| Front Matter | |
| ACT 1 | |
| ACT 2 | |
| ACT 3 | |
| ACT 4 | |
| ACT 5 |
It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.
Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them.
The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theater.
I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.
Michael Witmore
Director, Folger Shakespeare Library
Until now, with the release of the Folger Digital Texts, readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of Hamlet, two of King Lear, Henry V, Romeo and Juliet, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.
Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See The Tempest, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.
The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Digital Texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from Othello: “
If she in chains of magic were not bound,
”), half-square brackets (for example, from Henry V: “With
blood
and sword and fire to win your right,”), or angle brackets (for example, from Hamlet: “O farewell, honest
soldier.
Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.
Because the Folger Digital Texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.
The Two Noble Kinsmen, derived from Chaucer’s Canterbury Tales, begins as Athens defeats Thebes in war. Arcite and Palamon, Theban knights and devoted cousins, are imprisoned in Athens. From their cell, they see Emilia, the sister-in-law of Theseus, Duke of Athens. Both fall in love with her, becoming bitter rivals.
Arcite is released but, for love of Emilia, stays in Athens at the risk of his life. The jailer’s daughter, who loves Palamon, helps him escape, but goes mad with anxiety. Her original wooer cures her by courting her while pretending to be Palamon.
Arcite encounters Palamon and challenges him to formal combat for Emilia. Theseus discovers them before they duel. He first sentences both to death, but then establishes a contest in which each will participate with Theban comrades. The loser and his knights will die. The winner will wed Emilia.
Arcite prays to Mars for victory; Palamon, to Venus for Emilia’s love. Both prayers are answered. Arcite wins, but dies after a riding accident. Palamon, spared from execution, marries Emilia.

Enter Prologue.
tack
about
He exits.
Scene 1
Pirithous,
Then Artesius and Attendants.
sung by the Boy.
sweet
’fore bride and bridegroom’s feet,
chough hoar,
to Theseus
to Hippolyta
FTLN 0060 For your mother’s sake,
to Emilia
to First Queen
to Second Queen
FTLN 0071 Stand up.
to Third Queen
FTLN 0072 No knees to me.
to First Queen
Nemean
hide
The First Queen rises.
thy
speech, dear glass of ladies,
Second Queen rises.
She rises.
glassy
stream,
coming forward
longer
last and be more costly than
move,
as ospreys do the fish,
to Second and Third Queens
THE QUEENS
FTLN 0226 Farewell.
to Theseus
FTLN 0249 Though much unlike
She kneels.
to Emilia
FTLN 0265 O, help now!
to Theseus, kneeling
FTLN 0267 If you grant not
Hippolyta and Emilia rise.
To Artesius.
As before, hence
Aulis
meet us with
Artesius exits.
To Hippolyta.
FTLN 0285 Since that our theme is haste,
The wedding procession begins to
exit
All but Theseus and the Queens exit.
To Valerius.
Is ’t said this war’s afoot? Or, it shall
one
business in his hand, another
Flavina.
hers
careless were—I followed
through one door,
Theseus,
accompanied by Lords and Soldiers.
the three Queens
Enter a Herald and Soldiers bearing Palamon
Wi’
leave, they’re called
O’er-wrestling
strength in reason. For our love
’fore
our army.
The dirge.
to Second Queen
to First Queen
to Third Queen
FTLN 0624 Yours this way. Heavens
the Jailer’s
Daughter,
carrying rushes.
to Daughter
FTLN 0645Your friend and I have chanced
in shackles,
above.
Jailer, Daughter, and Wooer
exit.
remain, above.
wore
—
below.
Palamon catches sight
EMILIA , to her Woman
to Palamon, who is stunned by the sight of Emilia
to Woman
FTLN 0827140 Or were they all hard-hearted?
to Palamon
FTLN 0836 Will you go forward,
to Woman
to Palamon
seeing Emilia
FTLN 0849 Ha!
to Woman
FTLN 0852165 Of all flowers
to Palamon
to Woman
your
blood, part of your soul? You have
Jailer, above.
Jailer, above.
you
must, my lord.
Arcite steps aside.
you
know what wenches, ha! But will the
says
so—where he himself will edify the Duke
Arcite comes forward.
aside to the others
FTLN 1134My mind misgives
aside to the others
FTLN 1137I’ll be
5
in disguise,
with a garland,
Attendants, and others.
to Arcite
to Hippolyta
to Arcite
He brings Arcite to Emilia.
He kisses her hand.
to Arcite
to Hippolyta
FTLN 1250 Sweet, you must be ready,—
She exits.
he
bends his fist at Arcite.
void’st
of honor
sound
cornets.
muset,
lest this match between ’s
’Tis
a good title.
brake
I meant, is gone
fed
on him; so much for that.
within
He drinks.
He drinks.
He eats.
them
He raises his cup in a toast.
He lifts his cup and then drinks.
Open
her before the wind; you’ll lose all else.
tack
about, boys!
5
six
Countrymen,
one dressed as a Bavian.
jean
judgments,
Enter the
Taborer.
five
Wenches.
sings
I
come to the sound-a.”
Sings
FTLN 1690 The one
he
said it was an owl,
to Jailer’s Daughter
FTLN 1699And are you mad,
She looks at his
FTLN 1704You are a fool. Tell ten.—I have posed him.
Chi
passa o’ th’ bells and bones.
THESEUS , to Schoolmaster
FTLN 1726115Well, sir, go forward. We
brought
out.
Theseus, Hippolyta, and Emilia sit.
aside
FTLN 1730This is a cold beginning.
Enter the Countrymen, Countrywomen, and
dance.
SCHOOLMASTER
ye
with a derry,
thee
too
An Attendant gives money.
He gives money.
within. Theseus, Hippolyta,
Scene 6
He chooses armor.
taking the other
FTLN 1856 That’s mine, then.
Arcite begins arming him.
He begins to arm Arcite.
as they shake hands
thine
own edict, follows thy sister,
She kneels.
Hippolyta kneels.
He kneels.
To Emilia.
) Say I felt
They rise from their knees.
fail
in ’t,
to Emilia
FTLN 2144 Make choice, then.
He offers his hand.
They shake hands.
to Palamon and Arcite
They shake hands again.
Heard
you no more? Was nothing said of me
aside
FTLN 2222 How he looks!
aside
FTLN 2226 These are strange questions.
sung,
for then,
wreath
of bulrush rounded; about her stuck
Jailer’s
Brother,
Jailer’s
Daughter, and others.
sings
to Jailer
FTLN 2325You must e’en take it patiently.
aside to others
FTLN 2332By no mean cross her; she
far
worse than now she
to Daughter
FTLN 2335Yes, he’s a fine man.
aside
FTLN 2358185She’s lost past all cure.
to Jailer
FTLN 2360Come hither; you are a wise
aside
FTLN 2362Does she know him?
SECOND
FRIEND FTLN 2363190No; would she did.
as if sailing a ship
FTLN 2372Owgh, owgh, owgh!—’Tis up!
Tack
about!
Looks at one of the pictures.
Jove
afire with, and enforced the god
Looks at the other picture.
She puts aside his picture.
a
Gentleman.
to Attendant
FTLN 2454 Bring ’em in
To Emilia.
Your two contending lovers are
a
Messenger.
fire
within him,
tods,
crown
his valor.
to Emilia
To
) FTLN 2561Honored friend,
All but Emilia
exit.
Jailer’s
Daughter.
They stand aside.
aside to Jailer and Wooer
FTLN 2587What stuff’s here?
are,
there’s a
th’ other,
carve
her, drink to her, and
and
Attendants.
Three altars set up onstage.
They embrace.
father of
it, go with me
go to Mars’s altar, fall on
kneel.
whose approach
cur’st
the world
go to Venus’s altar, fall on
kneel.
rise and
bow.
recorders.
Enter Emilia in white, her
wearing
a wheaten wreath;
of Diana,
her maids standing
the
habit of Palamon.
Yes,
very well, sir.
and
Maid.
humor
her.
Wooer and Doctor stand aside.
to Daughter
tune
of “Light o’ love.”
aside
FTLN 295395What stuff she utters!
Wooer and Doctor come forward.
Daughter curtsies.
to Wooer
FTLN 2961 Will you go with me?
taking her hand
He kisses her.
wiping her face
FTLN 2983125 O , sir, you would fain
She indicates Doctor.
to Jailer
FTLN 2994 Do you think so too?
To Doctor.
) Lord,
sight.
aside to Doctor
FTLN 3011 How did you like her?
Jailer and Messenger exit.
To Wooer.
) FTLN 3014 You must not from her,
to Wooer
FTLN 3025 Take her offer.
to Theseus
FTLN 3041 Sir, my good lord,
and others,
Emilia remains, comparing again
Servant exits.
Addressing Arcite’s picture.
FTLN 3116 Poor servant, thou hast
and others.
with
Palamon and his Knights,
and Others,
PALAMON
To Jailer.
Ah ha, my friend, my
He gives his purse to Jailer.
Lays his head
on the block.
AND THIRD
KNIGHTS FTLN 3251We’ll follow cheerfully.
dearly
sweet and bitter.
rising
FTLN 326260 What
and
Arcite
carried
in a chair.
She kisses him.
He dies.
Hath
vouched his oracle, and to Arcite gave
Arcite’s body is carried out.
Enter Epilogue.
He exits.