.
MALCOLM.
Why do we hold our tongues,
That most may claim this argument for ours?
DONALBAIN.
What should be spoken here, where our fate,
Hid in an auger hole, may rush, and seize us?
Let’s away. Our tears are not yet brew’d.
MALCOLM.
Nor our strong sorrow
Upon the foot of motion.
BANQUO.
Look to the lady:—
[_Lady Macbeth is carried out._]
And when we have our naked frailties hid,
That suffer in exposure, let us meet,
And question this most bloody piece of work
To know it further. Fears and scruples shake us:
In the great hand of God I stand; and thence
Against the undivulg’d pretence I fight
Of treasonous malice.
MACDUFF.
And so do I.
ALL.
So all.
MACBETH.
Let’s briefly put on manly readiness,
And meet i’ th’ hall together.
ALL.
Well contented.
[_Exeunt all but Malcolm and Donalbain._]
MALCOLM.
What will you do? Let’s not consort with them:
To show an unfelt sorrow is an office
Which the false man does easy. I’ll to England.
DONALBAIN.
To Ireland, I. Our separated fortune
Shall keep us both the safer. Where we are,
There’s daggers in men’s smiles: the near in blood,
The nearer bloody.
MALCOLM.
This murderous shaft that’s shot
Hath not yet lighted; and our safest way
Is to avoid the aim. Therefore to horse;
And let us not be dainty of leave-taking,
But shift away. There’s warrant in that theft
Which steals itself, when there’s no mercy left.
[_Exeunt._]
SCENE IV. The same. Without the Castle.
Enter Ross and an Old Man.
OLD MAN.
Threescore and ten I can remember well,
Within the volume of which time I have seen
Hours dreadful and things strange, but this sore night
Hath trifled former knowings.
ROSS.
Ha, good father,
Thou seest the heavens, as troubled with man’s act,
Threatens his bloody stage: by the clock ’tis day,
And yet dark night strangles the travelling lamp.
Is’t night’s predominance, or the day’s shame,
That darkness does the face of earth entomb,
When living light should kiss it?
OLD MAN.
’Tis unnatural,
Even like the deed that’s done. On Tuesday last,
A falcon, towering in her pride of place,
Was by a mousing owl hawk’d at and kill’d.
ROSS.
And Duncan’s horses (a thing most strange and certain)
Beauteous and swift, the minions of their race,
Turn’d wild in nature, broke their stalls, flung out,
Contending ’gainst obedience, as they would make
War with mankind.
OLD MAN.
’Tis said they eat each other.
ROSS.
They did so; to the amazement of mine eyes,
That look’d upon’t.
Here comes the good Macduff.
Enter Macduff.
How goes the world, sir, now?
MACDUFF.
Why, see you not?
ROSS.
Is’t known who did this more than bloody deed?
MACDUFF.
Those that Macbeth hath slain.
ROSS.
Alas, the day!
What good could they pretend?
MACDUFF.
They were suborn’d.
Malcolm and Donalbain, the King’s two sons,
Are stol’n away and fled; which puts upon them
Suspicion of the deed.
ROSS.
’Gainst nature still:
Thriftless ambition, that will ravin up
Thine own life’s means!—Then ’tis most like
The sovereignty will fall upon Macbeth.
MACDUFF.
He is already nam’d; and gone to Scone
To be invested.
ROSS.
Where is Duncan’s body?
MACDUFF.
Carried to Colmekill,
The sacred storehouse of his predecessors,
And guardian of their bones.
ROSS.
Will you to Scone?
MACDUFF.
No, cousin, I’ll to Fife.
ROSS.
Well, I will thither.
MACDUFF.
Well, may you see things well done there. Adieu!
Lest our old robes sit easier than our new!
ROSS.
Farewell, father.
OLD MAN.
God’s benison go with you; and with those
That would make good of bad, and friends of foes!
[_Exeunt._]
ACT III
SCENE I. Forres. A Room in the Palace.
Enter Banquo.
BANQUO.
Thou hast it now, King, Cawdor, Glamis, all,
As the Weird Women promis’d; and, I fear,
Thou play’dst most foully for’t; yet it was said
It should not stand in thy posterity;
But that myself should be the root and father
Of many kings. If there come truth from them
(As upon thee, Macbeth, their speeches shine)
Why, by the verities on thee made good,
May they not be my oracles as well,
And set me up in hope? But hush; no more.
Sennet sounded. Enter Macbeth as King, Lady Macbeth as Queen; Lennox,
Ross, Lords, and Attendants.
MACBETH.
Here’s our chief guest.
LADY MACBETH.
If he had been forgotten,
It had been as a gap in our great feast,
And all-thing unbecoming.
MACBETH.
Tonight we hold a solemn supper, sir,
And I’ll request your presence.
BANQUO.
Let your Highness
Command upon me, to the which my duties
Are with a most indissoluble tie
For ever knit.
MACBETH.
Ride you this afternoon?
BANQUO.
Ay, my good lord.
MACBETH.
We should have else desir’d your good advice
(Which still hath been both grave and prosperous)
In this day’s council; but we’ll take tomorrow.
Is’t far you ride?
BANQUO.
As far, my lord, as will fill up the time
’Twixt this and supper: go not my horse the better,
I must become a borrower of the night,
For a dark hour or twain.
MACBETH.
Fail not our feast.
BANQUO.
My lord, I will not.
MACBETH.
We hear our bloody cousins are bestow’d
In England and in Ireland; not confessing
Their cruel parricide, filling their hearers
With strange invention. But of that tomorrow,
When therewithal we shall have cause of state
Craving us jointly. Hie you to horse: adieu,
Till you return at night. Goes Fleance with you?
BANQUO.
Ay, my good lord: our time does call upon’s.
MACBETH.
I wish your horses swift and sure of foot;
And so I do commend you to their backs.
Farewell.—
[_Exit Banquo._]
Let every man be master of his time
Till seven at night; to make society
The sweeter welcome, we will keep ourself
Till supper time alone: while then, God be with you.
[_Exeunt Lady Macbeth, Lords, &c._]
Sirrah, a word with you. Attend those men
Our pleasure?
SERVANT.
They are, my lord, without the palace gate.
MACBETH.
Bring them before us.
[_Exit Servant._]
To be thus is nothing,
But to be safely thus. Our fears in Banquo
Stick deep, and in his royalty of nature
Reigns that which would be fear’d: ’tis much he dares;
And, to that dauntless temper of his mind,
He hath a wisdom that doth guide his valour
To act in safety. There is none but he
Whose being I do fear: and under him
My genius is rebuk’d; as, it is said,
Mark Antony’s was by Caesar. He chid the sisters
When first they put the name of king upon me,
And bade them speak to him; then, prophet-like,
They hail’d him father to a line of kings:
Upon my head they plac’d a fruitless crown,
And put a barren sceptre in my gripe,
Thence to be wrench’d with an unlineal hand,
No son of mine succeeding. If’t be so,
For Banquo’s issue have I fil’d my mind;
For them the gracious Duncan have I murder’d;
Put rancours in the vessel of my peace
Only for them; and mine eternal jewel
Given to the common enemy of man,
To make them kings, the seed of Banquo kings!
Rather than so, come, fate, into the list,
And champion me to th’ utterance!—Who’s there?—
Enter Servant with two Murderers.
Now go to the door, and stay there till we call.
[_Exit Servant._]
Was it not yesterday we spoke together?
FIRST MURDERER.
It was, so please your Highness.
MACBETH.
Well then, now
Have you consider’d of my speeches? Know
That it was he, in the times past, which held you
So under fortune, which you thought had been
Our innocent self? This I made good to you
In our last conference, pass’d in probation with you
How you were borne in hand, how cross’d, the instruments,
Who wrought with them, and all things else that might
To half a soul and to a notion craz’d
Say, “Thus did Banquo.”
FIRST MURDERER.
You made it known to us.
MACBETH.
I did so; and went further, which is now
Our point of second meeting. Do you find
Your patience so predominant in your nature,
That you can let this go? Are you so gospell’d,
To pray for this good man and for his issue,
Whose heavy hand hath bow’d you to the grave,
And beggar’d yours forever?
FIRST MURDERER.
We are men, my liege.
MACBETH.
Ay, in the catalogue ye go for men;
As hounds, and greyhounds, mongrels, spaniels, curs,
Shoughs, water-rugs, and demi-wolves are clept
All by the name of dogs: the valu’d file
Distinguishes the swift, the slow, the subtle,
The housekeeper, the hunter, every one
According to the gift which bounteous nature
Hath in him clos’d; whereby he does receive
Particular addition, from the bill
That writes them all alike: and so of men.
Now, if you have a station in the file,
Not i’ th’ worst rank of manhood, say’t;
And I will put that business in your bosoms,
Whose execution takes your enemy off,
Grapples you to the heart and love of us,
Who wear our health but sickly in his life,
Which in his death were perfect.
SECOND MURDERER.
I am one, my liege,
Whom the vile blows and buffets of the world
Hath so incens’d that I am reckless what
I do to spite the world.
FIRST MURDERER.
And I another,
So weary with disasters, tugg’d with fortune,
That I would set my life on any chance,
To mend it or be rid on’t.
MACBETH.
Both of you
Know Banquo was your enemy.
BOTH MURDERERS.
True, my lord.
MACBETH.
So is he mine; and in such bloody distance,
That every minute of his being thrusts
Against my near’st of life; and though I could
With barefac’d power sweep him from my sight,
And bid my will avouch it, yet I must not,
For certain friends that are both his and mine,
Whose loves I may not drop, but wail his fall
Who I myself struck down: and thence it is
That I to your assistance do make love,
Masking the business from the common eye
For sundry weighty reasons.
SECOND MURDERER.
We shall, my lord,
Perform what you command us.
FIRST MURDERER.
Though our lives—
MACBETH.
Your spirits shine through you. Within this hour at most,
I will advise you where to plant yourselves,
Acquaint you with the perfect spy o’ th’ time,
The moment on’t; for’t must be done tonight
And something from the palace; always thought
That I require a clearness. And with him
(To leave no rubs nor botches in the work)
Fleance his son, that keeps him company,
Whose absence is no less material to me
Than is his father’s, must embrace the fate
Of that dark hour. Resolve yourselves apart.
I’ll come to you anon.
BOTH MURDERERS.
We are resolv’d, my lord.
MACBETH.
I’ll call upon you straight: abide within.
[_Exeunt Murderers._]
It is concluded. Banquo, thy soul’s flight,
If it find heaven, must find it out tonight.
[_Exit._]
SCENE II. The same. Another Room in the Palace.
Enter Lady Macbeth and a Servant.
LADY MACBETH.
Is Banquo gone from court?
SERVANT.
Ay, madam, but returns again tonight.
LADY MACBETH.
Say to the King, I would attend his leisure
For a few words.
SERVANT.
Madam, I will.
[_Exit._]
LADY MACBETH.
Naught’s had, all’s spent,
Where our desire is got without content:
’Tis safer to be that which we destroy,
Than by destruction dwell in doubtful joy.
Enter Macbeth.
How now, my lord, why do you keep alone,
Of sorriest fancies your companions making,
Using those thoughts which should indeed have died
With them they think on? Things without all remedy
Should be without regard: what’s done is done.
MACBETH.
We have scorch’d the snake, not kill’d it.
She’ll close, and be herself; whilst our poor malice
Remains in danger of her former tooth.
But let the frame of things disjoint,
Both the worlds suffer,
Ere we will eat our meal in fear, and sleep
In the affliction of these terrible dreams
That shake us nightly. Better be with the dead,
Whom we, to gain our peace, have sent to peace,
Than on the torture of the mind to lie
In restless ecstasy. Duncan is in his grave;
After life’s fitful fever he sleeps well;
Treason has done his worst: nor steel, nor poison,
Malice domestic, foreign levy, nothing
Can touch him further.
LADY MACBETH.
Come on,
Gently my lord, sleek o’er your rugged looks;
Be bright and jovial among your guests tonight.
MACBETH.
So shall I, love; and so, I pray, be you.
Let your remembrance apply to Banquo;
Present him eminence, both with eye and tongue:
Unsafe the while, that we
Must lave our honours in these flattering streams,
And make our faces vizards to our hearts,
Disguising what they are.
LADY MACBETH.
You must leave this.
MACBETH.
O, full of scorpions is my mind, dear wife!
Thou know’st that Banquo, and his Fleance, lives.
LADY MACBETH.
But in them nature’s copy’s not eterne.
MACBETH.
There’s comfort yet; they are assailable.
Then be thou jocund. Ere the bat hath flown
His cloister’d flight, ere to black Hecate’s summons
The shard-born beetle, with his drowsy hums,
Hath rung night’s yawning peal, there shall be done
A deed of dreadful note.
LADY MACBETH.
What’s to be done?
MACBETH.
Be innocent of the knowledge, dearest chuck,
Till thou applaud the deed. Come, seeling night,
Scarf up the tender eye of pitiful day,
And with thy bloody and invisible hand
Cancel and tear to pieces that great bond
Which keeps me pale!—Light thickens; and the crow
Makes wing to th’ rooky wood.
Good things of day begin to droop and drowse,
Whiles night’s black agents to their preys do rouse.
Thou marvell’st at my words: but hold thee still;
Things bad begun make strong themselves by ill.
So, pr’ythee, go with me.
[_Exeunt._]
SCENE III. The same. A Park or Lawn, with a gate leading to the Palace.
Enter three Murderers.
FIRST MURDERER.
But who did bid thee join with us?
THIRD MURDERER.
Macbeth.
SECOND MURDERER.
He needs not our mistrust; since he delivers
Our offices and what we have to do
To the direction just.
FIRST MURDERER.
Then stand with us.
The west yet glimmers with some streaks of day.
Now spurs the lated traveller apace,
To gain the timely inn; and near approaches
The subject of our watch.
THIRD MURDERER.
Hark! I hear horses.
BANQUO.
[_Within._] Give us a light there, ho!
SECOND MURDERER.
Then ’tis he; the rest
That are within the note of expectation
Already are i’ th’ court.
FIRST MURDERER.
His horses go about.
THIRD MURDERER.
Almost a mile; but he does usually,
So all men do, from hence to the palace gate
Make it their walk.
Enter Banquo and Fleance with a torch.
SECOND MURDERER.
A light, a light!
THIRD MURDERER.
’Tis he.
FIRST MURDERER.
Stand to’t.
BANQUO.
It will be rain tonight.
FIRST MURDERER.
Let it come down.
[_Assaults Banquo._]
BANQUO.
O, treachery! Fly, good Fleance, fly, fly, fly!
Thou mayst revenge—O slave!
[_Dies. Fleance escapes._]
THIRD MURDERER.
Who did strike out the light?
FIRST MURDERER.
Was’t not the way?
THIRD MURDERER.
There’s but one down: the son is fled.
SECOND MURDERER.
We have lost best half of our affair.
FIRST MURDERER.
Well, let’s away, and say how much is done.
[_Exeunt._]
SCENE IV. The same. A Room of state in the Palace.
A banquet prepared. Enter Macbeth, Lady Macbeth, Ross, Lennox, Lords
and Attendants.
MACBETH.
You know your own degrees, sit down. At first
And last the hearty welcome.
LORDS.
Thanks to your Majesty.
MACBETH.
Ourself will mingle with society,
And play the humble host.
Our hostess keeps her state; but, in best time,
We will require her welcome.
LADY MACBETH.
Pronounce it for me, sir, to all our friends;
For my heart speaks they are welcome.
Enter first Murderer to the door.
MACBETH.
See, they encounter thee with their hearts’ thanks.
Both sides are even: here I’ll sit i’ th’ midst.
Be large in mirth; anon we’ll drink a measure
The table round. There’s blood upon thy face.
MURDERER.
’Tis Banquo’s then.
MACBETH.
’Tis better thee without than he within.
Is he dispatch’d?
MURDERER.
My lord, his throat is cut. That I did for him.
MACBETH.
Thou art the best o’ th’ cut-throats;
Yet he’s good that did the like for Fleance:
If thou didst it, thou art the nonpareil.
MURDERER.
Most royal sir,
Fleance is ’scap’d.
MACBETH.
Then comes my fit again: I had else been perfect;
Whole as the marble, founded as the rock,
As broad and general as the casing air:
But now I am cabin’d, cribb’d, confin’d, bound in
To saucy doubts and fears. But Banquo’s safe?
MURDERER.
Ay, my good lord. Safe in a ditch he bides,
With twenty trenched gashes on his head;
The least a death to nature.
MACBETH.
Thanks for that.
There the grown serpent lies; the worm that’s fled
Hath nature that in time will venom breed,
No teeth for th’ present.—Get thee gone; tomorrow
We’ll hear, ourselves, again.
[_Exit Murderer._]
LADY MACBETH.
My royal lord,
You do not give the cheer: the feast is sold
That is not often vouch’d, while ’tis a-making,
’Tis given with welcome. To feed were best at home;
From thence the sauce to meat is ceremony;
Meeting were bare without it.
The Ghost of Banquo rises, and sits in Macbeth’s place.
MACBETH.
Sweet remembrancer!—
Now, good digestion wait on appetite,
And health on both!
LENNOX.
May’t please your Highness sit.
MACBETH.
Here had we now our country’s honour roof’d,
Were the grac’d person of our Banquo present;
Who may I rather challenge for unkindness
Than pity for mischance!
ROSS.
His absence, sir,
Lays blame upon his promise. Please’t your Highness
To grace us with your royal company?
MACBETH.
The table’s full.
LENNOX.
Here is a place reserv’d, sir.
MACBETH.
Where?
LENNOX.
Here, my good lord. What is’t that moves your Highness?
MACBETH.
Which of you have done this?
LORDS.
What, my good lord?
MACBETH.
Thou canst not say I did it. Never shake
Thy gory locks at me.
ROSS.
Gentlemen, rise; his Highness is not well.
LADY MACBETH.
Sit, worthy friends. My lord is often thus,
And hath been from his youth: pray you, keep seat;
The fit is momentary; upon a thought
He will again be well. If much you note him,
You shall offend him, and extend his passion.
Feed, and regard him not.—Are you a man?
MACBETH.
Ay, and a bold one, that dare look on that
Which might appal the devil.
LADY MACBETH.
O proper stuff!
This is the very painting of your fear:
This is the air-drawn dagger which you said,
Led you to Duncan. O, these flaws, and starts
(Impostors to true fear), would well become
A woman’s story at a winter’s fire,
Authoris’d by her grandam. Shame itself!
Why do you make such faces? When all’s done,
You look but on a stool.
MACBETH.
Pr’ythee, see there!
Behold! look! lo! how say you?
Why, what care I? If thou canst nod, speak too.—
If charnel houses and our graves must send
Those that we bury back, our monuments
Shall be the maws of kites.
[_Ghost disappears._]
LADY MACBETH.
What, quite unmann’d in folly?
MACBETH.
If I stand here, I saw him.
LADY MACBETH.
Fie, for shame!
MACBETH.
Blood hath been shed ere now, i’ th’ olden time,
Ere humane statute purg’d the gentle weal;
Ay, and since too, murders have been perform’d
Too terrible for the ear: the time has been,
That, when the brains were out, the man would die,
And there an end; but now they rise again,
With twenty mortal murders on their crowns,
And push us from our stools. This is more strange
Than such a murder is.
LADY MACBETH.
My worthy lord,
Your noble friends do lack you.
MACBETH.
I do forget.—
Do not muse at me, my most worthy friends.
I have a strange infirmity, which is nothing
To those that know me. Come, love and health to all;
Then I’ll sit down.—Give me some wine, fill full.—
I drink to the general joy o’ th’ whole table,
And to our dear friend Banquo, whom we miss:
Would he were here.
Ghost rises again.
To all, and him, we thirst,
And all to all.
LORDS.
Our duties, and the pledge.
MACBETH.
Avaunt! and quit my sight! let the earth hide thee!
Thy bones are marrowless, thy blood is cold;
Thou hast no speculation in those eyes
Which thou dost glare with!
LADY MACBETH.
Think of this, good peers,
But as a thing of custom: ’tis no other,
Only it spoils the pleasure of the time.
MACBETH.
What man dare, I dare:
Approach thou like the rugged Russian bear,
The arm’d rhinoceros, or th’ Hyrcan tiger;
Take any shape but that, and my firm nerves
Shall never tremble: or be alive again,
And dare me to the desert with thy sword;
If trembling I inhabit then, protest me
The baby of a girl. Hence, horrible shadow!
Unreal mock’ry, hence!
[_Ghost disappears._]
Why, so;—being gone,
I am a man again.—Pray you, sit still.
LADY MACBETH.
You have displaced the mirth, broke the good meeting
With most admir’d disorder.
MACBETH.
Can such things be,
And overcome us like a summer’s cloud,
Without our special wonder? You make me strange
Even to the disposition that I owe,
When now I think you can behold such sights,
And keep the natural ruby of your cheeks,
When mine are blanch’d with fear.
ROSS.
What sights, my lord?
LADY MACBETH.
I pray you, speak not; he grows worse and worse;
Question enrages him. At once, good night:—
Stand not upon the order of your going,
But go at once.
LENNOX.
Good night; and better health
Attend his Majesty!
LADY MACBETH.
A kind good night to all!
[_Exeunt all Lords and Attendants._]
MACBETH.
It will have blood, they say, blood will have blood.
Stones have been known to move, and trees to speak;
Augurs, and understood relations, have
By magot-pies, and choughs, and rooks, brought forth
The secret’st man of blood.—What is the night?
LADY MACBETH.
Almost at odds with morning, which is which.
MACBETH.
How say’st thou, that Macduff denies his person
At our great bidding?
LADY MACBETH.
Did you send to him, sir?
MACBETH.
I hear it by the way; but I will send.
There’s not a one of them but in his house
I keep a servant fee’d. I will tomorrow
(And betimes I will) to the Weird Sisters:
More shall they speak; for now I am bent to know,
By the worst means, the worst. For mine own good,
All causes shall give way: I am in blood
Stepp’d in so far that, should I wade no more,
Returning were as tedious as go o’er.
Strange things I have in head, that will to hand,
Which must be acted ere they may be scann’d.
LADY MACBETH.
You lack the season of all natures, sleep.
MACBETH.
Come, we’ll to sleep. My strange and self-abuse
Is the initiate fear that wants hard use.
We are yet but young in deed.
[_Exeunt._]
SCENE V. The heath.
Thunder. Enter the three Witches meeting Hecate.
FIRST WITCH.
Why, how now, Hecate? you look angerly.
HECATE.
Have I not reason, beldams as you are,
Saucy and overbold? How did you dare
To trade and traffic with Macbeth
In riddles and affairs of death;
And I, the mistress of your charms,
The close contriver of all harms,
Was never call’d to bear my part,
Or show the glory of our art?
And, which is worse, all you have done
Hath been but for a wayward son,
Spiteful and wrathful; who, as others do,
Loves for his own ends, not for you.
But make amends now: get you gone,
And at the pit of Acheron
Meet me i’ th’ morning: thither he
Will come to know his destiny.
Your vessels and your spells provide,
Your charms, and everything beside.
I am for th’ air; this night I’ll spend
Unto a dismal and a fatal end.
Great business must be wrought ere noon.
Upon the corner of the moon
There hangs a vap’rous drop profound;
I’ll catch it ere it come to ground:
And that, distill’d by magic sleights,
Shall raise such artificial sprites,
As, by the strength of their illusion,
Shall draw him on to his confusion.
He shall spurn fate, scorn death, and bear
His hopes ’bove wisdom, grace, and fear.
And you all know, security
Is mortals’ chiefest enemy.
[_Music and song within, “Come away, come away” &c._]
Hark! I am call’d; my little spirit, see,
Sits in a foggy cloud and stays for me.
[_Exit._]
FIRST WITCH.
Come, let’s make haste; she’ll soon be back again.
[_Exeunt._]
SCENE VI. Forres. A Room in the Palace.
Enter Lennox and another Lord.
LENNOX.
My former speeches have but hit your thoughts,
Which can interpret farther: only, I say,
Thing’s have been strangely borne. The gracious Duncan
Was pitied of Macbeth:—marry, he was dead:—
And the right valiant Banquo walk’d too late;
Whom, you may say, if’t please you, Fleance kill’d,
For Fleance fled. Men must not walk too late.
Who cannot want the thought, how monstrous
It was for Malcolm and for Donalbain
To kill their gracious father? damned fact!
How it did grieve Macbeth! did he not straight,
In pious rage, the two delinquents tear
That were the slaves of drink and thralls of sleep?
Was not that nobly done? Ay, and wisely too;
For ’twould have anger’d any heart alive,
To hear the men deny’t. So that, I say,
He has borne all things well: and I do think,
That had he Duncan’s sons under his key
(As, and’t please heaven, he shall not) they should find
What ’twere to kill a father; so should Fleance.
But, peace!—for from broad words, and ’cause he fail’d
His presence at the tyrant’s feast, I hear,
Macduff lives in disgrace. Sir, can you tell
Where he bestows himself?
LORD.
The son of Duncan,
From whom this tyrant holds the due of birth,
Lives in the English court and is receiv’d
Of the most pious Edward with such grace
That the malevolence of fortune nothing
Takes from his high respect. Thither Macduff
Is gone to pray the holy king, upon his aid
To wake Northumberland, and warlike Siward
That, by the help of these (with Him above
To ratify the work), we may again
Give to our tables meat, sleep to our nights;
Free from our feasts and banquets bloody knives,
Do faithful homage, and receive free honours,
All which we pine for now. And this report
Hath so exasperate the King that he
Prepares for some attempt of war.
LENNOX.
Sent he to Macduff?
LORD.
He did: and with an absolute “Sir, not I,”
The cloudy messenger turns me his back,
And hums, as who should say, “You’ll rue the time
That clogs me with this answer.”
LENNOX.
And that well might
Advise him to a caution, t’ hold what distance
His wisdom can provide. Some holy angel
Fly to the court of England, and unfold
His message ere he come, that a swift blessing
May soon return to this our suffering country
Under a hand accurs’d!
LORD.
I’ll send my prayers with him.
[_Exeunt._]
ACT IV
SCENE I. A dark Cave. In the middle, a Cauldron Boiling.
Thunder. Enter the three Witches.
FIRST WITCH.
Thrice the brinded cat hath mew’d.
SECOND WITCH.
Thrice, and once the hedge-pig whin’d.
THIRD WITCH.
Harpier cries:—’Tis time, ’tis time.
FIRST WITCH.
Round about the cauldron go;
In the poison’d entrails throw.—
Toad, that under cold stone
Days and nights has thirty-one
Swelter’d venom sleeping got,
Boil thou first i’ th’ charmed pot!
ALL.
Double, double, toil and trouble;
Fire, burn; and cauldron, bubble.
SECOND WITCH.
Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt, and toe of frog,
Wool of bat, and tongue of dog,
Adder’s fork, and blind-worm’s sting,
Lizard’s leg, and howlet’s wing,
For a charm of powerful trouble,
Like a hell-broth boil and bubble.
ALL.
Double, double, toil and trouble;
Fire, burn; and cauldron, bubble.
THIRD WITCH.
Scale of dragon, tooth of wolf,
Witch’s mummy, maw and gulf
Of the ravin’d salt-sea shark,
Root of hemlock digg’d i’ th’ dark,
Liver of blaspheming Jew,
Gall of goat, and slips of yew
Sliver’d in the moon’s eclipse,
Nose of Turk, and Tartar’s lips,
Finger of birth-strangled babe
Ditch-deliver’d by a drab,
Make the gruel thick and slab:
Add thereto a tiger’s chaudron,
For th’ ingredients of our cauldron.
ALL.
Double, double, toil and trouble;
Fire, burn; and cauldron, bubble.
SECOND WITCH.
Cool it with a baboon’s blood.
Then the charm is firm and good.
Enter Hecate.
HECATE.
O, well done! I commend your pains,
And everyone shall share i’ th’ gains.
And now about the cauldron sing,
Like elves and fairies in a ring,
Enchanting all that you put in.
[_Music and a song: “Black Spirits,” &c._]
[_Exit Hecate._]
SECOND WITCH.
By the pricking of my thumbs,
Something wicked this way comes.
Open, locks,
Whoever knocks!
Enter Macbeth.
MACBETH.
How now, you secret, black, and midnight hags!
What is’t you do?
ALL.
A deed without a name.
MACBETH.
I conjure you, by that which you profess,
(Howe’er you come to know it) answer me:
Though you untie the winds, and let them fight
Against the churches; though the yesty waves
Confound and swallow navigation up;
Though bladed corn be lodg’d, and trees blown down;
Though castles topple on their warders’ heads;
Though palaces and pyramids do slope
Their heads to their foundations; though the treasure
Of nature’s germens tumble all together,
Even till destruction sicken, answer me
To what I ask you.
FIRST WITCH.
Speak.
SECOND WITCH.
Demand.
THIRD WITCH.
We’ll answer.
FIRST WITCH.
Say, if thou’dst rather hear it from our mouths,
Or from our masters?
MACBETH.
Call ’em, let me see ’em.
FIRST WITCH.
Pour in sow’s blood, that hath eaten
Her nine farrow; grease that’s sweaten
From the murderer’s gibbet throw
Into the flame.
ALL.
Come, high or low;
Thyself and office deftly show!
[_Thunder. An Apparition of an armed Head rises._]
MACBETH.
Tell me, thou unknown power,—
FIRST WITCH.
He knows thy thought:
Hear his speech, but say thou naught.
APPARITION.
Macbeth! Macbeth! Macbeth! Beware Macduff;
Beware the Thane of Fife.—Dismiss me.—Enough.
[_Descends._]
MACBETH.
Whate’er thou art, for thy good caution, thanks;
Thou hast harp’d my fear aright.—But one word more.
FIRST WITCH.
He will not be commanded. Here’s another,
More potent than the first.
[_Thunder. An Apparition of a bloody Child rises._]
APPARITION.
Macbeth! Macbeth! Macbeth!
MACBETH.
Had I three ears, I’d hear thee.
APPARITION.
Be bloody, bold, and resolute. Laugh to scorn
The power of man, for none of woman born
Shall harm Macbeth.
[_Descends._]
MACBETH.
Then live, Macduff: what need I fear of thee?
But yet I’ll make assurance double sure,
And take a bond of fate. Thou shalt not live;
That I may tell pale-hearted fear it lies,
And sleep in spite of thunder.
[_Thunder. An Apparition of a Child crowned, with a tree in his hand,
rises._]
What is this,
That rises like the issue of a king,
And wears upon his baby brow the round
And top of sovereignty?
ALL.
Listen, but speak not to’t.
APPARITION.
Be lion-mettled, proud, and take no care
Who chafes, who frets, or where conspirers are:
Macbeth shall never vanquish’d be, until
Great Birnam wood to high Dunsinane hill
Shall come against him.
[_Descends._]
MACBETH.
That will never be:
Who can impress the forest; bid the tree
Unfix his earth-bound root? Sweet bodements, good!
Rebellious head, rise never till the wood
Of Birnam rise, and our high-plac’d Macbeth
Shall live the lease of nature, pay his breath
To time and mortal custom.—Yet my heart
Throbs to know one thing: tell me, if your art
Can tell so much, shall Banquo’s issue ever
Reign in this kingdom?
ALL.
Seek to know no more.
MACBETH.
I will be satisfied: deny me this,
And an eternal curse fall on you! Let me know.
Why sinks that cauldron? and what noise is this?
[_Hautboys._]
FIRST WITCH.
Show!
SECOND WITCH.
Show!
THIRD WITCH.
Show!
ALL.
Show his eyes, and grieve his heart;
Come like shadows, so depart!
[_A show of eight kings appear, and pass over in order, the last with
a glass in his hand; Banquo following._]
MACBETH.
Thou are too like the spirit of Banquo. Down!
Thy crown does sear mine eyeballs:—and thy hair,
Thou other gold-bound brow, is like the first.
A third is like the former.—Filthy hags!
Why do you show me this?—A fourth!—Start, eyes!
What, will the line stretch out to th’ crack of doom?
Another yet!—A seventh!—I’ll see no more:—
And yet the eighth appears, who bears a glass
Which shows me many more; and some I see
That twofold balls and treble sceptres carry.
Horrible sight!—Now I see ’tis true;
For the blood-bolter’d Banquo smiles upon me,
And points at them for his.—What! is this so?
FIRST WITCH.
Ay, sir, all this is so:—but why
Stands Macbeth thus amazedly?—
Come, sisters, cheer we up his sprites,
And show the best of our delights.
I’ll charm the air to give a sound,
While you perform your antic round;
That this great king may kindly say,
Our duties did his welcome pay.
[_Music. The Witches dance, and vanish._]
MACBETH.
Where are they? Gone?—Let this pernicious hour
Stand aye accursed in the calendar!—
Come in, without there!
Enter Lennox.
LENNOX.
What’s your Grace’s will?
MACBETH.
Saw you the Weird Sisters?
LENNOX.
No, my lord.
MACBETH.
Came they not by you?
LENNOX.
No, indeed, my lord.
MACBETH.
Infected be the air whereon they ride;
And damn’d all those that trust them!—I did hear
The galloping of horse: who was’t came by?
LENNOX.
’Tis two or three, my lord, that bring you word
Macduff is fled to England.
MACBETH.
Fled to England!
LENNOX.
Ay, my good lord.
MACBETH.
Time, thou anticipat’st my dread exploits:
The flighty purpose never is o’ertook
Unless the deed go with it. From this moment
The very firstlings of my heart shall be
The firstlings of my hand. And even now,
To crown my thoughts with acts, be it thought and done:
The castle of Macduff I will surprise;
Seize upon Fife; give to th’ edge o’ th’ sword
His wife, his babes, and all unfortunate souls
That trace him in his line. No boasting like a fool;
This deed I’ll do before this purpose cool:
But no more sights!—Where are these gentlemen?
Come, bring me where they are.
[_Exeunt._]
SCENE II. Fife. A Room in Macduff’s Castle.
Enter Lady Macduff her Son and Ross.
LADY MACDUFF.
What had he done, to make him fly the land?
ROSS.
You must have patience, madam.
LADY MACDUFF.
He had none:
His flight was madness: when our actions do not,
Our fears do make us traitors.
ROSS.
You know not
Whether it was his wisdom or his fear.
LADY MACDUFF.
Wisdom! to leave his wife, to leave his babes,
His mansion, and his titles, in a place
From whence himself does fly? He loves us not:
He wants the natural touch; for the poor wren,
The most diminutive of birds, will fight,
Her young ones in her nest, against the owl.
All is the fear, and nothing is the love;
As little is the wisdom, where the flight
So runs against all reason.
ROSS.
My dearest coz,
I pray you, school yourself: but, for your husband,
He is noble, wise, judicious, and best knows
The fits o’ th’ season. I dare not speak much further:
But cruel are the times, when we are traitors,
And do not know ourselves; when we hold rumour
From what we fear, yet know not what we fear,
But float upon a wild and violent sea
Each way and move—I take my leave of you:
Shall not be long but I’ll be here again.
Things at the worst will cease, or else climb upward
To what they were before.—My pretty cousin,
Blessing upon you!
LADY MACDUFF.
Father’d he is, and yet he’s fatherless.
ROSS.
I am so much a fool, should I stay longer,
It would be my disgrace and your discomfort:
I take my leave at once.
[_Exit._]
LADY MACDUFF.
Sirrah, your father’s dead.
And what will you do now? How will you live?
SON.
As birds do, mother.
LADY MACDUFF.
What, with worms and flies?
SON.
With what I get, I mean; and so do they.
LADY MACDUFF.
Poor bird! thou’dst never fear the net nor lime,
The pit-fall nor the gin.
SON.
Why should I, mother? Poor birds they are not set for.
My father is not dead, for all your saying.
LADY MACDUFF.
Yes, he is dead: how wilt thou do for a father?
SON.
Nay, how will you do for a husband?
LADY MACDUFF.
Why, I can buy me twenty at any market.
SON.
Then you’ll buy ’em to sell again.
LADY MACDUFF.
Thou speak’st with all thy wit;
And yet, i’ faith, with wit enough for thee.
SON.
Was my father a traitor, mother?
LADY MACDUFF.
Ay, that he was.
SON.
What is a traitor?
LADY MACDUFF.
Why, one that swears and lies.
SON.
And be all traitors that do so?
LADY MACDUFF.
Every one that does so is a traitor, and must be hanged.
SON.
And must they all be hanged that swear and lie?
LADY MACDUFF.
Every one.
SON.
Who must hang them?
LADY MACDUFF.
Why, the honest men.
SON.
Then the liars and swearers are fools: for there are liars and swearers
enow to beat the honest men and hang up them.
LADY MACDUFF.
Now, God help thee, poor monkey! But how wilt thou do for a father?
SON.
If he were dead, you’ld weep for him: if you would not, it were a good
sign that I should quickly have a new father.
LADY MACDUFF.
Poor prattler, how thou talk’st!
Enter a Messenger.
MESSENGER.
Bless you, fair dame! I am not to you known,
Though in your state of honour I am perfect.
I doubt some danger does approach you nearly:
If you will take a homely man’s advice,
Be not found here; hence, with your little ones.
To fright you thus, methinks, I am too savage;
To do worse to you were fell cruelty,
Which is too nigh your person. Heaven preserve you!
I dare abide no longer.
[_Exit._]
LADY MACDUFF.
Whither should I fly?
I have done no harm. But I remember now
I am in this earthly world, where to do harm
Is often laudable; to do good sometime
Accounted dangerous folly: why then, alas,
Do I put up that womanly defence,
To say I have done no harm? What are these faces?
Enter Murderers.
FIRST MURDERER.
Where is your husband?
LADY MACDUFF.
I hope, in no place so unsanctified
Where such as thou mayst find him.
FIRST MURDERER.
He’s a traitor.
SON.
Thou liest, thou shag-ear’d villain!
FIRST MURDERER.
What, you egg!
[_Stabbing him._]
Young fry of treachery!
SON.
He has kill’d me, mother:
Run away, I pray you!
[_Dies. Exit Lady Macduff, crying “Murder!” and pursued by the
Murderers._]
SCENE III. England. Before the King’s Palace.
Enter Malcolm and Macduff.
MALCOLM.
Let us seek out some desolate shade and there
Weep our sad bosoms empty.
MACDUFF.
Let us rather
Hold fast the mortal sword, and, like good men,
Bestride our down-fall’n birthdom. Each new morn
New widows howl, new orphans cry; new sorrows
Strike heaven on the face, that it resounds
As if it felt with Scotland, and yell’d out
Like syllable of dolour.
MALCOLM.
What I believe, I’ll wail;
What know, believe; and what I can redress,
As I shall find the time to friend, I will.
What you have spoke, it may be so, perchance.
This tyrant, whose sole name blisters our tongues,
Was once thought honest: you have loved him well;
He hath not touch’d you yet. I am young; but something
You may deserve of him through me; and wisdom
To offer up a weak, poor, innocent lamb
To appease an angry god.
MACDUFF.
I am not treacherous.
MALCOLM.
But Macbeth is.
A good and virtuous nature may recoil
In an imperial charge. But I shall crave your pardon.
That which you are, my thoughts cannot transpose.
Angels are bright still, though the brightest fell:
Though all things foul would wear the brows of grace,
Yet grace must still look so.
MACDUFF.
I have lost my hopes.
MALCOLM.
Perchance even there where I did find my doubts.
Why in that rawness left you wife and child,
Those precious motives, those strong knots of love,
Without leave-taking?—I pray you,
Let not my jealousies be your dishonours,
But mine own safeties. You may be rightly just,
Whatever I shall think.
MACDUFF.
Bleed, bleed, poor country!
Great tyranny, lay thou thy basis sure,
For goodness dare not check thee! wear thou thy wrongs;
The title is affeer’d.—Fare thee well, lord:
I would not be the villain that thou think’st
For the whole space that’s in the tyrant’s grasp
And the rich East to boot.
MALCOLM.
Be not offended:
I speak not as in absolute fear of you.
I think our country sinks beneath the yoke;
It weeps, it bleeds; and each new day a gash
Is added to her wounds. I think, withal,
There would be hands uplifted in my right;
And here, from gracious England, have I offer
Of goodly thousands: but, for all this,
When I shall tread upon the tyrant’s head,
Or wear it on my sword, yet my poor country
Shall have more vices than it had before,
More suffer, and more sundry ways than ever,
By him that shall succeed.
MACDUFF.
What should he be?
MALCOLM.
It is myself I mean; in whom I know
All the particulars of vice so grafted
That, when they shall be open’d, black Macbeth
Will seem as pure as snow; and the poor state
Esteem him as a lamb, being compar’d
With my confineless harms.
MACDUFF.
Not in the legions
Of horrid hell can come a devil more damn’d
In evils to top Macbeth.
MALCOLM.
I grant him bloody,
Luxurious, avaricious, false, deceitful,
Sudden, malicious, smacking of every sin
That has a name: but there’s no bottom, none,
In my voluptuousness: your wives, your daughters,
Your matrons, and your maids, could not fill up
The cistern of my lust; and my desire
All continent impediments would o’erbear,
That did oppose my will: better Macbeth
Than such an one to reign.
MACDUFF.
Boundless intemperance
In nature is a tyranny; it hath been
Th’ untimely emptying of the happy throne,
And fall of many kings. But fear not yet
To take upon you what is yours: you may
Convey your pleasures in a spacious plenty,
And yet seem cold—the time you may so hoodwink.
We have willing dames enough; there cannot be
That vulture in you, to devour so many
As will to greatness dedicate themselves,
Finding it so inclin’d.
MALCOLM.
With this there grows
In my most ill-compos’d affection such
A staunchless avarice, that, were I king,
I should cut off the nobles for their lands;
Desire his jewels, and this other’s house:
And my more-having would be as a sauce
To make me hunger more; that I should forge
Quarrels unjust against the good and loyal,
Destroying them for wealth.
MACDUFF.
This avarice
Sticks deeper; grows with more pernicious root
Than summer-seeming lust; and it hath been
The sword of our slain kings: yet do not fear;
Scotland hath foisons to fill up your will,
Of your mere own. All these are portable,
With other graces weigh’d.
MALCOLM.
But I have none: the king-becoming graces,
As justice, verity, temp’rance, stableness,
Bounty, perseverance, mercy, lowliness,
Devotion, patience, courage, fortitude,
I have no relish of them; but abound
In the division of each several crime,
Acting it many ways. Nay, had I power, I should
Pour the sweet milk of concord into hell,
Uproar the universal peace, confound
All unity on earth.
MACDUFF.
O Scotland, Scotland!
MALCOLM.
If such a one be fit to govern, speak:
I am as I have spoken.
MACDUFF.
Fit to govern?
No, not to live.—O nation miserable,
With an untitled tyrant bloody-scepter’d,
When shalt thou see thy wholesome days again,
Since that the truest issue of thy throne
By his own interdiction stands accus’d,
And does blaspheme his breed? Thy royal father
Was a most sainted king. The queen that bore thee,
Oft’ner upon her knees than on her feet,
Died every day she lived. Fare thee well!
These evils thou repeat’st upon thyself
Have banish’d me from Scotland.—O my breast,
Thy hope ends here!
MALCOLM.
Macduff, this noble passion,
Child of integrity, hath from my soul
Wiped the black scruples, reconcil’d my thoughts
To thy good truth and honour. Devilish Macbeth
By many of these trains hath sought to win me
Into his power, and modest wisdom plucks me
From over-credulous haste: but God above
Deal between thee and me! for even now
I put myself to thy direction, and
Unspeak mine own detraction; here abjure
The taints and blames I laid upon myself,
For strangers to my nature. I am yet
Unknown to woman; never was forsworn;
Scarcely have coveted what was mine own;
At no time broke my faith; would not betray
The devil to his fellow; and delight
No less in truth than life: my first false speaking
Was this upon myself. What I am truly,
Is thine and my poor country’s to command:
Whither, indeed, before thy here-approach,
Old Siward, with ten thousand warlike men,
Already at a point, was setting forth.
Now we’ll together, and the chance of goodness
Be like our warranted quarrel. Why are you silent?
MACDUFF.
Such welcome and unwelcome things at once
’Tis hard to reconcile.
Enter a Doctor.
MALCOLM.
Well; more anon.—Comes the King forth, I pray you?
DOCTOR.
Ay, sir. There are a crew of wretched souls
That stay his cure: their malady convinces
The great assay of art; but at his touch,
Such sanctity hath heaven given his hand,
They presently amend.
MALCOLM.
I thank you, doctor.
[_Exit Doctor._]
MACDUFF.
What’s the disease he means?
MALCOLM.
’Tis call’d the evil:
A most miraculous work in this good king;
Which often, since my here-remain in England,
I have seen him do. How he solicits heaven,
Himself best knows, but strangely-visited people,
All swoln and ulcerous, pitiful to the eye,
The mere despair of surgery, he cures;
Hanging a golden stamp about their necks,
Put on with holy prayers: and ’tis spoken,
To the succeeding royalty he leaves
The healing benediction. With this strange virtue,
He hath a heavenly gift of prophecy;
And sundry blessings hang about his throne,
That speak him full of grace.
Enter Ross.
MACDUFF.
See, who comes here?
MALCOLM.
My countryman; but yet I know him not.
MACDUFF.
My ever-gentle cousin, welcome hither.
MALCOLM.
I know him now. Good God, betimes remove
The means that makes us strangers!
ROSS.
Sir, amen.
MACDUFF.
Stands Scotland where it did?
ROSS.
Alas, poor country,
Almost afraid to know itself! It cannot
Be call’d our mother, but our grave, where nothing,
But who knows nothing, is once seen to smile;
Where sighs, and groans, and shrieks, that rent the air,
Are made, not mark’d; where violent sorrow seems
A modern ecstasy. The dead man’s knell
Is there scarce ask’d for who; and good men’s lives
Expire before the flowers in their caps,
Dying or ere they sicken.
MACDUFF.
O, relation
Too nice, and yet too true!
MALCOLM.
What’s the newest grief?
ROSS.
That of an hour’s age doth hiss the speaker;
Each minute teems a new one.
MACDUFF.
How does my wife?
ROSS.
Why, well.
MACDUFF.
And all my children?
ROSS.
Well too.
MACDUFF.
The tyrant has not batter’d at their peace?
ROSS.
No; they were well at peace when I did leave ’em.
MACDUFF.
Be not a niggard of your speech: how goes’t?
ROSS.
When I came hither to transport the tidings,
Which I have heavily borne, there ran a rumour
Of many worthy fellows that were out;
Which was to my belief witness’d the rather,
For that I saw the tyrant’s power afoot.
Now is the time of help. Your eye in Scotland
Would create soldiers, make our women fight,
To doff their dire distresses.
MALCOLM.
Be’t their comfort
We are coming thither. Gracious England hath
Lent us good Siward and ten thousand men;
An older and a better soldier none
That Christendom gives out.
ROSS.
Would I could answer
This comfort with the like! But I have words
That would be howl’d out in the desert air,
Where hearing should not latch them.
MACDUFF.
What concern they?
The general cause? or is it a fee-grief
Due to some single breast?
ROSS.
No mind that’s honest
But in it shares some woe, though the main part
Pertains to you alone.
MACDUFF.
If it be mine,
Keep it not from me, quickly let me have it.
ROSS.
Let not your ears despise my tongue for ever,
Which shall possess them with the heaviest sound
That ever yet they heard.
MACDUFF.
Humh! I guess at it.
ROSS.
Your castle is surpris’d; your wife and babes
Savagely slaughter’d. To relate the manner
Were, on the quarry of these murder’d deer,
To add the death of you.
MALCOLM.
Merciful heaven!—
What, man! ne’er pull your hat upon your brows.
Give sorrow words. The grief that does not speak
Whispers the o’er-fraught heart, and bids it break.
MACDUFF.
My children too?
ROSS.
Wife, children, servants, all
That could be found.
MACDUFF.
And I must be from thence!
My wife kill’d too?
ROSS.
I have said.
MALCOLM.
Be comforted:
Let’s make us med’cines of our great revenge,
To cure this deadly grief.
MACDUFF.
He has no children.—All my pretty ones?
Did you say all?—O hell-kite!—All?
What, all my pretty chickens and their dam
At one fell swoop?
MALCOLM.
Dispute it like a man.
MACDUFF.
I shall do so;
But I must also feel it as a man:
I cannot but remember such things were,
That were most precious to me.—Did heaven look on,
And would not take their part? Sinful Macduff,
They were all struck for thee! Naught that I am,
Not for their own demerits, but for mine,
Fell slaughter on their souls: heaven rest them now!
MALCOLM.
Be this the whetstone of your sword. Let grief
Convert to anger; blunt not the heart, enrage it.
MACDUFF.
O, I could play the woman with mine eyes,
And braggart with my tongue!—But, gentle heavens,
Cut short all intermission; front to front,
Bring thou this fiend of Scotland and myself;
Within my sword’s length set him; if he ’scape,
Heaven forgive him too!
MALCOLM.
This tune goes manly.
Come, go we to the King. Our power is ready;
Our lack is nothing but our leave. Macbeth
Is ripe for shaking, and the powers above
Put on their instruments. Receive what cheer you may;
The night is long that never finds the day.
[_Exeunt._]
ACT V
SCENE I. Dunsinane. A Room in the Castle.
Enter a Doctor of Physic and a Waiting-Gentlewoman.
DOCTOR.
I have two nights watched with you, but can perceive no truth in your
report. When was it she last walked?
GENTLEWOMAN.
Since his Majesty went into the field, I have seen her rise from her
bed, throw her nightgown upon her, unlock her closet, take forth paper,
fold it, write upon’t, read it, afterwards seal it, and again return to
bed; yet all this while in a most fast sleep.
DOCTOR.
A great perturbation in nature, to receive at once the benefit of
sleep, and do the effects of watching. In this slumbery agitation,
besides her walking and other actual performances, what, at any time,
have you heard her say?
GENTLEWOMAN.
That, sir, which I will not report after her.
DOCTOR.
You may to me; and ’tis most meet you should.
GENTLEWOMAN.
Neither to you nor anyone; having no witness to confirm my speech.
Enter Lady Macbeth with a taper.
Lo you, here she comes! This is her very guise; and, upon my life, fast
asleep. Observe her; stand close.
DOCTOR.
How came she by that light?
GENTLEWOMAN.
Why, it stood by her: she has light by her continually; ’tis her
command.
DOCTOR.
You see, her eyes are open.
GENTLEWOMAN.
Ay, but their sense are shut.
DOCTOR.
What is it she does now? Look how she rubs her hands.
GENTLEWOMAN.
It is an accustomed action with her, to seem thus washing her hands. I
have known her continue in this a quarter of an hour.
LADY MACBETH.
Yet here’s a spot.
DOCTOR.
Hark, she speaks. I will set down what comes from her, to satisfy my
remembrance the more strongly.
LADY MACBETH.
Out, damned spot! out, I say! One; two. Why, then ’tis time to do’t.
Hell is murky! Fie, my lord, fie! a soldier, and afeard? What need we
fear who knows it, when none can call our power to account? Yet who
would have thought the old man to have had so much blood in him?
DOCTOR.
Do you mark that?
LADY MACBETH.
The Thane of Fife had a wife. Where is she now?—What, will these hands
ne’er be clean? No more o’ that, my lord, no more o’ that: you mar all
with this starting.
DOCTOR.
Go to, go to. You have known what you should not.
GENTLEWOMAN.
She has spoke what she should not, I am sure of that: heaven knows what
she has known.
LADY MACBETH.
Here’s the smell of the blood still: all the perfumes of Arabia will
not sweeten this little hand. Oh, oh, oh!
DOCTOR.
What a sigh is there! The heart is sorely charged.
GENTLEWOMAN.
I would not have such a heart in my bosom for the dignity of the whole
body.
DOCTOR.
Well, well, well.
GENTLEWOMAN.
Pray God it be, sir.
DOCTOR.
This disease is beyond my practice: yet I have known those which have
walked in their sleep, who have died holily in their beds.
LADY MACBETH.
Wash your hands, put on your nightgown; look not so pale. I tell you
yet again, Banquo’s buried; he cannot come out on’s grave.
DOCTOR.
Even so?
LADY MACBETH.
To bed, to bed. There’s knocking at the gate. Come, come, come, come,
give me your hand. What’s done cannot be undone. To bed, to bed, to
bed.
[_Exit._]
DOCTOR.
Will she go now to bed?
GENTLEWOMAN.
Directly.
DOCTOR.
Foul whisp’rings are abroad. Unnatural deeds
Do breed unnatural troubles: infected minds
To their deaf pillows will discharge their secrets.
More needs she the divine than the physician.—
God, God, forgive us all! Look after her;
Remove from her the means of all annoyance,
And still keep eyes upon her. So, good night:
My mind she has mated, and amaz’d my sight.
I think, but dare not speak.
GENTLEWOMAN.
Good night, good doctor.
[_Exeunt._]
SCENE II. The Country near Dunsinane.
Enter, with drum and colours Menteith, Caithness, Angus, Lennox and
Soldiers.
MENTEITH.
The English power is near, led on by Malcolm,
His uncle Siward, and the good Macduff.
Revenges burn in them; for their dear causes
Would to the bleeding and the grim alarm
Excite the mortified man.
ANGUS.
Near Birnam wood
Shall we well meet them. That way are they coming.
CAITHNESS.
Who knows if Donalbain be with his brother?
LENNOX.
For certain, sir, he is not. I have a file
Of all the gentry: there is Siward’s son
And many unrough youths, that even now
Protest their first of manhood.
MENTEITH.
What does the tyrant?
CAITHNESS.
Great Dunsinane he strongly fortifies.
Some say he’s mad; others, that lesser hate him,
Do call it valiant fury: but, for certain,
He cannot buckle his distemper’d cause
Within the belt of rule.
ANGUS.
Now does he feel
His secret murders sticking on his hands;
Now minutely revolts upbraid his faith-breach;
Those he commands move only in command,
Nothing in love: now does he feel his title
Hang loose about him, like a giant’s robe
Upon a dwarfish thief.
MENTEITH.
Who, then, shall blame
His pester’d senses to recoil and start,
When all that is within him does condemn
Itself for being there?
CAITHNESS.
Well, march we on,
To give obedience where ’tis truly ow’d:
Meet we the med’cine of the sickly weal;
And with him pour we, in our country’s purge,
Each drop of us.
LENNOX.
Or so much as it needs
To dew the sovereign flower, and drown the weeds.
Make we our march towards Birnam.
[_Exeunt, marching._]
SCENE III. Dunsinane. A Room in the Castle.
Enter Macbeth, Doctor and Attendants.
MACBETH.
Bring me no more reports; let them fly all:
Till Birnam wood remove to Dunsinane
I cannot taint with fear. What’s the boy Malcolm?
Was he not born of woman? The spirits that know
All mortal consequences have pronounc’d me thus:
“Fear not, Macbeth; no man that’s born of woman
Shall e’er have power upon thee.”—Then fly, false thanes,
And mingle with the English epicures:
The mind I sway by, and the heart I bear,
Shall never sag with doubt nor shake with fear.
Enter a Servant.
The devil damn thee black, thou cream-fac’d loon!
Where gott’st thou that goose look?
SERVANT.
There is ten thousand—
MACBETH.
Geese, villain?
SERVANT.
Soldiers, sir.
MACBETH.
Go prick thy face and over-red thy fear,
Thou lily-liver’d boy. What soldiers, patch?
Death of thy soul! those linen cheeks of thine
Are counsellors to fear. What soldiers, whey-face?
SERVANT.
The English force, so please you.
MACBETH.
Take thy face hence.
[_Exit Servant._]
Seyton!—I am sick at heart,
When I behold—Seyton, I say!—This push
Will cheer me ever or disseat me now.
I have liv’d long enough: my way of life
Is fall’n into the sere, the yellow leaf;
And that which should accompany old age,
As honour, love, obedience, troops of friends,
I must not look to have; but, in their stead,
Curses, not loud but deep, mouth-honour, breath,
Which the poor heart would fain deny, and dare not.
Seyton!—
Enter Seyton.
SEYTON.
What’s your gracious pleasure?
MACBETH.
What news more?
SEYTON.
All is confirm’d, my lord, which was reported.
MACBETH.
I’ll fight till from my bones my flesh be hack’d.
Give me my armour.
SEYTON.
’Tis not needed yet.
MACBETH.
I’ll put it on.
Send out more horses, skirr the country round;
Hang those that talk of fear. Give me mine armour.—
How does your patient, doctor?
DOCTOR.
Not so sick, my lord,
As she is troubled with thick-coming fancies,
That keep her from her rest.
MACBETH.
Cure her of that:
Canst thou not minister to a mind diseas’d,
Pluck from the memory a rooted sorrow,
Raze out the written troubles of the brain,
And with some sweet oblivious antidote
Cleanse the stuff’d bosom of that perilous stuff
Which weighs upon the heart?
DOCTOR.
Therein the patient
Must minister to himself.
MACBETH.
Throw physic to the dogs, I’ll none of it.
Come, put mine armour on; give me my staff:
Seyton, send out.—Doctor, the Thanes fly from me.—
Come, sir, despatch.—If thou couldst, doctor, cast
The water of my land, find her disease,
And purge it to a sound and pristine health,
I would applaud thee to the very echo,
That should applaud again.—Pull’t off, I say.—
What rhubarb, senna, or what purgative drug,
Would scour these English hence? Hear’st thou of them?
DOCTOR.
Ay, my good lord. Your royal preparation
Makes us hear something.
MACBETH.
Bring it after me.—
I will not be afraid of death and bane,
Till Birnam forest come to Dunsinane.
[_Exeunt all except Doctor._]
DOCTOR.
Were I from Dunsinane away and clear,
Profit again should hardly draw me here.
[_Exit._]
SCENE IV. Country near Dunsinane: a Wood in view.
Enter, with drum and colours Malcolm, old Siward and his Son, Macduff,
Menteith, Caithness, Angus, Lennox, Ross and Soldiers, marching.
MALCOLM.
Cousins, I hope the days are near at hand
That chambers will be safe.
MENTEITH.
We doubt it nothing.
SIWARD.
What wood is this before us?
MENTEITH.
The wood of Birnam.
MALCOLM.
Let every soldier hew him down a bough,
And bear’t before him. Thereby shall we shadow
The numbers of our host, and make discovery
Err in report of us.
SOLDIERS.
It shall be done.
SIWARD.
We learn no other but the confident tyrant
Keeps still in Dunsinane, and will endure
Our setting down before’t.
MALCOLM.
’Tis his main hope;
For where there is advantage to be given,
Both more and less have given him the revolt,
And none serve with him but constrained things,
Whose hearts are absent too.
MACDUFF.
Let our just censures
Attend the true event, and put we on
Industrious soldiership.
SIWARD.
The time approaches,
That will with due decision make us know
What we shall say we have, and what we owe.
Thoughts speculative their unsure hopes relate,
But certain issue strokes must arbitrate;
Towards which advance the war.
[_Exeunt, marching._]
SCENE V. Dunsinane. Within the castle.
Enter with drum and colours, Macbeth, Seyton and Soldiers.
MACBETH.
Hang out our banners on the outward walls;
The cry is still, “They come!” Our castle’s strength
Will laugh a siege to scorn: here let them lie
Till famine and the ague eat them up.
Were they not forc’d with those that should be ours,
We might have met them dareful, beard to beard,
And beat them backward home.
[_A cry of women within._]
What is that noise?
SEYTON.
It is the cry of women, my good lord.
[_Exit._]
MACBETH.
I have almost forgot the taste of fears.
The time has been, my senses would have cool’d
To hear a night-shriek; and my fell of hair
Would at a dismal treatise rouse and stir
As life were in’t. I have supp’d full with horrors;
Direness, familiar to my slaughterous thoughts,
Cannot once start me.
Enter Seyton.
Wherefore was that cry?
SEYTON.
The Queen, my lord, is dead.
MACBETH.
She should have died hereafter.
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow; a poor player,
That struts and frets his hour upon the stage,
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
Enter a Messenger.
Thou com’st to use thy tongue; thy story quickly.
MESSENGER.
Gracious my lord,
I should report that which I say I saw,
But know not how to do’t.
MACBETH.
Well, say, sir.
MESSENGER.
As I did stand my watch upon the hill,
I look’d toward Birnam, and anon, methought,
The wood began to move.
MACBETH.
Liar, and slave!
MESSENGER.
Let me endure your wrath, if’t be not so.
Within this three mile may you see it coming;
I say, a moving grove.
MACBETH.
If thou speak’st false,
Upon the next tree shalt thou hang alive,
Till famine cling thee: if thy speech be sooth,
I care not if thou dost for me as much.—
I pull in resolution; and begin
To doubt th’ equivocation of the fiend,
That lies like truth. “Fear not, till Birnam wood
Do come to Dunsinane;” and now a wood
Comes toward Dunsinane.—Arm, arm, and out!—
If this which he avouches does appear,
There is nor flying hence nor tarrying here.
I ’gin to be aweary of the sun,
And wish th’ estate o’ th’ world were now undone.—
Ring the alarum bell!—Blow, wind! come, wrack!
At least we’ll die with harness on our back.
[_Exeunt._]
SCENE VI. The same. A Plain before the Castle.
Enter, with drum and colours, Malcolm, old Siward, Macduff and their
Army, with boughs.
MALCOLM.
Now near enough. Your leafy screens throw down,
And show like those you are.—You, worthy uncle,
Shall with my cousin, your right noble son,
Lead our first battle: worthy Macduff and we
Shall take upon’s what else remains to do,
According to our order.
SIWARD.
Fare you well.—
Do we but find the tyrant’s power tonight,
Let us be beaten, if we cannot fight.
MACDUFF.
Make all our trumpets speak; give them all breath,
Those clamorous harbingers of blood and death.
[_Exeunt._]
SCENE VII. The same. Another part of the Plain.
Alarums. Enter Macbeth.
MACBETH.
They have tied me to a stake. I cannot fly,
But, bear-like I must fight the course.—What’s he
That was not born of woman? Such a one
Am I to fear, or none.
Enter young Siward.
YOUNG SIWARD.
What is thy name?
MACBETH.
Thou’lt be afraid to hear it.
YOUNG SIWARD.
No; though thou call’st thyself a hotter name
Than any is in hell.
MACBETH.
My name’s Macbeth.
YOUNG SIWARD.
The devil himself could not pronounce a title
More hateful to mine ear.
MACBETH.
No, nor more fearful.
YOUNG SIWARD.
Thou liest, abhorred tyrant. With my sword
I’ll prove the lie thou speak’st.
[_They fight, and young Siward is slain._]
MACBETH.
Thou wast born of woman.
But swords I smile at, weapons laugh to scorn,
Brandish’d by man that’s of a woman born.
[_Exit._]
Alarums. Enter Macduff.
MACDUFF.
That way the noise is.—Tyrant, show thy face!
If thou be’st slain and with no stroke of mine,
My wife and children’s ghosts will haunt me still.
I cannot strike at wretched kerns, whose arms
Are hired to bear their staves. Either thou, Macbeth,
Or else my sword, with an unbatter’d edge,
I sheathe again undeeded. There thou shouldst be;
By this great clatter, one of greatest note
Seems bruited. Let me find him, Fortune!
And more I beg not.
[_Exit. Alarums._]
Enter Malcolm and old Siward.
SIWARD.
This way, my lord;—the castle’s gently render’d:
The tyrant’s people on both sides do fight;
The noble thanes do bravely in the war,
The day almost itself professes yours,
And little is to do.
MALCOLM.
We have met with foes
That strike beside us.
SIWARD.
Enter, sir, the castle.
[_Exeunt. Alarums._]
SCENE VIII. The same. Another part of the field.
Enter Macbeth.
MACBETH.
Why should I play the Roman fool, and die
On mine own sword? whiles I see lives, the gashes
Do better upon them.
Enter Macduff.
MACDUFF.
Turn, hell-hound, turn!
MACBETH.
Of all men else I have avoided thee:
But get thee back; my soul is too much charg’d
With blood of thine already.
MACDUFF.
I have no words;
My voice is in my sword: thou bloodier villain
Than terms can give thee out!
[_They fight._]
MACBETH.
Thou losest labour:
As easy mayst thou the intrenchant air
With thy keen sword impress, as make me bleed:
Let fall thy blade on vulnerable crests;
I bear a charmed life, which must not yield
To one of woman born.
MACDUFF.
Despair thy charm;
And let the angel whom thou still hast serv’d
Tell thee, Macduff was from his mother’s womb
Untimely ripp’d.
MACBETH.
Accursed be that tongue that tells me so,
For it hath cow’d my better part of man!
And be these juggling fiends no more believ’d,
That palter with us in a double sense;
That keep the word of promise to our ear,
And break it to our hope!—I’ll not fight with thee.
MACDUFF.
Then yield thee, coward,
And live to be the show and gaze o’ th’ time.
We’ll have thee, as our rarer monsters are,
Painted upon a pole, and underwrit,
“Here may you see the tyrant.”
MACBETH.
I will not yield,
To kiss the ground before young Malcolm’s feet,
And to be baited with the rabble’s curse.
Though Birnam wood be come to Dunsinane,
And thou oppos’d, being of no woman born,
Yet I will try the last. Before my body
I throw my warlike shield | 0.107852 | 0.209706 | 1,057 | 114 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
cbc637fca788f63f2cb28ec35af60482bd09c638 | Romeo and Juliet | [
"William Shakespeare"
] | 1,597 | Guards, Watchmen and Attendants.
SCENE. During the greater part of the Play in Verona; once, in the
Fifth Act, at Mantua.
THE PROLOGUE
Enter Chorus.
CHORUS.
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whose misadventur’d piteous overthrows
Doth with their death bury their parents’ strife.
The fearful passage of their death-mark’d love,
And the continuance of their parents’ rage,
Which, but their children’s end, nought could remove,
Is now the two hours’ traffic of our stage;
The which, if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
[_Exit._]
ACT I
SCENE I. A public place.
Enter Sampson and Gregory armed with swords and bucklers.
SAMPSON.
Gregory, on my word, we’ll not carry coals.
GREGORY.
No, for then we should be colliers.
SAMPSON.
I mean, if we be in choler, we’ll draw.
GREGORY.
Ay, while you live, draw your neck out o’ the collar.
SAMPSON.
I strike quickly, being moved.
GREGORY.
But thou art not quickly moved to strike.
SAMPSON.
A dog of the house of Montague moves me.
GREGORY.
To move is to stir; and to be valiant is to stand: therefore, if thou
art moved, thou runn’st away.
SAMPSON.
A dog of that house shall move me to stand.
I will take the wall of any man or maid of Montague’s.
GREGORY.
That shows thee a weak slave, for the weakest goes to the wall.
SAMPSON.
True, and therefore women, being the weaker vessels, are ever thrust to
the wall: therefore I will push Montague’s men from the wall, and
thrust his maids to the wall.
GREGORY.
The quarrel is between our masters and us their men.
SAMPSON.
’Tis all one, I will show myself a tyrant: when I have fought with the
men I will be civil with the maids, I will cut off their heads.
GREGORY.
The heads of the maids?
SAMPSON.
Ay, the heads of the maids, or their maidenheads; take it in what sense
thou wilt.
GREGORY.
They must take it in sense that feel it.
SAMPSON.
Me they shall feel while I am able to stand: and ’tis known I am a
pretty piece of flesh.
GREGORY.
’Tis well thou art not fish; if thou hadst, thou hadst been poor John.
Draw thy tool; here comes of the house of Montagues.
Enter Abram and Balthasar.
SAMPSON.
My naked weapon is out: quarrel, I will back thee.
GREGORY.
How? Turn thy back and run?
SAMPSON.
Fear me not.
GREGORY.
No, marry; I fear thee!
SAMPSON.
Let us take the law of our sides; let them begin.
GREGORY.
I will frown as I pass by, and let them take it as they list.
SAMPSON.
Nay, as they dare. I will bite my thumb at them, which is disgrace to
them if they bear it.
ABRAM.
Do you bite your thumb at us, sir?
SAMPSON.
I do bite my thumb, sir.
ABRAM.
Do you bite your thumb at us, sir?
SAMPSON.
Is the law of our side if I say ay?
GREGORY.
No.
SAMPSON.
No sir, I do not bite my thumb at you, sir; but I bite my thumb, sir.
GREGORY.
Do you quarrel, sir?
ABRAM.
Quarrel, sir? No, sir.
SAMPSON.
But if you do, sir, I am for you. I serve as good a man as you.
ABRAM.
No better.
SAMPSON.
Well, sir.
Enter Benvolio.
GREGORY.
Say better; here comes one of my master’s kinsmen.
SAMPSON.
Yes, better, sir.
ABRAM.
You lie.
SAMPSON.
Draw, if you be men. Gregory, remember thy washing blow.
[_They fight._]
BENVOLIO.
Part, fools! put up your swords, you know not what you do.
[_Beats down their swords._]
Enter Tybalt.
TYBALT.
What, art thou drawn among these heartless hinds?
Turn thee Benvolio, look upon thy death.
BENVOLIO.
I do but keep the peace, put up thy sword,
Or manage it to part these men with me.
TYBALT.
What, drawn, and talk of peace? I hate the word
As I hate hell, all Montagues, and thee:
Have at thee, coward.
[_They fight._]
Enter three or four Citizens with clubs.
FIRST CITIZEN.
Clubs, bills and partisans! Strike! Beat them down!
Down with the Capulets! Down with the Montagues!
Enter Capulet in his gown, and Lady Capulet.
CAPULET.
What noise is this? Give me my long sword, ho!
LADY CAPULET.
A crutch, a crutch! Why call you for a sword?
CAPULET.
My sword, I say! Old Montague is come,
And flourishes his blade in spite of me.
Enter Montague and his Lady Montague.
MONTAGUE.
Thou villain Capulet! Hold me not, let me go.
LADY MONTAGUE.
Thou shalt not stir one foot to seek a foe.
Enter Prince Escalus, with Attendants.
PRINCE.
Rebellious subjects, enemies to peace,
Profaners of this neighbour-stained steel,—
Will they not hear? What, ho! You men, you beasts,
That quench the fire of your pernicious rage
With purple fountains issuing from your veins,
On pain of torture, from those bloody hands
Throw your mistemper’d weapons to the ground
And hear the sentence of your moved prince.
Three civil brawls, bred of an airy word,
By thee, old Capulet, and Montague,
Have thrice disturb’d the quiet of our streets,
And made Verona’s ancient citizens
Cast by their grave beseeming ornaments,
To wield old partisans, in hands as old,
Canker’d with peace, to part your canker’d hate.
If ever you disturb our streets again,
Your lives shall pay the forfeit of the peace.
For this time all the rest depart away:
You, Capulet, shall go along with me,
And Montague, come you this afternoon,
To know our farther pleasure in this case,
To old Free-town, our common judgement-place.
Once more, on pain of death, all men depart.
[_Exeunt Prince and Attendants; Capulet, Lady Capulet, Tybalt,
Citizens and Servants._]
MONTAGUE.
Who set this ancient quarrel new abroach?
Speak, nephew, were you by when it began?
BENVOLIO.
Here were the servants of your adversary
And yours, close fighting ere I did approach.
I drew to part them, in the instant came
The fiery Tybalt, with his sword prepar’d,
Which, as he breath’d defiance to my ears,
He swung about his head, and cut the winds,
Who nothing hurt withal, hiss’d him in scorn.
While we were interchanging thrusts and blows
Came more and more, and fought on part and part,
Till the Prince came, who parted either part.
LADY MONTAGUE.
O where is Romeo, saw you him today?
Right glad I am he was not at this fray.
BENVOLIO.
Madam, an hour before the worshipp’d sun
Peer’d forth the golden window of the east,
A troubled mind drave me to walk abroad,
Where underneath the grove of sycamore
That westward rooteth from this city side,
So early walking did I see your son.
Towards him I made, but he was ware of me,
And stole into the covert of the wood.
I, measuring his affections by my own,
Which then most sought where most might not be found,
Being one too many by my weary self,
Pursu’d my humour, not pursuing his,
And gladly shunn’d who gladly fled from me.
MONTAGUE.
Many a morning hath he there been seen,
With tears augmenting the fresh morning’s dew,
Adding to clouds more clouds with his deep sighs;
But all so soon as the all-cheering sun
Should in the farthest east begin to draw
The shady curtains from Aurora’s bed,
Away from light steals home my heavy son,
And private in his chamber pens himself,
Shuts up his windows, locks fair daylight out
And makes himself an artificial night.
Black and portentous must this humour prove,
Unless good counsel may the cause remove.
BENVOLIO.
My noble uncle, do you know the cause?
MONTAGUE.
I neither know it nor can learn of him.
BENVOLIO.
Have you importun’d him by any means?
MONTAGUE.
Both by myself and many other friends;
But he, his own affections’ counsellor,
Is to himself—I will not say how true—
But to himself so secret and so close,
So far from sounding and discovery,
As is the bud bit with an envious worm
Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the sun.
Could we but learn from whence his sorrows grow,
We would as willingly give cure as know.
Enter Romeo.
BENVOLIO.
See, where he comes. So please you step aside;
I’ll know his grievance or be much denied.
MONTAGUE.
I would thou wert so happy by thy stay
To hear true shrift. Come, madam, let’s away,
[_Exeunt Montague and Lady Montague._]
BENVOLIO.
Good morrow, cousin.
ROMEO.
Is the day so young?
BENVOLIO.
But new struck nine.
ROMEO.
Ay me, sad hours seem long.
Was that my father that went hence so fast?
BENVOLIO.
It was. What sadness lengthens Romeo’s hours?
ROMEO.
Not having that which, having, makes them short.
BENVOLIO.
In love?
ROMEO.
Out.
BENVOLIO.
Of love?
ROMEO.
Out of her favour where I am in love.
BENVOLIO.
Alas that love so gentle in his view,
Should be so tyrannous and rough in proof.
ROMEO.
Alas that love, whose view is muffled still,
Should, without eyes, see pathways to his will!
Where shall we dine? O me! What fray was here?
Yet tell me not, for I have heard it all.
Here’s much to do with hate, but more with love:
Why, then, O brawling love! O loving hate!
O anything, of nothing first create!
O heavy lightness! serious vanity!
Misshapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
Dost thou not laugh?
BENVOLIO.
No coz, I rather weep.
ROMEO.
Good heart, at what?
BENVOLIO.
At thy good heart’s oppression.
ROMEO.
Why such is love’s transgression.
Griefs of mine own lie heavy in my breast,
Which thou wilt propagate to have it prest
With more of thine. This love that thou hast shown
Doth add more grief to too much of mine own.
Love is a smoke made with the fume of sighs;
Being purg’d, a fire sparkling in lovers’ eyes;
Being vex’d, a sea nourish’d with lovers’ tears:
What is it else? A madness most discreet,
A choking gall, and a preserving sweet.
Farewell, my coz.
[_Going._]
BENVOLIO.
Soft! I will go along:
And if you leave me so, you do me wrong.
ROMEO.
Tut! I have lost myself; I am not here.
This is not Romeo, he’s some other where.
BENVOLIO.
Tell me in sadness who is that you love?
ROMEO.
What, shall I groan and tell thee?
BENVOLIO.
Groan! Why, no; but sadly tell me who.
ROMEO.
Bid a sick man in sadness make his will,
A word ill urg’d to one that is so ill.
In sadness, cousin, I do love a woman.
BENVOLIO.
I aim’d so near when I suppos’d you lov’d.
ROMEO.
A right good markman, and she’s fair I love.
BENVOLIO.
A right fair mark, fair coz, is soonest hit.
ROMEO.
Well, in that hit you miss: she’ll not be hit
With Cupid’s arrow, she hath Dian’s wit;
And in strong proof of chastity well arm’d,
From love’s weak childish bow she lives uncharm’d.
She will not stay the siege of loving terms
Nor bide th’encounter of assailing eyes,
Nor ope her lap to saint-seducing gold:
O she’s rich in beauty, only poor
That when she dies, with beauty dies her store.
BENVOLIO.
Then she hath sworn that she will still live chaste?
ROMEO.
She hath, and in that sparing makes huge waste;
For beauty starv’d with her severity,
Cuts beauty off from all posterity.
She is too fair, too wise; wisely too fair,
To merit bliss by making me despair.
She hath forsworn to love, and in that vow
Do I live dead, that live to tell it now.
BENVOLIO.
Be rul’d by me, forget to think of her.
ROMEO.
O teach me how I should forget to think.
BENVOLIO.
By giving liberty unto thine eyes;
Examine other beauties.
ROMEO.
’Tis the way
To call hers, exquisite, in question more.
These happy masks that kiss fair ladies’ brows,
Being black, puts us in mind they hide the fair;
He that is strucken blind cannot forget
The precious treasure of his eyesight lost.
Show me a mistress that is passing fair,
What doth her beauty serve but as a note
Where I may read who pass’d that passing fair?
Farewell, thou canst not teach me to forget.
BENVOLIO.
I’ll pay that doctrine, or else die in debt.
[_Exeunt._]
SCENE II. A Street.
Enter Capulet, Paris and Servant.
CAPULET.
But Montague is bound as well as I,
In penalty alike; and ’tis not hard, I think,
For men so old as we to keep the peace.
PARIS.
Of honourable reckoning are you both,
And pity ’tis you liv’d at odds so long.
But now my lord, what say you to my suit?
CAPULET.
But saying o’er what I have said before.
My child is yet a stranger in the world,
She hath not seen the change of fourteen years;
Let two more summers wither in their pride
Ere we may think her ripe to be a bride.
PARIS.
Younger than she are happy mothers made.
CAPULET.
And too soon marr’d are those so early made.
The earth hath swallowed all my hopes but she,
She is the hopeful lady of my earth:
But woo her, gentle Paris, get her heart,
My will to her consent is but a part;
And she agree, within her scope of choice
Lies my consent and fair according voice.
This night I hold an old accustom’d feast,
Whereto I have invited many a guest,
Such as I love, and you among the store,
One more, most welcome, makes my number more.
At my poor house look to behold this night
Earth-treading stars that make dark heaven light:
Such comfort as do lusty young men feel
When well apparell’d April on the heel
Of limping winter treads, even such delight
Among fresh female buds shall you this night
Inherit at my house. Hear all, all see,
And like her most whose merit most shall be:
Which, on more view of many, mine, being one,
May stand in number, though in reckoning none.
Come, go with me. Go, sirrah, trudge about
Through fair Verona; find those persons out
Whose names are written there, [_gives a paper_] and to them say,
My house and welcome on their pleasure stay.
[_Exeunt Capulet and Paris._]
SERVANT.
Find them out whose names are written here! It is written that the
shoemaker should meddle with his yard and the tailor with his last, the
fisher with his pencil, and the painter with his nets; but I am sent to
find those persons whose names are here writ, and can never find what
names the writing person hath here writ. I must to the learned. In good
time!
Enter Benvolio and Romeo.
BENVOLIO.
Tut, man, one fire burns out another’s burning,
One pain is lessen’d by another’s anguish;
Turn giddy, and be holp by backward turning;
One desperate grief cures with another’s languish:
Take thou some new infection to thy eye,
And the rank poison of the old will die.
ROMEO.
Your plantain leaf is excellent for that.
BENVOLIO.
For what, I pray thee?
ROMEO.
For your broken shin.
BENVOLIO.
Why, Romeo, art thou mad?
ROMEO.
Not mad, but bound more than a madman is:
Shut up in prison, kept without my food,
Whipp’d and tormented and—God-den, good fellow.
SERVANT.
God gi’ go-den. I pray, sir, can you read?
ROMEO.
Ay, mine own fortune in my misery.
SERVANT.
Perhaps you have learned it without book.
But I pray, can you read anything you see?
ROMEO.
Ay, If I know the letters and the language.
SERVANT.
Ye say honestly, rest you merry!
ROMEO.
Stay, fellow; I can read.
[_He reads the letter._]
_Signior Martino and his wife and daughters;
County Anselmo and his beauteous sisters;
The lady widow of Utruvio;
Signior Placentio and his lovely nieces;
Mercutio and his brother Valentine;
Mine uncle Capulet, his wife, and daughters;
My fair niece Rosaline and Livia;
Signior Valentio and his cousin Tybalt;
Lucio and the lively Helena. _
A fair assembly. [_Gives back the paper_] Whither should they come?
SERVANT.
Up.
ROMEO.
Whither to supper?
SERVANT.
To our house.
ROMEO.
Whose house?
SERVANT.
My master’s.
ROMEO.
Indeed I should have ask’d you that before.
SERVANT.
Now I’ll tell you without asking. My master is the great rich Capulet,
and if you be not of the house of Montagues, I pray come and crush a
cup of wine. Rest you merry.
[_Exit._]
BENVOLIO.
At this same ancient feast of Capulet’s
Sups the fair Rosaline whom thou so lov’st;
With all the admired beauties of Verona.
Go thither and with unattainted eye,
Compare her face with some that I shall show,
And I will make thee think thy swan a crow.
ROMEO.
When the devout religion of mine eye
Maintains such falsehood, then turn tears to fire;
And these who, often drown’d, could never die,
Transparent heretics, be burnt for liars.
One fairer than my love? The all-seeing sun
Ne’er saw her match since first the world begun.
BENVOLIO.
Tut, you saw her fair, none else being by,
Herself pois’d with herself in either eye:
But in that crystal scales let there be weigh’d
Your lady’s love against some other maid
That I will show you shining at this feast,
And she shall scant show well that now shows best.
ROMEO.
I’ll go along, no such sight to be shown,
But to rejoice in splendour of my own.
[_Exeunt._]
SCENE III. Room in Capulet’s House.
Enter Lady Capulet and Nurse.
LADY CAPULET.
Nurse, where’s my daughter? Call her forth to me.
NURSE.
Now, by my maidenhead, at twelve year old,
I bade her come. What, lamb! What ladybird!
God forbid! Where’s this girl? What, Juliet!
Enter Juliet.
JULIET.
How now, who calls?
NURSE.
Your mother.
JULIET.
Madam, I am here. What is your will?
LADY CAPULET.
This is the matter. Nurse, give leave awhile,
We must talk in secret. Nurse, come back again,
I have remember’d me, thou’s hear our counsel.
Thou knowest my daughter’s of a pretty age.
NURSE.
Faith, I can tell her age unto an hour.
LADY CAPULET.
She’s not fourteen.
NURSE.
I’ll lay fourteen of my teeth,
And yet, to my teen be it spoken, I have but four,
She is not fourteen. How long is it now
To Lammas-tide?
LADY CAPULET.
A fortnight and odd days.
NURSE.
Even or odd, of all days in the year,
Come Lammas Eve at night shall she be fourteen.
Susan and she,—God rest all Christian souls!—
Were of an age. Well, Susan is with God;
She was too good for me. But as I said,
On Lammas Eve at night shall she be fourteen;
That shall she, marry; I remember it well.
’Tis since the earthquake now eleven years;
And she was wean’d,—I never shall forget it—,
Of all the days of the year, upon that day:
For I had then laid wormwood to my dug,
Sitting in the sun under the dovehouse wall;
My lord and you were then at Mantua:
Nay, I do bear a brain. But as I said,
When it did taste the wormwood on the nipple
Of my dug and felt it bitter, pretty fool,
To see it tetchy, and fall out with the dug!
Shake, quoth the dovehouse: ’twas no need, I trow,
To bid me trudge.
And since that time it is eleven years;
For then she could stand alone; nay, by th’rood
She could have run and waddled all about;
For even the day before she broke her brow,
And then my husband,—God be with his soul!
A was a merry man,—took up the child:
‘Yea,’ quoth he, ‘dost thou fall upon thy face?
Thou wilt fall backward when thou hast more wit;
Wilt thou not, Jule?’ and, by my holidame,
The pretty wretch left crying, and said ‘Ay’.
To see now how a jest shall come about.
I warrant, and I should live a thousand years,
I never should forget it. ‘Wilt thou not, Jule?’ quoth he;
And, pretty fool, it stinted, and said ‘Ay.’
LADY CAPULET.
Enough of this; I pray thee hold thy peace.
NURSE.
Yes, madam, yet I cannot choose but laugh,
To think it should leave crying, and say ‘Ay’;
And yet I warrant it had upon it brow
A bump as big as a young cockerel’s stone;
A perilous knock, and it cried bitterly.
‘Yea,’ quoth my husband, ‘fall’st upon thy face?
Thou wilt fall backward when thou comest to age;
Wilt thou not, Jule?’ it stinted, and said ‘Ay’.
JULIET.
And stint thou too, I pray thee, Nurse, say I.
NURSE.
Peace, I have done. God mark thee to his grace
Thou wast the prettiest babe that e’er I nurs’d:
And I might live to see thee married once, I have my wish.
LADY CAPULET.
Marry, that marry is the very theme
I came to talk of. Tell me, daughter Juliet,
How stands your disposition to be married?
JULIET.
It is an honour that I dream not of.
NURSE.
An honour! Were not I thine only nurse,
I would say thou hadst suck’d wisdom from thy teat.
LADY CAPULET.
Well, think of marriage now: younger than you,
Here in Verona, ladies of esteem,
Are made already mothers. By my count
I was your mother much upon these years
That you are now a maid. Thus, then, in brief;
The valiant Paris seeks you for his love.
NURSE.
A man, young lady! Lady, such a man
As all the world—why he’s a man of wax.
LADY CAPULET.
Verona’s summer hath not such a flower.
NURSE.
Nay, he’s a flower, in faith a very flower.
LADY CAPULET.
What say you, can you love the gentleman?
This night you shall behold him at our feast;
Read o’er the volume of young Paris’ face,
And find delight writ there with beauty’s pen.
Examine every married lineament,
And see how one another lends content;
And what obscur’d in this fair volume lies,
Find written in the margent of his eyes.
This precious book of love, this unbound lover,
To beautify him, only lacks a cover:
The fish lives in the sea; and ’tis much pride
For fair without the fair within to hide.
That book in many’s eyes doth share the glory,
That in gold clasps locks in the golden story;
So shall you share all that he doth possess,
By having him, making yourself no less.
NURSE.
No less, nay bigger. Women grow by men.
LADY CAPULET.
Speak briefly, can you like of Paris’ love?
JULIET.
I’ll look to like, if looking liking move:
But no more deep will I endart mine eye
Than your consent gives strength to make it fly.
Enter a Servant.
SERVANT.
Madam, the guests are come, supper served up, you called, my young lady
asked for, the Nurse cursed in the pantry, and everything in extremity.
I must hence to wait, I beseech you follow straight.
LADY CAPULET.
We follow thee.
[_Exit Servant._]
Juliet, the County stays.
NURSE.
Go, girl, seek happy nights to happy days.
[_Exeunt._]
SCENE IV. A Street.
Enter Romeo, Mercutio, Benvolio, with five or six Maskers;
Torch-bearers and others.
ROMEO.
What, shall this speech be spoke for our excuse?
Or shall we on without apology?
BENVOLIO.
The date is out of such prolixity:
We’ll have no Cupid hoodwink’d with a scarf,
Bearing a Tartar’s painted bow of lath,
Scaring the ladies like a crow-keeper;
Nor no without-book prologue, faintly spoke
After the prompter, for our entrance:
But let them measure us by what they will,
We’ll measure them a measure, and be gone.
ROMEO.
Give me a torch, I am not for this ambling;
Being but heavy I will bear the light.
MERCUTIO.
Nay, gentle Romeo, we must have you dance.
ROMEO.
Not I, believe me, you have dancing shoes,
With nimble soles, I have a soul of lead
So stakes me to the ground I cannot move.
MERCUTIO.
You are a lover, borrow Cupid’s wings,
And soar with them above a common bound.
ROMEO.
I am too sore enpierced with his shaft
To soar with his light feathers, and so bound,
I cannot bound a pitch above dull woe.
Under love’s heavy burden do I sink.
MERCUTIO.
And, to sink in it, should you burden love;
Too great oppression for a tender thing.
ROMEO.
Is love a tender thing? It is too rough,
Too rude, too boisterous; and it pricks like thorn.
MERCUTIO.
If love be rough with you, be rough with love;
Prick love for pricking, and you beat love down.
Give me a case to put my visage in: [_Putting on a mask._]
A visor for a visor. What care I
What curious eye doth quote deformities?
Here are the beetle-brows shall blush for me.
BENVOLIO.
Come, knock and enter; and no sooner in
But every man betake him to his legs.
ROMEO.
A torch for me: let wantons, light of heart,
Tickle the senseless rushes with their heels;
For I am proverb’d with a grandsire phrase,
I’ll be a candle-holder and look on,
The game was ne’er so fair, and I am done.
MERCUTIO.
Tut, dun’s the mouse, the constable’s own word:
If thou art dun, we’ll draw thee from the mire
Or save your reverence love, wherein thou stickest
Up to the ears. Come, we burn daylight, ho.
ROMEO.
Nay, that’s not so.
MERCUTIO.
I mean sir, in delay
We waste our lights in vain, light lights by day.
Take our good meaning, for our judgment sits
Five times in that ere once in our five wits.
ROMEO.
And we mean well in going to this mask;
But ’tis no wit to go.
MERCUTIO.
Why, may one ask?
ROMEO.
I dreamt a dream tonight.
MERCUTIO.
And so did I.
ROMEO.
Well what was yours?
MERCUTIO.
That dreamers often lie.
ROMEO.
In bed asleep, while they do dream things true.
MERCUTIO.
O, then, I see Queen Mab hath been with you.
She is the fairies’ midwife, and she comes
In shape no bigger than an agate-stone
On the fore-finger of an alderman,
Drawn with a team of little atomies
Over men’s noses as they lie asleep:
Her waggon-spokes made of long spinners’ legs;
The cover, of the wings of grasshoppers;
Her traces, of the smallest spider’s web;
The collars, of the moonshine’s watery beams;
Her whip of cricket’s bone; the lash, of film;
Her waggoner, a small grey-coated gnat,
Not half so big as a round little worm
Prick’d from the lazy finger of a maid:
Her chariot is an empty hazelnut,
Made by the joiner squirrel or old grub,
Time out o’ mind the fairies’ coachmakers.
And in this state she gallops night by night
Through lovers’ brains, and then they dream of love;
O’er courtiers’ knees, that dream on curtsies straight;
O’er lawyers’ fingers, who straight dream on fees;
O’er ladies’ lips, who straight on kisses dream,
Which oft the angry Mab with blisters plagues,
Because their breaths with sweetmeats tainted are:
Sometime she gallops o’er a courtier’s nose,
And then dreams he of smelling out a suit;
And sometime comes she with a tithe-pig’s tail,
Tickling a parson’s nose as a lies asleep,
Then dreams he of another benefice:
Sometime she driveth o’er a soldier’s neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscados, Spanish blades,
Of healths five fathom deep; and then anon
Drums in his ear, at which he starts and wakes;
And, being thus frighted, swears a prayer or two,
And sleeps again. This is that very Mab
That plats the manes of horses in the night;
And bakes the elf-locks in foul sluttish hairs,
Which, once untangled, much misfortune bodes:
This is the hag, when maids lie on their backs,
That presses them, and learns them first to bear,
Making them women of good carriage:
This is she,—
ROMEO.
Peace, peace, Mercutio, peace,
Thou talk’st of nothing.
MERCUTIO.
True, I talk of dreams,
Which are the children of an idle brain,
Begot of nothing but vain fantasy,
Which is as thin of substance as the air,
And more inconstant than the wind, who woos
Even now the frozen bosom of the north,
And, being anger’d, puffs away from thence,
Turning his side to the dew-dropping south.
BENVOLIO.
This wind you talk of blows us from ourselves:
Supper is done, and we shall come too late.
ROMEO.
I fear too early: for my mind misgives
Some consequence yet hanging in the stars,
Shall bitterly begin his fearful date
With this night’s revels; and expire the term
Of a despised life, clos’d in my breast
By some vile forfeit of untimely death.
But he that hath the steerage of my course
Direct my suit. On, lusty gentlemen!
BENVOLIO.
Strike, drum.
[_Exeunt._]
SCENE V. A Hall in Capulet’s House.
Musicians waiting. Enter Servants.
FIRST SERVANT.
Where’s Potpan, that he helps not to take away?
He shift a trencher! He scrape a trencher!
SECOND SERVANT.
When good manners shall lie all in one or two men’s hands, and they
unwash’d too, ’tis a foul thing.
FIRST SERVANT.
Away with the join-stools, remove the court-cupboard, look to the
plate. Good thou, save me a piece of marchpane; and as thou loves me,
let the porter let in Susan Grindstone and Nell. Antony and Potpan!
SECOND SERVANT.
Ay, boy, ready.
FIRST SERVANT.
You are looked for and called for, asked for and sought for, in the
great chamber.
SECOND SERVANT.
We cannot be here and there too. Cheerly, boys. Be brisk awhile, and
the longer liver take all.
[_Exeunt._]
Enter Capulet, &c. with the Guests and Gentlewomen to the Maskers.
CAPULET.
Welcome, gentlemen, ladies that have their toes
Unplagu’d with corns will have a bout with you.
Ah my mistresses, which of you all
Will now deny to dance? She that makes dainty,
She I’ll swear hath corns. Am I come near ye now?
Welcome, gentlemen! I have seen the day
That I have worn a visor, and could tell
A whispering tale in a fair lady’s ear,
Such as would please; ’tis gone, ’tis gone, ’tis gone,
You are welcome, gentlemen! Come, musicians, play.
A hall, a hall, give room! And foot it, girls.
[_Music plays, and they dance._]
More light, you knaves; and turn the tables up,
And quench the fire, the room is grown too hot.
Ah sirrah, this unlook’d-for sport comes well.
Nay sit, nay sit, good cousin Capulet,
For you and I are past our dancing days;
How long is’t now since last yourself and I
Were in a mask?
CAPULET’S COUSIN.
By’r Lady, thirty years.
CAPULET.
What, man, ’tis not so much, ’tis not so much:
’Tis since the nuptial of Lucentio,
Come Pentecost as quickly as it will,
Some five and twenty years; and then we mask’d.
CAPULET’S COUSIN.
’Tis more, ’tis more, his son is elder, sir;
His son is thirty.
CAPULET.
Will you tell me that?
His son was but a ward two years ago.
ROMEO.
What lady is that, which doth enrich the hand
Of yonder knight?
SERVANT.
I know not, sir.
ROMEO.
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
As a rich jewel in an Ethiop’s ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows
As yonder lady o’er her fellows shows.
The measure done, I’ll watch her place of stand,
And touching hers, make blessed my rude hand.
Did my heart love till now? Forswear it, sight!
For I ne’er saw true beauty till this night.
TYBALT.
This by his voice, should be a Montague.
Fetch me my rapier, boy. What, dares the slave
Come hither, cover’d with an antic face,
To fleer and scorn at our solemnity?
Now by the stock and honour of my kin,
To strike him dead I hold it not a sin.
CAPULET.
Why how now, kinsman!
Wherefore storm you so?
TYBALT.
Uncle, this is a Montague, our foe;
A villain that is hither come in spite,
To scorn at our solemnity this night.
CAPULET.
Young Romeo, is it?
TYBALT.
’Tis he, that villain Romeo.
CAPULET.
Content thee, gentle coz, let him alone,
A bears him like a portly gentleman;
And, to say truth, Verona brags of him
To be a virtuous and well-govern’d youth.
I would not for the wealth of all the town
Here in my house do him disparagement.
Therefore be patient, take no note of him,
It is my will; the which if thou respect,
Show a fair presence and put off these frowns,
An ill-beseeming semblance for a feast.
TYBALT.
It fits when such a villain is a guest:
I’ll not endure him.
CAPULET.
He shall be endur’d.
What, goodman boy! I say he shall, go to;
Am I the master here, or you? Go to.
You’ll not endure him! God shall mend my soul,
You’ll make a mutiny among my guests!
You will set cock-a-hoop, you’ll be the man!
TYBALT.
Why, uncle, ’tis a shame.
CAPULET.
Go to, go to!
You are a saucy boy. Is’t so, indeed?
This trick may chance to scathe you, I know what.
You must contrary me! Marry, ’tis time.
Well said, my hearts!—You are a princox; go:
Be quiet, or—More light, more light!—For shame!
I’ll make you quiet. What, cheerly, my hearts.
TYBALT.
Patience perforce with wilful choler meeting
Makes my flesh tremble in their different greeting.
I will withdraw: but this intrusion shall,
Now seeming sweet, convert to bitter gall.
[_Exit._]
ROMEO.
[_To Juliet._] If I profane with my unworthiest hand
This holy shrine, the gentle sin is this,
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET.
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims’ hands do touch,
And palm to palm is holy palmers’ kiss.
ROMEO.
Have not saints lips, and holy palmers too?
JULIET.
Ay, pilgrim, lips that they must use in prayer.
ROMEO.
O, then, dear saint, let lips do what hands do:
They pray, grant thou, lest faith turn to despair.
JULIET.
Saints do not move, though grant for prayers’ sake.
ROMEO.
Then move not while my prayer’s effect I take.
Thus from my lips, by thine my sin is purg’d.
[_Kissing her._]
JULIET.
Then have my lips the sin that they have took.
ROMEO.
Sin from my lips? O trespass sweetly urg’d!
Give me my sin again.
JULIET.
You kiss by the book.
NURSE.
Madam, your mother craves a word with you.
ROMEO.
What is her mother?
NURSE.
Marry, bachelor,
Her mother is the lady of the house,
And a good lady, and a wise and virtuous.
I nurs’d her daughter that you talk’d withal.
I tell you, he that can lay hold of her
Shall have the chinks.
ROMEO.
Is she a Capulet?
O dear account! My life is my foe’s debt.
BENVOLIO.
Away, be gone; the sport is at the best.
ROMEO.
Ay, so I fear; the more is my unrest.
CAPULET.
Nay, gentlemen, prepare not to be gone,
We have a trifling foolish banquet towards.
Is it e’en so? Why then, I thank you all;
I thank you, honest gentlemen; good night.
More torches here! Come on then, let’s to bed.
Ah, sirrah, by my fay, it waxes late,
I’ll to my rest.
[_Exeunt all but Juliet and Nurse._]
JULIET.
Come hither, Nurse. What is yond gentleman?
NURSE.
The son and heir of old Tiberio.
JULIET.
What’s he that now is going out of door?
NURSE.
Marry, that I think be young Petruchio.
JULIET.
What’s he that follows here, that would not dance?
NURSE.
I know not.
JULIET.
Go ask his name. If he be married,
My grave is like to be my wedding bed.
NURSE.
His name is Romeo, and a Montague,
The only son of your great enemy.
JULIET.
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy.
NURSE.
What’s this? What’s this?
JULIET.
A rhyme I learn’d even now
Of one I danc’d withal.
[_One calls within, ‘Juliet’._]
NURSE.
Anon, anon!
Come let’s away, the strangers all are gone.
[_Exeunt._]
ACT II
Enter Chorus.
CHORUS.
Now old desire doth in his deathbed lie,
And young affection gapes to be his heir;
That fair for which love groan’d for and would die,
With tender Juliet match’d, is now not fair.
Now Romeo is belov’d, and loves again,
Alike bewitched by the charm of looks;
But to his foe suppos’d he must complain,
And she steal love’s sweet bait from fearful hooks:
Being held a foe, he may not have access
To breathe such vows as lovers use to swear;
And she as much in love, her means much less
To meet her new beloved anywhere.
But passion lends them power, time means, to meet,
Tempering extremities with extreme sweet.
[_Exit._]
SCENE I. An open place adjoining Capulet’s Garden.
Enter Romeo.
ROMEO.
Can I go forward when my heart is here?
Turn back, dull earth, and find thy centre out.
[_He climbs the wall and leaps down within it._]
Enter Benvolio and Mercutio.
BENVOLIO.
Romeo! My cousin Romeo! Romeo!
MERCUTIO.
He is wise,
And on my life hath stol’n him home to bed.
BENVOLIO.
He ran this way, and leap’d this orchard wall:
Call, good Mercutio.
MERCUTIO.
Nay, I’ll conjure too.
Romeo! Humours! Madman! Passion! Lover!
Appear thou in the likeness of a sigh,
Speak but one rhyme, and I am satisfied;
Cry but ‘Ah me!’ Pronounce but Love and dove;
Speak to my gossip Venus one fair word,
One nickname for her purblind son and heir,
Young Abraham Cupid, he that shot so trim
When King Cophetua lov’d the beggar-maid.
He heareth not, he stirreth not, he moveth not;
The ape is dead, and I must conjure him.
I conjure thee by Rosaline’s bright eyes,
By her high forehead and her scarlet lip,
By her fine foot, straight leg, and quivering thigh,
And the demesnes that there adjacent lie,
That in thy likeness thou appear to us.
BENVOLIO.
An if he hear thee, thou wilt anger him.
MERCUTIO.
This cannot anger him. ’Twould anger him
To raise a spirit in his mistress’ circle,
Of some strange nature, letting it there stand
Till she had laid it, and conjur’d it down;
That were some spite. My invocation
Is fair and honest, and, in his mistress’ name,
I conjure only but to raise up him.
BENVOLIO.
Come, he hath hid himself among these trees
To be consorted with the humorous night.
Blind is his love, and best befits the dark.
MERCUTIO.
If love be blind, love cannot hit the mark.
Now will he sit under a medlar tree,
And wish his mistress were that kind of fruit
As maids call medlars when they laugh alone.
O Romeo, that she were, O that she were
An open-arse and thou a poperin pear!
Romeo, good night. I’ll to my truckle-bed.
This field-bed is too cold for me to sleep.
Come, shall we go?
BENVOLIO.
Go then; for ’tis in vain
To seek him here that means not to be found.
[_Exeunt._]
SCENE II. Capulet’s Garden.
Enter Romeo.
ROMEO.
He jests at scars that never felt a wound.
Juliet appears above at a window.
But soft, what light through yonder window breaks?
It is the east, and Juliet is the sun!
Arise fair sun and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she.
Be not her maid since she is envious;
Her vestal livery is but sick and green,
And none but fools do wear it; cast it off.
It is my lady, O it is my love!
O, that she knew she were!
She speaks, yet she says nothing. What of that?
Her eye discourses, I will answer it.
I am too bold, ’tis not to me she speaks.
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright
That birds would sing and think it were not night.
See how she leans her cheek upon her hand.
O that I were a glove upon that hand,
That I might touch that cheek.
JULIET.
Ay me.
ROMEO.
She speaks.
O speak again bright angel, for thou art
As glorious to this night, being o’er my head,
As is a winged messenger of heaven
Unto the white-upturned wondering eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy-puffing clouds
And sails upon the bosom of the air.
JULIET.
O Romeo, Romeo, wherefore art thou Romeo?
Deny thy father and refuse thy name.
Or if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.
ROMEO.
[_Aside._] Shall I hear more, or shall I speak at this?
JULIET.
’Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What’s Montague? It is nor hand nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O be some other name.
What’s in a name? That which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call’d,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for thy name, which is no part of thee,
Take all myself.
ROMEO.
I take thee at thy word.
Call me but love, and I’ll be new baptis’d;
Henceforth I never will be Romeo.
JULIET.
What man art thou that, thus bescreen’d in night
So stumblest on my counsel?
ROMEO.
By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee.
Had I it written, I would tear the word.
JULIET.
My ears have yet not drunk a hundred words
Of thy tongue’s utterance, yet I know the sound.
Art thou not Romeo, and a Montague?
ROMEO.
Neither, fair maid, if either thee dislike.
JULIET.
How cam’st thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO.
With love’s light wings did I o’erperch these walls,
For stony limits cannot hold love out,
And what love can do, that dares love attempt:
Therefore thy kinsmen are no stop to me.
JULIET.
If they do see thee, they will murder thee.
ROMEO.
Alack, there lies more peril in thine eye
Than twenty of their swords. Look thou but sweet,
And I am proof against their enmity.
JULIET.
I would not for the world they saw thee here.
ROMEO.
I have night’s cloak to hide me from their eyes,
And but thou love me, let them find me here.
My life were better ended by their hate
Than death prorogued, wanting of thy love.
JULIET.
By whose direction found’st thou out this place?
ROMEO.
By love, that first did prompt me to enquire;
He lent me counsel, and I lent him eyes.
I am no pilot; yet wert thou as far
As that vast shore wash’d with the farthest sea,
I should adventure for such merchandise.
JULIET.
Thou knowest the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak tonight.
Fain would I dwell on form, fain, fain deny
What I have spoke; but farewell compliment.
Dost thou love me? I know thou wilt say Ay,
And I will take thy word. Yet, if thou swear’st,
Thou mayst prove false. At lovers’ perjuries,
They say Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully.
Or if thou thinkest I am too quickly won,
I’ll frown and be perverse, and say thee nay,
So thou wilt woo. But else, not for the world.
In truth, fair Montague, I am too fond;
And therefore thou mayst think my ’haviour light:
But trust me, gentleman, I’ll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard’st, ere I was ’ware,
My true-love passion; therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.
ROMEO.
Lady, by yonder blessed moon I vow,
That tips with silver all these fruit-tree tops,—
JULIET.
O swear not by the moon, th’inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
ROMEO.
What shall I swear by?
JULIET.
Do not swear at all.
Or if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I’ll believe thee.
ROMEO.
If my heart’s dear love,—
JULIET.
Well, do not swear. Although I joy in thee,
I have no joy of this contract tonight;
It is too rash, too unadvis’d, too sudden,
Too like the lightning, which doth cease to be
Ere one can say “It lightens.” Sweet, good night.
This bud of love, by summer’s ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night. As sweet repose and rest
Come to thy heart as that within my breast.
ROMEO.
O wilt thou leave me so unsatisfied?
JULIET.
What satisfaction canst thou have tonight?
ROMEO.
Th’exchange of thy love’s faithful vow for mine.
JULIET.
I gave thee mine before thou didst request it;
And yet I would it were to give again.
ROMEO.
Would’st thou withdraw it? For what purpose, love?
JULIET.
But to be frank and give it thee again.
And yet I wish but for the thing I have;
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
I hear some noise within. Dear love, adieu.
[_Nurse calls within._]
Anon, good Nurse!—Sweet Montague be true.
Stay but a little, I will come again.
[_Exit._]
ROMEO.
O blessed, blessed night. I am afeard,
Being in night, all this is but a dream,
Too flattering sweet to be substantial.
Enter Juliet above.
JULIET.
Three words, dear Romeo, and good night indeed.
If that thy bent of love be honourable,
Thy purpose marriage, send me word tomorrow,
By one that I’ll procure to come to thee,
Where and what time thou wilt perform the rite,
And all my fortunes at thy foot I’ll lay
And follow thee my lord throughout the world.
NURSE.
[_Within._] Madam.
JULIET.
I come, anon.— But if thou meanest not well,
I do beseech thee,—
NURSE.
[_Within._] Madam.
JULIET.
By and by I come—
To cease thy strife and leave me to my grief.
Tomorrow will I send.
ROMEO.
So thrive my soul,—
JULIET.
A thousand times good night.
[_Exit._]
ROMEO.
A thousand times the worse, to want thy light.
Love goes toward love as schoolboys from their books,
But love from love, towards school with heavy looks.
[_Retiring slowly._]
Re-enter Juliet, above.
JULIET.
Hist! Romeo, hist! O for a falconer’s voice
To lure this tassel-gentle back again.
Bondage is hoarse and may not speak aloud,
Else would I tear the cave where Echo lies,
And make her airy tongue more hoarse than mine
With repetition of my Romeo’s name.
ROMEO.
It is my soul that calls upon my name.
How silver-sweet sound lovers’ tongues by night,
Like softest music to attending ears.
JULIET.
Romeo.
ROMEO.
My dear?
JULIET.
What o’clock tomorrow
Shall I send to thee?
ROMEO.
By the hour of nine.
JULIET.
I will not fail. ’Tis twenty years till then.
I have forgot why I did call thee back.
ROMEO.
Let me stand here till thou remember it.
JULIET.
I shall forget, to have thee still stand there,
Remembering how I love thy company.
ROMEO.
And I’ll still stay, to have thee still forget,
Forgetting any other home but this.
JULIET.
’Tis almost morning; I would have thee gone,
And yet no farther than a wanton’s bird,
That lets it hop a little from her hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.
ROMEO.
I would I were thy bird.
JULIET.
Sweet, so would I:
Yet I should kill thee with much cherishing.
Good night, good night. Parting is such sweet sorrow
That I shall say good night till it be morrow.
[_Exit._]
ROMEO.
Sleep dwell upon thine eyes, peace in thy breast.
Would I were sleep and peace, so sweet to rest.
Hence will I to my ghostly Sire’s cell,
His help to crave and my dear hap to tell.
[_Exit._]
SCENE III. Friar Lawrence’s Cell.
Enter Friar Lawrence with a basket.
FRIAR LAWRENCE.
The grey-ey’d morn smiles on the frowning night,
Chequering the eastern clouds with streaks of light;
And fleckled darkness like a drunkard reels
From forth day’s pathway, made by Titan’s fiery wheels
Now, ere the sun advance his burning eye,
The day to cheer, and night’s dank dew to dry,
I must upfill this osier cage of ours
With baleful weeds and precious-juiced flowers.
The earth that’s nature’s mother, is her tomb;
What is her burying grave, that is her womb:
And from her womb children of divers kind
We sucking on her natural bosom find.
Many for many virtues excellent,
None but for some, and yet all different.
O, mickle is the powerful grace that lies
In plants, herbs, stones, and their true qualities.
For naught so vile that on the earth doth live
But to the earth some special good doth give;
Nor aught so good but, strain’d from that fair use,
Revolts from true birth, stumbling on abuse.
Virtue itself turns vice being misapplied,
And vice sometime’s by action dignified.
Enter Romeo.
Within the infant rind of this weak flower
Poison hath residence, and medicine power:
For this, being smelt, with that part cheers each part;
Being tasted, slays all senses with the heart.
Two such opposed kings encamp them still
In man as well as herbs,—grace and rude will;
And where the worser is predominant,
Full soon the canker death eats up that plant.
ROMEO.
Good morrow, father.
FRIAR LAWRENCE.
Benedicite!
What early tongue so sweet saluteth me?
Young son, it argues a distemper’d head
So soon to bid good morrow to thy bed.
Care keeps his watch in every old man’s eye,
And where care lodges sleep will never lie;
But where unbruised youth with unstuff’d brain
Doth couch his limbs, there golden sleep doth reign.
Therefore thy earliness doth me assure
Thou art uprous’d with some distemperature;
Or if not so, then here I hit it right,
Our Romeo hath not been in bed tonight.
ROMEO.
That last is true; the sweeter rest was mine.
FRIAR LAWRENCE.
God pardon sin. Wast thou with Rosaline?
ROMEO.
With Rosaline, my ghostly father? No.
I have forgot that name, and that name’s woe.
FRIAR LAWRENCE.
That’s my good son. But where hast thou been then?
ROMEO.
I’ll tell thee ere thou ask it me again.
I have been feasting with mine enemy,
Where on a sudden one hath wounded me
That’s by me wounded. Both our remedies
Within thy help and holy physic lies.
I bear no hatred, blessed man; for lo,
My intercession likewise steads my foe.
FRIAR LAWRENCE.
Be plain, good son, and homely in thy drift;
Riddling confession finds but riddling shrift.
ROMEO.
Then plainly know my heart’s dear love is set
On the fair daughter of rich Capulet.
As mine on hers, so hers is set on mine;
And all combin’d, save what thou must combine
By holy marriage. When, and where, and how
We met, we woo’d, and made exchange of vow,
I’ll tell thee as we pass; but this I pray,
That thou consent to marry us today.
FRIAR LAWRENCE.
Holy Saint Francis! What a change is here!
Is Rosaline, that thou didst love so dear,
So soon forsaken? Young men’s love then lies
Not truly in their hearts, but in their eyes.
Jesu Maria, what a deal of brine
Hath wash’d thy sallow cheeks for Rosaline!
How much salt water thrown away in waste,
To season love, that of it doth not taste.
The sun not yet thy sighs from heaven clears,
Thy old groans yet ring in mine ancient ears.
Lo here upon thy cheek the stain doth sit
Of an old tear that is not wash’d off yet.
If ere thou wast thyself, and these woes thine,
Thou and these woes were all for Rosaline,
And art thou chang’d? Pronounce this sentence then,
Women may fall, when there’s no strength in men.
ROMEO.
Thou chidd’st me oft for loving Rosaline.
FRIAR LAWRENCE.
For doting, not for loving, pupil mine.
ROMEO.
And bad’st me bury love.
FRIAR LAWRENCE.
Not in a grave
To lay one in, another out to have.
ROMEO.
I pray thee chide me not, her I love now
Doth grace for grace and love for love allow.
The other did not so.
FRIAR LAWRENCE.
O, she knew well
Thy love did read by rote, that could not spell.
But come young waverer, come go with me,
In one respect I’ll thy assistant be;
For this alliance may so happy prove,
To turn your households’ rancour to pure love.
ROMEO.
O let us hence; I stand on sudden haste.
FRIAR LAWRENCE.
Wisely and slow; they stumble that run fast.
[_Exeunt._]
SCENE IV. A Street.
Enter Benvolio and Mercutio.
MERCUTIO.
Where the devil should this Romeo be? Came he not home tonight?
BENVOLIO.
Not to his father’s; I spoke with his man.
MERCUTIO.
Why, that same pale hard-hearted wench, that Rosaline, torments him so
that he will sure run mad.
BENVOLIO.
Tybalt, the kinsman to old Capulet, hath sent a letter to his father’s
house.
MERCUTIO.
A challenge, on my life.
BENVOLIO.
Romeo will answer it.
MERCUTIO.
Any man that can write may answer a letter.
BENVOLIO.
Nay, he will answer the letter’s master, how he dares, being dared.
MERCUTIO.
Alas poor Romeo, he is already dead, stabbed with a white wench’s black
eye; run through the ear with a love song, the very pin of his heart
cleft with the blind bow-boy’s butt-shaft. And is he a man to encounter
Tybalt?
BENVOLIO.
Why, what is Tybalt?
MERCUTIO.
More than Prince of cats. O, he’s the courageous captain of
compliments. He fights as you sing prick-song, keeps time, distance,
and proportion. He rests his minim rest, one, two, and the third in
your bosom: the very butcher of a silk button, a duellist, a duellist;
a gentleman of the very first house, of the first and second cause. Ah,
the immortal passado, the punto reverso, the hay.
BENVOLIO.
The what?
MERCUTIO.
The pox of such antic lisping, affecting phantasies; these new tuners
of accent. By Jesu, a very good blade, a very tall man, a very good
whore. Why, is not this a lamentable thing, grandsire, that we should
be thus afflicted with these strange flies, these fashion-mongers,
these pardon-me’s, who stand so much on the new form that they cannot
sit at ease on the old bench? O their bones, their bones!
Enter Romeo.
BENVOLIO.
Here comes Romeo, here comes Romeo!
MERCUTIO.
Without his roe, like a dried herring. O flesh, flesh, how art thou
fishified! Now is he for the numbers that Petrarch flowed in. Laura, to
his lady, was but a kitchen wench,—marry, she had a better love to
berhyme her: Dido a dowdy; Cleopatra a gypsy; Helen and Hero hildings
and harlots; Thisbe a grey eye or so, but not to the purpose. Signior
Romeo, bonjour! There’s a French salutation to your French slop. You
gave us the counterfeit fairly last night.
ROMEO.
Good morrow to you both. What counterfeit did I give you?
MERCUTIO.
The slip sir, the slip; can you not conceive?
ROMEO.
Pardon, good Mercutio, my business was great, and in such a case as
mine a man may strain courtesy.
MERCUTIO.
That’s as much as to say, such a case as yours constrains a man to bow
in the hams.
ROMEO.
Meaning, to curtsy.
MERCUTIO.
Thou hast most kindly hit it.
ROMEO.
A most courteous exposition.
MERCUTIO.
Nay, I am the very pink of courtesy.
ROMEO.
Pink for flower.
MERCUTIO.
Right.
ROMEO.
Why, then is my pump well flowered.
MERCUTIO.
Sure wit, follow me this jest now, till thou hast worn out thy pump,
that when the single sole of it is worn, the jest may remain after the
wearing, solely singular.
ROMEO.
O single-soled jest, solely singular for the singleness!
MERCUTIO.
Come between us, good Benvolio; my wits faint.
ROMEO.
Swits and spurs, swits and spurs; or I’ll cry a match.
MERCUTIO.
Nay, if thy wits run the wild-goose chase, I am done. For thou hast
more of the wild-goose in one of thy wits, than I am sure, I have in my
whole five. Was I with you there for the goose?
ROMEO.
Thou wast never with me for anything, when thou wast not there for the
goose.
MERCUTIO.
I will bite thee by the ear for that jest.
ROMEO.
Nay, good goose, bite not.
MERCUTIO.
Thy wit is a very bitter sweeting, it is a most sharp sauce.
ROMEO.
And is it not then well served in to a sweet goose?
MERCUTIO.
O here’s a wit of cheveril, that stretches from an inch narrow to an
ell broad.
ROMEO.
I stretch it out for that word broad, which added to the goose, proves
thee far and wide a broad goose.
MERCUTIO.
Why, is not this better now than groaning for love? Now art thou
sociable, now art thou Romeo; now art thou what thou art, by art as
well as by nature. For this drivelling love is like a great natural,
that runs lolling up and down to hide his bauble in a hole.
BENVOLIO.
Stop there, stop there.
MERCUTIO.
Thou desirest me to stop in my tale against the hair.
BENVOLIO.
Thou wouldst else have made thy tale large.
MERCUTIO.
O, thou art deceived; I would have made it short, for I was come to the
whole depth of my tale, and meant indeed to occupy the argument no
longer.
Enter Nurse and Peter.
ROMEO.
Here’s goodly gear!
A sail, a sail!
MERCUTIO.
Two, two; a shirt and a smock.
NURSE.
Peter!
PETER.
Anon.
NURSE.
My fan, Peter.
MERCUTIO.
Good Peter, to hide her face; for her fan’s the fairer face.
NURSE.
God ye good morrow, gentlemen.
MERCUTIO.
God ye good-den, fair gentlewoman.
NURSE.
Is it good-den?
MERCUTIO.
’Tis no less, I tell ye; for the bawdy hand of the dial is now upon the
prick of noon.
NURSE.
Out upon you! What a man are you?
ROMEO.
One, gentlewoman, that God hath made for himself to mar.
NURSE.
By my troth, it is well said; for himself to mar, quoth a? Gentlemen,
can any of you tell me where I may find the young Romeo?
ROMEO.
I can tell you: but young Romeo will be older when you have found him
than he was when you sought him. I am the youngest of that name, for
fault of a worse.
NURSE.
You say well.
MERCUTIO.
Yea, is the worst well? Very well took, i’faith; wisely, wisely.
NURSE.
If you be he, sir, I desire some confidence with you.
BENVOLIO.
She will endite him to some supper.
MERCUTIO.
A bawd, a bawd, a bawd! So ho!
ROMEO.
What hast thou found?
MERCUTIO.
No hare, sir; unless a hare, sir, in a lenten pie, that is something
stale and hoar ere it be spent.
[_Sings._]
An old hare hoar,
And an old hare hoar,
Is very good meat in Lent;
But a hare that is hoar
Is too much for a score
When it hoars ere it be spent.
Romeo, will you come to your father’s? We’ll to dinner thither.
ROMEO.
I will follow you.
MERCUTIO.
Farewell, ancient lady; farewell, lady, lady, lady.
[_Exeunt Mercutio and Benvolio._]
NURSE.
I pray you, sir, what saucy merchant was this that was so full of his
ropery?
ROMEO.
A gentleman, Nurse, that loves to hear himself talk, and will speak
more in a minute than he will stand to in a month.
NURSE.
And a speak anything against me, I’ll take him down, and a were lustier
than he is, and twenty such Jacks. And if I cannot, I’ll find those
that shall. Scurvy knave! I am none of his flirt-gills; I am none of
his skains-mates.—And thou must stand by too and suffer every knave to
use me at his pleasure!
PETER.
I saw no man use you at his pleasure; if I had, my weapon should
quickly have been out. I warrant you, I dare draw as soon as another
man, if I see occasion in a good quarrel, and the law on my side.
NURSE.
Now, afore God, I am so vexed that every part about me quivers. Scurvy
knave. Pray you, sir, a word: and as I told you, my young lady bid me
enquire you out; what she bade me say, I will keep to myself. But first
let me tell ye, if ye should lead her in a fool’s paradise, as they
say, it were a very gross kind of behaviour, as they say; for the
gentlewoman is young. And therefore, if you should deal double with
her, truly it were an ill thing to be offered to any gentlewoman, and
very weak dealing.
ROMEO. Nurse, commend me to thy lady and mistress. I protest unto
thee,—
NURSE.
Good heart, and i’faith I will tell her as much. Lord, Lord, she will
be a joyful woman.
ROMEO.
What wilt thou tell her, Nurse? Thou dost not mark me.
NURSE.
I will tell her, sir, that you do protest, which, as I take it, is a
gentlemanlike offer.
ROMEO.
Bid her devise
Some means to come to shrift this afternoon,
And there she shall at Friar Lawrence’ cell
Be shriv’d and married. Here is for thy pains.
NURSE.
No truly, sir; not a penny.
ROMEO.
Go to; I say you shall.
NURSE.
This afternoon, sir? Well, she shall be there.
ROMEO.
And stay, good Nurse, behind the abbey wall.
Within this hour my man shall be with thee,
And bring thee cords made like a tackled stair,
Which to the high topgallant of my joy
Must be my convoy in the secret night.
Farewell, be trusty, and I’ll quit thy pains;
Farewell; commend me to thy mistress.
NURSE.
Now God in heaven bless thee. Hark you, sir.
ROMEO.
What say’st thou, my dear Nurse?
NURSE.
Is your man secret? Did you ne’er hear say,
Two may keep counsel, putting one away?
ROMEO.
I warrant thee my man’s as true as steel.
NURSE.
Well, sir, my mistress is the sweetest lady. Lord, Lord! When ’twas a
little prating thing,—O, there is a nobleman in town, one Paris, that
would fain lay knife aboard; but she, good soul, had as lief see a
toad, a very toad, as see him. I anger her sometimes, and tell her that
Paris is the properer man, but I’ll warrant you, when I say so, she
looks as pale as any clout in the versal world. Doth not rosemary and
Romeo begin both with a letter?
ROMEO.
Ay, Nurse; what of that? Both with an R.
NURSE.
Ah, mocker! That’s the dog’s name. R is for the—no, I know it begins
with some other letter, and she hath the prettiest sententious of it,
of you and rosemary, that it would do you good to hear it.
ROMEO.
Commend me to thy lady.
NURSE.
Ay, a thousand times. Peter!
[_Exit Romeo._]
PETER.
Anon.
NURSE.
Before and apace.
[_Exeunt._]
SCENE V. Capulet’s Garden.
Enter Juliet.
JULIET.
The clock struck nine when I did send the Nurse,
In half an hour she promised to return.
Perchance she cannot meet him. That’s not so.
O, she is lame. Love’s heralds should be thoughts,
Which ten times faster glides than the sun’s beams,
Driving back shadows over lowering hills:
Therefore do nimble-pinion’d doves draw love,
And therefore hath the wind-swift Cupid wings.
Now is the sun upon the highmost hill
Of this day’s journey, and from nine till twelve
Is three long hours, yet she is not come.
Had she affections and warm youthful blood,
She’d be as swift in motion as a ball;
My words would bandy her to my sweet love,
And his to me.
But old folks, many feign as they were dead;
Unwieldy, slow, heavy and pale as lead.
Enter Nurse and Peter.
O God, she comes. O honey Nurse, what news?
Hast thou met with him? Send thy man away.
NURSE.
Peter, stay at the gate.
[_Exit Peter._]
JULIET.
Now, good sweet Nurse,—O Lord, why look’st thou sad?
Though news be sad, yet tell them merrily;
If good, thou sham’st the music of sweet news
By playing it to me with so sour a face.
NURSE.
I am aweary, give me leave awhile;
Fie, how my bones ache! What a jaunt have I had!
JULIET.
I would thou hadst my bones, and I thy news:
Nay come, I pray thee speak; good, good Nurse, speak.
NURSE.
Jesu, what haste? Can you not stay a while? Do you not see that I am
out of breath?
JULIET.
How art thou out of breath, when thou hast breath
To say to me that thou art out of breath?
The excuse that thou dost make in this delay
Is longer than the tale thou dost excuse.
Is thy news good or bad? Answer to that;
Say either, and I’ll stay the circumstance.
Let me be satisfied, is’t good or bad?
NURSE.
Well, you have made a simple choice; you know not how to choose a man.
Romeo? No, not he. Though his face be better than any man’s, yet his
leg excels all men’s, and for a hand and a foot, and a body, though
they be not to be talked on, yet they are past compare. He is not the
flower of courtesy, but I’ll warrant him as gentle as a lamb. Go thy
ways, wench, serve God. What, have you dined at home?
JULIET.
No, no. But all this did I know before.
What says he of our marriage? What of that?
NURSE.
Lord, how my head aches! What a head have I!
It beats as it would fall in twenty pieces.
My back o’ t’other side,—O my back, my back!
Beshrew your heart for sending me about
To catch my death with jauncing up and down.
JULIET.
I’faith, I am sorry that thou art not well.
Sweet, sweet, sweet Nurse, tell me, what says my love?
NURSE.
Your love says like an honest gentleman,
And a courteous, and a kind, and a handsome,
And I warrant a virtuous,—Where is your mother?
JULIET.
Where is my mother? Why, she is within.
Where should she be? How oddly thou repliest.
‘Your love says, like an honest gentleman,
‘Where is your mother?’
NURSE.
O God’s lady dear,
Are you so hot? Marry, come up, I trow.
Is this the poultice for my aching bones?
Henceforward do your messages yourself.
JULIET.
Here’s such a coil. Come, what says Romeo?
NURSE.
Have you got leave to go to shrift today?
JULIET.
I have.
NURSE.
Then hie you hence to Friar Lawrence’ cell;
There stays a husband to make you a wife.
Now comes the wanton blood up in your cheeks,
They’ll be in scarlet straight at any news.
Hie you to church. I must another way,
To fetch a ladder by the which your love
Must climb a bird’s nest soon when it is dark.
I am the drudge, and toil in your delight;
But you shall bear the burden soon at night.
Go. I’ll to dinner; hie you to the cell.
JULIET.
Hie to high fortune! Honest Nurse, farewell.
[_Exeunt._]
SCENE VI. Friar Lawrence’s Cell.
Enter Friar Lawrence and Romeo.
FRIAR LAWRENCE.
So smile the heavens upon this holy act
That after-hours with sorrow chide us not.
ROMEO.
Amen, amen, but come what sorrow can,
It cannot countervail the exchange of joy
That one short minute gives me in her sight.
Do thou but close our hands with holy words,
Then love-devouring death do what he dare,
It is enough I may but call her mine.
FRIAR LAWRENCE.
These violent delights have violent ends,
And in their triumph die; like fire and powder,
Which as they kiss consume. The sweetest honey
Is loathsome in his own deliciousness,
And in the taste confounds the appetite.
Therefore love moderately: long love doth so;
Too swift arrives as tardy as too slow.
Enter Juliet.
Here comes the lady. O, so light a foot
Will ne’er wear out the everlasting flint.
A lover may bestride the gossamers
That idles in the wanton summer air
And yet not fall; so light is vanity.
JULIET.
Good even to my ghostly confessor.
FRIAR LAWRENCE.
Romeo shall thank thee, daughter, for us both.
JULIET.
As much to him, else is his thanks too much.
ROMEO.
Ah, Juliet, if the measure of thy joy
Be heap’d like mine, and that thy skill be more
To blazon it, then sweeten with thy breath
This neighbour air, and let rich music’s tongue
Unfold the imagin’d happiness that both
Receive in either by this dear encounter.
JULIET.
Conceit more rich in matter than in words,
Brags of his substance, not of ornament.
They are but beggars that can count their worth;
But my true love is grown to such excess,
I cannot sum up sum of half my wealth.
FRIAR LAWRENCE.
Come, come with me, and we will make short work,
For, by your leaves, you shall not stay alone
Till holy church incorporate two in one.
[_Exeunt._]
ACT III
SCENE I. A public Place.
Enter Mercutio, Benvolio, Page and Servants.
BENVOLIO.
I pray thee, good Mercutio, let’s retire:
The day is hot, the Capulets abroad,
And if we meet, we shall not scape a brawl,
For now these hot days, is the mad blood stirring.
MERCUTIO.
Thou art like one of these fellows that, when he enters the confines of
a tavern, claps me his sword upon the table, and says ‘God send me no
need of thee!’ and by the operation of the second cup draws him on the
drawer, when indeed there is no need.
BENVOLIO.
Am I like such a fellow?
MERCUTIO.
Come, come, thou art as hot a Jack in thy mood as any in Italy; and as
soon moved to be moody, and as soon moody to be moved.
BENVOLIO.
And what to?
MERCUTIO.
Nay, an there were two such, we should have none shortly, for one would
kill the other. Thou? Why, thou wilt quarrel with a man that hath a
hair more or a hair less in his beard than thou hast. Thou wilt quarrel
with a man for cracking nuts, having no other reason but because thou
hast hazel eyes. What eye but such an eye would spy out such a quarrel?
Thy head is as full of quarrels as an egg is full of meat, and yet thy
head hath been beaten as addle as an egg for quarrelling. Thou hast
quarrelled with a man for coughing in the street, because he hath
wakened thy dog that hath lain asleep in the sun. Didst thou not fall
out with a tailor for wearing his new doublet before Easter? with
another for tying his new shoes with an old riband? And yet thou wilt
tutor me from quarrelling!
BENVOLIO.
And I were so apt to quarrel as thou art, any man should buy the fee
simple of my life for an hour and a quarter.
MERCUTIO.
The fee simple! O simple!
Enter Tybalt and others.
BENVOLIO.
By my head, here comes the Capulets.
MERCUTIO.
By my heel, I care not.
TYBALT.
Follow me close, for I will speak to them.
Gentlemen, good-den: a word with one of you.
MERCUTIO.
And but one word with one of us? Couple it with something; make it a
word and a blow.
TYBALT.
You shall find me apt enough to that, sir, and you will give me
occasion.
MERCUTIO.
Could you not take some occasion without giving?
TYBALT.
Mercutio, thou consortest with Romeo.
MERCUTIO.
Consort? What, dost thou make us minstrels? And thou make minstrels of
us, look to hear nothing but discords. Here’s my fiddlestick, here’s
that shall make you dance. Zounds, consort!
BENVOLIO.
We talk here in the public haunt of men.
Either withdraw unto some private place,
And reason coldly of your grievances,
Or else depart; here all eyes gaze on us.
MERCUTIO.
Men’s eyes were made to look, and let them gaze.
I will not budge for no man’s pleasure, I.
Enter Romeo.
TYBALT.
Well, peace be with you, sir, here comes my man.
MERCUTIO.
But I’ll be hanged, sir, if he wear your livery.
Marry, go before to field, he’ll be your follower;
Your worship in that sense may call him man.
TYBALT.
Romeo, the love I bear thee can afford
No better term than this: Thou art a villain.
ROMEO.
Tybalt, the reason that I have to love thee
Doth much excuse the appertaining rage
To such a greeting. Villain am I none;
Therefore farewell; I see thou know’st me not.
TYBALT.
Boy, this shall not excuse the injuries
That thou hast done me, therefore turn and draw.
ROMEO.
I do protest I never injur’d thee,
But love thee better than thou canst devise
Till thou shalt know the reason of my love.
And so good Capulet, which name I tender
As dearly as mine own, be satisfied.
MERCUTIO.
O calm, dishonourable, vile submission!
[_Draws._] Alla stoccata carries it away.
Tybalt, you rat-catcher, will you walk?
TYBALT.
What wouldst thou have with me?
MERCUTIO.
Good King of Cats, nothing but one of your nine lives; that I mean to
make bold withal, and, as you shall use me hereafter, dry-beat the rest
of the eight. Will you pluck your sword out of his pilcher by the ears?
Make haste, lest mine be about your ears ere it be out.
TYBALT.
[_Drawing._] I am for you.
ROMEO.
Gentle Mercutio, put thy rapier up.
MERCUTIO.
Come, sir, your passado.
[_They fight._]
ROMEO.
Draw, Benvolio; beat down their weapons.
Gentlemen, for shame, forbear this outrage,
Tybalt, Mercutio, the Prince expressly hath
Forbid this bandying in Verona streets.
Hold, Tybalt! Good Mercutio!
[_Exeunt Tybalt with his Partizans._]
MERCUTIO.
I am hurt.
A plague o’ both your houses. I am sped.
Is he gone, and hath nothing?
BENVOLIO.
What, art thou hurt?
MERCUTIO.
Ay, ay, a scratch, a scratch. Marry, ’tis enough.
Where is my page? Go villain, fetch a surgeon.
[_Exit Page._]
ROMEO.
Courage, man; the hurt cannot be much.
MERCUTIO.
No, ’tis not so deep as a well, nor so wide as a church door, but ’tis
enough, ’twill serve. Ask for me tomorrow, and you shall find me a
grave man. I am peppered, I warrant, for this world. A plague o’ both
your houses. Zounds, a dog, a rat, a mouse, a cat, to scratch a man to
death. A braggart, a rogue, a villain, that fights by the book of
arithmetic!—Why the devil came you between us? I was hurt under your
arm.
ROMEO.
I thought all for the best.
MERCUTIO.
Help me into some house, Benvolio,
Or I shall faint. A plague o’ both your houses.
They have made worms’ meat of me.
I have it, and soundly too. Your houses!
[_Exeunt Mercutio and Benvolio._]
ROMEO.
This gentleman, the Prince’s near ally,
My very friend, hath got his mortal hurt
In my behalf; my reputation stain’d
With Tybalt’s slander,—Tybalt, that an hour
Hath been my cousin. O sweet Juliet,
Thy beauty hath made me effeminate
And in my temper soften’d valour’s steel.
Re-enter Benvolio.
BENVOLIO.
O Romeo, Romeo, brave Mercutio’s dead,
That gallant spirit hath aspir’d the clouds,
Which too untimely here did scorn the earth.
ROMEO.
This day’s black fate on mo days doth depend;
This but begins the woe others must end.
Re-enter Tybalt.
BENVOLIO.
Here comes the furious Tybalt back again.
ROMEO.
Again in triumph, and Mercutio slain?
Away to heaven respective lenity,
And fire-ey’d fury be my conduct now!
Now, Tybalt, take the ‘villain’ back again
That late thou gav’st me, for Mercutio’s soul
Is but a little way above our heads,
Staying for thine to keep him company.
Either thou or I, or both, must go with him.
TYBALT.
Thou wretched boy, that didst consort him here,
Shalt with him hence.
ROMEO.
This shall determine that.
[_They fight; Tybalt falls._]
BENVOLIO.
Romeo, away, be gone!
The citizens are up, and Tybalt slain.
Stand not amaz’d. The Prince will doom thee death
If thou art taken. Hence, be gone, away!
ROMEO.
O, I am fortune’s fool!
BENVOLIO.
Why dost thou stay?
[_Exit Romeo._]
Enter Citizens.
FIRST CITIZEN.
Which way ran he that kill’d Mercutio?
Tybalt, that murderer, which way ran he?
BENVOLIO.
There lies that Tybalt.
FIRST CITIZEN.
Up, sir, go with me.
I charge thee in the Prince’s name obey.
Enter Prince, attended; Montague, Capulet, their Wives and others.
PRINCE.
Where are the vile beginners of this fray?
BENVOLIO.
O noble Prince, I can discover all
The unlucky manage of this fatal brawl.
There lies the man, slain by young Romeo,
That slew thy kinsman, brave Mercutio.
LADY CAPULET.
Tybalt, my cousin! O my brother’s child!
O Prince! O husband! O, the blood is spill’d
Of my dear kinsman! Prince, as thou art true,
For blood of ours shed blood of Montague.
O cousin, cousin.
PRINCE.
Benvolio, who began this bloody fray?
BENVOLIO.
Tybalt, here slain, whom Romeo’s hand did slay;
Romeo, that spoke him fair, bid him bethink
How nice the quarrel was, and urg’d withal
Your high displeasure. All this uttered
With gentle breath, calm look, knees humbly bow’d
Could not take truce with the unruly spleen
Of Tybalt, deaf to peace, but that he tilts
With piercing steel at bold Mercutio’s breast,
Who, all as hot, turns deadly point to point,
And, with a martial scorn, with one hand beats
Cold death aside, and with the other sends
It back to Tybalt, whose dexterity
Retorts it. Romeo he cries aloud,
‘Hold, friends! Friends, part!’ and swifter than his tongue,
His agile arm beats down their fatal points,
And ’twixt them rushes; underneath whose arm
An envious thrust from Tybalt hit the life
Of stout Mercutio, and then Tybalt fled.
But by and by comes back to Romeo,
Who had but newly entertain’d revenge,
And to’t they go like lightning; for, ere I
Could draw to part them was stout Tybalt slain;
And as he fell did Romeo turn and fly.
This is the truth, or let Benvolio die.
LADY CAPULET.
He is a kinsman to the Montague.
Affection makes him false, he speaks not true.
Some twenty of them fought in this black strife,
And all those twenty could but kill one life.
I beg for justice, which thou, Prince, must give;
Romeo slew Tybalt, Romeo must not live.
PRINCE.
Romeo slew him, he slew Mercutio.
Who now the price of his dear blood doth owe?
MONTAGUE.
Not Romeo, Prince, he was Mercutio’s friend;
His fault concludes but what the law should end,
The life of Tybalt.
PRINCE.
And for that offence
Immediately we do exile him hence.
I have an interest in your hate’s proceeding,
My blood for your rude brawls doth lie a-bleeding.
But I’ll amerce you with so strong a fine
That you shall all repent the loss of mine.
I will be deaf to pleading and excuses;
Nor tears nor prayers shall purchase out abuses.
Therefore use none. Let Romeo hence in haste,
Else, when he is found, that hour is his last.
Bear hence this body, and attend our will.
Mercy but murders, pardoning those that kill.
[_Exeunt._]
SCENE II. A Room in Capulet’s House.
Enter Juliet.
JULIET.
Gallop apace, you fiery-footed steeds,
Towards Phoebus’ lodging. Such a waggoner
As Phaeton would whip you to the west
And bring in cloudy night immediately.
Spread thy close curtain, love-performing night,
That runaway’s eyes may wink, and Romeo
Leap to these arms, untalk’d of and unseen.
Lovers can see to do their amorous rites
By their own beauties: or, if love be blind,
It best agrees with night. Come, civil night,
Thou sober-suited matron, all in black,
And learn me how to lose a winning match,
Play’d for a pair of stainless maidenhoods.
Hood my unmann’d blood, bating in my cheeks,
With thy black mantle, till strange love, grow bold,
Think true love acted simple modesty.
Come, night, come Romeo; come, thou day in night;
For thou wilt lie upon the wings of night
Whiter than new snow upon a raven’s back.
Come gentle night, come loving black-brow’d night,
Give me my Romeo, and when I shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night,
And pay no worship to the garish sun.
O, I have bought the mansion of a love,
But not possess’d it; and though I am sold,
Not yet enjoy’d. So tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them. O, here comes my Nurse,
And she brings news, and every tongue that speaks
But Romeo’s name speaks heavenly eloquence.
Enter Nurse, with cords.
Now, Nurse, what news? What hast thou there?
The cords that Romeo bid thee fetch?
NURSE.
Ay, ay, the cords.
[_Throws them down._]
JULIET.
Ay me, what news? Why dost thou wring thy hands?
NURSE.
Ah, well-a-day, he’s dead, he’s dead, he’s dead!
We are undone, lady, we are undone.
Alack the day, he’s gone, he’s kill’d, he’s dead.
JULIET.
Can heaven be so envious?
NURSE.
Romeo can,
Though heaven cannot. O Romeo, Romeo.
Who ever would have thought it? Romeo!
JULIET.
What devil art thou, that dost torment me thus?
This torture should be roar’d in dismal hell.
Hath Romeo slain himself? Say thou but Ay,
And that bare vowel I shall poison more
Than the death-darting eye of cockatrice.
I am not I if there be such an I;
Or those eyes shut that make thee answer Ay.
If he be slain, say Ay; or if not, No.
Brief sounds determine of my weal or woe.
NURSE.
I saw the wound, I saw it with mine eyes,
God save the mark!—here on his manly breast.
A piteous corse, a bloody piteous corse;
Pale, pale as ashes, all bedaub’d in blood,
All in gore-blood. I swounded at the sight.
JULIET.
O, break, my heart. Poor bankrout, break at once.
To prison, eyes; ne’er look on liberty.
Vile earth to earth resign; end motion here,
And thou and Romeo press one heavy bier.
NURSE.
O Tybalt, Tybalt, the best friend I had.
O courteous Tybalt, honest gentleman!
That ever I should live to see thee dead.
JULIET.
What storm is this that blows so contrary?
Is Romeo slaughter’d and is Tybalt dead?
My dearest cousin, and my dearer lord?
Then dreadful trumpet sound the general doom,
For who is living, if those two are gone?
NURSE.
Tybalt is gone, and Romeo banished,
Romeo that kill’d him, he is banished.
JULIET.
O God! Did Romeo’s hand shed Tybalt’s blood?
NURSE.
It did, it did; alas the day, it did.
JULIET.
O serpent heart, hid with a flowering face!
Did ever dragon keep so fair a cave?
Beautiful tyrant, fiend angelical,
Dove-feather’d raven, wolvish-ravening lamb!
Despised substance of divinest show!
Just opposite to what thou justly seem’st,
A damned saint, an honourable villain!
O nature, what hadst thou to do in hell
When thou didst bower the spirit of a fiend
In mortal paradise of such sweet flesh?
Was ever book containing such vile matter
So fairly bound? O, that deceit should dwell
In such a gorgeous palace.
NURSE.
There’s no trust,
No faith, no honesty in men. All perjur’d,
All forsworn, all naught, all dissemblers.
Ah, where’s my man? Give me some aqua vitae.
These griefs, these woes, these sorrows make me old.
Shame come to Romeo.
JULIET.
Blister’d be thy tongue
For such a wish! He was not born to shame.
Upon his brow shame is asham’d to sit;
For ’tis a throne where honour may be crown’d
Sole monarch of the universal earth.
O, what a beast was I to chide at him!
NURSE.
Will you speak well of him that kill’d your cousin?
JULIET.
Shall I speak ill of him that is my husband?
Ah, poor my lord, what tongue shall smooth thy name,
When I thy three-hours’ wife have mangled it?
But wherefore, villain, didst thou kill my cousin?
That villain cousin would have kill’d my husband.
Back, foolish tears, back to your native spring,
Your tributary drops belong to woe,
Which you mistaking offer up to joy.
My husband lives, that Tybalt would have slain,
And Tybalt’s dead, that would have slain my husband.
All this is comfort; wherefore weep I then?
Some word there was, worser than Tybalt’s death,
That murder’d me. I would forget it fain,
But O, it presses to my memory
Like damned guilty deeds to sinners’ minds.
Tybalt is dead, and Romeo banished.
That ‘banished,’ that one word ‘banished,’
Hath slain ten thousand Tybalts. Tybalt’s death
Was woe enough, if it had ended there.
Or if sour woe delights in fellowship,
And needly will be rank’d with other griefs,
Why follow’d not, when she said Tybalt’s dead,
Thy father or thy mother, nay or both,
Which modern lamentation might have mov’d?
But with a rear-ward following Tybalt’s death,
‘Romeo is banished’—to speak that word
Is father, mother, Tybalt, Romeo, Juliet,
All slain, all dead. Romeo is banished,
There is no end, no limit, measure, bound,
In that word’s death, no words can that woe sound.
Where is my father and my mother, Nurse?
NURSE.
Weeping and wailing over Tybalt’s corse.
Will you go to them? I will bring you thither.
JULIET.
Wash they his wounds with tears. Mine shall be spent,
When theirs are dry, for Romeo’s banishment.
Take up those cords. Poor ropes, you are beguil’d,
Both you and I; for Romeo is exil’d.
He made you for a highway to my bed,
But I, a maid, die maiden-widowed.
Come cords, come Nurse, I’ll to my wedding bed,
And death, not Romeo, take my maidenhead.
NURSE.
Hie to your chamber. I’ll find Romeo
To comfort you. I wot well where he is.
Hark ye, your Romeo will be here at night.
I’ll to him, he is hid at Lawrence’ cell.
JULIET.
O find him, give this ring to my true knight,
And bid him come to take his last farewell.
[_Exeunt._]
SCENE III. Friar Lawrence’s cell.
Enter Friar Lawrence.
FRIAR LAWRENCE.
Romeo, come forth; come forth, thou fearful man.
Affliction is enanmour’d of thy parts
And thou art wedded to calamity.
Enter Romeo.
ROMEO.
Father, what news? What is the Prince’s doom?
What sorrow craves acquaintance at my hand,
That I yet know not?
FRIAR LAWRENCE.
Too familiar
Is my dear son with such sour company.
I bring thee tidings of the Prince’s doom.
ROMEO.
What less than doomsday is the Prince’s doom?
FRIAR LAWRENCE.
A gentler judgment vanish’d from his lips,
Not body’s death, but body’s banishment.
ROMEO.
Ha, banishment? Be merciful, say death;
For exile hath more terror in his look,
Much more than death. Do not say banishment.
FRIAR LAWRENCE.
Hence from Verona art thou banished.
Be patient, for the world is broad and wide.
ROMEO.
There is no world without Verona walls,
But purgatory, torture, hell itself.
Hence banished is banish’d from the world,
And world’s exile is death. Then banished
Is death misterm’d. Calling death banished,
Thou cutt’st my head off with a golden axe,
And smilest upon the stroke that murders me.
FRIAR LAWRENCE.
O deadly sin, O rude unthankfulness!
Thy fault our law calls death, but the kind Prince,
Taking thy part, hath brush’d aside the law,
And turn’d that black word death to banishment.
This is dear mercy, and thou see’st it not.
ROMEO.
’Tis torture, and not mercy. Heaven is here
Where Juliet lives, and every cat and dog,
And little mouse, every unworthy thing,
Live here in heaven and may look on her,
But Romeo may not. More validity,
More honourable state, more courtship lives
In carrion flies than Romeo. They may seize
On the white wonder of dear Juliet’s hand,
And steal immortal blessing from her lips,
Who, even in pure and vestal modesty
Still blush, as thinking their own kisses sin.
But Romeo may not, he is banished.
This may flies do, when I from this must fly.
They are free men but I am banished.
And say’st thou yet that exile is not death?
Hadst thou no poison mix’d, no sharp-ground knife,
No sudden mean of death, though ne’er so mean,
But banished to kill me? Banished?
O Friar, the damned use that word in hell.
Howling attends it. How hast thou the heart,
Being a divine, a ghostly confessor,
A sin-absolver, and my friend profess’d,
To mangle me with that word banished?
FRIAR LAWRENCE.
Thou fond mad man, hear me speak a little,
ROMEO.
O, thou wilt speak again of banishment.
FRIAR LAWRENCE.
I’ll give thee armour to keep off that word,
Adversity’s sweet milk, philosophy,
To comfort thee, though thou art banished.
ROMEO.
Yet banished? Hang up philosophy.
Unless philosophy can make a Juliet,
Displant a town, reverse a Prince’s doom,
It helps not, it prevails not, talk no more.
FRIAR LAWRENCE.
O, then I see that mad men have no ears.
ROMEO.
How should they, when that wise men have no eyes?
FRIAR LAWRENCE.
Let me dispute with thee of thy estate.
ROMEO.
Thou canst not speak of that thou dost not feel.
Wert thou as young as I, Juliet thy love,
An hour but married, Tybalt murdered,
Doting like me, and like me banished,
Then mightst thou speak, then mightst thou tear thy hair,
And fall upon the ground as I do now,
Taking the measure of an unmade grave.
[_Knocking within._]
FRIAR LAWRENCE.
Arise; one knocks. Good Romeo, hide thyself.
ROMEO.
Not I, unless the breath of heartsick groans
Mist-like infold me from the search of eyes.
[_Knocking._]
FRIAR LAWRENCE.
Hark, how they knock!—Who’s there?—Romeo, arise,
Thou wilt be taken.—Stay awhile.—Stand up.
[_Knocking._]
Run to my study.—By-and-by.—God’s will,
What simpleness is this.—I come, I come.
[_Knocking._]
Who knocks so hard? Whence come you, what’s your will?
NURSE.
[_Within._] Let me come in, and you shall know my errand.
I come from Lady Juliet.
FRIAR LAWRENCE.
Welcome then.
Enter Nurse.
NURSE.
O holy Friar, O, tell me, holy Friar,
Where is my lady’s lord, where’s Romeo?
FRIAR LAWRENCE.
There on the ground, with his own tears made drunk.
NURSE.
O, he is even in my mistress’ case.
Just in her case! O woeful sympathy!
Piteous predicament. Even so lies she,
Blubbering and weeping, weeping and blubbering.
Stand up, stand up; stand, and you be a man.
For Juliet’s sake, for her sake, rise and stand.
Why should you fall into so deep an O?
ROMEO.
Nurse.
NURSE.
Ah sir, ah sir, death’s the end of all.
ROMEO.
Spakest thou of Juliet? How is it with her?
Doth not she think me an old murderer,
Now I have stain’d the childhood of our joy
With blood remov’d but little from her own?
Where is she? And how doth she? And what says
My conceal’d lady to our cancell’d love?
NURSE.
O, she says nothing, sir, but weeps and weeps;
And now falls on her bed, and then starts up,
And Tybalt calls, and then on Romeo cries,
And then down falls again.
ROMEO.
As if that name,
Shot from the deadly level of a gun,
Did murder her, as that name’s cursed hand
Murder’d her kinsman. O, tell me, Friar, tell me,
In what vile part of this anatomy
Doth my name lodge? Tell me, that I may sack
The hateful mansion.
[_Drawing his sword._]
FRIAR LAWRENCE.
Hold thy desperate hand.
Art thou a man? Thy form cries out thou art.
Thy tears are womanish, thy wild acts denote
The unreasonable fury of a beast.
Unseemly woman in a seeming man,
And ill-beseeming beast in seeming both!
Thou hast amaz’d me. By my holy order,
I thought thy disposition better temper’d.
Hast thou slain Tybalt? Wilt thou slay thyself?
And slay thy lady, that in thy life lives,
By doing damned hate upon thyself?
Why rail’st thou on thy birth, the heaven and earth?
Since birth, and heaven and earth, all three do meet
In thee at once; which thou at once wouldst lose.
Fie, fie, thou sham’st thy shape, thy love, thy wit,
Which, like a usurer, abound’st in all,
And usest none in that true use indeed
Which should bedeck thy shape, thy love, thy wit.
Thy noble shape is but a form of wax,
Digressing from the valour of a man;
Thy dear love sworn but hollow perjury,
Killing that love which thou hast vow’d to cherish;
Thy wit, that ornament to shape and love,
Misshapen in the conduct of them both,
Like powder in a skilless soldier’s flask,
Is set afire by thine own ignorance,
And thou dismember’d with thine own defence.
What, rouse thee, man. Thy Juliet is alive,
For whose dear sake thou wast but lately dead.
There art thou happy. Tybalt would kill thee,
But thou slew’st Tybalt; there art thou happy.
The law that threaten’d death becomes thy friend,
And turns it to exile; there art thou happy.
A pack of blessings light upon thy back;
Happiness courts thee in her best array;
But like a misshaped and sullen wench,
Thou putt’st up thy Fortune and thy love.
Take heed, take heed, for such die miserable.
Go, get thee to thy love as was decreed,
Ascend her chamber, hence and comfort her.
But look thou stay not till the watch be set,
For then thou canst not pass to Mantua;
Where thou shalt live till we can find a time
To blaze your marriage, reconcile your friends,
Beg pardon of the Prince, and call thee back
With twenty hundred thousand times more joy
Than thou went’st forth in lamentation.
Go before, Nurse. Commend me to thy lady,
And bid her hasten all the house to bed,
Which heavy sorrow makes them apt unto.
Romeo is coming.
NURSE.
O Lord, I could have stay’d here all the night
To hear good counsel. O, what learning is!
My lord, I’ll tell my lady you will come.
ROMEO.
Do so, and bid my sweet prepare to chide.
NURSE.
Here sir, a ring she bid me give you, sir.
Hie you, make haste, for it grows very late.
[_Exit._]
ROMEO.
How well my comfort is reviv’d by this.
FRIAR LAWRENCE.
Go hence, good night, and here stands all your state:
Either be gone before the watch be set,
Or by the break of day disguis’d from hence.
Sojourn in Mantua. I’ll find out your man,
And he shall signify from time to time
Every good hap to you that chances here.
Give me thy hand; ’tis late; farewell; good night.
ROMEO.
But that a joy past joy calls out on me,
It were a grief so brief to part with thee.
Farewell.
[_Exeunt._]
SCENE IV. A Room in Capulet’s House.
Enter Capulet, Lady Capulet and Paris.
CAPULET.
Things have fallen out, sir, so unluckily
That we have had no time to move our daughter.
Look you, she lov’d her kinsman Tybalt dearly,
And so did I. Well, we were born to die.
’Tis very late; she’ll not come down tonight.
I promise you, but for your company,
I would have been abed an hour ago.
PARIS.
These times of woe afford no tune to woo.
Madam, good night. Commend me to your daughter.
LADY CAPULET.
I will, and know her mind early tomorrow;
Tonight she’s mew’d up to her heaviness.
CAPULET.
Sir Paris, I will make a desperate tender
Of my child’s love. I think she will be rul’d
In all respects by me; nay more, I doubt it not.
Wife, go you to her ere you go to bed,
Acquaint her here of my son Paris’ love,
And bid her, mark you me, on Wednesday next,
But, soft, what day is this?
PARIS.
Monday, my lord.
CAPULET.
Monday! Ha, ha! Well, Wednesday is too soon,
A Thursday let it be; a Thursday, tell her,
She shall be married to this noble earl.
Will you be ready? Do you like this haste?
We’ll keep no great ado,—a friend or two,
For, hark you, Tybalt being slain so late,
It may be thought we held him carelessly,
Being our kinsman, if we revel much.
Therefore we’ll have some half a dozen friends,
And there an end. But what say you to Thursday?
PARIS.
My lord, I would that Thursday were tomorrow.
CAPULET.
Well, get you gone. A Thursday be it then.
Go you to Juliet ere you go to bed,
Prepare her, wife, against this wedding day.
Farewell, my lord.—Light to my chamber, ho!
Afore me, it is so very very late that we
May call it early by and by. Good night.
[_Exeunt._]
SCENE V. An open Gallery to Juliet’s Chamber, overlooking the Garden.
Enter Romeo and Juliet.
JULIET.
Wilt thou be gone? It is not yet near day.
It was the nightingale, and not the lark,
That pierc’d the fearful hollow of thine ear;
Nightly she sings on yond pomegranate tree.
Believe me, love, it was the nightingale.
ROMEO.
It was the lark, the herald of the morn,
No nightingale. Look, love, what envious streaks
Do lace the severing clouds in yonder east.
Night’s candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops.
I must be gone and live, or stay and die.
JULIET.
Yond light is not daylight, I know it, I.
It is some meteor that the sun exhales
To be to thee this night a torchbearer
And light thee on thy way to Mantua.
Therefore stay yet, thou need’st not to be gone.
ROMEO.
Let me be ta’en, let me be put to death,
I am content, so thou wilt have it so.
I’ll say yon grey is not the morning’s eye,
’Tis but the pale reflex of Cynthia’s brow.
Nor that is not the lark whose notes do beat
The vaulty heaven so high above our heads.
I have more care to stay than will to go.
Come, death, and welcome. Juliet wills it so.
How is’t, my soul? Let’s talk. It is not day.
JULIET.
It is, it is! Hie hence, be gone, away.
It is the lark that sings so out of tune,
Straining harsh discords and unpleasing sharps.
Some say the lark makes sweet division;
This doth not so, for she divideth us.
Some say the lark and loathed toad change eyes.
O, now I would they had chang’d voices too,
Since arm from arm that voice doth us affray,
Hunting thee hence with hunt’s-up to the day.
O now be gone, more light and light it grows.
ROMEO.
More light and light, more dark and dark our woes.
Enter Nurse.
NURSE.
Madam.
JULIET.
Nurse?
NURSE.
Your lady mother is coming to your chamber.
The day is broke, be wary, look about.
[_Exit._]
JULIET.
Then, window, let day in, and let life out.
ROMEO.
Farewell, farewell, one kiss, and I’ll descend.
[_Descends._]
JULIET.
Art thou gone so? Love, lord, ay husband, friend,
I must hear from thee every day in the hour,
For in a minute there are many days.
O, by this count I shall be much in years
Ere I again behold my Romeo.
ROMEO.
Farewell!
I will omit no opportunity
That may convey my greetings, love, to thee.
JULIET.
O thinkest thou we shall ever meet again?
ROMEO.
I doubt it not, and all these woes shall serve
For sweet discourses in our time to come.
JULIET.
O God! I have an ill-divining soul!
Methinks I see thee, now thou art so low,
As one dead in the bottom of a tomb.
Either my eyesight fails, or thou look’st pale.
ROMEO.
And trust me, love, in my eye so do you.
Dry sorrow drinks our blood. Adieu, adieu.
[_Exit below._]
JULIET.
O Fortune, Fortune! All men call thee fickle,
If thou art fickle, what dost thou with him
That is renown’d for faith? Be fickle, Fortune;
For then, I hope thou wilt not keep him long
But send him back.
LADY CAPULET.
[_Within._] Ho, daughter, are you up?
JULIET.
Who is’t that calls? Is it my lady mother?
Is she not down so late, or up so early?
What unaccustom’d cause procures her hither?
Enter Lady Capulet.
LADY CAPULET.
Why, how now, Juliet?
JULIET.
Madam, I am not well.
LADY CAPULET.
Evermore weeping for your cousin’s death?
What, wilt thou wash him from his grave with tears?
And if thou couldst, thou couldst not make him live.
Therefore have done: some grief shows much of love,
But much of grief shows still some want of wit.
JULIET.
Yet let me weep for such a feeling loss.
LADY CAPULET.
So shall you feel the loss, but not the friend
Which you weep for.
JULIET.
Feeling so the loss,
I cannot choose but ever weep the friend.
LADY CAPULET.
Well, girl, thou weep’st not so much for his death
As that the villain lives which slaughter’d him.
JULIET.
What villain, madam?
LADY CAPULET.
That same villain Romeo.
JULIET.
Villain and he be many miles asunder.
God pardon him. I do, with all my heart.
And yet no man like he doth grieve my heart.
LADY CAPULET.
That is because the traitor murderer lives.
JULIET.
Ay madam, from the reach of these my hands.
Would none but I might venge my cousin’s death.
LADY CAPULET.
We will have vengeance for it, fear thou not.
Then weep no more. I’ll send to one in Mantua,
Where that same banish’d runagate doth live,
Shall give him such an unaccustom’d dram
That he shall soon keep Tybalt company:
And then I hope thou wilt be satisfied.
JULIET.
Indeed I never shall be satisfied
With Romeo till I behold him—dead—
Is my poor heart so for a kinsman vex’d.
Madam, if you could find out but a man
To bear a poison, I would temper it,
That Romeo should upon receipt thereof,
Soon sleep in quiet. O, how my heart abhors
To hear him nam’d, and cannot come to him,
To wreak the love I bore my cousin
Upon his body that hath slaughter’d him.
LADY CAPULET.
Find thou the means, and I’ll find such a man.
But now I’ll tell thee joyful tidings, girl.
JULIET.
And joy comes well in such a needy time.
What are they, I beseech your ladyship?
LADY CAPULET.
Well, well, thou hast a careful father, child;
One who to put thee from thy heaviness,
Hath sorted out a sudden day of joy,
That thou expects not, nor I look’d not for.
JULIET.
Madam, in happy time, what day is that?
LADY CAPULET.
Marry, my child, early next Thursday morn
The gallant, young, and noble gentleman,
The County Paris, at Saint Peter’s Church,
Shall happily make thee there a joyful bride.
JULIET.
Now by Saint Peter’s Church, and Peter too,
He shall not make me there a joyful bride.
I wonder at this haste, that I must wed
Ere he that should be husband comes to woo.
I pray you tell my lord and father, madam,
I will not marry yet; and when I do, I swear
It shall be Romeo, whom you know I hate,
Rather than Paris. These are news indeed.
LADY CAPULET.
Here comes your father, tell him so yourself,
And see how he will take it at your hands.
Enter Capulet and Nurse.
CAPULET.
When the sun sets, the air doth drizzle dew;
But for the sunset of my brother’s son
It rains downright.
How now? A conduit, girl? What, still in tears?
Evermore showering? In one little body
Thou counterfeits a bark, a sea, a wind.
For still thy eyes, which I may call the sea,
Do ebb and flow with tears; the bark thy body is,
Sailing in this salt flood, the winds, thy sighs,
Who raging with thy tears and they with them,
Without a sudden calm will overset
Thy tempest-tossed body. How now, wife?
Have you deliver’d to her our decree?
LADY CAPULET.
Ay, sir; but she will none, she gives you thanks.
I would the fool were married to her grave.
CAPULET.
Soft. Take me with you, take me with you, wife.
How, will she none? Doth she not give us thanks?
Is she not proud? Doth she not count her blest,
Unworthy as she is, that we have wrought
So worthy a gentleman to be her bridegroom?
JULIET.
Not proud you have, but thankful that you have.
Proud can I never be of what I hate;
But thankful even for hate that is meant love.
CAPULET.
How now, how now, chopp’d logic? What is this?
Proud, and, I thank you, and I thank you not;
And yet not proud. Mistress minion you,
Thank me no thankings, nor proud me no prouds,
But fettle your fine joints ’gainst Thursday next
To go with Paris to Saint Peter’s Church,
Or I will drag thee on a hurdle thither.
Out, you green-sickness carrion! Out, you baggage!
You tallow-face!
LADY CAPULET.
Fie, fie! What, are you mad?
JULIET.
Good father, I beseech you on my knees,
Hear me with patience but to speak a word.
CAPULET.
Hang thee young baggage, disobedient wretch!
I tell thee what,—get thee to church a Thursday,
Or never after look me in the face.
Speak not, reply not, do not answer me.
My fingers itch. Wife, we scarce thought us blest
That God had lent us but this only child;
But now I see this one is one too much,
And that we have a curse in having her.
Out on her, hilding.
NURSE.
God in heaven bless her.
You are to blame, my lord, to rate her so.
CAPULET.
And why, my lady wisdom? Hold your tongue,
Good prudence; smatter with your gossips, go.
NURSE.
I speak no treason.
CAPULET.
O God ye good-en!
NURSE.
May not one speak?
CAPULET.
Peace, you mumbling fool!
Utter your gravity o’er a gossip’s bowl,
For here we need it not.
LADY CAPULET.
You are too hot.
CAPULET.
God’s bread, it makes me mad!
Day, night, hour, ride, time, work, play,
Alone, in company, still my care hath been
To have her match’d, and having now provided
A gentleman of noble parentage,
Of fair demesnes, youthful, and nobly allied,
Stuff’d, as they say, with honourable parts,
Proportion’d as one’s thought would wish a man,
And then to have a wretched puling fool,
A whining mammet, in her fortune’s tender,
To answer, ‘I’ll not wed, I cannot love,
I am too young, I pray you pardon me.’
But, and you will not wed, I’ll pardon you.
Graze where you will, you shall not house with me.
Look to’t, think on’t, I do not use to jest.
Thursday is near; lay hand on heart, advise.
And you be mine, I’ll give you to my friend;
And you be not, hang, beg, starve, die in the streets,
For by my soul, I’ll ne’er acknowledge thee,
Nor what is mine shall never do thee good.
Trust to’t, bethink you, I’ll not be forsworn.
[_Exit._]
JULIET.
Is there no pity sitting in the clouds,
That sees into the bottom of my grief?
O sweet my mother, cast me not away,
Delay this marriage for a month, a week,
Or, if you do not, make the bridal bed
In that dim monument where Tybalt lies.
LADY CAPULET.
Talk not to me, for I’ll not speak a word.
Do as thou wilt, for I have done with thee.
[_Exit._]
JULIET.
O God! O Nurse, how shall this be prevented?
My husband is on earth, my faith in heaven.
How shall that faith return again to earth,
Unless that husband send it me from heaven
By leaving earth? Comfort me, counsel me.
Alack, alack, that heaven should practise stratagems
Upon so soft a subject as myself.
What say’st thou? Hast thou not a word of joy?
Some comfort, Nurse.
NURSE.
Faith, here it is.
Romeo is banished; and all the world to nothing
That he dares ne’er come back to challenge you.
Or if he do, it needs must be by stealth.
Then, since the case so stands as now it doth,
I think it best you married with the County.
O, he’s a lovely gentleman.
Romeo’s a dishclout to him. An eagle, madam,
Hath not so green, so quick, so fair an eye
As Paris hath. Beshrew my very heart,
I think you are happy in this second match,
For it excels your first: or if it did not,
Your first is dead, or ’twere as good he were,
As living here and you no use of him.
JULIET.
Speakest thou from thy heart?
NURSE.
And from my soul too,
Or else beshrew them both.
JULIET.
Amen.
NURSE.
What?
JULIET.
Well, thou hast comforted me marvellous much.
Go in, and tell my lady I am gone,
Having displeas’d my father, to Lawrence’ cell,
To make confession and to be absolv’d.
NURSE.
Marry, I will; and this is wisely done.
[_Exit._]
JULIET.
Ancient damnation! O most wicked fiend!
Is it more sin to wish me thus forsworn,
Or to dispraise my lord with that same tongue
Which she hath prais’d him with above compare
So many thousand times? Go, counsellor.
Thou and my bosom henceforth shall be twain.
I’ll to the Friar to know his remedy.
If all else fail, myself have power to die.
[_Exit._]
ACT IV
SCENE I. Friar Lawrence’s Cell.
Enter Friar Lawrence and Paris.
FRIAR LAWRENCE.
On Thursday, sir? The time is very short.
PARIS.
My father Capulet will have it so;
And I am nothing slow to slack his haste.
FRIAR LAWRENCE.
You say you do not know the lady’s mind.
Uneven is the course; I like it not.
PARIS.
Immoderately she weeps for Tybalt’s death,
And therefore have I little talk’d of love;
For Venus smiles not in a house of tears.
Now, sir, her father counts it dangerous
That she do give her sorrow so much sway;
And in his wisdom, hastes our marriage,
To stop the inundation of her tears,
Which, too much minded by herself alone,
May be put from her by society.
Now do you know the reason of this haste.
FRIAR LAWRENCE.
[_Aside._] I would I knew not why it should be slow’d.—
Look, sir, here comes the lady toward my cell.
Enter Juliet.
PARIS.
Happily met, my lady and my wife!
JULIET.
That may be, sir, when I may be a wife.
PARIS.
That may be, must be, love, on Thursday next.
JULIET.
What must be shall be.
FRIAR LAWRENCE.
That’s a certain text.
PARIS.
Come you to make confession to this father?
JULIET.
To answer that, I should confess to you.
PARIS.
Do not deny to him that you love me.
JULIET.
I will confess to you that I love him.
PARIS.
So will ye, I am sure, that you love me.
JULIET.
If I do so, it will be of more price,
Being spoke behind your back than to your face.
PARIS.
Poor soul, thy face is much abus’d with tears.
JULIET.
The tears have got small victory by that;
For it was bad enough before their spite.
PARIS.
Thou wrong’st it more than tears with that report.
JULIET.
That is no slander, sir, which is a truth,
And what I spake, I spake it to my face.
PARIS.
Thy face is mine, and thou hast slander’d it.
JULIET.
It may be so, for it is not mine own.
Are you at leisure, holy father, now,
Or shall I come to you at evening mass?
FRIAR LAWRENCE.
My leisure serves me, pensive daughter, now.—
My lord, we must entreat the time alone.
PARIS.
God shield I should disturb devotion!—
Juliet, on Thursday early will I rouse ye,
Till then, adieu; and keep this holy kiss.
[_Exit._]
JULIET.
O shut the door, and when thou hast done so,
Come weep with me, past hope, past cure, past help!
FRIAR LAWRENCE.
O Juliet, I already know thy grief;
It strains me past the compass of my wits.
I hear thou must, and nothing may prorogue it,
On Thursday next be married to this County.
JULIET.
Tell me not, Friar, that thou hear’st of this,
Unless thou tell me how I may prevent it.
If in thy wisdom, thou canst give no help,
Do thou but call my resolution wise,
And with this knife I’ll help it presently.
God join’d my heart and Romeo’s, thou our hands;
And ere this hand, by thee to Romeo’s seal’d,
Shall be the label to another deed,
Or my true heart with treacherous revolt
Turn to another, this shall slay them both.
Therefore, out of thy long-experienc’d time,
Give me some present counsel, or behold
’Twixt my extremes and me this bloody knife
Shall play the empire, arbitrating that
Which the commission of thy years and art
Could to no issue of true honour bring.
Be not so long to speak. I long to die,
If what thou speak’st speak not of remedy.
FRIAR LAWRENCE.
Hold, daughter. I do spy a kind of hope,
Which craves as desperate an execution
As that is desperate which we would prevent.
If, rather than to marry County Paris
Thou hast the strength of will to slay thyself,
Then is it likely thou wilt undertake
A thing like death to chide away this shame,
That cop’st with death himself to scape from it.
And if thou dar’st, I’ll give thee remedy.
JULIET.
O, bid me leap, rather than marry Paris,
From off the battlements of yonder tower,
Or walk in thievish ways, or bid me lurk
Where serpents are. Chain me with roaring bears;
Or hide me nightly in a charnel-house,
O’er-cover’d quite with dead men’s rattling bones,
With reeky shanks and yellow chapless skulls.
Or bid me go into a new-made grave,
And hide me with a dead man in his shroud;
Things that, to hear them told, have made me tremble,
And I will do it without fear or doubt,
To live an unstain’d wife to my sweet love.
FRIAR LAWRENCE.
Hold then. Go home, be merry, give consent
To marry Paris. Wednesday is tomorrow;
Tomorrow night look that thou lie alone,
Let not thy Nurse lie with thee in thy chamber.
Take thou this vial, being then in bed,
And this distilled liquor drink thou off,
When presently through all thy veins shall run
A cold and drowsy humour; for no pulse
Shall keep his native progress, but surcease.
No warmth, no breath shall testify thou livest,
The roses in thy lips and cheeks shall fade
To paly ashes; thy eyes’ windows fall,
Like death when he shuts up the day of life.
Each part depriv’d of supple government,
Shall stiff and stark and cold appear like death.
And in this borrow’d likeness of shrunk death
Thou shalt continue two and forty hours,
And then awake as from a pleasant sleep.
Now when the bridegroom in the morning comes
To rouse thee from thy bed, there art thou dead.
Then as the manner of our country is,
In thy best robes, uncover’d, on the bier,
Thou shalt be borne to that same ancient vault
Where all the kindred of the Capulets lie.
In the meantime, against thou shalt awake,
Shall Romeo by my letters know our drift,
And hither shall he come, and he and I
Will watch thy waking, and that very night
Shall Romeo bear thee hence to Mantua.
And this shall free thee from this present shame,
If no inconstant toy nor womanish fear
Abate thy valour in the acting it.
JULIET.
Give me, give me! O tell not me of fear!
FRIAR LAWRENCE.
Hold; get you gone, be strong and prosperous
In this resolve. I’ll send a friar with speed
To Mantua, with my letters to thy lord.
JULIET.
Love give me strength, and strength shall help afford.
Farewell, dear father.
[_Exeunt._]
SCENE II. Hall in Capulet’s House.
Enter Capulet, Lady Capulet, Nurse and Servants.
CAPULET.
So many guests invite as here are writ.
[_Exit first Servant._]
Sirrah, go hire me twenty cunning cooks.
SECOND SERVANT.
You shall have none ill, sir; for I’ll try if they can lick their
fingers.
CAPULET.
How canst thou try them so?
SECOND SERVANT.
Marry, sir, ’tis an ill cook that cannot lick his own fingers;
therefore he that cannot lick his fingers goes not with me.
CAPULET.
Go, begone.
[_Exit second Servant._]
We shall be much unfurnish’d for this time.
What, is my daughter gone to Friar Lawrence?
NURSE.
Ay, forsooth.
CAPULET.
Well, he may chance to do some good on her.
A peevish self-will’d harlotry it is.
Enter Juliet.
NURSE.
See where she comes from shrift with merry look.
CAPULET.
How now, my headstrong. Where have you been gadding?
JULIET.
Where I have learnt me to repent the sin
Of disobedient opposition
To you and your behests; and am enjoin’d
By holy Lawrence to fall prostrate here,
To beg your pardon. Pardon, I beseech you.
Henceforward I am ever rul’d by you.
CAPULET.
Send for the County, go tell him of this.
I’ll have this knot knit up tomorrow morning.
JULIET.
I met the youthful lord at Lawrence’ cell,
And gave him what becomed love I might,
Not stepping o’er the bounds of modesty.
CAPULET.
Why, I am glad on’t. This is well. Stand up.
This is as’t should be. Let me see the County.
Ay, marry. Go, I say, and fetch him hither.
Now afore God, this reverend holy Friar,
All our whole city is much bound to him.
JULIET.
Nurse, will you go with me into my closet,
To help me sort such needful ornaments
As you think fit to furnish me tomorrow?
LADY CAPULET.
No, not till Thursday. There is time enough.
CAPULET.
Go, Nurse, go with her. We’ll to church tomorrow.
[_Exeunt Juliet and Nurse._]
LADY CAPULET.
We shall be short in our provision,
’Tis now near night.
CAPULET.
Tush, I will stir about,
And all things shall be well, I warrant thee, wife.
Go thou to Juliet, help to deck up her.
I’ll not to bed tonight, let me alone.
I’ll play the housewife for this once.—What, ho!—
They are all forth: well, I will walk myself
To County Paris, to prepare him up
Against tomorrow. My heart is wondrous light
Since this same wayward girl is so reclaim’d.
[_Exeunt._]
SCENE III. Juliet’s Chamber.
Enter Juliet and Nurse.
JULIET.
Ay, those attires are best. But, gentle Nurse,
I pray thee leave me to myself tonight;
For I have need of many orisons
To move the heavens to smile upon my state,
Which, well thou know’st, is cross and full of sin.
Enter Lady Capulet.
LADY CAPULET.
What, are you busy, ho? Need you my help?
JULIET.
No, madam; we have cull’d such necessaries
As are behoveful for our state tomorrow.
So please you, let me now be left alone,
And let the nurse this night sit up with you,
For I am sure you have your hands full all
In this so sudden business.
LADY CAPULET.
Good night.
Get thee to bed and rest, for thou hast need.
[_Exeunt Lady Capulet and Nurse._]
JULIET.
Farewell. God knows when we shall meet again.
I have a faint cold fear thrills through my veins
That almost freezes up the heat of life.
I’ll call them back again to comfort me.
Nurse!—What should she do here?
My dismal scene I needs must act alone.
Come, vial.
What if this mixture do not work at all?
Shall I be married then tomorrow morning?
No, No! This shall forbid it. Lie thou there.
[_Laying down her dagger._]
What if it be a poison, which the Friar
Subtly hath minister’d to have me dead,
Lest in this marriage he should be dishonour’d,
Because he married me before to Romeo?
I fear it is. And yet methinks it should not,
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? There’s a fearful point!
Shall I not then be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or, if I live, is it not very like,
The horrible conceit of death and night,
Together with the terror of the place,
As in a vault, an ancient receptacle,
Where for this many hundred years the bones
Of all my buried ancestors are pack’d,
Where bloody Tybalt, yet but green in earth,
Lies festering in his shroud; where, as they say,
At some hours in the night spirits resort—
Alack, alack, is it not like that I,
So early waking, what with loathsome smells,
And shrieks like mandrakes torn out of the earth,
That living mortals, hearing them, run mad.
O, if I wake, shall I not be distraught,
Environed with all these hideous fears,
And madly play with my forefathers’ joints?
And pluck the mangled Tybalt from his shroud?
And, in this rage, with some great kinsman’s bone,
As with a club, dash out my desperate brains?
O look, methinks I see my cousin’s ghost
Seeking out Romeo that did spit his body
Upon a rapier’s point. Stay, Tybalt, stay!
Romeo, Romeo, Romeo, here’s drink! I drink to thee.
[_Throws herself on the bed._]
SCENE IV. Hall in Capulet’s House.
Enter Lady Capulet and Nurse.
LADY CAPULET.
Hold, take these keys and fetch more spices, Nurse.
NURSE.
They call for dates and quinces in the pastry.
Enter Capulet.
CAPULET.
Come, stir, stir, stir! The second cock hath crow’d,
The curfew bell hath rung, ’tis three o’clock.
Look to the bak’d meats, good Angelica;
Spare not for cost.
NURSE.
Go, you cot-quean, go,
Get you to bed; faith, you’ll be sick tomorrow
For this night’s watching.
CAPULET.
No, not a whit. What! I have watch’d ere now
All night for lesser cause, and ne’er been sick.
LADY CAPULET.
Ay, you have been a mouse-hunt in your time;
But I will watch you from such watching now.
[_Exeunt Lady Capulet and Nurse._]
CAPULET.
A jealous-hood, a jealous-hood!
Enter Servants, with spits, logs and baskets.
Now, fellow, what’s there?
FIRST SERVANT.
Things for the cook, sir; but I know not what.
CAPULET.
Make haste, make haste.
[_Exit First Servant._]
—Sirrah, fetch drier logs.
Call Peter, he will show thee where they are.
SECOND SERVANT.
I have a head, sir, that will find out logs
And never trouble Peter for the matter.
[_Exit._]
CAPULET.
Mass and well said; a merry whoreson, ha.
Thou shalt be loggerhead.—Good faith, ’tis day.
The County will be here with music straight,
For so he said he would. I hear him near.
[_Play music._]
Nurse! Wife! What, ho! What, Nurse, I say!
Re-enter Nurse.
Go waken Juliet, go and trim her up.
I’ll go and chat with Paris. Hie, make haste,
Make haste; the bridegroom he is come already.
Make haste I say.
[_Exeunt._]
SCENE V. Juliet’s Chamber; Juliet on the bed.
Enter Nurse.
NURSE.
Mistress! What, mistress! Juliet! Fast, I warrant her, she.
Why, lamb, why, lady, fie, you slug-abed!
Why, love, I say! Madam! Sweetheart! Why, bride!
What, not a word? You take your pennyworths now.
Sleep for a week; for the next night, I warrant,
The County Paris hath set up his rest
That you shall rest but little. God forgive me!
Marry and amen. How sound is she asleep!
I needs must wake her. Madam, madam, madam!
Ay, let the County take you in your bed,
He’ll fright you up, i’faith. Will it not be?
What, dress’d, and in your clothes, and down again?
I must needs wake you. Lady! Lady! Lady!
Alas, alas! Help, help! My lady’s dead!
O, well-a-day that ever I was born.
Some aqua vitae, ho! My lord! My lady!
Enter Lady Capulet.
LADY CAPULET.
What noise is here?
NURSE.
O lamentable day!
LADY CAPULET.
What is the matter?
NURSE.
Look, look! O heavy day!
LADY CAPULET.
O me, O me! My child, my only life.
Revive, look up, or I will die with thee.
Help, help! Call help.
Enter Capulet.
CAPULET.
For shame, bring Juliet forth, her lord is come.
NURSE.
She’s dead, deceas’d, she’s dead; alack the day!
LADY CAPULET.
Alack the day, she’s dead, she’s dead, she’s dead!
CAPULET.
Ha! Let me see her. Out alas! She’s cold,
Her blood is settled and her joints are stiff.
Life and these lips have long been separated.
Death lies on her like an untimely frost
Upon the sweetest flower of all the field.
NURSE.
O lamentable day!
LADY CAPULET.
O woful time!
CAPULET.
Death, that hath ta’en her hence to make me wail,
Ties up my tongue and will not let me speak.
Enter Friar Lawrence and Paris with Musicians.
FRIAR LAWRENCE.
Come, is the bride ready to go to church?
CAPULET.
Ready to go, but never to return.
O son, the night before thy wedding day
Hath death lain with thy bride. There she lies,
Flower as she was, deflowered by him.
Death is my son-in-law, death is my heir;
My daughter he hath wedded. I will die
And leave him all; life, living, all is death’s.
PARIS.
Have I thought long to see this morning’s face,
And doth it give me such a sight as this?
LADY CAPULET.
Accurs’d, unhappy, wretched, hateful day.
Most miserable hour that e’er time saw
In lasting labour of his pilgrimage.
But one, poor one, one poor and loving child,
But one thing to rejoice and solace in,
And cruel death hath catch’d it from my sight.
NURSE.
O woe! O woeful, woeful, woeful day.
Most lamentable day, most woeful day
That ever, ever, I did yet behold!
O day, O day, O day, O hateful day.
Never was seen so black a day as this.
O woeful day, O woeful day.
PARIS.
Beguil’d, divorced, wronged, spited, slain.
Most detestable death, by thee beguil’d,
By cruel, cruel thee quite overthrown.
O love! O life! Not life, but love in death!
CAPULET.
Despis’d, distressed, hated, martyr’d, kill’d.
Uncomfortable time, why cam’st thou now
To murder, murder our solemnity?
O child! O child! My soul, and not my child,
Dead art thou. Alack, my child is dead,
And with my child my joys are buried.
FRIAR LAWRENCE.
Peace, ho, for shame. Confusion’s cure lives not
In these confusions. Heaven and yourself
Had part in this fair maid, now heaven hath all,
And all the better is it for the maid.
Your part in her you could not keep from death,
But heaven keeps his part in eternal life.
The most you sought was her promotion,
For ’twas your heaven she should be advanc’d,
And weep ye now, seeing she is advanc’d
Above the clouds, as high as heaven itself?
O, in this love, you love your child so ill
That you run mad, seeing that she is well.
She’s not well married that lives married long,
But she’s best married that dies married young.
Dry up your tears, and stick your rosemary
On this fair corse, and, as the custom is,
And in her best array bear her to church;
For though fond nature bids us all lament,
Yet nature’s tears are reason’s merriment.
CAPULET.
All things that we ordained festival
Turn from their office to black funeral:
Our instruments to melancholy bells,
Our wedding cheer to a sad burial feast;
Our solemn hymns to sullen dirges change;
Our bridal flowers serve for a buried corse,
And all things change them to the contrary.
FRIAR LAWRENCE.
Sir, go you in, and, madam, go with him,
And go, Sir Paris, everyone prepare
To follow this fair corse unto her grave.
The heavens do lower upon you for some ill;
Move them no more by crossing their high will.
[_Exeunt Capulet, Lady Capulet, Paris and Friar._]
FIRST MUSICIAN.
Faith, we may put up our pipes and be gone.
NURSE.
Honest good fellows, ah, put up, put up,
For well you know this is a pitiful case.
FIRST MUSICIAN.
Ay, by my troth, the case may be amended.
[_Exit Nurse._]
Enter Peter.
PETER.
Musicians, O, musicians, ‘Heart’s ease,’ ‘Heart’s ease’, O, and you
will have me live, play ‘Heart’s ease.’
FIRST MUSICIAN.
Why ‘Heart’s ease’?
PETER.
O musicians, because my heart itself plays ‘My heart is full’. O play
me some merry dump to comfort me.
FIRST MUSICIAN.
Not a dump we, ’tis no time to play now.
PETER.
You will not then?
FIRST MUSICIAN.
No.
PETER.
I will then give it you soundly.
FIRST MUSICIAN.
What will you give us?
PETER.
No money, on my faith, but the gleek! I will give you the minstrel.
FIRST MUSICIAN.
Then will I give you the serving-creature.
PETER.
Then will I lay the serving-creature’s dagger on your pate. I will
carry no crotchets. I’ll re you, I’ll fa you. Do you note me?
FIRST MUSICIAN.
And you re us and fa us, you note us.
SECOND MUSICIAN.
Pray you put up your dagger, and put out your wit.
PETER.
Then have at you with my wit. I will dry-beat you with an iron wit, and
put up my iron dagger. Answer me like men.
‘When griping griefs the heart doth wound,
And doleful dumps the mind oppress,
Then music with her silver sound’—
Why ‘silver sound’? Why ‘music with her silver sound’? What say you,
Simon Catling?
FIRST MUSICIAN.
Marry, sir, because silver hath a sweet sound.
PETER.
Prates. What say you, Hugh Rebeck?
SECOND MUSICIAN.
I say ‘silver sound’ because musicians sound for silver.
PETER.
Prates too! What say you, James Soundpost?
THIRD MUSICIAN.
Faith, I know not what to say.
PETER.
O, I cry you mercy, you are the singer. I will say for you. It is
‘music with her silver sound’ because musicians have no gold for
sounding.
‘Then music with her silver sound
With speedy help doth lend redress.’
[_Exit._]
FIRST MUSICIAN.
What a pestilent knave is this same!
SECOND MUSICIAN.
Hang him, Jack. Come, we’ll in here, tarry for the mourners, and stay
dinner.
[_Exeunt._]
ACT V
SCENE I. Mantua. A Street.
Enter Romeo.
ROMEO.
If I may trust the flattering eye of sleep,
My dreams presage some joyful news at hand.
My bosom’s lord sits lightly in his throne;
And all this day an unaccustom’d spirit
Lifts me above the ground with cheerful thoughts.
I dreamt my lady came and found me dead,—
Strange dream, that gives a dead man leave to think!—
And breath’d such life with kisses in my lips,
That I reviv’d, and was an emperor.
Ah me, how sweet is love itself possess’d,
When but love’s shadows are so rich in joy.
Enter Balthasar.
News from Verona! How now, Balthasar?
Dost thou not bring me letters from the Friar?
How doth my lady? Is my father well?
How fares my Juliet? That I ask again;
For nothing can be ill if she be well.
BALTHASAR.
Then she is well, and nothing can be ill.
Her body sleeps in Capel’s monument,
And her immortal part with angels lives.
I saw her laid low in her kindred’s vault,
And presently took post to tell it you.
O pardon me for bringing these ill news,
Since you did leave it for my office, sir.
ROMEO.
Is it even so? Then I defy you, stars!
Thou know’st my lodging. Get me ink and paper,
And hire post-horses. I will hence tonight.
BALTHASAR.
I do beseech you sir, have patience.
Your looks are pale and wild, and do import
Some misadventure.
ROMEO.
Tush, thou art deceiv’d.
Leave me, and do the thing I bid thee do.
Hast thou no letters to me from the Friar?
BALTHASAR.
No, my good lord.
ROMEO.
No matter. Get thee gone,
And hire those horses. I’ll be with thee straight.
[_Exit Balthasar._]
Well, Juliet, I will lie with thee tonight.
Let’s see for means. O mischief thou art swift
To enter in the thoughts of desperate men.
I do remember an apothecary,—
And hereabouts he dwells,—which late I noted
In tatter’d weeds, with overwhelming brows,
Culling of simples, meagre were his looks,
Sharp misery had worn him to the bones;
And in his needy shop a tortoise hung,
An alligator stuff’d, and other skins
Of ill-shaped fishes; and about his shelves
A beggarly account of empty boxes,
Green earthen pots, bladders, and musty seeds,
Remnants of packthread, and old cakes of roses
Were thinly scatter’d, to make up a show.
Noting this penury, to myself I said,
And if a man did need a poison now,
Whose sale is present death in Mantua,
Here lives a caitiff wretch would sell it him.
O, this same thought did but forerun my need,
And this same needy man must sell it me.
As I remember, this should be the house.
Being holiday, the beggar’s shop is shut.
What, ho! Apothecary!
Enter Apothecary.
APOTHECARY.
Who calls so loud?
ROMEO.
Come hither, man. I see that thou art poor.
Hold, there is forty ducats. Let me have
A dram of poison, such soon-speeding gear
As will disperse itself through all the veins,
That the life-weary taker may fall dead,
And that the trunk may be discharg’d of breath
As violently as hasty powder fir’d
Doth hurry from the fatal cannon’s womb.
APOTHECARY.
Such mortal drugs I have, but Mantua’s law
Is death to any he that utters them.
ROMEO.
Art thou so bare and full of wretchedness,
And fear’st to die? Famine is in thy cheeks,
Need and oppression starveth in thine eyes,
Contempt and beggary hangs upon thy back.
The world is not thy friend, nor the world’s law;
The world affords no law to make thee rich;
Then be not poor, but break it and take this.
APOTHECARY.
My poverty, but not my will consents.
ROMEO.
I pay thy poverty, and not thy will.
APOTHECARY.
Put this in any liquid thing you will
And drink it off; and, if you had the strength
Of twenty men, it would despatch you straight.
ROMEO.
There is thy gold, worse poison to men’s souls,
Doing more murder in this loathsome world
Than these poor compounds that thou mayst not sell.
I sell thee poison, thou hast sold me none.
Farewell, buy food, and get thyself in flesh.
Come, cordial and not poison, go with me
To Juliet’s grave, for there must I use thee.
[_Exeunt._]
SCENE II. Friar Lawrence’s Cell.
Enter Friar John.
FRIAR JOHN.
Holy Franciscan Friar! Brother, ho!
Enter Friar Lawrence.
FRIAR LAWRENCE.
This same should be the voice of Friar John.
Welcome from Mantua. What says Romeo?
Or, if his mind be writ, give me his letter.
FRIAR JOHN.
Going to find a barefoot brother out,
One of our order, to associate me,
Here in this city visiting the sick,
And finding him, the searchers of the town,
Suspecting that we both were in a house
Where the infectious pestilence did reign,
Seal’d up the doors, and would not let us forth,
So that my speed to Mantua there was stay’d.
FRIAR LAWRENCE.
Who bare my letter then to Romeo?
FRIAR JOHN.
I could not send it,—here it is again,—
Nor get a messenger to bring it thee,
So fearful were they of infection.
FRIAR LAWRENCE.
Unhappy fortune! By my brotherhood,
The letter was not nice, but full of charge,
Of dear import, and the neglecting it
May do much danger. Friar John, go hence,
Get me an iron crow and bring it straight
Unto my cell.
FRIAR JOHN.
Brother, I’ll go and bring it thee.
[_Exit._]
FRIAR LAWRENCE.
Now must I to the monument alone.
Within this three hours will fair Juliet wake.
She will beshrew me much that Romeo
Hath had no notice of these accidents;
But I will write again to Mantua,
And keep her at my cell till Romeo come.
Poor living corse, clos’d in a dead man’s tomb.
[_Exit._]
SCENE III. A churchyard; in it a Monument belonging to the Capulets.
Enter Paris, and his Page bearing flowers and a torch.
PARIS.
Give me thy torch, boy. Hence and stand aloof.
Yet put it out, for I would not be seen.
Under yond yew tree lay thee all along,
Holding thy ear close to the hollow ground;
So shall no foot upon the churchyard tread,
Being loose, unfirm, with digging up of graves,
But thou shalt hear it. Whistle then to me,
As signal that thou hear’st something approach.
Give me those flowers. Do as I bid thee, go.
PAGE.
[_Aside._] I am almost afraid to stand alone
Here in the churchyard; yet I will adventure.
[_Retires._]
PARIS.
Sweet flower, with flowers thy bridal bed I strew.
O woe, thy canopy is dust and stones,
Which with sweet water nightly I will dew,
Or wanting that, with tears distill’d by moans.
The obsequies that I for thee will keep,
Nightly shall be to strew thy grave and weep.
[_The Page whistles._]
The boy gives warning something doth approach.
What cursed foot wanders this way tonight,
To cross my obsequies and true love’s rite?
What, with a torch! Muffle me, night, awhile.
[_Retires._]
Enter Romeo and Balthasar with a torch, mattock, &c.
ROMEO.
Give me that mattock and the wrenching iron.
Hold, take this letter; early in the morning
See thou deliver it to my lord and father.
Give me the light; upon thy life I charge thee,
Whate’er thou hear’st or seest, stand all aloof
And do not interrupt me in my course.
Why I descend into this bed of death
Is partly to behold my lady’s face,
But chiefly to take thence from her dead finger
A precious ring, a ring that I must use
In dear employment. Therefore hence, be gone.
But if thou jealous dost return to pry
In what I further shall intend to do,
By heaven I will tear thee joint by joint,
And strew this hungry churchyard with thy limbs.
The time and my intents are savage-wild;
More fierce and more inexorable far
Than empty tigers or the roaring sea.
BALTHASAR.
I will be gone, sir, and not trouble you.
ROMEO.
So shalt thou show me friendship. Take thou that.
Live, and be prosperous, and farewell, good fellow.
BALTHASAR.
For all this same, I’ll hide me hereabout.
His looks I fear, and his intents I doubt.
[_Retires_]
ROMEO.
Thou detestable maw, thou womb of death,
Gorg’d with the dearest morsel of the earth,
Thus I enforce thy rotten jaws to open,
[_Breaking open the door of the monument._]
And in despite, I’ll cram thee with more food.
PARIS.
This is that banish’d haughty Montague
That murder’d my love’s cousin,—with which grief,
It is supposed, the fair creature died,—
And here is come to do some villainous shame
To the dead bodies. I will apprehend him.
[_Advances._]
Stop thy unhallow’d toil, vile Montague.
Can vengeance be pursu’d further than death?
Condemned villain, I do apprehend thee.
Obey, and go with me, for thou must die.
ROMEO.
I must indeed; and therefore came I hither.
Good gentle youth, tempt not a desperate man.
Fly hence and leave me. Think upon these gone;
Let them affright thee. I beseech thee, youth,
Put not another sin upon my head
By urging me to fury. O be gone.
By heaven I love thee better than myself;
For I come hither arm’d against myself.
Stay not, be gone, live, and hereafter say,
A madman’s mercy bid thee run away.
PARIS.
I do defy thy conjuration,
And apprehend thee for a felon here.
ROMEO.
Wilt thou provoke me? Then have at thee, boy!
[_They fight._]
PAGE.
O lord, they fight! I will go call the watch.
[_Exit._]
PARIS.
O, I am slain! [_Falls._] If thou be merciful,
Open the tomb, lay me with Juliet.
[_Dies._]
ROMEO.
In faith, I will. Let me peruse this face.
Mercutio’s kinsman, noble County Paris!
What said my man, when my betossed soul
Did not attend him as we rode? I think
He told me Paris should have married Juliet.
Said he not so? Or did I dream it so?
Or am I mad, hearing him talk of Juliet,
To think it was so? O, give me thy hand,
One writ with me in sour misfortune’s book.
I’ll bury thee in a triumphant grave.
A grave? O no, a lantern, slaught’red youth,
For here lies Juliet, and her beauty makes
This vault a feasting presence full of light.
Death, lie thou there, by a dead man interr’d.
[_Laying Paris in the monument._]
How oft when men are at the point of death
Have they been merry! Which their keepers call
A lightning before death. O, how may I
Call this a lightning? O my love, my wife,
Death that hath suck’d the honey of thy breath,
Hath had no power yet upon thy beauty.
Thou art not conquer’d. Beauty’s ensign yet
Is crimson in thy lips and in thy cheeks,
And death’s pale flag is not advanced there.
Tybalt, liest thou there in thy bloody sheet?
O, what more favour can I do to thee
Than with that hand that cut thy youth in twain
To sunder his that was thine enemy?
Forgive me, cousin. Ah, dear Juliet,
Why art thou yet so fair? Shall I believe
That unsubstantial death is amorous;
And that the lean abhorred monster keeps
Thee here in dark to be his paramour?
For fear of that I still will stay with thee,
And never from this palace of dim night
Depart again. Here, here will I remain
With worms that are thy chambermaids. O, here
Will I set up my everlasting rest;
And shake the yoke of inauspicious stars
From this world-wearied flesh. Eyes, look your last.
Arms, take your last embrace! And, lips, O you
The doors of breath, seal with a righteous kiss
| 0.105797 | 0.174924 | 1,380 | 146 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
ba5712325bcd37b53e931e4b1ce7d4db7dbc6d2e | Because of You | [
"98 Degrees"
] | 1,998 | You're my sunshine after the rain
You're the cure against my fear and my pain
'Cause I'm losing my mind when you're not around
It's all (It's all)
It's all because of you
You're my sunshine
(Oh yeah)
Baby I really know by now
Since we met that day
You showed me the way
I felt it then you gave me love, I can't describe
How much I feel for you
I said baby I should have known by now
Should have been right there whenever you gave me love
And if only you were here
I'd tell you
Yes I'd tell you (oh yeah)
You're my sunshine after the rain
You're the cure against my fear and my pain
'Cause I'm losing my mind when you're not around
It's all (It's all) It's all because of you
Honestly, could it be you and me
Like it was before neither less or more
'Cause when I close my eyes at night
I realize that no one else could ever take your place
I still can feel and it's so unreal
When you're touching me, kisses endlessly
It's just a place in the sun where our love's begun
I miss you, yes I miss you baby, oh yeah
()
You're my sunshine after the rain
You're the cure against my fear and my pain
'Cause I'm losing my mind when you're not around
It's all (It's all) It's all because of you
If I knew how to tell you what's on my mind
(Make you understand)
Then I'd always be there right by your side
()
You're my sunshine after the rain
You're the cure against my fear and my pain
'Cause I'm losing my mind when you're not around
It's all (It's all)
It's all because of you
You're my sunshine after the rain
You're the cure against my fear and my pain
'Cause I'm losing my mind when you're not around
It's all (It's all)
It's all because of you
'Cause you're my sunshine after the rain
You're the cure against my fear and my pain
'Cause I'm losing my mind when you're not around
It's all (It's all)
It's all because of you
You're my sunshine after the rain
You're the cure against my fear and my pain
'Cause I'm losing my mind when you're not around
It's all (It's all)
It's all because of you
You're my sunshine after the rain
'Cause I'm losing my mind when you're not around
It's all (It's all)
It's all because of you | 0.105263 | 0.004522 | 19 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
f2dd280ff9328985666aeb6b0210691d5ccb64e8 | That's the Way (I Like It) | [
"KC and the Sunshine Band"
] | 1,976 | Oh, that's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
When you take me, by the hand
Tell me I'm, your loving man
When you give me, all your love
And do it babe, girl yes you can
Oh, that's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
When I get to, be in your arms
When we're all, all alone
When you whisper, sweet in my ear
When you turn, turn me on
Oh, that's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
Babe, oh babe, uh-huh
That's the way, uh-huh
That's the way, uh-huh
Babe, oh babe, uh-huh
That's the way uh-huh
That's the way uh-huh
Oh, that's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
Uh-huh
Uh-huh
Oh, that's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
That's the way, uh-huh, uh-huh
I like it, uh-huh, uh-huh
Your love is hot, yeah
I like it
Oh, I can't get enough | 0.105263 | 0.011961 | 19 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
e9bee2594d59c0963681c92b164f03b4aaff01c8 | Blue (Da Ba Dee) | [
"Eiffel 65"
] | 2,000 | Yo listen up here's a story
About a little guy that lives in a blue world
And all day and all night and everything he sees
Is just blue
Like him inside and outside
Blue his house with a blue little window
And a blue Corvette
And everything is blue for him
And himself and everybody around
Cause he ain't got nobody to listen
I'm Blue da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
I'm Blue da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
I have a blue house with a blue window
Blue is the colour of all that I wear
Blue are the streets and all the trees are too
I have a girlfriend and she is so blue
Blue are the people here that walk around
Blue like my Corvette it's in and outside
Blue are the words I say and what I think
Blue are the feelings that live inside me
I'm Blue da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
I'm Blue da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Inside and outside
Blue his house with a blue little window
And a blue Corvette
And everything is blue for him and himself
And everybody around
Cause he ain't got nobody to listen
I'm Blue da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
I'm Blue da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
Da ba dee da ba daa
| 0.105263 | 0.028542 | 19 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
b60cbf31cc36425bb4b567860ea2bf78c173a069 | Hamlet | [
"William Shakespeare"
] | 1,601 | ore. A platform before the Castle.
Enter Francisco and Barnardo, two sentinels.
BARNARDO.
Who’s there?
FRANCISCO.
Nay, answer me. Stand and unfold yourself.
BARNARDO.
Long live the King!
FRANCISCO.
Barnardo?
BARNARDO.
He.
FRANCISCO.
You come most carefully upon your hour.
BARNARDO.
’Tis now struck twelve. Get thee to bed, Francisco.
FRANCISCO.
For this relief much thanks. ’Tis bitter cold,
And I am sick at heart.
BARNARDO.
Have you had quiet guard?
FRANCISCO.
Not a mouse stirring.
BARNARDO.
Well, good night.
If you do meet Horatio and Marcellus,
The rivals of my watch, bid them make haste.
Enter Horatio and Marcellus.
FRANCISCO.
I think I hear them. Stand, ho! Who is there?
HORATIO.
Friends to this ground.
MARCELLUS.
And liegemen to the Dane.
FRANCISCO.
Give you good night.
MARCELLUS.
O, farewell, honest soldier, who hath reliev’d you?
FRANCISCO.
Barnardo has my place. Give you good-night.
[_Exit._]
MARCELLUS.
Holla, Barnardo!
BARNARDO.
Say, what, is Horatio there?
HORATIO.
A piece of him.
BARNARDO.
Welcome, Horatio. Welcome, good Marcellus.
MARCELLUS.
What, has this thing appear’d again tonight?
BARNARDO.
I have seen nothing.
MARCELLUS.
Horatio says ’tis but our fantasy,
And will not let belief take hold of him
Touching this dreaded sight, twice seen of us.
Therefore I have entreated him along
With us to watch the minutes of this night,
That if again this apparition come
He may approve our eyes and speak to it.
HORATIO.
Tush, tush, ’twill not appear.
BARNARDO.
Sit down awhile,
And let us once again assail your ears,
That are so fortified against our story,
What we two nights have seen.
HORATIO.
Well, sit we down,
And let us hear Barnardo speak of this.
BARNARDO.
Last night of all,
When yond same star that’s westward from the pole,
Had made his course t’illume that part of heaven
Where now it burns, Marcellus and myself,
The bell then beating one—
MARCELLUS.
Peace, break thee off. Look where it comes again.
Enter Ghost.
BARNARDO.
In the same figure, like the King that’s dead.
MARCELLUS.
Thou art a scholar; speak to it, Horatio.
BARNARDO.
Looks it not like the King? Mark it, Horatio.
HORATIO.
Most like. It harrows me with fear and wonder.
BARNARDO
It would be spoke to.
MARCELLUS.
Question it, Horatio.
HORATIO.
What art thou that usurp’st this time of night,
Together with that fair and warlike form
In which the majesty of buried Denmark
Did sometimes march? By heaven I charge thee speak.
MARCELLUS.
It is offended.
BARNARDO.
See, it stalks away.
HORATIO.
Stay! speak, speak! I charge thee speak!
[_Exit Ghost._]
MARCELLUS.
’Tis gone, and will not answer.
BARNARDO.
How now, Horatio! You tremble and look pale.
Is not this something more than fantasy?
What think you on’t?
HORATIO.
Before my God, I might not this believe
Without the sensible and true avouch
Of mine own eyes.
MARCELLUS.
Is it not like the King?
HORATIO.
As thou art to thyself:
Such was the very armour he had on
When he th’ambitious Norway combated;
So frown’d he once, when in an angry parle
He smote the sledded Polacks on the ice.
’Tis strange.
MARCELLUS.
Thus twice before, and jump at this dead hour,
With martial stalk hath he gone by our watch.
HORATIO.
In what particular thought to work I know not;
But in the gross and scope of my opinion,
This bodes some strange eruption to our state.
MARCELLUS.
Good now, sit down, and tell me, he that knows,
Why this same strict and most observant watch
So nightly toils the subject of the land,
And why such daily cast of brazen cannon
And foreign mart for implements of war;
Why such impress of shipwrights, whose sore task
Does not divide the Sunday from the week.
What might be toward, that this sweaty haste
Doth make the night joint-labourer with the day:
Who is’t that can inform me?
HORATIO.
That can I;
At least, the whisper goes so. Our last King,
Whose image even but now appear’d to us,
Was, as you know, by Fortinbras of Norway,
Thereto prick’d on by a most emulate pride,
Dar’d to the combat; in which our valiant Hamlet,
For so this side of our known world esteem’d him,
Did slay this Fortinbras; who by a seal’d compact,
Well ratified by law and heraldry,
Did forfeit, with his life, all those his lands
Which he stood seiz’d of, to the conqueror;
Against the which, a moiety competent
Was gaged by our King; which had return’d
To the inheritance of Fortinbras,
Had he been vanquisher; as by the same cov’nant
And carriage of the article design’d,
His fell to Hamlet. Now, sir, young Fortinbras,
Of unimproved mettle, hot and full,
Hath in the skirts of Norway, here and there,
Shark’d up a list of lawless resolutes,
For food and diet, to some enterprise
That hath a stomach in’t; which is no other,
As it doth well appear unto our state,
But to recover of us by strong hand
And terms compulsatory, those foresaid lands
So by his father lost. And this, I take it,
Is the main motive of our preparations,
The source of this our watch, and the chief head
Of this post-haste and rummage in the land.
BARNARDO.
I think it be no other but e’en so:
Well may it sort that this portentous figure
Comes armed through our watch so like the King
That was and is the question of these wars.
HORATIO.
A mote it is to trouble the mind’s eye.
In the most high and palmy state of Rome,
A little ere the mightiest Julius fell,
The graves stood tenantless and the sheeted dead
Did squeak and gibber in the Roman streets;
As stars with trains of fire and dews of blood,
Disasters in the sun; and the moist star,
Upon whose influence Neptune’s empire stands,
Was sick almost to doomsday with eclipse.
And even the like precurse of fierce events,
As harbingers preceding still the fates
And prologue to the omen coming on,
Have heaven and earth together demonstrated
Unto our climatures and countrymen.
Re-enter Ghost.
But, soft, behold! Lo, where it comes again!
I’ll cross it, though it blast me. Stay, illusion!
If thou hast any sound, or use of voice,
Speak to me.
If there be any good thing to be done,
That may to thee do ease, and grace to me,
Speak to me.
If thou art privy to thy country’s fate,
Which, happily, foreknowing may avoid,
O speak!
Or if thou hast uphoarded in thy life
Extorted treasure in the womb of earth,
For which, they say, you spirits oft walk in death,
Speak of it. Stay, and speak!
[_The cock crows._]
Stop it, Marcellus!
MARCELLUS.
Shall I strike at it with my partisan?
HORATIO.
Do, if it will not stand.
BARNARDO.
’Tis here!
HORATIO.
’Tis here!
[_Exit Ghost._]
MARCELLUS.
’Tis gone!
We do it wrong, being so majestical,
To offer it the show of violence,
For it is as the air, invulnerable,
And our vain blows malicious mockery.
BARNARDO.
It was about to speak, when the cock crew.
HORATIO.
And then it started, like a guilty thing
Upon a fearful summons. I have heard
The cock, that is the trumpet to the morn,
Doth with his lofty and shrill-sounding throat
Awake the god of day; and at his warning,
Whether in sea or fire, in earth or air,
Th’extravagant and erring spirit hies
To his confine. And of the truth herein
This present object made probation.
MARCELLUS.
It faded on the crowing of the cock.
Some say that ever ’gainst that season comes
Wherein our Saviour’s birth is celebrated,
The bird of dawning singeth all night long;
And then, they say, no spirit dare stir abroad,
The nights are wholesome, then no planets strike,
No fairy takes, nor witch hath power to charm;
So hallow’d and so gracious is the time.
HORATIO.
So have I heard, and do in part believe it.
But look, the morn in russet mantle clad,
Walks o’er the dew of yon high eastward hill.
Break we our watch up, and by my advice,
Let us impart what we have seen tonight
Unto young Hamlet; for upon my life,
This spirit, dumb to us, will speak to him.
Do you consent we shall acquaint him with it,
As needful in our loves, fitting our duty?
MARCELLUS.
Let’s do’t, I pray, and I this morning know
Where we shall find him most conveniently.
[_Exeunt._]
SCENE II. Elsinore. A room of state in the Castle.
Enter Claudius King of Denmark, Gertrude the Queen, Hamlet, Polonius,
Laertes, Voltemand,
Cornelius, Lords and Attendant.
KING.
Though yet of Hamlet our dear brother’s death
The memory be green, and that it us befitted
To bear our hearts in grief, and our whole kingdom
To be contracted in one brow of woe;
Yet so far hath discretion fought with nature
That we with wisest sorrow think on him,
Together with remembrance of ourselves.
Therefore our sometime sister, now our queen,
Th’imperial jointress to this warlike state,
Have we, as ’twere with a defeated joy,
With one auspicious and one dropping eye,
With mirth in funeral, and with dirge in marriage,
In equal scale weighing delight and dole,
Taken to wife; nor have we herein barr’d
Your better wisdoms, which have freely gone
With this affair along. For all, our thanks.
Now follows, that you know young Fortinbras,
Holding a weak supposal of our worth,
Or thinking by our late dear brother’s death
Our state to be disjoint and out of frame,
Colleagued with this dream of his advantage,
He hath not fail’d to pester us with message,
Importing the surrender of those lands
Lost by his father, with all bonds of law,
To our most valiant brother. So much for him.
Now for ourself and for this time of meeting:
Thus much the business is: we have here writ
To Norway, uncle of young Fortinbras,
Who, impotent and bed-rid, scarcely hears
Of this his nephew’s purpose, to suppress
His further gait herein; in that the levies,
The lists, and full proportions are all made
Out of his subject: and we here dispatch
You, good Cornelius, and you, Voltemand,
For bearers of this greeting to old Norway,
Giving to you no further personal power
To business with the King, more than the scope
Of these dilated articles allow.
Farewell; and let your haste commend your duty.
CORNELIUS and VOLTEMAND.
In that, and all things, will we show our duty.
KING.
We doubt it nothing: heartily farewell.
[_Exeunt Voltemand and Cornelius._]
And now, Laertes, what’s the news with you?
You told us of some suit. What is’t, Laertes?
You cannot speak of reason to the Dane,
And lose your voice. What wouldst thou beg, Laertes,
That shall not be my offer, not thy asking?
The head is not more native to the heart,
The hand more instrumental to the mouth,
Than is the throne of Denmark to thy father.
What wouldst thou have, Laertes?
LAERTES.
Dread my lord,
Your leave and favour to return to France,
From whence though willingly I came to Denmark
To show my duty in your coronation;
Yet now I must confess, that duty done,
My thoughts and wishes bend again toward France,
And bow them to your gracious leave and pardon.
KING.
Have you your father’s leave? What says Polonius?
POLONIUS.
He hath, my lord, wrung from me my slow leave
By laboursome petition; and at last
Upon his will I seal’d my hard consent.
I do beseech you give him leave to go.
KING.
Take thy fair hour, Laertes; time be thine,
And thy best graces spend it at thy will!
But now, my cousin Hamlet, and my son—
HAMLET.
[_Aside._] A little more than kin, and less than kind.
KING.
How is it that the clouds still hang on you?
HAMLET.
Not so, my lord, I am too much i’ the sun.
QUEEN.
Good Hamlet, cast thy nighted colour off,
And let thine eye look like a friend on Denmark.
Do not for ever with thy vailed lids
Seek for thy noble father in the dust.
Thou know’st ’tis common, all that lives must die,
Passing through nature to eternity.
HAMLET.
Ay, madam, it is common.
QUEEN.
If it be,
Why seems it so particular with thee?
HAMLET.
Seems, madam! Nay, it is; I know not seems.
’Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forc’d breath,
No, nor the fruitful river in the eye,
Nor the dejected haviour of the visage,
Together with all forms, moods, shows of grief,
That can denote me truly. These indeed seem,
For they are actions that a man might play;
But I have that within which passeth show;
These but the trappings and the suits of woe.
KING.
’Tis sweet and commendable in your nature, Hamlet,
To give these mourning duties to your father;
But you must know, your father lost a father,
That father lost, lost his, and the survivor bound
In filial obligation, for some term
To do obsequious sorrow. But to persevere
In obstinate condolement is a course
Of impious stubbornness. ’Tis unmanly grief,
It shows a will most incorrect to heaven,
A heart unfortified, a mind impatient,
An understanding simple and unschool’d;
For what we know must be, and is as common
As any the most vulgar thing to sense,
Why should we in our peevish opposition
Take it to heart? Fie, ’tis a fault to heaven,
A fault against the dead, a fault to nature,
To reason most absurd, whose common theme
Is death of fathers, and who still hath cried,
From the first corse till he that died today,
‘This must be so.’ We pray you throw to earth
This unprevailing woe, and think of us
As of a father; for let the world take note
You are the most immediate to our throne,
And with no less nobility of love
Than that which dearest father bears his son
Do I impart toward you. For your intent
In going back to school in Wittenberg,
It is most retrograde to our desire:
And we beseech you bend you to remain
Here in the cheer and comfort of our eye,
Our chiefest courtier, cousin, and our son.
QUEEN.
Let not thy mother lose her prayers, Hamlet.
I pray thee stay with us; go not to Wittenberg.
HAMLET.
I shall in all my best obey you, madam.
KING.
Why, ’tis a loving and a fair reply.
Be as ourself in Denmark. Madam, come;
This gentle and unforc’d accord of Hamlet
Sits smiling to my heart; in grace whereof,
No jocund health that Denmark drinks today
But the great cannon to the clouds shall tell,
And the King’s rouse the heaven shall bruit again,
Re-speaking earthly thunder. Come away.
[_Exeunt all but Hamlet._]
HAMLET.
O that this too too solid flesh would melt,
Thaw, and resolve itself into a dew!
Or that the Everlasting had not fix’d
His canon ’gainst self-slaughter. O God! O God!
How weary, stale, flat, and unprofitable
Seem to me all the uses of this world!
Fie on’t! Oh fie! ’tis an unweeded garden
That grows to seed; things rank and gross in nature
Possess it merely. That it should come to this!
But two months dead—nay, not so much, not two:
So excellent a king; that was to this
Hyperion to a satyr; so loving to my mother,
That he might not beteem the winds of heaven
Visit her face too roughly. Heaven and earth!
Must I remember? Why, she would hang on him
As if increase of appetite had grown
By what it fed on; and yet, within a month—
Let me not think on’t—Frailty, thy name is woman!
A little month, or ere those shoes were old
With which she followed my poor father’s body
Like Niobe, all tears.—Why she, even she—
O God! A beast that wants discourse of reason
Would have mourn’d longer,—married with mine uncle,
My father’s brother; but no more like my father
Than I to Hercules. Within a month,
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes,
She married. O most wicked speed, to post
With such dexterity to incestuous sheets!
It is not, nor it cannot come to good.
But break, my heart, for I must hold my tongue.
Enter Horatio, Marcellus and Barnardo.
HORATIO.
Hail to your lordship!
HAMLET.
I am glad to see you well:
Horatio, or I do forget myself.
HORATIO.
The same, my lord,
And your poor servant ever.
HAMLET.
Sir, my good friend;
I’ll change that name with you:
And what make you from Wittenberg, Horatio?—
Marcellus?
MARCELLUS.
My good lord.
HAMLET.
I am very glad to see you.—Good even, sir.—
But what, in faith, make you from Wittenberg?
HORATIO.
A truant disposition, good my lord.
HAMLET.
I would not hear your enemy say so;
Nor shall you do my ear that violence,
To make it truster of your own report
Against yourself. I know you are no truant.
But what is your affair in Elsinore?
We’ll teach you to drink deep ere you depart.
HORATIO.
My lord, I came to see your father’s funeral.
HAMLET.
I prithee do not mock me, fellow-student.
I think it was to see my mother’s wedding.
HORATIO.
Indeed, my lord, it follow’d hard upon.
HAMLET.
Thrift, thrift, Horatio! The funeral bak’d meats
Did coldly furnish forth the marriage tables.
Would I had met my dearest foe in heaven
Or ever I had seen that day, Horatio.
My father,—methinks I see my father.
HORATIO.
Where, my lord?
HAMLET.
In my mind’s eye, Horatio.
HORATIO.
I saw him once; he was a goodly king.
HAMLET.
He was a man, take him for all in all,
I shall not look upon his like again.
HORATIO.
My lord, I think I saw him yesternight.
HAMLET.
Saw? Who?
HORATIO.
My lord, the King your father.
HAMLET.
The King my father!
HORATIO.
Season your admiration for a while
With an attent ear, till I may deliver
Upon the witness of these gentlemen
This marvel to you.
HAMLET.
For God’s love let me hear.
HORATIO.
Two nights together had these gentlemen,
Marcellus and Barnardo, on their watch
In the dead waste and middle of the night,
Been thus encounter’d. A figure like your father,
Armed at point exactly, cap-à-pie,
Appears before them, and with solemn march
Goes slow and stately by them: thrice he walk’d
By their oppress’d and fear-surprised eyes,
Within his truncheon’s length; whilst they, distill’d
Almost to jelly with the act of fear,
Stand dumb, and speak not to him. This to me
In dreadful secrecy impart they did,
And I with them the third night kept the watch,
Where, as they had deliver’d, both in time,
Form of the thing, each word made true and good,
The apparition comes. I knew your father;
These hands are not more like.
HAMLET.
But where was this?
MARCELLUS.
My lord, upon the platform where we watch.
HAMLET.
Did you not speak to it?
HORATIO.
My lord, I did;
But answer made it none: yet once methought
It lifted up it head, and did address
Itself to motion, like as it would speak.
But even then the morning cock crew loud,
And at the sound it shrunk in haste away,
And vanish’d from our sight.
HAMLET.
’Tis very strange.
HORATIO.
As I do live, my honour’d lord, ’tis true;
And we did think it writ down in our duty
To let you know of it.
HAMLET.
Indeed, indeed, sirs, but this troubles me.
Hold you the watch tonight?
MARCELLUS and BARNARDO.
We do, my lord.
HAMLET.
Arm’d, say you?
Both.
Arm’d, my lord.
HAMLET.
From top to toe?
BOTH.
My lord, from head to foot.
HAMLET.
Then saw you not his face?
HORATIO.
O yes, my lord, he wore his beaver up.
HAMLET.
What, look’d he frowningly?
HORATIO.
A countenance more in sorrow than in anger.
HAMLET.
Pale, or red?
HORATIO.
Nay, very pale.
HAMLET.
And fix’d his eyes upon you?
HORATIO.
Most constantly.
HAMLET.
I would I had been there.
HORATIO.
It would have much amaz’d you.
HAMLET.
Very like, very like. Stay’d it long?
HORATIO.
While one with moderate haste might tell a hundred.
MARCELLUS and BARNARDO.
Longer, longer.
HORATIO.
Not when I saw’t.
HAMLET.
His beard was grizzled, no?
HORATIO.
It was, as I have seen it in his life,
A sable silver’d.
HAMLET.
I will watch tonight;
Perchance ’twill walk again.
HORATIO.
I warrant you it will.
HAMLET.
If it assume my noble father’s person,
I’ll speak to it, though hell itself should gape
And bid me hold my peace. I pray you all,
If you have hitherto conceal’d this sight,
Let it be tenable in your silence still;
And whatsoever else shall hap tonight,
Give it an understanding, but no tongue.
I will requite your loves. So, fare ye well.
Upon the platform ’twixt eleven and twelve,
I’ll visit you.
ALL.
Our duty to your honour.
HAMLET.
Your loves, as mine to you: farewell.
[_Exeunt Horatio, Marcellus and Barnardo._]
My father’s spirit in arms! All is not well;
I doubt some foul play: would the night were come!
Till then sit still, my soul: foul deeds will rise,
Though all the earth o’erwhelm them, to men’s eyes.
[_Exit._]
SCENE III. A room in Polonius’s house.
Enter Laertes and Ophelia.
LAERTES.
My necessaries are embark’d. Farewell.
And, sister, as the winds give benefit
And convoy is assistant, do not sleep,
But let me hear from you.
OPHELIA.
Do you doubt that?
LAERTES.
For Hamlet, and the trifling of his favour,
Hold it a fashion and a toy in blood;
A violet in the youth of primy nature,
Forward, not permanent, sweet, not lasting;
The perfume and suppliance of a minute;
No more.
OPHELIA.
No more but so?
LAERTES.
Think it no more.
For nature crescent does not grow alone
In thews and bulk; but as this temple waxes,
The inward service of the mind and soul
Grows wide withal. Perhaps he loves you now,
And now no soil nor cautel doth besmirch
The virtue of his will; but you must fear,
His greatness weigh’d, his will is not his own;
For he himself is subject to his birth:
He may not, as unvalu’d persons do,
Carve for himself; for on his choice depends
The sanctity and health of this whole state;
And therefore must his choice be circumscrib’d
Unto the voice and yielding of that body
Whereof he is the head. Then if he says he loves you,
It fits your wisdom so far to believe it
As he in his particular act and place
May give his saying deed; which is no further
Than the main voice of Denmark goes withal.
Then weigh what loss your honour may sustain
If with too credent ear you list his songs,
Or lose your heart, or your chaste treasure open
To his unmaster’d importunity.
Fear it, Ophelia, fear it, my dear sister;
And keep you in the rear of your affection,
Out of the shot and danger of desire.
The chariest maid is prodigal enough
If she unmask her beauty to the moon.
Virtue itself ’scapes not calumnious strokes:
The canker galls the infants of the spring
Too oft before their buttons be disclos’d,
And in the morn and liquid dew of youth
Contagious blastments are most imminent.
Be wary then, best safety lies in fear.
Youth to itself rebels, though none else near.
OPHELIA.
I shall th’effect of this good lesson keep
As watchman to my heart. But good my brother,
Do not as some ungracious pastors do,
Show me the steep and thorny way to heaven;
Whilst like a puff’d and reckless libertine
Himself the primrose path of dalliance treads,
And recks not his own rede.
LAERTES.
O, fear me not.
I stay too long. But here my father comes.
Enter Polonius.
A double blessing is a double grace;
Occasion smiles upon a second leave.
POLONIUS.
Yet here, Laertes? Aboard, aboard, for shame.
The wind sits in the shoulder of your sail,
And you are stay’d for. There, my blessing with you.
[_Laying his hand on Laertes’s head._]
And these few precepts in thy memory
Look thou character. Give thy thoughts no tongue,
Nor any unproportion’d thought his act.
Be thou familiar, but by no means vulgar.
Those friends thou hast, and their adoption tried,
Grapple them unto thy soul with hoops of steel;
But do not dull thy palm with entertainment
Of each new-hatch’d, unfledg’d comrade. Beware
Of entrance to a quarrel; but being in,
Bear’t that th’opposed may beware of thee.
Give every man thine ear, but few thy voice:
Take each man’s censure, but reserve thy judgement.
Costly thy habit as thy purse can buy,
But not express’d in fancy; rich, not gaudy:
For the apparel oft proclaims the man;
And they in France of the best rank and station
Are of a most select and generous chief in that.
Neither a borrower nor a lender be:
For loan oft loses both itself and friend;
And borrowing dulls the edge of husbandry.
This above all: to thine own self be true;
And it must follow, as the night the day,
Thou canst not then be false to any man.
Farewell: my blessing season this in thee.
LAERTES.
Most humbly do I take my leave, my lord.
POLONIUS.
The time invites you; go, your servants tend.
LAERTES.
Farewell, Ophelia, and remember well
What I have said to you.
OPHELIA.
’Tis in my memory lock’d,
And you yourself shall keep the key of it.
LAERTES.
Farewell.
[_Exit._]
POLONIUS.
What is’t, Ophelia, he hath said to you?
OPHELIA.
So please you, something touching the Lord Hamlet.
POLONIUS.
Marry, well bethought:
’Tis told me he hath very oft of late
Given private time to you; and you yourself
Have of your audience been most free and bounteous.
If it be so,—as so ’tis put on me,
And that in way of caution,—I must tell you
You do not understand yourself so clearly
As it behoves my daughter and your honour.
What is between you? Give me up the truth.
OPHELIA.
He hath, my lord, of late made many tenders
Of his affection to me.
POLONIUS.
Affection! Pooh! You speak like a green girl,
Unsifted in such perilous circumstance.
Do you believe his tenders, as you call them?
OPHELIA.
I do not know, my lord, what I should think.
POLONIUS.
Marry, I’ll teach you; think yourself a baby;
That you have ta’en these tenders for true pay,
Which are not sterling. Tender yourself more dearly;
Or,—not to crack the wind of the poor phrase,
Running it thus,—you’ll tender me a fool.
OPHELIA.
My lord, he hath importun’d me with love
In honourable fashion.
POLONIUS.
Ay, fashion you may call it; go to, go to.
OPHELIA.
And hath given countenance to his speech, my lord,
With almost all the holy vows of heaven.
POLONIUS.
Ay, springes to catch woodcocks. I do know,
When the blood burns, how prodigal the soul
Lends the tongue vows: these blazes, daughter,
Giving more light than heat, extinct in both,
Even in their promise, as it is a-making,
You must not take for fire. From this time
Be something scanter of your maiden presence;
Set your entreatments at a higher rate
Than a command to parley. For Lord Hamlet,
Believe so much in him that he is young;
And with a larger tether may he walk
Than may be given you. In few, Ophelia,
Do not believe his vows; for they are brokers,
Not of that dye which their investments show,
But mere implorators of unholy suits,
Breathing like sanctified and pious bawds,
The better to beguile. This is for all:
I would not, in plain terms, from this time forth
Have you so slander any moment leisure
As to give words or talk with the Lord Hamlet.
Look to’t, I charge you; come your ways.
OPHELIA.
I shall obey, my lord.
[_Exeunt._]
SCENE IV. The platform.
Enter Hamlet, Horatio and Marcellus.
HAMLET.
The air bites shrewdly; it is very cold.
HORATIO.
It is a nipping and an eager air.
HAMLET.
What hour now?
HORATIO.
I think it lacks of twelve.
MARCELLUS.
No, it is struck.
HORATIO.
Indeed? I heard it not. It then draws near the season
Wherein the spirit held his wont to walk.
[_A flourish of trumpets, and ordnance shot off within._]
What does this mean, my lord?
HAMLET.
The King doth wake tonight and takes his rouse,
Keeps wassail, and the swaggering upspring reels;
And as he drains his draughts of Rhenish down,
The kettle-drum and trumpet thus bray out
The triumph of his pledge.
HORATIO.
Is it a custom?
HAMLET.
Ay marry is’t;
And to my mind, though I am native here,
And to the manner born, it is a custom
More honour’d in the breach than the observance.
This heavy-headed revel east and west
Makes us traduc’d and tax’d of other nations:
They clepe us drunkards, and with swinish phrase
Soil our addition; and indeed it takes
From our achievements, though perform’d at height,
The pith and marrow of our attribute.
So oft it chances in particular men
That for some vicious mole of nature in them,
As in their birth, wherein they are not guilty,
Since nature cannot choose his origin,
By their o’ergrowth of some complexion,
Oft breaking down the pales and forts of reason;
Or by some habit, that too much o’erleavens
The form of plausive manners;—that these men,
Carrying, I say, the stamp of one defect,
Being Nature’s livery or Fortune’s star,—
His virtues else,—be they as pure as grace,
As infinite as man may undergo,
Shall in the general censure take corruption
From that particular fault. The dram of evil
Doth all the noble substance of a doubt
To his own scandal.
HORATIO.
Look, my lord, it comes!
Enter Ghost.
HAMLET.
Angels and ministers of grace defend us!
Be thou a spirit of health or goblin damn’d,
Bring with thee airs from heaven or blasts from hell,
Be thy intents wicked or charitable,
Thou com’st in such a questionable shape
That I will speak to thee. I’ll call thee Hamlet,
King, father, royal Dane. O, answer me!
Let me not burst in ignorance; but tell
Why thy canoniz’d bones, hearsed in death,
Have burst their cerements; why the sepulchre,
Wherein we saw thee quietly inurn’d,
Hath op’d his ponderous and marble jaws
To cast thee up again! What may this mean,
That thou, dead corse, again in complete steel,
Revisit’st thus the glimpses of the moon,
Making night hideous, and we fools of nature
So horridly to shake our disposition
With thoughts beyond the reaches of our souls?
Say, why is this? Wherefore? What should we do?
[_Ghost beckons Hamlet._]
HORATIO.
It beckons you to go away with it,
As if it some impartment did desire
To you alone.
MARCELLUS.
Look with what courteous action
It waves you to a more removed ground.
But do not go with it.
HORATIO.
No, by no means.
HAMLET.
It will not speak; then will I follow it.
HORATIO.
Do not, my lord.
HAMLET.
Why, what should be the fear?
I do not set my life at a pin’s fee;
And for my soul, what can it do to that,
Being a thing immortal as itself?
It waves me forth again. I’ll follow it.
HORATIO.
What if it tempt you toward the flood, my lord,
Or to the dreadful summit of the cliff
That beetles o’er his base into the sea,
And there assume some other horrible form
Which might deprive your sovereignty of reason,
And draw you into madness? Think of it.
The very place puts toys of desperation,
Without more motive, into every brain
That looks so many fathoms to the sea
And hears it roar beneath.
HAMLET.
It waves me still.
Go on, I’ll follow thee.
MARCELLUS.
You shall not go, my lord.
HAMLET.
Hold off your hands.
HORATIO.
Be rul’d; you shall not go.
HAMLET.
My fate cries out,
And makes each petty artery in this body
As hardy as the Nemean lion’s nerve.
[_Ghost beckons._]
Still am I call’d. Unhand me, gentlemen.
[_Breaking free from them._]
By heaven, I’ll make a ghost of him that lets me.
I say, away!—Go on, I’ll follow thee.
[_Exeunt Ghost and Hamlet._]
HORATIO.
He waxes desperate with imagination.
MARCELLUS.
Let’s follow; ’tis not fit thus to obey him.
HORATIO.
Have after. To what issue will this come?
MARCELLUS.
Something is rotten in the state of Denmark.
HORATIO.
Heaven will direct it.
MARCELLUS.
Nay, let’s follow him.
[_Exeunt._]
SCENE V. A more remote part of the Castle.
Enter Ghost and Hamlet.
HAMLET.
Whither wilt thou lead me? Speak, I’ll go no further.
GHOST.
Mark me.
HAMLET.
I will.
GHOST.
My hour is almost come,
When I to sulph’rous and tormenting flames
Must render up myself.
HAMLET.
Alas, poor ghost!
GHOST.
Pity me not, but lend thy serious hearing
To what I shall unfold.
HAMLET.
Speak, I am bound to hear.
GHOST.
So art thou to revenge, when thou shalt hear.
HAMLET.
What?
GHOST.
I am thy father’s spirit,
Doom’d for a certain term to walk the night,
And for the day confin’d to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purg’d away. But that I am forbid
To tell the secrets of my prison-house,
I could a tale unfold whose lightest word
Would harrow up thy soul; freeze thy young blood,
Make thy two eyes like stars start from their spheres,
Thy knotted and combined locks to part,
And each particular hair to stand on end
Like quills upon the fretful porpentine.
But this eternal blazon must not be
To ears of flesh and blood. List, list, O, list!
If thou didst ever thy dear father love—
HAMLET.
O God!
GHOST.
Revenge his foul and most unnatural murder.
HAMLET.
Murder!
GHOST.
Murder most foul, as in the best it is;
But this most foul, strange, and unnatural.
HAMLET.
Haste me to know’t, that I, with wings as swift
As meditation or the thoughts of love
May sweep to my revenge.
GHOST.
I find thee apt;
And duller shouldst thou be than the fat weed
That rots itself in ease on Lethe wharf,
Wouldst thou not stir in this. Now, Hamlet, hear.
’Tis given out that, sleeping in my orchard,
A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abus’d; but know, thou noble youth,
The serpent that did sting thy father’s life
Now wears his crown.
HAMLET.
O my prophetic soul!
Mine uncle!
GHOST.
Ay, that incestuous, that adulterate beast,
With witchcraft of his wit, with traitorous gifts,—
O wicked wit, and gifts, that have the power
So to seduce!—won to his shameful lust
The will of my most seeming-virtuous queen.
O Hamlet, what a falling off was there,
From me, whose love was of that dignity
That it went hand in hand even with the vow
I made to her in marriage; and to decline
Upon a wretch whose natural gifts were poor
To those of mine. But virtue, as it never will be mov’d,
Though lewdness court it in a shape of heaven;
So lust, though to a radiant angel link’d,
Will sate itself in a celestial bed
And prey on garbage.
But soft! methinks I scent the morning air;
Brief let me be. Sleeping within my orchard,
My custom always of the afternoon,
Upon my secure hour thy uncle stole
With juice of cursed hebenon in a vial,
And in the porches of my ears did pour
The leperous distilment, whose effect
Holds such an enmity with blood of man
That swift as quicksilver it courses through
The natural gates and alleys of the body;
And with a sudden vigour it doth posset
And curd, like eager droppings into milk,
The thin and wholesome blood. So did it mine;
And a most instant tetter bark’d about,
Most lazar-like, with vile and loathsome crust
All my smooth body.
Thus was I, sleeping, by a brother’s hand,
Of life, of crown, of queen at once dispatch’d:
Cut off even in the blossoms of my sin,
Unhous’led, disappointed, unanel’d;
No reckoning made, but sent to my account
With all my imperfections on my head.
O horrible! O horrible! most horrible!
If thou hast nature in thee, bear it not;
Let not the royal bed of Denmark be
A couch for luxury and damned incest.
But howsoever thou pursu’st this act,
Taint not thy mind, nor let thy soul contrive
Against thy mother aught; leave her to heaven,
And to those thorns that in her bosom lodge,
To prick and sting her. Fare thee well at once!
The glow-worm shows the matin to be near,
And ’gins to pale his uneffectual fire.
Adieu, adieu, adieu. Remember me.
[_Exit._]
HAMLET.
O all you host of heaven! O earth! What else?
And shall I couple hell? O, fie! Hold, my heart;
And you, my sinews, grow not instant old,
But bear me stiffly up. Remember thee?
Ay, thou poor ghost, while memory holds a seat
In this distracted globe. Remember thee?
Yea, from the table of my memory
I’ll wipe away all trivial fond records,
All saws of books, all forms, all pressures past,
That youth and observation copied there;
And thy commandment all alone shall live
Within the book and volume of my brain,
Unmix’d with baser matter. Yes, by heaven!
O most pernicious woman!
O villain, villain, smiling damned villain!
My tables. Meet it is I set it down,
That one may smile, and smile, and be a villain!
At least I am sure it may be so in Denmark.
[_Writing._]
So, uncle, there you are. Now to my word;
It is ‘Adieu, adieu, remember me.’
I have sworn’t.
HORATIO and MARCELLUS.
[_Within._] My lord, my lord.
MARCELLUS.
[_Within._] Lord Hamlet.
HORATIO.
[_Within._] Heaven secure him.
HAMLET.
So be it!
MARCELLUS.
[_Within._] Illo, ho, ho, my lord!
HAMLET.
Hillo, ho, ho, boy! Come, bird, come.
Enter Horatio and Marcellus.
MARCELLUS.
How is’t, my noble lord?
HORATIO.
What news, my lord?
HAMLET.
O, wonderful!
HORATIO.
Good my lord, tell it.
HAMLET.
No, you’ll reveal it.
HORATIO.
Not I, my lord, by heaven.
MARCELLUS.
Nor I, my lord.
HAMLET.
How say you then, would heart of man once think it?—
But you’ll be secret?
HORATIO and MARCELLUS.
Ay, by heaven, my lord.
HAMLET.
There’s ne’er a villain dwelling in all Denmark
But he’s an arrant knave.
HORATIO.
There needs no ghost, my lord, come from the grave
To tell us this.
HAMLET.
Why, right; you are i’ the right;
And so, without more circumstance at all,
I hold it fit that we shake hands and part:
You, as your business and desire shall point you,—
For every man hath business and desire,
Such as it is;—and for my own poor part,
Look you, I’ll go pray.
HORATIO.
These are but wild and whirling words, my lord.
HAMLET.
I’m sorry they offend you, heartily;
Yes faith, heartily.
HORATIO.
There’s no offence, my lord.
HAMLET.
Yes, by Saint Patrick, but there is, Horatio,
And much offence too. Touching this vision here,
It is an honest ghost, that let me tell you.
For your desire to know what is between us,
O’ermaster’t as you may. And now, good friends,
As you are friends, scholars, and soldiers,
Give me one poor request.
HORATIO.
What is’t, my lord? We will.
HAMLET.
Never make known what you have seen tonight.
HORATIO and MARCELLUS.
My lord, we will not.
HAMLET.
Nay, but swear’t.
HORATIO.
In faith, my lord, not I.
MARCELLUS.
Nor I, my lord, in faith.
HAMLET.
Upon my sword.
MARCELLUS.
We have sworn, my lord, already.
HAMLET.
Indeed, upon my sword, indeed.
GHOST.
[_Cries under the stage._] Swear.
HAMLET.
Ha, ha boy, sayst thou so? Art thou there, truepenny?
Come on, you hear this fellow in the cellarage.
Consent to swear.
HORATIO.
Propose the oath, my lord.
HAMLET.
Never to speak of this that you have seen.
Swear by my sword.
GHOST.
[_Beneath._] Swear.
HAMLET.
_Hic et ubique?_ Then we’ll shift our ground.
Come hither, gentlemen,
And lay your hands again upon my sword.
Never to speak of this that you have heard.
Swear by my sword.
GHOST.
[_Beneath._] Swear.
HAMLET.
Well said, old mole! Canst work i’ th’earth so fast?
A worthy pioner! Once more remove, good friends.
HORATIO.
O day and night, but this is wondrous strange.
HAMLET.
And therefore as a stranger give it welcome.
There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy. But come,
Here, as before, never, so help you mercy,
How strange or odd soe’er I bear myself,—
As I perchance hereafter shall think meet
To put an antic disposition on—
That you, at such times seeing me, never shall,
With arms encumber’d thus, or this head-shake,
Or by pronouncing of some doubtful phrase,
As ‘Well, we know’, or ‘We could and if we would’,
Or ‘If we list to speak’; or ‘There be and if they might’,
Or such ambiguous giving out, to note
That you know aught of me:—this not to do.
So grace and mercy at your most need help you,
Swear.
GHOST.
[_Beneath._] Swear.
HAMLET.
Rest, rest, perturbed spirit. So, gentlemen,
With all my love I do commend me to you;
And what so poor a man as Hamlet is
May do t’express his love and friending to you,
God willing, shall not lack. Let us go in together,
And still your fingers on your lips, I pray.
The time is out of joint. O cursed spite,
That ever I was born to set it right.
Nay, come, let’s go together.
[_Exeunt._]
ACT II
SCENE I. A room in Polonius’s house.
Enter Polonius and Reynaldo.
POLONIUS.
Give him this money and these notes, Reynaldo.
REYNALDO.
I will, my lord.
POLONIUS.
You shall do marvellous wisely, good Reynaldo,
Before you visit him, to make inquiry
Of his behaviour.
REYNALDO.
My lord, I did intend it.
POLONIUS.
Marry, well said; very well said. Look you, sir,
Enquire me first what Danskers are in Paris;
And how, and who, what means, and where they keep,
What company, at what expense; and finding
By this encompassment and drift of question,
That they do know my son, come you more nearer
Than your particular demands will touch it.
Take you as ’twere some distant knowledge of him,
As thus, ‘I know his father and his friends,
And in part him’—do you mark this, Reynaldo?
REYNALDO.
Ay, very well, my lord.
POLONIUS.
‘And in part him, but,’ you may say, ‘not well;
But if’t be he I mean, he’s very wild;
Addicted so and so;’ and there put on him
What forgeries you please; marry, none so rank
As may dishonour him; take heed of that;
But, sir, such wanton, wild, and usual slips
As are companions noted and most known
To youth and liberty.
REYNALDO.
As gaming, my lord?
POLONIUS.
Ay, or drinking, fencing, swearing,
Quarrelling, drabbing. You may go so far.
REYNALDO.
My lord, that would dishonour him.
POLONIUS.
Faith no, as you may season it in the charge.
You must not put another scandal on him,
That he is open to incontinency;
That’s not my meaning: but breathe his faults so quaintly
That they may seem the taints of liberty;
The flash and outbreak of a fiery mind,
A savageness in unreclaimed blood,
Of general assault.
REYNALDO.
But my good lord—
POLONIUS.
Wherefore should you do this?
REYNALDO.
Ay, my lord, I would know that.
POLONIUS.
Marry, sir, here’s my drift,
And I believe it is a fetch of warrant.
You laying these slight sullies on my son,
As ’twere a thing a little soil’d i’ th’ working,
Mark you,
Your party in converse, him you would sound,
Having ever seen in the prenominate crimes
The youth you breathe of guilty, be assur’d
He closes with you in this consequence;
‘Good sir,’ or so; or ‘friend,’ or ‘gentleman’—
According to the phrase or the addition
Of man and country.
REYNALDO.
Very good, my lord.
POLONIUS.
And then, sir, does he this,—
He does—What was I about to say?
By the mass, I was about to say something. Where did I leave?
REYNALDO.
At ‘closes in the consequence.’
At ‘friend or so,’ and ‘gentleman.’
POLONIUS.
At ‘closes in the consequence’ ay, marry!
He closes with you thus: ‘I know the gentleman,
I saw him yesterday, or t’other day,
Or then, or then, with such and such; and, as you say,
There was he gaming, there o’ertook in’s rouse,
There falling out at tennis’: or perchance,
‘I saw him enter such a house of sale’—
_Videlicet_, a brothel, or so forth. See you now;
Your bait of falsehood takes this carp of truth;
And thus do we of wisdom and of reach,
With windlasses, and with assays of bias,
By indirections find directions out.
So by my former lecture and advice
Shall you my son. You have me, have you not?
REYNALDO.
My lord, I have.
POLONIUS.
God b’ wi’ you, fare you well.
REYNALDO.
Good my lord.
POLONIUS.
Observe his inclination in yourself.
REYNALDO.
I shall, my lord.
POLONIUS.
And let him ply his music.
REYNALDO.
Well, my lord.
POLONIUS.
Farewell.
[_Exit Reynaldo._]
Enter Ophelia.
How now, Ophelia, what’s the matter?
OPHELIA.
Alas, my lord, I have been so affrighted.
POLONIUS.
With what, in the name of God?
OPHELIA.
My lord, as I was sewing in my chamber,
Lord Hamlet, with his doublet all unbrac’d,
No hat upon his head, his stockings foul’d,
Ungart’red, and down-gyved to his ankle,
Pale as his shirt, his knees knocking each other,
And with a look so piteous in purport
As if he had been loosed out of hell
To speak of horrors, he comes before me.
POLONIUS.
Mad for thy love?
OPHELIA.
My lord, I do not know, but truly I do fear it.
POLONIUS.
What said he?
OPHELIA.
He took me by the wrist and held me hard;
Then goes he to the length of all his arm;
And with his other hand thus o’er his brow,
He falls to such perusal of my face
As he would draw it. Long stay’d he so,
At last,—a little shaking of mine arm,
And thrice his head thus waving up and down,
He rais’d a sigh so piteous and profound
As it did seem to shatter all his bulk
And end his being. That done, he lets me go,
And with his head over his shoulder turn’d
He seem’d to find his way without his eyes,
For out o’ doors he went without their help,
And to the last bended their light on me.
POLONIUS.
Come, go with me. I will go seek the King.
This is the very ecstasy of love,
Whose violent property fordoes itself,
And leads the will to desperate undertakings,
As oft as any passion under heaven
That does afflict our natures. I am sorry,—
What, have you given him any hard words of late?
OPHELIA.
No, my good lord; but as you did command,
I did repel his letters and denied
His access to me.
POLONIUS.
That hath made him mad.
I am sorry that with better heed and judgement
I had not quoted him. I fear’d he did but trifle,
And meant to wreck thee. But beshrew my jealousy!
It seems it is as proper to our age
To cast beyond ourselves in our opinions
As it is common for the younger sort
To lack discretion. Come, go we to the King.
This must be known, which, being kept close, might move
More grief to hide than hate to utter love.
[_Exeunt._]
SCENE II. A room in the Castle.
Enter King, Queen, Rosencrantz, Guildenstern and Attendants.
KING.
Welcome, dear Rosencrantz and Guildenstern.
Moreover that we much did long to see you,
The need we have to use you did provoke
Our hasty sending. Something have you heard
Of Hamlet’s transformation; so I call it,
Since nor th’exterior nor the inward man
Resembles that it was. What it should be,
More than his father’s death, that thus hath put him
So much from th’understanding of himself,
I cannot dream of. I entreat you both
That, being of so young days brought up with him,
And since so neighbour’d to his youth and humour,
That you vouchsafe your rest here in our court
Some little time, so by your companies
To draw him on to pleasures and to gather,
So much as from occasion you may glean,
Whether aught to us unknown afflicts him thus
That, open’d, lies within our remedy.
QUEEN.
Good gentlemen, he hath much talk’d of you,
And sure I am, two men there are not living
To whom he more adheres. If it will please you
To show us so much gentry and good will
As to expend your time with us awhile,
For the supply and profit of our hope,
Your visitation shall receive such thanks
As fits a king’s remembrance.
ROSENCRANTZ.
Both your majesties
Might, by the sovereign power you have of us,
Put your dread pleasures more into command
Than to entreaty.
GUILDENSTERN.
We both obey,
And here give up ourselves, in the full bent,
To lay our service freely at your feet
To be commanded.
KING.
Thanks, Rosencrantz and gentle Guildenstern.
QUEEN.
Thanks, Guildenstern and gentle Rosencrantz.
And I beseech you instantly to visit
My too much changed son. Go, some of you,
And bring these gentlemen where Hamlet is.
GUILDENSTERN.
Heavens make our presence and our practices
Pleasant and helpful to him.
QUEEN.
Ay, amen.
[_Exeunt Rosencrantz, Guildenstern and some Attendants._]
Enter Polonius.
POLONIUS.
Th’ambassadors from Norway, my good lord,
Are joyfully return’d.
KING.
Thou still hast been the father of good news.
POLONIUS.
Have I, my lord? Assure you, my good liege,
I hold my duty, as I hold my soul,
Both to my God and to my gracious King:
And I do think,—or else this brain of mine
Hunts not the trail of policy so sure
As it hath us’d to do—that I have found
The very cause of Hamlet’s lunacy.
KING.
O speak of that, that do I long to hear.
POLONIUS.
Give first admittance to th’ambassadors;
My news shall be the fruit to that great feast.
KING.
Thyself do grace to them, and bring them in.
[_Exit Polonius._]
He tells me, my sweet queen, that he hath found
The head and source of all your son’s distemper.
QUEEN.
I doubt it is no other but the main,
His father’s death and our o’erhasty marriage.
KING.
Well, we shall sift him.
Enter Polonius with Voltemand and Cornelius.
Welcome, my good friends!
Say, Voltemand, what from our brother Norway?
VOLTEMAND.
Most fair return of greetings and desires.
Upon our first, he sent out to suppress
His nephew’s levies, which to him appear’d
To be a preparation ’gainst the Polack;
But better look’d into, he truly found
It was against your Highness; whereat griev’d,
That so his sickness, age, and impotence
Was falsely borne in hand, sends out arrests
On Fortinbras; which he, in brief, obeys,
Receives rebuke from Norway; and in fine,
Makes vow before his uncle never more
To give th’assay of arms against your Majesty.
Whereon old Norway, overcome with joy,
Gives him three thousand crowns in annual fee,
And his commission to employ those soldiers
So levied as before, against the Polack:
With an entreaty, herein further shown,
[_Gives a paper._]
That it might please you to give quiet pass
Through your dominions for this enterprise,
On such regards of safety and allowance
As therein are set down.
KING.
It likes us well;
And at our more consider’d time we’ll read,
Answer, and think upon this business.
Meantime we thank you for your well-took labour.
Go to your rest, at night we’ll feast together:.
Most welcome home.
[_Exeunt Voltemand and Cornelius._]
POLONIUS.
This business is well ended.
My liege and madam, to expostulate
What majesty should be, what duty is,
Why day is day, night night, and time is time
Were nothing but to waste night, day and time.
Therefore, since brevity is the soul of wit,
And tediousness the limbs and outward flourishes,
I will be brief. Your noble son is mad.
Mad call I it; for to define true madness,
What is’t but to be nothing else but mad?
But let that go.
QUEEN.
More matter, with less art.
POLONIUS.
Madam, I swear I use no art at all.
That he is mad, ’tis true: ’tis true ’tis pity;
And pity ’tis ’tis true. A foolish figure,
But farewell it, for I will use no art.
Mad let us grant him then. And now remains
That we find out the cause of this effect,
Or rather say, the cause of this defect,
For this effect defective comes by cause.
Thus it remains, and the remainder thus. Perpend,
I have a daughter—have whilst she is mine—
Who in her duty and obedience, mark,
Hath given me this. Now gather, and surmise.
[_Reads._]
_To the celestial, and my soul’s idol, the most beautified Ophelia_—
That’s an ill phrase, a vile phrase; ‘beautified’ is a vile
phrase: but you shall hear.
[_Reads._]
_these; in her excellent white bosom, these, &c._
QUEEN.
Came this from Hamlet to her?
POLONIUS.
Good madam, stay awhile; I will be faithful.
[_Reads._]
_Doubt thou the stars are fire,
Doubt that the sun doth move,
Doubt truth to be a liar,
But never doubt I love.
O dear Ophelia, I am ill at these numbers. I have not art to reckon my
groans. But that I love thee best, O most best, believe it. Adieu.
Thine evermore, most dear lady, whilst this machine is to him,
HAMLET._
This in obedience hath my daughter show’d me;
And more above, hath his solicitings,
As they fell out by time, by means, and place,
All given to mine ear.
KING.
But how hath she receiv’d his love?
POLONIUS.
What do you think of me?
KING.
As of a man faithful and honourable.
POLONIUS.
I would fain prove so. But what might you think,
When I had seen this hot love on the wing,
As I perceiv’d it, I must tell you that,
Before my daughter told me, what might you,
Or my dear Majesty your queen here, think,
If I had play’d the desk or table-book,
Or given my heart a winking, mute and dumb,
Or look’d upon this love with idle sight,
What might you think? No, I went round to work,
And my young mistress thus I did bespeak:
‘Lord Hamlet is a prince, out of thy star.
This must not be.’ And then I precepts gave her,
That she should lock herself from his resort,
Admit no messengers, receive no tokens.
Which done, she took the fruits of my advice,
And he, repulsed,—a short tale to make—
Fell into a sadness, then into a fast,
Thence to a watch, thence into a weakness,
Thence to a lightness, and, by this declension,
Into the madness wherein now he raves,
And all we wail for.
KING.
Do you think ’tis this?
QUEEN.
It may be, very likely.
POLONIUS.
Hath there been such a time, I’d fain know that,
That I have positively said ‘’Tis so,’
When it prov’d otherwise?
KING.
Not that I know.
POLONIUS.
Take this from this, if this be otherwise.
[_Points to his head and shoulder._]
If circumstances lead me, I will find
Where truth is hid, though it were hid indeed
Within the centre.
KING.
How may we try it further?
POLONIUS.
You know sometimes he walks four hours together
Here in the lobby.
QUEEN.
So he does indeed.
POLONIUS.
At such a time I’ll loose my daughter to him.
Be you and I behind an arras then,
Mark the encounter. If he love her not,
And be not from his reason fall’n thereon,
Let me be no assistant for a state,
But keep a farm and carters.
KING.
We will try it.
Enter Hamlet, reading.
QUEEN.
But look where sadly the poor wretch comes reading.
POLONIUS.
Away, I do beseech you, both away
I’ll board him presently. O, give me leave.
[_Exeunt King, Queen and Attendants._]
How does my good Lord Hamlet?
HAMLET.
Well, God-a-mercy.
POLONIUS.
Do you know me, my lord?
HAMLET.
Excellent well. You are a fishmonger.
POLONIUS.
Not I, my lord.
HAMLET.
Then I would you were so honest a man.
POLONIUS.
Honest, my lord?
HAMLET.
Ay sir, to be honest, as this world goes, is to be one man picked out
of ten thousand.
POLONIUS.
That’s very true, my lord.
HAMLET.
For if the sun breed maggots in a dead dog, being a good kissing
carrion,—
Have you a daughter?
POLONIUS.
I have, my lord.
HAMLET.
Let her not walk i’ th’ sun. Conception is a blessing, but not as your
daughter may conceive. Friend, look to’t.
POLONIUS.
How say you by that? [_Aside._] Still harping on my daughter. Yet he
knew me not at first; he said I was a fishmonger. He is far gone, far
gone. And truly in my youth I suffered much extremity for love; very
near this. I’ll speak to him again.—What do you read, my lord?
HAMLET.
Words, words, words.
POLONIUS.
What is the matter, my lord?
HAMLET.
Between who?
POLONIUS.
I mean the matter that you read, my lord.
HAMLET.
Slanders, sir. For the satirical slave says here that old men have grey
beards; that their faces are wrinkled; their eyes purging thick amber
and plum-tree gum; and that they have a plentiful lack of wit, together
with most weak hams. All which, sir, though I most powerfully and
potently believe, yet I hold it not honesty to have it thus set down.
For you yourself, sir, should be old as I am, if like a crab you could
go backward.
POLONIUS.
[_Aside._] Though this be madness, yet there is method in’t.—
Will you walk out of the air, my lord?
HAMLET.
Into my grave?
POLONIUS.
Indeed, that is out o’ the air. [_Aside._] How pregnant sometimes his
replies are! A happiness that often madness hits on, which reason and
sanity could not so prosperously be delivered of. I will leave him and
suddenly contrive the means of meeting between him and my daughter.
My honourable lord, I will most humbly take my leave of you.
HAMLET.
You cannot, sir, take from me anything that I will more willingly part
withal, except my life, except my life, except my life.
POLONIUS.
Fare you well, my lord.
HAMLET.
These tedious old fools.
Enter Rosencrantz and Guildenstern.
POLONIUS.
You go to seek the Lord Hamlet; there he is.
ROSENCRANTZ.
[_To Polonius._] God save you, sir.
[_Exit Polonius._]
GUILDENSTERN.
My honoured lord!
ROSENCRANTZ.
My most dear lord!
HAMLET.
My excellent good friends! How dost thou, Guildenstern? Ah,
Rosencrantz. Good lads, how do ye both?
ROSENCRANTZ.
As the indifferent children of the earth.
GUILDENSTERN.
Happy in that we are not over-happy;
On Fortune’s cap we are not the very button.
HAMLET.
Nor the soles of her shoe?
ROSENCRANTZ.
Neither, my lord.
HAMLET.
Then you live about her waist, or in the middle of her favours?
GUILDENSTERN.
Faith, her privates we.
HAMLET.
In the secret parts of Fortune? O, most true; she is a strumpet. What’s
the news?
ROSENCRANTZ.
None, my lord, but that the world’s grown honest.
HAMLET.
Then is doomsday near. But your news is not true. Let me question more
in particular. What have you, my good friends, deserved at the hands of
Fortune, that she sends you to prison hither?
GUILDENSTERN.
Prison, my lord?
HAMLET.
Denmark’s a prison.
ROSENCRANTZ.
Then is the world one.
HAMLET.
A goodly one; in which there are many confines, wards, and dungeons,
Denmark being one o’ th’ worst.
ROSENCRANTZ.
We think not so, my lord.
HAMLET.
Why, then ’tis none to you; for there is nothing either good or bad but
thinking makes it so. To me it is a prison.
ROSENCRANTZ.
Why, then your ambition makes it one; ’tis too narrow for your mind.
HAMLET.
O God, I could be bounded in a nutshell, and count myself a king of
infinite space, were it not that I have bad dreams.
GUILDENSTERN.
Which dreams, indeed, are ambition; for the very substance of the
ambitious is merely the shadow of a dream.
HAMLET.
A dream itself is but a shadow.
ROSENCRANTZ.
Truly, and I hold ambition of so airy and light a quality that it is
but a shadow’s shadow.
HAMLET.
Then are our beggars bodies, and our monarchs and outstretch’d heroes
the beggars’ shadows. Shall we to th’ court? For, by my fay, I cannot
reason.
ROSENCRANTZ and GUILDENSTERN.
We’ll wait upon you.
HAMLET.
No such matter. I will not sort you with the rest of my servants; for,
to speak to you like an honest man, I am most dreadfully attended. But,
in the beaten way of friendship, what make you at Elsinore?
ROSENCRANTZ.
To visit you, my lord, no other occasion.
HAMLET.
Beggar that I am, I am even poor in thanks; but I thank you. And sure,
dear friends, my thanks are too dear a halfpenny. Were you not sent
for? Is it your own inclining? Is it a free visitation? Come, deal
justly with me. Come, come; nay, speak.
GUILDENSTERN.
What should we say, my lord?
HAMLET.
Why, anything. But to the purpose. You were sent for; and there is a
kind of confession in your looks, which your modesties have not craft
enough to colour. I know the good King and Queen have sent for you.
ROSENCRANTZ.
To what end, my lord?
HAMLET.
That you must teach me. But let me conjure you, by the rights of our
fellowship, by the consonancy of our youth, by the obligation of our
ever-preserved love, and by what more dear a better proposer could
charge you withal, be even and direct with me, whether you were sent
for or no.
ROSENCRANTZ.
[_To Guildenstern._] What say you?
HAMLET.
[_Aside._] Nay, then I have an eye of you. If you love me, hold not
off.
GUILDENSTERN.
My lord, we were sent for.
HAMLET.
I will tell you why; so shall my anticipation prevent your discovery,
and your secrecy to the King and Queen moult no feather. I have of
late, but wherefore I know not, lost all my mirth, forgone all custom
of exercises; and indeed, it goes so heavily with my disposition that
this goodly frame the earth, seems to me a sterile promontory; this
most excellent canopy the air, look you, this brave o’erhanging
firmament, this majestical roof fretted with golden fire, why, it
appears no other thing to me than a foul and pestilent congregation of
vapours. What a piece of work is man, how noble in reason, how infinite
in faculties, in form and moving, how express and admirable; in action
how like an angel, in apprehension, how like a god: the beauty of the
world, the paragon of animals. And yet, to me, what is this
quintessence of dust? Man delights not me; no, nor woman neither,
though by your smiling you seem to say so.
ROSENCRANTZ.
My lord, there was no such stuff in my thoughts.
HAMLET.
Why did you laugh then, when I said ‘Man delights not me’?
ROSENCRANTZ.
To think, my lord, if you delight not in man, what Lenten entertainment
the players shall receive from you. We coted them on the way, and
hither are they coming to offer you service.
HAMLET.
He that plays the king shall be welcome,—his Majesty shall have tribute
of me; the adventurous knight shall use his foil and target; the lover
shall not sigh gratis, the humorous man shall end his part in peace;
the clown shall make those laugh whose lungs are tickle o’ th’ sere;
and the lady shall say her mind freely, or the blank verse shall halt
for’t. What players are they?
ROSENCRANTZ.
Even those you were wont to take such delight in—the tragedians of the
city.
HAMLET.
How chances it they travel? Their residence, both in reputation and
profit, was better both ways.
ROSENCRANTZ.
I think their inhibition comes by the means of the late innovation.
HAMLET.
Do they hold the same estimation they did when I was in the city? Are
they so followed?
ROSENCRANTZ.
No, indeed, they are not.
HAMLET.
How comes it? Do they grow rusty?
ROSENCRANTZ.
Nay, their endeavour keeps in the wonted pace; but there is, sir, an
aerie of children, little eyases, that cry out on the top of question,
and are most tyrannically clapped for’t. These are now the fashion, and
so berattle the common stages—so they call them—that many wearing
rapiers are afraid of goose-quills and dare scarce come thither.
HAMLET.
What, are they children? Who maintains ’em? How are they escoted? Will
they pursue the quality no longer than they can sing? Will they not say
afterwards, if they should grow themselves to common players—as it is
most like, if their means are no better—their writers do them wrong to
make them exclaim against their own succession?
ROSENCRANTZ.
Faith, there has been much to do on both sides; and the nation holds it
no sin to tarre them to controversy. There was for a while, no money
bid for argument unless the poet and the player went to cuffs in the
question.
HAMLET.
Is’t possible?
GUILDENSTERN.
O, there has been much throwing about of brains.
HAMLET.
Do the boys carry it away?
ROSENCRANTZ.
Ay, that they do, my lord. Hercules and his load too.
HAMLET.
It is not very strange; for my uncle is King of Denmark, and those that
would make mouths at him while my father lived, give twenty, forty,
fifty, a hundred ducats apiece for his picture in little. ’Sblood,
there is something in this more than natural, if philosophy could find
it out.
[_Flourish of trumpets within._]
GUILDENSTERN.
There are the players.
HAMLET.
Gentlemen, you are welcome to Elsinore. Your hands, come. The
appurtenance of welcome is fashion and ceremony. Let me comply with you
in this garb, lest my extent to the players, which I tell you must show
fairly outward, should more appear like entertainment than yours. You
are welcome. But my uncle-father and aunt-mother are deceived.
GUILDENSTERN.
In what, my dear lord?
HAMLET.
I am but mad north-north-west. When the wind is southerly, I know a
hawk from a handsaw.
Enter Polonius.
POLONIUS.
Well be with you, gentlemen.
HAMLET.
Hark you, Guildenstern, and you too, at each ear a hearer. That great
baby you see there is not yet out of his swaddling clouts.
ROSENCRANTZ.
Happily he’s the second time come to them; for they say an old man is
twice a child.
HAMLET.
I will prophesy he comes to tell me of the players. Mark it.—You say
right, sir: for a Monday morning ’twas so indeed.
POLONIUS.
My lord, I have news to tell you.
HAMLET.
My lord, I have news to tell you. When Roscius was an actor in Rome—
POLONIUS.
The actors are come hither, my lord.
HAMLET.
Buzz, buzz.
POLONIUS.
Upon my honour.
HAMLET.
Then came each actor on his ass—
POLONIUS.
The best actors in the world, either for tragedy, comedy, history,
pastoral, pastoral-comical, historical-pastoral, tragical-historical,
tragical-comical-historical-pastoral, scene individable, or poem
unlimited. Seneca cannot be too heavy, nor Plautus too light, for the
law of writ and the liberty. These are the only men.
HAMLET.
O Jephthah, judge of Israel, what a treasure hadst thou!
POLONIUS.
What treasure had he, my lord?
HAMLET.
Why—
’One fair daughter, and no more,
The which he loved passing well.’
POLONIUS.
[_Aside._] Still on my daughter.
HAMLET.
Am I not i’ th’ right, old Jephthah?
POLONIUS.
If you call me Jephthah, my lord, I have a daughter that I love passing
well.
HAMLET.
Nay, that follows not.
POLONIUS.
What follows then, my lord?
HAMLET.
Why,
As by lot, God wot,
and then, you know,
It came to pass, as most like it was.
The first row of the pious chanson will show you more. For look where
my abridgement comes.
Enter four or five Players.
You are welcome, masters, welcome all. I am glad to see thee well.
Welcome, good friends. O, my old friend! Thy face is valanc’d since I
saw thee last. Com’st thou to beard me in Denmark? What, my young lady
and mistress! By’r lady, your ladyship is nearer to heaven than when I
saw you last, by the altitude of a chopine. Pray God your voice, like a
piece of uncurrent gold, be not cracked within the ring. Masters, you
are all welcome. We’ll e’en to’t like French falconers, fly at anything
we see. We’ll have a speech straight. Come, give us a taste of your
quality. Come, a passionate speech.
FIRST PLAYER.
What speech, my lord?
HAMLET.
I heard thee speak me a speech once, but it was never acted, or if it
was, not above once, for the play, I remember, pleased not the million,
’twas caviare to the general. But it was—as I received it, and others,
whose judgements in such matters cried in the top of mine—an excellent
play, well digested in the scenes, set down with as much modesty as
cunning. I remember one said there were no sallets in the lines to make
the matter savoury, nor no matter in the phrase that might indite the
author of affectation, but called it an honest method, as wholesome as
sweet, and by very much more handsome than fine. One speech in it, I
chiefly loved. ’Twas Aeneas’ tale to Dido, and thereabout of it
especially where he speaks of Priam’s slaughter. If it live in your
memory, begin at this line, let me see, let me see:
_The rugged Pyrrhus, like th’ Hyrcanian beast,—_
It is not so: it begins with Pyrrhus—
_The rugged Pyrrhus, he whose sable arms,
Black as his purpose, did the night resemble
When he lay couched in the ominous horse,
Hath now this dread and black complexion smear’d
With heraldry more dismal. Head to foot
Now is he total gules, horridly trick’d
With blood of fathers, mothers, daughters, sons,
Bak’d and impasted with the parching streets,
That lend a tyrannous and a damned light
To their vile murders. Roasted in wrath and fire,
And thus o’ersized with coagulate gore,
With eyes like carbuncles, the hellish Pyrrhus
Old grandsire Priam seeks._
So, proceed you.
POLONIUS.
’Fore God, my lord, well spoken, with good accent and good discretion.
FIRST PLAYER.
_Anon he finds him,
Striking too short at Greeks. His antique sword,
Rebellious to his arm, lies where it falls,
Repugnant to command. Unequal match’d,
Pyrrhus at Priam drives, in rage strikes wide;
But with the whiff and wind of his fell sword
Th’unnerved father falls. Then senseless Ilium,
Seeming to feel this blow, with flaming top
Stoops to his base, and with a hideous crash
Takes prisoner Pyrrhus’ ear. For lo, his sword,
Which was declining on the milky head
Of reverend Priam, seem’d i’ th’air to stick.
So, as a painted tyrant, Pyrrhus stood,
And like a neutral to his will and matter,
Did nothing.
But as we often see against some storm,
A silence in the heavens, the rack stand still,
The bold winds speechless, and the orb below
As hush as death, anon the dreadful thunder
Doth rend the region; so after Pyrrhus’ pause,
Aroused vengeance sets him new a-work,
And never did the Cyclops’ hammers fall
On Mars’s armour, forg’d for proof eterne,
With less remorse than Pyrrhus’ bleeding sword
Now falls on Priam.
Out, out, thou strumpet Fortune! All you gods,
In general synod, take away her power;
Break all the spokes and fellies from her wheel,
And bowl the round nave down the hill of heaven,
As low as to the fiends._
POLONIUS.
This is too long.
HAMLET.
It shall to the barber’s, with your beard.—Prithee say on.
He’s for a jig or a tale of bawdry, or he sleeps.
Say on; come to Hecuba.
FIRST PLAYER.
_But who, O who, had seen the mobled queen,—_
HAMLET.
‘The mobled queen’?
POLONIUS.
That’s good! ‘Mobled queen’ is good.
FIRST PLAYER.
_Run barefoot up and down, threat’ning the flames
With bisson rheum. A clout upon that head
Where late the diadem stood, and for a robe,
About her lank and all o’erteemed loins,
A blanket, in th’alarm of fear caught up—
Who this had seen, with tongue in venom steep’d,
’Gainst Fortune’s state would treason have pronounc’d.
But if the gods themselves did see her then,
When she saw Pyrrhus make malicious sport
In mincing with his sword her husband’s limbs,
The instant burst of clamour that she made,—
Unless things mortal move them not at all,—
Would have made milch the burning eyes of heaven,
And passion in the gods._
POLONIUS.
Look, where he has not turn’d his colour, and has tears in’s eyes. Pray
you, no more.
HAMLET.
’Tis well. I’ll have thee speak out the rest of this soon.—Good my
lord, will you see the players well bestowed? Do you hear, let them be
well used; for they are the abstracts and brief chronicles of the time.
After your death you were better have a bad epitaph than their ill
report while you live.
POLONIUS.
My lord, I will use them according to their desert.
HAMLET.
God’s bodikin, man, much better. Use every man after his desert, and who
should ’scape whipping? Use them after your own honour and dignity. The
less they deserve, the more merit is in your bounty. Take them in.
POLONIUS.
Come, sirs.
HAMLET.
Follow him, friends. We’ll hear a play tomorrow.
[_Exeunt Polonius with all the Players but the First._]
Dost thou hear me, old friend? Can you play _The Murder of Gonzago_?
FIRST PLAYER.
Ay, my lord.
HAMLET.
We’ll ha’t tomorrow night. You could for a need study a speech of some
dozen or sixteen lines, which I would set down and insert in’t, could
you not?
FIRST PLAYER.
Ay, my lord.
HAMLET.
Very well. Follow that lord, and look you mock him not.
[_Exit First Player._]
[_To Rosencrantz and Guildenstern_] My good friends, I’ll leave you
till night. You are welcome to Elsinore.
ROSENCRANTZ.
Good my lord.
[_Exeunt Rosencrantz and Guildenstern._]
HAMLET.
Ay, so, God b’ wi’ ye. Now I am alone.
O what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wan’d;
Tears in his eyes, distraction in’s aspect,
A broken voice, and his whole function suiting
With forms to his conceit? And all for nothing!
For Hecuba?
What’s Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech;
Make mad the guilty, and appal the free,
Confound the ignorant, and amaze indeed,
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak
Like John-a-dreams, unpregnant of my cause,
And can say nothing. No, not for a king
Upon whose property and most dear life
A damn’d defeat was made. Am I a coward?
Who calls me villain, breaks my pate across?
Plucks off my beard and blows it in my face?
Tweaks me by the nose, gives me the lie i’ th’ throat
As deep as to the lungs? Who does me this?
Ha! ’Swounds, I should take it: for it cannot be
But I am pigeon-liver’d, and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave’s offal. Bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
Oh vengeance!
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder’d,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words
And fall a-cursing like a very drab,
A scullion! Fie upon’t! Foh!
About, my brain! I have heard
That guilty creatures sitting at a play,
Have by the very cunning of the scene,
Been struck so to the soul that presently
They have proclaim’d their malefactions.
For murder, though it have no tongue, will speak
With most miraculous organ. I’ll have these players
Play something like the murder of my father
Before mine uncle. I’ll observe his looks;
I’ll tent him to the quick. If he but blench,
I know my course. The spirit that I have seen
May be the devil, and the devil hath power
T’assume a pleasing shape, yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me. I’ll have grounds
More relative than this. The play’s the thing
Wherein I’ll catch the conscience of the King.
[_Exit._]
ACT III
SCENE I. A room in the Castle.
Enter King, Queen, Polonius, Ophelia, Rosencrantz and Guildenstern.
KING.
And can you by no drift of circumstance
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet
With turbulent and dangerous lunacy?
ROSENCRANTZ.
He does confess he feels himself distracted,
But from what cause he will by no means speak.
GUILDENSTERN.
Nor do we find him forward to be sounded,
But with a crafty madness keeps aloof
When we would bring him on to some confession
Of his true state.
QUEEN.
Did he receive you well?
ROSENCRANTZ.
Most like a gentleman.
GUILDENSTERN.
But with much forcing of his disposition.
ROSENCRANTZ.
Niggard of question, but of our demands,
Most free in his reply.
QUEEN.
Did you assay him to any pastime?
ROSENCRANTZ.
Madam, it so fell out that certain players
We o’er-raught on the way. Of these we told him,
And there did seem in him a kind of joy
To hear of it. They are about the court,
And, as I think, they have already order
This night to play before him.
POLONIUS.
’Tis most true;
And he beseech’d me to entreat your Majesties
To hear and see the matter.
KING.
With all my heart; and it doth much content me
To hear him so inclin’d.
Good gentlemen, give him a further edge,
And drive his purpose on to these delights.
ROSENCRANTZ.
We shall, my lord.
[_Exeunt Rosencrantz and Guildenstern._]
KING.
Sweet Gertrude, leave us too,
For we have closely sent for Hamlet hither,
That he, as ’twere by accident, may here
Affront Ophelia.
Her father and myself, lawful espials,
Will so bestow ourselves that, seeing unseen,
We may of their encounter frankly judge,
And gather by him, as he is behav’d,
If’t be th’affliction of his love or no
That thus he suffers for.
QUEEN.
I shall obey you.
And for your part, Ophelia, I do wish
That your good beauties be the happy cause
Of Hamlet’s wildness: so shall I hope your virtues
Will bring him to his wonted way again,
To both your honours.
OPHELIA.
Madam, I wish it may.
[_Exit Queen._]
POLONIUS.
Ophelia, walk you here.—Gracious, so please you,
We will bestow ourselves.—[_To Ophelia._] Read on this book,
That show of such an exercise may colour
Your loneliness.—We are oft to blame in this,
’Tis too much prov’d, that with devotion’s visage
And pious action we do sugar o’er
The devil himself.
KING.
[_Aside._] O ’tis too true!
How smart a lash that speech doth give my conscience!
The harlot’s cheek, beautied with plastering art,
Is not more ugly to the thing that helps it
Than is my deed to my most painted word.
O heavy burden!
POLONIUS.
I hear him coming. Let’s withdraw, my lord.
[_Exeunt King and Polonius._]
Enter Hamlet.
HAMLET.
To be, or not to be, that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die—to sleep,
No more; and by a sleep to say we end
The heart-ache, and the thousand natural shocks
That flesh is heir to: ’tis a consummation
Devoutly to be wish’d. To die, to sleep.
To sleep, perchance to dream—ay, there’s the rub,
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause. There’s the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’s contumely,
The pangs of dispriz’d love, the law’s delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would these fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover’d country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought,
And enterprises of great pith and moment,
With this regard their currents turn awry
And lose the name of action. Soft you now,
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember’d.
OPHELIA.
Good my lord,
How does your honour for this many a day?
HAMLET.
I humbly thank you; well, well, well.
OPHELIA.
My lord, I have remembrances of yours
That I have longed long to re-deliver.
I pray you, now receive them.
HAMLET.
No, not I.
I never gave you aught.
OPHELIA.
My honour’d lord, you know right well you did,
And with them words of so sweet breath compos’d
As made the things more rich; their perfume lost,
Take these again; for to the noble mind
Rich gifts wax poor when givers prove unkind.
There, my lord.
HAMLET.
Ha, ha! Are you honest?
OPHELIA.
My lord?
HAMLET.
Are you fair?
OPHELIA.
What means your lordship?
HAMLET.
That if you be honest and fair, your honesty should admit no discourse
to your beauty.
OPHELIA.
Could beauty, my lord, have better commerce than with honesty?
HAMLET.
Ay, truly; for the power of beauty will sooner transform honesty from
what it is to a bawd than the force of honesty can translate beauty
into his likeness. This was sometime a paradox, but now the time gives
it proof. I did love you once.
OPHELIA.
Indeed, my lord, you made me believe so.
HAMLET.
You should not have believed me; for virtue cannot so inoculate our old
stock but we shall relish of it. I loved you not.
OPHELIA.
I was the more deceived.
HAMLET.
Get thee to a nunnery. Why wouldst thou be a breeder of sinners? I am
myself indifferent honest; but yet I could accuse me of such things
that it were better my mother had not borne me. I am very proud,
revengeful, ambitious, with more offences at my beck than I have
thoughts to put them in, imagination to give them shape, or time to act
them in. What should such fellows as I do crawling between earth and
heaven? We are arrant knaves all, believe none of us. Go thy ways to a
nunnery. Where’s your father?
OPHELIA.
At home, my lord.
HAMLET.
Let the doors be shut upon him, that he may play the fool nowhere but
in’s own house. Farewell.
OPHELIA.
O help him, you sweet heavens!
HAMLET.
If thou dost marry, I’ll give thee this plague for thy dowry. Be thou
as chaste as ice, as pure as snow, thou shalt not escape calumny. Get
thee to a nunnery, go: farewell. Or if thou wilt needs marry, marry a
fool; for wise men know well enough what monsters you make of them. To
a nunnery, go; and quickly too. Farewell.
OPHELIA.
O heavenly powers, restore him!
HAMLET.
I have heard of your paintings too, well enough. God hath given you one
face, and you make yourselves another. You jig, you amble, and you
lisp, and nickname God’s creatures, and make your wantonness your
ignorance. Go to, I’ll no more on’t, it hath made me mad. I say, we
will have no more marriages. Those that are married already, all but
one, shall live; the rest shall keep as they are. To a nunnery, go.
[_Exit._]
OPHELIA.
O, what a noble mind is here o’erthrown!
The courtier’s, soldier’s, scholar’s, eye, tongue, sword,
Th’expectancy and rose of the fair state,
The glass of fashion and the mould of form,
Th’observ’d of all observers, quite, quite down!
And I, of ladies most deject and wretched,
That suck’d the honey of his music vows,
Now see that noble and most sovereign reason,
Like sweet bells jangled out of tune and harsh,
That unmatch’d form and feature of blown youth
Blasted with ecstasy. O woe is me,
T’have seen what I have seen, see what I see.
Enter King and Polonius.
KING.
Love? His affections do not that way tend,
Nor what he spake, though it lack’d form a little,
Was not like madness. There’s something in his soul
O’er which his melancholy sits on brood,
And I do doubt the hatch and the disclose
Will be some danger, which for to prevent,
I have in quick determination
Thus set it down: he shall with speed to England
For the demand of our neglected tribute:
Haply the seas and countries different,
With variable objects, shall expel
This something settled matter in his heart,
Whereon his brains still beating puts him thus
From fashion of himself. What think you on’t?
POLONIUS.
It shall do well. But yet do I believe
The origin and commencement of his grief
Sprung from neglected love. How now, Ophelia?
You need not tell us what Lord Hamlet said,
We heard it all. My lord, do as you please,
But if you hold it fit, after the play,
Let his queen mother all alone entreat him
To show his grief, let her be round with him,
And I’ll be plac’d, so please you, in the ear
Of all their conference. If she find him not,
To England send him; or confine him where
Your wisdom best shall think.
KING.
It shall be so.
Madness in great ones must not unwatch’d go.
[_Exeunt._]
SCENE II. A hall in the Castle.
Enter Hamlet and certain Players.
HAMLET.
Speak the speech, I pray you, as I pronounced it to you, trippingly on
the tongue. But if you mouth it, as many of your players do, I had as
lief the town-crier spoke my lines. Nor do not saw the air too much
with your hand, thus, but use all gently; for in the very torrent,
tempest, and, as I may say, whirlwind of passion, you must acquire and
beget a temperance that may give it smoothness. O, it offends me to the
soul to hear a robustious periwig-pated fellow tear a passion to
tatters, to very rags, to split the ears of the groundlings, who, for
the most part, are capable of nothing but inexplicable dumb shows and
noise. I would have such a fellow whipped for o’erdoing Termagant. It
out-Herods Herod. Pray you avoid it.
FIRST PLAYER.
I warrant your honour.
HAMLET.
Be not too tame neither; but let your own discretion be your tutor.
Suit the action to the word, the word to the action, with this special
observance, that you o’erstep not the modesty of nature; for anything
so overdone is from the purpose of playing, whose end, both at the
first and now, was and is, to hold as ’twere the mirror up to nature;
to show virtue her own feature, scorn her own image, and the very age
and body of the time his form and pressure. Now, this overdone, or come
tardy off, though it make the unskilful laugh, cannot but make the
judicious grieve; the censure of the which one must in your allowance
o’erweigh a whole theatre of others. O, there be players that I have
seen play—and heard others praise, and that highly—not to speak it
profanely, that, neither having the accent of Christians, nor the gait
of Christian, pagan, nor man, have so strutted and bellowed that I have
thought some of Nature’s journeymen had made men, and not made them
well, they imitated humanity so abominably.
FIRST PLAYER.
I hope we have reform’d that indifferently with us, sir.
HAMLET.
O reform it altogether. And let those that play your clowns speak no
more than is set down for them. For there be of them that will
themselves laugh, to set on some quantity of barren spectators to laugh
too, though in the meantime some necessary question of the play be then
to be considered. That’s villainous, and shows a most pitiful ambition
in the fool that uses it. Go make you ready.
[_Exeunt Players._]
Enter Polonius, Rosencrantz and Guildenstern.
How now, my lord?
Will the King hear this piece of work?
POLONIUS.
And the Queen too, and that presently.
HAMLET.
Bid the players make haste.
[_Exit Polonius._]
Will you two help to hasten them?
ROSENCRANTZ and GUILDENSTERN.
We will, my lord.
[_Exeunt Rosencrantz and Guildenstern._]
HAMLET.
What ho, Horatio!
Enter Horatio.
HORATIO.
Here, sweet lord, at your service.
HAMLET.
Horatio, thou art e’en as just a man
As e’er my conversation cop’d withal.
HORATIO.
O my dear lord.
HAMLET.
Nay, do not think I flatter;
For what advancement may I hope from thee,
That no revenue hast, but thy good spirits
To feed and clothe thee? Why should the poor be flatter’d?
No, let the candied tongue lick absurd pomp,
And crook the pregnant hinges of the knee
Where thrift may follow fawning. Dost thou hear?
Since my dear soul was mistress of her choice,
And could of men distinguish, her election
Hath seal’d thee for herself. For thou hast been
As one, in suffering all, that suffers nothing,
A man that Fortune’s buffets and rewards
Hast ta’en with equal thanks. And blessed are those
Whose blood and judgement are so well co-mingled
That they are not a pipe for Fortune’s finger
To sound what stop she please. Give me that man
That is not passion’s slave, and I will wear him
In my heart’s core, ay, in my heart of heart,
As I do thee. Something too much of this.
There is a play tonight before the King.
One scene of it comes near the circumstance
Which I have told thee, of my father’s death.
I prithee, when thou see’st that act a-foot,
Even with the very comment of thy soul
Observe mine uncle. If his occulted guilt
Do not itself unkennel in one speech,
It is a damned ghost that we have seen;
And my imaginations are as foul
As Vulcan’s stithy. Give him heedful note;
For I mine eyes will rivet to his face;
And after we will both our judgements join
In censure of his seeming.
HORATIO.
Well, my lord.
If he steal aught the whilst this play is playing,
And ’scape detecting, I will pay the theft.
HAMLET.
They are coming to the play. I must be idle.
Get you a place.
Danish march. A flourish. Enter King, Queen, Polonius, Ophelia,
Rosencrantz, Guildenstern and others.
KING.
How fares our cousin Hamlet?
HAMLET.
Excellent, i’ faith; of the chameleon’s dish: I eat the air,
promise-crammed: you cannot feed capons so.
KING.
I have nothing with this answer, Hamlet; these words are not mine.
HAMLET.
No, nor mine now. [_To Polonius._] My lord, you play’d once i’
th’university, you say?
POLONIUS.
That did I, my lord, and was accounted a good actor.
HAMLET.
What did you enact?
POLONIUS.
I did enact Julius Caesar. I was kill’d i’ th’ Capitol. Brutus killed
me.
HAMLET.
It was a brute part of him to kill so capital a calf there. Be the
players ready?
ROSENCRANTZ.
Ay, my lord; they stay upon your patience.
QUEEN.
Come hither, my dear Hamlet, sit by me.
HAMLET.
No, good mother, here’s metal more attractive.
POLONIUS.
[_To the King._] O ho! do you mark that?
HAMLET.
Lady, shall I lie in your lap?
[_Lying down at Ophelia’s feet._]
OPHELIA.
No, my lord.
HAMLET.
I mean, my head upon your lap?
OPHELIA.
Ay, my lord.
HAMLET.
Do you think I meant country matters?
OPHELIA.
I think nothing, my lord.
HAMLET.
That’s a fair thought to lie between maids’ legs.
OPHELIA.
What is, my lord?
HAMLET.
Nothing.
OPHELIA.
You are merry, my lord.
HAMLET.
Who, I?
OPHELIA.
Ay, my lord.
HAMLET.
O God, your only jig-maker! What should a man do but be merry? For look
you how cheerfully my mother looks, and my father died within’s two
hours.
OPHELIA.
Nay, ’tis twice two months, my lord.
HAMLET.
So long? Nay then, let the devil wear black, for I’ll have a suit of
sables. O heavens! die two months ago, and not forgotten yet? Then
there’s hope a great man’s memory may outlive his life half a year. But
by’r lady, he must build churches then; or else shall he suffer not
thinking on, with the hobby-horse, whose epitaph is ‘For, O, for O, the
hobby-horse is forgot!’
Trumpets sound. The dumb show enters.
_Enter a King and a Queen very lovingly; the Queen embracing him and he
her. She kneels, and makes show of protestation unto him. He takes her
up, and declines his head upon her neck. Lays him down upon a bank of
flowers. She, seeing him asleep, leaves him. Anon comes in a fellow,
takes off his crown, kisses it, pours poison in the King’s ears, and
exits. The Queen returns, finds the King dead, and makes passionate
action. The Poisoner with some three or four Mutes, comes in again,
seeming to lament with her. The dead body is carried away. The Poisoner
woos the Queen with gifts. She seems loth and unwilling awhile, but in
the end accepts his love._
[_Exeunt._]
OPHELIA.
What means this, my lord?
HAMLET.
Marry, this is miching mallecho; it means mischief.
OPHELIA.
Belike this show imports the argument of the play.
Enter Prologue.
HAMLET.
We shall know by this fellow: the players cannot keep counsel; they’ll
tell all.
OPHELIA.
Will they tell us what this show meant?
HAMLET.
Ay, or any show that you’ll show him. Be not you ashamed to show, he’ll
not shame to tell you what it means.
OPHELIA.
You are naught, you are naught: I’ll mark the play.
PROLOGUE.
_For us, and for our tragedy,
Here stooping to your clemency,
We beg your hearing patiently._
HAMLET.
Is this a prologue, or the posy of a ring?
OPHELIA.
’Tis brief, my lord.
HAMLET.
As woman’s love.
Enter a King and a Queen.
PLAYER KING.
Full thirty times hath Phoebus’ cart gone round
Neptune’s salt wash and Tellus’ orbed ground,
And thirty dozen moons with borrow’d sheen
About the world have times twelve thirties been,
Since love our hearts, and Hymen did our hands
Unite commutual in most sacred bands.
PLAYER QUEEN.
So many journeys may the sun and moon
Make us again count o’er ere love be done.
But, woe is me, you are so sick of late,
So far from cheer and from your former state,
That I distrust you. Yet, though I distrust,
Discomfort you, my lord, it nothing must:
For women’s fear and love holds quantity,
In neither aught, or in extremity.
Now what my love is, proof hath made you know,
And as my love is siz’d, my fear is so.
Where love is great, the littlest doubts are fear;
Where little fears grow great, great love grows there.
PLAYER KING.
Faith, I must leave thee, love, and shortly too:
My operant powers their functions leave to do:
And thou shalt live in this fair world behind,
Honour’d, belov’d, and haply one as kind
For husband shalt thou—
PLAYER QUEEN.
O confound the rest.
Such love must needs be treason in my breast.
In second husband let me be accurst!
None wed the second but who kill’d the first.
HAMLET.
[_Aside._] Wormwood, wormwood.
PLAYER QUEEN.
The instances that second marriage move
Are base respects of thrift, but none of love.
A second time I kill my husband dead,
When second husband kisses me in bed.
PLAYER KING.
I do believe you think what now you speak;
But what we do determine, oft we break.
Purpose is but the slave to memory,
Of violent birth, but poor validity:
Which now, like fruit unripe, sticks on the tree,
But fall unshaken when they mellow be.
Most necessary ’tis that we forget
To pay ourselves what to ourselves is debt.
What to ourselves in passion we propose,
The passion ending, doth the purpose lose.
The violence of either grief or joy
Their own enactures with themselves destroy.
Where joy most revels, grief doth most lament;
Grief joys, joy grieves, on slender accident.
This world is not for aye; nor ’tis not strange
That even our loves should with our fortunes change,
For ’tis a question left us yet to prove,
Whether love lead fortune, or else fortune love.
The great man down, you mark his favourite flies,
The poor advanc’d makes friends of enemies;
And hitherto doth love on fortune tend:
For who not needs shall never lack a friend,
And who in want a hollow friend doth try,
Directly seasons him his enemy.
But orderly to end where I begun,
Our wills and fates do so contrary run
That our devices still are overthrown.
Our thoughts are ours, their ends none of our own.
So think thou wilt no second husband wed,
But die thy thoughts when thy first lord is dead.
PLAYER QUEEN.
Nor earth to me give food, nor heaven light,
Sport and repose lock from me day and night,
To desperation turn my trust and hope,
An anchor’s cheer in prison be my scope,
Each opposite that blanks the face of joy,
Meet what I would have well, and it destroy!
Both here and hence pursue me lasting strife,
If, once a widow, ever I be wife.
HAMLET.
[_To Ophelia._] If she should break it now.
PLAYER KING.
’Tis deeply sworn. Sweet, leave me here awhile.
My spirits grow dull, and fain I would beguile
The tedious day with sleep.
[_Sleeps._]
PLAYER QUEEN.
Sleep rock thy brain,
And never come mischance between us twain.
[_Exit._]
HAMLET.
Madam, how like you this play?
QUEEN.
The lady protests too much, methinks.
HAMLET.
O, but she’ll keep her word.
KING.
Have you heard the argument? Is there no offence in’t?
HAMLET.
No, no, they do but jest, poison in jest; no offence i’ th’ world.
KING.
What do you call the play?
HAMLET.
_The Mousetrap._ Marry, how? Tropically. This play is the image of a
murder done in Vienna. Gonzago is the Duke’s name, his wife Baptista:
you shall see anon; ’tis a knavish piece of work: but what o’ that?
Your majesty, and we that have free souls, it touches us not. Let the
gall’d jade wince; our withers are unwrung.
Enter Lucianus.
This is one Lucianus, nephew to the King.
OPHELIA.
You are a good chorus, my lord.
HAMLET.
I could interpret between you and your love, if I could see the puppets
dallying.
OPHELIA.
You are keen, my lord, you are keen.
HAMLET.
It would cost you a groaning to take off my edge.
OPHELIA.
Still better, and worse.
HAMLET.
So you mistake your husbands.—Begin, murderer. Pox, leave thy damnable
faces, and begin. Come, the croaking raven doth bellow for revenge.
LUCIANUS.
Thoughts black, hands apt, drugs fit, and time agreeing,
Confederate season, else no creature seeing;
Thou mixture rank, of midnight weeds collected,
With Hecate’s ban thrice blasted, thrice infected,
Thy natural magic and dire property
On wholesome life usurp immediately.
[_Pours the poison into the sleeper’s ears._]
HAMLET.
He poisons him i’ th’garden for’s estate. His name’s Gonzago. The story
is extant, and written in very choice Italian. You shall see anon how
the murderer gets the love of Gonzago’s wife.
OPHELIA.
The King rises.
HAMLET.
What, frighted with false fire?
QUEEN.
How fares my lord?
POLONIUS.
Give o’er the play.
KING.
Give me some light. Away.
All.
Lights, lights, lights.
[_Exeunt all but Hamlet and Horatio._]
HAMLET.
Why, let the strucken deer go weep,
The hart ungalled play;
For some must watch, while some must sleep,
So runs the world away.
Would not this, sir, and a forest of feathers, if the rest of my
fortunes turn Turk with me; with two Provincial roses on my razed
shoes, get me a fellowship in a cry of players, sir?
HORATIO.
Half a share.
HAMLET.
A whole one, I.
For thou dost know, O Damon dear,
This realm dismantled was
Of Jove himself, and now reigns here
A very, very—pajock.
HORATIO.
You might have rhymed.
HAMLET.
O good Horatio, I’ll take the ghost’s word for a thousand pound. Didst
perceive?
HORATIO.
Very well, my lord.
HAMLET.
Upon the talk of the poisoning?
HORATIO.
I did very well note him.
HAMLET.
Ah, ha! Come, some music. Come, the recorders.
For if the king like not the comedy,
Why then, belike he likes it not, perdie.
Come, some music.
Enter Rosencrantz and Guildenstern.
GUILDENSTERN.
Good my lord, vouchsafe me a word with you.
HAMLET.
Sir, a whole history.
GUILDENSTERN.
The King, sir—
HAMLET.
Ay, sir, what of him?
GUILDENSTERN.
Is in his retirement, marvellous distempered.
HAMLET.
With drink, sir?
GUILDENSTERN.
No, my lord; rather with choler.
HAMLET.
Your wisdom should show itself more richer to signify this to the
doctor, for me to put him to his purgation would perhaps plunge him
into far more choler.
GUILDENSTERN.
Good my lord, put your discourse into some frame, and start not so
wildly from my affair.
HAMLET.
I am tame, sir, pronounce.
GUILDENSTERN.
The Queen your mother, in most great affliction of spirit, hath sent me
to you.
HAMLET.
You are welcome.
GUILDENSTERN.
Nay, good my lord, this courtesy is not of the right breed. If it shall
please you to make me a wholesome answer, I will do your mother’s
commandment; if not, your pardon and my return shall be the end of my
business.
HAMLET.
Sir, I cannot.
GUILDENSTERN.
What, my lord?
HAMLET.
Make you a wholesome answer. My wit’s diseased. But, sir, such answer
as I can make, you shall command; or rather, as you say, my mother.
Therefore no more, but to the matter. My mother, you say,—
ROSENCRANTZ.
Then thus she says: your behaviour hath struck her into amazement and
admiration.
HAMLET.
O wonderful son, that can so stonish a mother! But is there no sequel
at the heels of this mother’s admiration?
ROSENCRANTZ.
She desires to speak with you in her closet ere you go to bed.
HAMLET.
We shall obey, were she ten times our mother. Have you any further
trade with us?
ROSENCRANTZ.
My lord, you once did love me.
HAMLET.
And so I do still, by these pickers and stealers.
ROSENCRANTZ.
Good my lord, what is your cause of distemper? You do surely bar the
door upon your own liberty if you deny your griefs to your friend.
HAMLET.
Sir, I lack advancement.
ROSENCRANTZ.
How can that be, when you have the voice of the King himself for your
succession in Denmark?
HAMLET.
Ay, sir, but while the grass grows—the proverb is something musty.
Re-enter the Players with recorders.
O, the recorders. Let me see one.—To withdraw with you, why do you go
about to recover the wind of me, as if you would drive me into a toil?
GUILDENSTERN.
O my lord, if my duty be too bold, my love is too unmannerly.
HAMLET.
I do not well understand that. Will you play upon this pipe?
GUILDENSTERN.
My lord, I cannot.
HAMLET.
I pray you.
GUILDENSTERN.
Believe me, I cannot.
HAMLET.
I do beseech you.
GUILDENSTERN.
I know no touch of it, my lord.
HAMLET.
’Tis as easy as lying: govern these ventages with your finger and
thumb, give it breath with your mouth, and it will discourse most
eloquent music. Look you, these are the stops.
GUILDENSTERN.
But these cannot I command to any utterance of harmony. I have not the
skill.
HAMLET.
Why, look you now, how unworthy a thing you make of me! You would play
upon me; you would seem to know my stops; you would pluck out the heart
of my mystery; you would sound me from my lowest note to the top of my
compass; and there is much music, excellent voice, in this little
organ, yet cannot you make it speak. ’Sblood, do you think I am easier
to be played on than a pipe? Call me what instrument you will, though
you can fret me, you cannot play upon me.
Enter Polonius.
God bless you, sir.
POLONIUS.
My lord, the Queen would speak with you, and presently.
HAMLET.
Do you see yonder cloud that’s almost in shape of a camel?
POLONIUS.
By the mass, and ’tis like a camel indeed.
HAMLET.
Methinks it is like a weasel.
POLONIUS.
It is backed like a weasel.
HAMLET.
Or like a whale.
POLONIUS.
Very like a whale.
HAMLET.
Then will I come to my mother by and by.—They fool me to the top of my
bent.—I will come by and by.
POLONIUS.
I will say so.
[_Exit._]
HAMLET.
By and by is easily said. Leave me, friends.
[_Exeunt all but Hamlet._]
’Tis now the very witching time of night,
When churchyards yawn, and hell itself breathes out
Contagion to this world. Now could I drink hot blood,
And do such bitter business as the day
Would quake to look on. Soft now, to my mother.
O heart, lose not thy nature; let not ever
The soul of Nero enter this firm bosom:
Let me be cruel, not unnatural.
I will speak daggers to her, but use none;
My tongue and soul in this be hypocrites.
How in my words somever she be shent,
To give them seals never, my soul, consent.
[_Exit._]
SCENE III. A room in the Castle.
Enter King, Rosencrantz and Guildenstern.
KING.
I like him not, nor stands it safe with us
To let his madness range. Therefore prepare you,
I your commission will forthwith dispatch,
And he to England shall along with you.
The terms of our estate may not endure
Hazard so near us as doth hourly grow
Out of his lunacies.
GUILDENSTERN.
We will ourselves provide.
Most holy and religious fear it is
To keep those many many bodies safe
That live and feed upon your Majesty.
ROSENCRANTZ.
The single and peculiar life is bound
With all the strength and armour of the mind,
To keep itself from ’noyance; but much more
That spirit upon whose weal depend and rest
The lives of many. The cease of majesty
Dies not alone; but like a gulf doth draw
What’s near it with it. It is a massy wheel
Fix’d on the summit of the highest mount,
To whose huge spokes ten thousand lesser things
Are mortis’d and adjoin’d; which when it falls,
Each small annexment, petty consequence,
Attends the boist’rous ruin. Never alone
Did the King sigh, but with a general groan.
KING.
Arm you, I pray you, to this speedy voyage;
For we will fetters put upon this fear,
Which now goes too free-footed.
ROSENCRANTZ and GUILDENSTERN.
We will haste us.
[_Exeunt Rosencrantz and Guildenstern._]
Enter Polonius.
POLONIUS.
My lord, he’s going to his mother’s closet.
Behind the arras I’ll convey myself
To hear the process. I’ll warrant she’ll tax him home,
And as you said, and wisely was it said,
’Tis meet that some more audience than a mother,
Since nature makes them partial, should o’erhear
The speech of vantage. Fare you well, my liege,
I’ll call upon you ere you go to bed,
And tell you what I know.
KING.
Thanks, dear my lord.
[_Exit Polonius._]
O, my offence is rank, it smells to heaven;
It hath the primal eldest curse upon’t,—
A brother’s murder! Pray can I not,
Though inclination be as sharp as will:
My stronger guilt defeats my strong intent,
And, like a man to double business bound,
I stand in pause where I shall first begin,
And both neglect. What if this cursed hand
Were thicker than itself with brother’s blood,
Is there not rain enough in the sweet heavens
To wash it white as snow? Whereto serves mercy
But to confront the visage of offence?
And what’s in prayer but this twofold force,
To be forestalled ere we come to fall,
Or pardon’d being down? Then I’ll look up.
My fault is past. But O, what form of prayer
Can serve my turn? Forgive me my foul murder!
That cannot be; since I am still possess’d
Of those effects for which I did the murder,—
My crown, mine own ambition, and my queen.
May one be pardon’d and retain th’offence?
In the corrupted currents of this world
Offence’s gilded hand may shove by justice,
And oft ’tis seen the wicked prize itself
Buys out the law. But ’tis not so above;
There is no shuffling, there the action lies
In his true nature, and we ourselves compell’d
Even to the teeth and forehead of our faults,
To give in evidence. What then? What rests?
Try what repentance can. What can it not?
Yet what can it, when one cannot repent?
O wretched state! O bosom black as death!
O limed soul, that struggling to be free,
Art more engag’d! Help, angels! Make assay:
Bow, stubborn knees; and heart with strings of steel,
Be soft as sinews of the new-born babe.
All may be well.
[_Retires and kneels._]
Enter Hamlet.
HAMLET.
Now might I do it pat, now he is praying.
And now I’ll do’t. And so he goes to heaven;
And so am I reveng’d. That would be scann’d:
A villain kills my father, and for that
I, his sole son, do this same villain send
To heaven. O, this is hire and salary, not revenge.
He took my father grossly, full of bread,
With all his crimes broad blown, as flush as May;
And how his audit stands, who knows save heaven?
But in our circumstance and course of thought,
’Tis heavy with him. And am I then reveng’d,
To take him in the purging of his soul,
When he is fit and season’d for his passage? No.
Up, sword, and know thou a more horrid hent:
When he is drunk asleep; or in his rage,
Or in th’incestuous pleasure of his bed,
At gaming, swearing; or about some act
That has no relish of salvation in’t,
Then trip him, that his heels may kick at heaven,
And that his soul may be as damn’d and black
As hell, whereto it goes. My mother stays.
This physic but prolongs thy sickly days.
[_Exit._]
The King rises and advances.
KING.
My words fly up, my thoughts remain below.
Words without thoughts never to heaven go.
[_Exit._]
SCENE IV. Another room in the Castle.
Enter Queen and Polonius.
POLONIUS.
He will come straight. Look you lay home to him,
Tell him his pranks have been too broad to bear with,
And that your Grace hath screen’d and stood between
Much heat and him. I’ll silence me e’en here.
Pray you be round with him.
HAMLET.
[_Within._] Mother, mother, mother.
QUEEN.
I’ll warrant you, Fear me not.
Withdraw, I hear him coming.
[_Polonius goes behind the arras._]
Enter Hamlet.
HAMLET.
Now, mother, what’s the matter?
QUEEN.
Hamlet, thou hast thy father much offended.
HAMLET.
Mother, you have my father much offended.
QUEEN.
Come, come, you answer with an idle tongue.
HAMLET.
Go, go, you question with a wicked tongue.
QUEEN.
Why, how now, Hamlet?
HAMLET.
What’s the matter now?
QUEEN.
Have you forgot me?
HAMLET.
No, by the rood, not so.
You are the Queen, your husband’s brother’s wife,
And, would it were not so. You are my mother.
QUEEN.
Nay, then I’ll set those to you that can speak.
HAMLET.
Come, come, and sit you down, you shall not budge.
You go not till I set you up a glass
Where you may see the inmost part of you.
QUEEN.
What wilt thou do? Thou wilt not murder me?
Help, help, ho!
POLONIUS.
[_Behind._] What, ho! help, help, help!
HAMLET.
How now? A rat? [_Draws._]
Dead for a ducat, dead!
[_Makes a pass through the arras._]
POLONIUS.
[_Behind._] O, I am slain!
[_Falls and dies._]
QUEEN.
O me, what hast thou done?
HAMLET.
Nay, I know not. Is it the King?
[_Draws forth Polonius._]
QUEEN.
O what a rash and bloody deed is this!
HAMLET.
A bloody deed. Almost as bad, good mother,
As kill a king and marry with his brother.
QUEEN.
As kill a king?
HAMLET.
Ay, lady, ’twas my word.—
[_To Polonius._] Thou wretched, rash, intruding fool, farewell!
I took thee for thy better. Take thy fortune,
Thou find’st to be too busy is some danger.—
Leave wringing of your hands. Peace, sit you down,
And let me wring your heart, for so I shall,
If it be made of penetrable stuff;
If damned custom have not braz’d it so,
That it is proof and bulwark against sense.
QUEEN.
What have I done, that thou dar’st wag thy tongue
In noise so rude against me?
HAMLET.
Such an act
That blurs the grace and blush of modesty,
Calls virtue hypocrite, takes off the rose
From the fair forehead of an innocent love,
And sets a blister there. Makes marriage vows
As false as dicers’ oaths. O such a deed
As from the body of contraction plucks
The very soul, and sweet religion makes
A rhapsody of words. Heaven’s face doth glow,
Yea this solidity and compound mass,
With tristful visage, as against the doom,
Is thought-sick at the act.
QUEEN.
Ay me, what act,
That roars so loud, and thunders in the index?
HAMLET.
Look here upon this picture, and on this,
The counterfeit presentment of two brothers.
See what a grace was seated on this brow,
Hyperion’s curls, the front of Jove himself,
An eye like Mars, to threaten and command,
A station like the herald Mercury
New lighted on a heaven-kissing hill:
A combination and a form indeed,
Where every god did seem to set his seal,
To give the world assurance of a man.
This was your husband. Look you now what follows.
Here is your husband, like a mildew’d ear
Blasting his wholesome brother. Have you eyes?
Could you on this fair mountain leave to feed,
And batten on this moor? Ha! have you eyes?
You cannot call it love; for at your age
The hey-day in the blood is tame, it’s humble,
And waits upon the judgement: and what judgement
Would step from this to this? Sense sure you have,
Else could you not have motion; but sure that sense
Is apoplex’d, for madness would not err
Nor sense to ecstacy was ne’er so thrall’d
But it reserv’d some quantity of choice
To serve in such a difference. What devil was’t
That thus hath cozen’d you at hoodman-blind?
Eyes without feeling, feeling without sight,
Ears without hands or eyes, smelling sans all,
Or but a sickly part of one true sense
Could not so mope. O shame! where is thy blush?
Rebellious hell,
If thou canst mutine in a matron’s bones,
To flaming youth let virtue be as wax,
And melt in her own fire. Proclaim no shame
When the compulsive ardour gives the charge,
Since frost itself as actively doth burn,
And reason panders will.
QUEEN.
O Hamlet, speak no more.
Thou turn’st mine eyes into my very soul,
And there I see such black and grained spots
As will not leave their tinct.
HAMLET.
Nay, but to live
In the rank sweat of an enseamed bed,
Stew’d in corruption, honeying and making love
Over the nasty sty.
QUEEN.
O speak to me no more;
These words like daggers enter in mine ears;
No more, sweet Hamlet.
HAMLET.
A murderer and a villain;
A slave that is not twentieth part the tithe
Of your precedent lord. A vice of kings,
A cutpurse of the empire and the rule,
That from a shelf the precious diadem stole
And put it in his pocket!
QUEEN.
No more.
HAMLET.
A king of shreds and patches!—
Enter Ghost.
Save me and hover o’er me with your wings,
You heavenly guards! What would your gracious figure?
QUEEN.
Alas, he’s mad.
HAMLET.
Do you not come your tardy son to chide,
That, laps’d in time and passion, lets go by
The important acting of your dread command?
O say!
GHOST.
Do not forget. This visitation
Is but to whet thy almost blunted purpose.
But look, amazement on thy mother sits.
O step between her and her fighting soul.
Conceit in weakest bodies strongest works.
Speak to her, Hamlet.
HAMLET.
How is it with you, lady?
QUEEN.
Alas, how is’t with you,
That you do bend your eye on vacancy,
And with the incorporal air do hold discourse?
Forth at your eyes your spirits wildly peep,
And, as the sleeping soldiers in the alarm,
Your bedded hairs, like life in excrements,
Start up and stand an end. O gentle son,
Upon the heat and flame of thy distemper
Sprinkle cool patience. Whereon do you look?
HAMLET.
On him, on him! Look you how pale he glares,
His form and cause conjoin’d, preaching to stones,
Would make them capable.—Do not look upon me,
Lest with this piteous action you convert
My stern effects. Then what I have to do
Will want true colour; tears perchance for blood.
QUEEN.
To whom do you speak this?
HAMLET.
Do you see nothing there?
QUEEN.
Nothing at all; yet all that is I see.
HAMLET.
Nor did you nothing hear?
QUEEN.
No, nothing but ourselves.
HAMLET.
Why, look you there! look how it steals away!
My father, in his habit as he liv’d!
Look where he goes even now out at the portal.
[_Exit Ghost._]
QUEEN.
This is the very coinage of your brain.
This bodiless creation ecstasy
Is very cunning in.
HAMLET.
Ecstasy!
My pulse as yours doth temperately keep time,
And makes as healthful music. It is not madness
That I have utter’d. Bring me to the test,
And I the matter will re-word; which madness
Would gambol from. Mother, for love of grace,
Lay not that flattering unction to your soul
That not your trespass, but my madness speaks.
It will but skin and film the ulcerous place,
Whilst rank corruption, mining all within,
Infects unseen. Confess yourself to heaven,
Repent what’s past, avoid what is to come;
And do not spread the compost on the weeds,
To make them ranker. Forgive me this my virtue;
For in the fatness of these pursy times
Virtue itself of vice must pardon beg,
Yea, curb and woo for leave to do him good.
QUEEN.
O Hamlet, thou hast cleft my heart in twain.
HAMLET.
O throw away the worser part of it,
And live the purer with the other half.
Good night. But go not to mine uncle’s bed.
Assume a virtue, if you have it not.
That monster custom, who all sense doth eat,
Of habits evil, is angel yet in this,
That to the use of actions fair and good
He likewise gives a frock or livery
That aptly is put on. Refrain tonight,
And that shall lend a kind of easiness
To the next abstinence. The next more easy;
For use almost can change the stamp of nature,
And either curb the devil, or throw him out
With wondrous potency. Once more, good night,
And when you are desirous to be bles’d,
I’ll blessing beg of you. For this same lord
[_Pointing to Polonius._]
I do repent; but heaven hath pleas’d it so,
To punish me with this, and this with me,
That I must be their scourge and minister.
I will bestow him, and will answer well
The death I gave him. So again, good night.
I must be cruel, only to be kind:
Thus bad begins, and worse remains behind.
One word more, good lady.
QUEEN.
What shall I do?
HAMLET.
Not this, by no means, that I bid you do:
Let the bloat King tempt you again to bed,
Pinch wanton on your cheek, call you his mouse,
And let him, for a pair of reechy kisses,
Or paddling in your neck with his damn’d fingers,
Make you to ravel all this matter out,
That I essentially am not in madness,
But mad in craft. ’Twere good you let him know,
For who that’s but a queen, fair, sober, wise,
Would from a paddock, from a bat, a gib,
Such dear concernings hide? Who would do so?
No, in despite of sense and secrecy,
Unpeg the basket on the house’s top,
Let the birds fly, and like the famous ape,
To try conclusions, in the basket creep
And break your own neck down.
QUEEN.
Be thou assur’d, if words be made of breath,
And breath of life, I have no life to breathe
What thou hast said to me.
HAMLET.
I must to England, you know that?
QUEEN.
Alack,
I had forgot. ’Tis so concluded on.
HAMLET.
There’s letters seal’d: and my two schoolfellows,
Whom I will trust as I will adders fang’d,—
They bear the mandate, they must sweep my way
And marshal me to knavery. Let it work;
For ’tis the sport to have the enginer
Hoist with his own petard, and ’t shall go hard
But I will delve one yard below their mines
And blow them at the moon. O, ’tis most sweet,
When in one line two crafts directly meet.
This man shall set me packing.
I’ll lug the guts into the neighbour room.
Mother, good night. Indeed, this counsellor
Is now most still, most secret, and most grave,
Who was in life a foolish prating knave.
Come, sir, to draw toward an end with you.
Good night, mother.
[_Exit Hamlet dragging out Polonius._]
ACT IV
SCENE I. A room in the Castle.
Enter King, Queen, Rosencrantz and Guildenstern.
KING.
There’s matter in these sighs. These profound heaves
You must translate; ’tis fit we understand them.
Where is your son?
QUEEN.
Bestow this place on us a little while.
[_To Rosencrantz and Guildenstern, who go out._]
Ah, my good lord, what have I seen tonight!
KING.
What, Gertrude? How does Hamlet?
QUEEN.
Mad as the sea and wind, when both contend
Which is the mightier. In his lawless fit
Behind the arras hearing something stir,
Whips out his rapier, cries ‘A rat, a rat!’
And in this brainish apprehension kills
The unseen good old man.
KING.
O heavy deed!
It had been so with us, had we been there.
His liberty is full of threats to all;
To you yourself, to us, to everyone.
Alas, how shall this bloody deed be answer’d?
It will be laid to us, whose providence
Should have kept short, restrain’d, and out of haunt
This mad young man. But so much was our love
We would not understand what was most fit,
But like the owner of a foul disease,
To keep it from divulging, let it feed
Even on the pith of life. Where is he gone?
QUEEN.
To draw apart the body he hath kill’d,
O’er whom his very madness, like some ore
Among a mineral of metals base,
Shows itself pure. He weeps for what is done.
KING.
O Gertrude, come away!
The sun no sooner shall the mountains touch
But we will ship him hence, and this vile deed
We must with all our majesty and skill
Both countenance and excuse.—Ho, Guildenstern!
Re-enter Rosencrantz and Guildenstern.
Friends both, go join you with some further aid:
Hamlet in madness hath Polonius slain,
And from his mother’s closet hath he dragg’d him.
Go seek him out, speak fair, and bring the body
Into the chapel. I pray you haste in this.
[_Exeunt Rosencrantz and Guildenstern._]
Come, Gertrude, we’ll call up our wisest friends,
And let them know both what we mean to do
And what’s untimely done, so haply slander,
Whose whisper o’er the world’s diameter,
As level as the cannon to his blank,
Transports his poison’d shot, may miss our name,
And hit the woundless air. O, come away!
My soul is full of discord and dismay.
[_Exeunt._]
SCENE II. Another room in the Castle.
Enter Hamlet.
HAMLET.
Safely stowed.
ROSENCRANTZ and GUILDENSTERN.
[_Within._] Hamlet! Lord Hamlet!
HAMLET.
What noise? Who calls on Hamlet? O, here they come.
Enter Rosencrantz and Guildenstern.
ROSENCRANTZ.
What have you done, my lord, with the dead body?
HAMLET.
Compounded it with dust, whereto ’tis kin.
ROSENCRANTZ.
Tell us where ’tis, that we may take it thence,
And bear it to the chapel.
HAMLET.
Do not believe it.
ROSENCRANTZ.
Believe what?
HAMLET.
That I can keep your counsel, and not mine own. Besides, to be demanded
of a sponge—what replication should be made by the son of a king?
ROSENCRANTZ.
Take you me for a sponge, my lord?
HAMLET.
Ay, sir; that soaks up the King’s countenance, his rewards, his
authorities. But such officers do the King best service in the end: he
keeps them, like an ape, in the corner of his jaw; first mouthed, to be
last swallowed: when he needs what you have gleaned, it is but
squeezing you, and, sponge, you shall be dry again.
ROSENCRANTZ.
I understand you not, my lord.
HAMLET.
I am glad of it. A knavish speech sleeps in a foolish ear.
ROSENCRANTZ.
My lord, you must tell us where the body is and go with us to the King.
HAMLET.
The body is with the King, but the King is not with the body. The King
is a thing—
GUILDENSTERN.
A thing, my lord!
HAMLET.
Of nothing. Bring me to him. Hide fox, and all after.
[_Exeunt._]
SCENE III. Another room in the Castle.
Enter King, attended.
KING.
I have sent to seek him and to find the body.
How dangerous is it that this man goes loose!
Yet must not we put the strong law on him:
He’s lov’d of the distracted multitude,
Who like not in their judgement, but their eyes;
And where ’tis so, th’offender’s scourge is weigh’d,
But never the offence. To bear all smooth and even,
This sudden sending him away must seem
Deliberate pause. Diseases desperate grown
By desperate appliance are reliev’d,
Or not at all.
Enter Rosencrantz.
How now? What hath befall’n?
ROSENCRANTZ.
Where the dead body is bestow’d, my lord,
We cannot get from him.
KING.
But where is he?
ROSENCRANTZ.
Without, my lord, guarded, to know your pleasure.
KING.
Bring him before us.
ROSENCRANTZ.
Ho, Guildenstern! Bring in my lord.
Enter Hamlet and Guildenstern.
KING.
Now, Hamlet, where’s Polonius?
HAMLET.
At supper.
KING.
At supper? Where?
HAMLET.
Not where he eats, but where he is eaten. A certain convocation of
politic worms are e’en at him. Your worm is your only emperor for diet.
We fat all creatures else to fat us, and we fat ourselves for maggots.
Your fat king and your lean beggar is but variable service,—two dishes,
but to one table. That’s the end.
KING.
Alas, alas!
HAMLET.
A man may fish with the worm that hath eat of a king, and eat of the
fish that hath fed of that worm.
KING.
What dost thou mean by this?
HAMLET.
Nothing but to show you how a king may go a progress through the guts
of a beggar.
KING.
Where is Polonius?
HAMLET.
In heaven. Send thither to see. If your messenger find him not there,
seek him i’ th’other place yourself. But indeed, if you find him not
within this month, you shall nose him as you go up the stairs into the
lobby.
KING.
[_To some Attendants._] Go seek him there.
HAMLET.
He will stay till you come.
[_Exeunt Attendants._]
KING.
Hamlet, this deed, for thine especial safety,—
Which we do tender, as we dearly grieve
For that which thou hast done,—must send thee hence
With fiery quickness. Therefore prepare thyself;
The bark is ready, and the wind at help,
Th’associates tend, and everything is bent
For England.
HAMLET.
For England?
KING.
Ay, Hamlet.
HAMLET.
Good.
KING.
So is it, if thou knew’st our purposes.
HAMLET.
I see a cherub that sees them. But, come; for England! Farewell, dear
mother.
KING.
Thy loving father, Hamlet.
HAMLET.
My mother. Father and mother is man and wife; man and wife is one
flesh; and so, my mother. Come, for England.
[_Exit._]
KING.
Follow him at foot. Tempt him with speed aboard;
Delay it not; I’ll have him hence tonight.
Away, for everything is seal’d and done
That else leans on th’affair. Pray you make haste.
[_Exeunt Rosencrantz and Guildenstern._]
And England, if my love thou hold’st at aught,—
As my great power thereof may give thee sense,
Since yet thy cicatrice looks raw and red
After the Danish sword, and thy free awe
Pays homage to us,—thou mayst not coldly set
Our sovereign process, which imports at full,
By letters conjuring to that effect,
The present death of Hamlet. Do it, England;
For like the hectic in my blood he rages,
And thou must cure me. Till I know ’tis done,
Howe’er my haps, my joys were ne’er begun.
[_Exit._]
SCENE IV. A plain in Denmark.
Enter Fortinbras and Forces marching.
FORTINBRAS.
Go, Captain, from me greet the Danish king.
Tell him that by his license, Fortinbras
Craves the conveyance of a promis’d march
Over his kingdom. You know the rendezvous.
If that his Majesty would aught with us,
We shall express our duty in his eye;
And let him know so.
CAPTAIN.
I will do’t, my lord.
FORTINBRAS.
Go softly on.
[_Exeunt all but the Captain._]
Enter Hamlet, Rosencrantz, Guildenstern &c.
HAMLET.
Good sir, whose powers are these?
CAPTAIN.
They are of Norway, sir.
HAMLET.
How purpos’d, sir, I pray you?
CAPTAIN.
Against some part of Poland.
HAMLET.
Who commands them, sir?
CAPTAIN.
The nephew to old Norway, Fortinbras.
HAMLET.
Goes it against the main of Poland, sir,
Or for some frontier?
CAPTAIN.
Truly to speak, and with no addition,
We go to gain a little patch of ground
That hath in it no profit but the name.
To pay five ducats, five, I would not farm it;
Nor will it yield to Norway or the Pole
A ranker rate, should it be sold in fee.
HAMLET.
Why, then the Polack never will defend it.
CAPTAIN.
Yes, it is already garrison’d.
HAMLET.
Two thousand souls and twenty thousand ducats
Will not debate the question of this straw!
This is th’imposthume of much wealth and peace,
That inward breaks, and shows no cause without
Why the man dies. I humbly thank you, sir.
CAPTAIN.
God b’ wi’ you, sir.
[_Exit._]
ROSENCRANTZ.
Will’t please you go, my lord?
HAMLET.
I’ll be with you straight. Go a little before.
[_Exeunt all but Hamlet._]
How all occasions do inform against me,
And spur my dull revenge. What is a man
If his chief good and market of his time
Be but to sleep and feed? A beast, no more.
Sure he that made us with such large discourse,
Looking before and after, gave us not
That capability and godlike reason
To fust in us unus’d. Now whether it be
Bestial oblivion, or some craven scruple
Of thinking too precisely on th’event,—
A thought which, quarter’d, hath but one part wisdom
And ever three parts coward,—I do not know
Why yet I live to say this thing’s to do,
Sith I have cause, and will, and strength, and means
To do’t. Examples gross as earth exhort me,
Witness this army of such mass and charge,
Led by a delicate and tender prince,
Whose spirit, with divine ambition puff’d,
Makes mouths at the invisible event,
Exposing what is mortal and unsure
To all that fortune, death, and danger dare,
Even for an eggshell. Rightly to be great
Is not to stir without great argument,
But greatly to find quarrel in a straw
When honour’s at the stake. How stand I then,
That have a father kill’d, a mother stain’d,
Excitements of my reason and my blood,
And let all sleep, while to my shame I see
The imminent death of twenty thousand men
That, for a fantasy and trick of fame,
Go to their graves like beds, fight for a plot
Whereon the numbers cannot try the cause,
Which is not tomb enough and continent
To hide the slain? O, from this time forth,
My thoughts be bloody or be nothing worth.
[_Exit._]
SCENE V. Elsinore. A room in the Castle.
Enter Queen, Horatio and a Gentleman.
QUEEN.
I will not speak with her.
GENTLEMAN.
She is importunate, indeed distract.
Her mood will needs be pitied.
QUEEN.
What would she have?
GENTLEMAN.
She speaks much of her father; says she hears
There’s tricks i’ th’ world, and hems, and beats her heart,
Spurns enviously at straws, speaks things in doubt,
That carry but half sense. Her speech is nothing,
Yet the unshaped use of it doth move
The hearers to collection; they aim at it,
And botch the words up fit to their own thoughts,
Which, as her winks, and nods, and gestures yield them,
Indeed would make one think there might be thought,
Though nothing sure, yet much unhappily.
’Twere good she were spoken with, for she may strew
Dangerous conjectures in ill-breeding minds.
QUEEN.
Let her come in.
[_Exit Gentleman._]
To my sick soul, as sin’s true nature is,
Each toy seems prologue to some great amiss.
So full of artless jealousy is guilt,
It spills itself in fearing to be spilt.
Enter Ophelia.
OPHELIA.
Where is the beauteous Majesty of Denmark?
QUEEN.
How now, Ophelia?
OPHELIA.
[_Sings._]
How should I your true love know
From another one?
By his cockle hat and staff
And his sandal shoon.
QUEEN.
Alas, sweet lady, what imports this song?
OPHELIA.
Say you? Nay, pray you mark.
[_Sings._]
He is dead and gone, lady,
He is dead and gone,
At his head a grass green turf,
At his heels a stone.
QUEEN.
Nay, but Ophelia—
OPHELIA.
Pray you mark.
[_Sings._]
White his shroud as the mountain snow.
Enter King.
QUEEN.
Alas, look here, my lord!
OPHELIA.
[_Sings._]
Larded all with sweet flowers;
Which bewept to the grave did not go
With true-love showers.
KING.
How do you, pretty lady?
OPHELIA.
Well, God dild you! They say the owl was a baker’s daughter. Lord, we
know what we are, but know not what we may be. God be at your table!
KING.
Conceit upon her father.
OPHELIA.
Pray you, let’s have no words of this; but when they ask you what it
means, say you this:
[_Sings._]
Tomorrow is Saint Valentine’s day,
All in the morning betime,
And I a maid at your window,
To be your Valentine.
Then up he rose and donn’d his clothes,
And dupp’d the chamber door,
Let in the maid, that out a maid
Never departed more.
KING.
Pretty Ophelia!
OPHELIA.
Indeed la, without an oath, I’ll make an end on’t.
[_Sings._]
By Gis and by Saint Charity,
Alack, and fie for shame!
Young men will do’t if they come to’t;
By Cock, they are to blame.
Quoth she, before you tumbled me,
You promis’d me to wed.
So would I ha’ done, by yonder sun,
An thou hadst not come to my bed.
KING.
How long hath she been thus?
OPHELIA.
I hope all will be well. We must be patient. But I cannot choose but
weep, to think they would lay him i’ th’ cold ground. My brother shall
know of it. And so I thank you for your good counsel. Come, my coach!
Good night, ladies; good night, sweet ladies; good night, good night.
[_Exit._]
KING.
Follow her close; give her good watch, I pray you.
[_Exit Horatio._]
O, this is the poison of deep grief; it springs
All from her father’s death. O Gertrude, Gertrude,
When sorrows come, they come not single spies,
But in battalions. First, her father slain;
Next, your son gone; and he most violent author
Of his own just remove; the people muddied,
Thick, and unwholesome in their thoughts and whispers
For good Polonius’ death; and we have done but greenly
In hugger-mugger to inter him. Poor Ophelia
Divided from herself and her fair judgement,
Without the which we are pictures or mere beasts.
Last, and as much containing as all these,
Her brother is in secret come from France,
Feeds on his wonder, keeps himself in clouds,
And wants not buzzers to infect his ear
With pestilent speeches of his father’s death,
Wherein necessity, of matter beggar’d,
Will nothing stick our person to arraign
In ear and ear. O my dear Gertrude, this,
Like to a murdering piece, in many places
Gives me superfluous death.
[_A noise within._]
QUEEN.
Alack, what noise is this?
KING.
Where are my Switzers? Let them guard the door.
Enter a Gentleman.
What is the matter?
GENTLEMAN.
Save yourself, my lord.
The ocean, overpeering of his list,
Eats not the flats with more impetuous haste
Than young Laertes, in a riotous head,
O’erbears your offices. The rabble call him lord,
And, as the world were now but to begin,
Antiquity forgot, custom not known,
The ratifiers and props of every word,
They cry ‘Choose we! Laertes shall be king!’
Caps, hands, and tongues applaud it to the clouds,
‘Laertes shall be king, Laertes king.’
QUEEN.
How cheerfully on the false trail they cry.
O, this is counter, you false Danish dogs.
[_A noise within._]
KING.
The doors are broke.
Enter Laertes, armed; Danes following.
LAERTES.
Where is this king?—Sirs, stand you all without.
Danes.
No, let’s come in.
LAERTES.
I pray you, give me leave.
DANES.
We will, we will.
[_They retire without the door._]
LAERTES.
I thank you. Keep the door. O thou vile king,
Give me my father.
QUEEN.
Calmly, good Laertes.
LAERTES.
That drop of blood that’s calm proclaims me bastard;
Cries cuckold to my father, brands the harlot
Even here between the chaste unsmirched brow
Of my true mother.
KING.
What is the cause, Laertes,
That thy rebellion looks so giant-like?—
Let him go, Gertrude. Do not fear our person.
There’s such divinity doth hedge a king,
That treason can but peep to what it would,
Acts little of his will.—Tell me, Laertes,
Why thou art thus incens’d.—Let him go, Gertrude:—
Speak, man.
LAERTES.
Where is my father?
KING.
Dead.
QUEEN.
But not by him.
KING.
Let him demand his fill.
LAERTES.
How came he dead? I’ll not be juggled with.
To hell, allegiance! Vows, to the blackest devil!
Conscience and grace, to the profoundest pit!
I dare damnation. To this point I stand,
That both the worlds, I give to negligence,
Let come what comes; only I’ll be reveng’d
Most throughly for my father.
KING.
Who shall stay you?
LAERTES.
My will, not all the world.
And for my means, I’ll husband them so well,
They shall go far with little.
KING.
Good Laertes,
If you desire to know the certainty
Of your dear father’s death, is’t writ in your revenge
That, sweepstake, you will draw both friend and foe,
Winner and loser?
LAERTES.
None but his enemies.
KING.
Will you know them then?
LAERTES.
To his good friends thus wide I’ll ope my arms;
And, like the kind life-rendering pelican,
Repast them with my blood.
KING.
Why, now you speak
Like a good child and a true gentleman.
That I am guiltless of your father’s death,
And am most sensibly in grief for it,
It shall as level to your judgement ’pear
As day does to your eye.
DANES.
[_Within._] Let her come in.
LAERTES.
How now! What noise is that?
Re-enter Ophelia, fantastically dressed with straws and flowers.
O heat, dry up my brains. Tears seven times salt,
Burn out the sense and virtue of mine eye.
By heaven, thy madness shall be paid by weight,
Till our scale turn the beam. O rose of May!
Dear maid, kind sister, sweet Ophelia!
O heavens, is’t possible a young maid’s wits
Should be as mortal as an old man’s life?
Nature is fine in love, and where ’tis fine,
It sends some precious instance of itself
After the thing it loves.
OPHELIA.
[_Sings._]
They bore him barefac’d on the bier,
Hey non nonny, nonny, hey nonny
And on his grave rain’d many a tear.—
Fare you well, my dove!
LAERTES.
Hadst thou thy wits, and didst persuade revenge,
It could not move thus.
OPHELIA.
You must sing ‘Down a-down, and you call him a-down-a.’ O, how the
wheel becomes it! It is the false steward that stole his master’s
daughter.
LAERTES.
This nothing’s more than matter.
OPHELIA.
There’s rosemary, that’s for remembrance; pray love, remember. And
there is pansies, that’s for thoughts.
LAERTES.
A document in madness, thoughts and remembrance fitted.
OPHELIA.
There’s fennel for you, and columbines. There’s rue for you; and here’s
some for me. We may call it herb of grace o’ Sundays. O you must wear
your rue with a difference. There’s a daisy. I would give you some
violets, but they wither’d all when my father died. They say he made a
good end.
[_Sings._]
For bonny sweet Robin is all my joy.
LAERTES.
Thought and affliction, passion, hell itself
She turns to favour and to prettiness.
OPHELIA.
[_Sings._]
And will he not come again?
And will he not come again?
No, no, he is dead,
Go to thy death-bed,
He never will come again.
His beard was as white as snow,
All flaxen was his poll.
He is gone, he is gone,
And we cast away moan.
God ha’ mercy on his soul.
And of all Christian souls, I pray God. God b’ wi’ ye.
[_Exit._]
LAERTES.
Do you see this, O God?
KING.
Laertes, I must commune with your grief,
Or you deny me right. Go but apart,
Make choice of whom your wisest friends you will,
And they shall hear and judge ’twixt you and me.
If by direct or by collateral hand
They find us touch’d, we will our kingdom give,
Our crown, our life, and all that we call ours
To you in satisfaction; but if not,
Be you content to lend your patience to us,
And we shall jointly labour with your soul
To give it due content.
LAERTES.
Let this be so;
His means of death, his obscure burial,—
No trophy, sword, nor hatchment o’er his bones,
No noble rite, nor formal ostentation,—
Cry to be heard, as ’twere from heaven to earth,
That I must call’t in question.
KING.
So you shall.
And where th’offence is let the great axe fall.
I pray you go with me.
[_Exeunt._]
SCENE VI. Another room in the Castle.
Enter Horatio and a Servant.
HORATIO.
What are they that would speak with me?
SERVANT.
Sailors, sir. They say they have letters for you.
HORATIO.
Let them come in.
[_Exit Servant._]
I do not know from what part of the world
I should be greeted, if not from Lord Hamlet.
Enter Sailors.
FIRST SAILOR.
God bless you, sir.
HORATIO.
Let him bless thee too.
FIRST SAILOR.
He shall, sir, and’t please him. There’s a letter for you, sir. It
comes from th’ambassador that was bound for England; if your name be
Horatio, as I am let to know it is.
HORATIO.
[_Reads._] ‘Horatio, when thou shalt have overlooked this, give these
fellows some means to the King. They have letters for him. Ere we were
two days old at sea, a pirate of very warlike appointment gave us
chase. Finding ourselves too slow of sail, we put on a compelled
valour, and in the grapple I boarded them. On the instant they got
clear of our ship, so I alone became their prisoner. They have dealt
with me like thieves of mercy. But they knew what they did; I am to do
a good turn for them. Let the King have the letters I have sent, and
repair thou to me with as much haste as thou wouldst fly death. I have
words to speak in thine ear will make thee dumb; yet are they much too
light for the bore of the matter. These good fellows will bring thee
where I am. Rosencrantz and Guildenstern hold their course for England:
of them I have much to tell thee. Farewell.
He that thou knowest thine,
HAMLET.’
Come, I will give you way for these your letters,
And do’t the speedier, that you may direct me
To him from whom you brought them.
[_Exeunt._]
SCENE VII. Another room in the Castle.
Enter King and Laertes.
KING.
Now must your conscience my acquittance seal,
And you must put me in your heart for friend,
Sith you have heard, and with a knowing ear,
That he which hath your noble father slain
Pursu’d my life.
LAERTES.
It well appears. But tell me
Why you proceeded not against these feats,
So crimeful and so capital in nature,
As by your safety, wisdom, all things else,
You mainly were stirr’d up.
KING.
O, for two special reasons,
Which may to you, perhaps, seem much unsinew’d,
But yet to me they are strong. The Queen his mother
Lives almost by his looks; and for myself,—
My virtue or my plague, be it either which,—
She’s so conjunctive to my life and soul,
That, as the star moves not but in his sphere,
I could not but by her. The other motive,
Why to a public count I might not go,
Is the great love the general gender bear him,
Who, dipping all his faults in their affection,
Would like the spring that turneth wood to stone,
Convert his gyves to graces; so that my arrows,
Too slightly timber’d for so loud a wind,
Would have reverted to my bow again,
And not where I had aim’d them.
LAERTES.
And so have I a noble father lost,
A sister driven into desperate terms,
Whose worth, if praises may go back again,
Stood challenger on mount of all the age
For her perfections. But my revenge will come.
KING.
Break not your sleeps for that. You must not think
That we are made of stuff so flat and dull
That we can let our beard be shook with danger,
And think it pastime. You shortly shall hear more.
I lov’d your father, and we love ourself,
And that, I hope, will teach you to imagine—
Enter a Messenger.
How now? What news?
MESSENGER.
Letters, my lord, from Hamlet.
This to your Majesty; this to the Queen.
KING.
From Hamlet! Who brought them?
MESSENGER.
Sailors, my lord, they say; I saw them not.
They were given me by Claudio. He receiv’d them
Of him that brought them.
KING.
Laertes, you shall hear them.
Leave us.
[_Exit Messenger._]
[_Reads._] ‘High and mighty, you shall know I am set naked on your
kingdom. Tomorrow shall I beg leave to see your kingly eyes. When I
shall, first asking your pardon thereunto, recount the occasions of my
sudden and more strange return.
HAMLET.’
What should this mean? Are all the rest come back?
Or is it some abuse, and no such thing?
LAERTES.
Know you the hand?
KING.
’Tis Hamlet’s character. ‘Naked!’
And in a postscript here he says ‘alone.’
Can you advise me?
LAERTES.
I am lost in it, my lord. But let him come,
It warms the very sickness in my heart
That I shall live and tell him to his teeth,
‘Thus diest thou.’
KING.
If it be so, Laertes,—
As how should it be so? How otherwise?—
Will you be rul’d by me?
LAERTES.
Ay, my lord;
So you will not o’errule me to a peace.
KING.
To thine own peace. If he be now return’d,
As checking at his voyage, and that he means
No more to undertake it, I will work him
To an exploit, now ripe in my device,
Under the which he shall not choose but fall;
And for his death no wind shall breathe,
But even his mother shall uncharge the practice
And call it accident.
LAERTES.
My lord, I will be rul’d;
The rather if you could devise it so
That I might be the organ.
KING.
It falls right.
You have been talk’d of since your travel much,
And that in Hamlet’s hearing, for a quality
Wherein they say you shine. Your sum of parts
Did not together pluck such envy from him
As did that one, and that, in my regard,
Of the unworthiest siege.
LAERTES.
What part is that, my lord?
KING.
A very riband in the cap of youth,
Yet needful too, for youth no less becomes
The light and careless livery that it wears
Than settled age his sables and his weeds,
Importing health and graveness. Two months since
Here was a gentleman of Normandy,—
I’ve seen myself, and serv’d against, the French,
And they can well on horseback, but this gallant
Had witchcraft in’t. He grew unto his seat,
And to such wondrous doing brought his horse,
As had he been incorps’d and demi-natur’d
With the brave beast. So far he topp’d my thought
That I in forgery of shapes and tricks,
Come short of what he did.
LAERTES.
A Norman was’t?
KING.
A Norman.
LAERTES.
Upon my life, Lamord.
KING.
The very same.
LAERTES.
I know him well. He is the brooch indeed
And gem of all the nation.
KING.
He made confession of you,
And gave you such a masterly report
For art and exercise in your defence,
And for your rapier most especially,
That he cried out ’twould be a sight indeed
If one could match you. The scrimers of their nation
He swore had neither motion, guard, nor eye,
If you oppos’d them. Sir, this report of his
Did Hamlet so envenom with his envy
That he could nothing do but wish and beg
Your sudden coming o’er to play with him.
Now, out of this,—
LAERTES.
What out of this, my lord?
KING.
Laertes, was your father dear to you?
Or are you like the painting of a sorrow,
A face without a heart?
LAERTES.
Why ask you this?
KING.
Not that I think you did not love your father,
But that I know love is begun by time,
And that I see, in passages of proof,
Time qualifies the spark and fire of it.
There lives within the very flame of love
A kind of wick or snuff that will abate it;
And nothing is at a like goodness still,
For goodness, growing to a pleurisy,
Dies in his own too much. That we would do,
We should do when we would; for this ‘would’ changes,
And hath abatements and delays as many
As there are tongues, are hands, are accidents;
And then this ‘should’ is like a spendthrift sigh
That hurts by easing. But to the quick o’ th’ulcer:
Hamlet comes back: what would you undertake
To show yourself your father’s son in deed,
More than in words?
LAERTES.
To cut his throat i’ th’ church.
KING.
No place, indeed, should murder sanctuarize;
Revenge should have no bounds. But good Laertes,
Will you do this, keep close within your chamber.
Hamlet return’d shall know you are come home:
We’ll put on those shall praise your excellence,
And set a double varnish on the fame
The Frenchman gave you, bring you in fine together
And wager on your heads. He, being remiss,
Most generous, and free from all contriving,
Will not peruse the foils; so that with ease,
Or with a little shuffling, you may choose
A sword unbated, and in a pass of practice,
Requite him for your father.
LAERTES.
I will do’t.
And for that purpose I’ll anoint my sword.
I bought an unction of a mountebank
So mortal that, but dip a knife in it,
Where it draws blood no cataplasm so rare,
Collected from all simples that have virtue
Under the moon, can save the thing from death
This is but scratch’d withal. I’ll touch my point
With this contagion, that if I gall him slightly,
It may be death.
KING.
Let’s further think of this,
Weigh what convenience both of time and means
May fit us to our shape. If this should fail,
And that our drift look through our bad performance.
’Twere better not assay’d. Therefore this project
Should have a back or second, that might hold
If this did blast in proof. Soft, let me see.
We’ll make a solemn wager on your cunnings,—
I ha’t! When in your motion you are hot and dry,
As make your bouts more violent to that end,
And that he calls for drink, I’ll have prepar’d him
A chalice for the nonce; whereon but sipping,
If he by chance escape your venom’d stuck,
Our purpose may hold there.
Enter Queen.
How now, sweet Queen?
QUEEN.
One woe doth tread upon another’s heel,
So fast they follow. Your sister’s drown’d, Laertes.
LAERTES.
Drown’d! O, where?
QUEEN.
There is a willow grows aslant a brook,
That shows his hoary leaves in the glassy stream.
There with fantastic garlands did she make
Of crow-flowers, nettles, daisies, and long purples,
That liberal shepherds give a grosser name,
But our cold maids do dead men’s fingers call them.
There on the pendant boughs her coronet weeds
Clamb’ring to hang, an envious sliver broke,
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide,
And mermaid-like, awhile they bore her up,
Which time she chaunted snatches of old tunes,
As one incapable of her own distress,
Or like a creature native and indued
Unto that element. But long it could not be
Till that her garments, heavy with their drink,
Pull’d the poor wretch from her melodious lay
To muddy death.
LAERTES.
Alas, then she is drown’d?
QUEEN.
Drown’d, drown’d.
LAERTES.
Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears. But yet
It is our trick; nature her custom holds,
Let shame say what it will. When these are gone,
The woman will be out. Adieu, my lord,
I have a speech of fire, that fain would blaze,
But that this folly douts it.
[_Exit._]
KING.
Let’s follow, Gertrude;
How much I had to do to calm his rage!
Now fear I this will give it start again;
Therefore let’s follow.
[_Exeunt._]
ACT V
SCENE I. A churchyard.
Enter two Clowns with spades, &c.
FIRST CLOWN.
Is she to be buried in Christian burial, when she wilfully seeks her
own salvation?
SECOND CLOWN.
I tell thee she is, and therefore make her grave straight. The crowner
hath sat on her, and finds it Christian burial.
FIRST CLOWN.
How can that be, unless she drowned herself in her own defence?
SECOND CLOWN.
Why, ’tis found so.
FIRST CLOWN.
It must be _se offendendo_, it cannot be else. For here lies the point:
if I drown myself wittingly, it argues an act: and an act hath three
branches. It is to act, to do, and to perform: argal, she drowned
herself wittingly.
SECOND CLOWN.
Nay, but hear you, goodman delver,—
FIRST CLOWN.
Give me leave. Here lies the water; good. Here stands the man; good. If
the man go to this water and drown himself, it is, will he nill he, he
goes,—mark you that. But if the water come to him and drown him, he
drowns not himself. Argal, he that is not guilty of his own death
shortens not his own life.
SECOND CLOWN.
But is this law?
FIRST CLOWN.
Ay, marry, is’t, crowner’s quest law.
SECOND CLOWN.
Will you ha’ the truth on’t? If this had not been a gentlewoman, she
should have been buried out o’ Christian burial.
FIRST CLOWN.
Why, there thou say’st. And the more pity that great folk should have
countenance in this world to drown or hang themselves more than their
even Christian. Come, my spade. There is no ancient gentlemen but
gardeners, ditchers, and grave-makers: they hold up Adam’s profession.
SECOND CLOWN.
Was he a gentleman?
FIRST CLOWN.
He was the first that ever bore arms.
SECOND CLOWN.
Why, he had none.
FIRST CLOWN.
What, art a heathen? How dost thou understand the Scripture? The
Scripture says Adam digg’d. Could he dig without arms? I’ll put another
question to thee. If thou answerest me not to the purpose, confess
thyself—
SECOND CLOWN.
Go to.
FIRST CLOWN.
What is he that builds stronger than either the mason, the shipwright,
or the carpenter?
SECOND CLOWN.
The gallows-maker; for that frame outlives a thousand tenants.
FIRST CLOWN.
I like thy wit well in good faith, the gallows does well. But how does
it well? It does well to those that do ill. Now, thou dost ill to say
the gallows is built stronger than the church; argal, the gallows may
do well to thee. To’t again, come.
SECOND CLOWN.
Who builds stronger than a mason, a shipwright, or a carpenter?
FIRST CLOWN.
Ay, tell me that, and unyoke.
SECOND CLOWN.
Marry, now I can tell.
FIRST CLOWN.
To’t.
SECOND CLOWN.
Mass, I cannot tell.
Enter Hamlet and Horatio, at a distance.
FIRST CLOWN.
Cudgel thy brains no more about it, for your dull ass will not mend his
pace with beating; and when you are asked this question next, say ‘a
grave-maker’. The houses he makes last till doomsday. Go, get thee to
Yaughan; fetch me a stoup of liquor.
[_Exit Second Clown._]
[_Digs and sings._]
In youth when I did love, did love,
Methought it was very sweet;
To contract, O, the time for, a, my behove,
O methought there was nothing meet.
HAMLET.
Has this fellow no feeling of his business, that he sings at
grave-making?
HORATIO.
Custom hath made it in him a property of easiness.
HAMLET.
’Tis e’en so; the hand of little employment hath the daintier sense.
FIRST CLOWN.
[_Sings._]
But age with his stealing steps
Hath claw’d me in his clutch,
And hath shipp’d me into the land,
As if I had never been such.
[_Throws up a skull._]
HAMLET.
That skull had a tongue in it, and could sing once. How the knave jowls
it to th’ ground, as if ’twere Cain’s jawbone, that did the first
murder! This might be the pate of a politician which this ass now
o’er-offices, one that would circumvent God, might it not?
HORATIO.
It might, my lord.
HAMLET.
Or of a courtier, which could say ‘Good morrow, sweet lord! How dost
thou, good lord?’ This might be my lord such-a-one, that praised my
lord such-a-one’s horse when he meant to beg it, might it not?
HORATIO.
Ay, my lord.
HAMLET.
Why, e’en so: and now my Lady Worm’s; chapless, and knocked about the
mazard with a sexton’s spade. Here’s fine revolution, an we had the
trick to see’t. Did these bones cost no more the breeding but to play
at loggets with ’em? Mine ache to think on’t.
FIRST CLOWN.
[_Sings._]
A pickaxe and a spade, a spade,
For and a shrouding-sheet;
O, a pit of clay for to be made
For such a guest is meet.
[_Throws up another skull._]
HAMLET.
There’s another. Why may not that be the skull of a lawyer? Where be
his quiddits now, his quillets, his cases, his tenures, and his tricks?
Why does he suffer this rude knave now to knock him about the sconce
with a dirty shovel, and will not tell him of his action of battery?
Hum. This fellow might be in’s time a great buyer of land, with his
statutes, his recognizances, his fines, his double vouchers, his
recoveries. Is this the fine of his fines, and the recovery of his
recoveries, to have his fine pate full of fine dirt? Will his vouchers
vouch him no more of his purchases, and double ones too, than the
length and breadth of a pair of indentures? The very conveyances of his
lands will scarcely lie in this box; and must the inheritor himself
have no more, ha?
HORATIO.
Not a jot more, my lord.
HAMLET.
Is not parchment made of sheep-skins?
HORATIO.
Ay, my lord, and of calf-skins too.
HAMLET.
They are sheep and calves which seek out assurance in that. I will
speak to this fellow.—Whose grave’s this, sir?
FIRST CLOWN.
Mine, sir.
[_Sings._]
O, a pit of clay for to be made
For such a guest is meet.
HAMLET.
I think it be thine indeed, for thou liest in’t.
FIRST CLOWN.
You lie out on’t, sir, and therefore ’tis not yours.
For my part, I do not lie in’t, yet it is mine.
HAMLET.
Thou dost lie in’t, to be in’t and say it is thine. ’Tis for the dead,
not for the quick; therefore thou liest.
FIRST CLOWN.
’Tis a quick lie, sir; ’t will away again from me to you.
HAMLET.
What man dost thou dig it for?
FIRST CLOWN.
For no man, sir.
HAMLET.
What woman then?
FIRST CLOWN.
For none neither.
HAMLET.
Who is to be buried in’t?
FIRST CLOWN.
One that was a woman, sir; but, rest her soul, she’s dead.
HAMLET.
How absolute the knave is! We must speak by the card, or equivocation
will undo us. By the Lord, Horatio, these three years I have taken note
of it, the age is grown so picked that the toe of the peasant comes so
near the heel of the courtier he galls his kibe.—How long hast thou
been a grave-maker?
FIRST CLOWN.
Of all the days i’ th’ year, I came to’t that day that our last King
Hamlet o’ercame Fortinbras.
HAMLET.
How long is that since?
FIRST CLOWN.
Cannot you tell that? Every fool can tell that. It was the very day
that young Hamlet was born,—he that is mad, and sent into England.
HAMLET.
Ay, marry, why was he sent into England?
FIRST CLOWN.
Why, because he was mad; he shall recover his wits there; or if he do
not, it’s no great matter there.
HAMLET.
Why?
FIRST CLOWN.
’Twill not be seen in him there; there the men are as mad as he.
HAMLET.
How came he mad?
FIRST CLOWN.
Very strangely, they say.
HAMLET.
How strangely?
FIRST CLOWN.
Faith, e’en with losing his wits.
HAMLET.
Upon what ground?
FIRST CLOWN.
Why, here in Denmark. I have been sexton here, man and boy, thirty
years.
HAMLET.
How long will a man lie i’ th’earth ere he rot?
FIRST CLOWN.
Faith, if he be not rotten before he die,—as we have many pocky corses
nowadays that will scarce hold the laying in,—he will last you some
eight year or nine year. A tanner will last you nine year.
HAMLET.
Why he more than another?
FIRST CLOWN.
Why, sir, his hide is so tann’d with his trade that he will keep out
water a great while. And your water is a sore decayer of your whoreson
dead body. Here’s a skull now; this skull hath lain in the earth
three-and-twenty years.
HAMLET.
Whose was it?
FIRST CLOWN.
A whoreson, mad fellow’s it was. Whose do you think it was?
HAMLET.
Nay, I know not.
FIRST CLOWN.
A pestilence on him for a mad rogue! A pour’d a flagon of Rhenish on my
head once. This same skull, sir, was Yorick’s skull, the King’s jester.
HAMLET.
This?
FIRST CLOWN.
E’en that.
HAMLET.
Let me see. [_Takes the skull._] Alas, poor Yorick. I knew him,
Horatio, a fellow of infinite jest, of most excellent fancy. He hath
borne me on his back a thousand times; and now, how abhorred in my
imagination it is! My gorge rises at it. Here hung those lips that I
have kiss’d I know not how oft. Where be your gibes now? your gambols?
your songs? your flashes of merriment, that were wont to set the table
on a roar? Not one now, to mock your own grinning? Quite chop-fallen?
Now get you to my lady’s chamber, and tell her, let her paint an inch
thick, to this favour she must come. Make her laugh at that.—Prithee,
Horatio, tell me one thing.
HORATIO.
What’s that, my lord?
HAMLET.
Dost thou think Alexander looked o’ this fashion i’ th’earth?
HORATIO.
E’en so.
HAMLET.
And smelt so? Pah!
[_Throws down the skull._]
HORATIO.
E’en so, my lord.
HAMLET.
To what base uses we may return, Horatio! Why may not imagination trace
the noble dust of Alexander till he find it stopping a bung-hole?
HORATIO.
’Twere to consider too curiously to consider so.
HAMLET.
No, faith, not a jot. But to follow him thither with modesty enough,
and likelihood to lead it; as thus. Alexander died, Alexander was
buried, Alexander returneth into dust; the dust is earth; of earth we
make loam; and why of that loam whereto he was converted might they not
stop a beer-barrel?
Imperious Caesar, dead and turn’d to clay,
Might stop a hole to keep the wind away.
O, that that earth which kept the world in awe
Should patch a wall t’expel the winter’s flaw.
But soft! but soft! aside! Here comes the King.
Enter priests, &c, in procession; the corpse of Ophelia, Laertes and
Mourners following; King, Queen, their Trains, &c.
The Queen, the courtiers. Who is that they follow?
And with such maimed rites? This doth betoken
The corse they follow did with desperate hand
Fordo it own life. ’Twas of some estate.
Couch we awhile and mark.
[_Retiring with Horatio._]
LAERTES.
What ceremony else?
HAMLET.
That is Laertes, a very noble youth. Mark.
LAERTES.
What ceremony else?
PRIEST.
Her obsequies have been as far enlarg’d
As we have warranties. Her death was doubtful;
And but that great command o’ersways the order,
She should in ground unsanctified have lodg’d
Till the last trumpet. For charitable prayers,
Shards, flints, and pebbles should be thrown on her.
Yet here she is allowed her virgin rites,
Her maiden strewments, and the bringing home
Of bell and burial.
LAERTES.
Must there no more be done?
PRIEST.
No more be done.
We should profane the service of the dead
To sing sage requiem and such rest to her
As to peace-parted souls.
LAERTES.
Lay her i’ th’earth,
And from her fair and unpolluted flesh
May violets spring. I tell thee, churlish priest,
A minist’ring angel shall my sister be
When thou liest howling.
HAMLET.
What, the fair Ophelia?
QUEEN.
[_Scattering flowers._] Sweets to the sweet. Farewell.
I hop’d thou shouldst have been my Hamlet’s wife;
I thought thy bride-bed to have deck’d, sweet maid,
And not have strew’d thy grave.
LAERTES.
O, treble woe
Fall ten times treble on that cursed head
Whose wicked deed thy most ingenious sense
Depriv’d thee of. Hold off the earth a while,
Till I have caught her once more in mine arms.
[_Leaps into the grave._]
Now pile your dust upon the quick and dead,
Till of this flat a mountain you have made,
To o’ertop old Pelion or the skyish head
Of blue Olympus.
HAMLET.
[_Advancing._]
What is he whose grief
Bears such an emphasis? whose phrase of sorrow
Conjures the wand’ring stars, and makes them stand
Like wonder-wounded hearers? This is I,
Hamlet the Dane.
[_Leaps into the grave._]
LAERTES.
[_Grappling with him._] The devil take thy soul!
HAMLET.
Thou pray’st not well.
I prithee take thy fingers from my throat;
For though I am not splenative and rash,
Yet have I in me something dangerous,
Which let thy wiseness fear. Away thy hand!
KING.
Pluck them asunder.
QUEEN.
Hamlet! Hamlet!
All.
Gentlemen!
HORATIO.
Good my lord, be quiet.
[_The Attendants part them, and they come out of the grave._]
HAMLET.
Why, I will fight with him upon this theme
Until my eyelids will no longer wag.
QUEEN.
O my son, what theme?
HAMLET.
I lov’d Ophelia; forty thousand brothers
Could not, with all their quantity of love,
Make up my sum. What wilt thou do for her?
KING.
O, he is mad, Laertes.
QUEEN.
For love of God forbear him!
HAMLET.
’Swounds, show me what thou’lt do:
Woul’t weep? woul’t fight? woul’t fast? woul’t tear thyself?
Woul’t drink up eisel? eat a crocodile?
I’ll do’t. Dost thou come here to whine?
To outface me with leaping in her grave?
Be buried quick with her, and so will I.
And if thou prate of mountains, let them throw
Millions of acres on us, till our ground,
Singeing his pate against the burning zone,
Make Ossa like a wart. Nay, an thou’lt mouth,
I’ll rant as well as thou.
QUEEN.
This is mere madness:
And thus awhile the fit will work on him;
Anon, as patient as the female dove,
When that her golden couplets are disclos’d,
His silence will sit drooping.
HAMLET.
Hear you, sir;
What is the reason that you use me thus?
I lov’d you ever. But it is no matter.
Let Hercules himself do what he may,
The cat will mew, and dog will have his day.
[_Exit._]
KING.
I pray thee, good Horatio, wait upon him.
[_Exit Horatio._]
[_To Laertes_]
Strengthen your patience in our last night’s speech;
We’ll put the matter to the present push.—
Good Gertrude, set some watch over your son.
This grave shall have a living monument.
An hour of quiet shortly shall we see;
Till then in patience our proceeding be.
[_Exeunt._]
SCENE II. A hall in the Castle.
Enter Hamlet and Horatio.
HAMLET.
So much for this, sir. Now let me see the other;
You do remember all the circumstance?
HORATIO.
Remember it, my lord!
HAMLET.
Sir, in my heart there was a kind of fighting
That would not let me sleep. Methought I lay
Worse than the mutinies in the bilboes. Rashly,
And prais’d be rashness for it,—let us know,
Our indiscretion sometime serves us well,
When our deep plots do pall; and that should teach us
There’s a divinity that shapes our ends,
Rough-hew them how we will.
HORATIO.
That is most certain.
HAMLET.
Up from my cabin,
My sea-gown scarf’d about me, in the dark
Grop’d I to find out them; had my desire,
Finger’d their packet, and in fine, withdrew
To mine own room again, making so bold,
My fears forgetting manners, to unseal
Their grand commission; where I found, Horatio,
Oh royal knavery! an exact command,
Larded with many several sorts of reasons,
Importing Denmark’s health, and England’s too,
With ho! such bugs and goblins in my life,
That on the supervise, no leisure bated,
No, not to stay the grinding of the axe,
My head should be struck off.
HORATIO.
Is’t possible?
HAMLET.
Here’s the commission, read it at more leisure.
But wilt thou hear me how I did proceed?
HORATIO.
I beseech you.
HAMLET.
Being thus benetted round with villanies,—
Or I could make a prologue to my brains,
They had begun the play,—I sat me down,
Devis’d a new commission, wrote it fair:
I once did hold it, as our statists do,
A baseness to write fair, and labour’d much
How to forget that learning; but, sir, now
It did me yeoman’s service. Wilt thou know
The effect of what I wrote?
HORATIO.
Ay, good my lord.
HAMLET.
An earnest conjuration from the King,
As England was his faithful tributary,
As love between them like the palm might flourish,
As peace should still her wheaten garland wear
And stand a comma ’tween their amities,
And many such-like ‘as’es of great charge,
That on the view and know of these contents,
Without debatement further, more or less,
He should the bearers put to sudden death,
Not shriving-time allow’d.
HORATIO.
How was this seal’d?
HAMLET.
Why, even in that was heaven ordinant.
I had my father’s signet in my purse,
Which was the model of that Danish seal:
Folded the writ up in the form of the other,
Subscrib’d it: gave’t th’impression; plac’d it safely,
The changeling never known. Now, the next day
Was our sea-fight, and what to this was sequent
Thou know’st already.
HORATIO.
So Guildenstern and Rosencrantz go to’t.
HAMLET.
Why, man, they did make love to this employment.
They are not near my conscience; their defeat
Does by their own insinuation grow.
’Tis dangerous when the baser nature comes
Between the pass and fell incensed points
Of mighty opposites.
HORATIO.
Why, what a king is this!
HAMLET.
Does it not, thinks’t thee, stand me now upon,—
He that hath kill’d my king, and whor’d my mother,
Popp’d in between th’election and my hopes,
Thrown out his angle for my proper life,
And with such cozenage—is’t not perfect conscience
To quit him with this arm? And is’t not to be damn’d
To let this canker of our nature come
In further evil?
HORATIO.
It must be shortly known to him from England
What is the issue of the business there.
HAMLET.
It will be short. The interim is mine;
And a man’s life’s no more than to say ‘One’.
But I am very sorry, good Horatio,
That to Laertes I forgot myself;
For by the image of my cause I see
The portraiture of his. I’ll court his favours.
But sure the bravery of his grief did put me
Into a tow’ring passion.
HORATIO.
Peace, who comes here?
Enter Osric.
OSRIC.
Your lordship is right welcome back to Denmark.
HAMLET.
I humbly thank you, sir. Dost know this waterfly?
HORATIO.
No, my good lord.
HAMLET.
Thy state is the more gracious; for ’tis a vice to know him. He hath
much land, and fertile; let a beast be lord of beasts, and his crib
shall stand at the king’s mess; ’tis a chough; but, as I say, spacious
in the possession of dirt.
OSRIC.
Sweet lord, if your lordship were at leisure, I should impart a thing
to you from his Majesty.
HAMLET.
I will receive it with all diligence of spirit. Put your bonnet to his
right use; ’tis for the head.
OSRIC.
I thank your lordship, ’tis very hot.
HAMLET.
No, believe me, ’tis very cold, the wind is northerly.
OSRIC.
It is indifferent cold, my lord, indeed.
HAMLET.
Methinks it is very sultry and hot for my complexion.
OSRIC.
Exceedingly, my lord; it is very sultry,—as ’twere—I cannot tell how.
But, my lord, his Majesty bade me signify to you that he has laid a
great wager on your head. Sir, this is the matter,—
HAMLET.
I beseech you, remember,—
[_Hamlet moves him to put on his hat._]
OSRIC.
Nay, in good faith; for mine ease, in good faith. Sir, here is newly
come to court Laertes; believe me, an absolute gentleman, full of most
excellent differences, of very soft society and great showing. Indeed,
to speak feelingly of him, he is the card or calendar of gentry; for
you shall find in him the continent of what part a gentleman would see.
HAMLET.
Sir, his definement suffers no perdition in you, though I know, to
divide him inventorially would dizzy th’arithmetic of memory, and yet
but yaw neither, in respect of his quick sail. But, in the verity of
extolment, I take him to be a soul of great article and his infusion of
such dearth and rareness as, to make true diction of him, his semblable
is his mirror and who else would trace him his umbrage, nothing more.
OSRIC.
Your lordship speaks most infallibly of him.
HAMLET.
The concernancy, sir? Why do we wrap the gentleman in our more rawer
breath?
OSRIC.
Sir?
HORATIO.
Is’t not possible to understand in another tongue? You will do’t, sir,
really.
HAMLET.
What imports the nomination of this gentleman?
OSRIC.
Of Laertes?
HORATIO.
His purse is empty already, all’s golden words are spent.
HAMLET.
Of him, sir.
OSRIC.
I know you are not ignorant,—
HAMLET.
I would you did, sir; yet in faith if you did, it would not much
approve me. Well, sir?
OSRIC.
You are not ignorant of what excellence Laertes is,—
HAMLET.
I dare not confess that, lest I should compare with him in excellence;
but to know a man well were to know himself.
OSRIC.
I mean, sir, for his weapon; but in the imputation laid on him, by them
in his meed he’s unfellowed.
HAMLET.
What’s his weapon?
OSRIC.
Rapier and dagger.
HAMLET.
That’s two of his weapons. But well.
OSRIC.
The King, sir, hath wager’d with him six Barbary horses, against the
which he has imponed, as I take it, six French rapiers and poniards,
with their assigns, as girdle, hangers, and so. Three of the carriages,
in faith, are very dear to fancy, very responsive to the hilts, most
delicate carriages, and of very liberal conceit.
HAMLET.
What call you the carriages?
HORATIO.
I knew you must be edified by the margin ere you had done.
OSRIC.
The carriages, sir, are the hangers.
HAMLET.
The phrase would be more german to the matter if we could carry cannon
by our sides. I would it might be hangers till then. But on. Six
Barbary horses against six French swords, their assigns, and three
liberal conceited carriages: that’s the French bet against the Danish.
Why is this all imponed, as you call it?
OSRIC.
The King, sir, hath laid that in a dozen passes between you and him, he
shall not exceed you three hits. He hath laid on twelve for nine. And
it would come to immediate trial if your lordship would vouchsafe the
answer.
HAMLET.
How if I answer no?
OSRIC.
I mean, my lord, the opposition of your person in trial.
HAMLET.
Sir, I will walk here in the hall. If it please his Majesty, it is the
breathing time of day with me. Let the foils be brought, the gentleman
willing, and the King hold his purpose, I will win for him if I can; if
not, I will gain nothing but my shame and the odd hits.
OSRIC.
Shall I re-deliver you e’en so?
HAMLET.
To this effect, sir; after what flourish your nature will.
OSRIC.
I commend my duty to your lordship.
HAMLET.
Yours, yours.
[_Exit Osric._]
He does well to commend it himself, there are no tongues else for’s
turn.
HORATIO.
This lapwing runs away with the shell on his head.
HAMLET.
He did comply with his dug before he suck’d it. Thus has he,—and many
more of the same bevy that I know the drossy age dotes on,— only got
the tune of the time and outward habit of encounter; a kind of yeasty
collection, which carries them through and through the most fanned and
winnowed opinions; and do but blow them to their trial, the bubbles are
out.
Enter a Lord.
LORD.
My lord, his Majesty commended him to you by young Osric, who brings
back to him that you attend him in the hall. He sends to know if your
pleasure hold to play with Laertes or that you will take longer time.
HAMLET.
I am constant to my purposes, they follow the King’s pleasure. If his
fitness speaks, mine is ready. Now or whensoever, provided I be so able
as now.
LORD.
The King and Queen and all are coming down.
HAMLET.
In happy time.
LORD.
The Queen desires you to use some gentle entertainment to Laertes
before you fall to play.
HAMLET.
She well instructs me.
[_Exit Lord._]
HORATIO.
You will lose this wager, my lord.
HAMLET.
I do not think so. Since he went into France, I have been in continual
practice. I shall win at the odds. But thou wouldst not think how ill
all’s here about my heart: but it is no matter.
HORATIO.
Nay, good my lord.
HAMLET.
It is but foolery; but it is such a kind of gain-giving as would
perhaps trouble a woman.
HORATIO.
If your mind dislike anything, obey it. I will forestall their repair
hither, and say you are not fit.
HAMLET.
Not a whit, we defy augury. There’s a special providence in the fall of
a sparrow. If it be now, ’tis not to come; if it be not to come, it
will be now; if it be not now, yet it will come. The readiness is all.
Since no man has aught of what he leaves, what is’t to leave betimes?
Enter King, Queen, Laertes, Lords, Osric and Attendants with foils &c.
KING.
Come, Hamlet, come, and take this hand from me.
[_The King puts Laertes’s hand into Hamlet’s._]
HAMLET.
Give me your pardon, sir. I have done you wrong;
But pardon’t as you are a gentleman.
This presence knows, and you must needs have heard,
How I am punish’d with sore distraction.
What I have done
That might your nature, honour, and exception
Roughly awake, I here proclaim was madness.
Was’t Hamlet wrong’d Laertes? Never Hamlet.
If Hamlet from himself be ta’en away,
And when he’s not himself does wrong Laertes,
Then Hamlet does it not, Hamlet denies it.
Who does it, then? His madness. If’t be so,
Hamlet is of the faction that is wrong’d;
His madness is poor Hamlet’s enemy.
Sir, in this audience,
Let my disclaiming from a purpos’d evil
Free me so far in your most generous thoughts
That I have shot my arrow o’er the house
And hurt my brother.
LAERTES.
I am satisfied in nature,
Whose motive in this case should stir me most
To my revenge. But in my terms of honour
I stand aloof, and will no reconcilement
Till by some elder masters of known honour
I have a voice and precedent of peace
To keep my name ungor’d. But till that time
I do receive your offer’d love like love,
And will not wrong it.
HAMLET.
I embrace it freely,
And will this brother’s wager frankly play.—
Give us the foils; come on.
LAERTES.
Come, one for me.
HAMLET.
I’ll be your foil, Laertes; in mine ignorance
Your skill shall like a star i’ th’ darkest night,
Stick fiery off indeed.
LAERTES.
You mock me, sir.
HAMLET.
No, by this hand.
KING.
Give them the foils, young Osric. Cousin Hamlet,
You know the wager?
HAMLET.
Very well, my lord.
Your Grace has laid the odds o’ the weaker side.
KING.
I do not fear it. I have seen you both;
But since he is better’d, we have therefore odds.
LAERTES.
This is too heavy. Let me see another.
HAMLET.
This likes me well. These foils have all a length?
[_They prepare to play._]
OSRIC.
Ay, my good lord.
KING.
Set me the stoups of wine upon that table.
If Hamlet give the first or second hit,
Or quit in answer of the third exchange,
Let all the battlements their ordnance fire;
The King shall drink to Hamlet’s better breath,
And in the cup an union shall he throw
Richer than that which four successive kings
In Denmark’s crown have worn. Give me the cups;
And let the kettle to the trumpet speak,
The trumpet to the cannoneer without,
The cannons to the heavens, the heavens to earth,
‘Now the King drinks to Hamlet.’ Come, begin.
And you, the judges, bear a wary eye.
HAMLET.
Come on, sir.
LAERTES.
Come, my lord.
[_They play._]
HAMLET.
One.
LAERTES.
No.
HAMLET.
Judgement.
OSRIC.
A hit, a very palpable hit.
LAERTES.
Well; again.
KING.
Stay, give me drink. Hamlet, this pearl is thine;
Here’s to thy health.
[_Trumpets sound, and cannon shot off within._]
Give him the cup.
HAMLET.
I’ll play this bout first; set it by awhile.
[_They play._]
Come. Another hit; what say you?
LAERTES.
A touch, a touch, I do confess.
KING.
Our son shall win.
QUEEN.
He’s fat, and scant of breath.
Here, Hamlet, take my napkin, rub thy brows.
The Queen carouses to thy fortune, Hamlet.
HAMLET.
Good madam.
KING.
Gertrude, do not drink.
QUEEN.
I will, my lord; I pray you pardon me.
KING.
[_Aside._] It is the poison’d cup; it is too late.
HAMLET.
I dare not drink yet, madam. By and by.
QUEEN.
Come, let me wipe thy face.
LAERTES.
My lord, I’ll hit him now.
KING.
I do not think’t.
LAERTES.
[_Aside._] And yet ’tis almost ’gainst my conscience.
HAMLET.
Come for the third, Laertes. You do but dally.
I pray you pass with your best violence.
I am afeard you make a wanton of me.
LAERTES.
Say you so? Come on.
[_They play._]
OSRIC.
Nothing neither way.
LAERTES.
Have at you now.
[_Laertes wounds Hamlet; then, in scuffling, they change rapiers, and
Hamlet wounds Laertes._]
KING.
Part them; they are incens’d.
HAMLET.
Nay, come again!
[_The Queen falls._]
OSRIC.
Look to the Queen there, ho!
HORATIO.
They bleed on both sides. How is it, my lord?
OSRIC.
How is’t, Laertes?
LAERTES.
Why, as a woodcock to my own springe, Osric.
I am justly kill’d with mine own treachery.
HAMLET.
How does the Queen?
KING.
She swoons to see them bleed.
QUEEN.
No, no, the drink, the drink! O my dear Hamlet!
The drink, the drink! I am poison’d.
[_Dies._]
HAMLET.
O villany! Ho! Let the door be lock’d:
Treachery! Seek it out.
[_Laertes falls._]
LAERTES.
It is here, Hamlet. Hamlet, thou art slain.
No medicine in the world can do thee good.
In thee there is not half an hour of life;
The treacherous instrument is in thy hand,
Unbated and envenom’d. The foul practice
Hath turn’d itself on me. Lo, here I lie,
Never to | 0.100611 | 0.296167 | 1,799 | 181 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 2 |
88ca821bfdc845765e21e774dfd0010308066090 | Self Control | [
"Laura Branigan"
] | 1,984 | Oh, the night is my world
City light painted girl
In the day nothing matters
It's the night time that flatters
In the night, no control
Through the wall something's breaking
Wearing white as you're walkin'
Down the street of my soul
You take my self, you take my self control
You got me livin' only for the night
Before the morning comes, the story's told
You take my self, you take my self control
Another night, another day goes by
I never stop myself to wonder why
You help me to forget to play my role
You take my self, you take my self control
I, I live among the creatures of the night
I haven't got the will to try and fight
Against a new tomorrow
So I guess I'll just believe it
That tomorrow never comes
A safe night (you take my self, you take my self control)
I'm living in the forest of my dream (you take my self, you take my self control)
I know the night is not as it would seem (you take my self, you take my self control)
I must believe in something
So I'll make myself believe it (you take my self, you take my self control)
This night will never go
Oh-oh-oh
Oh-oh-oh
Oh-oh-oh
Oh-oh-oh
Oh-oh-oh...
Oh, the night is my world
City light painted girl
In the day nothing matters
It's the night time that flatters
I, I live among the creatures of the night
I haven't got the will to try and fight
Against a new tomorrow
So I guess I'll just believe it
Tomorrow never knows
A safe night (you take my self, you take my self control)
I'm living in the forest of my dream (you take m yself, you take my self control)
I know the night is not as it would seem (you take m yself, you take my self control)
I must believe in something
So I'll make myself believe it (you take my self, you take my self control)
This night will never go
Oh-oh-oh
Oh-oh-oh
Oh-oh-oh
Oh-oh-oh
Oh-oh-oh...
You take my self, you take my self control (oh-oh-oh)
You take my self, you take my self control (oh-oh-oh)
You take my self, you take my self control (oh-oh-oh)
You take my self, you take my self control (oh-oh-oh)
You take my self, you take my self control (oh-oh-oh)
You take my self, you take my self control (oh-oh-oh)
You take my self, you take my self control (oh-oh-oh)
You take my self, you take my self control (oh-oh-oh) | 0.1 | 0.141159 | 20 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
379a09c1ad6fad5ad6bd5789cd08289b6493ebcd | No More | [
"Ruff Endz"
] | 2,000 | Ooh babe, oh girl
No more, no more
Bounce baby, bounce baby
You can move, uh
Check it out
Baby, relax, sit back and chill (yeah)
Just give me a second
And let me tell you how I feel
Cause all around town you've been steppin' out
Runnin' your mouth about
What made you think I wouldn't find out?
Wasn't I there for you?
Truly cared for you
Maybe my love was just too good
Could've had it good, now the love is gone
And went back to your hood with the 54-11's on
Does he lace you with the finer things?
Does he make ya wanna scream his name?
Does he hit it from the front to back?
Did you let him break it down like that?
Should've told me the love was gone
Never thought that you'd do me wrong
Girl I thought that your love was strong
'Til I saw you in another man's arms
No more shopping sprees
No more late night creeps
No more VIP
No more dough
We can't even kick it no more
No more shopping sprees
No more late night creeps
No more VIP
No more dough
We can't even kick it no more
I saw you on the Ave' and I laughed
In the backseat beeeze spilling Henney in his lap
Thought it was me that you was all about
But I'm having doubts
Cause I see you tryna play me out
But when the brother called the crib with beef
Didn't I represent you
When I caught him in the streets
So let me get the keys to Lex and no more checks
And no more hanging baguettes around your neck, babe
Does he lace you with the finer things?
Does he make ya wanna scream his name?
Does he hit it from the front to back?
Did you let him break it down like that?
Should've told me the love was gone
Never thought that you'd do me wrong
Girl I thought that your love was strong
'Til I saw you in another man's arms
No more shopping sprees
No more late night creeps
No more VIP
No more dough
We can't even kick it no more
No more shopping sprees
No more late night creeps
No more VIP
No more dough
We can't even kick it no more
No more shopping sprees
No more late night creeps
No more VIP
No more dough
We can't even kick it no more
No more shopping sprees
No more late night creeps
No more VIP
No more dough
We can't even kick it no more
No more, I want no more
Baby, I want no more
No more shopping sprees
No more late night creeps
No more VIP
No more dough
We can't even kick it no more
No more shopping sprees
No more late night creeps
No more VIP
No more dough
We can't even kick it no more... | 0.095238 | 0.086155 | 21 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
7b5372d7e014ac7555970d2d134e18301474bfe8 | Butterfly | [
"Crazy Town"
] | 2,001 | Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Such a sexy, sexy pretty little thing
Fierce nipple pierce, you got me sprung with your tongue ring
And I ain't gonna lie 'cause your loving gets me high
So to keep you by my side, there's nothing that I won't try
Butterflies in her eyes, and the looks to kill
Time is passing, I'm asking could this be real
'Cause I can't sleep, I can't hold still
The only thing I really know is she got sex appeal
I can feel too much is never enough
You're always there to lift me up
When these times get rough
I was lost, now I'm found
Ever since you've been around
You're the women that I want
So yo, I'm putting it down
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady you're my pretty baby
I'll make your legs shake
You make me go crazy
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady you're my pretty baby
I'll make your legs shake
You make me go crazy (crazy, crazy)
I don't deserve you
Unless it's some kind of hidden message
To show me life is precious
Then I guess it's true
But to tell the truth, I really never knew 'til I met you
See I was lost and confused
Twisted and used up
Knew a better life existed, but thought that I missed it
My lifestyle's wild
I was living like a wild child
Trapped on a short leash paroled the police files
So yo, what's happening now?
I see the sun breaking down into dark clouds
And a vision of you standing out in a crowd, so
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady you're my pretty baby
I'll make your legs shake
You make me go crazy
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady you're my pretty baby
I'll make your legs shake
You make me go crazy
Hey, sugar momma, come and dance with me
The smartest thing you ever did was take a chance with me
Whatever tickles your fancy
Girl, it's me, and you like Sid and Nancy
So sexy, almost evil talkin' about butterflies in my head
I used to think that happy endings were only in the books I read
But you made me feel alive when I was almost dead
You filled that empty space with the love I used to chase
And as far as I can see, it don't get better than this
So butterfly, here is a song, and it's sealed with a kiss
And a thank you, miss
Come and dance with me
Come and dance with me
Come and dance with me
So come and dance with me
Uh-huh, uh-huh
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady, you're my pretty baby
I'll make your legs shake
You make me go crazy
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady, you're my pretty baby
I'll make your legs shake
You make me go crazy
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady, you're my pretty baby
I'll make your legs shake
You make me go crazy
Come my lady
Come, come my lady
You're my butterfly, sugar baby
Come my lady, you're my pretty baby
I'll make your legs shake
You make me go crazy
Come and dance with me
Come and dance with me
Come and dance with me
Come and dance with me
Uh-huh, uh-huh
Come and dance with me
Come and dance with me
Come and dance with me
Come and dance with me
Come and dance with me
Come and dance with me
Come and dance with me
Yeah, come and dance with me | 0.09375 | 0.035502 | 32 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
0a8c244bfb52aa8ddfbb1c6f33b06b5bbed4b947 | Walking in Rhythm | [
"The Blackbyrds"
] | 1,975 | Walking in rhythm
Moving in sound
Humming to the music
Trying to move on
I'm walking in rhythm
Singing my song
Thinking 'bout my baby
Trying to get home
Walking in rhythm
Moving in sound
Humming to the music
Trying to move on
I'm walking in rhythm
Singing my song
Thinking 'bout my baby
Trying to get home
It's been so long since I've seen her
I'm tired and so all alone
I've travelled so very far
I've got to get back home
It's been so long since I've kissed her
And held her tight in my arms
I've got so far to go now
I've got to get back home
Got to get back home
It's been so long since I've seen her
I'm tired and so all alone
I've travelled so very far
I've got to get back home
It's been so long since I've kissed her
And held her tight in my arms
I've got so far to go now
I've got to get back home
Got to get back home
Walking in rhythm
Moving in sound
Humming to the music
Trying to move on
I'm walking in rhythm (walking in rhythm)
Singing my song (singing my song)
Thinking 'bout my baby (thinking 'bout my baby)
Trying to get home (trying to get home)
I'm walking in rhythm (walking in rhythm)
Singing my song (singing my song)
Thinking 'bout my baby (thinking 'bout my baby)
Trying to get home (trying to get home)
I'm walking in rhythm (walking in rhythm)
Singing my song (singing my song)
Thinking 'bout my baby (thinking 'bout my baby)
Trying to get home (trying to get home) | 0.090909 | 0.061712 | 11 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
324dea8fec9779da3c848f5c2c27eb21bab86890 | Delta Dawn | [
"Helen Reddy"
] | 1,973 | Delta Dawn, what's that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meetin' you here today
To take you to his mansion in the sky
She's 41 and her daddy still calls her baby
All the folks 'round Brownsville say she's crazy
'Cause she walks downtown with a suitcase in her hand
Lookin' for a mysterious dark-haired man
In her younger days, they called her Delta Dawn
Prettiest woman you ever laid eyes on
Then a man of low degree stood by her side
And promised her he'd take her for his bride
Delta Dawn, what's that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meetin' you here today
To take you to his mansion in the sky
Delta Dawn, what's that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meetin' you here today
To take you to his mansion in the sky
Delta Dawn, what's that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meetin' you here today
To take you to his mansion in the sky
Delta Dawn, what's that flower you have on?
Could it be a faded rose from days gone by?
And did I hear you say he was a-meetin' you here today
To take you to his mansion in the sky
Delta Dawn, what's that flower you have on?
Could it be a faded rose from days gone by? | 0.090909 | 0.001806 | 11 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
816d62cf5f29b60692cdf62801675d56c512c95f | White Flag | [
"Dido"
] | 2,004 | I know you think that I shouldn't still love you
Or tell you that
But if I didn't say it, well, I'd still have felt it
Where's the sense in that?
I promise I'm not trying to make your life harder
Or return to where we were
But I will go down with this ship
And I won't put my hands up and surrender
There will be no white flag above my door
I'm in love and always will be
I know I left too much mess and
Destruction to come back again
And I caused nothing but trouble
I understand if you can't talk to me again
And if you live by the rules of 'it's over'
Then I'm sure that that makes sense
But I will go down with this ship
And I won't put my hands up and surrender
There will be no white flag above my door
I'm in love and always will be
And when we meet
Which I'm sure we will
All that was there
Will be there still
I'll let it pass
And hold my tongue
And you will think
That I've moved on
I will go down with this ship
And I won't put my hands up and surrender
There will be no white flag above my door
I'm in love and always will be
I will go down with this ship
And I won't put my hands up and surrender
There will be no white flag above my door
I'm in love and always will be
I will go down with this ship
And I won't put my hands up and surrender
There will be no white flag above my door
I'm in love and always will be | 0.090909 | 0.014439 | 11 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
ca3a81fb101ff2537a397ca7160a693c934ca173 | Stayin' Alive | [
"Bee Gees"
] | 1,978 | Well, you can tell by the way I use my walk
I'm a woman's man, no time to talk
Music loud and women warm
I've been kicked around since I was born
And now it's all right, that's okay
You may look the other way
We can try to understand
The New York Times' effect on man
Whether you're a brother or whether you're a mother
You're stayin' alive, stayin' alive
Feel the city breakin' and everybody shakin'
And you're stayin' alive, stayin' alive
Ah, ah, ah, ah, stayin' alive, stayin' alive
Ah, ah, ah, ah, stayin' alive
Oh, when you walk
Well, now I get low and I get high
And when I can't get either, I really try
Got the wings of heaven on my shoes
I'm a dancin' man and I just can't lose
You know, it's all right, it's okay
I'll live to see another day
We can try to understand
The New York Times' effect on man
Whether you're a brother or whether you're a mother
You're stayin' alive, stayin' alive
Feel the city breakin' and everybody shakin'
And you're stayin' alive, stayin' alive
Ah, ah, ah, ah, stayin' alive, stayin' alive
Ah, ah, ah, ah, stayin' alive
Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere
Somebody help me, yeah
Stayin' alive
Well, you can tell by the way I use my walk
I'm a woman's man, no time to talk
Music loud and women warm
I've been kicked around since I was born
And now it's all right, it's okay
You may look the other way
We can try to understand
The New York Times' effect on man
Whether you're a brother or whether you're a mother
You're stayin' alive, stayin' alive
Feel the city breakin' and everybody shakin'
And you're stayin' alive, stayin' alive
Ah, ah, ah, ah, stayin' alive, stayin' alive
Ah, ah, ah, ah, stayin' alive
Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere
Somebody help me, yeah
I'm stayin' alive
Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere
Somebody help me, yeah
I'm stayin' alive
Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere
Somebody help me, yeah
I'm stayin' alive
Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere
Somebody help me, yeah
I'm stayin' alive | 0.090909 | 0.106244 | 22 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
a40345070fb930c7c61437ebf213843f33a21250 | Every Little Thing I Do | [
"Soul for Real"
] | 1,995 | Mmh
Yeah, baby
You're on my
Ooh-ooh, my
Yeah
You are on my mind (yeah, baby)
You are on my mind (every little thing)
Every little thing I do, you're on my mind
The way I feel lately, it's driving me crazy
Every little thing I do you're on my mind
I can't get over you, I think about you all the time
Can't you see what you do to me?
I think about you all the time
My mind is hazy and I'm mixed up
Feeling crazy over you
Let's not waste anytime
Every little thing I do, you're on my mind
The way I feel lately, it's driving me crazy
Every little thing I do, you're on my mind
I can't get over you, I think about you all the time
'Round and 'round I go
Where I'll stop only you know
I guess it's all in my mind (all in my mind)
Take your time think it over
Let me know what you wanna do
Baby, it's all good
Every little thing I do, you're on my mind
The way I feel lately, it's driving me crazy
Every little thing I do, you're on my mind
I can't get over you, I think about you all the time
Every little thing I do, you're on my mind
You're on my mind, hey
Every little thing I do, you're on my mind
You're on my mind
Every little thing I do, you're on my mind
You're on my mind
Every little thing I do, you're on my mind
You're on my mind, hey
Every little thing I do, you're on my mind
The way I feel lately, it's driving me crazy
Every little thing I do, you're on my mind
I can't get over you, I think about you all the time
Every little thing I do, you're on my mind
The way I feel lately, it's driving me crazy
Every little thing I do, you're on my mind
I can't get over you, I think about you all the time
Every little thing I do, you're on my mind
The way I feel lately, it's driving me crazy
Every little thing I do, you're on my mind
I can't get over you, I think about you all the time
The way I feel lately, it's driving me crazy
Every little thing I do, you're on my mind
You're on my mind, hey
Every little thing I do, you're on my mind
You're on my mind, hey
Every little thing I do, you're on my mind
You're on my mind, hey
Every little thing I do, you're on my mind
You're on my mind, hey
Every little thing I do, you're on my mind
You're on my mind, hey
Every little thing I do, you're on my mind
You're on my mind, hey
Every little thing I do, you're on my mind | 0.086957 | 0.076125 | 23 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
b7391a0357d621976787ea60cc38223cfb5b2192 | SexyBack | [
"Justin Timberlake; Timbaland"
] | 2,006 | I'm bringing sexy back (yeah)
Them other boys don't know how to act (yeah)
I think you're special, what's behind your back? (Yeah)
So turn around and I'll pick up the slack (yeah)
Take 'em to the bridge
Dirty babe (uh-huh)
You see these shackles, baby, I'm your slave (uh-huh)
I'll let you whip me if I misbehave (uh-huh)
It's just that no one makes me feel this way (uh-huh)
Take 'em to the chorus
Come here, girl (go 'head, be gone with it)
Come to the back (go 'head, be gone with it)
V.I.P. (go 'head, be gone with it)
Drinks on me (go 'head, be gone with it)
Let me see what you're twerking with (go 'head, be gone with it)
Look at those hips (go 'head, be gone with it)
You make me smile (go 'head, be gone with it)
Go 'head child (go 'head, be gone with it), and
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on
I'm bringing sexy back (yeah)
Them other fuckers don't know how to act (yeah)
Girl, let me make up for the things you lack (yeah)
'Cause you're burning up, I gotta get it fast (yeah)
Take 'em to the bridge
Dirty babe (uh-huh)
You see these shackles, baby, I'm your slave (uh-huh)
I'll let you whip me if I misbehave (uh-huh)
It's just that no one makes me feel this way (uh-huh)
Take 'em to the chorus
Come here, girl (go 'head, be gone with it)
Come to the back (go 'head, be gone with it)
V.I.P. (go 'head, be gone with it)
Drinks on me (go 'head, be gone with it)
Let me see what you're twerking with (go 'head, be gone with it)
Look at those hips (go 'head, be gone with it)
You make me smile (go 'head, be gone with it)
Go 'head child (go 'head, be gone with it), and
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on
You ready?
You ready?
You ready?
Uh (yes)
I'm bringing sexy back (yeah)
You motherfuckers watch how I attack (yeah)
If that's your girl you better watch your back (yeah)
'Cause she'll burn it up for me and that's a fact (yeah)
Take 'em to the chorus, ha
Come here, girl (go 'head, be gone with it)
Come to the back (go 'head, be gone with it)
V.I.P. (go 'head, be gone with it)
Drinks on me (go 'head, be gone with it)
Let me see what you're twerking with (go 'head, be gone with it)
Look at those hips (go 'head, be gone with it)
You make me smile (go 'head, be gone with it)
Go 'head child (go 'head, be gone with it), and
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on (go 'head, be gone with it)
Get your sexy on
You ready? (Yes)
You ready? (Yes)
(Yes) | 0.085714 | 0.269323 | 35 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
02a4bbdd78fa30bc23cbf404f589a0a63e82b602 | The Things We Do for Love | [
"10cc"
] | 1,977 | Too many broken hearts have fallen in the river
Too many lonely souls have drifted out to sea
You lay your bets and then you pay the price
The things we do for love (The things we do for love)
Communication is the problem to the answer
You've got her number and your hand is on the phone
The weather's turned and all the lines are down
The things we do for love (The things we do for love)
Like walking in the rain and the snow
When there's nowhere to go
When you're feeling like a part of you is dying
And you're looking for the answer in her eyes
You think you're gonna break up
Then she says she wants to make up
Ooh, you make me love you
Ooh, you've got a way
Ooh, you had me crawling up the wall
Like walking in the rain and the snow
When there's nowhere to go
When you're feeling like a part of you is dying
And you're looking for the answer in her eyes
You think you're gonna break up
Then she says she wants to make up
Ooh, you make me love you
Ooh, you've got a way
Ooh, you had me crawling up the wall
A compromise would surely help the situation
Agree to disagree, but disagree to part
When after all it's just a compromise
Of the things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love)
The things we do for love (The things we do for love) | 0.083333 | 0.018114 | 12 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
d908411f7b3784b56be9f4f715c6b8a9edd4b77f | Things That Make You Go Hmmm... | [
"C+C Music Factory"
] | 1,991 | Things that make you go hmm
I was at the crib, sittin' by the fireplace
Drinkin' cocoa on the bear skin rug
The door bell rang. Who could it be?
Thought to myself then started to shrug
Got to the door. Ding Dong. Who is it?
My girl's best friend had payed me a visit.
Sly as can be, tight dress and all
She knew that I was faithful. I really didn't have the gall.
I tried to chill. She made the move.
Now I know my girlfriend wouldn't approve.
I didn't realize my girl was settin' me up
Yo, my girl didn't trust me. No!
Yeah, but she lost control I wouldn't take the bait.
I said chill baby baby chill baby baby wait
My girl bust in, Caught us creating a boom
She said "Girlfriend"?
Things that make you go hmm
Things that make you go hmm
Things that make you go hmm
Things that make you go hmm, hmm, hmm
Things that make you go hmm
Here's how it started
Just an example of how another brother can trample
Ruin your life, sleep with your wife
Watch your behind
There was a friend of mine named Jay
Would come over late at night and say hey
I watched the fight. I thought is was alright.
'Cause me and Jay were really really tight
So damned close we had the same blood type.
Months went by and my wife got big
We were havin' a child and I got another gig
So I let Jay move into the crib and chill
He had his own room and helped pay the bills
The time had come (for the baby down to the scene)
It looked like Jay and I couldn't believe
Before my eyes in the delivery room.
The things that make you go hmm
Things that make you go hmm
The things that make you go hmm, hmm, hmm
The things that make you go hmm
Things that make you go hmm
The things that make you go hmm.
Robbie Rob - break it down!
Give it to me Give it to me Give it to me Give it to me (x7)
Give it to me Give it to me
Seventeen and I was havin' a ball
Eleventh grade and "Joe" I knew it all
I fell in love for the very first time
With this girl she really blew my mind
Inner sense and whole lotta class
Style that could give you whiplash
We said hello and my heart be stopped
She was the world and I was on top
Time went by, She filled my universe
We made love, She said I was the first
My boy kept tellin' me. Yo, I don't know
I think your girl's been playing tic tac toe
I'll ask my girl I know she only loves me
Wasn't I the one who tool your viginity?
The look on her face read sorrow and gloom
She said "Yeah, Why do you guys always ask that?"
Things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Hey ladies
Have you ever had a man
Go away for business, come back with a tan
Comes home late at night from work
You cooked him dinner now you feel like a jerk
Sayin' he didn't have time to eat
And he's not even hungry, he wants to be treat
To the bedroom he said his head hurts
You're only makin' love in radical spurts
Mysterious calls and the phone goes click
You say to yourself "I'm gonna hit him with a brick"
Ain't no way he could be cheatin' on me
I wonder who bought him those BVD's
Dressed to a T to hang with the fellas
Over the guys and I'm getting jealous
Comin' home late smellin' like perfume (fume)
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
It's the things that make you go hmm
Things that make you go hmm
Things that make you go hmm | 0.083333 | 0.046373 | 36 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
b8026adebfb4d7355855f7cc95152d84b888a241 | It's Gonna Take a Miracle | [
"Deniece Williams"
] | 1,982 | Loving you so
I was to blind to see
You letting me go
But now that you've set me free
It's gonna take a miracle
Yes, it's gonna take a miracle
To make me love someone new
'Cause I'm crazy for you
Oh, didn't you know
It wouldn't be so easy
You letting me go
You can be sure that now
It's gonna take a miracle
Yes, it's gonna take a miracle
To make me love someone new
'Cause I'm crazy for you
Oh, though I know I can't forget about you
I'm gonna try to show how much
You're turning me around, destroying me
I'll never be the same anymore
You must realize
You took your love and left me
Quite by surprise
You can be sure that now
It's gonna take a miracle
Yes, it's gonna take a miracle
To make me love someone new
'Cause I'm crazy for you
Yes, it's gonna take a miracle
Yes, it's gonna take a miracle
To make me love someone new
'Cause I'm crazy about you
Gonna take a miracle
It's gonna take a miracle
To make me love someone new
'Cause I'm crazy about you
Gonna take a miracle
It's gonna take a miracle
To love someone new
'Cause I'm crazy for you
It's gonna take a miracle
It's gonna take a miracle
To make me love someone new
'Cause I'm crazy for you
It's gonna take a miracle
It's gonna take a miracle
To make me love someone new
'Cause I'm crazy for you
It's gonna take a miracle
It's gonna take a miracle
To make me love someone new
'Cause I'm crazy for you
It's gonna take a miracle
It's gonna take a miracle | 0.083333 | 0.017417 | 12 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
c73971e20a42f76beceec549d9d2546879bb1f48 | Lose Yourself | [
"Eminem"
] | 2,002 | Look
If you had one shot, or one opportunity
To seize everything you ever wanted
One moment
Would you capture it or just let it slip?
Yo
His palms are sweaty, knees weak, arms are heavy
There's vomit on his sweater already, mom's spaghetti
He's nervous, but on the surface he looks calm and ready to drop bombs
But he keeps on forgetting what he wrote down, the whole crowd goes so loud
He opens his mouth, but the words won't come out
He's choking how, everybody's joking now
The clock's run out, time's up, over, blaow!
Snap back to reality
Oh, there goes gravity
Oh, there goes Rabbit, he choked
He's so mad, but he won't give up that easy, no
He won't have it, he knows his whole back's to these ropes
It don't matter, he's dope
He knows that but he's broke
He's so stagnant, he knows when he goes back to his mobile home, that's when it's
Back to the lab again, yo
This whole rhapsody
He better go capture this moment and hope it don't pass him
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime
You better
The soul's escaping, through this hole that is gaping
This world is mine for the taking
Make me king, as we move toward a new world order
A normal life is boring, but superstardom's close to post mortem
It only grows harder, homie grows hotter
He blows, it's all over
These hoes is all on him
Coast to coast shows, he's known as the globetrotter
Lonely roads, God only knows
He's knows is grown farther from home, he's no father
He goes home and barely knows his own daughter
But hold your nose 'cause here goes the cold water
His hoes don't want him no more, he's cold product
They moved on to the next schmoe who flows
He nose dove and sold nada
So the soap opera is told and unfolds
I suppose it's old partner but the beat goes on
Da da dum, da dum da da
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime
You better
No more games, I'ma change what you call rage
Tear this motherfucking roof off like two dogs caged
I was playing in the beginning, the mood all changed
I've been chewed up and spit out and booed off stage
But I kept rhyming and stepped right into the next cypher
Best believe somebody's paying the pied piper
All the pain inside amplified by the fact
That I can't get by with my 9-to-5
And I can't provide the right type of life for my family
'Cause man, these goddamn food stamps don't buy diapers
And it's no movie, there's no Mekhi Phifer, this is my life
And these times are so hard, and it's getting even harder
Trying to feed and water my seed, plus
Teeter totter caught up between being a father and a prima donna
Baby mama drama's screaming on and
Too much for me to wanna stay in one spot, another day of monotony
Has gotten me to the point, I'm like a snail I've got to formulate a plot or I end up in jail or shot
Success is my only motherfucking option, failure's not
Mom, I love you, but this trailer's got to go
I cannot grow old in Salem's lot
So here I go it's my shot
Feet, fail me not, this may be the only opportunity that I got
You better
Lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime
You better
You can do anything you set your mind to, man | 0.081081 | 0.006757 | 37 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
1270a7b8c030c0f6ce57ce1bc2565b0126003f3a | Do I Do | [
"Stevie Wonder"
] | 1,982 | When I see you on the street
My whole body gets weak
When you're standing in a crowd
Your love talks to me so loud
Girl, do I do, what you do, when I do my love to you
When I hear you on the phone
Your sweet, sexy voice turns my ear all the way on
Just the mention of your name
Seems to drive my head insane
Girl, do I do, what you do, when I do my love to you
Baby
Mmm
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
My life has been waiting for your love
My arms have been waiting for your love to arrive
My heart has been waiting
My soul anticipating your love, love, love
From the time that I awake
I'm imagining the good love that we'll make
If to me your vibe can do all this
Just imagine how it's going to feel when we hug and kiss
Sugar, do I do, what you do, when I do my love to you... all right
Mmm
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
My life has been waiting for your love
My arms have been waiting for your love to arrive
My heart has been waiting
My soul anticipating your love, your love, your love
Ladies and gentlemen,
I have the pleasure to present on my album
Mr. Dizzy Gillespie... Blow!
Blow, blow, blow, blow, blow, blow!
Do I do, what you do, when I do my love to you
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
My life has been waiting for your love
My arms have been waiting for your love to arrive
My heart has been waiting
My soul anticipating your love, your love, your lo-o-ove
Oh, I don't care how long it might take
'Cause I know the woman for me, you I'll make
And I will not deny myself the chance
Of being part of what feels like the right romance
Girl, do I do, what you do, when I do my love to you, oh yeah
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
Yes I got some candy kisses for your lips
Yes I got some honey suckle
chocolate dripping kisses full of love for you
Girl, I've got some chocolate kisses for your lovin', baby, oh yea
Do you want some candy?
Do you want some honey suckle?
Do you want some chocolate dripping kisses full of love for you?
Girl, if you felt everything you heard me say
Turn your feelings in your heart back to me right away
And I'll get it
Do I do (do I do)
What you do (what you do)
When I do my love to you
Do I do (do I do)
What you do (what you do)
When I do my love to you
Do I do (do I do)
What you do (what you do)
When I do my love to you
Do I do (do I do)
What you do (what you do)
When I do my love... Nate!
I know the record is about to end
But we're just going to play and play until it goes away
So if you don't like the groove you can turn the record off
It won't cost you nothin' but a penny and you'll have a cough'
I know I cannot ryhme 'cause I ain't like a friend of mine
But I hai ha ha ha...
(jive rap)
Now everybody's talking about the jive is in...
Well I know I've got something for your body...
Earl... Earl
Earl playing by himself, man...
Earl playing by himself, man...
Earl playing by himself, man...
Dennis playing by himself, man...
Five, four, three, two, one. | 0.081081 | 0.14216 | 37 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
6c0d293927ed76297e978e8fc3022375dd576855 | Wanna Be Startin' Somethin' | [
"Michael Jackson"
] | 1,983 | I said you wanna be startin' somethin'
You got to be startin' somethin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
It's too high to get over (yeah, yeah)
You're too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
It's too high to get over (yeah, yeah)
You're too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
I took my baby to the doctor with a fever but nothing he found
By the time this hit the street
They said she had a breakdown
Someone's always tryin' to start my baby cryin'
Talkin', squealin', lyin'
Sayin' you just wanna be startin' somethin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
It's too high to get over (yeah, yeah)
Too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
It's too high to get over (yeah, yeah)
You're too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
You love to pretend that you're good
When you're always up to no good
You really can't make him hate her
So your tongue became a razor
Someone's always tryin' to keep my baby cryin'
Treacherous, cunnin', declinin'
You got my baby cryin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
It's too high to get over (yeah, yeah)
Too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
It's too high to get over (yeah, yeah)
You're too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
You're a vegetable (you're a vegetable)
You're a vegetable (you're a vegetable)
Still they hate you (still they hate you)
You're a vegetable (you're a vegetable)
You're just a buffet (you're just a buffet)
You're a vegetable (you're a vegetable)
They eat off of you (they eat off of you)
You're a vegetable
Billie Jean is always talkin' when nobody else is talkin'
Tellin' lies and rubbin' shoulders
So they called her mouth a motor
Someone's always tryin' to start my baby cryin'
Talkin', squealin', spyin'
Sayin' you just wanna be startin' somethin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
It's too high to get over (yeah, yeah)
Too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
It's too high to get over (yeah, yeah)
Too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
You're a vegetable (you're a vegetable)
You're a vegetable (you're a vegetable)
Still they hate you (still they hate you)
You're a vegetable (you're a vegetable)
You're just a buffet (you're just a buffet)
You're a vegetable (you're a vegetable)
They eat off of you (they eat off of you)
You're a vegetable
If you can't feed your baby (yeah, yeah)
Then don't have a baby (yeah, yeah)
And don't think maybe (yeah, yeah)
If you can't feed your baby (yeah, yeah)
You'll be always tryin' to stop that child from cryin'
Hustlin', stealin', lyin', now baby's slowly dyin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
I said you wanna be startin' somethin'
You got to be startin' somethin'
It's too high to get over (yeah, yeah)
You're too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
It's too high to get over (yeah, yeah)
You're too low to get under (yeah, yeah)
You're stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
Lift your head up high and scream out to the world
I know I am someone, and let the truth unfurl
No one can hurt you now because you know what's true
Yes, I believe in me, so do believe in you
Help me sing it
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
Ma ma se, ma ma sa, ma ma coo sa
(Ma ma se, ma ma sa, ma ma coo sa) | 0.08 | 0.416425 | 50 | 4 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
0a305d32fa29bb451918daf305a6d806240687a3 | Just the Way | [
"Parmalee; Blanco Brown"
] | 2,021 | I love you just the way God made you
Girl, he don't make mistakes
What you call your imperfections
I call beautiful, babe
(Tell 'em, Blanc)
The way your hair's in a mess in the morning when you open your eyes
The way an hour goes by when you say that you'll be ready in five, yeah, uh
The little dimple on the side of your smile when you're laughing
At a movie that you've seen about a thousand times
You know, girl, that I can't lie
I love you just the way God made you
Girl, he don't make mistakes
What you call your imperfections
I call beautiful, babe
So let my eyes be your mirror
And you're bound to see it too
'Cause I was made for loving
Just the way God made you
(God made you)
Just the way, just the way
Just the way, just the way
God made you
(God made you)
Just the way, just the way
Just the way, just the way
God made you
Yeah (hey), I can feel your presence from a mile away
Catch a flight to Carolina just to get a taste
Getting busy in my pickup on a sunny day
Miss perfect when you working, you don't make mistakes
One time for my baby in knee highs
How you fit all of that ass in them Levis?
Two-time but I need it more than two times
You don't even gotta try
I love you just the way God made you
Girl, he don't make mistakes
What you call your imperfections
I call beautiful, babe
So let my eyes be your mirror
And you're bound to see it too
'Cause I was made for loving
Just the way God made you
(God made you)
Just the way, just the way
Just the way, just the way
God made you
(God made you)
Just the way, just the way
Just the way, just the way
God made you, uh
Girl, I ain't ever gon' try to change ya (come on)
My masterpiece, my Mona Lisa, and I need ya
To stay just the way God made ya
(Just the way, just the way
Just the way, just the way
God made you)
Just the way God made you
(Just the way, just the way
Just the way, just the way
God made you)
Yeah, say it again
I love you just the way God made you
Girl, he don't make mistakes
What you call your imperfections
I call beautiful, babe
So let my eyes be your mirror
And you're bound to see it too
'Cause I was made for loving
Just the way God made you
(Come on and say it again)
(God made you)
Just the way, just the way
Just the way, just the way
God made you
(Come on and say it again)
(God made you)
Just the way, just the way
Just the way, just the way
God made you
(Come on and say it again)
(God made you)
Just the way, just the way
Just the way, just the way
God made you
(Come on and say it again)
(God made you)
Just the way, just the way
Just the way, just the way
God made you | 0.08 | 0.030614 | 25 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
0cc70c22f867c0eb40b6203ca2b57c56f46c15d4 | You Make Me Wanna... | [
"Usher"
] | 1,997 | This is what you do
This is what you do
This is what you do
This is what you do
You make me wanna leave the one I'm with
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me (Make me), you make me
You make me wanna leave the one I'm with
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me, you make me
Before anything began between us
You were like my best friend
The one I used to run and talk to
When me and my girl was having problems
You used to say it would be okay
Suggest little nice things I should do
And when I go home at night
And lay my head down
All I seem to think about was you
And how, you make me wanna leave the one I'm with
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me, you make me
You make me wanna leave the one I'm with to
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me, you make me
Now what's bad
Is you're the one that hooked us up
Knowing it should've been you
And what's sad is I love her but I'm falling for you
What should I do?
Should I, tell my baby bye-bye?
Should I, do exactly what I feel inside?
'Cause I, I don't wanna go, don't need to stay
But I really need to get it together
You make me wanna leave the one I'm with (Ooh)
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me, you make me
You make me wanna leave the one I'm with to
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me, you make me
At this point, the situation's out of control
I never meant to hurt her, but I gotta let her go
And she, may not understand it
While all of this is going on
I tried, I tried to fight it but the feelings just to strong
You make me, make me
You make me wanna
You make me wanna
You make me wanna
You make me wanna
You make me wanna
You make me wanna
You make me wanna
Come along with
You make me, you make me
You make me wanna leave the one I'm with to
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me, you make me
You make me wanna leave the one I'm with to
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me, you make me
You make me wanna leave the one I'm with to
Start a new relationship with you, this is what you do
Think about a ring and all the things that come along with
You make me, you make me wanna
You make me wanna leave the one I'm with to
Start a new relationship with you, this is what you do | 0.076923 | 0.0424 | 26 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
4d7607bdb2f1e3a37f97fe784173b028e9f48d6d | If Ever You're in My Arms Again | [
"Peabo Bryson"
] | 1,984 | It all came so easy
All the lovin' you gave me
The feelings we shared
And I still can remember
How your touch was so tender
It told me you cared
We had a once in a lifetime
But I just couldn't see
Until it was gone
A second once in a lifetime
May be too much to ask
But I swear from now on
If ever you're in my arms again
This time I'll love you much better
If ever you're in my arms again
This time I'll hold you forever
This time we'll never end
Now, I'm seein' clearly
How I still need you near me
I still love you so
There's something between us
That won't ever leave us
There's no letting go
(No letting go)
We had a once in a lifetime
But I just didn't know it
'Til my life fell apart
A second once in a lifetime
Isn't too much to ask
'Cause I swear from the heart
If ever you're in my arms again
This time I'll love you much better
If ever you're in my arms again
This time I'll hold you forever
This time we'll never end
Never end
The best of romances
Deserve second chances
I'll get to you somehow
'Cause I promise now
If ever you're in my arms again
This time I'll love you much better
If ever you're in my arms again
This time I'll hold you forever
This time we'll never end
If ever you're in my arms again
This time I'll love you much better
If ever you're in my arms again
This time I'll hold you forever
This time we'll never end
If ever you're in my arms again
This time I'll love you much better
If ever you're in my arms again
This time I'll hold you forever
This time we'll never end | 0.076923 | 0.003943 | 13 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
e5d8f80400ec7e5cdb3af3987231f8a5bad1efad | Stomp! | [
"The Brothers Johnson"
] | 1,980 | Steppin' out the weekends open wide
Fill it up, let's blast the jams and die
While we're cruisin' around in the street
Listen up for the party
Slap me five that's the place we've arrived, it's alive
Ev'rybody take it to the top
We're gonna stomp
All night
In the neighborhood
Don't it feel alright
Gonna stomp all night
Wanna party till the morning light
Runnin', runnin', runnin'
The set is hot, there's people wall to wall
Old gones, young things short ones standing tall
So grab the one with the smile on her face
And hit the floor and stay right on the case
The heat is on and the funk just won't leave us alone
Ev'rybody take it to the top
We're gonna stomp all night
In the neighborhood
Don't it feel all right
Gonna stomp all night
Wanna party till the morning light
Gonna stomp all night in the neighborhood
Don't it feel all right
Gonna stomp all night
Wanna party till the morning light
Stomp!
Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don't want to quit
Put your heels where you're feeling it
Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don't want to quit
Put your heels where you're feeling it
Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don't want to quit
Put your heels where you're feeling it
All night in the neighborhood
Don't it feel all right
Gonna stomp all night
Wanna party till the morning light
Stomp, all night in the neighborhood
Don't it feel all right
Gonna stomp all night
Wanna party till the morning light
Stomp, all night in the neighborhood
Don't it feel all right
Gonna stomp all night
Wanna party till the morning light
Stomp, all night in the neighborhood
Don't it feel all right
Gonna stomp all night
Wanna party till the morning light
Stomp, all night in the neighborhood
Don't it feel all right
Gonna stomp all night
Wanna party till the morning light
Stomp!
Stomp, step down in it
Put your foot where you feel the fit
(Take it to the top)
Stomp, you don't want to quit
Put your heels where you're feeling it
(Take it to the top)
Stomp, step down in it
Put your foot where you feel the fit
((Take it to the top)
Stomp, you don't want to quit
Put your heels where you're feeling it
(Take it to the top)
Stomp, step down in it
Put your foot where you feel the fit
(Take it to the top)
Stomp, you don't want to quit
Put your heels where you're feeling it
(Take it to the top)
Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don't want to quit
Put your heels where you're feeling it
Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don't want to quit
Put your heels where you're feeling it
Stomp, step down in it
Put your foot where you feel the fit
Stomp, you don't want to quit
Put your heels where you're feeling it | 0.076923 | 0.011348 | 26 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
83f77f06afa2da356f215967307474f18d77af79 | APT. | [
"Rosé; Bruno Mars"
] | 2,025 | (채영이가 좋아하는 랜덤게임)
(랜덤게임, game start!)
아파트, 아파트
아파트, 아파트
아파트, 아파트
Uh, uh-huh, uh-huh
아파트, 아파트
아파트, 아파트
아파트, 아파트
Uh, uh-huh, uh-huh
Kissy face, kissy face, sent to your phone, but
I'm trying to kiss your lips for real (uh-huh, uh-huh)
Red hearts, red hearts, that's what I'm on, yeah
Come give me somethin' I can feel (oh-oh-oh)
Don't you want me like I want you, baby?
Don't you need me like I need you now?
Sleep tomorrow, but tonight go crazy
All you gotta do is just meet me at the
아파트, 아파트
아파트, 아파트
아파트, 아파트
Uh, uh-huh, uh-huh
아파트, 아파트
아파트, 아파트
아파트, 아파트
Uh, uh-huh, uh-huh
It's whatever, it's whatever, it's whatever you like (whoo)
Turn this 아파트 into a club (uh-huh, uh-huh)
I'm talking drink, dance, smoke, freak, party all night (come on)
건배, 건배 girl, what's up? (Oh-oh-oh)
Don't you want me like I want you, baby?
Don't you need me like I need you now?
Sleep tomorrow, but tonight go crazy
All you gotta do is just meet me at the
아파트, 아파트
아파트, 아파트
아파트, 아파트
Uh, uh-huh, uh-huh
아파트, 아파트
아파트, 아파트
아파트, 아파트
Uh, uh-huh, uh-huh
Hey, so now you know the game
Are you ready?
'Cause I'm comin' to get you, get you, get you
Hold on, hold on, I'm on my way
Yeah, yeah, yeah-yeah-yeah
I'm on my way
Hold on, hold on, I'm on my way
Yeah, yeah, yeah-yeah-yeah
I'm on my way
Don't you want me like I want you, baby?
Don't you need me like I need you now?
Sleep tomorrow, but tonight go crazy
All you gotta do is just meet me at the
아파트, 아파트
아파트, 아파트
아파트, 아파트
Just meet me at the (uh, uh-huh, uh-huh)
아파트, 아파트
아파트, 아파트
아파트, 아파트
Just meet me at the (uh, uh-huh, uh-huh)
아파트, 아파트
아파트, 아파트
아파트, 아파트
Just meet me at the (uh, uh-huh, uh-huh)
아파트, 아파트
아파트, 아파트
아파트, 아파트
Uh, uh-huh, uh-huh | 0.076923 | 0.006068 | 26 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 1 |
77e7ac49c9ba2caa9484bd3ff7c5c0d0be68e583 | We Didn't Start the Fire | [
"Billy Joel"
] | 1,990 | Harry Truman, Doris Day, Red China, Johnnie Ray
South Pacific, Walter Winchell, Joe DiMaggio
Joe McCarthy, Richard Nixon, Studebaker, television
North Korea, South Korea, Marilyn Monroe
Rosenbergs, H-bomb, Sugar Ray, Panmunjom
Brando, "The King and I", and "The Catcher in the Rye"
Eisenhower, Vaccine, England's got a new queen
Marciano, Liberace, Santayana, goodbye
We didn't start the fire
It was always burning, since the world's been turning
We didn't start the fire
No, we didn't light it, but we tried to fight it
Joseph Stalin, Malenkov, Nasser and Prokofiev
Rockefeller, Campanella, Communist Bloc
Roy Cohn, Juan Peron, Toscanini, Dacron
Dien Bien Phu falls, "Rock Around the Clock"
Einstein, James Dean, Brooklyn's got a winning team
Davy Crockett, Peter Pan, Elvis Presley, Disneyland
Bardot, Budapest, Alabama, Krushchev
Princess Grace, Peyton Place, Trouble in the Suez
We didn't start the fire
It was always burning, since the world's been turning
We didn't start the fire
No, we didn't light it, but we tried to fight it
Little Rock, Pasternak, Mickey Mantle, Kerouac
Sputnik, Chou En-Lai, "Bridge on the River Kwai"
Lebanon, Charles de Gaulle, California baseball
Starkweather homicide, children of thalidomide
Buddy Holly, Ben Hur, space monkey, mafia
Hula hoops, Castro, Edsel is a no-go
U2, Syngman Rhee, Payola and Kennedy
Chubby Checker, Psycho, Belgians in the Congo
We didn't start the fire
It was always burning, since the world's been turning
We didn't start the fire
No, we didn't light it, but we tried to fight it
Hemingway, Eichmann, "Stranger in a Strange Land"
Dylan, Berlin, Bay of Pigs invasion
"Lawrence of Arabia", British Beatlemania
Ole Miss, John Glenn, Liston beats Patterson
Pope Paul, Malcolm X, British politician sex
JFK – blown away, what else do I have to say?
We didn't start the fire
It was always burning, since the world's been turning
We didn't start the fire
No, we didn't light it, but we tried to fight it
Birth control, Ho Chi Minh, Richard Nixon back again
Moonshot, Woodstock, Watergate, punk rock
Begin, Reagan, Palestine, terror on the airline
Ayatollah's in Iran, Russians in Afghanistan
"Wheel of Fortune", Sally Ride, heavy metal suicide
Foreign debts, homeless vets, AIDS, crack, Bernie Goetz
Hypodermics on the shore, China's under martial law
Rock and roller, cola wars, I can't take it anymore
We didn't start the fire
It was always burning, since the world's been turning
We didn't start the fire
But when we are gone
It will still burn on, and on, and on, and on, and on, and on, and on, and on
We didn't start the fire
It was always burning, since the world's been turning
We didn't start the fire
No, we didn't light it, but we tried to fight it
We didn't start the fire
It was always burning, since the world's been turning
We didn't start the fire
No, we didn't light it, but we tried to fight it
We didn't start the fire
It was always burning, since the world's been turning
We didn't start the fire
No, we didn't light it, but we tried to fight it | 0.071429 | 0.017392 | 28 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
be5bc6b186aeb4c77a89e55df593bac656f964a4 | Move Ya Body | [
"Nina Sky"
] | 2,004 | Alright, right about now massive and crew
Ya done know, see a Jabba pass through
Alright now we have the biggest group singers here right now
Brand new inna the market, mi seh everybody, worldwide
Get used to that group ya, ya done know
So right now, girls, hey!
Ooh move your body, girl (move it, baby)
Makes the fellas go
The way you ride it, girl (we love the ladies there)
Makes the fellas go
Ooh, move your body, girl (move ya body)
Makes the fellas go
The way you ride it, girl (alright, girls)
Makes the fellas go (yo)
Roll up in the club, looking fly (ya know)
Made your first approach then caught his eye (wah)
So he move your way, towards the dance floor (everybody touch the dance floor)
Grabbed her hand then she whispered
Whole night has gotten through
Stand behind me, let me grind on you
If I lick my lips, I'm probably feeling you
I'ma make you go, "Ooh"
Ooh, move your body, girl (move ya body, baby)
Makes the fellas go
The way you ride it, girl (everbody wildin' now)
Makes the fellas go
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go
Woah
(You're feelin' it now)
Take it
Slow (slowly, baby)
Turning me on
Club gets warmer (warmer)
Body move closer (closer)
One with the rhythm
Don't stop movin', you're making me hot
From head to toe
I feel your flow
Thighs get stronger (stronger)
Party seems longer (longer)
Make me really want ya
Don't stop movin', you're making me hot
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go
Can you feel the beat? (Can you feel it?)
Can ya, can ya feel the beat? (Can you feel it?)
Can you feel the beat? (I can feel it)
Can ya, can ya feel the beat? (Uh, huh)
Can you feel the beat within my heart
Can't you see my love shine through the dark?
Can ya feel the beat? (Uh, huh, uh, huh)
Can you feel the beat within my heart?
Can't you see my love shine through the dark?
Can't you see that you must be a part
Of that beat in my heart
Slow wind, slow wind, slow wind, slow wind
Slow wind, slow wind, slow wind, slow wind
Fast wind, fast wind, fast wind, fast wind
Move ya body, move ya body, move ya body, move ya body
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go
Ooh, move your body, girl
Makes the fellas go
The way you ride it, girl
Makes the fellas go | 0.071429 | 0.024996 | 28 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
0d523b50c75a51b675ec8725e52764ed74a14eb6 | Give Me That | [
"Webbie; Bun B"
] | 2,005 | (Oh) girl, give me that
(Oh, oh, oh) girl, give me that
Girl, give me that (pussy)
(Oh, oh, oh) girl, give me that
Girl, give me that, girl, give me that (pussy)
(Oh, oh, oh) girl, give me that there
Girl, give me that pussy
(Oh, oh, oh) girl, give me that
You know you want it, girl, don't act like you don't want it
Girl, I want it just as bad as you do, and look
See, I can tell from this lil' vibe you got me feelin'
That you dig me, boo, I'm diggin' you too
You wanna be one of the chosen few
Then gon' jig up in this motherfucker
Maybe me and you can do it big up in this motherfucker
Sit you in a crib where you can chill, don't have to move a muscle
Give you some be good now you be good
Daddy gon' hustle
Come here let me whisper in your ear, I gotta tell you somethin'
Listenin' to this song kinda make a nigga want somethin'
Did some daydreamin', now I'm fiendin' like I'm on somethin'
Girl, don't hold it from me 'cause, right now, I'll be don' strong on it
I ain't the type to ruin your life
By runnin' game and throwin' your dreams
Get in your brain suit your game
Ease your pain and show you things
Sit you on some leather seats while blowin' green and switchin' lanes
Girl, stop playin' let me beat it out the frame
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
She five foot seven, a 139 pounds
36, 24, 38, pretty fine brown
Bad lil broad, I ain't seen her in a minute
Since the All-Star game and I'm still tryin' to hit it
Got a baby for this nigga that I used to sell things
He caught a fed case, and he ain't leave her no change
She sold all his jewels, she sold all his cars
Now she dancin' in the shaker club, strippin' for the stars
Slidin' down the pole slow drop it to a split
Pussy poppin' on a handstand, man, she the shit
She still lookin' tight though
Still built right though
Run my game right and after the club
She might go back to the telly with me
Shake her jelly with me
Let my people bust on her face and her belly with me
I got Lil Webbie with me, and he ain't hatin'
We some players in this bitch so baby stop hesitatin'
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Now I can tell from your size that that pussy is fire
So, I'm here and willin' to give you whatever it require
For you to lay down on your back and then open your thighs
Long sharp deep and wide have you rollin' your eyes
You a big fine horse, I had no choice but to try it
Look like it's worth a couple G's but ain't some shit I buy
Let me whisper in your ear again, I ain't gon' lie
I might share a lil meal, just don't tell nobody
Look you know you want it
Girl, don't act like you don't want it
Girl, you want it just as bad as I do, but check this out
You gon' be wishin' that you been gave me your number
By the time I finish rumblin' with you
Wop, wop get loose, let's take this shit to the room
And you just keep yourself excited 'til we get to the room
'Cause I've been rocked up since I met you
I'm ready to give you the blues
Don't stunt now take off your shoes
Don't act confused you know what time it is
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there
Girl, give me that pussy
Girl, give me that
Girl, give me, girl, give me that there | 0.071429 | 0.004527 | 42 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
cbec7fa746c438c8912e8cb47c8c594fe1703c55 | Sexy Bitch | [
"David Guetta; Akon"
] | 2,010 | Yes, I can see her
'Cause every girl here wanna be her
Oh, she's a diva
I feel the same and I wanna meet her
They say she low down
It's just a rumor and I don't believe 'em
They say she needs to slow down
The baddest thing around town
She's nothing like a girl you've ever seen before
Nothing you can compare to your neighborhood whore
I'm tryna find the words to describe this girl without being disrespectful
The way that booty movin', I can't take no more
Had to stop what I'm doin' so I can pull up close
I'm tryna find the words to describe this girl without being disrespectful
Damn girl
Damn you's a sexy bitch
A sexy bitch
Damn you's a sexy bitch
Damn girl
Damn you's a sexy bitch
A sexy bitch
Damn you's a sexy bitch
Damn girl
Yes, I can see her
'Cause every girl here wanna be her
Oh, she's a diva
I feel the same and I wanna meet her
They say she low down
It's just a rumor and I don't believe 'em
They say she needs to slow down
The baddest thing around town
She's nothing like a girl you've ever seen before
Nothing you can compare to your neighborhood whore
I'm tryna find the words to describe this girl without being disrespectful
The way that booty movin', I can't take no more
Had to stop what I'm doin' so I can pull up close
I'm tryna find the words to describe this girl without being disrespectful
Damn girl
Damn you's a sexy bitch
A sexy bitch
Damn you's a sexy bitch
Damn girl
Damn you's a sexy bitch
A sexy bitch
Damn you's a sexy bitch
Damn girl
Damn you's a sexy bitch
A sexy bitch
Damn you's a sexy bitch
Damn girl
Damn you's a sexy bitch
A sexy bitch
Damn you's a sexy bitch
Damn you's a sexy bitch | 0.071429 | 0.021512 | 14 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
ee30129288490b972e16b4bf185c22907093a3d8 | We Are Family | [
"Sister Sledge"
] | 1,979 | We are family
I got all my sisters with me
We are family
Get up everybody and sing
We are family
I got all my sisters with me
We are family
Get up everybody and sing
Everyone can see we're together
As we walk on by
(And) and we fly just like birds of a feather
I won't tell no lie
All of the people around us they say
Can they be that close
Just let me state for the record
We're giving love in a family dose
We are family (Hey, y'all)
I got all my sisters with me
We are family
Get up everybody and sing (sing it to me)
We are family
I got all my sisters with me
We are family
Get up everybody and sing
Living life is fun and we've just begun
To get our share of this world's delights
(High) high hopes we have for the future
And our goal's in sight
No, we don't get depressed
Here's what we call our golden rule
Have faith in you and the things you do
You won't go wrong, oh no
This is our family jewel
We are family (hey, sing it to me)
I got all my sisters with me
We are family (oh, I can hear you now)
Get up everybody and sing
We are family
I got all my sisters with me
We are family (get up, get up y'all)
Get up everybody and sing
We are family (I got all my sisters with me)
I got all my sisters with me
We are family
Get up everybody and sing (Get up and sing it to me)
We are family
I got all my sisters with me (we're having fun)
We are family
Get up everybody and sing
Get up, get up, get up and sing it to me
Oh, I can't hear you y'all
Oh, have faith in you and the things you do
Hey hey, oh hey hey hey
Get up, get up y'all
Oh, hey hey hey
I got my sisters with me
Everybody, hey hey hey
Get up, get up and sing it to me
We're having fun
Life, life has just begun for me
Me, me and my family
Get up, get up and sing it
Sing it, sing it, sing it, sing it to me
Yeah, we're back together like birds of a feather
Get up, come on y'all
We are family (yeah, sing it to me)
I got all my sisters with me
We are family (yeah)
Get up everybody and sing (get up and sing it to me)
We are family (we're having lots of fun now)
I got all my sisters with me (get up and sing it sing it to me)
We are family (yeah)
Get up everybody and sing
We are family
I got all my sisters with me
We are family (we're family)
Get up everybody and sing
We are family
I got all my sisters with me
We are family (I got my sisters with me)
Get up everybody and sing
We are family
I got all my sisters with me
We are family (we're family)
Get up everybody and sing
We are family
I got all my sisters with me
We are family
Get up everybody and sing
We are family
I got all my sisters with me
We are family
Get up everybody and sing
We are family
I got all my sisters with me
We are family
Get up everybody and sing
We are family
I got all my sisters with me
We are family
Get up everybody and sing
We are family
I got all my sisters with me
We are family
I got all my sisters and sing | 0.071429 | 0.064676 | 28 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
0915b94a156b09eaf7e6cf53375fa92cf49e0cb2 | Tuesday | [
"ILoveMakonnen; Drake"
] | 2,015 | Got the club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Working Monday night, on the corner flipping hard
Made at least three thousand, on the Boulevard
I've been working graveyard, shifts every other weekend
Ain't got no fucking time to party on the weekend
I've been flipping in the house, making jugs on the highway
I've been riding out of state, making money like my way
I don't think that I should dance, I'm just gon have another drink
I'm doing my stance, you know my Molly pink
I've got the loudest of the loud, you know my gas stink
My P.O. think I'm in the house, don't give a damn about what she think
Got the club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
It ain't no way no how
I made it on my own, I made my own style
I don't think that I should stay, you know I gotta go
You moving too fast, don't want to take it slow
Got the club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Club going up on a Tuesday
Got yo girl in the cut and she choosy
Got the club going up | 0.071429 | 0.002214 | 14 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
52fd607d643431e0e0ad0541323e8a0864861eec | Sentimental Street | [
"Night Ranger"
] | 1,985 | Saw you walkin' out on sentimental street
What you doin' out there?
Who you tryin' to be?
I know what you're thinkin'
'Cause I've been there myself
I've been kicked so many times
I don't know nothin' else
Still I noticed your urgency
I recognized the flair
That you got from chasin'
All those east coast dares
I've seen it before
It happens time and again
All cut up inside
Yet you're caught in a spin
Out on sentimental street in the avenues
Take a good hard look
There ain't nothin' ever new
Out on sentimental street in the avenues
Will you ever find out?
Guess I'll leave it up to you
Saw you dancin' out at Madame Wong's two
You did those same two steps
That I thought you back in June
Heard you dined last night
At Conte Razor's cafe
Did you get your fill?
Did you think you had to pay?
Still I noticed your urgency
And recognized the pain
And I'm sure it's the same
You feel again and again
And I wish, I could get us
That second chance
But you're having too much fun
With your sudden romance
Out on sentimental street in the avenues
Take a good hard look
There ain't nothin' ever new
Out on sentimental street in the avenues
Will you ever find out?
Guess I'll leave it up to you
Out on sentimental street in the avenues
Take a good hard look
There ain't nothin' ever new
Out on sentimental street in the avenues
Will you ever find out?
Guess I'll leave it up to you
Out on sentimental street in the avenues
Take a good hard look
There ain't nothin' ever new
Out on sentimental street in the avenues
Will you ever find out?
Guess I'll leave it up to you
Saw you walkin' out on sentimental street
What you doin' out there?
Who you tryin' to be?
Out on sentimental street in the avenues
Will you ever find out?
Guess I'll leave it up to you | 0.071429 | 0.001627 | 14 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
a73fd94d089cad2772146bb489c825a6111f47ad | I'd Do Anything for Love (But I Won't Do That) | [
"Meat Loaf"
] | 1,993 | And I would do anything for love
I'd run right into hell and back
I would do anything for love
I'll never lie to you and that's a fact
But I'll never forget
The way you feel right now
Oh no, no way
And I would do anything for love
But I won't do that
No, I won't do that
Any would do anything for love
Oh I would do anything for love
I would do anything for love
But I won't do that, huh
No, I won't do that
And some days it don't come easy
And some days it don't come hard
Some days it don't come at all
And these are the days that never end
And some nights you're breathing fire
And some nights you're carved in ice
Some nights are like nothing
I've ever seen before or will again
And maybe I'm crazy
Oh, it's crazy and it's true
I know you can save me
No one else can save me now but you
As long as the planets are turning
As long as the stars are burning
As long as your dreams are coming true
You better believe it
That I would do anything
I'll be there 'til the final act
And I would do anything for love
And I'll take the vow and seal the pact
But I'll never forgive myself
If we don't go all the way tonight
And I would do anything thing for love
Oh would do anything for love
Oh I would do anything for love
But I won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
And somedays I pray for silence
And somedays I pray for soul
Somedays I just pray to the God of
Sex and drums and rock and roll
And some nights I lose the feeling
And some nights I lose control
Some nights I just lose it all
When I watch you dance and the thunder rolls
And maybe I'm lonely
That's all I'm qualified to be
There's just one and only
One and only promise I can keep
As long as the wheels are turning
As long as the fires are burning
As long as your prayers are coming true
You better believe it
That I would do anything for love
And you know it's true and that's a fact
And I would do anything for love
And there'll never be no turning back
But I'll never do it better
Than I do it with you
So long, so long
And I would do anything for love
Oh, I would do anything for love
I would do anything for love
But I won't do that
No, no, no, I won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
I would do anything for love
Anything you've been dreaming of
But I just won't do that
And all never stop dreaming
Of you every night of my life
No way
And I would do anything for love
Oh I would do anything for love
I would do anything for love
But I won't do that
No, I won't do that
Will you raise me up
Will you help me down
Will you get me right out of
This God-forsaken town
Will you make it all a little less cold
I can do that
Oh no, no, I can do that
Will you hold me sacred, will you hold me tight
Can you colorize my life I'm so sick of black and white
Can you make it alla little less old
I can do that
Oh i can do that
Can you make me some magic with your own two hands
Can you build an emerald city with these grains of sand
Can you give me something I can take home
Now I can do that
Oh now I can do that
Will you cater to every fantasy I got
Will you hose me down with holy water
If I get too hot (hot)
Will you take me places I've never known
Now I can do that
Oh no, no, I can do that
After a while you'll forget everything
It was a brief interlude and a midsummer nights fling
And you'll see that its time to move on
I won't do that
I won't do that
I know the territory, I've been around
It'll all turn to dust and we'll all fall down
Sooner or later you'll be screwing around
I won't do that
No, won't do that
Anything for love
Oh I would do anything for love
I would do anything for love
But I won't do that
No, I won't do that | 0.069767 | 0.011848 | 43 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
6d6fee158775445198e2a7e724debd4f87bb1986 | The Communist Manifesto | [
"Marx, Engels"
] | 1,848 | ISTS IN RELATION TO THE VARIOUS EXISTING OPPOSITION PARTIES
A spectre is haunting Europe—the spectre of Communism. All the Powers
of old Europe have entered into a holy alliance to exorcise this
spectre: Pope and Czar, Metternich and Guizot, French Radicals and
German police-spies.
Where is the party in opposition that has not been decried as
Communistic by its opponents in power? Where is the Opposition that has
not hurled back the branding reproach of Communism, against the more
advanced opposition parties, as well as against its reactionary
adversaries?
Two things result from this fact.
I. Communism is already acknowledged by all European Powers to be
itself a Power.
II. It is high time that Communists should openly, in the face of the
whole world, publish their views, their aims, their tendencies, and
meet this nursery tale of the Spectre of Communism with a Manifesto of
the party itself.
To this end, Communists of various nationalities have assembled in
London, and sketched the following Manifesto, to be published in the
English, French, German, Italian, Flemish and Danish languages.
I.
BOURGEOIS AND PROLETARIANS
The history of all hitherto existing societies is the history of class
struggles.
Freeman and slave, patrician and plebeian, lord and serf, guild-master
and journeyman, in a word, oppressor and oppressed, stood in constant
opposition to one another, carried on an uninterrupted, now hidden, now
open fight, a fight that each time ended, either in a revolutionary
re-constitution of society at large, or in the common ruin of the
contending classes.
In the earlier epochs of history, we find almost everywhere a
complicated arrangement of society into various orders, a manifold
gradation of social rank. In ancient Rome we have patricians, knights,
plebeians, slaves; in the Middle Ages, feudal lords, vassals,
guild-masters, journeymen, apprentices, serfs; in almost all of these
classes, again, subordinate gradations.
The modern bourgeois society that has sprouted from the ruins of feudal
society has not done away with class antagonisms. It has but
established new classes, new conditions of oppression, new forms of
struggle in place of the old ones. Our epoch, the epoch of the
bourgeoisie, possesses, however, this distinctive feature: it has
simplified the class antagonisms. Society as a whole is more and more
splitting up into two great hostile camps, into two great classes,
directly facing each other: Bourgeoisie and Proletariat.
From the serfs of the Middle Ages sprang the chartered burghers of the
earliest towns. From these burgesses the first elements of the
bourgeoisie were developed.
The discovery of America, the rounding of the Cape, opened up fresh
ground for the rising bourgeoisie. The East-Indian and Chinese markets,
the colonisation of America, trade with the colonies, the increase in
the means of exchange and in commodities generally, gave to commerce,
to navigation, to industry, an impulse never before known, and thereby,
to the revolutionary element in the tottering feudal society, a rapid
development.
The feudal system of industry, under which industrial production was
monopolised by closed guilds, now no longer sufficed for the growing
wants of the new markets. The manufacturing system took its place. The
guild-masters were pushed on one side by the manufacturing middle
class; division of labour between the different corporate guilds
vanished in the face of division of labour in each single workshop.
Meantime the markets kept ever growing, the demand ever rising. Even
manufacture no longer sufficed. Thereupon, steam and machinery
revolutionised industrial production. The place of manufacture was
taken by the giant, Modern Industry, the place of the industrial middle
class, by industrial millionaires, the leaders of whole industrial
armies, the modern bourgeois.
Modern industry has established the world-market, for which the
discovery of America paved the way. This market has given an immense
development to commerce, to navigation, to communication by land. This
development has, in its time, reacted on the extension of industry; and
in proportion as industry, commerce, navigation, railways extended, in
the same proportion the bourgeoisie developed, increased its capital,
and pushed into the background every class handed down from the Middle
Ages.
We see, therefore, how the modern bourgeoisie is itself the product of
a long course of development, of a series of revolutions in the modes
of production and of exchange.
Each step in the development of the bourgeoisie was accompanied by a
corresponding political advance of that class. An oppressed class under
the sway of the feudal nobility, an armed and self-governing
association in the mediaeval commune; here independent urban republic
(as in Italy and Germany), there taxable “third estate” of the monarchy
(as in France), afterwards, in the period of manufacture proper,
serving either the semi-feudal or the absolute monarchy as a
counterpoise against the nobility, and, in fact, corner-stone of the
great monarchies in general, the bourgeoisie has at last, since the
establishment of Modern Industry and of the world-market, conquered for
itself, in the modern representative State, exclusive political sway.
The executive of the modern State is but a committee for managing the
common affairs of the whole bourgeoisie.
The bourgeoisie, historically, has played a most revolutionary part.
The bourgeoisie, wherever it has got the upper hand, has put an end to
all feudal, patriarchal, idyllic relations. It has pitilessly torn
asunder the motley feudal ties that bound man to his “natural
superiors,” and has left remaining no other nexus between man and man
than naked self-interest, than callous “cash payment.” It has drowned
the most heavenly ecstasies of religious fervour, of chivalrous
enthusiasm, of philistine sentimentalism, in the icy water of
egotistical calculation. It has resolved personal worth into exchange
value, and in place of the numberless and indefeasible chartered
freedoms, has set up that single, unconscionable freedom—Free Trade. In
one word, for exploitation, veiled by religious and political
illusions, naked, shameless, direct, brutal exploitation.
The bourgeoisie has stripped of its halo every occupation hitherto
honoured and looked up to with reverent awe. It has converted the
physician, the lawyer, the priest, the poet, the man of science, into
its paid wage labourers.
The bourgeoisie has torn away from the family its sentimental veil, and
has reduced the family relation to a mere money relation.
The bourgeoisie has disclosed how it came to pass that the brutal
display of vigour in the Middle Ages, which Reactionists so much
admire, found its fitting complement in the most slothful indolence. It
has been the first to show what man’s activity can bring about. It has
accomplished wonders far surpassing Egyptian pyramids, Roman aqueducts,
and Gothic cathedrals; it has conducted expeditions that put in the
shade all former Exoduses of nations and crusades.
The bourgeoisie cannot exist without constantly revolutionising the
instruments of production, and thereby the relations of production, and
with them the whole relations of society. Conservation of the old modes
of production in unaltered form, was, on the contrary, the first
condition of existence for all earlier industrial classes. Constant
revolutionising of production, uninterrupted disturbance of all social
conditions, everlasting uncertainty and agitation distinguish the
bourgeois epoch from all earlier ones. All fixed, fast-frozen
relations, with their train of ancient and venerable prejudices and
opinions, are swept away, all new-formed ones become antiquated before
they can ossify. All that is solid melts into air, all that is holy is
profaned, and man is at last compelled to face with sober senses, his
real conditions of life, and his relations with his kind.
The need of a constantly expanding market for its products chases the
bourgeoisie over the whole surface of the globe. It must nestle
everywhere, settle everywhere, establish connexions everywhere.
The bourgeoisie has through its exploitation of the world-market given
a cosmopolitan character to production and consumption in every
country. To the great chagrin of Reactionists, it has drawn from under
the feet of industry the national ground on which it stood. All
old-established national industries have been destroyed or are daily
being destroyed. They are dislodged by new industries, whose
introduction becomes a life and death question for all civilised
nations, by industries that no longer work up indigenous raw material,
but raw material drawn from the remotest zones; industries whose
products are consumed, not only at home, but in every quarter of the
globe. In place of the old wants, satisfied by the productions of the
country, we find new wants, requiring for their satisfaction the
products of distant lands and climes. In place of the old local and
national seclusion and self-sufficiency, we have intercourse in every
direction, universal inter-dependence of nations. And as in material,
so also in intellectual production. The intellectual creations of
individual nations become common property. National one-sidedness and
narrow-mindedness become more and more impossible, and from the
numerous national and local literatures, there arises a world
literature.
The bourgeoisie, by the rapid improvement of all instruments of
production, by the immensely facilitated means of communication, draws
all, even the most barbarian, nations into civilisation. The cheap
prices of its commodities are the heavy artillery with which it batters
down all Chinese walls, with which it forces the barbarians’ intensely
obstinate hatred of foreigners to capitulate. It compels all nations,
on pain of extinction, to adopt the bourgeois mode of production; it
compels them to introduce what it calls civilisation into their midst,
_i.e_., to become bourgeois themselves. In one word, it creates a world
after its own image.
The bourgeoisie has subjected the country to the rule of the towns. It
has created enormous cities, has greatly increased the urban population
as compared with the rural, and has thus rescued a considerable part of
the population from the idiocy of rural life. Just as it has made the
country dependent on the towns, so it has made barbarian and
semi-barbarian countries dependent on the civilised ones, nations of
peasants on nations of bourgeois, the East on the West.
The bourgeoisie keeps more and more doing away with the scattered state
of the population, of the means of production, and of property. It has
agglomerated production, and has concentrated property in a few hands.
The necessary consequence of this was political centralisation.
Independent, or but loosely connected provinces, with separate
interests, laws, governments and systems of taxation, became lumped
together into one nation, with one government, one code of laws, one
national class-interest, one frontier and one customs-tariff. The
bourgeoisie, during its rule of scarce one hundred years, has created
more massive and more colossal productive forces than have all
preceding generations together. Subjection of Nature’s forces to man,
machinery, application of chemistry to industry and agriculture,
steam-navigation, railways, electric telegraphs, clearing of whole
continents for cultivation, canalisation of rivers, whole populations
conjured out of the ground—what earlier century had even a presentiment
that such productive forces slumbered in the lap of social labour?
We see then: the means of production and of exchange, on whose
foundation the bourgeoisie built itself up, were generated in feudal
society. At a certain stage in the development of these means of
production and of exchange, the conditions under which feudal society
produced and exchanged, the feudal organisation of agriculture and
manufacturing industry, in one word, the feudal relations of property
became no longer compatible with the already developed productive
forces; they became so many fetters. They had to be burst asunder; they
were burst asunder.
Into their place stepped free competition, accompanied by a social and
political constitution adapted to it, and by the economical and
political sway of the bourgeois class.
A similar movement is going on before our own eyes. Modern bourgeois
society with its relations of production, of exchange and of property,
a society that has conjured up such gigantic means of production and of
exchange, is like the sorcerer, who is no longer able to control the
powers of the nether world whom he has called up by his spells. For
many a decade past the history of industry and commerce is but the
history of the revolt of modern productive forces against modern
conditions of production, against the property relations that are the
conditions for the existence of the bourgeoisie and of its rule. It is
enough to mention the commercial crises that by their periodical return
put on its trial, each time more threateningly, the existence of the
entire bourgeois society. In these crises a great part not only of the
existing products, but also of the previously created productive
forces, are periodically destroyed. In these crises there breaks out an
epidemic that, in all earlier epochs, would have seemed an
absurdity—the epidemic of over-production. Society suddenly finds
itself put back into a state of momentary barbarism; it appears as if a
famine, a universal war of devastation had cut off the supply of every
means of subsistence; industry and commerce seem to be destroyed; and
why? Because there is too much civilisation, too much means of
subsistence, too much industry, too much commerce. The productive
forces at the disposal of society no longer tend to further the
development of the conditions of bourgeois property; on the contrary,
they have become too powerful for these conditions, by which they are
fettered, and so soon as they overcome these fetters, they bring
disorder into the whole of bourgeois society, endanger the existence of
bourgeois property. The conditions of bourgeois society are too narrow
to comprise the wealth created by them. And how does the bourgeoisie
get over these crises? On the one hand inforced destruction of a mass
of productive forces; on the other, by the conquest of new markets, and
by the more thorough exploitation of the old ones. That is to say, by
paving the way for more extensive and more destructive crises, and by
diminishing the means whereby crises are prevented.
The weapons with which the bourgeoisie felled feudalism to the ground
are now turned against the bourgeoisie itself.
But not only has the bourgeoisie forged the weapons that bring death to
itself; it has also called into existence the men who are to wield
those weapons—the modern working class—the proletarians.
In proportion as the bourgeoisie, _i.e_., capital, is developed, in the
same proportion is the proletariat, the modern working class,
developed—a class of labourers, who live only so long as they find
work, and who find work only so long as their labour increases capital.
These labourers, who must sell themselves piece-meal, are a commodity,
like every other article of commerce, and are consequently exposed to
all the vicissitudes of competition, to all the fluctuations of the
market.
Owing to the extensive use of machinery and to division of labour, the
work of the proletarians has lost all individual character, and
consequently, all charm for the workman. He becomes an appendage of the
machine, and it is only the most simple, most monotonous, and most
easily acquired knack, that is required of him. Hence, the cost of
production of a workman is restricted, almost entirely, to the means of
subsistence that he requires for his maintenance, and for the
propagation of his race. But the price of a commodity, and therefore
also of labour, is equal to its cost of production. In proportion
therefore, as the repulsiveness of the work increases, the wage
decreases. Nay more, in proportion as the use of machinery and division
of labour increases, in the same proportion the burden of toil also
increases, whether by prolongation of the working hours, by increase of
the work exacted in a given time or by increased speed of the
machinery, etc.
Modern industry has converted the little workshop of the patriarchal
master into the great factory of the industrial capitalist. Masses of
labourers, crowded into the factory, are organised like soldiers. As
privates of the industrial army they are placed under the command of a
perfect hierarchy of officers and sergeants. Not only are they slaves
of the bourgeois class, and of the bourgeois State; they are daily and
hourly enslaved by the machine, by the over-looker, and, above all, by
the individual bourgeois manufacturer himself. The more openly this
despotism proclaims gain to be its end and aim, the more petty, the
more hateful and the more embittering it is.
The less the skill and exertion of strength implied in manual labour,
in other words, the more modern industry becomes developed, the more is
the labour of men superseded by that of women. Differences of age and
sex have no longer any distinctive social validity for the working
class. All are instruments of labour, more or less expensive to use,
according to their age and sex.
No sooner is the exploitation of the labourer by the manufacturer, so
far at an end, that he receives his wages in cash, than he is set upon
by the other portions of the bourgeoisie, the landlord, the shopkeeper,
the pawnbroker, etc.
The lower strata of the middle class—the small tradespeople,
shopkeepers, retired tradesmen generally, the handicraftsmen and
peasants—all these sink gradually into the proletariat, partly because
their diminutive capital does not suffice for the scale on which Modern
Industry is carried on, and is swamped in the competition with the
large capitalists, partly because their specialized skill is rendered
worthless by the new methods of production. Thus the proletariat is
recruited from all classes of the population.
The proletariat goes through various stages of development. With its
birth begins its struggle with the bourgeoisie. At first the contest is
carried on by individual labourers, then by the workpeople of a
factory, then by the operatives of one trade, in one locality, against
the individual bourgeois who directly exploits them. They direct their
attacks not against the bourgeois conditions of production, but against
the instruments of production themselves; they destroy imported wares
that compete with their labour, they smash to pieces machinery, they
set factories ablaze, they seek to restore by force the vanished status
of the workman of the Middle Ages.
At this stage the labourers still form an incoherent mass scattered
over the whole country, and broken up by their mutual competition. If
anywhere they unite to form more compact bodies, this is not yet the
consequence of their own active union, but of the union of the
bourgeoisie, which class, in order to attain its own political ends, is
compelled to set the whole proletariat in motion, and is moreover yet,
for a time, able to do so. At this stage, therefore, the proletarians
do not fight their enemies, but the enemies of their enemies, the
remnants of absolute monarchy, the landowners, the non-industrial
bourgeois, the petty bourgeoisie. Thus the whole historical movement is
concentrated in the hands of the bourgeoisie; every victory so obtained
is a victory for the bourgeoisie.
But with the development of industry the proletariat not only increases
in number; it becomes concentrated in greater masses, its strength
grows, and it feels that strength more. The various interests and
conditions of life within the ranks of the proletariat are more and
more equalised, in proportion as machinery obliterates all distinctions
of labour, and nearly everywhere reduces wages to the same low level.
The growing competition among the bourgeois, and the resulting
commercial crises, make the wages of the workers ever more fluctuating.
The unceasing improvement of machinery, ever more rapidly developing,
makes their livelihood more and more precarious; the collisions between
individual workmen and individual bourgeois take more and more the
character of collisions between two classes. Thereupon the workers
begin to form combinations (Trades Unions) against the bourgeois; they
club together in order to keep up the rate of wages; they found
permanent associations in order to make provision beforehand for these
occasional revolts. Here and there the contest breaks out into riots.
Now and then the workers are victorious, but only for a time. The real
fruit of their battles lies, not in the immediate result, but in the
ever-expanding union of the workers. This union is helped on by the
improved means of communication that are created by modern industry and
that place the workers of different localities in contact with one
another. It was just this contact that was needed to centralise the
numerous local struggles, all of the same character, into one national
struggle between classes. But every class struggle is a political
struggle. And that union, to attain which the burghers of the Middle
Ages, with their miserable highways, required centuries, the modern
proletarians, thanks to railways, achieve in a few years.
This organisation of the proletarians into a class, and consequently
into a political party, is continually being upset again by the
competition between the workers themselves. But it ever rises up again,
stronger, firmer, mightier. It compels legislative recognition of
particular interests of the workers, by taking advantage of the
divisions among the bourgeoisie itself. Thus the ten-hours’ bill in
England was carried.
Altogether collisions between the classes of the old society further,
in many ways, the course of development of the proletariat. The
bourgeoisie finds itself involved in a constant battle. At first with
the aristocracy; later on, with those portions of the bourgeoisie
itself, whose interests have become antagonistic to the progress of
industry; at all times, with the bourgeoisie of foreign countries. In
all these battles it sees itself compelled to appeal to the
proletariat, to ask for its help, and thus, to drag it into the
political arena. The bourgeoisie itself, therefore, supplies the
proletariat with its own instruments of political and general
education, in other words, it furnishes the proletariat with weapons
for fighting the bourgeoisie.
Further, as we have already seen, entire sections of the ruling classes
are, by the advance of industry, precipitated into the proletariat, or
are at least threatened in their conditions of existence. These also
supply the proletariat with fresh elements of enlightenment and
progress.
Finally, in times when the class struggle nears the decisive hour, the
process of dissolution going on within the ruling class, in fact within
the whole range of society, assumes such a violent, glaring character,
that a small section of the ruling class cuts itself adrift, and joins
the revolutionary class, the class that holds the future in its hands.
Just as, therefore, at an earlier period, a section of the nobility
went over to the bourgeoisie, so now a portion of the bourgeoisie goes
over to the proletariat, and in particular, a portion of the bourgeois
ideologists, who have raised themselves to the level of comprehending
theoretically the historical movement as a whole.
Of all the classes that stand face to face with the bourgeoisie today,
the proletariat alone is a really revolutionary class. The other
classes decay and finally disappear in the face of Modern Industry; the
proletariat is its special and essential product. The lower middle
class, the small manufacturer, the shopkeeper, the artisan, the
peasant, all these fight against the bourgeoisie, to save from
extinction their existence as fractions of the middle class. They are
therefore not revolutionary, but conservative. Nay more, they are
reactionary, for they try to roll back the wheel of history. If by
chance they are revolutionary, they are so only in view of their
impending transfer into the proletariat, they thus defend not their
present, but their future interests, they desert their own standpoint
to place themselves at that of the proletariat.
The “dangerous class,” the social scum, that passively rotting mass
thrown off by the lowest layers of old society, may, here and there, be
swept into the movement by a proletarian revolution; its conditions of
life, however, prepare it far more for the part of a bribed tool of
reactionary intrigue.
In the conditions of the proletariat, those of old society at large are
already virtually swamped. The proletarian is without property; his
relation to his wife and children has no longer anything in common with
the bourgeois family-relations; modern industrial labour, modern
subjection to capital, the same in England as in France, in America as
in Germany, has stripped him of every trace of national character. Law,
morality, religion, are to him so many bourgeois prejudices, behind
which lurk in ambush just as many bourgeois interests.
All the preceding classes that got the upper hand, sought to fortify
their already acquired status by subjecting society at large to their
conditions of appropriation. The proletarians cannot become masters of
the productive forces of society, except by abolishing their own
previous mode of appropriation, and thereby also every other previous
mode of appropriation. They have nothing of their own to secure and to
fortify; their mission is to destroy all previous securities for, and
insurances of, individual property.
All previous historical movements were movements of minorities, or in
the interests of minorities. The proletarian movement is the
self-conscious, independent movement of the immense majority, in the
interests of the immense majority. The proletariat, the lowest stratum
of our present society, cannot stir, cannot raise itself up, without
the whole superincumbent strata of official society being sprung into
the air.
Though not in substance, yet in form, the struggle of the proletariat
with the bourgeoisie is at first a national struggle. The proletariat
of each country must, of course, first of all settle matters with its
own bourgeoisie.
In depicting the most general phases of the development of the
proletariat, we traced the more or less veiled civil war, raging within
existing society, up to the point where that war breaks out into open
revolution, and where the violent overthrow of the bourgeoisie lays the
foundation for the sway of the proletariat.
Hitherto, every form of society has been based, as we have already
seen, on the antagonism of oppressing and oppressed classes. But in
order to oppress a class, certain conditions must be assured to it
under which it can, at least, continue its slavish existence. The serf,
in the period of serfdom, raised himself to membership in the commune,
just as the petty bourgeois, under the yoke of feudal absolutism,
managed to develop into a bourgeois. The modern laborer, on the
contrary, instead of rising with the progress of industry, sinks deeper
and deeper below the conditions of existence of his own class. He
becomes a pauper, and pauperism develops more rapidly than population
and wealth. And here it becomes evident, that the bourgeoisie is unfit
any longer to be the ruling class in society, and to impose its
conditions of existence upon society as an over-riding law. It is unfit
to rule because it is incompetent to assure an existence to its slave
within his slavery, because it cannot help letting him sink into such a
state, that it has to feed him, instead of being fed by him. Society
can no longer live under this bourgeoisie, in other words, its
existence is no longer compatible with society.
The essential condition for the existence, and for the sway of the
bourgeois class, is the formation and augmentation of capital; the
condition for capital is wage-labour. Wage-labour rests exclusively on
competition between the laborers. The advance of industry, whose
involuntary promoter is the bourgeoisie, replaces the isolation of the
labourers, due to competition, by their revolutionary combination, due
to association. The development of Modern Industry, therefore, cuts
from under its feet the very foundation on which the bourgeoisie
produces and appropriates products. What the bourgeoisie, therefore,
produces, above all, is its own grave-diggers. Its fall and the victory
of the proletariat are equally inevitable.
II.
PROLETARIANS AND COMMUNISTS
In what relation do the Communists stand to the proletarians as a
whole?
The Communists do not form a separate party opposed to other
working-class parties.
They have no interests separate and apart from those of the proletariat
as a whole.
They do not set up any sectarian principles of their own, by which to
shape and mould the proletarian movement.
The Communists are distinguished from the other working-class parties
by this only: (1) In the national struggles of the proletarians of the
different countries, they point out and bring to the front the common
interests of the entire proletariat, independently of all nationality.
(2) In the various stages of development which the struggle of the
working class against the bourgeoisie has to pass through, they always
and everywhere represent the interests of the movement as a whole.
The Communists, therefore, are on the one hand, practically, the most
advanced and resolute section of the working-class parties of every
country, that section which pushes forward all others; on the other
hand, theoretically, they have over the great mass of the proletariat
the advantage of clearly understanding the line of march, the
conditions, and the ultimate general results of the proletarian
movement.
The immediate aim of the Communist is the same as that of all the other
proletarian parties: formation of the proletariat into a class,
overthrow of the bourgeois supremacy, conquest of political power by
the proletariat.
The theoretical conclusions of the Communists are in no way based on
ideas or principles that have been invented, or discovered, by this or
that would-be universal reformer. They merely express, in general
terms, actual relations springing from an existing class struggle, from
a historical movement going on under our very eyes. The abolition of
existing property relations is not at all a distinctive feature of
Communism.
All property relations in the past have continually been subject to
historical change consequent upon the change in historical conditions.
The French Revolution, for example, abolished feudal property in favour
of bourgeois property.
The distinguishing feature of Communism is not the abolition of
property generally, but the abolition of bourgeois property. But modern
bourgeois private property is the final and most complete expression of
the system of producing and appropriating products, that is based on
class antagonisms, on the exploitation of the many by the few.
In this sense, the theory of the Communists may be summed up in the
single sentence: Abolition of private property.
We Communists have been reproached with the desire of abolishing the
right of personally acquiring property as the fruit of a man’s own
labour, which property is alleged to be the groundwork of all personal
freedom, activity and independence.
Hard-won, self-acquired, self-earned property! Do you mean the property
of the petty artisan and of the small peasant, a form of property that
preceded the bourgeois form? There is no need to abolish that; the
development of industry has to a great extent already destroyed it, and
is still destroying it daily.
Or do you mean modern bourgeois private property?
But does wage-labour create any property for the labourer? Not a bit.
It creates capital, i.e., that kind of property which exploits
wage-labour, and which cannot increase except upon condition of
begetting a new supply of wage-labour for fresh exploitation. Property,
in its present form, is based on the antagonism of capital and
wage-labour. Let us examine both sides of this antagonism.
To be a capitalist, is to have not only a purely personal, but a social
_status_ in production. Capital is a collective product, and only by
the united action of many members, nay, in the last resort, only by the
united action of all members of society, can it be set in motion.
Capital is, therefore, not a personal, it is a social power.
When, therefore, capital is converted into common property, into the
property of all members of society, personal property is not thereby
transformed into social property. It is only the social character of
the property that is changed. It loses its class-character.
Let us now take wage-labour.
The average price of wage-labour is the minimum wage, _i.e_., that
quantum of the means of subsistence, which is absolutely requisite in
bare existence as a labourer. What, therefore, the wage-labourer
appropriates by means of his labour, merely suffices to prolong and
reproduce a bare existence. We by no means intend to abolish this
personal appropriation of the products of labour, an appropriation that
is made for the maintenance and reproduction of human life, and that
leaves no surplus wherewith to command the labour of others. All that
we want to do away with, is the miserable character of this
appropriation, under which the labourer lives merely to increase
capital, and is allowed to live only in so far as the interest of the
ruling class requires it.
In bourgeois society, living labour is but a means to increase
accumulated labour. In Communist society, accumulated labour is but a
means to widen, to enrich, to promote the existence of the labourer.
In bourgeois society, therefore, the past dominates the present; in
Communist society, the present dominates the past. In bourgeois society
capital is independent and has individuality, while the living person
is dependent and has no individuality.
And the abolition of this state of things is called by the bourgeois,
abolition of individuality and freedom! And rightly so. The abolition
of bourgeois individuality, bourgeois independence, and bourgeois
freedom is undoubtedly aimed at.
By freedom is meant, under the present bourgeois conditions of
production, free trade, free selling and buying.
But if selling and buying disappears, free selling and buying
disappears also. This talk about free selling and buying, and all the
other “brave words” of our bourgeoisie about freedom in general, have a
meaning, if any, only in contrast with restricted selling and buying,
with the fettered traders of the Middle Ages, but have no meaning when
opposed to the Communistic abolition of buying and selling, of the
bourgeois conditions of production, and of the bourgeoisie itself.
You are horrified at our intending to do away with private property.
But in your existing society, private property is already done away
with for nine-tenths of the population; its existence for the few is
solely due to its non-existence in the hands of those nine-tenths. You
reproach us, therefore, with intending to do away with a form of
property, the necessary condition for whose existence is the
non-existence of any property for the immense majority of society.
In one word, you reproach us with intending to do away with your
property. Precisely so; that is just what we intend.
From the moment when labour can no longer be converted into capital,
money, or rent, into a social power capable of being monopolised,
_i.e_., from the moment when individual property can no longer be
transformed into bourgeois property, into capital, from that moment,
you say individuality vanishes.
You must, therefore, confess that by “individual” you mean no other
person than the bourgeois, than the middle-class owner of property.
This person must, indeed, be swept out of the way, and made impossible.
Communism deprives no man of the power to appropriate the products of
society; all that it does is to deprive him of the power to subjugate
the labour of others by means of such appropriation.
It has been objected that upon the abolition of private property all
work will cease, and universal laziness will overtake us.
According to this, bourgeois society ought long ago to have gone to the
dogs through sheer idleness; for those of its members who work, acquire
nothing, and those who acquire anything, do not work. The whole of this
objection is but another expression of the tautology: that there can no
longer be any wage-labour when there is no longer any capital.
All objections urged against the Communistic mode of producing and
appropriating material products, have, in the same way, been urged
against the Communistic modes of producing and appropriating
intellectual products. Just as, to the bourgeois, the disappearance of
class property is the disappearance of production itself, so the
disappearance of class culture is to him identical with the
disappearance of all culture.
That culture, the loss of which he laments, is, for the enormous
majority, a mere training to act as a machine.
But don’t wrangle with us so long as you apply, to our intended
abolition of bourgeois property, the standard of your bourgeois notions
of freedom, culture, law, etc. Your very ideas are but the outgrowth of
the conditions of your bourgeois production and bourgeois property,
just as your jurisprudence is but the will of your class made into a
law for all, a will, whose essential character and direction are
determined by the economical conditions of existence of your class.
The selfish misconception that induces you to transform into eternal
laws of nature and of reason, the social forms springing from your
present mode of production and form of property—historical relations
that rise and disappear in the progress of production—this
misconception you share with every ruling class that has preceded you.
What you see clearly in the case of ancient property, what you admit in
the case of feudal property, you are of course forbidden to admit in
the case of your own bourgeois form of property.
Abolition of the family! Even the most radical flare up at this
infamous proposal of the Communists.
On what foundation is the present family, the bourgeois family, based?
On capital, on private gain. In its completely developed form this
family exists only among the bourgeoisie. But this state of things
finds its complement in the practical absence of the family among the
proletarians, and in public prostitution.
The bourgeois family will vanish as a matter of course when its
complement vanishes, and both will vanish with the vanishing of
capital.
Do you charge us with wanting to stop the exploitation of children by
their parents? To this crime we plead guilty.
But, you will say, we destroy the most hallowed of relations, when we
replace home education by social.
And your education! Is not that also social, and determined by the
social conditions under which you educate, by the intervention, direct
or indirect, of society, by means of schools, etc.? The Communists have
not invented the intervention of society in education; they do but seek
to alter the character of that intervention, and to rescue education
from the influence of the ruling class.
The bourgeois clap-trap about the family and education, about the
hallowed co-relation of parent and child, becomes all the more
disgusting, the more, by the action of Modern Industry, all family ties
among the proletarians are torn asunder, and their children transformed
into simple articles of commerce and instruments of labour.
But you Communists would introduce community of women, screams the
whole bourgeoisie in chorus.
The bourgeois sees in his wife a mere instrument of production. He
hears that the instruments of production are to be exploited in common,
and, naturally, can come to no other conclusion than that the lot of
being common to all will likewise fall to the women.
He has not even a suspicion that the real point is to do away with the
status of women as mere instruments of production.
For the rest, nothing is more ridiculous than the virtuous indignation
of our bourgeois at the community of women which, they pretend, is to
be openly and officially established by the Communists. The Communists
have no need to introduce community of women; it has existed almost
from time immemorial.
Our bourgeois, not content with having the wives and daughters of their
proletarians at their disposal, not to speak of common prostitutes,
take the greatest pleasure in seducing each other’s wives.
Bourgeois marriage is in reality a system of wives in common and thus,
at the most, what the Communists might possibly be reproached with, is
that they desire to introduce, in substitution for a hypocritically
concealed, an openly legalised community of women. For the rest, it is
self-evident that the abolition of the present system of production
must bring with it the abolition of the community of women springing
from that system, _i.e_., of prostitution both public and private.
The Communists are further reproached with desiring to abolish
countries and nationality.
The working men have no country. We cannot take from them what they
have not got. Since the proletariat must first of all acquire political
supremacy, must rise to be the leading class of the nation, must
constitute itself _the_ nation, it is, so far, itself national, though
not in the bourgeois sense of the word.
National differences and antagonisms between peoples are daily more and
more vanishing, owing to the development of the bourgeoisie, to freedom
of commerce, to the world-market, to uniformity in the mode of
production and in the conditions of life corresponding thereto.
The supremacy of the proletariat will cause them to vanish still
faster. United action, of the leading civilised countries at least, is
one of the first conditions for the emancipation of the proletariat.
In proportion as the exploitation of one individual by another is put
an end to, the exploitation of one nation by another will also be put
an end to. In proportion as the antagonism between classes within the
nation vanishes, the hostility of one nation to another will come to an
end.
The charges against Communism made from a religious, a philosophical,
and, generally, from an ideological standpoint, are not deserving of
serious examination.
Does it require deep intuition to comprehend that man’s ideas, views
and conceptions, in one word, man’s consciousness, changes with every
change in the conditions of his material existence, in his social
relations and in his social life?
What else does the history of ideas prove, than that intellectual
production changes its character in proportion as material production
is changed? The ruling ideas of each age have ever been the ideas of
its ruling class.
When people speak of ideas that revolutionise society, they do but
express the fact, that within the old society, the elements of a new
one have been created, and that the dissolution of the old ideas keeps
even pace with the dissolution of the old conditions of existence.
When the ancient world was in its last throes, the ancient religions
were overcome by Christianity. When Christian ideas succumbed in the
18th century to rationalist ideas, feudal society fought its death
battle with the then revolutionary bourgeoisie. The ideas of religious
liberty and freedom of conscience merely gave expression to the sway of
free competition within the domain of knowledge.
“Undoubtedly,” it will be said, “religious, moral, philosophical and
juridical ideas have been modified in the course of historical
development. But religion, morality philosophy, political science, and
law, constantly survived this change.”
“There are, besides, eternal truths, such as Freedom, Justice, etc.
that are common to all states of society. But Communism abolishes
eternal truths, it abolishes all religion, and all morality, instead of
constituting them on a new basis; it therefore acts in contradiction to
all past historical experience.”
What does this accusation reduce itself to? The history of all past
society has consisted in the development of class antagonisms,
antagonisms that assumed different forms at different epochs.
But whatever form they may have taken, one fact is common to all past
ages, viz., the exploitation of one part of society by the other. No
wonder, then, that the social consciousness of past ages, despite all
the multiplicity and variety it displays, moves within certain common
forms, or general ideas, which cannot completely vanish except with the
total disappearance of class antagonisms.
The Communist revolution is the most radical rupture with traditional
property relations; no wonder that its development involves the most
radical rupture with traditional ideas.
But let us have done with the bourgeois objections to Communism.
We have seen above, that the first step in the revolution by the
working class, is to raise the proletariat to the position of ruling as
to win the battle of democracy.
The proletariat will use its political supremacy to wrest, by degrees,
all capital from the bourgeoisie, to centralise all instruments of
production in the hands of the State, _i.e_., of the proletariat
organised as the ruling class; and to increase the total of productive
forces as rapidly as possible.
Of course, in the beginning, this cannot be effected except by means of
despotic inroads on the rights of property, and on the conditions of
bourgeois production; by means of measures, therefore, which appear
economically insufficient and untenable, but which, in the course of
the movement, outstrip themselves, necessitate further inroads upon the
old social order, and are unavoidable as a means of entirely
revolutionising the mode of production.
These measures will of course be different in different countries.
Nevertheless in the most advanced countries, the following will be
pretty generally applicable.
1. Abolition of property in land and application of all rents of land
to public purposes.
2. A heavy progressive or graduated income tax.
3. Abolition of all right of inheritance.
4. Confiscation of the property of all emigrants and rebels.
5. Centralisation of credit in the hands of the State, by means of a
national bank with State capital and an exclusive monopoly.
6. Centralisation of the means of communication and transport in the
hands of the State.
7. Extension of factories and instruments of production owned by the
State; the bringing into cultivation of waste-lands, and the
improvement of the soil generally in accordance with a common plan.
8. Equal liability of all to labour. Establishment of industrial
armies, especially for agriculture.
9. Combination of agriculture with manufacturing industries; gradual
abolition of the distinction between town and country, by a more
equable distribution of the population over the country.
10. Free education for all children in public schools. Abolition of
children’s factory labour in its present form. Combination of
education with industrial production, &c., &c.
When, in the course of development, class distinctions have
disappeared, and all production has been concentrated in the hands of a
vast association of the whole nation, the public power will lose its
political character. Political power, properly so called, is merely the
organised power of one class for oppressing another. If the proletariat
during its contest with the bourgeoisie is compelled, by the force of
circumstances, to organise itself as a class, if, by means of a
revolution, it makes itself the ruling class, and, as such, sweeps away
by force the old conditions of production, then it will, along with
these conditions, have swept away the conditions for the existence of
class antagonisms and of classes generally, and will thereby have
abolished its own supremacy as a class.
In place of the old bourgeois society, with its classes and class
antagonisms, we shall have an association, in which the free
development of each is the condition for the free development of all.
III.
SOCIALIST AND COMMUNIST LITERATURE
1. REACTIONARY SOCIALISM
_A. Feudal Socialism_
Owing to their historical position, it became the vocation of the
aristocracies of France and England to write pamphlets against modern
bourgeois society. In the French revolution of July 1830, and in the
English reform agitation, these aristocracies again succumbed to the
hateful upstart. Thenceforth, a serious political contest was
altogether out of the question. A literary battle alone remained
possible. But even in the domain of literature the old cries of the
restoration period had become impossible.
In order to arouse sympathy, the aristocracy were obliged to lose
sight, apparently, of their own interests, and to formulate their
indictment against the bourgeoisie in the interest of the exploited
working class alone. Thus the aristocracy took their revenge by singing
lampoons on their new master, and whispering in his ears sinister
prophecies of coming catastrophe.
In this way arose Feudal Socialism: half lamentation, half lampoon;
half echo of the past, half menace of the future; at times, by its
bitter, witty and incisive criticism, striking the bourgeoisie to the
very heart’s core; but always ludicrous in its effect, through total
incapacity to comprehend the march of modern history.
The aristocracy, in order to rally the people to them, waved the
proletarian alms-bag in front for a banner. But the people, so often as
it joined them, saw on their hindquarters the old feudal coats of arms,
and deserted with loud and irreverent laughter.
One section of the French Legitimists and “Young England” exhibited
this spectacle.
In pointing out that their mode of exploitation was different to that
of the bourgeoisie, the feudalists forget that they exploited under
circumstances and conditions that were quite different, and that are
now antiquated. In showing that, under their rule, the modern
proletariat never existed, they forget that the modern bourgeoisie is
the necessary offspring of their own form of society.
For the rest, so little do they conceal the reactionary character of
their criticism that their chief accusation against the bourgeoisie
amounts to this, that under the bourgeois _regime_ a class is being
developed, which is destined to cut up root and branch the old order of
society.
What they upbraid the bourgeoisie with is not so much that it creates a
proletariat, as that it creates a _revolutionary_ proletariat.
In political practice, therefore, they join in all coercive measures
against the working class; and in ordinary life, despite their high
falutin phrases, they stoop to pick up the golden apples dropped from
the tree of industry, and to barter truth, love, and honour for traffic
in wool, beetroot-sugar, and potato spirits.
As the parson has ever gone hand in hand with the landlord, so has
Clerical Socialism with Feudal Socialism.
Nothing is easier than to give Christian asceticism a Socialist tinge.
Has not Christianity declaimed against private property, against
marriage, against the State? Has it not preached in the place of these,
charity and poverty, celibacy and mortification of the flesh, monastic
life and Mother Church? Christian Socialism is but the holy water with
which the priest consecrates the heart-burnings of the aristocrat.
_B. Petty-Bourgeois Socialism_
The feudal aristocracy was not the only class that was ruined by the
bourgeoisie, not the only class whose conditions of existence pined and
perished in the atmosphere of modern bourgeois society. The mediaeval
burgesses and the small peasant proprietors were the precursors of the
modern bourgeoisie. In those countries which are but little developed,
industrially and commercially, these two classes still vegetate side by
side with the rising bourgeoisie.
In countries where modern civilisation has become fully developed, a
new class of petty bourgeois has been formed, fluctuating between
proletariat and bourgeoisie and ever renewing itself as a supplementary
part of bourgeois society. The individual members of this class,
however, are being constantly hurled down into the proletariat by the
action of competition, and, as modern industry develops, they even see
the moment approaching when they will completely disappear as an
independent section of modern society, to be replaced, in manufactures,
agriculture and commerce, by overlookers, bailiffs and shopmen.
In countries like France, where the peasants constitute far more than
half of the population, it was natural that writers who sided with the
proletariat against the bourgeoisie, should use, in their criticism of
the bourgeois _regime_, the standard of the peasant and petty
bourgeois, and from the standpoint of these intermediate classes should
take up the cudgels for the working class. Thus arose petty-bourgeois
Socialism. Sismondi was the head of this school, not only in France but
also in England.
This school of Socialism dissected with great acuteness the
contradictions in the conditions of modern production. It laid bare the
hypocritical apologies of economists. It proved, incontrovertibly, the
disastrous effects of machinery and division of labour; the
concentration of capital and land in a few hands; overproduction and
crises; it pointed out the inevitable ruin of the petty bourgeois and
peasant, the misery of the proletariat, the anarchy in production, the
crying inequalities in the distribution of wealth, the industrial war
of extermination between nations, the dissolution of old moral bonds,
of the old family relations, of the old nationalities.
In its positive aims, however, this form of Socialism aspires either to
restoring the old means of production and of exchange, and with them
the old property relations, and the old society, or to cramping the
modern means of production and of exchange, within the framework of the
old property relations that have been, and were bound to be, exploded
by those means. In either case, it is both reactionary and Utopian.
Its last words are: corporate guilds for manufacture, patriarchal
relations in agriculture.
Ultimately, when stubborn historical facts had dispersed all
intoxicating effects of self-deception, this form of Socialism ended in
a miserable fit of the blues.
_C. German, or “True,” Socialism_
The Socialist and Communist literature of France, a literature that
originated under the pressure of a bourgeoisie in power, and that was
the expression of the struggle against this power, was introduced into
Germany at a time when the bourgeoisie, in that country, had just begun
its contest with feudal absolutism.
German philosophers, would-be philosophers, and _beaux esprits_,
eagerly seized on this literature, only forgetting, that when these
writings immigrated from France into Germany, French social conditions
had not immigrated along with them. In contact with German social
conditions, this French literature lost all its immediate practical
significance, and assumed a purely literary aspect. Thus, to the German
philosophers of the eighteenth century, the demands of the first French
Revolution were nothing more than the demands of “Practical Reason” in
general, and the utterance of the will of the revolutionary French
bourgeoisie signified in their eyes the law of pure Will, of Will as it
was bound to be, of true human Will generally.
The world of the German _literati_ consisted solely in bringing the new
French ideas into harmony with their ancient philosophical conscience,
or rather, in annexing the French ideas without deserting their own
philosophic point of view.
This annexation took place in the same way in which a foreign language
is appropriated, namely, by translation.
It is well known how the monks wrote silly lives of Catholic Saints
_over_ the manuscripts on which the classical works of ancient
heathendom had been written. The German _literati_ reversed this
process with the profane French literature. They wrote their
philosophical nonsense beneath the French original. For instance,
beneath the French criticism of the economic functions of money, they
wrote “Alienation of Humanity,” and beneath the French criticism of the
bourgeois State they wrote “dethronement of the Category of the
General,” and so forth.
The introduction of these philosophical phrases at the back of the
French historical criticisms they dubbed “Philosophy of Action,” “True
Socialism,” “German Science of Socialism,” “Philosophical Foundation of
Socialism,” and so on.
The French Socialist and Communist literature was thus completely
emasculated. And, since it ceased in the hands of the German to express
the struggle of one class with the other, he felt conscious of having
overcome “French one-sidedness” and of representing, not true
requirements, but the requirements of truth; not the interests of the
proletariat, but the interests of Human Nature, of Man in general, who
belongs to no class, has no reality, who exists only in the misty realm
of philosophical fantasy.
This German Socialism, which took its schoolboy task so seriously and
solemnly, and extolled its poor stock-in-trade in such mountebank
fashion, meanwhile gradually lost its pedantic innocence.
The fight of the German, and especially, of the Prussian bourgeoisie,
against feudal aristocracy and absolute monarchy, in other words, the
liberal movement, became more earnest.
By this, the long wished-for opportunity was offered to “True”
Socialism of confronting the political movement with the Socialist
demands, of hurling the traditional anathemas against liberalism,
against representative government, against bourgeois competition,
bourgeois freedom of the press, bourgeois legislation, bourgeois
liberty and equality, and of preaching to the masses that they had
nothing to gain, and everything to lose, by this bourgeois movement.
German Socialism forgot, in the nick of time, that the French
criticism, whose silly echo it was, presupposed the existence of modern
bourgeois society, with its corresponding economic conditions of
existence, and the political constitution adapted thereto, the very
things whose attainment was the object of the pending struggle in
Germany.
To the absolute governments, with their following of parsons,
professors, country squires and officials, it served as a welcome
scarecrow against the threatening bourgeoisie.
It was a sweet finish after the bitter pills of floggings and bullets
with which these same governments, just at that time, dosed the German
working-class risings.
While this “True” Socialism thus served the governments as a weapon for
fighting the German bourgeoisie, it, at the same time, directly
represented a reactionary interest, the interest of the German
Philistines. In Germany the _petty bourgeois_ class, a _relique_ of the
sixteenth century, and since then constantly cropping up again under
various forms, is the real social basis of the existing state of
things.
To preserve this class is to preserve the existing state of things in
Germany. The industrial and political supremacy of the bourgeoisie
threatens it with certain destruction; on the one hand, from the
concentration of capital; on the other, from the rise of a
revolutionary proletariat. “True” Socialism appeared to kill these two
birds with one stone. It spread like an epidemic.
The robe of speculative cobwebs, embroidered with flowers of rhetoric,
steeped in the dew of sickly sentiment, this transcendental robe in
which the German Socialists wrapped their sorry “eternal truths,” all
skin and bone, served to wonderfully increase the sale of their goods
amongst such a public. And on its part, German Socialism recognised,
more and more, its own calling as the bombastic representative of the
petty-bourgeois Philistine.
It proclaimed the German nation to be the model nation, and the German
petty Philistine to be the typical man. To every villainous meanness of
this model man it gave a hidden, higher, Socialistic interpretation,
the exact contrary of its real character. It went to the extreme length
of directly opposing the “brutally destructive” tendency of Communism,
and of proclaiming its supreme and impartial contempt of all class
struggles. With very few exceptions, all the so-called Socialist and
Communist publications that now (1847) circulate in Germany belong to
the domain of this foul and enervating literature.
2. CONSERVATIVE, OR BOURGEOIS, SOCIALISM
A part of the bourgeoisie is desirous of redressing social grievances,
in order to secure the continued existence of bourgeois society.
To this section belong economists, philanthropists, humanitarians,
improvers of the condition of the working class, organisers of charity,
members of societies for the prevention of cruelty to animals,
temperance fanatics, hole-and-corner reformers of every imaginable
kind. This form of Socialism has, moreover, been worked out into
complete systems.
We may cite Proudhon’s _Philosophie de la Misère_ as an example of this
form.
The Socialistic bourgeois want all the advantages of modern social
conditions without the struggles and dangers necessarily resulting
therefrom. They desire the existing state of society minus its
revolutionary and disintegrating elements. They wish for a bourgeoisie
without a proletariat. The bourgeoisie naturally conceives the world in
which it is supreme to be the best; and bourgeois Socialism develops
this comfortable conception into various more or less complete systems.
In requiring the proletariat to carry out such a system, and thereby to
march straightway into the social New Jerusalem, it but requires in
reality, that the proletariat should remain within the bounds of
existing society, but should cast away all its hateful ideas concerning
the bourgeoisie.
A second and more practical, but less systematic, form of this
Socialism sought to depreciate every revolutionary movement in the eyes
of the working class, by showing that no mere political reform, but
only a change in the material conditions of existence, in economic
relations, could be of any advantage to them. By changes in the
material conditions of existence, this form of Socialism, however, by
no means understands abolition of the bourgeois relations of
production, an abolition that can be effected only by a revolution, but
administrative reforms, based on the continued existence of these
relations; reforms, therefore, that in no respect affect the relations
between capital and labour, but, at the best, lessen the cost, and
simplify the administrative work, of bourgeois government.
Bourgeois Socialism attains adequate expression, when, and only when,
it becomes a mere figure of speech.
Free trade: for the benefit of the working class. Protective duties:
for the benefit of the working class. Prison Reform: for the benefit of
the working class. This is the last word and the only seriously meant
word of bourgeois Socialism.
It is summed up in the phrase: the bourgeois is a bourgeois—for the
benefit of the working class.
3. CRITICAL-UTOPIAN SOCIALISM AND COMMUNISM
We do not here refer to that literature which, in every great modern
revolution, has always given voice to the demands of the proletariat,
such as the writings of Babeuf and others.
The first direct attempts of the proletariat to attain its own ends,
made in times of universal excitement, when feudal society was being
overthrown, these attempts necessarily failed, owing to the then
undeveloped state of the proletariat, as well as to the absence of the
economic conditions for its emancipation, conditions that had yet to be
produced, and could be produced by the impending bourgeois epoch alone.
The revolutionary literature that accompanied these first movements of
the proletariat had necessarily a reactionary character. It inculcated
universal asceticism and social levelling in its crudest form.
The Socialist and Communist systems properly so called, those of
Saint-Simon, Fourier, Owen and others, spring into existence in the
early undeveloped period, described above, of the struggle between
proletariat and bourgeoisie (see Section 1. Bourgeois and
Proletarians).
The founders of these systems see, indeed, the class antagonisms, as
well as the action of the decomposing elements, in the prevailing form
of society. But the proletariat, as yet in its infancy, offers to them
the spectacle of a class without any historical initiative or any
independent political movement.
Since the development of class antagonism keeps even pace with the
development of industry, the economic situation, as they find it, does
not as yet offer to them the material conditions for the emancipation
of the proletariat. They therefore search after a new social science,
after new social laws, that are to create these conditions.
Historical action is to yield to their personal inventive action,
historically created conditions of emancipation to fantastic ones, and
the gradual, spontaneous class-organisation of the proletariat to the
organisation of society specially contrived by these inventors. Future
history resolves itself, in their eyes, into the propaganda and the
practical carrying out of their social plans.
In the formation of their plans they are conscious of caring chiefly
for the interests of the working class, as being the most suffering
class. Only from the point of view of being the most suffering class
does the proletariat exist for them.
The undeveloped state of the class struggle, as well as their own
surroundings, causes Socialists of this kind to consider themselves far
superior to all class antagonisms. They want to improve the condition
of every member of society, even that of the most favoured. Hence, they
habitually appeal to society at large, without distinction of class;
nay, by preference, to the ruling class. For how can people, when once
they understand their system, fail to see in it the best possible plan
of the best possible state of society?
Hence, they reject all political, and especially all revolutionary,
action; they wish to attain their ends by peaceful means, and
endeavour, by small experiments, necessarily doomed to failure, and by
the force of example, to pave the way for the new social Gospel.
Such fantastic pictures of future society, painted at a time when the
proletariat is still in a very undeveloped state and has but a
fantastic conception of its own position correspond with the first
instinctive yearnings of that class for a general reconstruction of
society.
But these Socialist and Communist publications contain also a critical
element. They attack every principle of existing society. Hence they
are full of the most valuable materials for the enlightenment of the
working class. The practical measures proposed in them—such as the
abolition of the distinction between town and country, of the family,
of the carrying on of industries for the account of private
individuals, and of the wage system, the proclamation of social
harmony, the conversion of the functions of the State into a mere
superintendence of production, all these proposals, point solely to the
disappearance of class antagonisms which were, at that time, only just
cropping up, and which, in these publications, are recognised in their
earliest, indistinct and undefined forms only. These proposals,
therefore, are of a purely Utopian character.
The significance of Critical-Utopian Socialism and Communism bears an
inverse relation to historical development. In proportion as the modern
class struggle develops and takes definite shape, this fantastic
standing apart from the contest, these fantastic attacks on it, lose
all practical value and all theoretical justification. Therefore,
although the originators of these systems were, in many respects,
revolutionary, their disciples have, in every case, formed mere
reactionary sects. They hold fast by the original views of their
masters, in opposition to the progressive historical development of the
proletariat. They, therefore, endeavour, and that consistently, to
deaden the class struggle and to reconcile the class antagonisms. They
still dream of experimental realisation of their social Utopias, of
founding isolated “phalansteres,” of establishing “Home Colonies,” of
setting up a “Little Icaria”—duodecimo editions of the New
Jerusalem—and to realise all these castles in the air, they are
compelled to appeal to the feelings and purses of the bourgeois. By
degrees they sink into the category of the reactionary conservative
Socialists depicted above, differing from these only by more systematic
pedantry, and by their fanatical and superstitious belief in the
miraculous effects of their social science.
They, therefore, violently oppose all political action on the part of
the working class; such action, according to them, can only result from
blind unbelief in the new Gospel.
The Owenites in England, and the Fourierists in France, respectively,
oppose the Chartists and the “Réformistes.”
IV.
POSITION OF THE COMMUNISTS IN RELATION TO THE VARIOUS EXISTING
OPPOSITION PARTIES
Section II has made clear the relations of the Communists to the
existing working-class parties, such as the Chartists in England and
the Agrarian Reformers in America.
The Communists fight for the attainment of the immediate aims, for the
enforcement of the momentary interests of the working class; but in the
movement of the present, they also represent and take care of the
future of that movement. In France the Communists ally themselves with
the Social-Democrats, against the conservative and radical bourgeoisie,
reserving, however, the right to take up a critical position in regard
to phrases and illusions traditionally handed down from the great
Revolution.
In Switzerland they support the Radicals, without losing sight of the
fact that this party consists of antagonistic elements, partly of
Democratic Socialists, in the French sense, partly of radical
bourgeois.
In Poland they support the party that insists on an agrarian revolution
as the prime condition for national emancipation, that party which
fomented the insurrection of Cracow in 1846.
In Germany they fight with the bourgeoisie whenever it acts in a
revolutionary way, against the absolute monarchy, the feudal
squirearchy, and the petty bourgeoisie.
But they never cease, for a single instant, to instil into the working
class the clearest possible recognition of the hostile antagonism
between bourgeoisie and proletariat, in order that the German workers
may straightaway use, as so many weapons against the bourgeoisie, the
social and political conditions that the bourgeoisie must necessarily
introduce along with its supremacy, and in order that, after the fall
of the reactionary classes in Germany, the fight against the
bourgeoisie itself may immediately begin.
The Communists turn their attention chiefly to Germany, because that
country is on the eve of a bourgeois revolution that is bound to be
carried out under more advanced conditions of European civilisation,
and with a much more developed proletariat, than that of England was in
the seventeenth, and of France in the eighteenth century, and because
the bourgeois revolution in Germany will be but the prelude to an
immediately following proletarian revolution.
In short, the Communists everywhere support every revolutionary
movement against the existing social and political order of things.
In all these movements they bring to the front, as the leading question
in each, the property question, no matter what its degree of
development at the time.
Finally, they labour everywhere for the union and agreement of the
democratic parties of all countries.
The Communists disdain to conceal their views and aims. They openly
declare that their ends can be attained only by the forcible overthrow
of all existing social conditions. Let the ruling classes tremble at a
Communistic revolution. The proletarians have nothing to lose but their
chains. They have a world to win.
WORKING MEN OF ALL COUNTRIES, UNITE | 0.066895 | 0.152017 | 583 | 39 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
a87b72cffa16896bee066670cc217a7549558bc9 | Rocket Man | [
"Elton John"
] | 1,972 | She packed my bags last night, pre-flight
Zero hour, 9 a.m.
And I'm gonna be high
As a kite by then
I miss the Earth so much, I miss my wife
It's lonely out in space
On such a timeless flight
And I think it's gonna be a long, long time
'Til touchdown brings me 'round again to find
I'm not the man they think I am at home
Oh, no, no, no
I'm a rocket man
Rocket man, burning out his fuse up here alone
And I think it's gonna be a long, long time
'Til touchdown brings me 'round again to find
I'm not the man they think I am at home
Oh, no, no, no
I'm a rocket man
Rocket man, burning out his fuse up here alone
Mars ain't the kind of place to raise your kids
In fact, it's cold as hell
And there's no one there to raise them
If you did
And all this science, I don't understand
It's just my job five days a week
A rocket man
A rocket man
And I think it's gonna be a long, long time
'Til touchdown brings me 'round again to find
I'm not the man they think I am at home
Oh, no, no, no
I'm a rocket man
Rocket man, burning out his fuse up here alone
And I think it's gonna be a long, long time
'Til touchdown brings me round again to find
I'm not the man they think I am at home
Oh, no, no, no
I'm a rocket man
Rocket man, burning out his fuse up here alone
And I think it's gonna be a long, long time
And I think it's gonna be a long, long time
And I think it's gonna be a long, long time
And I think it's gonna be a long, long time
And I think it's gonna be a long, long time
And I think it's gonna be a long, long time
And I think it's gonna be a long, long time
And I think it's gonna be a long, long time | 0.066667 | 0.001254 | 15 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
2f2796a7eed66a04870e4fa2d74aac51b8054c7d | Time Is Time | [
"Andy Gibb"
] | 1,981 | Time it goes on waits for nobody special
In the prime of my life I'll remember you
Livin' and breathin' and some misbelievin'
But I can't hold you woman, no piece of you
You were the magic, my only believer
My life on the line for you
All that I give to you
Time is time
Don't give me no time to waste away
Love is love
Keep me alive to my dying day
Now is now
We capture the world
And love will make it all right, all right
Time it goes on waits for nothing on over
But I still see your sun that you shine on me
Giving and taking and always mistakin'
But I'll follow you woman, eternally
You were the magic, my only believer
My life on the line for you
All that I give to you
Time is time
Don't give me no time to waste away
Love is love
Keep me alive to my dying day
Now is now
We capture the world
And love will make it all right, all right
Setting my sights in one only direction
Searching for romance and showing affection
I guess I better know one, standing in the cold dark
Waiting for your love
(Break)
Time is time
Don't give me no wrong in makin' love
Love is love, turn me around till you burn me up
Now is now, we master the world
And time will make it all right, all right
Time is time
Don't give me no wrong in makin' love
Love is love, turn me around till you burn me up
Now is now, we master the world
And time will make it all right, all right
Time is time
Don't give me no wrong in makin' love
Love is love, turn me around till you burn me up
Now is now, we master the world
And time will make it all right, all right
Time is time
Don't give me no wrong in makin' love
Love is love, turn me around till you burn me up
Now is now, we master the world
And time will make it all right, all right
(Fade out) | 0.066667 | 0.002243 | 15 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
98b150ac26d7e34d26f9d5cc738c09cbfd50f350 | All Out of Love | [
"Air Supply"
] | 1,980 | I'm lying alone with my head on the phone
Thinking of you 'til it hurts
I know you're hurt too, but what else can we do?
Tormented and torn apart
I wish I could carry your smile in my heart
For times when my life seems so low
It would make me believe what tomorrow could bring
When today doesn't really know
Doesn't really know
I'm all out of love, I'm so lost without you
I know you were right believing for so long
I'm all out of love, what am I without you?
I can't be too late to say that I was so wrong
I want you to come back and carry me home
Away from these long, lonely nights
I'm reaching for you, are you feeling it too?
Does the feeling seem oh so right?
And what would you say if I called on you now
And said that I can't hold on?
There's no easy way, it gets harder each day
Please love me or I'll be gone
I'll be gone
I'm all out of love, I'm so lost without you
I know you were right believing for so long
I'm all out of love, what am I without you?
I can't be too late to say that I was so wrong
Oh, what are you thinking of?
What are you thinking of?
What are you thinking of?
What are you thinking of?
I'm all out of love, I'm so lost without you
I know you were right believing for so long
I'm all out of love, what am I without you?
I can't be too late, I know I was so wrong
I'm all out of love, I'm so lost without you
I know you were right believing for so long
I'm all out of love, what am I without you?
I can't be too late, I know I was so wrong
I'm all out of love, I'm so lost without you
I know you were right believing for so long
I'm all out of love, what am I without you?
I can't be too late to say that I was so wrong
(I'm all out of love, I'm so lost without you, I know you were right) | 0.066667 | 0.006106 | 15 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
95e0794324e06875b13ebe92a51eea7eb3fbda31 | Yes We Can Can | [
"The Pointer Sisters"
] | 1,973 | Now's the time for all good men
To get together with one another
We got to iron out our problems
And iron out our quarrels
And try to live as brothers
And try to find peace within
Without stepping on one another
And do respect the women of the world
Remember, you all had mothers
We got to make this land a better land
Than the world in which we live
And we got to help each man be a better man
With the kindness that we give
I know we can make it
I know darn well, we can work it out
Oh, yes, we can, I know we can, can
Yes, we can, can, why can't we?
If we wanna, yes, we can, can
I know we can make it work
I know that we can make it if we try
Oh, yes, we can, I know we can, can
Yes, we can great gosh Almighty
Oh, yes, we can, I know we can, can
And we gotta take care of all the children
The little children of the world
'Cause they're our strongest hope for the future
The little bitty boys and girls
We got to make this land a better land
Than the world in which we live
And we gotta help each man be a better man
With the kindness that we give
I know we can make it
I know, darn well we can work it out
Oh, yes, we can, I know we can, can
Yes, we can, can, why can't we?
If we wanna, yes, we can, can
I know we can make it work
I know that we can make it if we try
Oh, yes, we can, I know we can, can
Yes, we can great gosh Almighty
Oh, yes, we can, I know we can, can
I know we can make it
I know darn well, we can work it out
Oh, yes, we can, I know we can, can
Yes, we can, can, why can't we?
If we wanna, yes, we can, can
I know we can make it work
I know we can make it if we try
Oh, yes, we can, I know we can, can
Yes, we can great gosh Almighty
Oh, yes, we can, I know we can, can
Oh, yes, we can, I know we can, can
Yes, we can, can, why can't we?
If we wanna, yes, we can, can
Oh, yes, we can, I know we can, can
Yes, we can, can, why can't we?
If we wanna, yes, we can, can
Oh, yes, we can, I know we can, can
Yes, we can, can, why can't we?
If we wanna, yes, we can, can
Oh, yes, we can, I know we can, can
Yes, we can, can, why can't we?
If we wanna, yes, we can, can
I know we can make it
I know darn well, we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we wanna get together, we can work it out
I know we can make it
I know darn well, we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we wanna get together, we can work it out
I know we can make it
I know darn well, we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we wanna get together, we can work it out
I know we can make it
I know darn well, we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we wanna get together, we can work it out
I know we can make it
I know darn well, we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we wanna get together, we can work it out
I know we can make it
I know darn well, we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we wanna get together, we can work it out
I know we can make it
I know darn well, we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we wanna get together, we can work it out
I know we can make it
I know darn well, we can work it out
I know we can make it
I know darn well, we can work it out
I know we can, can
Yes, we can, can, why can't we?
If we want it, yes, we can, can
I know we can make it
I know darn well, we can work it out
I know we can, can
Yes, we can, can, why can't we?
If we want it, yes, we can, can
I know we can make it
I know darn well, we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we want it, yes, we can, can
I know we can make it
I know darn well we can work it out
Yes, we can, can
Yes, we can, can, why can't we?
If we want it, yes, we can, can
I know we can make it
I know darn well, we can work it out | 0.065217 | 0.007006 | 46 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
f9bf23cbefa19eed05c32eb37ea65dfdf1e19e1a | Good Times | [
"Chic"
] | 1,979 | Good times, these are the good times
Leave your cares behind, these are the good times
Good times, these are the good times
Our new state of mind, these are the good times
Happy days are here again
The time is right for makin' friends
Let's get together, how 'bout a quarter to ten
Come tomorrow, let's all do it again
Boys will be boys, better let them have their toys
Girls will be girls, cute pony tails and curls
Must put an end to this stress and strife
I think I want to live the sporting life
Good times, these are the good times
Leave your cares behind, these are the good times
Good times, these are the good times
Our new state of mind, these are the good times
A rumor has it that it's getting late
Time marches on, just can't wait
The clock keeps turning, why hesitate
You silly fool, you can't change your fate
Let's cut the rug, little jive and jitterbug
We want the best, we won't settle for less
Don't be a drag, participate
Clams on the half shell and roller skates, roller skates
Good times, these are the good times
Leave your cares behind, these are the good times
Good times, these are the good times
Our new state of mind, these are the good times
A rumor has it that it's getting late
Time marches on, just can't wait
The clock keeps turning, why hesitate
You silly fool, you can't change your fate
Let's cut the rug, little jive and jitterbug
We want the best, we won't settle for less
Don't be a drag, participate
Clams on the half shell and roller skates, roller skates
Good times, these are the good times
Leave your cares behind, these are the good times
Good times, these are the good times
Our new state of mind, these are the good times
Good times, these are the good times
Leave your cares behind, these are the good times
Good times, these are the good times
Our new state of mind, these are the good times
Good times, these are the good times
Leave your cares behind, these are the good times
Good times, these are the good times
Our new state of mind, these are the good times | 0.0625 | 0.050518 | 16 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
a4d8b38d73a322d36e3a3ea6e5ca74db00dbfe9e | Come & Go | [
"Marshmello; Juice Wrld"
] | 2,020 | Woah
Uh (Uh)
Oh, oh-oh, oh (Mello made it right, uh)
I try to be everything that I can
But sometimes I come out as bein' nothin'
I try to be everything that I can
But sometimes I come out as bein' nothin'
I pray to God that he make me a better man (Uh)
Maybe one day I'ma stand for somethin'
I'm thankin' God that he made you part of the plan
I guess I ain't go through all that Hell for nothin'
I'm always fuckin' up and wreckin' shit, it seems like I perfected it
I offer you my love, I hope you take it like some medicine
You tell me, ain't nobody better than me
I think that there's better than me
Hope you see the better in me
Always end up betterin' me
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
We take drugs then you hold me close
Then I tell you how you make me whole
Sometimes I feel you like bein' alone
Then you tell me that I shoulda stayed in the room
Guess I got it all wrong, all along, my fault
My mistakes prolly wipe all the rights I've done
Sayin' goodbye to bygones, those are bygones
Head up, baby stay strong, we gon' live long
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go
I don't wanna ruin this one
This type of love don't always come and go (Go, go) | 0.058824 | 0.001937 | 17 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
05b802ea8944795399b00030c20f14085a206a4c | Rump Shaker | [
"Wreckx-n-Effect"
] | 1,993 | Yeah
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
Check baby, check baby, one, two, three, four
Check baby, check baby, one, two, three
Check baby, check baby, one, two
Check baby, check baby, one
It's called the rump shaker, the beats is like sweeter than candy
I'm feelin' manly and your shaker's comin' in handy
Slide off my clothes from New York down by your Virginia
Ticklin' you around Delaware before I enter
Turn to seduction from face hips to feet
A wiggle and a jiggle can make the night complete
Now since you got the body of the year, come and get the award
Here's a hint, it's like a long sharp sword
Flip tail, so let me see you shake it up like dice
The way you shake your rump is turnin' mighty men to mice
But A Plus got a surprise that's a back breaker
Now let me see you shake your rump like a rump shaker
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
Check baby, check baby, one, two, three, four
Check baby, check baby, one, two, three
Check baby, check baby, one, two
Check baby, check baby, one
Yup, yup, it's Teddy
Ready with the one-two checker
Wreckx-N-Effect is in effects but I'm the wrecker
Of the track 'bout the honey shakin' rumps and they backs in
Booties of the cuties steady shakin' but relaxin'
The action, is packed in a jam like a closet
Beats bound to get you up, cold flowin' like a faucet
Not mean to make you sit, not mean to make you jump
But yep make the hotties in the party shake your rump
I like the way you comb your hair (uh)
I like the stylish clothes you wear (uh)
It's just the little things you do (uh)
That makes me wanna get with you (uh)
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
Shake it, shake it, shake it, now shake it
She can spend every birthday butt naked
Body is soft, makin' me wanna squish her
More just than a game, a rumper like a sub-woofer
Shake it to the left (shake it), shake it to the right
I don't mind stickin' it to her every single night
Come on, pass the poom-poom, send it to poppa
Shake it baby, shake it baby, shake it, don't stoppa
Let me see you do the booty hop (hop)
And now make the booty stop
Now drop and do the booty wop (ooh)
The way you shakin' your reals, will appeal
Is makin' brother ills (up a whole lotta bills)
But I ain't into trickin', just to treatin'
And I ain't into treatin' every trick that I'm meetin'
(Nah, nah, nah, nah, nah, nah, nah)
Yeah, shake it baby, shake it now, shake it like that
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
Check baby, check baby, one, two, three, four
Check baby, check baby, one, two, three
Check baby, check baby, one, two
Check baby, check baby, one, one
Check baby, check baby, one, two, three, four
Check baby, check baby, one, two, three
Check baby, check baby, one, two
Check baby, check baby, one, one
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
Check baby, check baby, one, two, three, four
Check baby, check baby, one, two, three
Check baby, check baby, one, two
Check baby, check baby, one, one
Check baby, check baby, one, two, three, four
Check baby, check baby, one, two, three
Check baby, check baby, one, two
Check baby, check baby, one, one
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
All I wanna do is zoom-a-zoom
All I wanna do is zoom-a-zoom
All I wanna do is zoom-a-zoom-zoom-zoom
And a poom-poom, just shake ya rump
Break it down
WNE is in effect
Peace | 0.057692 | 0.022485 | 52 | 3 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
320c6194424c1cbf2e4060850409228ae842e399 | Le Freak | [
"Chic"
] | 1,979 | One, two
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Have you heard about the new dance craze?
Listen to us, I'm sure you'll be amazed
Big fun to be had by everyone
It's up to you, it surely can be done
Young and old are doing it, I'm told
Just one try and you too will be sold
It's called 'Le Freak', they're doing it night and day
Allow us, we'll show you the way
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
All that pressure got you down
Has your head been spinning all around?
Feel the rhythm, check the rhyme
Come on along and have a real good time
Like the days of Stomping at the Savoy
Now we "freak," oh, what a joy
Just come on down to the fifty four
Find your spot out on the floor
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Now freak
I said freak
Now freak
All that pressure got you down
Has your head been spinning all around?
Feel the rhythm, check the rhyme
Come on along and have a real good time
Like the days of Stomping at the Savoy
Now we "freak," oh, what a joy
Just come on down to the fifty four
Find your spot out on the floor
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!
Ah, freak out!
Le freak, c'est chic
Freak out!... | 0.055556 | 0.75235 | 18 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
a18d0e72f7be2ed25253dd4e94683ba7dffe4ae1 | The Boy from New York City | [
"The Manhattan Transfer"
] | 1,981 | Ooh-wah, ooh-wah, cool, cool kitty
Tell us about the boy from New York City
Ooh-wah, ooh-wah, c'mon kitty
Tell us about the boy from New York City
He's kind of tall
He's really fine
Some day I hope to make him mine, all mine
And he's neat
And oh, so sweet
And just the way he looked at me
He swept me off my feet
Ooh-wee, you ought to come and see
How he walks (yeah-yeah)
And how he talks (yeah-yeah)
Ooh-wah, ooh-wah, cool, cool kitty
Tell us about the boy from New York City
He's really down
And he's no clown
He has the finest penthouse I've ever seen in town
And he's cute
In his mohair suit
And he keeps his pockets full of spending loot
Ooh-wee, say you ought to come and see
His dueling scar
And brand-new car
Every time he says he loves me
Chills run down my spine
Every time he wants to kiss me
Oh, he makes me feel so fine
Ooh-wah, ooh-wah, cool, cool kitty
Tell us about the boy from New York City
Well, he can dance (he can dance, take a chance with a little)
And make romance (romance baby, 'cause he's a looker)
That's when I fell in love
With just one glance (he's sweet-talking and cool)
He was shy
And so was I
And now I know I'll never, ever say goodbye
Ooh-wee, say you ought to come and see
He's the most (yeah-yeah)
From coast to coast (yeah-yeah)
Ooh-wah, ooh-wah, cool, cool kitty
Tell us about the boy from New York City
Ooh-wah, ooh-wah, c'mon kitty
Tell us about the boy from New York City
Ooh-wah, ooh-wah, cool, cool kitty
Tell us about the boy from New York City
Ooh-wah, ooh-wah, c'mon kitty
Tell us about the boy from New York City
Ooh-wah, ooh-wah, cool, cool kitty
Tell us about the boy from New York City
Ooh-wah, ooh-wah, c'mon kitty
Tell us about the boy from New York City
Ooh-wah, ooh-wah, cool, cool kitty
Tell us about the boy from New York City
Ooh-wah, ooh-wah, c'mon kitty
Tell us about the boy from New York City | 0.052632 | 0.003669 | 19 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
b4d2037f3aeb4ab8d209885b393a9f133e578f1b | Ain't Gonna Bump No More (With No Big Fat Woman) | [
"Joe Tex"
] | 1,977 | Aah...
Aah...
Aah...
Three nights ago
I was at a disco
Man, I wanted to bump
I was rarin' to go
And this big fat woman
Bumped me on the floor
She was rarin' to go
That chick was rarin' to go
Man, she did a dip
Almost broke my hip
She was gettin' down
That chick was gettin' down
She wanted to bump some more
But I told her, "No"
You don't knock me down once
You done 'n' knocked me down once
Said, if you want to dance
Find you a big fat man
Ya'll go, then get on down
Ya'll go, then get on down- huh!
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
Lord, I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
Lord, I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
Somebody take her
She's too big for me
She done 'n' knocked me down...
One time
Aah...
Aah...
She came over to me
Snatched me out of my seat
She wanted to get on down
Still, wanna get on down
I told her to go on
And leave me alone
I ain't gettin' down
You done 'nd hurt my hip once
I dunno what you'll do
I ain't gonna bump with you
I don't feel like gettin' down
Don't feel like gettin' down
She just shook her head
At every word I said
She wanted to get on down
That woman wanted to get on down
She did that dip again
And I hit the floor again
She was gettin' down, Lord
That woman was gettin' down
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
I ain't gonna bump no more- with no big fat woman
Somebody take her
I don't want her
She done 'nd hurt my hip
She done 'n' knocked me down
Done 'n' hurt my hip
She done 'n' knocked me down
Somebody take her
I don't want her
Say, Leroy...
You can have this one, dude
Take this big fat woman, dude
I don't want her
I can't have all of her
'Cause it takes two hands
To handle her, what for?
I don't want her
Oh, y'all
She's too big for me
She's too much for me
Somebody, take her
I don't need it
Her back in... how'm I gonna tell you?
What this means... ha-ha-ha
Ooh! Shout on, baby...
You got...
It's all mine
Don't you take it
Gonna take it
Take it down heavenly
Too much for me
Too much for me
She's too much for me
Groovy!
Aah...
Aah...
Aah...
Aah...
Aah...
Take that... oh
Knockin' people on the floor
Big fat woman in a disco
Bumpin' people on the floor
Hurtin' from the hip
Frostin' people's lip
Hittin' by the pump
In a disco
Bumpin' before
All on the floor...
You gonna- stop
You gonna lighten up
You gonna lighten up
You gonna ease up
You gonna lighten up
Like gettin' on
You've been waitin'
We gotta dance
Let's break more hip
Master Funk's trip
Texting, it's cold
I'm gettin' down
Moved on
Haa!
Haa!
Haa!
Haa!
Haa!
Haa!
Haa!
Haa!
Haa!
I'm tired y'all
I'm tired
She done wore me out
She done wore me out
And I'm tired, y'all
This big fat woman
Done wore me out, y'all
Lord, I'm tired, y'all
Lord, I'm tired...
I'm gonna take a little rest
Somebody give me rest
This big fat woman
Done wore me down
She done tire me out
She done wore me out
Oh man, I'm quittin'
Y'all gotta... | 0.052632 | 0.007633 | 38 | 2 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
517cd5eb15a6f0b5727de9804e57bb32ecdf19da | Just Kickin' It | [
"Xscape"
] | 1,993 | Yo
It's just one of them jams you just wanna lay-back
And just kick it, you know what I'm saying
Yeah, you don't hear me though
Peep this
Uh, uh, uh, uh
Every man wants a woman where him and her can just go hang, huh
Just the two of them alone, kick back, doing their own thing (doing their own thing)
And every man wants a woman that can always keep him in the mood
And I'm that kind of girl, so this is what I tell my dude
I tell him to "kick off your shoes and relax your feet" (aw, baby)
Party on down to the Xscape beat, just kick it
Just kick it (just kick it), just kick it
I tell him to (kick off your shoes and relax your feet)
Party on down to the Xscape beat, just kick it
Just kick it (just kick it), just kick it
Every man wants a woman that can cook him up a good meal, huh
A woman he can treat like his homie, and take her out on the Ave. And just chill
And every man wants a woman that ain't good for just laying on her back
And I'm that kind of woman, so before me and my man get in the sack
I tell him to "kick off your shoes and relax your feet"
Party on down to the Xscape beat, just kick it
Just kick it, just kick it
Kick off your shoes and relax your feet
Party on down to the Xscape beat, just kick it
Just kick it (kick it, my baby), just kick it
Kick off your shoes and relax your feet
Party on down to the Xscape beat, just kick it
Just kick it, just kick it
Kick off your shoes and relax your feet
Party on down to the Xscape beat, just kick it
Just kick it, just kick it
This is for the niggas, strictly for the niggas
This is for the niggas, the real niggas
This is for the niggas, strictly for the niggas
This is for the niggas, the real niggas
This is for the niggas, strictly for the niggas
This is for the niggas, the real niggas
This is for the niggas, strictly for the niggas
This is for the niggas, the real niggas
Kick off your shoes and relax your feet
Party on down to the Xscape beat, just kick it
Just kick it, just kick it
Kick off your shoes and relax your feet
Party on down to the Xscape beat, just kick it
Just kick it, just kick it | 0.05 | 0.039104 | 20 | 1 | unlearning-cleanslate/eval_cleanslate_dataset_trinity-nano | 0 |
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