Datasets:

pszemraj

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pinkmonkey

all_chapterized_books/1254-chapters/18.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_15_part_0.txt

Cyrano De Bergerac.act 2.scene 9

scene 9

{"name": "Scene 9", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano27.asp", "summary": "In an effort to educate the newcomer, the Cadets warn Christian de Neuvillette that he should never mention Cyrano's nose. Christian, however, wants to prove that he is brave. As a result, he interrupts Cyrano as he tells his friends about his fight at the Porte de Nesle. Christian then criticizes Cyrano's nose. Cyrano is immediately incensed at the daring young cadet, but when he discovers that the person interrupting him is the one Roxane loves, he controls himself at every interruption from Christian. Finally, he drives all the cadets out of the room to be alone with Christian. They expect Christian to be murdered by Cyrano. Left alone with Christian, Cyrano introduces himself as the cousin of Roxane. He then explains Roxane's feelings for the handsome cadet. He asks Christian to write a letter to Roxane to express his feelings for her. Christian confesses that he has no verbal skills, especially when he must address a female. Since Cyrano is skilled with words, the two of them work out a plan to jointly woo and win Roxane. Cyrano will provide the words, which the handsome Christian will voice to Roxane. Cyrano then gives Christian the letter he has already composed to her, pretending that he has written it to some imaginary lady. He tells Christian to sign and send the letter as his own. Christian embraces Cyrano with gratitude. When the cadets who have been waiting outside see Christian moving towards Cyrano, they are concerned and push open the door. When they realize that Cyrano is embracing Christian, they jeer at the sight. Lise's musketeer, who has come in with the cadets, insults Cyrano about his nose. Cyrano responds by hitting him.", "analysis": "Notes Scene 9 opens with the cadets warning Christian that he must never mention Cyrano's nose in front of him, for he is very sensitive about its size and ugliness. Christian, however, does not heed their warning. Wanting to prove he is brave, he interrupts Cyrano and dares to criticize his nose. The other cadets are certain that Cyrano, the rash swordsman, will quickly take care of the brazen new cadet. The real heroism of Cyrano's character is then revealed. Aggressive by nature, Cyrano wants to strike Christian, but he controls his anger. Since he has promised Roxane that he will protect the handsome, young cadet, he must keep his word. Love has tempered his brashness and turned him in to a picture of patience. Feeling he can never have Roxane and wanting her to have what she desires, Cyrano decides to help Christian woo her. When Christian confesses that he has no way with words and cannot possibly write Roxane an appropriate letter expressing his feelings, Cyrano gives him the letter he has written to her in the bakery shop. He tells Christian to sign it and send it to Roxane as his own. Christian is so appreciative of the gesture that he gives Cyrano a hug. When the other cadets realize that Cyrano has not punished Christian, they are disappointed in their leader and jeer him. Lise's musketeer even dares to criticize Cyrano's nose. Cyrano, however, will not tolerate ridicule from anyone other than Christian. He promptly hits the musketeer. By the end of scene 11, Cyrano emerges as a much stronger character. When he needs to be, he is a man of self-control and patience. He also shows he is kind-hearted, for he wants Roxane to be happy. In contrast to Cyrano, Christian seems pathetically weak in spite of his attractiveness. The audience finds it hard to believe that Roxane could ever be truly happy with such a simple man. Rostand's ability as a masterful dramatist is clearly obvious in these three scenes. He has carefully constructed the play up to this point to make a ridiculously ironic situation seem believable. The physically ugly Cyrano, who is intelligent, witty, and wise with words, is willing to help his competitor because Roxane has asked him to do so. Rostand has intentionally created Christian to be a total contrast to Cyrano. The extremely handsome cadet is slow, simple, and unable to express himself. Together, however, Cyrano and Christian make a perfect suitor for Roxane; Christian can supply the looks and Cyrano can supply the words. The arrangement will go on for years."}

Cyrano, Le Bret, the cadets, Christian de Neuvillette. A CADET (seated at a table, glass in hand): Cyrano! (Cyrano turns round): The story! CYRANO: In its time! (He goes up on Le Bret's arm. They talk in low voices.) THE CADET (rising and coming down): The story of the fray! 'Twill lesson well (He stops before the table where Christian is seated): This timid young apprentice! CHRISTIAN (raising his head): 'Prentice! Who? ANOTHER CADET: This sickly Northern greenhorn! CHRISTIAN: Sickly! FIRST CADET (mockingly): Hark! Monsieur de Neuvillette, this in your ear: There's somewhat here, one no more dares to name, Than to say 'rope' to one whose sire was hanged! CHRISTIAN: What may that be? ANOTHER CADET (in a terrible voice): See here! (He puts his finger three times, mysteriously, on his nose): Do you understand? CHRISTIAN: Oh! 'tis the. . . ANOTHER: Hush! oh, never breathe that word, Unless you'd reckon with him yonder! (He points to Cyrano, who is talking with Le Bret.) ANOTHER (who has meanwhile come up noiselessly to sit on the table--whispering behind him): Hark! He put two snuffling men to death, in rage, For the sole reason they spoke through their nose! ANOTHER (in a hollow voice, darting on all-fours from under the table, where he had crept): And if you would not perish in flower o' youth, --Oh, mention not the fatal cartilage! ANOTHER (clapping him on the shoulder): A word? A gesture! For the indiscreet His handkerchief may prove his winding-sheet! (Silence. All, with crossed arms, look at Christian. He rises and goes over to Carbon de Castel-Jaloux, who is talking to an officer, and feigns to see nothing.) CHRISTIAN: Captain! CARBON (turning and looking at him from head to foot): Sir! CHRISTIAN: Pray, what skills it best to do To Southerners who swagger?. . . CARBON: Give them proof That one may be a Northerner, yet brave! (He turns his back on him.) CHRISTIAN: I thank you. FIRST CADET (to Cyrano): Now the tale! ALL: The tale! CYRANO (coming toward them): The tale?. . . (All bring their stools up, and group round him, listening eagerly. Christian is astride a chair): Well! I went all alone to meet the band. The moon was shining, clock-like, full i' th' sky, When, suddenly, some careful clockwright passed A cloud of cotton-wool across the case That held this silver watch. And, presto! heigh! The night was inky black, and all the quays Were hidden in the murky dark. Gadsooks! One could see nothing further. . . CHRISTIAN: Than one's nose! (Silence. All slowly rise, looking in terror at Cyrano, who has stopped-- dumfounded. Pause.) CYRANO: Who on God's earth is that? A CADET (whispering): It is a man Who joined to-day. CYRANO (making a step toward Christian): To-day? CARBON (in a low voice): Yes. . .his name is The Baron de Neuvil. . . CYRANO (checking himself): Good! It is well. . . (He turns pale, flushes, makes as if to fall on Christian): I. . . (He controls himself): What said I?. . . (With a burst of rage): MORDIOUS!. . . (Then continues calmly): That it was dark. (Astonishment. The cadets reseat themselves, staring at him): On I went, thinking, 'For a knavish cause I may provoke some great man, some great prince, Who certainly could break'. . . CHRISTIAN: My nose!. . . (Every one starts up. Christian balances on his chair.) CYRANO (in a choked voice): . . .'My teeth! Who would break my teeth, and I, imprudent-like, Was poking. . .' CHRISTIAN: My nose!. . . CYRANO: 'My finger,. . .in the crack Between the tree and bark! He may prove strong And rap me. . .' CHRISTIAN: Over the nose. . . CYRANO (wiping his forehead): . . .'O' th' knuckles! Ay,' But I cried, 'Forward, Gascon! Duty calls! On, Cyrano!' And thus I ventured on. . . When, from the shadow, came. . . CHRISTIAN: A crack o' th' nose. CYRANO: I parry it--find myself. . . CHRISTIAN: Nose to nose. . . CYRANO (bounding on to him): Heaven and earth! (All the Gascons leap up to see, but when he is close to Christian he controls himself and continues): . . .With a hundred brawling sots, Who stank. . . CHRISTIAN: A noseful. . . CYRANO (white, but smiling): Onions, brandy-cups! I leapt out, head well down. . . CHRISTIAN: Nosing the wind! CYRANO: I charge!--gore two, impale one--run him through, One aims at me--Paf! and I parry. . . CHRISTIAN: Pif! CYRANO (bursting out): Great God! Out! all of you! (The cadets rush to the doors.) FIRST CADET: The tiger wakes! CYRANO: Every man, out! Leave me alone with him! SECOND CADET: We shall find him minced fine, minced into hash In a big pasty! RAGUENEAU: I am turning pale, And curl up, like a napkin, limp and white! CARBON: Let us be gone. ANOTHER: He will not leave a crumb! ANOTHER: I die of fright to think what will pass here! ANOTHER (shutting door right): Something too horrible! (All have gone out by different doors, some by the staircase. Cyrano and Christian are face to face, looking at each other for a moment.)

Scene 9

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano27.asp

In an effort to educate the newcomer, the Cadets warn Christian de Neuvillette that he should never mention Cyrano's nose. Christian, however, wants to prove that he is brave. As a result, he interrupts Cyrano as he tells his friends about his fight at the Porte de Nesle. Christian then criticizes Cyrano's nose. Cyrano is immediately incensed at the daring young cadet, but when he discovers that the person interrupting him is the one Roxane loves, he controls himself at every interruption from Christian. Finally, he drives all the cadets out of the room to be alone with Christian. They expect Christian to be murdered by Cyrano. Left alone with Christian, Cyrano introduces himself as the cousin of Roxane. He then explains Roxane's feelings for the handsome cadet. He asks Christian to write a letter to Roxane to express his feelings for her. Christian confesses that he has no verbal skills, especially when he must address a female. Since Cyrano is skilled with words, the two of them work out a plan to jointly woo and win Roxane. Cyrano will provide the words, which the handsome Christian will voice to Roxane. Cyrano then gives Christian the letter he has already composed to her, pretending that he has written it to some imaginary lady. He tells Christian to sign and send the letter as his own. Christian embraces Cyrano with gratitude. When the cadets who have been waiting outside see Christian moving towards Cyrano, they are concerned and push open the door. When they realize that Cyrano is embracing Christian, they jeer at the sight. Lise's musketeer, who has come in with the cadets, insults Cyrano about his nose. Cyrano responds by hitting him.

Notes Scene 9 opens with the cadets warning Christian that he must never mention Cyrano's nose in front of him, for he is very sensitive about its size and ugliness. Christian, however, does not heed their warning. Wanting to prove he is brave, he interrupts Cyrano and dares to criticize his nose. The other cadets are certain that Cyrano, the rash swordsman, will quickly take care of the brazen new cadet. The real heroism of Cyrano's character is then revealed. Aggressive by nature, Cyrano wants to strike Christian, but he controls his anger. Since he has promised Roxane that he will protect the handsome, young cadet, he must keep his word. Love has tempered his brashness and turned him in to a picture of patience. Feeling he can never have Roxane and wanting her to have what she desires, Cyrano decides to help Christian woo her. When Christian confesses that he has no way with words and cannot possibly write Roxane an appropriate letter expressing his feelings, Cyrano gives him the letter he has written to her in the bakery shop. He tells Christian to sign it and send it to Roxane as his own. Christian is so appreciative of the gesture that he gives Cyrano a hug. When the other cadets realize that Cyrano has not punished Christian, they are disappointed in their leader and jeer him. Lise's musketeer even dares to criticize Cyrano's nose. Cyrano, however, will not tolerate ridicule from anyone other than Christian. He promptly hits the musketeer. By the end of scene 11, Cyrano emerges as a much stronger character. When he needs to be, he is a man of self-control and patience. He also shows he is kind-hearted, for he wants Roxane to be happy. In contrast to Cyrano, Christian seems pathetically weak in spite of his attractiveness. The audience finds it hard to believe that Roxane could ever be truly happy with such a simple man. Rostand's ability as a masterful dramatist is clearly obvious in these three scenes. He has carefully constructed the play up to this point to make a ridiculously ironic situation seem believable. The physically ugly Cyrano, who is intelligent, witty, and wise with words, is willing to help his competitor because Roxane has asked him to do so. Rostand has intentionally created Christian to be a total contrast to Cyrano. The extremely handsome cadet is slow, simple, and unable to express himself. Together, however, Cyrano and Christian make a perfect suitor for Roxane; Christian can supply the looks and Cyrano can supply the words. The arrangement will go on for years.

pinkmonkey

all_chapterized_books/1254-chapters/19.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_16_part_0.txt

Cyrano De Bergerac.act 2.scene 10

scene 10

{"name": "Scene 10", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano27.asp", "summary": "In an effort to educate the newcomer, the Cadets warn Christian de Neuvillette that he should never mention Cyrano's nose. Christian, however, wants to prove that he is brave. As a result, he interrupts Cyrano as he tells his friends about his fight at the Porte de Nesle. Christian then criticizes Cyrano's nose. Cyrano is immediately incensed at the daring young cadet, but when he discovers that the person interrupting him is the one Roxane loves, he controls himself at every interruption from Christian. Finally, he drives all the cadets out of the room to be alone with Christian. They expect Christian to be murdered by Cyrano. Left alone with Christian, Cyrano introduces himself as the cousin of Roxane. He then explains Roxane's feelings for the handsome cadet. He asks Christian to write a letter to Roxane to express his feelings for her. Christian confesses that he has no verbal skills, especially when he must address a female. Since Cyrano is skilled with words, the two of them work out a plan to jointly woo and win Roxane. Cyrano will provide the words, which the handsome Christian will voice to Roxane. Cyrano then gives Christian the letter he has already composed to her, pretending that he has written it to some imaginary lady. He tells Christian to sign and send the letter as his own. Christian embraces Cyrano with gratitude. When the cadets who have been waiting outside see Christian moving towards Cyrano, they are concerned and push open the door. When they realize that Cyrano is embracing Christian, they jeer at the sight. Lise's musketeer, who has come in with the cadets, insults Cyrano about his nose. Cyrano responds by hitting him.", "analysis": "Notes Scene 9 opens with the cadets warning Christian that he must never mention Cyrano's nose in front of him, for he is very sensitive about its size and ugliness. Christian, however, does not heed their warning. Wanting to prove he is brave, he interrupts Cyrano and dares to criticize his nose. The other cadets are certain that Cyrano, the rash swordsman, will quickly take care of the brazen new cadet. The real heroism of Cyrano's character is then revealed. Aggressive by nature, Cyrano wants to strike Christian, but he controls his anger. Since he has promised Roxane that he will protect the handsome, young cadet, he must keep his word. Love has tempered his brashness and turned him in to a picture of patience. Feeling he can never have Roxane and wanting her to have what she desires, Cyrano decides to help Christian woo her. When Christian confesses that he has no way with words and cannot possibly write Roxane an appropriate letter expressing his feelings, Cyrano gives him the letter he has written to her in the bakery shop. He tells Christian to sign it and send it to Roxane as his own. Christian is so appreciative of the gesture that he gives Cyrano a hug. When the other cadets realize that Cyrano has not punished Christian, they are disappointed in their leader and jeer him. Lise's musketeer even dares to criticize Cyrano's nose. Cyrano, however, will not tolerate ridicule from anyone other than Christian. He promptly hits the musketeer. By the end of scene 11, Cyrano emerges as a much stronger character. When he needs to be, he is a man of self-control and patience. He also shows he is kind-hearted, for he wants Roxane to be happy. In contrast to Cyrano, Christian seems pathetically weak in spite of his attractiveness. The audience finds it hard to believe that Roxane could ever be truly happy with such a simple man. Rostand's ability as a masterful dramatist is clearly obvious in these three scenes. He has carefully constructed the play up to this point to make a ridiculously ironic situation seem believable. The physically ugly Cyrano, who is intelligent, witty, and wise with words, is willing to help his competitor because Roxane has asked him to do so. Rostand has intentionally created Christian to be a total contrast to Cyrano. The extremely handsome cadet is slow, simple, and unable to express himself. Together, however, Cyrano and Christian make a perfect suitor for Roxane; Christian can supply the looks and Cyrano can supply the words. The arrangement will go on for years."}

Cyrano, Christian. CYRANO: Embrace me now! CHRISTIAN: Sir. . . CYRANO: You are brave. CHRISTIAN: Oh! but. . . CYRANO: Nay, I insist. CHRISTIAN: Pray tell me. . . CYRANO: Come, embrace! I am her brother. CHRISTIAN: Whose brother? CYRANO: Hers i' faith! Roxane's! CHRISTIAN (rushing up to him): O heavens! Her brother. . .? CYRANO: Cousin--brother!. . .the same thing! CHRISTIAN: And she has told you. . .? CYRANO: All! CHRISTIAN: She loves me? say! CYRANO: Maybe! CHRISTIAN (taking his hands): How glad I am to meet you, Sir! CYRANO: That may be called a sudden sentiment! CHRISTIAN: I ask your pardon. . . CYRANO (looking at him, with his hand on his shoulder): True, he's fair, the villain! CHRISTIAN: Ah, Sir! If you but knew my admiration!. . . CYRANO: But all those noses?. . . CHRISTIAN: Oh! I take them back! CYRANO: Roxane expects a letter. CHRISTIAN: Woe the day! CYRANO: How? CHRISTIAN: I am lost if I but ope my lips! CYRANO: Why so? CHRISTIAN: I am a fool--could die for shame! CYRANO: None is a fool who knows himself a fool. And you did not attack me like a fool. CHRISTIAN: Bah! One finds battle-cry to lead th' assault! I have a certain military wit, But, before women, can but hold my tongue. Their eyes! True, when I pass, their eyes are kind. . . CYRANO: And, when you stay, their hearts, methinks, are kinder? CHRISTIAN: No! for I am one of those men--tongue-tied, I know it--who can never tell their love. CYRANO: And I, meseems, had Nature been more kind, More careful, when she fashioned me,--had been One of those men who well could speak their love! CHRISTIAN: Oh, to express one's thoughts with facile grace!. . . CYRANO: . . .To be a musketeer, with handsome face! CHRISTIAN: Roxane is precieuse. I'm sure to prove A disappointment to her! CYRANO (looking at him): Had I but Such an interpreter to speak my soul! CHRISTIAN (with despair): Eloquence! Where to find it? CYRANO (abruptly): That I lend, If you lend me your handsome victor-charms; Blended, we make a hero of romance! CHRISTIAN: How so? CYRANO: Think you you can repeat what things I daily teach your tongue? CHRISTIAN: What do you mean? CYRANO: Roxane shall never have a disillusion! Say, wilt thou that we woo her, double-handed? Wilt thou that we two woo her, both together? Feel'st thou, passing from my leather doublet, Through thy laced doublet, all my soul inspiring? CHRISTIAN: But, Cyrano!. . . CYRANO: Will you, I say? CHRISTIAN: I fear! CYRANO: Since, by yourself, you fear to chill her heart, Will you--to kindle all her heart to flame-- Wed into one my phrases and your lips? CHRISTIAN: Your eyes flash! CYRANO: Will you? CHRISTIAN: Will it please you so? --Give you such pleasure? CYRANO (madly): It!. . . (Then calmly, business-like): It would amuse me! It is an enterprise to tempt a poet. Will you complete me, and let me complete you? You march victorious,--I go in your shadow; Let me be wit for you, be you my beauty! CHRISTIAN: The letter, that she waits for even now! I never can. . . CYRANO (taking out the letter he had written): See! Here it is--your letter! CHRISTIAN: What? CYRANO: Take it! Look, it wants but the address. CHRISTIAN: But I. . . CYRANO: Fear nothing. Send it. It will suit. CHRISTIAN: But have you. . .? CYRANO: Oh! We have our pockets full, We poets, of love-letters, writ to Chloes, Daphnes--creations of our noddle-heads. Our lady-loves,--phantasms of our brains, --Dream-fancies blown into soap-bubbles! Come! Take it, and change feigned love-words into true; I breathed my sighs and moans haphazard-wise; Call all these wandering love-birds home to nest. You'll see that I was in these lettered lines, --Eloquent all the more, the less sincere! --Take it, and make an end! CHRISTIAN: Were it not well To change some words? Written haphazard-wise, Will it fit Roxane? CYRANO: 'Twill fit like a glove! CHRISTIAN: But. . . CYRANO: Ah, credulity of love! Roxane Will think each word inspired by herself! CHRISTIAN: My friend! (He throws himself into Cyrano's arms. They remain thus.)

Scene 10

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano27.asp

In an effort to educate the newcomer, the Cadets warn Christian de Neuvillette that he should never mention Cyrano's nose. Christian, however, wants to prove that he is brave. As a result, he interrupts Cyrano as he tells his friends about his fight at the Porte de Nesle. Christian then criticizes Cyrano's nose. Cyrano is immediately incensed at the daring young cadet, but when he discovers that the person interrupting him is the one Roxane loves, he controls himself at every interruption from Christian. Finally, he drives all the cadets out of the room to be alone with Christian. They expect Christian to be murdered by Cyrano. Left alone with Christian, Cyrano introduces himself as the cousin of Roxane. He then explains Roxane's feelings for the handsome cadet. He asks Christian to write a letter to Roxane to express his feelings for her. Christian confesses that he has no verbal skills, especially when he must address a female. Since Cyrano is skilled with words, the two of them work out a plan to jointly woo and win Roxane. Cyrano will provide the words, which the handsome Christian will voice to Roxane. Cyrano then gives Christian the letter he has already composed to her, pretending that he has written it to some imaginary lady. He tells Christian to sign and send the letter as his own. Christian embraces Cyrano with gratitude. When the cadets who have been waiting outside see Christian moving towards Cyrano, they are concerned and push open the door. When they realize that Cyrano is embracing Christian, they jeer at the sight. Lise's musketeer, who has come in with the cadets, insults Cyrano about his nose. Cyrano responds by hitting him.

Notes Scene 9 opens with the cadets warning Christian that he must never mention Cyrano's nose in front of him, for he is very sensitive about its size and ugliness. Christian, however, does not heed their warning. Wanting to prove he is brave, he interrupts Cyrano and dares to criticize his nose. The other cadets are certain that Cyrano, the rash swordsman, will quickly take care of the brazen new cadet. The real heroism of Cyrano's character is then revealed. Aggressive by nature, Cyrano wants to strike Christian, but he controls his anger. Since he has promised Roxane that he will protect the handsome, young cadet, he must keep his word. Love has tempered his brashness and turned him in to a picture of patience. Feeling he can never have Roxane and wanting her to have what she desires, Cyrano decides to help Christian woo her. When Christian confesses that he has no way with words and cannot possibly write Roxane an appropriate letter expressing his feelings, Cyrano gives him the letter he has written to her in the bakery shop. He tells Christian to sign it and send it to Roxane as his own. Christian is so appreciative of the gesture that he gives Cyrano a hug. When the other cadets realize that Cyrano has not punished Christian, they are disappointed in their leader and jeer him. Lise's musketeer even dares to criticize Cyrano's nose. Cyrano, however, will not tolerate ridicule from anyone other than Christian. He promptly hits the musketeer. By the end of scene 11, Cyrano emerges as a much stronger character. When he needs to be, he is a man of self-control and patience. He also shows he is kind-hearted, for he wants Roxane to be happy. In contrast to Cyrano, Christian seems pathetically weak in spite of his attractiveness. The audience finds it hard to believe that Roxane could ever be truly happy with such a simple man. Rostand's ability as a masterful dramatist is clearly obvious in these three scenes. He has carefully constructed the play up to this point to make a ridiculously ironic situation seem believable. The physically ugly Cyrano, who is intelligent, witty, and wise with words, is willing to help his competitor because Roxane has asked him to do so. Rostand has intentionally created Christian to be a total contrast to Cyrano. The extremely handsome cadet is slow, simple, and unable to express himself. Together, however, Cyrano and Christian make a perfect suitor for Roxane; Christian can supply the looks and Cyrano can supply the words. The arrangement will go on for years.

pinkmonkey

all_chapterized_books/1254-chapters/20.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_17_part_0.txt

Cyrano De Bergerac.act 2.scene 11

scene 11

{"name": "Scene 11", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano27.asp", "summary": "In an effort to educate the newcomer, the Cadets warn Christian de Neuvillette that he should never mention Cyrano's nose. Christian, however, wants to prove that he is brave. As a result, he interrupts Cyrano as he tells his friends about his fight at the Porte de Nesle. Christian then criticizes Cyrano's nose. Cyrano is immediately incensed at the daring young cadet, but when he discovers that the person interrupting him is the one Roxane loves, he controls himself at every interruption from Christian. Finally, he drives all the cadets out of the room to be alone with Christian. They expect Christian to be murdered by Cyrano. Left alone with Christian, Cyrano introduces himself as the cousin of Roxane. He then explains Roxane's feelings for the handsome cadet. He asks Christian to write a letter to Roxane to express his feelings for her. Christian confesses that he has no verbal skills, especially when he must address a female. Since Cyrano is skilled with words, the two of them work out a plan to jointly woo and win Roxane. Cyrano will provide the words, which the handsome Christian will voice to Roxane. Cyrano then gives Christian the letter he has already composed to her, pretending that he has written it to some imaginary lady. He tells Christian to sign and send the letter as his own. Christian embraces Cyrano with gratitude. When the cadets who have been waiting outside see Christian moving towards Cyrano, they are concerned and push open the door. When they realize that Cyrano is embracing Christian, they jeer at the sight. Lise's musketeer, who has come in with the cadets, insults Cyrano about his nose. Cyrano responds by hitting him.", "analysis": "Notes Scene 9 opens with the cadets warning Christian that he must never mention Cyrano's nose in front of him, for he is very sensitive about its size and ugliness. Christian, however, does not heed their warning. Wanting to prove he is brave, he interrupts Cyrano and dares to criticize his nose. The other cadets are certain that Cyrano, the rash swordsman, will quickly take care of the brazen new cadet. The real heroism of Cyrano's character is then revealed. Aggressive by nature, Cyrano wants to strike Christian, but he controls his anger. Since he has promised Roxane that he will protect the handsome, young cadet, he must keep his word. Love has tempered his brashness and turned him in to a picture of patience. Feeling he can never have Roxane and wanting her to have what she desires, Cyrano decides to help Christian woo her. When Christian confesses that he has no way with words and cannot possibly write Roxane an appropriate letter expressing his feelings, Cyrano gives him the letter he has written to her in the bakery shop. He tells Christian to sign it and send it to Roxane as his own. Christian is so appreciative of the gesture that he gives Cyrano a hug. When the other cadets realize that Cyrano has not punished Christian, they are disappointed in their leader and jeer him. Lise's musketeer even dares to criticize Cyrano's nose. Cyrano, however, will not tolerate ridicule from anyone other than Christian. He promptly hits the musketeer. By the end of scene 11, Cyrano emerges as a much stronger character. When he needs to be, he is a man of self-control and patience. He also shows he is kind-hearted, for he wants Roxane to be happy. In contrast to Cyrano, Christian seems pathetically weak in spite of his attractiveness. The audience finds it hard to believe that Roxane could ever be truly happy with such a simple man. Rostand's ability as a masterful dramatist is clearly obvious in these three scenes. He has carefully constructed the play up to this point to make a ridiculously ironic situation seem believable. The physically ugly Cyrano, who is intelligent, witty, and wise with words, is willing to help his competitor because Roxane has asked him to do so. Rostand has intentionally created Christian to be a total contrast to Cyrano. The extremely handsome cadet is slow, simple, and unable to express himself. Together, however, Cyrano and Christian make a perfect suitor for Roxane; Christian can supply the looks and Cyrano can supply the words. The arrangement will go on for years."}

Cyrano, Christian, the Gascons, the musketeer, Lise. A CADET (half opening the door): Naught here!. . .The silence of the grave! I dare not look. . . (He puts his head in): Why?. . . ALL THE CADETS (entering, and seeing Cyrano and Christian embracing): Oh!. . . A CADET: This passes all! (Consternation.) THE MUSKETEER (mockingly): Ho, ho!. . . CARBON: Our demon has become a saint? Struck on one nostril--lo! he turns the other! MUSKETEER: Then we may speak about his nose, henceforth!. . . (Calling to Lise, boastfully): --Ah, Lise, see here! (Sniffing ostentatiously): O heavens!. . .what a stink!. . . (Going up to Cyrano): You, sir, without a doubt have sniffed it up! --What is the smell I notice here? CYRANO (cuffing his head): Clove-heads. (General delight. The cadets have found the old Cyrano again! They turn somersaults.) Curtain.

Scene 11

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano27.asp

In an effort to educate the newcomer, the Cadets warn Christian de Neuvillette that he should never mention Cyrano's nose. Christian, however, wants to prove that he is brave. As a result, he interrupts Cyrano as he tells his friends about his fight at the Porte de Nesle. Christian then criticizes Cyrano's nose. Cyrano is immediately incensed at the daring young cadet, but when he discovers that the person interrupting him is the one Roxane loves, he controls himself at every interruption from Christian. Finally, he drives all the cadets out of the room to be alone with Christian. They expect Christian to be murdered by Cyrano. Left alone with Christian, Cyrano introduces himself as the cousin of Roxane. He then explains Roxane's feelings for the handsome cadet. He asks Christian to write a letter to Roxane to express his feelings for her. Christian confesses that he has no verbal skills, especially when he must address a female. Since Cyrano is skilled with words, the two of them work out a plan to jointly woo and win Roxane. Cyrano will provide the words, which the handsome Christian will voice to Roxane. Cyrano then gives Christian the letter he has already composed to her, pretending that he has written it to some imaginary lady. He tells Christian to sign and send the letter as his own. Christian embraces Cyrano with gratitude. When the cadets who have been waiting outside see Christian moving towards Cyrano, they are concerned and push open the door. When they realize that Cyrano is embracing Christian, they jeer at the sight. Lise's musketeer, who has come in with the cadets, insults Cyrano about his nose. Cyrano responds by hitting him.

Notes Scene 9 opens with the cadets warning Christian that he must never mention Cyrano's nose in front of him, for he is very sensitive about its size and ugliness. Christian, however, does not heed their warning. Wanting to prove he is brave, he interrupts Cyrano and dares to criticize his nose. The other cadets are certain that Cyrano, the rash swordsman, will quickly take care of the brazen new cadet. The real heroism of Cyrano's character is then revealed. Aggressive by nature, Cyrano wants to strike Christian, but he controls his anger. Since he has promised Roxane that he will protect the handsome, young cadet, he must keep his word. Love has tempered his brashness and turned him in to a picture of patience. Feeling he can never have Roxane and wanting her to have what she desires, Cyrano decides to help Christian woo her. When Christian confesses that he has no way with words and cannot possibly write Roxane an appropriate letter expressing his feelings, Cyrano gives him the letter he has written to her in the bakery shop. He tells Christian to sign it and send it to Roxane as his own. Christian is so appreciative of the gesture that he gives Cyrano a hug. When the other cadets realize that Cyrano has not punished Christian, they are disappointed in their leader and jeer him. Lise's musketeer even dares to criticize Cyrano's nose. Cyrano, however, will not tolerate ridicule from anyone other than Christian. He promptly hits the musketeer. By the end of scene 11, Cyrano emerges as a much stronger character. When he needs to be, he is a man of self-control and patience. He also shows he is kind-hearted, for he wants Roxane to be happy. In contrast to Cyrano, Christian seems pathetically weak in spite of his attractiveness. The audience finds it hard to believe that Roxane could ever be truly happy with such a simple man. Rostand's ability as a masterful dramatist is clearly obvious in these three scenes. He has carefully constructed the play up to this point to make a ridiculously ironic situation seem believable. The physically ugly Cyrano, who is intelligent, witty, and wise with words, is willing to help his competitor because Roxane has asked him to do so. Rostand has intentionally created Christian to be a total contrast to Cyrano. The extremely handsome cadet is slow, simple, and unable to express himself. Together, however, Cyrano and Christian make a perfect suitor for Roxane; Christian can supply the looks and Cyrano can supply the words. The arrangement will go on for years.

pinkmonkey

all_chapterized_books/1254-chapters/22.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_18_part_0.txt

Cyrano De Bergerac.act 3.scene 1

scene 1

{"name": "Scene 1", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano28.asp", "summary": "When this scene opens, Ragueneau is talking to Roxane's governess about what has happened to him. The audience learns that Lise has run off with the musketeer. Ragueneau was so upset by her desertion that he tired to hang himself. Cyrano, however, saved him and made arrangements for him to become a steward for Roxane. The governess is impatiently waiting for Roxane. The two of them are going to a Clomire's salon, where a discourse on the \"Tender Passion\" is to be read. As Roxane delays, Cyrano enters with two pages playing lutes. He explains he has won the musicians for a day in a bet with d'Assoucy about a point of grammar; but he finds the musicians very annoying, for they do not play correctly. As a result, he sends them off to irritate Montfleury. After the musicians have left, Cyrano asks Roxane how things are going with Christian. She claims to love him dearly, explaining that he is not only handsome but also brilliant. She adds that his mind seems to be even sharper than that of Cyrano, for he says truly beautiful things to her. Cyrano does not miss a beat, but reacts with incredulity to her claims. To prove her point that he is a \"master of eloquence,\" Roxane shows Cyrano one of Christian's letters. The dramatic irony is evident. Cyrano and the audience know that it is Cyrano who has written the letter. The governess comes in to warn that De Guiche is approaching. Roxane asks Cyrano to hide inside her house.", "analysis": "Notes Rostand creates the musketeer as a very negative character. In the last scene, he was foolish enough to inappropriately insult Cyrano's nose. Now he has run off with the wife of Cyrano's friend. Ragueneau is so upset by Lise's desertion that he tries to kill himself. Cyrano, the play's hero, saves Ragueneau and finds him a new position as the steward of Roxane. Ragueneau's comment that Mars was using what Apollo was leaving behind in his shop is significant. It implies that the musketeer, a man of war, ironically learned the art of love from the poets, who Ragueneau encouraged in his bakery. In a similar manner, Christian is learning the art of love from Cyrano. In this scene, Cyrano's character is further developed as a very well-rounded man. He has already been presented as an able swordsman, a strong fighter, a military leader, an intelligent thinker, a poet, a spokesman who has great control of the language, and a kind and sensitive human being. Now Cyrano reveals that he has an interest in and knowledge of music, a mastery of grammar, and a strong mathematical ability. He also has a sense of humor, for he sends the annoying musicians away to irritate Montfleury, the second rate actor who irritates him. When Cyrano asks Roxane about Christian, she is full of praise for him, saying he is as intelligent as he is handsome. Since Cyrano does not seem to believe her, she reads some of Christian's letter to Cyrano to prove that he is truly bright and eloquent. Cyrano totally enjoys hearing \"his\" letters being praised. Of course, he gives no hint to Roxane that he has composed the letters that Christian has sent as his own. The irony of the situation is masterfully developed."}

Ragueneau, the duenna. Then Roxane, Cyrano, and two pages. RAGUENEAU: --And then, off she went, with a musketeer! Deserted and ruined too, I would make an end of all, and so hanged myself. My last breath was drawn:-- then in comes Monsieur de Bergerac! He cuts me down, and begs his cousin to take me for her steward. THE DUENNA: Well, but how came it about that you were thus ruined? RAGUENEAU: Oh! Lise loved the warriors, and I loved the poets! What cakes there were that Apollo chanced to leave were quickly snapped up by Mars. Thus ruin was not long a-coming. THE DUENNA (rising, and calling up to the open window): Roxane, are you ready? They wait for us! ROXANE'S VOICE (from the window): I will but put me on a cloak! THE DUENNA (to Ragueneau, showing him the door opposite): They wait us there opposite, at Clomire's house. She receives them all there to-day--the precieuses, the poets; they read a discourse on the Tender Passion. RAGUENEAU: The Tender Passion? THE DUENNA (in a mincing voice): Ay, indeed! (Calling up to the window): Roxane, an you come not down quickly, we shall miss the discourse on the Tender Passion! ROXANE'S VOICE: I come! I come! (A sound of stringed instruments approaching.) CYRANO'S VOICE (behind the scenes, singing): La, la, la, la! THE DUENNA (surprised): They serenade us? CYRANO (followed by two pages with arch-lutes): I tell you they are demi-semi-quavers, demi-semi-fool! FIRST PAGE (ironically): You know then, Sir, to distinguish between semi-quavers and demi-semi- quavers? CYRANO: Is not every disciple of Gassendi a musician? THE PAGE (playing and singing): La, la! CYRANO (snatching the lute from him, and going on with the phrase): In proof of which, I can continue! La, la, la, la! ROXANE (appearing on the balcony): What? 'Tis you? CYRANO (going on with the air, and singing to it): 'Tis I, who come to serenade your lilies, and pay my devoir to your ro-o- oses! ROXANE: I am coming down! (She leaves the balcony.) THE DUENNA (pointing to the pages): How come these two virtuosi here? CYRANO: 'Tis for a wager I won of D'Assoucy. We were disputing a nice point in grammar; contradictions raged hotly--''Tis so!' 'Nay, 'tis so!' when suddenly he shows me these two long-shanks, whom he takes about with him as an escort, and who are skillful in scratching lute-strings with their skinny claws! 'I will wager you a day's music,' says he!--And lost it! Thus, see you, till Phoebus' chariot starts once again, these lute-twangers are at my heels, seeing all I do, hearing all I say, and accompanying all with melody. 'Twas pleasant at the first, but i' faith, I begin to weary of it already! (To the musicians): Ho there! go serenade Montfleury for me! Play a dance to him! (The pages go toward the door. To the duenna): I have come, as is my wont, nightly, to ask Roxane whether. . . (To the pages, who are going out): Play a long time,--and play out of tune! (To the duenna): . . .Whether her soul's elected is ever the same, ever faultless! ROXANE (coming out of the house): Ah! How handsome he is, how brilliant a wit! And--how well I love him! CYRANO (smiling): Christian has so brilliant a wit? ROXANE: Brighter than even your own, cousin! CYRANO: Be it so, with all my heart! ROXANE: Ah! methinks 'twere impossible that there could breathe a man on this earth skilled to say as sweetly as he all the pretty nothings that mean so much-- that mean all! At times his mind seems far away, the Muse says naught--and then, presto! he speaks--bewitchingly! enchantingly! CYRANO (incredulously): No, no! ROXANE: Fie! That is ill said! But lo! men are ever thus! Because he is fair to see, you would have it that he must be dull of speech. CYRANO: He hath an eloquent tongue in telling his love? ROXANE: In telling his love? why, 'tis not simple telling, 'tis dissertation, 'tis analysis! CYRANO: How is he with the pen? ROXANE: Still better! Listen,--here:-- (Reciting): 'The more of my poor heart you take The larger grows my heart!' (Triumphantly to Cyrano): How like you those lines? CYRANO: Pooh! ROXANE: And thus it goes on. . . 'And, since some target I must show For Cupid's cruel dart, Oh, if mine own you deign to keep, Then give me your sweet heart!' CYRANO: Lord! first he has too much, then anon not enough! How much heart does the fellow want? ROXANE: You would vex a saint!. . .But 'tis your jealousy. CYRANO (starting): What mean you? ROXANE: Ay, your poet's jealousy! Hark now, if this again be not tender-sweet?-- 'My heart to yours sounds but one cry: If kisses fast could flee By letter, then with your sweet lips My letters read should be! If kisses could be writ with ink, If kisses fast could flee!' CYRANO (smiling approvingly in spite of himself): Ha! those last lines are,--hm!. . .hm!. . . (Correcting himself--contemptuously): --They are paltry enough! ROXANE: And this. . . CYRANO (enchanted): Then you have his letters by heart? ROXANE: Every one of them! CYRANO: By all oaths that can be sworn,--'tis flattering! ROXANE: They are the lines of a master! CYRANO (modestly): Come, nay. . .a master?. . . ROXANE: Ay, I say it--a master! CYRANO: Good--be it so. THE DUENNA (coming down quickly): Here comes Monsieur de Guiche! (To Cyrano, pushing him toward the house): In with you! 'twere best he see you not; it might perchance put him on the scent. . . ROXANE (to Cyrano): Ay, of my own dear secret! He loves me, and is powerful, and, if he knew, then all were lost! Marry! he could well deal a deathblow to my love! CYRANO (entering the house): Good! good! (De Guiche appears.)

Scene 1

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano28.asp

When this scene opens, Ragueneau is talking to Roxane's governess about what has happened to him. The audience learns that Lise has run off with the musketeer. Ragueneau was so upset by her desertion that he tired to hang himself. Cyrano, however, saved him and made arrangements for him to become a steward for Roxane. The governess is impatiently waiting for Roxane. The two of them are going to a Clomire's salon, where a discourse on the "Tender Passion" is to be read. As Roxane delays, Cyrano enters with two pages playing lutes. He explains he has won the musicians for a day in a bet with d'Assoucy about a point of grammar; but he finds the musicians very annoying, for they do not play correctly. As a result, he sends them off to irritate Montfleury. After the musicians have left, Cyrano asks Roxane how things are going with Christian. She claims to love him dearly, explaining that he is not only handsome but also brilliant. She adds that his mind seems to be even sharper than that of Cyrano, for he says truly beautiful things to her. Cyrano does not miss a beat, but reacts with incredulity to her claims. To prove her point that he is a "master of eloquence," Roxane shows Cyrano one of Christian's letters. The dramatic irony is evident. Cyrano and the audience know that it is Cyrano who has written the letter. The governess comes in to warn that De Guiche is approaching. Roxane asks Cyrano to hide inside her house.

Notes Rostand creates the musketeer as a very negative character. In the last scene, he was foolish enough to inappropriately insult Cyrano's nose. Now he has run off with the wife of Cyrano's friend. Ragueneau is so upset by Lise's desertion that he tries to kill himself. Cyrano, the play's hero, saves Ragueneau and finds him a new position as the steward of Roxane. Ragueneau's comment that Mars was using what Apollo was leaving behind in his shop is significant. It implies that the musketeer, a man of war, ironically learned the art of love from the poets, who Ragueneau encouraged in his bakery. In a similar manner, Christian is learning the art of love from Cyrano. In this scene, Cyrano's character is further developed as a very well-rounded man. He has already been presented as an able swordsman, a strong fighter, a military leader, an intelligent thinker, a poet, a spokesman who has great control of the language, and a kind and sensitive human being. Now Cyrano reveals that he has an interest in and knowledge of music, a mastery of grammar, and a strong mathematical ability. He also has a sense of humor, for he sends the annoying musicians away to irritate Montfleury, the second rate actor who irritates him. When Cyrano asks Roxane about Christian, she is full of praise for him, saying he is as intelligent as he is handsome. Since Cyrano does not seem to believe her, she reads some of Christian's letter to Cyrano to prove that he is truly bright and eloquent. Cyrano totally enjoys hearing "his" letters being praised. Of course, he gives no hint to Roxane that he has composed the letters that Christian has sent as his own. The irony of the situation is masterfully developed.

pinkmonkey

all_chapterized_books/1254-chapters/23.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_19_part_0.txt

Cyrano De Bergerac.act 3.scene 2

scene 2

{"name": "Scene 2", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano29.asp", "summary": "Count De Guiche has come to bid farewell to Roxane, for he has been made a Colonel of the Guards and is to take part in the siege of Arras. Since the Guards include the regimental company of the Cadets, which include both Christian and Cyrano, Roxane tricks De Guiche. She talks him into taking revenge on Cyrano by depriving him and his regiment of the chance of heroism in war. De Guiche, not realizing he has been tricked, agrees to keep the Cadets in Paris. Roxane also quizzes De Guiche about Christian. He responds that the young man, who is handsome but stupid, has become inseparable from Cyrano. Feeling that Roxane may have an interest in him, De Guiche suggests that he also stay behind, concealed in the monastery of the Capuchins. Roxane dissuades him by saying that she could only love a man who welcomed danger. She tells him he should prove his heroism to her by fighting in the war. After De Guiche departs, Roxane warns her governess not to tell Cyrano that she has deprived him of a chance to prove himself at Arras. She then calls Cyrano out from his hiding place inside the house.", "analysis": "Notes The power of Roxane to manipulate De Guiche proves to the audience that she is more than an intellectually affected woman. When she learns that Christian and Cyrano will be sent off to Arras along with De Guiche, she uses Cyrano as an excuse to keep Christian and the other Cadets out of the fighting. Then when De Guiche suggests that he stay behind as well, Roxane flirts with him in order to ensure his departure. She tells him she could only love a man who is not afraid to prove his bravery and encourages De Guiche to be heroic."}

Roxane, De Guiche, the duenna standing a little way off. ROXANE (courtesying to De Guiche): I was going out. DE GUICHE: I come to take my leave. ROXANE: Whither go you? DE GUICHE: To the war. ROXANE: Ah! DE GUICHE: Ay, to-night. ROXANE: Oh! DE GUICHE: I am ordered away. We are to besiege Arras. ROXANE: Ah--to besiege?. . . DE GUICHE: Ay. My going moves you not, meseems. ROXANE: Nay. . . DE GUICHE: I am grieved to the core of the heart. Shall I again behold you?. . .When? I know not. Heard you that I am named commander?. . . ROXANE (indifferently): Bravo! DE GUICHE: Of the Guards regiment. ROXANE (startled): What! the Guards? DE GUICHE: Ay, where serves your cousin, the swaggering boaster. I will find a way to revenge myself on him at Arras. ROXANE (choking): What mean you? The Guards go to Arras? DE GUICHE (laughing): Bethink you, is it not my own regiment? ROXANE (falling seated on the bench--aside): Christian! DE GUICHE: What ails you? ROXANE (moved deeply): Oh--I am in despair! The man one loves!--at the war! DE GUICHE (surprised and delighted): You say such sweet words to me! 'Tis the first time!--and just when I must quit you! ROXANE (collected, and fanning herself): Thus,--you would fain revenge your grudge against my cousin? DE GUICHE: My fair lady is on his side? ROXANE: Nay,--against him! DE GUICHE: Do you see him often? ROXANE: But very rarely. DE GUICHE: He is ever to be met now in company with one of the cadets,. . .one New-- villen--viller-- ROXANE: Of high stature? DE GUICHE: Fair-haired! ROXANE: Ay, a red-headed fellow! DE GUICHE: Handsome!. . . ROXANE: Tut! DE GUICHE: But dull-witted. ROXANE: One would think so, to look at him! (Changing her tone): How mean you to play your revenge on Cyrano? Perchance you think to put him i' the thick of the shots? Nay, believe me, that were a poor vengeance--he would love such a post better than aught else! I know the way to wound his pride far more keenly! DE GUICHE: What then? Tell. . . ROXANE: If, when the regiment march to Arras, he were left here with his beloved boon companions, the Cadets, to sit with crossed arms so long as the war lasted! There is your method, would you enrage a man of his kind; cheat him of his chance of mortal danger, and you punish him right fiercely. DE GUICHE (coming nearer): O woman! woman! Who but a woman had e'er devised so subtle a trick? ROXANE: See you not how he will eat out his heart, while his friends gnaw their thick fists for that they are deprived of the battle? So are you best avenged. DE GUICHE: You love me, then, a little? (She smiles): I would fain--seeing you thus espouse my cause, Roxane--believe it a proof of love! ROXANE: 'Tis a proof of love! DE GUICHE (showing some sealed papers): Here are the marching orders; they will be sent instantly to each company-- except-- (He detaches one): --This one! 'Tis that of the Cadets. (He puts it in his pocket): This I keep. (Laughing): Ha! ha! ha! Cyrano! His love of battle!. . .So you can play tricks on people?. . .you, of all ladies! ROXANE: Sometimes! DE GUICHE (coming close to her): Oh! how I love you!--to distraction! Listen! To-night--true, I ought to start--but--how leave you now that I feel your heart is touched! Hard by, in the Rue d'Orleans, is a convent founded by Father Athanasius, the syndic of the Capuchins. True that no layman may enter--but--I can settle that with the good Fathers! Their habit sleeves are wide enough to hide me in. 'Tis they who serve Richelieu's private chapel: and from respect to the uncle, fear the nephew. All will deem me gone. I will come to you, masked. Give me leave to wait till tomorrow, sweet Lady Fanciful! ROXANE: But, of this be rumored, your glory. . . DE GUICHE: Bah! ROXANE: But the siege--Arras. . . DE GUICHE: 'Twill take its chance. Grant but permission. ROXANE: No! DE GUICHE: Give me leave! ROXANE (tenderly): It were my duty to forbid you! DE GUICHE: Ah! ROXANE: You must go! (Aside): Christian stays here. (Aloud): I would have you heroic--Antoine! DE GUICHE: O heavenly word! You love, then, him?. . . ROXANE: . . .For whom I trembled. DE GUICHE (in an ecstasy): Ah! I go then! (He kisses her hand): Are you content? ROXANE: Yes, my friend! (He goes out.) THE DUENNA (making behind his back a mocking courtesy): Yes, my friend! ROXANE (to the duenna): Not a word of what I have done. Cyrano would never pardon me for stealing his fighting from him! (She calls toward the house): Cousin!

Scene 2

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano29.asp

Count De Guiche has come to bid farewell to Roxane, for he has been made a Colonel of the Guards and is to take part in the siege of Arras. Since the Guards include the regimental company of the Cadets, which include both Christian and Cyrano, Roxane tricks De Guiche. She talks him into taking revenge on Cyrano by depriving him and his regiment of the chance of heroism in war. De Guiche, not realizing he has been tricked, agrees to keep the Cadets in Paris. Roxane also quizzes De Guiche about Christian. He responds that the young man, who is handsome but stupid, has become inseparable from Cyrano. Feeling that Roxane may have an interest in him, De Guiche suggests that he also stay behind, concealed in the monastery of the Capuchins. Roxane dissuades him by saying that she could only love a man who welcomed danger. She tells him he should prove his heroism to her by fighting in the war. After De Guiche departs, Roxane warns her governess not to tell Cyrano that she has deprived him of a chance to prove himself at Arras. She then calls Cyrano out from his hiding place inside the house.

Notes The power of Roxane to manipulate De Guiche proves to the audience that she is more than an intellectually affected woman. When she learns that Christian and Cyrano will be sent off to Arras along with De Guiche, she uses Cyrano as an excuse to keep Christian and the other Cadets out of the fighting. Then when De Guiche suggests that he stay behind as well, Roxane flirts with him in order to ensure his departure. She tells him she could only love a man who is not afraid to prove his bravery and encourages De Guiche to be heroic.

pinkmonkey

all_chapterized_books/1254-chapters/24.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_20_part_0.txt

Cyrano De Bergerac.act 3.scene 3

scene 3

{"name": "Scene 3", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano30.asp", "summary": "Before Roxane and her governess depart for the meeting at Clomire's, she asks Cyrano to tell Christian to await her return. Cyrano asks Roxane what subject she desires Christian to discuss today. She says that she wants him to speak about love, but Cyrano must not let Christian know. Of course, Cyrano tries to prepare Christian for the speech as usual. This time, however, Christian rebels against presenting a borrowed speech, wanting to express his own thoughts. Roxane soon returns from Clomire's, for she has missed the discourse on tenderness. She invites Christian to sit on the bench outside her house and elaborate on his sentiment of love. He fails miserably. Roxane, thinking he is being foolish, is displeased with him. She leaves Christian alone on the bench and enters her house. Cyrano, who has been eavesdropping, comes up to Christian and sarcastically congratulates him. Christian, in utter despair, asks for Cyrano's help in wooing Roxane; but it is too late to train Christian in an appropriate speech. Cyrano, however, comes up with another plan. Christian should stand under Roxane's balcony. Hiding in the darkness out of sight, Cyrano will whisper to Christian what he should say. Christian agrees to the plan. The musical pages appear with their lutes. Cyrano puts them on guard duty. They are to play a happy melody if a woman is approaching and a sad one if a man appears. Then Cyrano throws some pebbles at Roxane's window and tells Christian to call her.", "analysis": "Notes Rostand cleverly reveals the methodology that Christian and Cyrano employ to trick Roxane. Cyrano tries to find out from Roxane what mood she is in and what she would like to discuss with Christian. He then coaches the handsome cadet on what to say. Christian, however, is tired of giving canned speeches to his true love. He rebels and says he wants to talk about the subject of love with Roxane on his own. Not surprisingly, he is a miserable failure. In fact, his performance is so pathetic than he seems almost comic. When Christian cannot express himself, Roxane feels he is being foolish and loses interest in him. Desperate to make amends to her, Christian asks for Cyrano's help. The clever Cyrano, who has no time to coach Christian in an appropriate speech, comes up with an alternative plan. From a hiding place in the darkness, he will whisper to Christian what to say as he stands below Roxane's window. Christian agrees to the plan. The vacillation of Christian's feelings for Cyrano is an effective dramatic device that draws the audience closer to Cyrano. When Christian rejects Cyrano's offer of help in preparing a speech about love, the audience is meant to judge Christian as foolish and unappreciative even though they accept that he is only trying to maintain some measure of self-respect. Then when he grovels and asks for Cyrano's help in winning Roxane back, Christian is meant to be judged as weak and pathetic, while Cyrano is seen as generous and helpful."}

Roxane, The duenna, Cyrano. ROXANE: We are going to Clomire's house. (She points to the door opposite): Alcandre and Lysimon are to discourse! THE DUENNA (putting her little finger in her ear): Yes! But my little finger tells me we shall miss them. CYRANO: 'Twere a pity to miss such apes! (They have come to Clomire's door.) THE DUENNA: Oh, see! The knocker is muffled up! (Speaking to the knocker): So they have gagged that metal tongue of yours, little noisy one, lest it should disturb the fine orators! (She lifts it carefully and knocks with precaution.) ROXANE (seeing that the door opens): Let us enter! (On the threshold, to Cyrano): If Christian comes, as I feel sure he will, bid him wait for me! CYRANO (quickly, as she is going in): Listen! (She turns): What mean you to question him on, as is your wont, to-night? ROXANE: Oh-- CYRANO (eagerly): Well, say. ROXANE: But you will be mute? CYRANO: Mute as a fish. ROXANE: I shall not question him at all, but say: Give rein to your fancy! Prepare not your speeches,--but speak the thoughts as they come! Speak to me of love, and speak splendidly! CYRANO (smiling): Very good! ROXANE: But secret!. . . CYRANO: Secret. ROXANE: Not a word! (She enters and shuts the door.) CYRANO (when the door is shut, bowing to her): A thousand thanks! (The door opens again, and Roxane puts her head out.) ROXANE: Lest he prepare himself! CYRANO: The devil!--no, no! BOTH TOGETHER: Secret. (The door shuts.) CYRANO (calling): Christian!

Scene 3

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano30.asp

Before Roxane and her governess depart for the meeting at Clomire's, she asks Cyrano to tell Christian to await her return. Cyrano asks Roxane what subject she desires Christian to discuss today. She says that she wants him to speak about love, but Cyrano must not let Christian know. Of course, Cyrano tries to prepare Christian for the speech as usual. This time, however, Christian rebels against presenting a borrowed speech, wanting to express his own thoughts. Roxane soon returns from Clomire's, for she has missed the discourse on tenderness. She invites Christian to sit on the bench outside her house and elaborate on his sentiment of love. He fails miserably. Roxane, thinking he is being foolish, is displeased with him. She leaves Christian alone on the bench and enters her house. Cyrano, who has been eavesdropping, comes up to Christian and sarcastically congratulates him. Christian, in utter despair, asks for Cyrano's help in wooing Roxane; but it is too late to train Christian in an appropriate speech. Cyrano, however, comes up with another plan. Christian should stand under Roxane's balcony. Hiding in the darkness out of sight, Cyrano will whisper to Christian what he should say. Christian agrees to the plan. The musical pages appear with their lutes. Cyrano puts them on guard duty. They are to play a happy melody if a woman is approaching and a sad one if a man appears. Then Cyrano throws some pebbles at Roxane's window and tells Christian to call her.

Notes Rostand cleverly reveals the methodology that Christian and Cyrano employ to trick Roxane. Cyrano tries to find out from Roxane what mood she is in and what she would like to discuss with Christian. He then coaches the handsome cadet on what to say. Christian, however, is tired of giving canned speeches to his true love. He rebels and says he wants to talk about the subject of love with Roxane on his own. Not surprisingly, he is a miserable failure. In fact, his performance is so pathetic than he seems almost comic. When Christian cannot express himself, Roxane feels he is being foolish and loses interest in him. Desperate to make amends to her, Christian asks for Cyrano's help. The clever Cyrano, who has no time to coach Christian in an appropriate speech, comes up with an alternative plan. From a hiding place in the darkness, he will whisper to Christian what to say as he stands below Roxane's window. Christian agrees to the plan. The vacillation of Christian's feelings for Cyrano is an effective dramatic device that draws the audience closer to Cyrano. When Christian rejects Cyrano's offer of help in preparing a speech about love, the audience is meant to judge Christian as foolish and unappreciative even though they accept that he is only trying to maintain some measure of self-respect. Then when he grovels and asks for Cyrano's help in winning Roxane back, Christian is meant to be judged as weak and pathetic, while Cyrano is seen as generous and helpful.

pinkmonkey

all_chapterized_books/1254-chapters/25.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_21_part_0.txt

Cyrano De Bergerac.act 3.scene 4

scene 4

{"name": "Scene 4", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano30.asp", "summary": "Before Roxane and her governess depart for the meeting at Clomire's, she asks Cyrano to tell Christian to await her return. Cyrano asks Roxane what subject she desires Christian to discuss today. She says that she wants him to speak about love, but Cyrano must not let Christian know. Of course, Cyrano tries to prepare Christian for the speech as usual. This time, however, Christian rebels against presenting a borrowed speech, wanting to express his own thoughts. Roxane soon returns from Clomire's, for she has missed the discourse on tenderness. She invites Christian to sit on the bench outside her house and elaborate on his sentiment of love. He fails miserably. Roxane, thinking he is being foolish, is displeased with him. She leaves Christian alone on the bench and enters her house. Cyrano, who has been eavesdropping, comes up to Christian and sarcastically congratulates him. Christian, in utter despair, asks for Cyrano's help in wooing Roxane; but it is too late to train Christian in an appropriate speech. Cyrano, however, comes up with another plan. Christian should stand under Roxane's balcony. Hiding in the darkness out of sight, Cyrano will whisper to Christian what he should say. Christian agrees to the plan. The musical pages appear with their lutes. Cyrano puts them on guard duty. They are to play a happy melody if a woman is approaching and a sad one if a man appears. Then Cyrano throws some pebbles at Roxane's window and tells Christian to call her.", "analysis": "Notes Rostand cleverly reveals the methodology that Christian and Cyrano employ to trick Roxane. Cyrano tries to find out from Roxane what mood she is in and what she would like to discuss with Christian. He then coaches the handsome cadet on what to say. Christian, however, is tired of giving canned speeches to his true love. He rebels and says he wants to talk about the subject of love with Roxane on his own. Not surprisingly, he is a miserable failure. In fact, his performance is so pathetic than he seems almost comic. When Christian cannot express himself, Roxane feels he is being foolish and loses interest in him. Desperate to make amends to her, Christian asks for Cyrano's help. The clever Cyrano, who has no time to coach Christian in an appropriate speech, comes up with an alternative plan. From a hiding place in the darkness, he will whisper to Christian what to say as he stands below Roxane's window. Christian agrees to the plan. The vacillation of Christian's feelings for Cyrano is an effective dramatic device that draws the audience closer to Cyrano. When Christian rejects Cyrano's offer of help in preparing a speech about love, the audience is meant to judge Christian as foolish and unappreciative even though they accept that he is only trying to maintain some measure of self-respect. Then when he grovels and asks for Cyrano's help in winning Roxane back, Christian is meant to be judged as weak and pathetic, while Cyrano is seen as generous and helpful."}

Cyrano, Christian. CYRANO: I know all that is needful. Here's occasion For you to deck yourself with glory. Come, Lose no time; put away those sulky looks, Come to your house with me, I'll teach you. . . CHRISTIAN: No! CYRANO: Why? CHRISTIAN: I will wait for Roxane here. CYRANO: How? Crazy? Come quick with me and learn. . . CHRISTIAN: No, no! I say. I am aweary of these borrowed letters, --Borrowed love-makings! Thus to act a part, And tremble all the time!--'Twas well enough At the beginning!--Now I know she loves! I fear no longer!--I will speak myself. CYRANO: Mercy! CHRISTIAN: And how know you I cannot speak?-- I am not such a fool when all is said! I've by your lessons profited. You'll see I shall know how to speak alone! The devil! I know at least to clasp her in my arms! (Seeing Roxane come out from Clomire's house): --It is she! Cyrano, no!--Leave me not! CYRANO (bowing): Speak for yourself, my friend, and take your chance. (He disappears behind the garden wall.)

Scene 4

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano30.asp

Before Roxane and her governess depart for the meeting at Clomire's, she asks Cyrano to tell Christian to await her return. Cyrano asks Roxane what subject she desires Christian to discuss today. She says that she wants him to speak about love, but Cyrano must not let Christian know. Of course, Cyrano tries to prepare Christian for the speech as usual. This time, however, Christian rebels against presenting a borrowed speech, wanting to express his own thoughts. Roxane soon returns from Clomire's, for she has missed the discourse on tenderness. She invites Christian to sit on the bench outside her house and elaborate on his sentiment of love. He fails miserably. Roxane, thinking he is being foolish, is displeased with him. She leaves Christian alone on the bench and enters her house. Cyrano, who has been eavesdropping, comes up to Christian and sarcastically congratulates him. Christian, in utter despair, asks for Cyrano's help in wooing Roxane; but it is too late to train Christian in an appropriate speech. Cyrano, however, comes up with another plan. Christian should stand under Roxane's balcony. Hiding in the darkness out of sight, Cyrano will whisper to Christian what he should say. Christian agrees to the plan. The musical pages appear with their lutes. Cyrano puts them on guard duty. They are to play a happy melody if a woman is approaching and a sad one if a man appears. Then Cyrano throws some pebbles at Roxane's window and tells Christian to call her.

Notes Rostand cleverly reveals the methodology that Christian and Cyrano employ to trick Roxane. Cyrano tries to find out from Roxane what mood she is in and what she would like to discuss with Christian. He then coaches the handsome cadet on what to say. Christian, however, is tired of giving canned speeches to his true love. He rebels and says he wants to talk about the subject of love with Roxane on his own. Not surprisingly, he is a miserable failure. In fact, his performance is so pathetic than he seems almost comic. When Christian cannot express himself, Roxane feels he is being foolish and loses interest in him. Desperate to make amends to her, Christian asks for Cyrano's help. The clever Cyrano, who has no time to coach Christian in an appropriate speech, comes up with an alternative plan. From a hiding place in the darkness, he will whisper to Christian what to say as he stands below Roxane's window. Christian agrees to the plan. The vacillation of Christian's feelings for Cyrano is an effective dramatic device that draws the audience closer to Cyrano. When Christian rejects Cyrano's offer of help in preparing a speech about love, the audience is meant to judge Christian as foolish and unappreciative even though they accept that he is only trying to maintain some measure of self-respect. Then when he grovels and asks for Cyrano's help in winning Roxane back, Christian is meant to be judged as weak and pathetic, while Cyrano is seen as generous and helpful.

pinkmonkey

all_chapterized_books/1254-chapters/26.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_22_part_0.txt

Cyrano De Bergerac.act 3.scene 5

scene 5

{"name": "Scene 5", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano30.asp", "summary": "Before Roxane and her governess depart for the meeting at Clomire's, she asks Cyrano to tell Christian to await her return. Cyrano asks Roxane what subject she desires Christian to discuss today. She says that she wants him to speak about love, but Cyrano must not let Christian know. Of course, Cyrano tries to prepare Christian for the speech as usual. This time, however, Christian rebels against presenting a borrowed speech, wanting to express his own thoughts. Roxane soon returns from Clomire's, for she has missed the discourse on tenderness. She invites Christian to sit on the bench outside her house and elaborate on his sentiment of love. He fails miserably. Roxane, thinking he is being foolish, is displeased with him. She leaves Christian alone on the bench and enters her house. Cyrano, who has been eavesdropping, comes up to Christian and sarcastically congratulates him. Christian, in utter despair, asks for Cyrano's help in wooing Roxane; but it is too late to train Christian in an appropriate speech. Cyrano, however, comes up with another plan. Christian should stand under Roxane's balcony. Hiding in the darkness out of sight, Cyrano will whisper to Christian what he should say. Christian agrees to the plan. The musical pages appear with their lutes. Cyrano puts them on guard duty. They are to play a happy melody if a woman is approaching and a sad one if a man appears. Then Cyrano throws some pebbles at Roxane's window and tells Christian to call her.", "analysis": "Notes Rostand cleverly reveals the methodology that Christian and Cyrano employ to trick Roxane. Cyrano tries to find out from Roxane what mood she is in and what she would like to discuss with Christian. He then coaches the handsome cadet on what to say. Christian, however, is tired of giving canned speeches to his true love. He rebels and says he wants to talk about the subject of love with Roxane on his own. Not surprisingly, he is a miserable failure. In fact, his performance is so pathetic than he seems almost comic. When Christian cannot express himself, Roxane feels he is being foolish and loses interest in him. Desperate to make amends to her, Christian asks for Cyrano's help. The clever Cyrano, who has no time to coach Christian in an appropriate speech, comes up with an alternative plan. From a hiding place in the darkness, he will whisper to Christian what to say as he stands below Roxane's window. Christian agrees to the plan. The vacillation of Christian's feelings for Cyrano is an effective dramatic device that draws the audience closer to Cyrano. When Christian rejects Cyrano's offer of help in preparing a speech about love, the audience is meant to judge Christian as foolish and unappreciative even though they accept that he is only trying to maintain some measure of self-respect. Then when he grovels and asks for Cyrano's help in winning Roxane back, Christian is meant to be judged as weak and pathetic, while Cyrano is seen as generous and helpful."}

Christian, Roxane, the duenna. ROXANE (coming out of Clomire's house, with a company of friends, whom she leaves. Bows and good-byes): Barthenoide!--Alcandre!--Gremione!-- THE DUENNA (bitterly disappointed): We've missed the speech upon the Tender Passion! (Goes into Roxane's house.) ROXANE (still bowing): Urimedonte--adieu! (All bow to Roxane and to each other, and then separate, going up different streets. Roxane suddenly seeing Christian): You! (She goes to him): Evening falls. Let's sit. Speak on. I listen. CHRISTIAN (sits by her on the bench. A silence): Oh! I love you! ROXANE (shutting her eyes): Ay, speak to me of love. CHRISTIAN: I love thee! ROXANE: That's The theme! But vary it. CHRISTIAN: I. . . ROXANE: Vary it! CHRISTIAN: I love you so! ROXANE: Oh! without doubt!--and then?. . . CHRISTIAN: And then--I should be--oh!--so glad--so glad If you would love me!--Roxane, tell me so! ROXANE (with a little grimace): I hoped for cream,--you give me gruel! Say How love possesses you? CHRISTIAN: Oh utterly! ROXANE: Come, come!. . .unknot those tangled sentiments! CHRISTIAN: Your throat I'd kiss it! ROXANE: Christian! CHRISTIAN: I love thee! ROXANE (half-rising): Again! CHRISTIAN (eagerly, detaining her): No, no! I love thee not! ROXANE (reseating herself): 'Tis well! CHRISTIAN: But I adore thee! ROXANE (rising, and going further off): Oh! CHRISTIAN: I am grown stupid! ROXANE (dryly): And that displeases me, almost as much As 'twould displease me if you grew ill-favored. CHRISTIAN: But. . . ROXANE: Rally your poor eloquence that's flown! CHRISTIAN: I. . . ROXANE: Yes, you love me, that I know. Adieu. (She goes toward her house.) CHRISTIAN: Oh, go not yet! I'd tell you-- ROXANE (opening the door): You adore me? I've heard it very oft. No!--Go away! CHRISTIAN: But I would fain. . . (She shuts the door in his face.) CYRANO (who has re-entered unseen): I' faith! It is successful!

Scene 5

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano30.asp

Before Roxane and her governess depart for the meeting at Clomire's, she asks Cyrano to tell Christian to await her return. Cyrano asks Roxane what subject she desires Christian to discuss today. She says that she wants him to speak about love, but Cyrano must not let Christian know. Of course, Cyrano tries to prepare Christian for the speech as usual. This time, however, Christian rebels against presenting a borrowed speech, wanting to express his own thoughts. Roxane soon returns from Clomire's, for she has missed the discourse on tenderness. She invites Christian to sit on the bench outside her house and elaborate on his sentiment of love. He fails miserably. Roxane, thinking he is being foolish, is displeased with him. She leaves Christian alone on the bench and enters her house. Cyrano, who has been eavesdropping, comes up to Christian and sarcastically congratulates him. Christian, in utter despair, asks for Cyrano's help in wooing Roxane; but it is too late to train Christian in an appropriate speech. Cyrano, however, comes up with another plan. Christian should stand under Roxane's balcony. Hiding in the darkness out of sight, Cyrano will whisper to Christian what he should say. Christian agrees to the plan. The musical pages appear with their lutes. Cyrano puts them on guard duty. They are to play a happy melody if a woman is approaching and a sad one if a man appears. Then Cyrano throws some pebbles at Roxane's window and tells Christian to call her.

Notes Rostand cleverly reveals the methodology that Christian and Cyrano employ to trick Roxane. Cyrano tries to find out from Roxane what mood she is in and what she would like to discuss with Christian. He then coaches the handsome cadet on what to say. Christian, however, is tired of giving canned speeches to his true love. He rebels and says he wants to talk about the subject of love with Roxane on his own. Not surprisingly, he is a miserable failure. In fact, his performance is so pathetic than he seems almost comic. When Christian cannot express himself, Roxane feels he is being foolish and loses interest in him. Desperate to make amends to her, Christian asks for Cyrano's help. The clever Cyrano, who has no time to coach Christian in an appropriate speech, comes up with an alternative plan. From a hiding place in the darkness, he will whisper to Christian what to say as he stands below Roxane's window. Christian agrees to the plan. The vacillation of Christian's feelings for Cyrano is an effective dramatic device that draws the audience closer to Cyrano. When Christian rejects Cyrano's offer of help in preparing a speech about love, the audience is meant to judge Christian as foolish and unappreciative even though they accept that he is only trying to maintain some measure of self-respect. Then when he grovels and asks for Cyrano's help in winning Roxane back, Christian is meant to be judged as weak and pathetic, while Cyrano is seen as generous and helpful.

pinkmonkey

all_chapterized_books/1254-chapters/27.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_23_part_0.txt

Cyrano De Bergerac.act 3.scene 6

scene 6

{"name": "Scene 6", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano30.asp", "summary": "Before Roxane and her governess depart for the meeting at Clomire's, she asks Cyrano to tell Christian to await her return. Cyrano asks Roxane what subject she desires Christian to discuss today. She says that she wants him to speak about love, but Cyrano must not let Christian know. Of course, Cyrano tries to prepare Christian for the speech as usual. This time, however, Christian rebels against presenting a borrowed speech, wanting to express his own thoughts. Roxane soon returns from Clomire's, for she has missed the discourse on tenderness. She invites Christian to sit on the bench outside her house and elaborate on his sentiment of love. He fails miserably. Roxane, thinking he is being foolish, is displeased with him. She leaves Christian alone on the bench and enters her house. Cyrano, who has been eavesdropping, comes up to Christian and sarcastically congratulates him. Christian, in utter despair, asks for Cyrano's help in wooing Roxane; but it is too late to train Christian in an appropriate speech. Cyrano, however, comes up with another plan. Christian should stand under Roxane's balcony. Hiding in the darkness out of sight, Cyrano will whisper to Christian what he should say. Christian agrees to the plan. The musical pages appear with their lutes. Cyrano puts them on guard duty. They are to play a happy melody if a woman is approaching and a sad one if a man appears. Then Cyrano throws some pebbles at Roxane's window and tells Christian to call her.", "analysis": "Notes Rostand cleverly reveals the methodology that Christian and Cyrano employ to trick Roxane. Cyrano tries to find out from Roxane what mood she is in and what she would like to discuss with Christian. He then coaches the handsome cadet on what to say. Christian, however, is tired of giving canned speeches to his true love. He rebels and says he wants to talk about the subject of love with Roxane on his own. Not surprisingly, he is a miserable failure. In fact, his performance is so pathetic than he seems almost comic. When Christian cannot express himself, Roxane feels he is being foolish and loses interest in him. Desperate to make amends to her, Christian asks for Cyrano's help. The clever Cyrano, who has no time to coach Christian in an appropriate speech, comes up with an alternative plan. From a hiding place in the darkness, he will whisper to Christian what to say as he stands below Roxane's window. Christian agrees to the plan. The vacillation of Christian's feelings for Cyrano is an effective dramatic device that draws the audience closer to Cyrano. When Christian rejects Cyrano's offer of help in preparing a speech about love, the audience is meant to judge Christian as foolish and unappreciative even though they accept that he is only trying to maintain some measure of self-respect. Then when he grovels and asks for Cyrano's help in winning Roxane back, Christian is meant to be judged as weak and pathetic, while Cyrano is seen as generous and helpful."}

Christian, Cyrano, two pages. CHRISTIAN: Come to my aid! CYRANO: Not I! CHRISTIAN: But I shall die, Unless at once I win back her fair favor. CYRANO: And how can I, at once, i' th' devil's name, Lesson you in. . . CHRISTIAN (seizing his arm): Oh, she is there! (The window of the balcony is now lighted up.) CYRANO (moved): Her window! CHRISTIAN: Oh! I shall die! CYRANO: Speak lower! CHRISTIAN (in a whisper): I shall die! CYRANO: The night is dark. . . CHRISTIAN: Well! CYRANO: All can be repaired. Although you merit not. Stand there, poor wretch! Fronting the balcony! I'll go beneath And prompt your words to you. . . CHRISTIAN: But. . . CYRANO: Hold your tongue! THE PAGES (reappearing at back--to Cyrano): Ho! CYRANO: Hush! (He signs to them to speak softly.) FIRST PAGE (in a low voice): We've played the serenade you bade To Montfleury! CYRANO (quickly, in a low voice): Go! lurk in ambush there, One at this street corner, and one at that; And if a passer-by should here intrude, Play you a tune! SECOND PAGE: What tune, Sir Gassendist? CYRANO: Gay, if a woman comes,--for a man, sad! (The pages disappear, one at each street corner. To Christian): Call her! CHRISTIAN: Roxane! CYRANO (picking up stones and throwing them at the window): Some pebbles! wait awhile! ROXANE (half-opening the casement): Who calls me? CHRISTIAN: I! ROXANE: Who's that? CHRISTIAN: Christian! ROXANE (disdainfully): Oh! you? CHRISTIAN: I would speak with you. CYRANO (under the balcony--to Christian): Good. Speak soft and low. ROXANE: No, you speak stupidly! CHRISTIAN: Oh, pity me! ROXANE: No! you love me no more! CHRISTIAN (prompted by Cyrano): You say--Great Heaven! I love no more?--when--I--love more and more! ROXANE (who was about to shut the casement, pausing): Hold! 'tis a trifle better! ay, a trifle! CHRISTIAN (same play): Love grew apace, rocked by the anxious beating. . . Of this poor heart, which the cruel wanton boy. . . Took for a cradle! ROXANE (coming out on to the balcony): That is better! But An if you deem that Cupid be so cruel You should have stifled baby-love in's cradle! CHRISTIAN (same play): Ah, Madame, I assayed, but all in vain This. . .new-born babe is a young. . .Hercules! ROXANE: Still better! CHRISTIAN (same play): Thus he strangled in my heart The. . .serpents twain, of. . .Pride. . .and Doubt! ROXANE (leaning over the balcony): Well said! --But why so faltering? Has mental palsy Seized on your faculty imaginative? CYRANO (drawing Christian under the balcony, and slipping into his place): Give place! This waxes critical!. . . ROXANE: To-day. . . Your words are hesitating. CYRANO (imitating Christian--in a whisper): Night has come. . . In the dusk they grope their way to find your ear. ROXANE: But my words find no such impediment. CYRANO: They find their way at once? Small wonder that! For 'tis within my heart they find their home; Bethink how large my heart, how small your ear! And,--from fair heights descending, words fall fast, But mine must mount, Madame, and that takes time! ROXANE: Meseems that your last words have learned to climb. CYRANO: With practice such gymnastic grows less hard! ROXANE: In truth, I seem to speak from distant heights! CYRANO: True, far above; at such a height 'twere death If a hard word from you fell on my heart. ROXANE (moving): I will come down. . . CYRANO (hastily): No! ROXANE (showing him the bench under the balcony): Mount then on the bench! CYRANO (starting back alarmed): No! ROXANE: How, you will not? CYRANO (more and more moved): Stay awhile! 'Tis sweet,. . . The rare occasion, when our hearts can speak Our selves unseen, unseeing! ROXANE: Why--unseen? CYRANO: Ay, it is sweet! Half hidden,--half revealed-- You see the dark folds of my shrouding cloak, And I, the glimmering whiteness of your dress: I but a shadow--you a radiance fair! Know you what such a moment holds for me? If ever I were eloquent. . . ROXANE: You were! CYRANO: Yet never till to-night my speech has sprung Straight from my heart as now it springs. ROXANE: Why not? CYRANO: Till now I spoke haphazard. . . ROXANE: What? CYRANO: Your eyes Have beams that turn men dizzy!--But to-night Methinks I shall find speech for the first time! ROXANE: 'Tis true, your voice rings with a tone that's new. CYRANO (coming nearer, passionately): Ay, a new tone! In the tender, sheltering dusk I dare to be myself for once,--at last! (He stops, falters): What say I? I know not!--Oh, pardon me-- It thrills me,--'tis so sweet, so novel. . . ROXANE: How? So novel? CYRANO (off his balance, trying to find the thread of his sentence): Ay,--to be at last sincere; Till now, my chilled heart, fearing to be mocked. . . ROXANE: Mocked, and for what? CYRANO: For its mad beating!--Ay, My heart has clothed itself with witty words, To shroud itself from curious eyes:--impelled At times to aim at a star, I stay my hand, And, fearing ridicule,--cull a wild flower! ROXANE: A wild flower's sweet. CYRANO: Ay, but to-night--the star! ROXANE: Oh! never have you spoken thus before! CYRANO: If, leaving Cupid's arrows, quivers, torches, We turned to seek for sweeter--fresher things! Instead of sipping in a pygmy glass Dull fashionable waters,--did we try How the soul slakes its thirst in fearless draught By drinking from the river's flooding brim! ROXANE: But wit?. . . CYRANO: If I have used it to arrest you At the first starting,--now, 'twould be an outrage, An insult--to the perfumed Night--to Nature-- To speak fine words that garnish vain love-letters! Look up but at her stars! The quiet Heaven Will ease our hearts of all things artificial; I fear lest, 'midst the alchemy we're skilled in The truth of sentiment dissolve and vanish,-- The soul exhausted by these empty pastimes, The gain of fine things be the loss of all things! ROXANE: But wit? I say. . . CYRANO: In love 'tis crime,--'tis hateful! Turning frank loving into subtle fencing! At last the moment comes, inevitable,-- --Oh, woe for those who never know that moment! When feeling love exists in us, ennobling, Each well-weighed word is futile and soul-saddening! ROXANE: Well, if that moment's come for us--suppose it! What words would serve you? CYRANO: All, all, all, whatever That came to me, e'en as they came, I'd fling them In a wild cluster, not a careful bouquet. I love thee! I am mad! I love, I stifle! Thy name is in my heart as in a sheep-bell, And as I ever tremble, thinking of thee, Ever the bell shakes, ever thy name ringeth! All things of thine I mind, for I love all things; I know that last year on the twelfth of May-month, To walk abroad, one day you changed your hair-plaits! I am so used to take your hair for daylight That,--like as when the eye stares on the sun's disk, One sees long after a red blot on all things-- So, when I quit thy beams, my dazzled vision Sees upon all things a blonde stain imprinted. ROXANE (agitated): Why, this is love indeed!. . . CYRANO: Ay, true, the feeling Which fills me, terrible and jealous, truly Love,--which is ever sad amid its transports! Love,--and yet, strangely, not a selfish passion! I for your joy would gladly lay mine own down, --E'en though you never were to know it,--never! --If but at times I might--far off and lonely,-- Hear some gay echo of the joy I bought you! Each glance of thine awakes in me a virtue,-- A novel, unknown valor. Dost begin, sweet, To understand? So late, dost understand me? Feel'st thou my soul, here, through the darkness mounting? Too fair the night! Too fair, too fair the moment! That I should speak thus, and that you should hearken! Too fair! In moments when my hopes rose proudest, I never hoped such guerdon. Naught is left me But to die now! Have words of mine the power To make you tremble,--throned there in the branches? Ay, like a leaf among the leaves, you tremble! You tremble! For I feel,--an if you will it, Or will it not,--your hand's beloved trembling Thrill through the branches, down your sprays of jasmine! (He kisses passionately one of the hanging tendrils.) ROXANE: Ay! I am trembling, weeping!--I am thine! Thou hast conquered all of me! CYRANO: Then let death come! 'Tis I, 'tis I myself, who conquered thee! One thing, but one, I dare to ask-- CHRISTIAN (under the balcony): A kiss! ROXANE (drawing back): What? CYRANO: Oh! ROXANE: You ask. . .? CYRANO: I. . . (To Christian, whispering): Fool! you go too quick! CHRISTIAN: Since she is moved thus--I will profit by it! CYRANO (to Roxane): My words sprang thoughtlessly, but now I see-- Shame on me!--I was too presumptuous. ROXANE (a little chilled): How quickly you withdraw. CYRANO: Yes, I withdraw Without withdrawing! Hurt I modesty? If so--the kiss I asked--oh, grant it not. CHRISTIAN (to Cyrano, pulling him by his cloak): Why? CYRANO: Silence, Christian! Hush! ROXANE (leaning over): What whisper you? CYRANO: I chid myself for my too bold advances; Said, 'Silence, Christian!' (The lutes begin to play): Hark! Wait awhile,. . . Steps come! (Roxane shuts the window. Cyrano listens to the lutes, one of which plays a merry, the other a melancholy, tune): Why, they play sad--then gay--then sad! What? Neither man nor woman?--oh! a monk! (Enter a capuchin friar, with a lantern. He goes from house to house, looking at every door.)

Scene 6

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano30.asp

Before Roxane and her governess depart for the meeting at Clomire's, she asks Cyrano to tell Christian to await her return. Cyrano asks Roxane what subject she desires Christian to discuss today. She says that she wants him to speak about love, but Cyrano must not let Christian know. Of course, Cyrano tries to prepare Christian for the speech as usual. This time, however, Christian rebels against presenting a borrowed speech, wanting to express his own thoughts. Roxane soon returns from Clomire's, for she has missed the discourse on tenderness. She invites Christian to sit on the bench outside her house and elaborate on his sentiment of love. He fails miserably. Roxane, thinking he is being foolish, is displeased with him. She leaves Christian alone on the bench and enters her house. Cyrano, who has been eavesdropping, comes up to Christian and sarcastically congratulates him. Christian, in utter despair, asks for Cyrano's help in wooing Roxane; but it is too late to train Christian in an appropriate speech. Cyrano, however, comes up with another plan. Christian should stand under Roxane's balcony. Hiding in the darkness out of sight, Cyrano will whisper to Christian what he should say. Christian agrees to the plan. The musical pages appear with their lutes. Cyrano puts them on guard duty. They are to play a happy melody if a woman is approaching and a sad one if a man appears. Then Cyrano throws some pebbles at Roxane's window and tells Christian to call her.

Notes Rostand cleverly reveals the methodology that Christian and Cyrano employ to trick Roxane. Cyrano tries to find out from Roxane what mood she is in and what she would like to discuss with Christian. He then coaches the handsome cadet on what to say. Christian, however, is tired of giving canned speeches to his true love. He rebels and says he wants to talk about the subject of love with Roxane on his own. Not surprisingly, he is a miserable failure. In fact, his performance is so pathetic than he seems almost comic. When Christian cannot express himself, Roxane feels he is being foolish and loses interest in him. Desperate to make amends to her, Christian asks for Cyrano's help. The clever Cyrano, who has no time to coach Christian in an appropriate speech, comes up with an alternative plan. From a hiding place in the darkness, he will whisper to Christian what to say as he stands below Roxane's window. Christian agrees to the plan. The vacillation of Christian's feelings for Cyrano is an effective dramatic device that draws the audience closer to Cyrano. When Christian rejects Cyrano's offer of help in preparing a speech about love, the audience is meant to judge Christian as foolish and unappreciative even though they accept that he is only trying to maintain some measure of self-respect. Then when he grovels and asks for Cyrano's help in winning Roxane back, Christian is meant to be judged as weak and pathetic, while Cyrano is seen as generous and helpful.

pinkmonkey

all_chapterized_books/1254-chapters/28.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_24_part_0.txt

Cyrano De Bergerac.act 3.scene 7

scene 7

{"name": "Scene 7", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano31.asp", "summary": "As planned, Christian stands under Roxane's balcony and repeats the words that Cyrano tells him from his hiding place in the darkness. Although it is a wonderful figurative speech about love and its effects, Roxane is not pleased with its delivery. Christian speaks very haltingly, for he must constantly wait for Cyrano's prompting. Realizing what is happening, Cyrano, still under the cover of darkness, takes over. He imitates Christian's voice and gives full vent to his great passion in brilliant poetic imagery. In the end, he gives a sincere confession of his great love and what he would do for Roxane. She responds by declaring her intoxication for him. At this point, Christian jumps back in and asks for a kiss. Roxane responds by drawing back. The awkwardness of the moment is relieved when suddenly the pages play their warning music. Since it seems to be both a happy and sad tune at once, Cyrano fails to understand whether the person approaching is a man or a woman. He understands, however, when he sees a Capuchin monk, a rather sexless figure, coming towards him.", "analysis": "Notes This humorous balcony scene, filled with dramatic irony, has become quite famous. Cyrano hides in the darkness marvelously expressing his true emotions for Roxane. His speech is filled with sensory images and comparisons, such as calling his heart a bell. It is Christian, however, who delivers the words of love to Roxane. Of course, since he has to wait for Cyrano's prompting, Christian's delivery of the message is very poor; he continually halts and hesitates. Not able to stand his own words being butchered, Cyrano jumps in. Disguising his voice to sound like Christian, he actually tells Roxane how he feels for her. Roxane, of course, thinks it is Christian speaking. Roxane is intoxicated by Cyrano's lovely words and expresses her feelings of love. Sadly, the words of love are aimed at Christian. The irony of the scene is obvious. Cyrano has longed to woo Roxane, whom he dearly loves, but he is too ashamed of his ugly appearance to approach her. Now he has the golden opportunity to speak his true emotions from the heart - first with Christian as the mouthpiece and then using his own disguised voice. He has dreamed about being able to express his love directly to Roxane, but he never believed it would happen. Now that he is speaking to her, even though it under cover of darkness and hypocrisy, he gets carried away. It is surprising that a close analysis of Cyrano's words reveal that he is skeptical of the ability of language to convey emotions. Half way through his romantic discourse he calls it \"daintily sipping stale sentimentality from ornate golden cups\" and tries to turn to \"fresher things\" from the river of love. Rostand, through Cyrano, shows that he is well aware of some of the trite images he has used, and his purpose seems to be as much to educate the audience about pretentious language as to turn Roxane's attention from sentimentality to a deeper more sincere expression of emotion. Just as the scene seems to reach excess, the talented Rostand makes Christian interrupt. He shocks Roxane by asking her for a kiss, which she refuses to give. The awkwardness of the moment is cleverly dispelled by the re-entry of the musical pages. When they see a Capuchin monk approaching, they want to play a musical warning, as they promised they would do; however, since they cannot decide whether to play a happy song, indicating a female, or a sad song, indicating a male, they play a song that is both happy and sad. Cyrano is totally confused until he sees the monk approaching. He then understands the mixed signal of the musicians."}

Cyrano, Christian, a capuchin friar. CYRANO (to the friar): What do you, playing at Diogenes? THE FRIAR: I seek the house of Madame. . . CHRISTIAN: Oh! plague take him! THE FRIAR: Madeleine Robin. . . CHRISTIAN: What would he?. . . CYRANO (pointing to a street at the back): This way! Straight on. . . THE FRIAR I thank you, and, in your intention Will tell my rosary to its last bead. (He goes out.) CYRANO: Good luck! My blessings rest upon your cowl! (He goes back to Christian.)

Scene 7

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano31.asp

As planned, Christian stands under Roxane's balcony and repeats the words that Cyrano tells him from his hiding place in the darkness. Although it is a wonderful figurative speech about love and its effects, Roxane is not pleased with its delivery. Christian speaks very haltingly, for he must constantly wait for Cyrano's prompting. Realizing what is happening, Cyrano, still under the cover of darkness, takes over. He imitates Christian's voice and gives full vent to his great passion in brilliant poetic imagery. In the end, he gives a sincere confession of his great love and what he would do for Roxane. She responds by declaring her intoxication for him. At this point, Christian jumps back in and asks for a kiss. Roxane responds by drawing back. The awkwardness of the moment is relieved when suddenly the pages play their warning music. Since it seems to be both a happy and sad tune at once, Cyrano fails to understand whether the person approaching is a man or a woman. He understands, however, when he sees a Capuchin monk, a rather sexless figure, coming towards him.

Notes This humorous balcony scene, filled with dramatic irony, has become quite famous. Cyrano hides in the darkness marvelously expressing his true emotions for Roxane. His speech is filled with sensory images and comparisons, such as calling his heart a bell. It is Christian, however, who delivers the words of love to Roxane. Of course, since he has to wait for Cyrano's prompting, Christian's delivery of the message is very poor; he continually halts and hesitates. Not able to stand his own words being butchered, Cyrano jumps in. Disguising his voice to sound like Christian, he actually tells Roxane how he feels for her. Roxane, of course, thinks it is Christian speaking. Roxane is intoxicated by Cyrano's lovely words and expresses her feelings of love. Sadly, the words of love are aimed at Christian. The irony of the scene is obvious. Cyrano has longed to woo Roxane, whom he dearly loves, but he is too ashamed of his ugly appearance to approach her. Now he has the golden opportunity to speak his true emotions from the heart - first with Christian as the mouthpiece and then using his own disguised voice. He has dreamed about being able to express his love directly to Roxane, but he never believed it would happen. Now that he is speaking to her, even though it under cover of darkness and hypocrisy, he gets carried away. It is surprising that a close analysis of Cyrano's words reveal that he is skeptical of the ability of language to convey emotions. Half way through his romantic discourse he calls it "daintily sipping stale sentimentality from ornate golden cups" and tries to turn to "fresher things" from the river of love. Rostand, through Cyrano, shows that he is well aware of some of the trite images he has used, and his purpose seems to be as much to educate the audience about pretentious language as to turn Roxane's attention from sentimentality to a deeper more sincere expression of emotion. Just as the scene seems to reach excess, the talented Rostand makes Christian interrupt. He shocks Roxane by asking her for a kiss, which she refuses to give. The awkwardness of the moment is cleverly dispelled by the re-entry of the musical pages. When they see a Capuchin monk approaching, they want to play a musical warning, as they promised they would do; however, since they cannot decide whether to play a happy song, indicating a female, or a sad song, indicating a male, they play a song that is both happy and sad. Cyrano is totally confused until he sees the monk approaching. He then understands the mixed signal of the musicians.

pinkmonkey

all_chapterized_books/1254-chapters/29.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_25_part_0.txt

Cyrano De Bergerac.act 3.scene 8

scene 8

{"name": "Scene 8", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano32.asp", "summary": "The monk is looking for Roxane's house, but Cyrano coolly and cleverly misdirects him. The monk blesses Cyrano and goes merrily on his way. Christian reminds Cyrano to ask Roxane for a kiss once again. Although the audience realizes that the embrace will be painful for Cyrano, he sees the inevitability of these two attractive young people coming together. He also knows that his words have made their coming together a reality.", "analysis": "Notes The Capuchin monk being misdirected and then blessing Cyrano for his guidance is a light, humorous moment in the play. The moment is spoiled with Christian's insistence on receiving a kiss from Roxane. He instructs Cyrano that he needs to again speak in the voice of Christian and ask Roxane for the embrace one more time. Cyrano's resigned tone and his checked hope are both aimed at making the audience sympathize with Cyrano, who is the more deserving person."}

Cyrano, Christian. CHRISTIAN: Oh! win for me that kiss. . . CYRANO: No! CHRISTIAN: Soon or late!. . . CYRANO: 'Tis true! The moment of intoxication-- Of madness,--when your mouths are sure to meet Thanks to your fair mustache--and her rose lips! (To himself): I'd fainer it should come thanks to. . . (A sound of shutters reopening. Christian goes in again under the balcony.)

Scene 8

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano32.asp

The monk is looking for Roxane's house, but Cyrano coolly and cleverly misdirects him. The monk blesses Cyrano and goes merrily on his way. Christian reminds Cyrano to ask Roxane for a kiss once again. Although the audience realizes that the embrace will be painful for Cyrano, he sees the inevitability of these two attractive young people coming together. He also knows that his words have made their coming together a reality.

Notes The Capuchin monk being misdirected and then blessing Cyrano for his guidance is a light, humorous moment in the play. The moment is spoiled with Christian's insistence on receiving a kiss from Roxane. He instructs Cyrano that he needs to again speak in the voice of Christian and ask Roxane for the embrace one more time. Cyrano's resigned tone and his checked hope are both aimed at making the audience sympathize with Cyrano, who is the more deserving person.

pinkmonkey

all_chapterized_books/1254-chapters/30.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_26_part_0.txt

Cyrano De Bergerac.act 3.scene 9

scene 9

{"name": "Scene 9", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano32.asp", "summary": "The monk is looking for Roxane's house, but Cyrano coolly and cleverly misdirects him. The monk blesses Cyrano and goes merrily on his way. Christian reminds Cyrano to ask Roxane for a kiss once again. Although the audience realizes that the embrace will be painful for Cyrano, he sees the inevitability of these two attractive young people coming together. He also knows that his words have made their coming together a reality.", "analysis": "Notes The Capuchin monk being misdirected and then blessing Cyrano for his guidance is a light, humorous moment in the play. The moment is spoiled with Christian's insistence on receiving a kiss from Roxane. He instructs Cyrano that he needs to again speak in the voice of Christian and ask Roxane for the embrace one more time. Cyrano's resigned tone and his checked hope are both aimed at making the audience sympathize with Cyrano, who is the more deserving person."}

Cyrano, Christian, Roxane. ROXANE (coming out on the balcony): Still there? We spoke of a. . . CYRANO: A kiss! The word is sweet. I see not why your lip should shrink from it; If the word burns it,--what would the kiss do? Oh! let it not your bashfulness affright; Have you not, all this time, insensibly, Left badinage aside, and unalarmed Glided from smile to sigh,--from sigh to weeping? Glide gently, imperceptibly, still onward-- From tear to kiss,--a moment's thrill!--a heartbeat! ROXANE: Hush! hush! CYRANO: A kiss, when all is said,--what is it? An oath that's ratified,--a sealed promise, A heart's avowal claiming confirmation,-- A rose-dot on the 'i' of 'adoration,'-- A secret that to mouth, not ear, is whispered,-- Brush of a bee's wing, that makes time eternal,-- Communion perfumed like the spring's wild flowers,-- The heart's relieving in the heart's outbreathing, When to the lips the soul's flood rises, brimming! ROXANE: Hush! hush! CYRANO: A kiss, Madame, is honorable: The Queen of France, to a most favored lord Did grant a kiss--the Queen herself! ROXANE: What then? CYRANO (speaking more warmly): Buckingham suffered dumbly,--so have I,-- Adored his Queen, as loyally as I,-- Was sad, but faithful,--so am I. . . ROXANE: And you Are fair as Buckingham! CYRANO (aside--suddenly cooled): True,--I forgot! ROXANE: Must I then bid thee mount to cull this flower? CYRANO (pushing Christian toward the balcony): Mount! ROXANE: This heart-breathing!. . . CYRANO: Mount! ROXANE: This brush of bee's wing!. . . CYRANO: Mount! CHRISTIAN (hesitating): But I feel now, as though 'twere ill done! ROXANE: This moment infinite!. . . CYRANO (still pushing him): Come, blockhead, mount! (Christian springs forward, and by means of the bench, the branches, and the pillars, climbs to the balcony and strides over it.) CHRISTIAN: Ah, Roxane! (He takes her in his arms, and bends over her lips.) CYRANO: Aie! Strange pain that wrings my heart! The kiss, love's feast, so near! I, Lazarus, Lie at the gate in darkness. Yet to me Falls still a crumb or two from the rich man's board-- Ay, 'tis my heart receives thee, Roxane--mine! For on the lips you press you kiss as well The words I spoke just now!--my words--my words! (The lutes play): A sad air,--a gay air: the monk! (He begins to run as if he came from a long way off, and cries out): Hola! ROXANE: Who is it? CYRANO: I--I was but passing by. . . Is Christian there? CHRISTIAN (astonished): Cyrano! ROXANE: Good-day, cousin! CYRANO: Cousin, good-day! ROXANE: I'm coming! (She disappears into the house. At the back re-enter the friar.) CHRISTIAN (seeing him): Back again! (He follows Roxane.)

Scene 9

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano32.asp

The monk is looking for Roxane's house, but Cyrano coolly and cleverly misdirects him. The monk blesses Cyrano and goes merrily on his way. Christian reminds Cyrano to ask Roxane for a kiss once again. Although the audience realizes that the embrace will be painful for Cyrano, he sees the inevitability of these two attractive young people coming together. He also knows that his words have made their coming together a reality.

Notes The Capuchin monk being misdirected and then blessing Cyrano for his guidance is a light, humorous moment in the play. The moment is spoiled with Christian's insistence on receiving a kiss from Roxane. He instructs Cyrano that he needs to again speak in the voice of Christian and ask Roxane for the embrace one more time. Cyrano's resigned tone and his checked hope are both aimed at making the audience sympathize with Cyrano, who is the more deserving person.

pinkmonkey

all_chapterized_books/1254-chapters/31.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_27_part_0.txt

Cyrano De Bergerac.act 3.scene 10

scene 10

{"name": "Scene 10", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano33.asp", "summary": "When Roxane opens the window again, Cyrano resumes talking in Christian's voice, giving a charming dissertation on a kiss. Roxane is so stirred by the words that she wants Christian to immediately come up and give her that \"matchless flower... of communion.\" Cyrano pushes Christian up towards the balcony so Christian can kiss the true love of them both. Cyrano interrupts Roxane and Christian, for the monk is returning, as signaled by the pages. Roxane offers to come down and see the monk, who is angry for being misled by Cyrano. The monk has been trying to find Roxane, for he has a letter for her, written and sent by De Guiche. Roxane reads the letter. De Guiche explains that he has not gone to Arras; instead, he has stayed behind in order to visit with Roxane, who is horrified at the news. She decides to do something rash. She will take advantage of the moment and the monk's presence. She tells the monk that the letter instructs him to marry her to Christian at once, for Cardinal Richelieu has ordered it. She pretends to oppose the idea and seems to be reluctant to go into the house to be married. Of course, she has really masterminded the whole thing. As she enters the house for the wedding, Roxane turns to Cyrano and asks him to delay De Guiche's arrival.", "analysis": "Notes The dramatic irony of the play continues to build in these scenes. While expounding on the meaning of a kiss in Christian's voice, Cyrano is really declaring his own love for Roxane. He states that a kiss is \"a seal on the pact that has already been signed\" and \"a secret told to the mouth rather than the ear.\" He then speaks of a kiss as \"the hush of eternity\" and the \"fragrance of a flower,\" word images that reveal how Cyrano can fuse the senses into a total experience of sound and smell. The words of Cyrano, spoken by Christian, are so moving that Roxane calls Christian to come up on her balcony and give her a kiss at once. The kind Cyrano, whose heart must be breaking, gives Christian a boost to get up on the balcony so he can seal his love for Roxane. As the handsome couple embraces, Cyrano vicariously experiences the kiss, knowing that Roxane is rewarding Christian because of Cyrano's words. He also accepts the inevitability of an attraction between this handsome man and woman. Neither Cyrano nor Christian is prepared for what happens next. When the monk returns and gives Roxane a letter from De Guiche, she cleverly comes up with an astounding plan. Although the letter states that De Guiche has not gone to Arras in order to be with Roxane, she tells the monk that the letter states that she should marry Christian immediately, on the orders of Cardinal Richelieu. She proves she is a good actress, for she pretends to be very reluctant to go inside and have the monk carry out the orders. The simple-minded monk is tricked once again. He goes inside to perform the ceremony while Cyrano waits outside to delay De Guiche, as Roxane has asked him to do. It is not perfectly clear why Roxane decides to marry Christian in haste. Although the words of Cyrano and the kiss of Christian have raised her to a feverish pitch, she is normally a clever and intelligent woman. Unless love has totally clouded her mind, it must be assumed that she is frightened by the intentions of De Guiche, whom she knows is a very powerful man who usually gets his way. By marrying Christian, she can put a real roadblock in De Guiche's plans for her. And of course, she has always found Christian extremely attractive, ever since the moment she first laid eyes on him in the theater in the first act."}

Cyrano, Christian, Roxane, the friar, Ragueneau. THE FRIAR: 'Tis here,--I'm sure of it--Madame Madeleine Robin. CYRANO: Why, you said Ro-LIN. THE FRIAR: No, not I. B,I,N,BIN! ROXANE (appearing on the threshold, followed by Ragueneau, who carries a lantern, and Christian): What is't? THE FRIAR: A letter. CHRISTIAN: What? THE FRIAR (to Roxane): Oh, it can boot but a holy business! 'Tis from a worthy lord. . . ROXANE (to Christian): De Guiche! CHRISTIAN: He dares. . . ROXANE: Oh, he will not importune me forever! (Unsealing the letter): I love you,--therefore-- (She reads in a low voice by the aid of Ragueneau's lantern): 'Lady, The drums beat; My regiment buckles its harness on And starts; but I,--they deem me gone before-- But I stay. I have dared to disobey Your mandate. I am here in convent walls. I come to you to-night. By this poor monk-- A simple fool who knows not what he bears-- I send this missive to apprise your ear. Your lips erewhile have smiled on me, too sweet: I go not ere I've seen them once again! I would be private; send each soul away, Receive alone him,--whose great boldness you Have deigned, I hope, to pardon, ere he asks,-- He who is ever your--et cetera.' (To the monk): Father, this is the matter of the letter:-- (All come near her, and she reads aloud): 'Lady, The Cardinal's wish is law; albeit It be to you unwelcome. For this cause I send these lines--to your fair ear addressed-- By a holy man, discreet, intelligent: It is our will that you receive from him, In your own house, the marriage (She turns the page): benediction Straightway, this night. Unknown to all the world Christian becomes your husband. Him we send. He is abhorrent to your choice. Let be. Resign yourself, and this obedience Will be by Heaven well recompensed. Receive, Fair lady, all assurance of respect, From him who ever was, and still remains, Your humble and obliged--et cetera.' THE FRIAR (with great delight): O worthy lord! I knew naught was to fear; It could be but holy business! ROXANE (to Christian, in a low voice): Am I not apt at reading letters? CHRISTIAN: Hum! ROXANE (aloud, with despair): But this is horrible! THE FRIAR (who has turned his lantern on Cyrano): 'Tis you? CHRISTIAN: 'Tis I! THE FRIAR (turning the light on to him, and as if a doubt struck him on seeing his beauty): But. . . ROXANE (quickly): I have overlooked the postscript--see:-- 'Give twenty pistoles for the Convent.' THE FRIAR: . . .Oh! Most worthy lord! (To Roxane): Submit you? ROXANE (with a martyr's look): I submit! (While Ragueneau opens the door, and Christian invites the friar to enter, she whispers to Cyrano): Oh, keep De Guiche at bay! He will be here! Let him not enter till. . . CYRANO: I understand! (To the friar): What time need you to tie the marriage-knot? THE FRIAR: A quarter of an hour. CYRANO (pushing them all toward the house): Go! I stay. ROXANE (to Christian): Come!. . . (They enter.) CYRANO: Now, how to detain De Guiche so long? (He jumps on the bench, climbs to the balcony by the wall): Come!. . .up I go!. . .I have my plan!. . . (The lutes begin to play a very sad air): What, ho! (The tremolo grows more and more weird): It is a man! ay! 'tis a man this time! (He is on the balcony, pulls his hat over his eyes, takes off his sword, wraps himself in his cloak, then leans over): 'Tis not too high! (He strides across the balcony, and drawing to him a long branch of one of the trees that are by the garden wall, he hangs on to it with both hands, ready to let himself fall): I'll shake this atmosphere!

Scene 10

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano33.asp

When Roxane opens the window again, Cyrano resumes talking in Christian's voice, giving a charming dissertation on a kiss. Roxane is so stirred by the words that she wants Christian to immediately come up and give her that "matchless flower... of communion." Cyrano pushes Christian up towards the balcony so Christian can kiss the true love of them both. Cyrano interrupts Roxane and Christian, for the monk is returning, as signaled by the pages. Roxane offers to come down and see the monk, who is angry for being misled by Cyrano. The monk has been trying to find Roxane, for he has a letter for her, written and sent by De Guiche. Roxane reads the letter. De Guiche explains that he has not gone to Arras; instead, he has stayed behind in order to visit with Roxane, who is horrified at the news. She decides to do something rash. She will take advantage of the moment and the monk's presence. She tells the monk that the letter instructs him to marry her to Christian at once, for Cardinal Richelieu has ordered it. She pretends to oppose the idea and seems to be reluctant to go into the house to be married. Of course, she has really masterminded the whole thing. As she enters the house for the wedding, Roxane turns to Cyrano and asks him to delay De Guiche's arrival.

Notes The dramatic irony of the play continues to build in these scenes. While expounding on the meaning of a kiss in Christian's voice, Cyrano is really declaring his own love for Roxane. He states that a kiss is "a seal on the pact that has already been signed" and "a secret told to the mouth rather than the ear." He then speaks of a kiss as "the hush of eternity" and the "fragrance of a flower," word images that reveal how Cyrano can fuse the senses into a total experience of sound and smell. The words of Cyrano, spoken by Christian, are so moving that Roxane calls Christian to come up on her balcony and give her a kiss at once. The kind Cyrano, whose heart must be breaking, gives Christian a boost to get up on the balcony so he can seal his love for Roxane. As the handsome couple embraces, Cyrano vicariously experiences the kiss, knowing that Roxane is rewarding Christian because of Cyrano's words. He also accepts the inevitability of an attraction between this handsome man and woman. Neither Cyrano nor Christian is prepared for what happens next. When the monk returns and gives Roxane a letter from De Guiche, she cleverly comes up with an astounding plan. Although the letter states that De Guiche has not gone to Arras in order to be with Roxane, she tells the monk that the letter states that she should marry Christian immediately, on the orders of Cardinal Richelieu. She proves she is a good actress, for she pretends to be very reluctant to go inside and have the monk carry out the orders. The simple-minded monk is tricked once again. He goes inside to perform the ceremony while Cyrano waits outside to delay De Guiche, as Roxane has asked him to do. It is not perfectly clear why Roxane decides to marry Christian in haste. Although the words of Cyrano and the kiss of Christian have raised her to a feverish pitch, she is normally a clever and intelligent woman. Unless love has totally clouded her mind, it must be assumed that she is frightened by the intentions of De Guiche, whom she knows is a very powerful man who usually gets his way. By marrying Christian, she can put a real roadblock in De Guiche's plans for her. And of course, she has always found Christian extremely attractive, ever since the moment she first laid eyes on him in the theater in the first act.

pinkmonkey

all_chapterized_books/1254-chapters/32.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_28_part_0.txt

Cyrano De Bergerac.act 3.scene 11

scene 11

{"name": "Scene 11", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano33.asp", "summary": "When Roxane opens the window again, Cyrano resumes talking in Christian's voice, giving a charming dissertation on a kiss. Roxane is so stirred by the words that she wants Christian to immediately come up and give her that \"matchless flower... of communion.\" Cyrano pushes Christian up towards the balcony so Christian can kiss the true love of them both. Cyrano interrupts Roxane and Christian, for the monk is returning, as signaled by the pages. Roxane offers to come down and see the monk, who is angry for being misled by Cyrano. The monk has been trying to find Roxane, for he has a letter for her, written and sent by De Guiche. Roxane reads the letter. De Guiche explains that he has not gone to Arras; instead, he has stayed behind in order to visit with Roxane, who is horrified at the news. She decides to do something rash. She will take advantage of the moment and the monk's presence. She tells the monk that the letter instructs him to marry her to Christian at once, for Cardinal Richelieu has ordered it. She pretends to oppose the idea and seems to be reluctant to go into the house to be married. Of course, she has really masterminded the whole thing. As she enters the house for the wedding, Roxane turns to Cyrano and asks him to delay De Guiche's arrival.", "analysis": "Notes The dramatic irony of the play continues to build in these scenes. While expounding on the meaning of a kiss in Christian's voice, Cyrano is really declaring his own love for Roxane. He states that a kiss is \"a seal on the pact that has already been signed\" and \"a secret told to the mouth rather than the ear.\" He then speaks of a kiss as \"the hush of eternity\" and the \"fragrance of a flower,\" word images that reveal how Cyrano can fuse the senses into a total experience of sound and smell. The words of Cyrano, spoken by Christian, are so moving that Roxane calls Christian to come up on her balcony and give her a kiss at once. The kind Cyrano, whose heart must be breaking, gives Christian a boost to get up on the balcony so he can seal his love for Roxane. As the handsome couple embraces, Cyrano vicariously experiences the kiss, knowing that Roxane is rewarding Christian because of Cyrano's words. He also accepts the inevitability of an attraction between this handsome man and woman. Neither Cyrano nor Christian is prepared for what happens next. When the monk returns and gives Roxane a letter from De Guiche, she cleverly comes up with an astounding plan. Although the letter states that De Guiche has not gone to Arras in order to be with Roxane, she tells the monk that the letter states that she should marry Christian immediately, on the orders of Cardinal Richelieu. She proves she is a good actress, for she pretends to be very reluctant to go inside and have the monk carry out the orders. The simple-minded monk is tricked once again. He goes inside to perform the ceremony while Cyrano waits outside to delay De Guiche, as Roxane has asked him to do. It is not perfectly clear why Roxane decides to marry Christian in haste. Although the words of Cyrano and the kiss of Christian have raised her to a feverish pitch, she is normally a clever and intelligent woman. Unless love has totally clouded her mind, it must be assumed that she is frightened by the intentions of De Guiche, whom she knows is a very powerful man who usually gets his way. By marrying Christian, she can put a real roadblock in De Guiche's plans for her. And of course, she has always found Christian extremely attractive, ever since the moment she first laid eyes on him in the theater in the first act."}

Cyrano, De Guiche. DE GUICHE (who enters, masked, feeling his way in the dark): What can that cursed Friar be about? CYRANO: The devil!. . .If he knows my voice! (Letting go with one hand, he pretends to turn an invisible key. Solemnly): Cric! Crac! Assume thou, Cyrano, to serve the turn, The accent of thy native Bergerac!. . . DE GUICHE (looking at the house): 'Tis there. I see dim,--this mask hinders me! (He is about to enter, when Cyrano leaps from the balcony, holding on to the branch, which bends, dropping him between the door and De Guiche; he pretends to fall heavily, as from a great height, and lies flat on the ground, motionless, as if stunned. De Guiche starts back): What's this? (When he looks up, the branch has sprung back into its place. He sees only the sky, and is lost in amazement): Where fell that man from? CYRANO (sitting up, and speaking with a Gascon accent): From the moon! DE GUICHE: From?. . . CYRANO (in a dreamy voice): What's o'clock? DE GUICHE: He's lost his mind, for sure! CYRANO: What hour? What country this? What month? What day? DE GUICHE: But. . . CYRANO: I am stupefied! DE GUICHE: Sir! CYRANO: Like a bomb I fell from the moon! DE GUICHE (impatiently): Come now! CYRANO (rising, in a terrible voice): I say,--the moon! DE GUICHE (recoiling): Good, good! let it be so!. . .He's raving mad! CYRANO (walking up to him): I say from the moon! I mean no metaphor!. . . DE GUICHE: But. . . CYRANO: Was't a hundred years--a minute, since? --I cannot guess what time that fall embraced!-- That I was in that saffron-colored ball? DE GUICHE (shrugging his shoulders): Good! let me pass! CYRANO (intercepting him): Where am I? Tell the truth! Fear not to tell! Oh, spare me not! Where? where? Have I fallen like a shooting star? DE GUICHE: Morbleu! CYRANO: The fall was lightning-quick! no time to choose Where I should fall--I know not where it be! Oh, tell me! Is it on a moon or earth, that my posterior weight has landed me? DE GUICHE: I tell you, Sir. . . CYRANO (with a screech of terror, which makes De Guiche start back): No? Can it be? I'm on A planet where men have black faces? DE GUICHE (putting a hand to his face): What? CYRANO (feigning great alarm): Am I in Africa? A native you? DE GUICHE (who has remembered his mask): This mask of mine. . . CYRANO (pretending to be reassured): In Venice? ha!--or Rome? DE GUICHE (trying to pass): A lady waits. . CYRANO (quite reassured): Oh-ho! I am in Paris! DE GUICHE (smiling in spite of himself): The fool is comical! CYRANO: You laugh? DE GUICHE: I laugh, But would get by! CYRANO (beaming with joy): I have shot back to Paris! (Quite at ease, laughing, dusting himself, bowing): Come--pardon me--by the last water-spout, Covered with ether,--accident of travel! My eyes still full of star-dust, and my spurs Encumbered by the planets' filaments! (Picking something off his sleeve): Ha! on my doublet?--ah, a comet's hair!. . . (He puffs as if to blow it away.) DE GUICHE (beside himself): Sir!. . . CYRANO (just as he is about to pass, holds out his leg as if to show him something and stops him): In my leg--the calf--there is a tooth Of the Great Bear, and, passing Neptune close, I would avoid his trident's point, and fell, Thus sitting, plump, right in the Scales! My weight Is marked, still registered, up there in heaven! (Hurriedly preventing De Guiche from passing, and detaining him by the button of his doublet): I swear to you that if you squeezed my nose It would spout milk! DE GUICHE: Milk? CYRANO: From the Milky Way! DE GUICHE: Oh, go to hell! CYRANO (crossing his arms): I fall, Sir, out of heaven! Now, would you credit it, that as I fell I saw that Sirius wears a nightcap? True! (Confidentially): The other Bear is still too small to bite. (Laughing): I went through the Lyre, but I snapped a cord; (Grandiloquent): I mean to write the whole thing in a book; The small gold stars, that, wrapped up in my cloak, I carried safe away at no small risks, Will serve for asterisks i' the printed page! DE GUICHE: Come, make an end! I want. . . CYRANO: Oh-ho! You are sly! DE GUICHE: Sir! CYRANO: You would worm all out of me!--the way The moon is made, and if men breathe and live In its rotund cucurbita? DE GUICHE (angrily): No, no! I want. . . CYRANO: Ha, ha!--to know how I got up? Hark, it was by a method all my own. DE GUICHE (wearied): He's mad! CYRANO(contemptuously): No! not for me the stupid eagle Of Regiomontanus, nor the timid Pigeon of Archytas--neither of those! DE GUICHE: Ay, 'tis a fool! But 'tis a learned fool! CYRANO: No imitator I of other men! (De Guiche has succeeded in getting by, and goes toward Roxane's door. Cyrano follows him, ready to stop him by force): Six novel methods, all, this brain invented! DE GUICHE (turning round): Six? CYRANO (volubly): First, with body naked as your hand, Festooned about with crystal flacons, full O' th' tears the early morning dew distils; My body to the sun's fierce rays exposed To let it suck me up, as 't sucks the dew! DE GUICHE (surprised, making one step toward Cyrano): Ah! that makes one! CYRANO (stepping back, and enticing him further away): And then, the second way, To generate wind--for my impetus-- To rarefy air, in a cedar case, By mirrors placed icosahedron-wise. DE GUICHE (making another step): Two! CYRANO (still stepping backward): Or--for I have some mechanic skill-- To make a grasshopper, with springs of steel, And launch myself by quick succeeding fires Saltpeter-fed to the stars' pastures blue! DE GUICHE (unconsciously following him and counting on his fingers): Three! CYRANO: Or (since fumes have property to mount)-- To charge a globe with fumes, sufficiently To carry me aloft! DE GUICHE (same play, more and more astonished): Well, that makes four! CYRANO: Or smear myself with marrow from a bull, Since, at the lowest point of Zodiac, Phoebus well loves to suck that marrow up! DE GUICHE (amazed): Five! CYRANO (who, while speaking, had drawn him to the other side of the square near a bench): Sitting on an iron platform--thence To throw a magnet in the air. This is A method well conceived--the magnet flown, Infallibly the iron will pursue: Then quick! relaunch your magnet, and you thus Can mount and mount unmeasured distances! DE GUICHE: Here are six excellent expedients! Which of the six chose you? CYRANO: Why, none!--a seventh! DE GUICHE: Astonishing! What was it? CYRANO: I'll recount. DE GUICHE: This wild eccentric becomes interesting! CYRANO (making a noise like the waves, with weird gestures): Houuh! Houuh! DE GUICHE: Well. CYRANO: You have guessed? DE GUICHE: Not I! CYRANO: The tide! I' th' witching hour when the moon woos the wave, I laid me, fresh from a sea-bath, on the shore-- And, failing not to put head foremost--for The hair holds the sea-water in its mesh-- I rose in air, straight! straight! like angel's flight, And mounted, mounted, gently, effortless,. . . When lo! a sudden shock! Then. . . DE GUICHE (overcome by curiosity, sitting down on the bench): Then? CYRANO: Oh! then. . . (Suddenly returning to his natural voice): The quarter's gone--I'll hinder you no more: The marriage-vows are made. DE GUICHE (springing up): What? Am I mad? That voice? (The house-door opens. Lackeys appear carrying lighted candelabra. Light. Cyrano gracefully uncovers): That nose--Cyrano? CYRANO (bowing): Cyrano. While we were chatting, they have plighted troth. DE GUICHE: Who? (He turns round. Tableau. Behind the lackeys appear Roxane and Christian, holding each other by the hand. The friar follows them, smiling. Ragueneau also holds a candlestick. The duenna closes the rear, bewildered, having made a hasty toilet): Heavens!

Scene 11

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano33.asp

When Roxane opens the window again, Cyrano resumes talking in Christian's voice, giving a charming dissertation on a kiss. Roxane is so stirred by the words that she wants Christian to immediately come up and give her that "matchless flower... of communion." Cyrano pushes Christian up towards the balcony so Christian can kiss the true love of them both. Cyrano interrupts Roxane and Christian, for the monk is returning, as signaled by the pages. Roxane offers to come down and see the monk, who is angry for being misled by Cyrano. The monk has been trying to find Roxane, for he has a letter for her, written and sent by De Guiche. Roxane reads the letter. De Guiche explains that he has not gone to Arras; instead, he has stayed behind in order to visit with Roxane, who is horrified at the news. She decides to do something rash. She will take advantage of the moment and the monk's presence. She tells the monk that the letter instructs him to marry her to Christian at once, for Cardinal Richelieu has ordered it. She pretends to oppose the idea and seems to be reluctant to go into the house to be married. Of course, she has really masterminded the whole thing. As she enters the house for the wedding, Roxane turns to Cyrano and asks him to delay De Guiche's arrival.

Notes The dramatic irony of the play continues to build in these scenes. While expounding on the meaning of a kiss in Christian's voice, Cyrano is really declaring his own love for Roxane. He states that a kiss is "a seal on the pact that has already been signed" and "a secret told to the mouth rather than the ear." He then speaks of a kiss as "the hush of eternity" and the "fragrance of a flower," word images that reveal how Cyrano can fuse the senses into a total experience of sound and smell. The words of Cyrano, spoken by Christian, are so moving that Roxane calls Christian to come up on her balcony and give her a kiss at once. The kind Cyrano, whose heart must be breaking, gives Christian a boost to get up on the balcony so he can seal his love for Roxane. As the handsome couple embraces, Cyrano vicariously experiences the kiss, knowing that Roxane is rewarding Christian because of Cyrano's words. He also accepts the inevitability of an attraction between this handsome man and woman. Neither Cyrano nor Christian is prepared for what happens next. When the monk returns and gives Roxane a letter from De Guiche, she cleverly comes up with an astounding plan. Although the letter states that De Guiche has not gone to Arras in order to be with Roxane, she tells the monk that the letter states that she should marry Christian immediately, on the orders of Cardinal Richelieu. She proves she is a good actress, for she pretends to be very reluctant to go inside and have the monk carry out the orders. The simple-minded monk is tricked once again. He goes inside to perform the ceremony while Cyrano waits outside to delay De Guiche, as Roxane has asked him to do. It is not perfectly clear why Roxane decides to marry Christian in haste. Although the words of Cyrano and the kiss of Christian have raised her to a feverish pitch, she is normally a clever and intelligent woman. Unless love has totally clouded her mind, it must be assumed that she is frightened by the intentions of De Guiche, whom she knows is a very powerful man who usually gets his way. By marrying Christian, she can put a real roadblock in De Guiche's plans for her. And of course, she has always found Christian extremely attractive, ever since the moment she first laid eyes on him in the theater in the first act.

pinkmonkey

all_chapterized_books/1254-chapters/33.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_29_part_0.txt

Cyrano De Bergerac.act 3.scene 12

scene 12

{"name": "Scene 12", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano34.asp", "summary": "While Cyrano sits on the rail of the balcony waiting to divert De Guiche, the lutes begin to play a sinister and mournful tune. When De Guiche arrives in mask, Cyrano swings down and lands between him and the door, pretending to be a lunatic who has fallen from the moon. He keeps De Guiche engaged with his chatter about \"six ways to violate the virgin sky\" and get to the moon. Throughout this dialogue Cyrano speaks with a Gascon accent and keeps his nose concealed with the brim of his hat in order to hide his identity from De Guiche. When the newly married Roxane and Christian emerge from the house, De Guiche grasps the situation. He acknowledges Roxane's cleverness and Cyrano's powers of invention in keeping him occupied. Wanting revenge, however, De Guiche orders that all the cadets must join the regiment and leave for Arras immediately. The distraught Roxane begs Cyrano to ensure Christian's safety, comfort and fidelity. She also asks for regular letters, which Cyrano promises.", "analysis": "Notes This scene is filled with intentional pathos. Poor Cyrano is left outside to wait for and delay De Guiche while his true love marries Christian inside the house. When De Guiche arrives in mask, the clever Cyrano chatters to him to delay his entering Roxane's house and discovering the wedding that is in progress. Although Cyrano's conversation is intentionally filled with wit and lunacy in order to trick De Guiche, it also reveals his true interest in science; he talks about the constellations of Great Bear and Orion, about the German astronomer and inventor named Regomontanus, and about six possible ways for man to reach the moon. Cyrano is truly a man of the Enlightenment, interested in and knowledgeable about many varied subjects. The act ends with a tragic-comic-ironic reversal. Cyrano, who loves Roxane dearly, has helped Christian to win her love; she now emerges as Christian's wife, largely due to the efforts of Cyrano. Whenever Christian speaks for himself, Roxane does not like him; however, when Cyrano speaks for Christian, Roxane is enamored by the words. It is clear that she has married the wrong man. The philandering De Guiche is simply upset that she has married, for he had his own designs on the beautiful Roxane. To punish her hastiness, Christian's victory, and Cyrano's craftiness, he orders that all of the cadets, including Christian and Cyrano, immediately report to the regiment to leave for Arras. Poor Christian and Roxane will not be able to spend a moment together as husband and wife. Before her husband departs, Roxane begs Cyrano to watch out for Christian's safety, comfort, and fidelity. She also tells Cyrano to make certain that Christian writes letters regularly. Cyrano, of course, will be the one to pen the letters. The thought of writing his true love delights him, even if he cannot sign the letters as his own."}

The same. Roxane, Christian, the friar, Ragueneau, lackeys, the duenna. DE GUICHE (to Roxane): You? (Recognizing Christian, in amazement): He? (Bowing, with admiration, to Roxane): Cunningly contrived! (To Cyrano): My compliments--Sir Apparatus-maker! Your story would arrest at Peter's gate Saints eager for their Paradise! Note well The details. 'Faith! They'd make a stirring book! CYRANO (bowing): I shall not fail to follow your advice. THE FRIAR (showing with satisfaction the two lovers to De Guiche): A handsome couple, son, made one by you! DE GUICHE (with a freezing look): Ay! (To Roxane): Bid your bridegroom, Madame, fond farewell. ROXANE: Why so? DE GUICHE (to Christian): Even now the regiment departs. Join it! ROXANE: It goes to battle? DE GUICHE: Without doubt. ROXANE: But the Cadets go not? DE GUICHE: Oh ay! they go. (Drawing out the paper he had put in his pocket): Here is the order. (To Christian): Baron, bear it, quick! ROXANE (throwing herself in Christian's arms): Christian! DE GUICHE (sneeringly to Cyrano): The wedding-night is far, methinks! CYRANO (aside): He thinks to give me pain of death by this! CHRISTIAN (to Roxane): Oh! once again! Your lips! CYRANO: Come, come, enough! CHRISTIAN (still kissing Roxane): --'Tis hard to leave her, you know not. . . CYRANO (trying to draw him away): I know. (Sound of drums beating a march in the distance.) DE GUICHE: The regiment starts! ROXANE (To Cyrano, holding back Christian, whom Cyrano is drawing away): Oh!--I trust him you! Promise me that no risks shall put his life In danger! CYRANO: I will try my best, but promise. . . That I cannot! ROXANE: But swear he shall be prudent? CYRANO: Again, I'll do my best, but. . . ROXANE: In the siege Let him not suffer! CYRANO: All that man can do, I. . . ROXANE: That he shall be faithful! CYRANO: Doubtless, but. . . ROXANE: That he will write oft? CYRANO (pausing): That, I promise you! Curtain.

Scene 12

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano34.asp

While Cyrano sits on the rail of the balcony waiting to divert De Guiche, the lutes begin to play a sinister and mournful tune. When De Guiche arrives in mask, Cyrano swings down and lands between him and the door, pretending to be a lunatic who has fallen from the moon. He keeps De Guiche engaged with his chatter about "six ways to violate the virgin sky" and get to the moon. Throughout this dialogue Cyrano speaks with a Gascon accent and keeps his nose concealed with the brim of his hat in order to hide his identity from De Guiche. When the newly married Roxane and Christian emerge from the house, De Guiche grasps the situation. He acknowledges Roxane's cleverness and Cyrano's powers of invention in keeping him occupied. Wanting revenge, however, De Guiche orders that all the cadets must join the regiment and leave for Arras immediately. The distraught Roxane begs Cyrano to ensure Christian's safety, comfort and fidelity. She also asks for regular letters, which Cyrano promises.

Notes This scene is filled with intentional pathos. Poor Cyrano is left outside to wait for and delay De Guiche while his true love marries Christian inside the house. When De Guiche arrives in mask, the clever Cyrano chatters to him to delay his entering Roxane's house and discovering the wedding that is in progress. Although Cyrano's conversation is intentionally filled with wit and lunacy in order to trick De Guiche, it also reveals his true interest in science; he talks about the constellations of Great Bear and Orion, about the German astronomer and inventor named Regomontanus, and about six possible ways for man to reach the moon. Cyrano is truly a man of the Enlightenment, interested in and knowledgeable about many varied subjects. The act ends with a tragic-comic-ironic reversal. Cyrano, who loves Roxane dearly, has helped Christian to win her love; she now emerges as Christian's wife, largely due to the efforts of Cyrano. Whenever Christian speaks for himself, Roxane does not like him; however, when Cyrano speaks for Christian, Roxane is enamored by the words. It is clear that she has married the wrong man. The philandering De Guiche is simply upset that she has married, for he had his own designs on the beautiful Roxane. To punish her hastiness, Christian's victory, and Cyrano's craftiness, he orders that all of the cadets, including Christian and Cyrano, immediately report to the regiment to leave for Arras. Poor Christian and Roxane will not be able to spend a moment together as husband and wife. Before her husband departs, Roxane begs Cyrano to watch out for Christian's safety, comfort, and fidelity. She also tells Cyrano to make certain that Christian writes letters regularly. Cyrano, of course, will be the one to pen the letters. The thought of writing his true love delights him, even if he cannot sign the letters as his own.

pinkmonkey

all_chapterized_books/1254-chapters/35.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_30_part_0.txt

Cyrano De Bergerac.act 4.scene 1

scene 13

{"name": "Scene 13", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano34.asp", "summary": "While Cyrano sits on the rail of the balcony waiting to divert De Guiche, the lutes begin to play a sinister and mournful tune. When De Guiche arrives in mask, Cyrano swings down and lands between him and the door, pretending to be a lunatic who has fallen from the moon. He keeps De Guiche engaged with his chatter about \"six ways to violate the virgin sky\" and get to the moon. Throughout this dialogue Cyrano speaks with a Gascon accent and keeps his nose concealed with the brim of his hat in order to hide his identity from De Guiche. When the newly married Roxane and Christian emerge from the house, De Guiche grasps the situation. He acknowledges Roxane's cleverness and Cyrano's powers of invention in keeping him occupied. Wanting revenge, however, De Guiche orders that all the cadets must join the regiment and leave for Arras immediately. The distraught Roxane begs Cyrano to ensure Christian's safety, comfort and fidelity. She also asks for regular letters, which Cyrano promises.", "analysis": "Notes This scene is filled with intentional pathos. Poor Cyrano is left outside to wait for and delay De Guiche while his true love marries Christian inside the house. When De Guiche arrives in mask, the clever Cyrano chatters to him to delay his entering Roxane's house and discovering the wedding that is in progress. Although Cyrano's conversation is intentionally filled with wit and lunacy in order to trick De Guiche, it also reveals his true interest in science; he talks about the constellations of Great Bear and Orion, about the German astronomer and inventor named Regomontanus, and about six possible ways for man to reach the moon. Cyrano is truly a man of the Enlightenment, interested in and knowledgeable about many varied subjects. The act ends with a tragic-comic-ironic reversal. Cyrano, who loves Roxane dearly, has helped Christian to win her love; she now emerges as Christian's wife, largely due to the efforts of Cyrano. Whenever Christian speaks for himself, Roxane does not like him; however, when Cyrano speaks for Christian, Roxane is enamored by the words. It is clear that she has married the wrong man. The philandering De Guiche is simply upset that she has married, for he had his own designs on the beautiful Roxane. To punish her hastiness, Christian's victory, and Cyrano's craftiness, he orders that all of the cadets, including Christian and Cyrano, immediately report to the regiment to leave for Arras. Poor Christian and Roxane will not be able to spend a moment together as husband and wife. Before her husband departs, Roxane begs Cyrano to watch out for Christian's safety, comfort, and fidelity. She also tells Cyrano to make certain that Christian writes letters regularly. Cyrano, of course, will be the one to pen the letters. The thought of writing his true love delights him, even if he cannot sign the letters as his own."}

Christian, Carbon de Castel-Jaloux, Le Bret, the cadets, then Cyrano. LE BRET: 'Tis terrible. CARBON: Not a morsel left. LE BRET: Mordioux! CARBON (making a sign that he should speak lower): Curse under your breath. You will awake them. (To the cadets): Hush! Sleep on. (To Le Bret): He who sleeps, dines! LE BRET: But that is sorry comfort for the sleepless!. . . What starvation! (Firing is heard in the distance.) CARBON: Oh, plague take their firing! 'Twill wake my sons. (To the cadets, who lift up their heads): Sleep on! (Firing is again heard, nearer this time.) A CADET (moving): The devil!. . .Again. CARBON: 'Tis nothing! 'Tis Cyrano coming back! (Those who have lifted up their heads prepare to sleep again.) A SENTINEL (from without): Ventrebieu! Who goes there? THE VOICE Of CYRANO: Bergerac. The SENTINEL (who is on the redoubt): Ventrebieu! Who goes there? CYRANO (appearing at the top): Bergerac, idiot! (He comes down; Le Bret advances anxiously to meet him.) LE BRET: Heavens! CYRANO (making signs that he should not awake the others): Hush! LE BRET: Wounded? CYRANO: Oh! you know it has become their custom to shoot at me every morning and to miss me. LE BRET: This passes all! To take letters at each day's dawn. To risk. . . CYRANO (stopping before Christian): I promised he should write often. (He looks at him): He sleeps. How pale he is! But how handsome still, despite his sufferings. If his poor little lady-love knew that he is dying of hunger. . . LE BRET: Get you quick to bed. CYRANO: Nay, never scold, Le Bret. I ran but little risk. I have found me a spot to pass the Spanish lines, where each night they lie drunk. LE BRET: You should try to bring us back provision. CYRANO: A man must carry no weight who would get by there! But there will be surprise for us this night. The French will eat or die. . .if I mistake not! LE BRET: Oh!. . .tell me!. . . CYRANO: Nay, not yet. I am not certain. . .You will see! CARBON: It is disgraceful that we should starve while we're besieging! LE BRET: Alas, how full of complication is this siege of Arras! To think that while we are besieging, we should ourselves be caught in a trap and besieged by the Cardinal Infante of Spain. CYRANO: It were well done if he should be besieged in his turn. LE BRET: I am in earnest. CYRANO: Oh! indeed! LE BRET: To think you risk a life so precious. . .for the sake of a letter. . .Thankless one. (Seeing him turning to enter the tent): Where are you going? CYRANO: I am going to write another. (He enters the tent and disappears.)

Scene 13

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano34.asp

While Cyrano sits on the rail of the balcony waiting to divert De Guiche, the lutes begin to play a sinister and mournful tune. When De Guiche arrives in mask, Cyrano swings down and lands between him and the door, pretending to be a lunatic who has fallen from the moon. He keeps De Guiche engaged with his chatter about "six ways to violate the virgin sky" and get to the moon. Throughout this dialogue Cyrano speaks with a Gascon accent and keeps his nose concealed with the brim of his hat in order to hide his identity from De Guiche. When the newly married Roxane and Christian emerge from the house, De Guiche grasps the situation. He acknowledges Roxane's cleverness and Cyrano's powers of invention in keeping him occupied. Wanting revenge, however, De Guiche orders that all the cadets must join the regiment and leave for Arras immediately. The distraught Roxane begs Cyrano to ensure Christian's safety, comfort and fidelity. She also asks for regular letters, which Cyrano promises.

Notes This scene is filled with intentional pathos. Poor Cyrano is left outside to wait for and delay De Guiche while his true love marries Christian inside the house. When De Guiche arrives in mask, the clever Cyrano chatters to him to delay his entering Roxane's house and discovering the wedding that is in progress. Although Cyrano's conversation is intentionally filled with wit and lunacy in order to trick De Guiche, it also reveals his true interest in science; he talks about the constellations of Great Bear and Orion, about the German astronomer and inventor named Regomontanus, and about six possible ways for man to reach the moon. Cyrano is truly a man of the Enlightenment, interested in and knowledgeable about many varied subjects. The act ends with a tragic-comic-ironic reversal. Cyrano, who loves Roxane dearly, has helped Christian to win her love; she now emerges as Christian's wife, largely due to the efforts of Cyrano. Whenever Christian speaks for himself, Roxane does not like him; however, when Cyrano speaks for Christian, Roxane is enamored by the words. It is clear that she has married the wrong man. The philandering De Guiche is simply upset that she has married, for he had his own designs on the beautiful Roxane. To punish her hastiness, Christian's victory, and Cyrano's craftiness, he orders that all of the cadets, including Christian and Cyrano, immediately report to the regiment to leave for Arras. Poor Christian and Roxane will not be able to spend a moment together as husband and wife. Before her husband departs, Roxane begs Cyrano to watch out for Christian's safety, comfort, and fidelity. She also tells Cyrano to make certain that Christian writes letters regularly. Cyrano, of course, will be the one to pen the letters. The thought of writing his true love delights him, even if he cannot sign the letters as his own.

pinkmonkey

all_chapterized_books/1254-chapters/46.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_31_part_0.txt

Cyrano De Bergerac.act 5.scene 1

scene 1

{"name": "Scene 1", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano35.asp", "summary": "The scene is set in the evening at a post outside of Arras. It opens with a dialogue between Captain Carbon de Castel-Jaloux and Le Bret in which they indicate that the besieged French troops are miserable, depressed, and hungry. Since the Spanish troops have cut off their supplies, the French have no food. Cyrano seems to be the only one in camp that is not miserable. He is still awake even though most of the cadets are sleeping, for he has just traveled through the Spanish line in order to dispatch a letter to Roxane, as he does everyday. The letters that he writes give him great pleasure.", "analysis": "Notes This scene is a total contrast to the earlier light, humorous scenes. It gives Background Information about what has happened at Arras between the time of the last scene, set at Roxane's house, and this scene, set at the Gascon camp outside of Arras. The Spanish troops have encircled the French and cut off their supplies, including food. The French soldiers are now miserable and hungry, and Carbon and Le Bret look particularly weak. Cyrano alone manages to be his usual self because he gets satisfaction in writing to Roxane. He also finds excitement in risking his life by crossing the enemy line in order to mail the letters back to Roxane. The irony is that the letters are supposedly written by Christian, so Cyrano gets no credit for them."}

Mother Marguerite, Sister Martha, Sister Claire, other sisters. SISTER MARTHA (to Mother Marguerite): Sister Claire glanced in the mirror, once--nay, twice, to see if her coif suited. MOTHER MARGUERITE (to Sister Claire): 'Tis not well. SISTER CLAIRE: But I saw Sister Martha take a plum Out of the tart. MOTHER MARGUERITE (to Sister Martha): That was ill done, my sister. SISTER CLAIRE: A little glance! SISTER MARTHA: And such a little plum! MOTHER MARGUERITE: I shall tell this to Monsieur Cyrano. SISTER CLAIRE: Nay, prithee do not!--he will mock! SISTER MARTHA: He'll say we nuns are vain! SISTER CLAIRE: And greedy! MOTHER MARGUERITE (smiling): Ay, and kind! SISTER CLAIRE: Is it not true, pray, Mother Marguerite, That he has come, each week, on Saturday For ten years, to the convent? MOTHER MARGUERITE: Ay! and more! Ever since--fourteen years ago--the day His cousin brought here, 'midst our woolen coifs, The worldly mourning of her widow's veil, Like a blackbird's wing among the convent doves! SISTER MARTHA: He only has the skill to turn her mind From grief--unsoftened yet by Time--unhealed! ALL THE SISTERS: He is so droll!--It's cheerful when he comes!-- He teases us!--But we all like him well!-- --We make him pasties of angelica! SISTER MARTHA: But, he is not a faithful Catholic! SISTER CLAIRE: We will convert him! THE SISTERS: Yes! Yes! MOTHER MARGUERITE: I forbid, My daughters, you attempt that subject. Nay, Weary him not--he might less oft come here! SISTER MARTHA: But. . .God. . . MOTHER MARGUERITE: Nay, never fear! God knows him well! SISTER MARTHA: But--every Saturday, when he arrives, He tells me, 'Sister, I eat meat on Friday!' MOTHER MARGUERITE: Ah! says he so? Well, the last time he came Food had not passed his lips for two whole days! SISTER MARTHA: Mother! MOTHER MARGUERITE: He's poor. SISTER MARTHA: Who told you so, dear Mother? MOTHER MARGUERITE: Monsieur Le Bret. SISTER MARTHA: None help him? MOTHER MARGUERITE: He permits not. (In an alley at the back Roxane appears, dressed in black, with a widow's coif and veil. De Guiche, imposing-looking and visibly aged, walks by her side. They saunter slowly. Mother Marguerite rises): 'Tis time we go in; Madame Madeleine Walks in the garden with a visitor. SISTER MARTHA (to Sister Claire, in a low voice): The Marshal of Grammont? SISTER CLAIRE (looking at him): 'Tis he, I think. SISTER MARTHA: 'Tis many months now since he came to see her. THE SISTERS: He is so busy!--The Court,--the camp!. . . SISTER CLAIRE: The world! (They go out. De Guiche and Roxane come forward in silence, and stop close to the embroidery frame.)

Scene 1

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano35.asp

The scene is set in the evening at a post outside of Arras. It opens with a dialogue between Captain Carbon de Castel-Jaloux and Le Bret in which they indicate that the besieged French troops are miserable, depressed, and hungry. Since the Spanish troops have cut off their supplies, the French have no food. Cyrano seems to be the only one in camp that is not miserable. He is still awake even though most of the cadets are sleeping, for he has just traveled through the Spanish line in order to dispatch a letter to Roxane, as he does everyday. The letters that he writes give him great pleasure.

Notes This scene is a total contrast to the earlier light, humorous scenes. It gives Background Information about what has happened at Arras between the time of the last scene, set at Roxane's house, and this scene, set at the Gascon camp outside of Arras. The Spanish troops have encircled the French and cut off their supplies, including food. The French soldiers are now miserable and hungry, and Carbon and Le Bret look particularly weak. Cyrano alone manages to be his usual self because he gets satisfaction in writing to Roxane. He also finds excitement in risking his life by crossing the enemy line in order to mail the letters back to Roxane. The irony is that the letters are supposedly written by Christian, so Cyrano gets no credit for them.

pinkmonkey

all_chapterized_books/1254-chapters/36.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_32_part_0.txt

Cyrano De Bergerac.act 4.scene 2

scene 2

{"name": "Scene 2", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano36.asp", "summary": "When they rise the next morning, the cadets complain of their hunger and threaten to mutiny. Captain Carbon appeals to Cyrano to come forth from his tent and handle the situation. Cyrano obliges. He tries to joke about the Cadet's hunger by punning on their complaints and offering them The Iliad, which he is reading, as food for thought. When he realizes that is wit is not helping to cheer up the cadets, he calls the regiment piper to play Gascon tunes. Carbon protests, saying the songs about home will make the cadets weep. Cyrano explains that it is more noble to weep from homesickness than from hunger. When a drum roll is heard, the cadets become excited. When Cyrano sees that De Guiche is approaching, he warns the cadets not to let this man, whom they mock as a mere courtier and not a soldier, see how miserable they are.", "analysis": "Notes When the cadets wake and threaten mutiny, Cyrano is called to calm them. His interaction with the cadets reveals his natural leadership and his keen wit. To try and cheer the cadets, he gives French proverbs about hunger and wittily comments on them. When the wit fails to work on the cadets, he orders the piper to play folk songs from the homeland, hoping to inspire the cadets with a desire to fight and live so that they can eventually return home. Although the cadets weep at the sound of the songs, Cyrano declares it is better to weep from homesickness than from hunger. It is interesting that Cyrano is reading The Iliad, a classic text about the Trojan War, and offers to the cadets as food for thought to alleviate their hunger. In that war, the Greeks besieged the city of Troy for a very long time before the action started and that is the obvious parallel here, for the cadets wait for the fighting to begin. It is also interesting to note that in World War I, Cyrano de Bergerac was the favorite thing to read among the French troops."}

The same, all but Cyrano. The day is breaking in a rosy light. The town of Arras is golden in the horizon. The report of cannon is heard in the distance, followed immediately by the beating of drums far away to the left. Other drums are heard much nearer. Sounds of stirring in the camp. Voices of officers in the distance. CARBON (sighing): The reveille! (The cadets move and stretch themselves): Nourishing sleep! Thou art at an end!. . .I know well what will be their first cry! A CADET (sitting up): I am so hungry! ANOTHER: I am dying of hunger. TOGETHER: Oh! CARBON: Up with you! THIRD CADET: --Cannot move a limb. FOURTH CADET: Nor can I. THE FIRST (looking at himself in a bit of armor): My tongue is yellow. The air at this season of the year is hard to digest. ANOTHER: My coronet for a bit of Chester! ANOTHER: If none can furnish to my gaster wherewith to make a pint of chyle, I shall retire to my tent--like Achilles! ANOTHER: Oh! something! were it but a crust! CARBON (going to the tent and calling softly): Cyrano! ALL THE CADETS: We are dying! CARBON (continuing to speak under his breath at the opening of the tent): Come to my aid, you, who have the art of quick retort and gay jest. Come, hearten them up. SECOND CADET (rushing toward another who is munching something): What are you crunching there? FIRST CADET: Cannon-wads soaked in axle-grease! 'Tis poor hunting round about Arras! A CADET (entering): I have been after game. ANOTHER (following him): And I after fish. ALL (rushing to the two newcomers): Well! what have you brought?--a pheasant?--a carp?--Come, show us quick! THE ANGLER: A gudgeon! THE SPORTSMAN: A sparrow! ALL TOGETHER (beside themselves): 'Tis more than can be borne! We will mutiny! CARBON: Cyrano! Come to my help. (The daylight has now come.)

Scene 2

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano36.asp

When they rise the next morning, the cadets complain of their hunger and threaten to mutiny. Captain Carbon appeals to Cyrano to come forth from his tent and handle the situation. Cyrano obliges. He tries to joke about the Cadet's hunger by punning on their complaints and offering them The Iliad, which he is reading, as food for thought. When he realizes that is wit is not helping to cheer up the cadets, he calls the regiment piper to play Gascon tunes. Carbon protests, saying the songs about home will make the cadets weep. Cyrano explains that it is more noble to weep from homesickness than from hunger. When a drum roll is heard, the cadets become excited. When Cyrano sees that De Guiche is approaching, he warns the cadets not to let this man, whom they mock as a mere courtier and not a soldier, see how miserable they are.

Notes When the cadets wake and threaten mutiny, Cyrano is called to calm them. His interaction with the cadets reveals his natural leadership and his keen wit. To try and cheer the cadets, he gives French proverbs about hunger and wittily comments on them. When the wit fails to work on the cadets, he orders the piper to play folk songs from the homeland, hoping to inspire the cadets with a desire to fight and live so that they can eventually return home. Although the cadets weep at the sound of the songs, Cyrano declares it is better to weep from homesickness than from hunger. It is interesting that Cyrano is reading The Iliad, a classic text about the Trojan War, and offers to the cadets as food for thought to alleviate their hunger. In that war, the Greeks besieged the city of Troy for a very long time before the action started and that is the obvious parallel here, for the cadets wait for the fighting to begin. It is also interesting to note that in World War I, Cyrano de Bergerac was the favorite thing to read among the French troops.

pinkmonkey

all_chapterized_books/1254-chapters/37.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_33_part_0.txt

Cyrano De Bergerac.act 4.scene 3

scene 3

{"name": "Scene 3", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano36.asp", "summary": "When they rise the next morning, the cadets complain of their hunger and threaten to mutiny. Captain Carbon appeals to Cyrano to come forth from his tent and handle the situation. Cyrano obliges. He tries to joke about the Cadet's hunger by punning on their complaints and offering them The Iliad, which he is reading, as food for thought. When he realizes that is wit is not helping to cheer up the cadets, he calls the regiment piper to play Gascon tunes. Carbon protests, saying the songs about home will make the cadets weep. Cyrano explains that it is more noble to weep from homesickness than from hunger. When a drum roll is heard, the cadets become excited. When Cyrano sees that De Guiche is approaching, he warns the cadets not to let this man, whom they mock as a mere courtier and not a soldier, see how miserable they are.", "analysis": "Notes When the cadets wake and threaten mutiny, Cyrano is called to calm them. His interaction with the cadets reveals his natural leadership and his keen wit. To try and cheer the cadets, he gives French proverbs about hunger and wittily comments on them. When the wit fails to work on the cadets, he orders the piper to play folk songs from the homeland, hoping to inspire the cadets with a desire to fight and live so that they can eventually return home. Although the cadets weep at the sound of the songs, Cyrano declares it is better to weep from homesickness than from hunger. It is interesting that Cyrano is reading The Iliad, a classic text about the Trojan War, and offers to the cadets as food for thought to alleviate their hunger. In that war, the Greeks besieged the city of Troy for a very long time before the action started and that is the obvious parallel here, for the cadets wait for the fighting to begin. It is also interesting to note that in World War I, Cyrano de Bergerac was the favorite thing to read among the French troops."}

The SAME. Cyrano. CYRANO (appearing from the tent, very calm, with a pen stuck behind his ear and a book in his hand): What is wrong? (Silence. To the first cadet): Why drag you your legs so sorrowfully? THE CADET: I have something in my heels which weighs them down. CYRANO: And what may that be? THE CADET: My stomach! CYRANO: So have I, 'faith! THE CADET: It must be in your way? CYRANO: Nay, I am all the taller. A THIRD: My stomach's hollow. CYRANO: 'Faith, 'twill make a fine drum to sound the assault. ANOTHER: I have a ringing in my ears. CYRANO: No, no, 'tis false; a hungry stomach has no ears. ANOTHER: Oh, to eat something--something oily! CYRANO (pulling off the cadet's helmet and holding it out to him): Behold your salad! ANOTHER: What, in God's name, can we devour? CYRANO (throwing him the book which he is carrying): The 'Iliad'. ANOTHER: The first minister in Paris has his four meals a day! CYRANO: 'Twere courteous an he sent you a few partridges! THE SAME: And why not? with wine, too! CYRANO: A little Burgundy. Richelieu, s'il vous plait! THE SAME: He could send it by one of his friars. CYRANO: Ay! by His Eminence Joseph himself. ANOTHER: I am as ravenous as an ogre! CYRANO: Eat your patience, then. THE FIRST CADET (shrugging his shoulders): Always your pointed word! CYRANO: Ay, pointed words! I would fain die thus, some soft summer eve, Making a pointed word for a good cause. --To make a soldier's end by soldier's sword, Wielded by some brave adversary--die On blood-stained turf, not on a fever-bed, A point upon my lips, a point within my heart. CRIES FROM ALL: I'm hungry! CYRANO (crossing his arms): All your thoughts of meat and drink! Bertrand the fifer!--you were shepherd once,-- Draw from its double leathern case your fife, Play to these greedy, guzzling soldiers. Play Old country airs with plaintive rhythm recurring, Where lurk sweet echoes of the dear home-voices, Each note of which calls like a little sister, Those airs slow, slow ascending, as the smoke-wreaths Rise from the hearthstones of our native hamlets, Their music strikes the ear like Gascon patois!. . . (The old man seats himself, and gets his flute ready): Your flute was now a warrior in durance; But on its stem your fingers are a-dancing A bird-like minuet! O flute! Remember That flutes were made of reeds first, not laburnum; Make us a music pastoral days recalling-- The soul-time of your youth, in country pastures!. . . (The old man begins to play the airs of Languedoc): Hark to the music, Gascons!. . .'Tis no longer The piercing fife of camp--but 'neath his fingers The flute of the woods! No more the call to combat, 'Tis now the love-song of the wandering goat-herds!. . . Hark!. . .'tis the valley, the wet landes, the forest, The sunburnt shepherd-boy with scarlet beret, The dusk of evening on the Dordogne river,-- 'Tis Gascony! Hark, Gascons, to the music! (The cadets sit with bowed heads; their eyes have a far-off look as if dreaming, and they surreptitiously wipe away their tears with their cuffs and the corner of their cloaks.) CARBON (to Cyrano in a whisper): But you make them weep! CYRANO: Ay, for homesickness. A nobler pain than hunger,--'tis of the soul, not of the body! I am well pleased to see their pain change its viscera. Heart-ache is better than stomach-ache. CARBON: But you weaken their courage by playing thus on their heart-strings! CYRANO (making a sign to a drummer to approach): Not I. The hero that sleeps in Gascon blood is ever ready to awake in them. 'Twould suffice. . . (He makes a signal; the drum beats.) ALL THE CADETS (stand up and rush to take arms): What? What is it? CYRANO (smiling): You see! One roll of the drum is enough! Good-by dreams, regrets, native land, love. . .All that the pipe called forth the drum has chased away! A CADET (looking toward the back of the stage): Ho! here comes Monsieur de Guiche. ALL THE CADETS (muttering): Ugh!. . .Ugh!. . . CYRANO (smiling): A flattering welcome! A CADET: We are sick to death of him! ANOTHER CADET: --With his lace collar over his armor, playing the fine gentleman! ANOTHER: As if one wore linen over steel! THE FIRST: It were good for a bandage had he boils on his neck. THE SECOND: Another plotting courtier! ANOTHER CADET: His uncle's own nephew! CARBON: For all that--a Gascon. THE FIRST: Ay, false Gascon!. . .trust him not. . . Gascons should ever be crack-brained. . . Naught more dangerous than a rational Gascon. LE BRET: How pale he is! ANOTHER: Oh! he is hungry, just like us poor devils; but under his cuirass, with its fine gilt nails, his stomach-ache glitters brave in the sun. CYRANO (hurriedly): Let us not seem to suffer either! Out with your cards, pipes, and dice. . . (All begin spreading out the games on the drums, the stools, the ground, and on their cloaks, and light long pipes): And I shall read Descartes. (He walks up and down, reading a little book which he has drawn from his pocket. Tableau. Enter De Guiche. All appear absorbed and happy. He is very pale. He goes up to Carbon.)

Scene 3

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano36.asp

When they rise the next morning, the cadets complain of their hunger and threaten to mutiny. Captain Carbon appeals to Cyrano to come forth from his tent and handle the situation. Cyrano obliges. He tries to joke about the Cadet's hunger by punning on their complaints and offering them The Iliad, which he is reading, as food for thought. When he realizes that is wit is not helping to cheer up the cadets, he calls the regiment piper to play Gascon tunes. Carbon protests, saying the songs about home will make the cadets weep. Cyrano explains that it is more noble to weep from homesickness than from hunger. When a drum roll is heard, the cadets become excited. When Cyrano sees that De Guiche is approaching, he warns the cadets not to let this man, whom they mock as a mere courtier and not a soldier, see how miserable they are.

Notes When the cadets wake and threaten mutiny, Cyrano is called to calm them. His interaction with the cadets reveals his natural leadership and his keen wit. To try and cheer the cadets, he gives French proverbs about hunger and wittily comments on them. When the wit fails to work on the cadets, he orders the piper to play folk songs from the homeland, hoping to inspire the cadets with a desire to fight and live so that they can eventually return home. Although the cadets weep at the sound of the songs, Cyrano declares it is better to weep from homesickness than from hunger. It is interesting that Cyrano is reading The Iliad, a classic text about the Trojan War, and offers to the cadets as food for thought to alleviate their hunger. In that war, the Greeks besieged the city of Troy for a very long time before the action started and that is the obvious parallel here, for the cadets wait for the fighting to begin. It is also interesting to note that in World War I, Cyrano de Bergerac was the favorite thing to read among the French troops.

pinkmonkey

all_chapterized_books/1254-chapters/39.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_35_part_0.txt

Cyrano De Bergerac.act 4.scene 5

scene 5

{"name": "Scene 5", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano39.asp", "summary": "Roxane has passed through the ravages of war in the service of her king, which is love. Using her smile as a passport and telling the gallant Spaniards that she was going to see her lover, she has charmed her way through enemy lines. No one can believe she has risked her life to come here; and everyone wants her to leave at once. No one, however, dares to tell here that they will soon be going into battle. When she deduces the situation, she claims that she wants to stay and die with Christian. She also accuses De Guiche of trying to make her a widow, by having her husband killed in the battle. The cadets are filled with admiration for her courage and stirred to battle to defend her.", "analysis": "Notes At the end of the last scene, the Cadets have all lined up, bowing low in expectation of the arrival of the king. They are fully shocked when Roxane emerges from the carriage. They are not expecting a beautiful woman in their midst. They respond by stating that the camp suddenly smells of irises and by promising to defend her. The scene reveals new facets of Roxane. Her impulsiveness in coming and her ability to charm the Spanish soldiers are not surprising, for she has been previously pictured as charming and impulsive; but now her keen sense of adventure and her courage are also seen, for she has risked her life to come to the Gascon camp. Since these latter qualities are not thought to be appropriate for fine ladies of intelligence, Rostand tempers her actions by her explanation that the driving force for her has been love. Roxane then further proves her courage by accusing De Guiche of casting the cadets into battle in order to make her a widow. Through her bold actions, she shows that she has everything it takes to be a successful Gascon fighter; only her sex prevents her from being given that opportunity. She still says, however, that she will not leave the battlefield, for she wants to die with her husband."}

The same. Roxane. DE GUICHE: On the King's service! You? ROXANE: Ay,--King Love's! What other king? CYRANO: Great God! CHRISTIAN (rushing forward): Why have you come? ROXANE: This siege--'tis too long! CHRISTIAN: But why?. . . ROXANE: I will tell you all! CYRANO (who, at the sound of her voice, has stood still, rooted to the ground, afraid to raise his eyes): My God! dare I look at her? DE GUICHE: You cannot remain here! ROXANE (merrily): But I say yes! Who will push a drum hither for me? (She seats herself on the drum they roll forward): So! I thank you. (She laughs): My carriage was fired at (proudly): by the patrol! Look! would you not think 'twas made of a pumpkin, like Cinderella's chariot in the tale,--and the footmen out of rats? (Sending a kiss with her lips to Christian): Good-morrow! (Examining them all): You look not merry, any of you! Ah! know you that 'tis a long road to get to Arras? (Seeing Cyrano): Cousin, delighted! CYRANO (coming up to her): But how, in Heaven's name?. . . ROXANE: How found I the way to the army? It was simple enough, for I had but to pass on and on, as far as I saw the country laid waste. Ah, what horrors were there! Had I not seen, then I could never have believed it! Well, gentlemen, if such be the service of your King, I would fainer serve mine! CYRANO: But 'tis sheer madness! Where in the fiend's name did you get through? ROXANE: Where? Through the Spanish lines. FIRST CADET: --For subtle craft, give me a woman! DE GUICHE: But how did you pass through their lines? LE BRET: Faith! that must have been a hard matter!. . . ROXANE: None too hard. I but drove quietly forward in my carriage, and when some hidalgo of haughty mien would have stayed me, lo! I showed at the window my sweetest smile, and these Senors being (with no disrespect to you) the most gallant gentlemen in the world,--I passed on! CARBON: True, that smile is a passport! But you must have been asked frequently to give an account of where you were going, Madame? ROXANE: Yes, frequently. Then I would answer, 'I go to see my lover.' At that word the very fiercest Spaniard of them all would gravely shut the carriage-door, and, with a gesture that a king might envy, make signal to his men to lower the muskets leveled at me;--then, with melancholy but withal very graceful dignity--his beaver held to the wind that the plumes might flutter bravely, he would bow low, saying to me, 'Pass on, Senorita!' CHRISTIAN: But, Roxane. . . ROXANE: Forgive me that I said, 'my lover!' But bethink you, had I said 'my husband,' not one of them had let me pass! CHRISTIAN: But. . . ROXANE: What ails you? DE GUICHE: You must leave this place! ROXANE: I? CYRANO: And that instantly! LE BRET: No time to lose. CHRISTIAN: Indeed, you must. ROXANE: But wherefore must I? CHRISTIAN (embarrassed): 'Tis that. . . CYRANO (the same): --In three quarters of an hour. . . DE GUICHE (the same): --Or for. . . CARBON (the same): It were best. . . LE BRET (the same): You might. . . ROXANE: You are going to fight?--I stay here. ALL: No, no! ROXANE: He is my husband! (She throws herself into Christian's arms): They shall kill us both together! CHRISTIAN: Why do you look at me thus? ROXANE: I will tell you why! DE GUICHE (in despair): 'Tis a post of mortal danger! ROXANE (turning round): Mortal danger! CYRANO: Proof enough, that he has put us here! ROXANE (to De Guiche): So, Sir, you would have made a widow of me? DE GUICHE: Nay, on my oath. . . ROXANE: I will not go! I am reckless now, and I shall not stir from here!--Besides, 'tis amusing! CYRANO: Oh-ho! So our precieuse is a heroine! ROXANE: Monsieur de Bergerac, I am your cousin. A CADET: We will defend you well! ROXANE (more and more excited): I have no fear of that, my friends! ANOTHER (in ecstasy): The whole camp smells sweet of orris-root! ROXANE: And, by good luck, I have chosen a hat that will suit well with the battlefield! (Looking at De Guiche): But were it not wisest that the Count retire? They may begin the attack. DE GUICHE: That is not to be brooked! I go to inspect the cannon, and shall return. You have still time--think better of it! ROXANE: Never! (De Guiche goes out.)

Scene 5

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano39.asp

Roxane has passed through the ravages of war in the service of her king, which is love. Using her smile as a passport and telling the gallant Spaniards that she was going to see her lover, she has charmed her way through enemy lines. No one can believe she has risked her life to come here; and everyone wants her to leave at once. No one, however, dares to tell here that they will soon be going into battle. When she deduces the situation, she claims that she wants to stay and die with Christian. She also accuses De Guiche of trying to make her a widow, by having her husband killed in the battle. The cadets are filled with admiration for her courage and stirred to battle to defend her.

Notes At the end of the last scene, the Cadets have all lined up, bowing low in expectation of the arrival of the king. They are fully shocked when Roxane emerges from the carriage. They are not expecting a beautiful woman in their midst. They respond by stating that the camp suddenly smells of irises and by promising to defend her. The scene reveals new facets of Roxane. Her impulsiveness in coming and her ability to charm the Spanish soldiers are not surprising, for she has been previously pictured as charming and impulsive; but now her keen sense of adventure and her courage are also seen, for she has risked her life to come to the Gascon camp. Since these latter qualities are not thought to be appropriate for fine ladies of intelligence, Rostand tempers her actions by her explanation that the driving force for her has been love. Roxane then further proves her courage by accusing De Guiche of casting the cadets into battle in order to make her a widow. Through her bold actions, she shows that she has everything it takes to be a successful Gascon fighter; only her sex prevents her from being given that opportunity. She still says, however, that she will not leave the battlefield, for she wants to die with her husband.

pinkmonkey

all_chapterized_books/1254-chapters/40.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_36_part_0.txt

Cyrano De Bergerac.act 4.scene 6

scene 6

{"name": "Scene 6", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano40.asp", "summary": "When Carbon introduces Roxane to the Cadets, he asks her to give up her lace handkerchief to serve as the banner of the cadets; she gladly obliges. When one of the men mentions his hunger to her, she tells them that she has brought food and sends them to the carriage. While Ragueneau, serving as the coachman, takes out the edible delicacies, Roxane distributes them to the cadets. Cyrano urgently draws Christian aside to talk to him, but the latter is called away to help with the food. While he carves the meat, he presses Roxane about her real reason for coming; however, she will not talk to him until after the feast is over. When De Guiche re-enters the camp, the food is quickly hidden from view. As a result, he is amazed by the gaiety that he perceives. He has come to bring the cadets a cannon, but he warns them about its recoil action. He also asks Roxane if she really intends to stay on at the camp. When she gives her positive response, he calls for a musket and says that he will stay and protect her. The cadets are so impressed by his offer that they give him the remaining food from the feast. Although he is tempted by his hunger, De Guiche is too proud to accept it. He is then applauded by all as a true Gascon. When Carbon asks De Guiche to inspect the pikeman, he asks Roxane to accompany him. This gives Cyrano the opportunity to warn Christian that he must acknowledge having written the letters that Roxane has received. Christian is amazed at the news and questions him about the letters and their dispatch. When Cyrano explains how he has crossed enemy lines to get the letters to Roxane, Christian sarcastically remarks that writing them must have been an intoxicating experience, for Cyrano was willing to risk death for them; there is a touch of jealousy in his criticism. Roxane's return, however, suspends their conversation.", "analysis": "Notes Scenes 5 through 7 are probably the weakest ones in the play, for they border on the totally ridiculous and unbelievable. It is hard to imagine that a woman, even an impulsive and determined one like Roxane, would risk her life to come to the front and be successful in charming the Spanish soldiers to let her through enemy lines. The irony is that she has been spurred to come in order to see Christian, her new husband, because of letters she has been receiving, supposedly written by him. In truth, it is Cyrano's poetic words that have drawn her to the front. When Roxane does succeed in arriving, it is not surprising that she has an immediate effect on everyone. Not only does she bring the smell of iris to the camp, her arrival causes the unkempt cadets to rush and try to make themselves presentable. Her presence is not just an inspiration but a civilizing influence on these soldiers who are soon going to be cannon fodder. Even De Guiche is impressed with Roxane's courage. When she says she is going to stay on in the camp during the battle, he calls for a musket and promises to remain and defend her. When one of the cadets mentions his hunger, Roxane reveals that she has brought a feast with her. It serves as a type of last supper for the cadets. It also proves Roxane's kindness and inventiveness; she has managed to conceal the food in the strangest places. A sausage has even been hidden in the coachman's whip. The feast, largely prepared by Ragueneau, the former pastry chef who is now in Roxane's service, gives him an opportunity to provide some poetry; as always, his metaphors are trite, comparing Roxane to Venus and wine flasks to rubies. In spite of the general merriment in the camp, Cyrano is a bag of nerves. He has has never informed Christian about the numerous letters that he has sent to Roxane in Christian's name. When he first tries to explain what he has done, Christian is called away to carve the meat. Later he has the opportunity to make his confession when De Guiche asks Roxane to accompany him on his inspection of the pikeman. At the end of scene 7, Christian's vehement outburst to Cyrano suggests that his jealousy has at last found an object. The strong reaction is a first step by Rostand of alienating the audience from the handsome cadet and solidifying support for Cyrano, the protagonist."}

The same, all but De Guiche. CHRISTIAN (entreatingly): Roxane! ROXANE: No! FIRST CADET (to the others): She stays! ALL (hurrying, hustling each other, tidying themselves): A comb!--Soap!--My uniform is torn!--A needle!--A ribbon!--Lend your mirror!--My cuffs!--Your curling-iron!--A razor!. . . ROXANE (to Cyrano, who still pleads with her): No! Naught shall make me stir from this spot! CARBON (who, like the others, has been buckling, dusting, brushing his hat, settling his plume, and drawing on his cuffs, advances to Roxane, and ceremoniously): It is perchance more seemly, since things are thus, that I present to you some of these gentlemen who are about to have the honor of dying before your eyes. (Roxane bows, and stands leaning on Christian's arm, while Carbon introduces the cadets to her): Baron de Peyrescous de Colignac! THE CADET (with a low reverence): Madame. . . CARBON (continuing): Baron de Casterac de Cahuzac,--Vidame de Malgouyre Estressac Lesbas d'Escarabiot, Chevalier d'Antignac-Juzet, Baron Hillot de Blagnac-Salechan de Castel Crabioules. . . ROXANE: But how many names have you each? BARON HILLOT: Scores! CARBON (to Roxane): Pray, upon the hand that holds your kerchief. ROXANE (opens her hand, and the handkerchief falls): Why? (The whole company start forward to pick it up.) CARBON (quickly raising it): My company had no flag. But now, by my faith, they will have the fairest in all the camp! ROXANE (smiling): 'Tis somewhat small. CARBON (tying the handkerchief on the staff of his lance): But--'tis of lace! A CADET (to the rest): I could die happy, having seen so sweet a face, if I had something in my stomach--were it but a nut! CARBON (who has overheard, indignantly): Shame on you! What, talk of eating when a lovely woman!. . . ROXANE: But your camp air is keen; I myself am famished. Pasties, cold fricassee, old wines--there is my bill of fare? Pray bring it all here. (Consternation.) A CADET: All that? ANOTHER: But where on earth find it? ROXANE (quietly): In my carriage. ALL: How? ROXANE: Now serve up--carve! Look a little closer at my coachman, gentlemen, and you will recognize a man most welcome. All the sauces can be sent to table hot, if we will! THE CADETS (rushing pellmell to the carriage): 'Tis Ragueneau! (Acclamations): Oh, oh! ROXANE (looking after them): Poor fellows! CYRANO (kissing her hand): Kind fairy! RAGUENEAU (standing on the box like a quack doctor at a fair): Gentlemen!. . . (General delight.) THE CADETS: Bravo! bravo! RAGUENEAU: . . .The Spaniards, gazing on a lady so dainty fair, overlooked the fare so dainty!. . . (Applause.) CYRANO (in a whisper to Christian): Hark, Christian! RAGUENEAU: . . .And, occupied with gallantry, perceived not-- (His draws a plate from under the seat, and holds it up): --The galantine!. . . (Applause. The galantine passes from hand to hand.) CYRANO (still whispering to Christian): Prythee, one word! RAGUENEAU: And Venus so attracted their eyes that Diana could secretly pass by with-- (He holds up a shoulder of mutton): --her fawn! (Enthusiasm. Twenty hands are held out to seize the shoulder of mutton.) CYRANO (in a low whisper to Christian): I must speak to you! ROXANE (to the cadets, who come down, their arms laden with food): Put it all on the ground! (She lays all out on the grass, aided by the two imperturbable lackeys who were behind the carriage.) ROXANE (to Christian, just as Cyrano is drawing him apart): Come, make yourself of use! (Christian comes to help her. Cyrano's uneasiness increases.) RAGUENEAU: Truffled peacock! FIRST CADET (radiant, coming down, cutting a big slice of ham): By the mass! We shall not brave the last hazard without having had a gullet-full!-- (quickly correcting himself on seeing Roxane): --Pardon! A Balthazar feast! RAGUENEAU (throwing down the carriage cushions): The cushions are stuffed with ortolans! (Hubbub. They tear open and turn out the contents of the cushions. Bursts of laughter--merriment.) THIRD CADET: Ah! Viedaze! RAGUENEAU (throwing down to the cadets bottles of red wine): Flasks of rubies!-- (and white wine): --Flasks of topaz! ROXANE (throwing a folded tablecloth at Cyrano's head): Unfold me that napkin!--Come, come! be nimble! RAGUENEAU (waving a lantern): Each of the carriage-lamps is a little larder! CYRANO (in a low voice to Christian, as they arrange the cloth together): I must speak with you ere you speak to her. RAGUENEAU: My whip-handle is an Arles sausage! ROXANE (pouring out wine, helping): Since we are to die, let the rest of the army shift for itself. All for the Gascons! And mark! if De Guiche comes, let no one invite him! (Going from one to the other): There! there! You have time enough! Do not eat too fast!--Drink a little.- -Why are you crying? FIRST CADET: It is all so good!. . . ROXANE: Tut!--Red or white?--Some bread for Monsieur de Carbon!--a knife! Pass your plate!--a little of the crust? Some more? Let me help you!--Some champagne?- -A wing? CYRANO (who follows her, his arms laden with dishes, helping her to wait on everybody): How I worship her! ROXANE (going up to Christian): What will you? CHRISTIAN: Nothing. ROXANE: Nay, nay, take this biscuit, steeped in muscat; come!. . .but two drops! CHRISTIAN (trying to detain her): Oh! tell me why you came? ROXANE: Wait; my first duty is to these poor fellows.--Hush! In a few minutes. . . LE BRET (who had gone up to pass a loaf on the end of a lance to the sentry on the rampart): De Guiche! CYRANO: Quick! hide flasks, plates, pie-dishes, game-baskets! Hurry!--Let us all look unconscious! (To Ragueneau): Up on your seat!--Is everything covered up? (In an instant all has been pushed into the tents, or hidden under doublets, cloaks, and beavers. De Guiche enters hurriedly--stops suddenly, sniffing the air. Silence.)

Scene 6

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano40.asp

When Carbon introduces Roxane to the Cadets, he asks her to give up her lace handkerchief to serve as the banner of the cadets; she gladly obliges. When one of the men mentions his hunger to her, she tells them that she has brought food and sends them to the carriage. While Ragueneau, serving as the coachman, takes out the edible delicacies, Roxane distributes them to the cadets. Cyrano urgently draws Christian aside to talk to him, but the latter is called away to help with the food. While he carves the meat, he presses Roxane about her real reason for coming; however, she will not talk to him until after the feast is over. When De Guiche re-enters the camp, the food is quickly hidden from view. As a result, he is amazed by the gaiety that he perceives. He has come to bring the cadets a cannon, but he warns them about its recoil action. He also asks Roxane if she really intends to stay on at the camp. When she gives her positive response, he calls for a musket and says that he will stay and protect her. The cadets are so impressed by his offer that they give him the remaining food from the feast. Although he is tempted by his hunger, De Guiche is too proud to accept it. He is then applauded by all as a true Gascon. When Carbon asks De Guiche to inspect the pikeman, he asks Roxane to accompany him. This gives Cyrano the opportunity to warn Christian that he must acknowledge having written the letters that Roxane has received. Christian is amazed at the news and questions him about the letters and their dispatch. When Cyrano explains how he has crossed enemy lines to get the letters to Roxane, Christian sarcastically remarks that writing them must have been an intoxicating experience, for Cyrano was willing to risk death for them; there is a touch of jealousy in his criticism. Roxane's return, however, suspends their conversation.

Notes Scenes 5 through 7 are probably the weakest ones in the play, for they border on the totally ridiculous and unbelievable. It is hard to imagine that a woman, even an impulsive and determined one like Roxane, would risk her life to come to the front and be successful in charming the Spanish soldiers to let her through enemy lines. The irony is that she has been spurred to come in order to see Christian, her new husband, because of letters she has been receiving, supposedly written by him. In truth, it is Cyrano's poetic words that have drawn her to the front. When Roxane does succeed in arriving, it is not surprising that she has an immediate effect on everyone. Not only does she bring the smell of iris to the camp, her arrival causes the unkempt cadets to rush and try to make themselves presentable. Her presence is not just an inspiration but a civilizing influence on these soldiers who are soon going to be cannon fodder. Even De Guiche is impressed with Roxane's courage. When she says she is going to stay on in the camp during the battle, he calls for a musket and promises to remain and defend her. When one of the cadets mentions his hunger, Roxane reveals that she has brought a feast with her. It serves as a type of last supper for the cadets. It also proves Roxane's kindness and inventiveness; she has managed to conceal the food in the strangest places. A sausage has even been hidden in the coachman's whip. The feast, largely prepared by Ragueneau, the former pastry chef who is now in Roxane's service, gives him an opportunity to provide some poetry; as always, his metaphors are trite, comparing Roxane to Venus and wine flasks to rubies. In spite of the general merriment in the camp, Cyrano is a bag of nerves. He has has never informed Christian about the numerous letters that he has sent to Roxane in Christian's name. When he first tries to explain what he has done, Christian is called away to carve the meat. Later he has the opportunity to make his confession when De Guiche asks Roxane to accompany him on his inspection of the pikeman. At the end of scene 7, Christian's vehement outburst to Cyrano suggests that his jealousy has at last found an object. The strong reaction is a first step by Rostand of alienating the audience from the handsome cadet and solidifying support for Cyrano, the protagonist.

pinkmonkey

all_chapterized_books/1254-chapters/41.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_37_part_0.txt

Cyrano De Bergerac.act 4.scene 7

scene 7

{"name": "Scene 7", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano40.asp", "summary": "When Carbon introduces Roxane to the Cadets, he asks her to give up her lace handkerchief to serve as the banner of the cadets; she gladly obliges. When one of the men mentions his hunger to her, she tells them that she has brought food and sends them to the carriage. While Ragueneau, serving as the coachman, takes out the edible delicacies, Roxane distributes them to the cadets. Cyrano urgently draws Christian aside to talk to him, but the latter is called away to help with the food. While he carves the meat, he presses Roxane about her real reason for coming; however, she will not talk to him until after the feast is over. When De Guiche re-enters the camp, the food is quickly hidden from view. As a result, he is amazed by the gaiety that he perceives. He has come to bring the cadets a cannon, but he warns them about its recoil action. He also asks Roxane if she really intends to stay on at the camp. When she gives her positive response, he calls for a musket and says that he will stay and protect her. The cadets are so impressed by his offer that they give him the remaining food from the feast. Although he is tempted by his hunger, De Guiche is too proud to accept it. He is then applauded by all as a true Gascon. When Carbon asks De Guiche to inspect the pikeman, he asks Roxane to accompany him. This gives Cyrano the opportunity to warn Christian that he must acknowledge having written the letters that Roxane has received. Christian is amazed at the news and questions him about the letters and their dispatch. When Cyrano explains how he has crossed enemy lines to get the letters to Roxane, Christian sarcastically remarks that writing them must have been an intoxicating experience, for Cyrano was willing to risk death for them; there is a touch of jealousy in his criticism. Roxane's return, however, suspends their conversation.", "analysis": "Notes Scenes 5 through 7 are probably the weakest ones in the play, for they border on the totally ridiculous and unbelievable. It is hard to imagine that a woman, even an impulsive and determined one like Roxane, would risk her life to come to the front and be successful in charming the Spanish soldiers to let her through enemy lines. The irony is that she has been spurred to come in order to see Christian, her new husband, because of letters she has been receiving, supposedly written by him. In truth, it is Cyrano's poetic words that have drawn her to the front. When Roxane does succeed in arriving, it is not surprising that she has an immediate effect on everyone. Not only does she bring the smell of iris to the camp, her arrival causes the unkempt cadets to rush and try to make themselves presentable. Her presence is not just an inspiration but a civilizing influence on these soldiers who are soon going to be cannon fodder. Even De Guiche is impressed with Roxane's courage. When she says she is going to stay on in the camp during the battle, he calls for a musket and promises to remain and defend her. When one of the cadets mentions his hunger, Roxane reveals that she has brought a feast with her. It serves as a type of last supper for the cadets. It also proves Roxane's kindness and inventiveness; she has managed to conceal the food in the strangest places. A sausage has even been hidden in the coachman's whip. The feast, largely prepared by Ragueneau, the former pastry chef who is now in Roxane's service, gives him an opportunity to provide some poetry; as always, his metaphors are trite, comparing Roxane to Venus and wine flasks to rubies. In spite of the general merriment in the camp, Cyrano is a bag of nerves. He has has never informed Christian about the numerous letters that he has sent to Roxane in Christian's name. When he first tries to explain what he has done, Christian is called away to carve the meat. Later he has the opportunity to make his confession when De Guiche asks Roxane to accompany him on his inspection of the pikeman. At the end of scene 7, Christian's vehement outburst to Cyrano suggests that his jealousy has at last found an object. The strong reaction is a first step by Rostand of alienating the audience from the handsome cadet and solidifying support for Cyrano, the protagonist."}

The same. De Guiche. DE GUICHE: It smells good here. A CADET (humming): Lo! Lo-lo! DE GUICHE (looking at him): What is the matter?--You are very red. THE CADET: The matter?--Nothing!--'Tis my blood--boiling at the thought of the coming battle! ANOTHER: Poum, poum--poum. . . DE GUICHE (turning round): What's that? THE CADET (slightly drunk): Nothing!. . .'Tis a song!--a little. . . DE GUICHE: You are merry, my friend! THE CADET: The approach of danger is intoxicating! DE GUICHE (calling Carbon de Castel-Jaloux, to give him an order): Captain! I. . . (He stops short on seeing him): Plague take me! but you look bravely, too! CARBON (crimson in the face, hiding a bottle behind his back, with an evasive movement): Oh!. . . DE GUICHE: I have one cannon left, and have had it carried there-- (he points behind the scenes): --in that corner. . .Your men can use it in case of need. A CADET (reeling slightly): Charming attention! ANOTHER (with a gracious smile): Kind solicitude! DE GUICHE: How? they are all gone crazy? (Drily): As you are not used to cannon, beware of the recoil. FIRST CADET: Pooh! DE GUICHE (furious, going up to him): But. . . THE CADET: Gascon cannons never recoil! DE GUICHE (taking him by the arm and shaking him): You are tipsy!--but what with? THE CADET (grandiloquently): --With the smell of powder! DE GUICHE (shrugging his shoulders and pushing him away, then going quickly to Roxane): Briefly, Madame, what decision do you deign to take? ROXANE: I stay here. DE GUICHE: You must fly! ROXANE: No! I will stay. DE GUICHE: Since things are thus, give me a musket, one of you! CARBON: Wherefore? DE GUICHE: Because I too--mean to remain. CYRANO: At last! This is true valor, Sir! FIRST CADET: Then you are Gascon after all, spite of your lace collar? ROXANE: What is all this? DE GUICHE: I leave no woman in peril. SECOND CADET (to the first): Hark you! Think you not we might give him something to eat? (All the viands reappear as if by magic.) DE GUICHE (whose eyes sparkle): Victuals! THE THIRD CADET: Yes, you'll see them coming from under every coat! DE GUICHE (controlling himself, haughtily): Do you think I will eat your leavings? CYRANO (saluting him): You make progress. DE GUICHE (proudly, with a light touch of accent on the word 'breaking'): I will fight without br-r-eaking my fast! FIRST CADET (with wild delight): Br-r-r-eaking! He has got the accent! DE GUICHE (laughing): I? THE CADET: 'Tis a Gascon! (All begin to dance.) CARBON DE CASTEL-JALOUX (who had disappeared behind the rampart, reappearing on the ridge): I have drawn my pikemen up in line. They are a resolute troop. (He points to a row of pikes, the tops of which are seen over the ridge.) DE GUICHE (bowing to Roxane): Will you accept my hand, and accompany me while I review them? (She takes it, and they go up toward the rampart. All uncover and follow them.) CHRISTIAN (going to Cyrano, eagerly): Tell me quickly! (As Roxane appears on the ridge, the tops of the lances disappear, lowered for the salute, and a shout is raised. She bows.) THE PIKEMEN (outside): Vivat! CHRISTIAN: What is this secret? CYRANO: If Roxane should. . . CHRISTIAN: Should?. . . CYRANO: Speak of the letters?. . . CHRISTIAN: Yes, I know!. . . CYRANO: Do not spoil all by seeming surprised. . . CHRISTIAN: At what? CYRANO: I must explain to you!. . .Oh! 'tis no great matter--I but thought of it to- day on seeing her. You have. . . CHRISTIAN: Tell quickly! CYRANO: You have. . .written to her oftener than you think. . . CHRISTIAN: How so? CYRANO: Thus, 'faith! I had taken it in hand to express your flame for you!. . .At times I wrote without saying, 'I am writing!' CHRISTIAN: Ah!. . . CYRANO: 'Tis simple enough! CHRISTIAN: But how did you contrive, since we have been cut off, thus. . .to?. . . CYRANO: . . .Oh! before dawn. . .I was able to get through. . . CHRISTIAN (folding his arms): That was simple, too? And how oft, pray you, have I written?. . .Twice in the week?. . .Three times?. . .Four?. . . CYRANO: More often still. CHRISTIAN: What! Every day? CYRANO: Yes, every day,--twice. CHRISTIAN (violently): And that became so mad a joy for you, that you braved death. . . CYRANO (seeing Roxane returning): Hush! Not before her! (He goes hurriedly into his tent.)

Scene 7

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano40.asp

When Carbon introduces Roxane to the Cadets, he asks her to give up her lace handkerchief to serve as the banner of the cadets; she gladly obliges. When one of the men mentions his hunger to her, she tells them that she has brought food and sends them to the carriage. While Ragueneau, serving as the coachman, takes out the edible delicacies, Roxane distributes them to the cadets. Cyrano urgently draws Christian aside to talk to him, but the latter is called away to help with the food. While he carves the meat, he presses Roxane about her real reason for coming; however, she will not talk to him until after the feast is over. When De Guiche re-enters the camp, the food is quickly hidden from view. As a result, he is amazed by the gaiety that he perceives. He has come to bring the cadets a cannon, but he warns them about its recoil action. He also asks Roxane if she really intends to stay on at the camp. When she gives her positive response, he calls for a musket and says that he will stay and protect her. The cadets are so impressed by his offer that they give him the remaining food from the feast. Although he is tempted by his hunger, De Guiche is too proud to accept it. He is then applauded by all as a true Gascon. When Carbon asks De Guiche to inspect the pikeman, he asks Roxane to accompany him. This gives Cyrano the opportunity to warn Christian that he must acknowledge having written the letters that Roxane has received. Christian is amazed at the news and questions him about the letters and their dispatch. When Cyrano explains how he has crossed enemy lines to get the letters to Roxane, Christian sarcastically remarks that writing them must have been an intoxicating experience, for Cyrano was willing to risk death for them; there is a touch of jealousy in his criticism. Roxane's return, however, suspends their conversation.

Notes Scenes 5 through 7 are probably the weakest ones in the play, for they border on the totally ridiculous and unbelievable. It is hard to imagine that a woman, even an impulsive and determined one like Roxane, would risk her life to come to the front and be successful in charming the Spanish soldiers to let her through enemy lines. The irony is that she has been spurred to come in order to see Christian, her new husband, because of letters she has been receiving, supposedly written by him. In truth, it is Cyrano's poetic words that have drawn her to the front. When Roxane does succeed in arriving, it is not surprising that she has an immediate effect on everyone. Not only does she bring the smell of iris to the camp, her arrival causes the unkempt cadets to rush and try to make themselves presentable. Her presence is not just an inspiration but a civilizing influence on these soldiers who are soon going to be cannon fodder. Even De Guiche is impressed with Roxane's courage. When she says she is going to stay on in the camp during the battle, he calls for a musket and promises to remain and defend her. When one of the cadets mentions his hunger, Roxane reveals that she has brought a feast with her. It serves as a type of last supper for the cadets. It also proves Roxane's kindness and inventiveness; she has managed to conceal the food in the strangest places. A sausage has even been hidden in the coachman's whip. The feast, largely prepared by Ragueneau, the former pastry chef who is now in Roxane's service, gives him an opportunity to provide some poetry; as always, his metaphors are trite, comparing Roxane to Venus and wine flasks to rubies. In spite of the general merriment in the camp, Cyrano is a bag of nerves. He has has never informed Christian about the numerous letters that he has sent to Roxane in Christian's name. When he first tries to explain what he has done, Christian is called away to carve the meat. Later he has the opportunity to make his confession when De Guiche asks Roxane to accompany him on his inspection of the pikeman. At the end of scene 7, Christian's vehement outburst to Cyrano suggests that his jealousy has at last found an object. The strong reaction is a first step by Rostand of alienating the audience from the handsome cadet and solidifying support for Cyrano, the protagonist.

pinkmonkey

all_chapterized_books/1254-chapters/48.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_43_part_0.txt

Cyrano De Bergerac.act 5.scene 3

scene 3

{"name": "Scene 3", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano44.asp", "summary": "Ragueneau tells Le Bret that Cyrano has had a freak accident. While he was walking outside, a lackey dropped a piece of firewood from an upper window. It hit Cyrano on the head, injuring him seriously. Ragueneau states that after the accident, he had carried Cyrano to his room and found a doctor who would treat him out of charity. Since Cyrano is still unconscious, Ragueneau wants Le Bret to go to him immediately. The two of them rush out without saying a word to Roxane. She assumes that Ragueneau is in serious trouble for them to totally ignore her. Roxane stands alone in the park admiring the autumn day. Two nuns come out and place a large armchair in anticipation of Cyrano's weekly visit. When she realizes what time it is, Roxane is surprised, for Cyrano is never late. She assumes that a nun at the gate has stopped him to ask him to repent of his sins. Brushing away a dead leaf, she turns to work on her tapestry in order to pass the time. Soon a nun announces Cyrano's arrival.", "analysis": "Notes Ragueneau tells Le Bret that Cyrano has been injured. In truth, he has been attacked by a cowardly enemy who orders his servant to drop a piece of firewood on Cyrano's head. The historical Cyrano was injured in the same manner; however, he lived nearly a year after his accident. Both of them die in September. The real Cyrano also suffered from abject poverty, like the protagonist of the play. At the end of scene 4, Cyrano arrives to see Roxane. It is quite in character that the protagonist would not let an injury keep him away from his true love, even though she has greatly changed. She is no longer the sparkling young beauty who married Christian. Now she is the pathetically faithful wife who has grieved over the loss of her husband for too many years. Time has taken away her bright spirits, as seen in scene 3 when she is easily upset because Le Bret does not answer her. The tapestry on which Roxane stitches is symbolic of her self- absorption. She has turned away from the world to create her own version of reality. It is significant that she brushes a dead leaf off the tapestry, a foreshadowing of the darkness to come."}

Le Bret, Ragueneau. RAGUENEAU: Since you are here, 'tis best she should not know! I was going to your friend just now--was but A few steps from the house, when I saw him Go out. I hurried to him. Saw him turn The corner. . .suddenly, from out a window Where he was passing--was it chance?. . .may be! A lackey let fall a large piece of wood. LE BRET: Cowards! O Cyrano! RAGUENEAU: I ran--I saw. . . LE BRET: 'Tis hideous! RAGUENEAU: Saw our poet, Sir--our friend-- Struck to the ground--a large wound in his head! LE BRET: He's dead? RAGUENEAU: No--but--I bore him to his room. . . Ah! his room! What a thing to see!--that garret! LE BRET: He suffers? RAGUENEAU: No, his consciousness has flown. LE BRET: Saw you a doctor? RAGUENEAU: One was kind--he came. LE BRET: My poor Cyrano!--We must not tell this To Roxane suddenly.--What said this leech?-- RAGUENEAU: Said,--what, I know not--fever, meningitis!-- Ah! could you see him--all his head bound up!-- But let us haste!--There's no one by his bed!-- And if he try to rise, Sir, he might die! LE BRET (dragging him toward the right): Come! Through the chapel! 'Tis the quickest way! ROXANE (appearing on the steps, and seeing Le Bret go away by the colonnade leading to the chapel door): Monsieur le Bret! (Le Bret and Ragueneau disappear without answering): Le Bret goes--when I call! 'Tis some new trouble of good Ragueneau's. (She descends the steps.)

Scene 3

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano44.asp

Ragueneau tells Le Bret that Cyrano has had a freak accident. While he was walking outside, a lackey dropped a piece of firewood from an upper window. It hit Cyrano on the head, injuring him seriously. Ragueneau states that after the accident, he had carried Cyrano to his room and found a doctor who would treat him out of charity. Since Cyrano is still unconscious, Ragueneau wants Le Bret to go to him immediately. The two of them rush out without saying a word to Roxane. She assumes that Ragueneau is in serious trouble for them to totally ignore her. Roxane stands alone in the park admiring the autumn day. Two nuns come out and place a large armchair in anticipation of Cyrano's weekly visit. When she realizes what time it is, Roxane is surprised, for Cyrano is never late. She assumes that a nun at the gate has stopped him to ask him to repent of his sins. Brushing away a dead leaf, she turns to work on her tapestry in order to pass the time. Soon a nun announces Cyrano's arrival.

Notes Ragueneau tells Le Bret that Cyrano has been injured. In truth, he has been attacked by a cowardly enemy who orders his servant to drop a piece of firewood on Cyrano's head. The historical Cyrano was injured in the same manner; however, he lived nearly a year after his accident. Both of them die in September. The real Cyrano also suffered from abject poverty, like the protagonist of the play. At the end of scene 4, Cyrano arrives to see Roxane. It is quite in character that the protagonist would not let an injury keep him away from his true love, even though she has greatly changed. She is no longer the sparkling young beauty who married Christian. Now she is the pathetically faithful wife who has grieved over the loss of her husband for too many years. Time has taken away her bright spirits, as seen in scene 3 when she is easily upset because Le Bret does not answer her. The tapestry on which Roxane stitches is symbolic of her self- absorption. She has turned away from the world to create her own version of reality. It is significant that she brushes a dead leaf off the tapestry, a foreshadowing of the darkness to come.

pinkmonkey

all_chapterized_books/1254-chapters/49.txt

finished_summaries/pinkmonkey/Cyrano De Bergerac/section_44_part_0.txt

Cyrano De Bergerac.act 5.scene 4

scene 4

{"name": "Scene 4", "url": "https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano44.asp", "summary": "Ragueneau tells Le Bret that Cyrano has had a freak accident. While he was walking outside, a lackey dropped a piece of firewood from an upper window. It hit Cyrano on the head, injuring him seriously. Ragueneau states that after the accident, he had carried Cyrano to his room and found a doctor who would treat him out of charity. Since Cyrano is still unconscious, Ragueneau wants Le Bret to go to him immediately. The two of them rush out without saying a word to Roxane. She assumes that Ragueneau is in serious trouble for them to totally ignore her. Roxane stands alone in the park admiring the autumn day. Two nuns come out and place a large armchair in anticipation of Cyrano's weekly visit. When she realizes what time it is, Roxane is surprised, for Cyrano is never late. She assumes that a nun at the gate has stopped him to ask him to repent of his sins. Brushing away a dead leaf, she turns to work on her tapestry in order to pass the time. Soon a nun announces Cyrano's arrival.", "analysis": "Notes Ragueneau tells Le Bret that Cyrano has been injured. In truth, he has been attacked by a cowardly enemy who orders his servant to drop a piece of firewood on Cyrano's head. The historical Cyrano was injured in the same manner; however, he lived nearly a year after his accident. Both of them die in September. The real Cyrano also suffered from abject poverty, like the protagonist of the play. At the end of scene 4, Cyrano arrives to see Roxane. It is quite in character that the protagonist would not let an injury keep him away from his true love, even though she has greatly changed. She is no longer the sparkling young beauty who married Christian. Now she is the pathetically faithful wife who has grieved over the loss of her husband for too many years. Time has taken away her bright spirits, as seen in scene 3 when she is easily upset because Le Bret does not answer her. The tapestry on which Roxane stitches is symbolic of her self- absorption. She has turned away from the world to create her own version of reality. It is significant that she brushes a dead leaf off the tapestry, a foreshadowing of the darkness to come."}

Roxane alone. Two sisters, for a moment. ROXANE: Ah! what a beauty in September's close! My sorrow's eased. April's joy dazzled it, But autumn wins it with her dying calm. (She seats herself at the embroidery frame. Two sisters come out of the house, and bring a large armchair under the tree): There comes the famous armchair where he sits, Dear faithful friend! SISTER MARTHA: It is the parlor's best! ROXANE: Thanks, sister. (The sisters go): He'll be here now. (She seats herself. A clock strikes): The hour strikes. --My silks?--Why, now, the hour's struck! How strange To be behind his time, at last, to-day! Perhaps the portress--where's my thimble?. . . Here!--Is preaching to him. (A pause): Yes, she must be preaching! Surely he must come soon!--Ah, a dead leaf!-- (She brushes off the leaf from her work): Nothing, besides, could--scissors?--In my bag! --Could hinder him. . . A SISTER (coming to the steps): Monsieur de Bergerac.

Scene 4

https://web.archive.org/web/20180820053313/http://www.pinkmonkey.com/booknotes/monkeynotes/pmCyrano44.asp

Ragueneau tells Le Bret that Cyrano has had a freak accident. While he was walking outside, a lackey dropped a piece of firewood from an upper window. It hit Cyrano on the head, injuring him seriously. Ragueneau states that after the accident, he had carried Cyrano to his room and found a doctor who would treat him out of charity. Since Cyrano is still unconscious, Ragueneau wants Le Bret to go to him immediately. The two of them rush out without saying a word to Roxane. She assumes that Ragueneau is in serious trouble for them to totally ignore her. Roxane stands alone in the park admiring the autumn day. Two nuns come out and place a large armchair in anticipation of Cyrano's weekly visit. When she realizes what time it is, Roxane is surprised, for Cyrano is never late. She assumes that a nun at the gate has stopped him to ask him to repent of his sins. Brushing away a dead leaf, she turns to work on her tapestry in order to pass the time. Soon a nun announces Cyrano's arrival.

Notes Ragueneau tells Le Bret that Cyrano has been injured. In truth, he has been attacked by a cowardly enemy who orders his servant to drop a piece of firewood on Cyrano's head. The historical Cyrano was injured in the same manner; however, he lived nearly a year after his accident. Both of them die in September. The real Cyrano also suffered from abject poverty, like the protagonist of the play. At the end of scene 4, Cyrano arrives to see Roxane. It is quite in character that the protagonist would not let an injury keep him away from his true love, even though she has greatly changed. She is no longer the sparkling young beauty who married Christian. Now she is the pathetically faithful wife who has grieved over the loss of her husband for too many years. Time has taken away her bright spirits, as seen in scene 3 when she is easily upset because Le Bret does not answer her. The tapestry on which Roxane stitches is symbolic of her self- absorption. She has turned away from the world to create her own version of reality. It is significant that she brushes a dead leaf off the tapestry, a foreshadowing of the darkness to come.

novelguide

all_chapterized_books/1254-chapters/2.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_1_part_1.txt

Cyrano de Bergerac.act 1.scene 1

act 1, scene 1

{"name": "act 1, scene 1", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes1-3", "summary": "The play opens in the year 1640 in the theater at the Hotel de Bourgogne in Paris, France. Preparations are under way for a performance of the play La Clorise. Members of the audience from all social classes, pickpockets, and an orange-girl arrive. Two gentlemen practice fencing. A middle-class man looks disapprovingly at the drinking, fighting, and gambling taking place among the audience and reflects that the place has sunk into disrepute since the great tragedies were performed there. As the chandeliers are lit in readiness for the performance, the audience gathers around in anticipation. The handsome young Baron Christian de Neuvillette enters with the satirist Ligniere, who is drunk", "analysis": ""}

The public, arriving by degrees. Troopers, burghers, lackeys, pages, a pickpocket, the doorkeeper, etc., followed by the marquises. Cuigy, Brissaille, the buffet-girl, the violinists, etc. (A confusion of loud voices is heard outside the door. A trooper enters hastily.) THE DOORKEEPER (following him): Hollo! You there! Your money! THE TROOPER: I enter gratis. THE DOORKEEPER: Why? THE TROOPER: Why? I am of the King's Household Cavalry, 'faith! THE DOORKEEPER (to another trooper who enters): And you? SECOND TROOPER: I pay nothing. THE DOORKEEPER: How so? SECOND TROOPER: I am a musketeer. FIRST TROOPER (to the second): The play will not begin till two. The pit is empty. Come, a bout with the foils to pass the time. (They fence with the foils they have brought.) A LACKEY (entering): Pst. . .Flanquin. . .! ANOTHER (already there): Champagne?. . . THE FIRST (showing him cards and dice which he takes from his doublet): See, here be cards and dice. (He seats himself on the floor): Let's play. THE SECOND (doing the same): Good; I am with you, villain! FIRST LACKEY (taking from his pocket a candle-end, which he lights, and sticks on the floor): I made free to provide myself with light at my master's expense! A GUARDSMAN (to a shop-girl who advances): 'Twas prettily done to come before the lights were lit! (He takes her round the waist.) ONE OF THE FENCERS (receiving a thrust): A hit! ONE OF THE CARD-PLAYERS: Clubs! THE GUARDSMAN (following the girl): A kiss! THE SHOP-GIRL (struggling to free herself): They're looking! THE GUARDSMAN (drawing her to a dark corner): No fear! No one can see! A MAN (sitting on the ground with others, who have brought their provisions): By coming early, one can eat in comfort. A BURGHER (conducting his son): Let us sit here, son. A CARD-PLAYER: Triple ace! A MAN (taking a bottle from under his cloak, and also seating himself on the floor): A tippler may well quaff his Burgundy (he drinks): in the Burgundy Hotel! THE BURGHER (to his son): 'Faith! A man might think he had fallen in a bad house here! (He points with his cane to the drunkard): What with topers! (One of the fencers in breaking off, jostles him): brawlers! (He stumbles into the midst of the card-players): gamblers! THE GUARDSMAN (behind him, still teasing the shop-girl): Come, one kiss! THE BURGHER (hurriedly pulling his son away): By all the holies! And this, my boy, is the theater where they played Rotrou erewhile. THE YOUNG MAN: Ay, and Corneille! A TROOP OF PAGES (hand-in-hand, enter dancing the farandole, and singing): Tra' a la, la, la, la, la, la, la, lere. . . THE DOORKEEPER (sternly, to the pages): You pages there, none of your tricks!. . . FIRST PAGE (with an air of wounded dignity): Oh, sir!--such a suspicion!. . . (Briskly, to the second page, the moment the doorkeeper's back is turned): Have you string? THE SECOND: Ay, and a fish-hook with it. FIRST PAGE: We can angle for wigs, then, up there i' th' gallery. A PICKPOCKET (gathering about him some evil-looking youths): Hark ye, young cut-purses, lend an ear, while I give you your first lesson in thieving. SECOND PAGE (calling up to others in the top galleries): You there! Have you peashooters? THIRD PAGE (from above): Ay, have we, and peas withal! (He blows, and peppers them with peas.) THE YOUNG MAN (to his father): What piece do they give us? THE BURGHER: 'Clorise.' THE YOUNG MAN: Who may the author be? THE BURGHER: Master Balthazar Baro. It is a play!. . . (He goes arm-in-arm with his son.) THE PICKPOCKET (to his pupils): Have a care, above all, of the lace knee-ruffles--cut them off! A SPECTATOR (to another, showing him a corner in the gallery): I was up there, the first night of the 'Cid.' THE PICKPOCKET (making with his fingers the gesture of filching): Thus for watches-- THE BURGHER (coming down again with his son): Ah! You shall presently see some renowned actors. . . THE PICKPOCKET (making the gestures of one who pulls something stealthily, with little jerks): Thus for handkerchiefs-- THE BURGHER: Montfleury. . . SOME ONE (shouting from the upper gallery): Light up, below there! THE BURGHER: . . .Bellerose, L'Epy, La Beaupre, Jodelet! A PAGE (in the pit): Here comes the buffet-girl! THE BUFFET-GIRL (taking her place behind the buffet): Oranges, milk, raspberry-water, cedar bitters! (A hubbub outside the door is heard.) A FALSETTO VOICE: Make place, brutes! A LACKEY (astonished): The Marquises!--in the pit?. . . ANOTHER LACKEY: Oh! only for a minute or two! (Enter a band of young marquises.) A MARQUIS (seeing that the hall is half empty): What now! So we make our entrance like a pack of woolen-drapers! Peaceably, without disturbing the folk, or treading on their toes!--Oh, fie! Fie! (Recognizing some other gentlemen who have entered a little before him): Cuigy! Brissaille! (Greetings and embraces.) CUIGY: True to our word!. . .Troth, we are here before the candles are lit. THE MARQUIS: Ay, indeed! Enough! I am of an ill humor. ANOTHER: Nay, nay, Marquis! see, for your consolation, they are coming to light up! ALL THE AUDIENCE (welcoming the entrance of the lighter): Ah!. . . (They form in groups round the lusters as they are lit. Some people have taken their seats in the galleries. Ligniere, a distinguished-looking roue, with disordered shirt-front arm-in-arm with christian de Neuvillette. Christian, who is dressed elegantly, but rather behind the fashion, seems preoccupied, and keeps looking at the boxes.)

act 1, scene 1

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes1-3

The play opens in the year 1640 in the theater at the Hotel de Bourgogne in Paris, France. Preparations are under way for a performance of the play La Clorise. Members of the audience from all social classes, pickpockets, and an orange-girl arrive. Two gentlemen practice fencing. A middle-class man looks disapprovingly at the drinking, fighting, and gambling taking place among the audience and reflects that the place has sunk into disrepute since the great tragedies were performed there. As the chandeliers are lit in readiness for the performance, the audience gathers around in anticipation. The handsome young Baron Christian de Neuvillette enters with the satirist Ligniere, who is drunk

novelguide

all_chapterized_books/1254-chapters/3.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_1_part_2.txt

Cyrano de Bergerac.act 1.scene 2

act 1, scene 2

{"name": "Act 1, scene 2", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes1-3", "summary": "Ligniere introduces Christian to some Marquises. Christian has just arrived in Paris to join the Guards. The Marquises think that Christian is not very fashionably dressed; they are more interested in the aristocratic and literary ladies who are taking their places in the boxes. Ligniere has come to help Christian identify a lady with whom he is in love. The pastry-cook Ragueneau arrives. Ligniere introduces him to Christian, explaining that Ragueneau is a lover of poetry who accepts poems as payment for his pastries. Ragueneau is excited to know if Cyrano, another member of the Guards, is here. The actor Montfleury is performing tonight and Cyrano has forbidden him to appear on the stage for the rest of the month. Cyrano's friends talk of him as a brilliant poet, swordsman, philosopher, and musician. They seem in awe of him. Ragueneau mentions that Cyrano has an enormous nose, and Le Bret warns that Cyrano will fight anyone who comments on it. Roxane, a beautiful young woman and the object of Christian's affections, arrives and sits in a box. Ligniere tells Christian that she is Cyrano's cousin. He adds that she is an intellectual. Christian is despondent at this news. Roxane is accompanied by the Comte de Guiche, a nobleman who is in love with her. He is already married, so he plans to marry her off to one of his proteges, the Vicomte de Valvert, who would turn a blind eye to any affair that de Guiche began with Roxane. Roxane and Christian exchange gazes. Ligniere leaves to find a tavern. There is still no sign of Cyrano. The crowd impatiently calls for the play to begin", "analysis": ""}

The same. Christian, Ligniere, then Ragueneau and Le Bret. CUIGY: Ligniere! BRISSAILLE (laughing): Not drunk as yet? LIGNIERE (aside to Christian): I may introduce you? (Christian nods in assent): Baron de Neuvillette. (Bows.) THE AUDIENCE (applauding as the first luster is lighted and drawn up): Ah! CUIGY (to Brissaille, looking at Christian): 'Tis a pretty fellow! FIRST MARQUIS (who has overheard): Pooh! LIGNIERE (introducing them to Christian): My lords De Cuigy. De Brissaille. . . CHRISTIAN (bowing): Delighted!. . . FIRST MARQUIS (to second): He is not ill to look at, but certes, he is not costumed in the latest mode. LIGNIERE (to Cuigy): This gentleman comes from Touraine. CHRISTIAN: Yes, I have scarce been twenty days in Paris; tomorrow I join the Guards, in the Cadets. FIRST MARQUIS (watching the people who are coming into the boxes): There is the wife of the Chief-Justice. THE BUFFET-GIRL: Oranges, milk. . . THE VIOLINISTS (tuning up): La--la-- CUIGY (to Christian, pointing to the hall, which is filling fast): 'Tis crowded. CHRISTIAN: Yes, indeed. FIRST MARQUIS: All the great world! (They recognize and name the different elegantly dressed ladies who enter the boxes, bowing low to them. The ladies send smiles in answer.) SECOND MARQUIS: Madame de Guemenee. CUIGY: Madame de Bois-Dauphin. FIRST MARQUIS: Adored by us all! BRISSAILLE: Madame de Chavigny. . . SECOND MARQUIS: Who sports with our poor hearts!. . . LIGNIERE: Ha! so Monsieur de Corneille has come back from Rouen! THE YOUNG MAN (to his father): Is the Academy here? THE BURGHER: Oh, ay, I see several of them. There is Boudu, Boissat, and Cureau de la Chambre, Porcheres, Colomby, Bourzeys, Bourdon, Arbaud. . .all names that will live! 'Tis fine! FIRST MARQUIS: Attention! Here come our precieuses; Barthenoide, Urimedonte, Cassandace, Felixerie. . . SECOND MARQUIS: Ah! How exquisite their fancy names are! Do you know them all, Marquis? FIRST MARQUIS: Ay, Marquis, I do, every one! LIGNIERE (drawing Christian aside): Friend, I but came here to give you pleasure. The lady comes not. I will betake me again to my pet vice. CHRISTIAN (persuasively): No, no! You, who are ballad-maker to Court and City alike, can tell me better than any who the lady is for whom I die of love. Stay yet awhile. THE FIRST VIOLIN (striking his bow on the desk): Gentlemen violinists! (He raises his bow.) THE BUFFET-GIRL: Macaroons, lemon-drink. . . (The violins begin to play.) CHRISTIAN: Ah! I fear me she is coquettish, and over nice and fastidious! I, who am so poor of wit, how dare I speak to her--how address her? This language that they speak to-day--ay, and write--confounds me; I am but an honest soldier, and timid withal. She has ever her place, there, on the right--the empty box, see you! LIGNIERE (making as if to go): I must go. CHRISTIAN (detaining him): Nay, stay. LIGNIERE: I cannot. D'Assoucy waits me at the tavern, and here one dies of thirst. THE BUFFET-GIRL (passing before him with a tray): Orange drink? LIGNIERE: Ugh! THE BUFFET-GIRL: Milk? LIGNIERE: Pah! THE BUFFET-GIRL: Rivesalte? LIGNIERE: Stay. (To Christian): I will remain awhile.--Let me taste this rivesalte. (He sits by the buffet; the girl pours some out for him.) CRIES (from all the audience, at the entrance of a plump little man, joyously excited): Ah! Ragueneau! LIGNIERE (to Christian): 'Tis the famous tavern-keeper Ragueneau. RAGUENEAU (dressed in the Sunday clothes of a pastry-cook, going up quickly to Ligniere): Sir, have you seen Monsieur de Cyrano? LIGNIERE (introducing him to Christian): The pastry-cook of the actors and the poets! RAGUENEAU (overcome): You do me too great honor. . . LIGNIERE: Nay, hold your peace, Maecenas that you are! RAGUENEAU: True, these gentlemen employ me. . . LIGNIERE: On credit! He is himself a poet of a pretty talent. . . RAGUENEAU: So they tell me. LIGNIERE: --Mad after poetry! RAGUENEAU: 'Tis true that, for a little ode. . . LIGNIERE: You give a tart. . . RAGUENEAU: Oh!--a tartlet! LIGNIERE: Brave fellow! He would fain fain excuse himself! --And for a triolet, now, did you not give in exchange. . . RAGUENEAU: Some little rolls! LIGNIERE (severely): They were milk-rolls! And as for the theater, which you love? RAGUENEAU: Oh! to distraction! LIGNIERE: How pay you your tickets, ha?--with cakes. Your place, to-night, come tell me in my ear, what did it cost you? RAGUENEAU: Four custards, and fifteen cream-puffs. (He looks around on all sides): Monsieur de Cyrano is not here? 'Tis strange. LIGNIERE: Why so? RAGUENEAU: Montfleury plays! LIGNIERE: Ay, 'tis true that that old wine-barrel is to take Phedon's part to-night; but what matter is that to Cyrano? RAGUENEAU: How? Know you not? He has got a hot hate for Montfleury, and so!--has forbid him strictly to show his face on the stage for one whole month. LIGNIERE (drinking his fourth glass): Well? RAGUENEAU: Montfleury will play! CUIGY: He can not hinder that. RAGUENEAU: Oh! oh! that I have come to see! FIRST MARQUIS: Who is this Cyrano? CUIGY: A fellow well skilled in all tricks of fence. SECOND MARQUIS: Is he of noble birth? CUIGY: Ay, noble enough. He is a cadet in the Guards. (Pointing to a gentleman who is going up and down the hall as if searching for some one): But 'tis his friend Le Bret, yonder, who can best tell you. (He calls him): Le Bret! (Le Bret comes towards them): Seek you for De Bergerac? LE BRET: Ay, I am uneasy. . . CUIGY: Is it not true that he is the strangest of men? LE BRET (tenderly): True, that he is the choicest of earthly beings! RAGUENEAU: Poet! CUIGY: Soldier! BRISSAILLE: Philosopher! LE BRET: Musician! LIGNIERE: And of how fantastic a presence! RAGENEAU: Marry, 'twould puzzle even our grim painter Philippe de Champaigne to portray him! Methinks, whimsical, wild, comical as he is, only Jacques Callot, now dead and gone, had succeeded better, and had made of him the maddest fighter of all his visored crew--with his triple-plumed beaver and six-pointed doublet--the sword-point sticking up 'neath his mantle like an insolent cocktail! He's prouder than all the fierce Artabans of whom Gascony has ever been and will ever be the prolific Alma Mater! Above his Toby ruff he carries a nose!--ah, good my lords, what a nose is his! When one sees it one is fain to cry aloud, 'Nay! 'tis too much! He plays a joke on us!' Then one laughs, says 'He will anon take it off.' But no!--Monsieur de Bergerac always keeps it on. LE BRET (throwing back his head): He keeps it on--and cleaves in two any man who dares remark on it! RAGUENEAU (proudly): His sword--'tis one half of the Fates' shears! FIRST MARQUIS (shrugging his shoulders): He will not come! RAGUENEAU: I say he will! and I wager a fowl--a la Ragueneau. THE MARQUIS (laughing): Good! (Murmurs of admiration in hall. Roxane has just appeared in her box. She seats herself in front, the duenna at the back. Christian, who is paying the buffet-girl, does not see her entrance.) SECOND MARQUIS (with little cries of joy): Ah, gentlemen! she is fearfully--terribly--ravishing! FIRST MARQUIS: When one looks at her one thinks of a peach smiling at a strawberry! SECOND MARQUIS: And what freshness! A man approaching her too near might chance to get a bad chill at the heart! CHRISTIAN (raising his head, sees Roxane, and catches Ligniere by the arm): 'Tis she! LIGNIERE: Ah! is it she? CHRISTIAN: Ay, tell me quick--I am afraid. LIGNIERE (tasting his rivesalte in sips): Magdaleine Robin--Roxane, so called! A subtle wit--a precieuse. CHRISTIAN: Woe is me! LIGNIERE: Free. An orphan. The cousin of Cyrano, of whom we were now speaking. (At this moment an elegant nobleman, with blue ribbon across his breast, enters the box, and talks with Roxane, standing.) CHRISTIAN (starting): Who is yonder man? LIGNIERE (who is becoming tipsy, winking at him): Ha! ha! Count de Guiche. Enamored of her. But wedded to the niece of Armand de Richelieu. Would fain marry Roxane to a certain sorry fellow, one Monsieur de Valvert, a viscount--and--accommodating! She will none of that bargain; but De Guiche is powerful, and can persecute the daughter of a plain untitled gentleman. More by token, I myself have exposed this cunning plan of his to the world, in a song which. . .Ho! he must rage at me! The end hit home. . .Listen! (He gets up staggering, and raises his glass, ready to sing.) CHRISTIAN: No. Good-night. LIGNIERE: Where go you? CHRISTIAN: To Monsieur de Valvert! LIGNIERE: Have a care! It is he who will kill you (showing him Roxane by a look): Stay where you are--she is looking at you. CHRISTIAN: It is true! (He stands looking at her. The group of pickpockets seeing him thus, head in air and open-mouthed, draw near to him.) LIGNIERE: 'Tis I who am going. I am athirst! And they expect me--in the taverns! (He goes out, reeling.) LE BRET (who has been all round the hall, coming back to Ragueneau reassured): No sign of Cyrano. RAGUENEAU (incredulously): All the same. . . LE BRET: A hope is left to me--that he has not seen the playbill! THE AUDIENCE: Begin, begin!

Act 1, scene 2

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes1-3

Ligniere introduces Christian to some Marquises. Christian has just arrived in Paris to join the Guards. The Marquises think that Christian is not very fashionably dressed; they are more interested in the aristocratic and literary ladies who are taking their places in the boxes. Ligniere has come to help Christian identify a lady with whom he is in love. The pastry-cook Ragueneau arrives. Ligniere introduces him to Christian, explaining that Ragueneau is a lover of poetry who accepts poems as payment for his pastries. Ragueneau is excited to know if Cyrano, another member of the Guards, is here. The actor Montfleury is performing tonight and Cyrano has forbidden him to appear on the stage for the rest of the month. Cyrano's friends talk of him as a brilliant poet, swordsman, philosopher, and musician. They seem in awe of him. Ragueneau mentions that Cyrano has an enormous nose, and Le Bret warns that Cyrano will fight anyone who comments on it. Roxane, a beautiful young woman and the object of Christian's affections, arrives and sits in a box. Ligniere tells Christian that she is Cyrano's cousin. He adds that she is an intellectual. Christian is despondent at this news. Roxane is accompanied by the Comte de Guiche, a nobleman who is in love with her. He is already married, so he plans to marry her off to one of his proteges, the Vicomte de Valvert, who would turn a blind eye to any affair that de Guiche began with Roxane. Roxane and Christian exchange gazes. Ligniere leaves to find a tavern. There is still no sign of Cyrano. The crowd impatiently calls for the play to begin

novelguide

all_chapterized_books/1254-chapters/4.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_1_part_3.txt

Cyrano de Bergerac.act 1.scene 3

act 1, scene 3

{"name": "Act 1, scene 3", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes1-3", "summary": "As de Guiche and Valvert walk towards the stage, Christian decides to challenge Valvert to a duel over Roxane. As he reaches into his pocket for his glove to slap Valvert across the face by way of challenge, he encounters the hand of a pickpocket. In exchange for his release, the pickpocket tells Christian that Ligniere is in trouble. Ligniere has offended an important nobleman by writing a satirical song about him, and the nobleman has arranged for Ligniere to be ambushed by a hundred men at the Porte de Nesle on his way home. Christian runs off to rescue Ligniere. De Guiche, Valvert, and the Marquises take their seats on the stage. The crowd chants for the play to begin. Montfleury, a fat and untalented actor, comes on stage dressed as a shepherd and begins his speech. A voice from the pit is heard crying out, \"Fool, have I not forbidden you the stage. Though the speaker is hidden, Le Bret and Cuigy are certain that it is Cyrano. Each time Montfleury tries to continue his speech, the speaker interrupts and threatens him. Montfleury's voice grows fainter and fainter. Finally, Cyrano stands up on his chair, creating a stir among the audience.", "analysis": "of Act 1, scenes 1-3. These scenes introduce the social and cultural background, the characters, and the first seeds of the plot. The theater is presented as a microcosm of Parisian society, bringing together people from all social backgrounds and walks of life. Poetry and literature are unifying influences: the marquises idolize the literary ladies, while the pastry-cook Ragueneau sells his wares in exchange for poems. In fact, poetry is so important in this culture that it is a matter of life and death: Ligniere's life is threatened because he wrote a satirical song about a nobleman. One of Rostand's themes in Cyrano de Bergerac is what he saw as the decline of French society and culture. This is already evident in the Bourgeois's disapproving comments on the low-life activities taking place among the theater audience, compared with the great tragedies that used to be performed there, such as those of the seventeenth-century French playwrights Jean Rotrou and Pierre Corneille. The nobility have become decadent and foolish, as is shown in the petty snobberies of the Marquises, who disdain Christian because he is not dressed in the latest fashion, and fawn upon de Guiche because he is successful. Against such foolish and inconsequential characters is set the play's hero, Cyrano. Though Cyrano is spoken of at length, he is not seen until the end of scene 3. He is described by his friends as an excellent poet, swordsman, philosopher, and musician: in short, the epitome of the seventeenth-century cavalier ideal of the courtier-soldier-poet. Cyrano's reputation precedes him. A section of the audience waits with bated breath to see whether he will appear at the play, as Montfleury is playing the lead and Cyrano has forbidden him the stage. If Montfleury appears, the audience knows there will be trouble. He is spoken of as an extraordinary, larger-than-life character, and thus suspense builds around him. In fact, there are three layers of suspense in this part of the play: the play audience's expectation of the actor Montfleury appearing in the play, La Clorise; Cyrano's friends' expectation of Cyrano, whose arrival promises far more momentous entertainment than Montfleury; and finally, the expectation of the reader of the play Cyrano de Bergerac as they await the appearance of this extraordinary character Cyrano. As well as his exceptional abilities, Cyrano's great flaw, his enormous nose, is mentioned. Ragueneau's comment that Cyrano will fight anyone who remarks on it both conveys Cyrano's sensitivity over this trait and foreshadows the conflicts that are sure to spring up around the subject. The fact that Cyrano's friends only mention his nose after they have listed his other great qualities puts his flaw into perspective. To them, it seems relatively unimportant, or just another way in which Cyrano is extraordinary, but Cyrano does not share their view. His insecurity over his nose rules his life. Christian is a foil to Cyrano and his opposite. While Cyrano is extraordinary on the inside but physically unattractive on the outside, Christian is a very ordinary young man blessed with unusual good looks. Christian's love for Roxane sets up the main conflict that drives the plot. The glance they exchange in the theater establishes the immediate physical attraction between them, but Christian's concern over Ligniere's description of her as an intellectual shows his weak point. Unlike the brilliant Cyrano, Christian is dull of mind. While Cyrano represents inward beauty, Christian represents outward beauty"}

The same, all but Ligniere. De Guiche, Valvert, then Montfleury. A marquis (watching De Guiche, who comes down from Roxane's box, and crosses the pit surrounded by obsequious noblemen, among them the Viscount de Valvert): He pays a fine court, your De Guiche! ANOTHER: Faugh!. . .Another Gascon! THE FIRST: Ay, but the cold, supple Gascon--that is the stuff success is made of! Believe me, we had best make our bow to him. (They go toward De Guiche.) SECOND MARQUIS: What fine ribbons! How call you the color, Count de Guiche? 'Kiss me, my darling,' or 'Timid Fawn?' DE GUICHE: 'Tis the color called 'Sick Spaniard.' FIRST MARQUIS: 'Faith! The color speaks truth, for, thanks to your valor, things will soon go ill for Spain in Flanders. DE GUICHE: I go on the stage! Will you come? (He goes toward the stage, followed by the marquises and gentlemen. Turning, he calls): Come you Valvert! CHRISTIAN (who is watching and listening, starts on hearing this name): The Viscount! Ah! I will throw full in his face my. . . (He puts his hand in his pocket, and finds there the hand of a pickpocket who is about to rob him. He turns round): Hey? THE PICKPOCKET: Oh! CHRISTIAN (holding him tightly): I was looking for a glove. THE PICKPOCKET (smiling piteously): And you find a hand. (Changing his tone, quickly and in a whisper): Let me but go, and I will deliver you a secret. CHRISTIAN (still holding him): What is it? THE PICKPOCKET: Ligniere. . .he who has just left you. . . CHRISTIAN (same play): Well? THE PICKPOCKET: His life is in peril. A song writ by him has given offense in high places-- and a hundred men--I am of them--are posted to-night. . . CHRISTIAN: A hundred men! By whom posted? THE PICKPOCKET: I may not say--a secret. . . CHRISTIAN (shrugging his shoulders): Oh! THE PICKPOCKET (with great dignity): . . .Of the profession. CHRISTIAN: Where are they posted? THE PICKPOCKET: At the Porte de Nesle. On his way homeward. Warn him. CHRISTIAN (letting go of his wrists): But where can I find him? THE PICKPOCKET: Run round to all the taverns--The Golden Wine Press, the Pine Cone, The Belt that Bursts, The Two Torches, The Three Funnels, and at each leave a word that shall put him on his guard. CHRISTIAN: Good--I fly! Ah, the scoundrels! A hundred men 'gainst one! (Looking lovingly at Roxane): Ah, to leave her!. . . (looking with rage at Valvert): and him!. . .But save Ligniere I must! (He hurries out. De Guiche, the viscount, the marquises, have all disappeared behind the curtain to take their places on the benches placed on the stage. The pit is quite full; the galleries and boxes are also crowded.) THE AUDIENCE: Begin! A BURGHER (whose wig is drawn up on the end of a string by a page in the upper gallery): My wig! CRIES OF DELIGHT: He is bald! Bravo, pages--ha! ha! ha!. . . THE BURGHER (furious, shaking his fist): Young villain! LAUGHTER AND CRIES (beginning very loud, and dying gradually away): Ha! ha! ha! ha! ha! ha! (Total silence.) LE BRET (astonished): What means this sudden silence?. . . (A spectator says something to him in a low voice): Is't true? THE SPECTATOR: I have just heard it on good authority. MURMURS (spreading through the hall): Hush! Is it he? No! Ay, I say! In the box with the bars in front! The Cardinal! The Cardinal! The Cardinal! A PAGE: The devil! We shall have to behave ourselves. . . (A knock is heard upon the stage. Every one is motionless. A pause.) THE VOICE OF A MARQUIS (in the silence, behind the curtain): Snuff that candle! ANOTHER MARQUIS (putting his head through the opening in the curtain): A chair! (A chair is passed from hand to hand, over the heads of the spectators. The marquis takes it and disappears, after blowing some kisses to the boxes.) A SPECTATOR: Silence! (Three knocks are heard on the stage. The curtain opens in the centre Tableau. The marquises in insolent attitudes seated on each side of the stage. The scene represents a pastoral landscape. Four little lusters light the stage; the violins play softly.) LE BRET (in a low voice to Ragueneau): Montfleury comes on the scene? RAGUENEAU (also in a low voice): Ay, 'tis he who begins. LE BRET: Cyrano is not here. RAGUENEAU: I have lost my wager. LE BRET: 'Tis all the better! (An air on the drone-pipes is heard, and Montfleury enters, enormously stout, in an Arcadian shepherd's dress, a hat wreathed with roses drooping over one ear, blowing into a ribboned drone pipe.) THE PIT (applauding): Bravo, Montfleury! Montfleury! MONTFLEURY (after bowing low, begins the part of Phedon): 'Heureux qui loin des cours, dans un lieu solitaire, Se prescrit a soi-meme un exil volontaire, Et qui, lorsque Zephire a souffle sur les bois. . .' A VOICE (from the middle of the pit): Villain! Did I not forbid you to show your face here for month? (General stupor. Every one turns round. Murmurs.) DIFFERENT VOICES: Hey?--What?--What is't?. . . (The people stand up in the boxes to look.) CUIGY: 'Tis he! LE BRET (terrified): Cyrano! THE VOICE: King of clowns! Leave the stage this instant! ALL THE AUDIENCE (indignantly): Oh! MONTFLEURY: But. . . THE VOICE: Do you dare defy me? DIFFERENT VOICES (from the pit and the boxes): Peace! Enough!--Play on, Montfleury--fear nothing! MONTFLEURY (in a trembling voice): 'Heureux qui loin des cours, dans un lieu sol--' THE VOICE (more fiercely): Well! Chief of all the blackguards, must I come and give you a taste of my cane? (A hand holding a cane starts up over the heads of the spectators.) MONTFLEURY (in a voice that trembles more and more): 'Heureux qui. . .' (The cane is shaken.) THE VOICE: Off the stage! THE PIT: Oh! MONTFLEURY (choking): 'Heureux qui loin des cours. . .' CYRANO (appearing suddenly in the pit, standing on a chair, his arms crossed, his beaver cocked fiercely, his mustache bristling, his nose terrible to see): Ah! I shall be angry in a minute!. . . (Sensation.)

Act 1, scene 3

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes1-3

As de Guiche and Valvert walk towards the stage, Christian decides to challenge Valvert to a duel over Roxane. As he reaches into his pocket for his glove to slap Valvert across the face by way of challenge, he encounters the hand of a pickpocket. In exchange for his release, the pickpocket tells Christian that Ligniere is in trouble. Ligniere has offended an important nobleman by writing a satirical song about him, and the nobleman has arranged for Ligniere to be ambushed by a hundred men at the Porte de Nesle on his way home. Christian runs off to rescue Ligniere. De Guiche, Valvert, and the Marquises take their seats on the stage. The crowd chants for the play to begin. Montfleury, a fat and untalented actor, comes on stage dressed as a shepherd and begins his speech. A voice from the pit is heard crying out, "Fool, have I not forbidden you the stage. Though the speaker is hidden, Le Bret and Cuigy are certain that it is Cyrano. Each time Montfleury tries to continue his speech, the speaker interrupts and threatens him. Montfleury's voice grows fainter and fainter. Finally, Cyrano stands up on his chair, creating a stir among the audience.

of Act 1, scenes 1-3. These scenes introduce the social and cultural background, the characters, and the first seeds of the plot. The theater is presented as a microcosm of Parisian society, bringing together people from all social backgrounds and walks of life. Poetry and literature are unifying influences: the marquises idolize the literary ladies, while the pastry-cook Ragueneau sells his wares in exchange for poems. In fact, poetry is so important in this culture that it is a matter of life and death: Ligniere's life is threatened because he wrote a satirical song about a nobleman. One of Rostand's themes in Cyrano de Bergerac is what he saw as the decline of French society and culture. This is already evident in the Bourgeois's disapproving comments on the low-life activities taking place among the theater audience, compared with the great tragedies that used to be performed there, such as those of the seventeenth-century French playwrights Jean Rotrou and Pierre Corneille. The nobility have become decadent and foolish, as is shown in the petty snobberies of the Marquises, who disdain Christian because he is not dressed in the latest fashion, and fawn upon de Guiche because he is successful. Against such foolish and inconsequential characters is set the play's hero, Cyrano. Though Cyrano is spoken of at length, he is not seen until the end of scene 3. He is described by his friends as an excellent poet, swordsman, philosopher, and musician: in short, the epitome of the seventeenth-century cavalier ideal of the courtier-soldier-poet. Cyrano's reputation precedes him. A section of the audience waits with bated breath to see whether he will appear at the play, as Montfleury is playing the lead and Cyrano has forbidden him the stage. If Montfleury appears, the audience knows there will be trouble. He is spoken of as an extraordinary, larger-than-life character, and thus suspense builds around him. In fact, there are three layers of suspense in this part of the play: the play audience's expectation of the actor Montfleury appearing in the play, La Clorise; Cyrano's friends' expectation of Cyrano, whose arrival promises far more momentous entertainment than Montfleury; and finally, the expectation of the reader of the play Cyrano de Bergerac as they await the appearance of this extraordinary character Cyrano. As well as his exceptional abilities, Cyrano's great flaw, his enormous nose, is mentioned. Ragueneau's comment that Cyrano will fight anyone who remarks on it both conveys Cyrano's sensitivity over this trait and foreshadows the conflicts that are sure to spring up around the subject. The fact that Cyrano's friends only mention his nose after they have listed his other great qualities puts his flaw into perspective. To them, it seems relatively unimportant, or just another way in which Cyrano is extraordinary, but Cyrano does not share their view. His insecurity over his nose rules his life. Christian is a foil to Cyrano and his opposite. While Cyrano is extraordinary on the inside but physically unattractive on the outside, Christian is a very ordinary young man blessed with unusual good looks. Christian's love for Roxane sets up the main conflict that drives the plot. The glance they exchange in the theater establishes the immediate physical attraction between them, but Christian's concern over Ligniere's description of her as an intellectual shows his weak point. Unlike the brilliant Cyrano, Christian is dull of mind. While Cyrano represents inward beauty, Christian represents outward beauty

novelguide

all_chapterized_books/1254-chapters/6.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_2_part_2.txt

Cyrano de Bergerac.act 1.scene 5

act 1, scene 5

{"name": "Act 1, scene 5", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes4-7", "summary": "Le Bret warns Cyrano that he is making enemies. He asks Cyrano to tell him the real reason he hates Montfleury. Cyrano says that he once caught Montfleury looking flirtatiously at the woman Cyrano loves. Cyrano is certain that no one could love a man with a nose like his. From Cyrano's description of the woman, Le Bret deduces that she is Roxane. Le Bret advises Cyrano to tell Roxane of his love, pointing out that even the orange-girl could not take her eyes off him. But Cyrano is convinced that he is so ugly that Roxane would only laugh at him. They are interrupted by the arrival of Roxanne's Duenna", "analysis": ""}

Cyrano, Le Bret. CYRANO (to Le Bret): Now talk--I listen. (He stands at the buffet, and placing before him first the macaroon): Dinner!. . . (then the grapes): Dessert!. . . (then the glass of water): Wine!. . . (he seats himself): So! And now to table! Ah! I was hungry, friend, nay, ravenous! (eating): You said--? LE BRET: These fops, would-be belligerent, Will, if you heed them only, turn your head!. . . Ask people of good sense if you would know The effect of your fine insolence-- CYRANO (finishing his macaroon): Enormous! LE BRET: The Cardinal. . . CYRANO (radiant): The Cardinal--was there? LE BRET: Must have thought it. . . CYRANO: Original, i' faith! LE BRET: But. . . CYRANO: He's an author. 'Twill not fail to please him That I should mar a brother-author's play. LE BRET: You make too many enemies by far! CYRANO (eating his grapes): How many think you I have made to-night? LE BRET: Forty, no less, not counting ladies. CYRANO: Count! LE BRET: Montfleury first, the bourgeois, then De Guiche, The Viscount, Baro, the Academy. . . CYRANO: Enough! I am o'erjoyed! LE BRET: But these strange ways, Where will they lead you, at the end? Explain Your system--come! CYRANO: I in a labyrinth Was lost--too many different paths to choose; I took. . . LE BRET: Which? CYRANO: Oh! by far the simplest path. . . Decided to be admirable in all! LE BRET (shrugging his shoulders): So be it! But the motive of your hate To Montfleury--come, tell me! CYRANO (rising): This Silenus, Big-bellied, coarse, still deems himself a peril-- A danger to the love of lovely ladies, And, while he sputters out his actor's part, Makes sheep's eyes at their boxes--goggling frog! I hate him since the evening he presumed To raise his eyes to hers. . .Meseemed I saw A slug crawl slavering o'er a flower's petals! LE BRET (stupefied): How now? What? Can it be. . .? CYRANO (laughing bitterly): That I should love?. . . (Changing his tone, gravely): I love. LE BRET: And may I know?. . .You never said. . . CYRANO: Come now, bethink you!. . .The fond hope to be Beloved, e'en by some poor graceless lady, Is, by this nose of mine for aye bereft me; --This lengthy nose which, go where'er I will, Pokes yet a quarter-mile ahead of me; But I may love--and who? 'Tis Fate's decree I love the fairest--how were't otherwise? LE BRET: The fairest?. . . CYRANO: Ay, the fairest of the world, Most brilliant--most refined--most golden-haired! LE BRET: Who is this lady? CYRANO: She's a danger mortal, All unsuspicious--full of charms unconscious, Like a sweet perfumed rose--a snare of nature, Within whose petals Cupid lurks in ambush! He who has seen her smile has known perfection, --Instilling into trifles grace's essence, Divinity in every careless gesture; Not Venus' self can mount her conch blown sea-ward, As she can step into her chaise a porteurs, Nor Dian fleet across the woods spring-flowered, Light as my Lady o'er the stones of Paris!. . . LE BRET: Sapristi! all is clear! CYRANO: As spiderwebs! LE BRET: Your cousin, Madeleine Robin? CYRANO: Roxane! LE BRET: Well, but so much the better! Tell her so! She saw your triumph here this very night! CYRANO: Look well at me--then tell me, with what hope This vile protuberance can inspire my heart! I do not lull me with illusions--yet At times I'm weak: in evening hours dim I enter some fair pleasance, perfumed sweet; With my poor ugly devil of a nose I scent spring's essence--in the silver rays I see some knight--a lady on his arm, And think 'To saunter thus 'neath the moonshine, I were fain to have my lady, too, beside!' Thought soars to ecstasy. . .O sudden fall! --The shadow of my profile on the wall! LE BRET (tenderly): My friend!. . . CYRANO: My friend, at times 'tis hard, 'tis bitter, To feel my loneliness--my own ill-favor. . . LE BRET (taking his hand): You weep? CYRANO: No, never! Think, how vilely suited Adown this nose a tear its passage tracing! I never will, while of myself I'm master, let the divinity of tears--their beauty Be wedded to such common ugly grossness. Nothing more solemn than a tear--sublimer; And I would not by weeping turn to laughter The grave emotion that a tear engenders! LE BRET: Never be sad! What's love?--a chance of Fortune! CYRANO (shaking his head): Look I a Caesar to woo Cleopatra? A Tito to aspire to Berenice? LE BRET: Your courage and your wit!--The little maid Who offered you refreshment even now, Her eyes did not abhor you--you saw well! CYRANO (impressed): True! LE BRET: Well, how then?. . .I saw Roxane herself Was death-pale as she watched the duel. CYRANO: Pale? LE BRET: Her heart, her fancy, are already caught! Put it to th' touch! CYRANO: That she may mock my face? That is the one thing on this earth I fear! THE PORTER (introducing some one to Cyrano): Sir, some one asks for you. . . CYRANO (seeing the duenna): God! her duenna!

Act 1, scene 5

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes4-7

Le Bret warns Cyrano that he is making enemies. He asks Cyrano to tell him the real reason he hates Montfleury. Cyrano says that he once caught Montfleury looking flirtatiously at the woman Cyrano loves. Cyrano is certain that no one could love a man with a nose like his. From Cyrano's description of the woman, Le Bret deduces that she is Roxane. Le Bret advises Cyrano to tell Roxane of his love, pointing out that even the orange-girl could not take her eyes off him. But Cyrano is convinced that he is so ugly that Roxane would only laugh at him. They are interrupted by the arrival of Roxanne's Duenna

novelguide

all_chapterized_books/1254-chapters/7.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_2_part_3.txt

Cyrano de Bergerac.act 1.scene 6

act 1, scene 6

{"name": "Act 1, scene 6", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes4-7", "summary": "Roxane's Duenna brings a message from Roxane asking Cyrano to meet her privately. They arrange a meeting at Ragueneau's at seven o'clock the next morning", "analysis": ""}

Cyrano, Le Bret, the duenna. THE DUENNA (with a low bow): I was bid ask you where a certain lady Could see her valiant cousin--but in secret. CYRANO (overwhelmed): See me? THE DUENNA (courtesying): Ay, Sir! She has somewhat to tell. CYRANO: Somewhat?. . . THE DUENNA (still courtesying): Ay, private matters! CYRANO (staggering): Ah, my God! THE DUENNA: To-morrow, at the early blush of dawn, We go to hear mass at St. Roch. CYRANO (leaning against Le Bret): My God! THE DUENNA: After--what place for a few minutes' speech? CYRANO (confused): Where? Ah!. . .but. . .Ah, my God!. . . THE DUENNA: Say! CYRANO: I reflect!. . . THE DUENNA: Where? CYRANO: At--the pastry-house of Ragueneau. THE DUENNA: Where lodges he? CYRANO: The Rue--God!--St. Honore! THE DUENNA (going): Good. Be you there. At seven. CYRANO: Without fail. (The duenna goes out.)

Act 1, scene 6

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes4-7

Roxane's Duenna brings a message from Roxane asking Cyrano to meet her privately. They arrange a meeting at Ragueneau's at seven o'clock the next morning

novelguide

all_chapterized_books/1254-chapters/8.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_2_part_4.txt

Cyrano de Bergerac.act 1.scene 7

act 1, scene 7

{"name": "Act 1, scene 7", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes4-7", "summary": "Cyrano is ecstatically happy that Roxane wants to meet him. Ligniere arrives. He has heard about the hundred men waiting to ambush him and asks Cyrano whether, since he cannot go home, he can stay with him. Cyrano tells Ligniere that he can sleep at his own home tonight; he will fight the hundred men and see Ligniere safely home. Le Bret asks Cyrano why he is risking his life for a drunk like Ligniere. Cyrano replies that he once saw Le Bret drink a font full of holy water, a drink he hates, after a girl he loved took some of the same holy water. Cyrano leaves for the Porte de Nesle to fight Ligniere's enemies, followed by an adoring procession of actors, women, and musicians. Asked by one of the actresses why anyone would send a hundred men against one poet, Cyrano replies that they know Ligniere is a friend of his.", "analysis": ". Cyrano disrupts a performance of a play because the actor is untalented and the play undistinguished, paying his entire monthly allowance to the theater manager in compensation for the lost revenue and facing starvation as a result. This grand gesture encapsulates Cyrano's heroic stature and is Rostand's way of asserting that art and literature were held in great respect during the seventeenth century. Cyrano has, in effect, sacrificed his survival to the cause of art. Cyrano's virtuoso performance in composing a poem as he fights Valvert confirms his extraordinary combination of talents, those of the soldier and the poet. His self-mocking speech about his nose simultaneously mocks Valvert's lack of invention and wit, as Cyrano effortlessly compiles an extravagant roster of insults that Valvert could have come up with, but did not. Valvert appears two-dimensional and colorless in comparison to Cyrano. The fight between the two men is only partly physical: Cyrano's also shows his ascendancy over Valvert through his superior ability to compose poetry. Cyrano's poem becomes a second weapon and a measure of his heroism and prowess. The incident is another way in which Rostand emphasizes the importance of literature in the age in which the play is set. There is dramatic irony in the fight between Cyrano and Valvert, as neither man is aware that the other is a rival for the love of Roxane; they believe that the fight is about Cyrano's behavior in the theater. Cyrano's effortless defeat of Valvert in both physical and intellectual terms leave no doubt as to who is most deserving of Roxane's love. Cyrano's admission that it is Roxane that he loves complicates the plot, as it is already established that Christian is in love with her. Only one of them can win Roxane. The question is posed as to whether it will be the outwardly beautiful Christian or the inwardly beautiful Cyrano. The answer is not straightforward, as both men are compromised: Christian by his lack of wit and intelligence, and Cyrano by his unattractive appearance. Certain elements in these scenes suggest that Cyrano's problem is primarily one of self-image, rather than how others see him. Le Bret points out that the orange-girl found Cyrano fascinating, and that Roxane turned pale when she saw him in danger at the theater. Le Bret believes that Cyrano has a chance of winning Roxane, and encourages him to speak out about his feelings for her. The Duenna's request from Roxane for a private meeting with Cyrano gives a glimmer of hope that Le Bret's confidence in Cyrano's ability to attract Roxane is justified, though it is left until Act 2 to resolve this point"}

Cyrano, Le Bret. Then actors, actresses, Cuigy, Brissaille, Ligniere, the porter, the violinists. CYRANO (falling into Le Bret's arms): A rendezvous. . .from her!. . . LE BRET: You're sad no more! CYRANO: Ah! Let the world go burn! She knows I live! LE BRET: Now you'll be calm, I hope? CYRANO (beside himself for joy): Calm? I now calm? I'll be frenetic, frantic,--raving mad! Oh, for an army to attack!--a host! I've ten hearts in my breast; a score of arms; No dwarfs to cleave in twain!. . . (Wildly): No! Giants now! (For a few moments the shadows of the actors have been moving on the stage, whispers are heard--the rehearsal is beginning. The violinists are in their places.) A VOICE FROM THE STAGE: Hollo there! Silence! We rehearse! CYRANO (laughing): We go! (He moves away. By the big door enter Cuigy, Brissaille, and some officers, holding up Ligniere, who is drunk.) CUIGY: Cyrano! CYRANO: Well, what now? CUIGY: A lusty thrush They're bringing you! CYRANO (recognizing him): Ligniere!. . .What has chanced? CUIGY: He seeks you! BRISSAILLE: He dare not go home! CYRANO: Why not? LIGNIERE (in a husky voice, showing him a crumpled letter): This letter warns me. . .that a hundred men. . . Revenge that threatens me. . .that song, you know-- At the Porte de Nesle. To get to my own house I must pass there. . .I dare not!. . .Give me leave To sleep to-night beneath your roof! Allow. . . CYRANO: A hundred men? You'll sleep in your own bed! LIGNIERE (frightened): But-- CYRANO (in a terrible voice, showing him the lighted lantern held by the porter, who is listening curiously): Take the lantern. (Ligniere seizes it): Let us start! I swear That I will make your bed to-night myself! (To the officers): Follow; some stay behind, as witnesses! CUIGY: A hundred!. . . CYRANO: Less, to-night--would be too few! (The actors and actresses, in their costumes, have come down from the stage, and are listening.) LE BRET: But why embroil yourself? CYRANO: Le Bret who scolds! LE BRET: That worthless drunkard!-- CYRANO (slapping Ligniere on the shoulder): Wherefore? For this cause;-- This wine-barrel, this cask of Burgundy, Did, on a day, an action full of grace; As he was leaving church, he saw his love Take holy water--he, who is affeared At water's taste, ran quickly to the stoup, And drank it all, to the last drop!. . . AN ACTRESS: Indeed, that was a graceful thing! CYRANO: Ay, was it not? THE ACTRESS (to the others): But why a hundred men 'gainst one poor rhymer? CYRANO: March! (To the officers): Gentlemen, when you shall see me charge, Bear me no succor, none, whate'er the odds! ANOTHER ACTRESS (jumping from the stage): Oh! I shall come and see! CYRANO: Come, then! ANOTHER (jumping down--to an old actor): And you?. . . CYRANO: Come all--the Doctor, Isabel, Leander, Come, for you shall add, in a motley swarm, The farce Italian to this Spanish drama! ALL THE WOMEN (dancing for joy): Bravo!--a mantle, quick!--my hood! JODELET: Come on! CYRANO: Play us a march, gentlemen of the band! (The violinists join the procession, which is forming. They take the footlights, and divide them for torches): Brave officers! next, women in costume, And, twenty paces on-- (He takes his place): I all alone, Beneath the plume that Glory lends, herself, To deck my beaver--proud as Scipio!. . . --You hear me?--I forbid you succor me!-- One, two three! Porter, open wide the doors! (The porter opens the doors; a view of old Paris in the moonlight is seen): Ah!. . .Paris wrapped in night! half nebulous: The moonlight streams o'er the blue-shadowed roofs; A lovely frame for this wild battle-scene; Beneath the vapor's floating scarves, the Seine Trembles, mysterious, like a magic mirror, And, shortly, you shall see what you shall see! ALL: To the Porte de Nesle! CYRANO (standing on the threshold): Ay, to the Porte de Nesle! (Turning to the actress): Did you not ask, young lady, for what cause Against this rhymer fivescore men were sent? (He draws his sword; then, calmly): 'Twas that they knew him for a friend of mine! (He goes out. Ligniere staggers first after him, then the actresses on the officers' arms--the actors. The procession starts to the sound of the violins and in the faint light of the candles.) Curtain.

Act 1, scene 7

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act1-scenes4-7

Cyrano is ecstatically happy that Roxane wants to meet him. Ligniere arrives. He has heard about the hundred men waiting to ambush him and asks Cyrano whether, since he cannot go home, he can stay with him. Cyrano tells Ligniere that he can sleep at his own home tonight; he will fight the hundred men and see Ligniere safely home. Le Bret asks Cyrano why he is risking his life for a drunk like Ligniere. Cyrano replies that he once saw Le Bret drink a font full of holy water, a drink he hates, after a girl he loved took some of the same holy water. Cyrano leaves for the Porte de Nesle to fight Ligniere's enemies, followed by an adoring procession of actors, women, and musicians. Asked by one of the actresses why anyone would send a hundred men against one poet, Cyrano replies that they know Ligniere is a friend of his.

. Cyrano disrupts a performance of a play because the actor is untalented and the play undistinguished, paying his entire monthly allowance to the theater manager in compensation for the lost revenue and facing starvation as a result. This grand gesture encapsulates Cyrano's heroic stature and is Rostand's way of asserting that art and literature were held in great respect during the seventeenth century. Cyrano has, in effect, sacrificed his survival to the cause of art. Cyrano's virtuoso performance in composing a poem as he fights Valvert confirms his extraordinary combination of talents, those of the soldier and the poet. His self-mocking speech about his nose simultaneously mocks Valvert's lack of invention and wit, as Cyrano effortlessly compiles an extravagant roster of insults that Valvert could have come up with, but did not. Valvert appears two-dimensional and colorless in comparison to Cyrano. The fight between the two men is only partly physical: Cyrano's also shows his ascendancy over Valvert through his superior ability to compose poetry. Cyrano's poem becomes a second weapon and a measure of his heroism and prowess. The incident is another way in which Rostand emphasizes the importance of literature in the age in which the play is set. There is dramatic irony in the fight between Cyrano and Valvert, as neither man is aware that the other is a rival for the love of Roxane; they believe that the fight is about Cyrano's behavior in the theater. Cyrano's effortless defeat of Valvert in both physical and intellectual terms leave no doubt as to who is most deserving of Roxane's love. Cyrano's admission that it is Roxane that he loves complicates the plot, as it is already established that Christian is in love with her. Only one of them can win Roxane. The question is posed as to whether it will be the outwardly beautiful Christian or the inwardly beautiful Cyrano. The answer is not straightforward, as both men are compromised: Christian by his lack of wit and intelligence, and Cyrano by his unattractive appearance. Certain elements in these scenes suggest that Cyrano's problem is primarily one of self-image, rather than how others see him. Le Bret points out that the orange-girl found Cyrano fascinating, and that Roxane turned pale when she saw him in danger at the theater. Le Bret believes that Cyrano has a chance of winning Roxane, and encourages him to speak out about his feelings for her. The Duenna's request from Roxane for a private meeting with Cyrano gives a glimmer of hope that Le Bret's confidence in Cyrano's ability to attract Roxane is justified, though it is left until Act 2 to resolve this point

novelguide

all_chapterized_books/1254-chapters/10.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_1.txt

Cyrano de Bergerac.act 2.scene 1

act 2, scene 1

{"name": "act 2, scene 1", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "At Ragueneau's shop, Ragueneau is sitting at a table writing poetry while his assistants are cooking. One assistant has made a pastry lyre , which delights Ragueneau. Ragueneau's wife Lise comes in, furious that he has been giving away his wares to poets in return for poems. She brings some paper bags that she has made out of the paper on which the poems are written. Ragueneau is upset that she should abuse poetry like this", "analysis": ""}

Ragueneau, pastry-cooks, then Lise. Ragueneau is writing, with an inspired air, at a small table, and counting on his fingers. FIRST PASTRY-COOK (bringing in an elaborate fancy dish): Fruits in nougat! SECOND PASTRY-COOK (bringing another dish): Custard! THIRD PASTRY-COOK (bringing a roast, decorated with feathers): Peacock! FOURTH PASTRY-COOK (bringing a batch of cakes on a slab): Rissoles! FIFTH PASTRY-COOK (bringing a sort of pie-dish): Beef jelly! RAGUENEAU (ceasing to write, and raising his head): Aurora's silver rays begin to glint e'en now on the copper pans, and thou, O Ragueneau! must perforce stifle in thy breast the God of Song! Anon shall come the hour of the lute!--now 'tis the hour of the oven! (He rises. To a cook): You, make that sauce longer, 'tis too short! THE COOK: How much too short? RAGUENEAU: Three feet. (He passes on farther.) THE COOK: What means he? FIRST PASTRY-COOK (showing a dish to Ragueneau): The tart! SECOND PASTRY-COOK: The pie! RAGUENEAU (before the fire): My muse, retire, lest thy bright eyes be reddened by the fagot's blaze! (To a cook, showing him some loaves): You have put the cleft o' th' loaves in the wrong place; know you not that the coesura should be between the hemistiches? (To another, showing him an unfinished pasty): To this palace of paste you must add the roof. . . (To a young apprentice, who, seated on the ground, is spitting the fowls): And you, as you put on your lengthy spit the modest fowl and the superb turkey, my son, alternate them, as the old Malherbe loved well to alternate his long lines of verse with the short ones; thus shall your roasts, in strophes, turn before the flame! ANOTHER APPRENTICE (also coming up with a tray covered by a napkin): Master, I bethought me erewhile of your tastes, and made this, which will please you, I hope. (He uncovers the tray, and shows a large lyre made of pastry.) RAGUENEAU (enchanted): A lyre! THE APPRENTICE: 'Tis of brioche pastry. RAGUENEAU (touched): With conserved fruits. THE APPRENTICE: The strings, see, are of sugar. RAGUENEAU (giving him a coin): Go, drink my health! (Seeing Lise enter): Hush! My wife. Bustle, pass on, and hide that money! (To Lise, showing her the lyre, with a conscious look): Is it not beautiful? LISE: 'Tis passing silly! (She puts a pile of papers on the counter.) RAGUENEAU: Bags? Good. I thank you. (He looks at them): Heavens! my cherished leaves! The poems of my friends! Torn, dismembered, to make bags for holding biscuits and cakes!. . .Ah, 'tis the old tale again. . .Orpheus and the Bacchantes! LISE (dryly): And am I not free to turn at last to some use the sole thing that your wretched scribblers of halting lines leave behind them by way of payment? RAGUENEAU: Groveling ant!. . .Insult not the divine grasshoppers, the sweet singers! LISE: Before you were the sworn comrade of all that crew, my friend, you did not call your wife ant and Bacchante! RAGUENEAU: To turn fair verse to such a use! LISE: 'Faith, 'tis all it's good for. RAGUENEAU: Pray then, madam, to what use would you degrade prose?

act 2, scene 1

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

At Ragueneau's shop, Ragueneau is sitting at a table writing poetry while his assistants are cooking. One assistant has made a pastry lyre , which delights Ragueneau. Ragueneau's wife Lise comes in, furious that he has been giving away his wares to poets in return for poems. She brings some paper bags that she has made out of the paper on which the poems are written. Ragueneau is upset that she should abuse poetry like this

novelguide

all_chapterized_books/1254-chapters/11.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_2.txt

Cyrano de Bergerac.act 2.scene 2

act 2, scene 2

{"name": "Act 2, scene 2", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "Some children come into the shop to buy three pies. Ragueneau cannot bear to lose the poems by using them as wrapping and bribes the children with three free pies to accept them unwrapped", "analysis": ""}

The same. Two children, who have just trotted into the shop. RAGUENEAU: What would you, little ones? FIRST CHILD: Three pies. RAGUENEAU (serving them): See, hot and well browned. SECOND CHILD: If it please you, Sir, will you wrap them up for us? RAGUENEAU (aside, distressed): Alas! one of my bags! (To the children): What? Must I wrap them up? (He takes a bag, and just as he is about to put in the pies, he reads): 'Ulysses thus, on leaving fair Penelope. . .' Not that one! (He puts it aside, and takes another, and as he is about to put in the pies, he reads): 'The gold-locked Phoebus. . .' Nay, nor that one!. . . (Same play.) LISE (impatiently): What are you dallying for? RAGUENEAU: Here! here! here (He chooses a third, resignedly): The sonnet to Phillis!. . .but 'tis hard to part with it! LISE: By good luck he has made up his mind at last! (Shrugging her shoulders): Nicodemus! (She mounts on a chair, and begins to range plates on a dresser.) RAGUENEAU (taking advantage of the moment she turns her back, calls back the children, who are already at the door): Hist! children!. . .render me back the sonnet to Phillis, and you shall have six pies instead of three. (The children give him back the bag, seize the cakes quickly, and go out.) RAGUENEAU (smoothing out the paper, begins to declaim): 'Phillis!. . .' On that sweet name a smear of butter! 'Phillis!. . .' (Cyrano enters hurriedly.)

Act 2, scene 2

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

Some children come into the shop to buy three pies. Ragueneau cannot bear to lose the poems by using them as wrapping and bribes the children with three free pies to accept them unwrapped

novelguide

all_chapterized_books/1254-chapters/12.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_3.txt

Cyrano de Bergerac.act 2.scene 3

act 2, scene 3

{"name": "Act 2, scene 3", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "Cyrano arrives at Ragueneau's. Ragueneau congratulates Cyrano on his \"duel in verse\" at the theater. Cyrano asks Ragueneau to leave him alone with Roxane when she arrives, but Ragueneau says that he cannot, as his poet friends are arriving shortly for their breakfast. A Musketeer comes in, and Ragueneau tells Cyrano that he is a friend of his wife's. Cyrano begins to write a letter declaring his love for Roxane. He plans to hand her the note rather than face speaking to her directly", "analysis": ""}

Ragueneau, Lise, Cyrano, then the musketeer. CYRANO: What's o'clock? RAGUENEAU (bowing low): Six o'clock. CYRANO (with emotion): In one hour's time! (He paces up and down the shop.) RAGUENEAU (following him): Bravo! I saw. . . CYRANO: Well, what saw you, then? RAGUENEAU: Your combat!. . . CYRANO: Which? RAGUENEAU: That in the Burgundy Hotel, 'faith! CYRANO (contemptuously): Ah!. . .the duel! RAGUENEAU (admiringly): Ay! the duel in verse!. . . LISE: He can talk of naught else! CYRANO: Well! Good! let be! RAGUENEAU (making passes with a spit that he catches up): 'At the envoi's end, I touch!. . .At the envoi's end, I touch!'. . .'Tis fine, fine! (With increasing enthusiasm): 'At the envoi's end--' CYRANO: What hour is it now, Ragueneau? RAGUENEAU (stopping short in the act of thrusting to look at the clock): Five minutes after six!. . .'I touch!' (He straightens himself): . . .Oh! to write a ballade! LISE (to Cyrano, who, as he passes by the counter, has absently shaken hands with her): What's wrong with your hand? CYRANO: Naught; a slight cut. RAGUENEAU: Have you been in some danger? CYRANO: None in the world. LISE (shaking her finger at him): Methinks you speak not the truth in saying that! CYRANO: Did you see my nose quiver when I spoke? 'Faith, it must have been a monstrous lie that should move it! (Changing his tone): I wait some one here. Leave us alone, and disturb us for naught an it were not for crack of doom! RAGUENEAU: But 'tis impossible; my poets are coming. . . LISE (ironically): Oh, ay, for their first meal o' the day! CYRANO: Prythee, take them aside when I shall make you sign to do so. . .What's o'clock? RAGUENEAU: Ten minutes after six. CYRANO (nervously seating himself at Ragueneau's table, and drawing some paper toward him): A pen!. . . RAGUENEAU (giving him the one from behind his ear): Here--a swan's quill. A MUSKETEER (with fierce mustache, enters, and in a stentorian voice): Good-day! (Lise goes up to him quickly.) CYRANO (turning round): Who's that? RAGUENEAU: 'Tis a friend of my wife--a terrible warrior--at least so says he himself. CYRANO (taking up the pen, and motioning Ragueneau away): Hush! (To himself): I will write, fold it, give it her, and fly! (Throws down the pen): Coward!. . .But strike me dead if I dare to speak to her,. . .ay, even one single word! (To Ragueneau): What time is it? RAGUENEAU: A quarter after six!. . . CYRANO (striking his breast): Ay--a single word of all those here! here! But writing, 'tis easier done. . . (He takes up the pen): Go to, I will write it, that love-letter! Oh! I have writ it and rewrit it in my own mind so oft that it lies there ready for pen and ink; and if I lay but my soul by my letter-sheet, 'tis naught to do but to copy from it. (He writes. Through the glass of the door the silhouettes of their figures move uncertainly and hesitatingly.)

Act 2, scene 3

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

Cyrano arrives at Ragueneau's. Ragueneau congratulates Cyrano on his "duel in verse" at the theater. Cyrano asks Ragueneau to leave him alone with Roxane when she arrives, but Ragueneau says that he cannot, as his poet friends are arriving shortly for their breakfast. A Musketeer comes in, and Ragueneau tells Cyrano that he is a friend of his wife's. Cyrano begins to write a letter declaring his love for Roxane. He plans to hand her the note rather than face speaking to her directly

novelguide

all_chapterized_books/1254-chapters/13.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_4.txt

Cyrano de Bergerac.act 2.scene 4

act 2, scene 4

{"name": "Act 2, scene 4", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "At Ragueneau's shop, Cyrano is writing his letter to Roxane. The letter is eloquent and full of passion. The poets arrive for their breakfast. They are talking admiringly of an unknown swordsman who successfully defeated a huge gang of men at the Porte de Nesle. Eight of the men are dead. Cyrano denies all knowledge of the incident. As the poets devour Ragueneau's wares, Ragueneau recites a poem he has written, a rhyming recipe for almond tartlets. Cyrano notices that Lise is in deep conversation with the Musketeer. Cyrano reminds her that Ragueneau is his friend and that he will not tolerate her having an affair with the Musketeer. Cyrano signals to Ragueneau that it is time to leave him on his own, and Ragueneau ushers the poets into another room", "analysis": ""}

Ragueneau, Lise, the musketeer. Cyrano at the little table writing. The poets, dressed in black, their stockings ungartered, and covered with mud. LISE (entering, to Ragueneau): Here they come, your mud-bespattered friends! FIRST POET (entering, to Ragueneau): Brother in art!. . . SECOND POET (to Ragueneau, shaking his hands): Dear brother! THIRD POET: High soaring eagle among pastry-cooks! (He sniffs): Marry! it smells good here in your eyrie! FOURTH POET: 'Tis at Phoebus' own rays that thy roasts turn! FIFTH POET: Apollo among master-cooks-- RAGUENEAU (whom they surround and embrace): Ah! how quick a man feels at his ease with them!. . . FIRST POET: We were stayed by the mob; they are crowded all round the Porte de Nesle!. . . SECOND POET: Eight bleeding brigand carcasses strew the pavements there--all slit open with sword-gashes! CYRANO (raising his head a minute): Eight?. . .hold, methought seven. (He goes on writing.) RAGUENEAU (to Cyrano): Know you who might be the hero of the fray? CYRANO (carelessly): Not I. LISE (to the musketeer): And you? Know you? THE MUSKETEER (twirling his mustache): Maybe! CYRANO (writing a little way off:--he is heard murmuring a word from time to time): 'I love thee!' FIRST POET: 'Twas one man, say they all, ay, swear to it, one man who, single-handed, put the whole band to the rout! SECOND POET: 'Twas a strange sight!--pikes and cudgels strewed thick upon the ground. CYRANO (writing): . . .'Thine eyes'. . . THIRD POET: And they were picking up hats all the way to the Quai d'Orfevres! FIRST POET: Sapristi! but he must have been a ferocious. . . CYRANO (same play): . . .'Thy lips'. . . FIRST POET: 'Twas a parlous fearsome giant that was the author of such exploits! CYRANO (same play): . . .'And when I see thee come, I faint for fear.' SECOND POET (filching a cake): What hast rhymed of late, Ragueneau? CYRANO (same play): . . .'Who worships thee'. . . (He stops, just as he is about to sign, and gets up, slipping the letter into his doublet): No need I sign, since I give it her myself. RAGUENEAU (to second poet): I have put a recipe into verse. THIRD POET (seating himself by a plate of cream-puffs): Go to! Let us hear these verses! FOURTH POET (looking at a cake which he has taken): Its cap is all a' one side! (He makes one bite of the top.) FIRST POET: See how this gingerbread woos the famished rhymer with its almond eyes, and its eyebrows of angelica! (He takes it.) SECOND POET: We listen. THIRD POET (squeezing a cream-puff gently): How it laughs! Till its very cream runs over! SECOND POET (biting a bit off the great lyre of pastry): This is the first time in my life that ever I drew any means of nourishing me from the lyre! RAGUENEAU (who has put himself ready for reciting, cleared his throat, settled his cap, struck an attitude): A recipe in verse!. . . SECOND POET (to first, nudging him): You are breakfasting? FIRST POET (to second): And you dining, methinks. RAGUENEAU: How almond tartlets are made. Beat your eggs up, light and quick; Froth them thick; Mingle with them while you beat Juice of lemon, essence fine; Then combine The burst milk of almonds sweet. Circle with a custard paste The slim waist Of your tartlet-molds; the top With a skillful finger print, Nick and dint, Round their edge, then, drop by drop, In its little dainty bed Your cream shed: In the oven place each mold: Reappearing, softly browned, The renowned Almond tartlets you behold! THE POETS (with mouths crammed full): Exquisite! Delicious! A POET (choking): Homph! (They go up, eating.) CYRANO (who has been watching, goes toward Ragueneau): Lulled by your voice, did you see how they were stuffing themselves? RAGUENEAU (in a low voice, smiling): Oh, ay! I see well enough, but I never will seem to look, fearing to distress them; thus I gain a double pleasure when I recite to them my poems; for I leave those poor fellows who have not breakfasted free to eat, even while I gratify my own dearest foible, see you? CYRANO (clapping him on the shoulder): Friend, I like you right well!. . . (Ragueneau goes after his friends. Cyrano follows him with his eyes, then, rather sharply): Ho there! Lise! (Lise, who is talking tenderly to the musketeer, starts, and comes down toward Cyrano): So this fine captain is laying siege to you? LISE (offended): One haughty glance of my eye can conquer any man that should dare venture aught 'gainst my virtue. CYRANO: Pooh! Conquering eyes, methinks, are oft conquered eyes. LISE (choking with anger): But-- CYRANO (incisively): I like Ragueneau well, and so--mark me, Dame Lise--I permit not that he be rendered a laughing-stock by any. . . LISE: But. . . CYRANO (who has raised his voice so as to be heard by the gallant): A word to the wise. . . (He bows to the musketeer, and goes to the doorway to watch, after looking at the clock.) LISE (to the musketeer, who has merely bowed in answer to Cyrano's bow): How now? Is this your courage?. . .Why turn you not a jest on his nose? THE MUSKETEER: On his nose?. . .ay, ay. . .his nose. (He goes quickly farther away; Lise follows him.) CYRANO (from the doorway, signing to Ragueneau to draw the poets away): Hist!. . . RAGUENEAU (showing them the door on the right): We shall be more private there. . . CYRANO (impatiently): Hist! Hist!. . . RAGUENEAU (drawing them farther): To read poetry, 'tis better here. . . FIRST POET (despairingly, with his mouth full): What! leave the cakes?. . . SECOND POET: Never! Let's take them with us! (They all follow Ragueneau in procession, after sweeping all the cakes off the trays.)

Act 2, scene 4

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

At Ragueneau's shop, Cyrano is writing his letter to Roxane. The letter is eloquent and full of passion. The poets arrive for their breakfast. They are talking admiringly of an unknown swordsman who successfully defeated a huge gang of men at the Porte de Nesle. Eight of the men are dead. Cyrano denies all knowledge of the incident. As the poets devour Ragueneau's wares, Ragueneau recites a poem he has written, a rhyming recipe for almond tartlets. Cyrano notices that Lise is in deep conversation with the Musketeer. Cyrano reminds her that Ragueneau is his friend and that he will not tolerate her having an affair with the Musketeer. Cyrano signals to Ragueneau that it is time to leave him on his own, and Ragueneau ushers the poets into another room

novelguide

all_chapterized_books/1254-chapters/14.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_5.txt

Cyrano de Bergerac.act 2.scene 5

act 2, scene 5

{"name": "Act 2, scene 5", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "Roxane and her Duenna arrive, wearing masks. Cyrano bribes the Duenna with cream buns to wait outside while he talks to Roxane on her own", "analysis": ""}

Cyrano, Roxane, the duenna. CYRANO: Ah! if I see but the faint glimmer of hope, then I draw out my letter! (Roxane, masked, followed by the duenna, appears at the glass pane of the door. He opens quickly): Enter!. . . (Walking up to the duenna): Two words with you, Duenna. THE DUENNA: Four, Sir, an it like you. CYRANO: Are you fond of sweet things? THE DUENNA: Ay, I could eat myself sick on them! CYRANO (catching up some of the paper bags from the counter): Good. See you these two sonnets of Monsieur Beuserade. . . THE DUENNA: Hey? CYRANO: . . .Which I fill for you with cream cakes! THE DUENNA (changing her expression): Ha. CYRANO: What say you to the cake they call a little puff? THE DUENNA: If made with cream, Sir, I love them passing well. CYRANO: Here I plunge six for your eating into the bosom of a poem by Saint Amant! And in these verses of Chapelain I glide a lighter morsel. Stay, love you hot cakes? THE DUENNA: Ay, to the core of my heart! CYRANO (filling her arms with the bags): Pleasure me then; go eat them all in the street. THE DUENNA: But. . . CYRANO (pushing her out): And come not back till the very last crumb be eaten! (He shuts the door, comes down toward Roxane, and, uncovering, stands at a respectful distance from her.)

Act 2, scene 5

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

Roxane and her Duenna arrive, wearing masks. Cyrano bribes the Duenna with cream buns to wait outside while he talks to Roxane on her own

novelguide

all_chapterized_books/1254-chapters/15.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_6.txt

Cyrano de Bergerac.act 2.scene 6

act 2, scene 6

{"name": "Act 2, scene 6", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "Cyrano begins to address Roxane as a lover grateful to be acknowledged, but Roxane interrupts him to explain that the first purpose of her visit is to thank him for puncturing the pride of Valvert by fighting him in the theater. She reminisces with Cyrano about the happy times they spent together as children. She tends to his hand, which he has wounded in the fight at the Porte de Nesle. Roxane confesses that she is in love with someone who does not know that she loves him. She thinks that he loves her in return, but he is shy and dare not speak. Cyrano feels encouraged, as this could mean him. But as soon as Roxane says that the man is handsome, Cyrano feels discouraged, feeling that she cannot be thinking of him. When she names Christian, Cyrano warns her that he may not be intelligent enough for her. But she believes that anyone who is so beautiful on the outside must be eloquent also. She has invited Cyrano to meet her in order to ask him to protect Christian, as he is the only cadet in Cyrano's company who does not come from the region of Gascony, and she fears he will be picked on. Cyrano promises to look after Christian. Roxane expresses her friendly love for Cyrano and leaves. Cyrano looks despondent", "analysis": ""}

Cyrano, Roxane. CYRANO: Blessed be the moment when you condescend-- Remembering that humbly I exist-- To come to meet me, and to say. . .to tell?. . . ROXANE (who has unmasked): To thank you first of all. That dandy count, Whom you checkmated in brave sword-play Last night,. . .he is the man whom a great lord, Desirous of my favor. . . CYRANO: Ha, De Guiche? ROXANE (casting down her eyes): Sought to impose on me. . .for husband. . . CYRANO: Ay! Husband!--dupe-husband!. . .Husband a la mode! (Bowing): Then I fought, happy chance! sweet lady, not For my ill favor--but your favors fair! ROXANE: Confession next!. . .But, ere I make my shrift, You must be once again that brother-friend With whom I used to play by the lake-side!. . . CYRANO: Ay, you would come each spring to Bergerac! ROXANE: Mind you the reeds you cut to make your swords?. . . CYRANO: While you wove corn-straw plaits for your dolls' hair! ROXANE: Those were the days of games!. . . CYRANO: And blackberries!. . . ROXANE: In those days you did everything I bid!. . . CYRANO: Roxane, in her short frock, was Madeleine. . . ROXANE: Was I fair then? CYRANO: You were not ill to see! ROXANE: Ofttimes, with hands all bloody from a fall, You'd run to me! Then--aping mother-ways-- I, in a voice would-be severe, would chide,-- (She takes his hand): 'What is this scratch, again, that I see here?' (She starts, surprised): Oh! 'Tis too much! What's this? (Cyrano tries to draw away his hand): No, let me see! At your age, fie! Where did you get that scratch? CYRANO: I got it--playing at the Porte de Nesle. ROXANE (seating herself by the table, and dipping her handkerchief in a glass of water): Give here! CYRANO (sitting by her): So soft! so gay maternal-sweet! ROXANE: And tell me, while I wipe away the blood, How many 'gainst you? CYRANO: Oh! A hundred--near. ROXANE: Come, tell me! CYRANO: No, let be. But you, come tell The thing, just now, you dared not. . . ROXANE (keeping his hand): Now, I dare! The scent of those old days emboldens me! Yes, now I dare. Listen. I am in love. CYRANO: Ah!. . . ROXANE: But with one who knows not. CYRANO: Ah!. . . ROXANE: Not yet. CYRANO: Ah!. . . ROXANE: But who, if he knows not, soon shall learn. CYRANO: Ah!. . . ROXANE: A poor youth who all this time has loved Timidly, from afar, and dares not speak. . . CYRANO: Ah!. . . ROXANE: Leave your hand; why, it is fever-hot!-- But I have seen love trembling on his lips. CYRANO: Ah!. . . ROXANE (bandaging his hand with her handkerchief): And to think of it! that he by chance-- Yes, cousin, he is of your regiment! CYRANO: Ah!. . . ROXANE (laughing): --Is cadet in your own company! CYRANO: Ah!. . . ROXANE: On his brow he bears the genius-stamp; He is proud, noble, young, intrepid, fair. . . CYRANO (rising suddenly, very pale): Fair! ROXANE: Why, what ails you? CYRANO: Nothing; 'tis. . . (He shows his hand, smiling): This scratch! ROXANE: I love him; all is said. But you must know I have only seen him at the Comedy. . . CYRANO: How? You have never spoken? ROXANE: Eyes can speak. CYRANO: How know you then that he. . .? ROXANE: Oh! people talk 'Neath the limes in the Place Royale. . . Gossip's chat Has let me know. . . CYRANO: He is cadet? ROXANE: In the Guards. CYRANO: His name? ROXANE: Baron Christian de Neuvillette. CYRANO: How now?. . .He is not of the Guards! ROXANE: To-day He is not join your ranks, under Captain Carbon de Castel-Jaloux. CYRANO: Ah, how quick, How quick the heart has flown!. . .But, my poor child. . . THE DUENNA (opening the door): The cakes are eaten, Monsieur Bergerac! CYRANO: Then read the verses printed on the bags! (She goes out): . . .My poor child, you who love but flowing words, Bright wit,--what if he be a lout unskilled? ROXANE: No, his bright locks, like D'Urfe's heroes. . . CYRANO: Ah! A well-curled pate, and witless tongue, perchance! ROXANE: Ah no! I guess--I feel--his words are fair! CYRANO: All words are fair that lurk 'neath fair mustache! --Suppose he were a fool!. . . ROXANE (stamping her foot): Then bury me! CYRANO (after a pause): Was it to tell me this you brought me here? I fail to see what use this serves, Madame. ROXANE: Nay, but I felt a terror, here, in the heart, On learning yesterday you were Gascons All of your company. . . CYRANO: And we provoke All beardless sprigs that favor dares admit 'Midst us pure Gascons--(pure! Heaven save the mark! They told you that as well? ROXANE: Ah! Think how I Trembled for him! CYRANO (between his teeth): Not causelessly! ROXANE: But when Last night I saw you,--brave, invincible,-- Punish that dandy, fearless hold your own Against those brutes, I thought--I thought, if he Whom all fear, all--if he would only. . . CYRANO: Good. I will befriend your little Baron. ROXANE: Ah! You'll promise me you will do this for me? I've always held you as a tender friend. CYRANO: Ay, ay. ROXANE: Then you will be his friend? CYRANO: I swear! ROXANE: And he shall fight no duels, promise! CYRANO: None. ROXANE: You are kind, cousin! Now I must be gone. (She puts on her mask and veil quickly; then, absently): You have not told me of your last night's fray. Ah, but it must have been a hero-fight!. . . --Bid him to write. (She sends him a kiss with her fingers): How good you are! CYRANO: Ay! Ay! ROXANE: A hundred men against you? Now, farewell.-- We are great friends? CYRANO: Ay, ay! ROXANE: Oh, bid him write! You'll tell me all one day--A hundred men!-- Ah, brave!. . .How brave! CYRANO (bowing to her): I have fought better since. (She goes out. Cyrano stands motionless, with eyes on the ground. A silence. The door (right) opens. Ragueneau looks in.)

Act 2, scene 6

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

Cyrano begins to address Roxane as a lover grateful to be acknowledged, but Roxane interrupts him to explain that the first purpose of her visit is to thank him for puncturing the pride of Valvert by fighting him in the theater. She reminisces with Cyrano about the happy times they spent together as children. She tends to his hand, which he has wounded in the fight at the Porte de Nesle. Roxane confesses that she is in love with someone who does not know that she loves him. She thinks that he loves her in return, but he is shy and dare not speak. Cyrano feels encouraged, as this could mean him. But as soon as Roxane says that the man is handsome, Cyrano feels discouraged, feeling that she cannot be thinking of him. When she names Christian, Cyrano warns her that he may not be intelligent enough for her. But she believes that anyone who is so beautiful on the outside must be eloquent also. She has invited Cyrano to meet her in order to ask him to protect Christian, as he is the only cadet in Cyrano's company who does not come from the region of Gascony, and she fears he will be picked on. Cyrano promises to look after Christian. Roxane expresses her friendly love for Cyrano and leaves. Cyrano looks despondent

novelguide

all_chapterized_books/1254-chapters/16.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_7.txt

Cyrano de Bergerac.act 2.scene 7

act 2, scene 7

{"name": "Act 2, scene 7", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "Ragueneau, the poets, and the captain of the Guards, Carbon de Castel-Jaloux, enter with a crowd of people. Carbon tells Cyrano that everyone knows it was Cyrano who fought the hundred men, and they have come to congratulate him. Cyrano draws back, unwilling to be the center of attention. De Guiche arrives with a message of admiration from the Marechal de Gassion, an important man. Cyrano sings to him the song of the Guardsof Gascony. De Guiche asks Cyrano to accept his patronage, but Cyrano refuses, as he prefers to remain independent. De Guiche offers to introduce Cyrano to his uncle, Cardinal Richelieu, the most powerful man in France. Le Bret urges Cyrano to accept in order to further his literary career. But Cyrano is concerned that Richelieu will try to change his work, and again refuses. A cadet enters with some hats with broken feathers, left by at the Porte de Nesle by the men who ran away from Cyrano. Cyrano presents them to de Guiche, announcing that the hats belong to him, or his friends. De Guiche, furious, storms out. The crowd disperses", "analysis": ""}

Cyrano, Ragueneau, poets, Carbon de Castel-Jaloux, the cadets, a crowd, then De Guiche. RAGUENEAU: Can we come in? CYRANO (without stirring): Yes. . . (Ragueneau signs to his friends, and they come in. At the same time, by door at back, enters Carbon de Castel-Jaloux, in Captain's uniform. He makes gestures of surprise on seeing Cyrano.) CARBON: Here he is! CYRANO (raising his head): Captain!. . . CARBON (delightedly): Our hero! We heard all! Thirty or more Of my cadets are there!. . . CYRANO (shrinking back): But. . . CARBON (trying to draw him away): Come with me! They will not rest until they see you! CYRANO: No! CARBON: They're drinking opposite, at The Bear's Head. CYRANO: I. . . CARBON (going to the door and calling across the street in a voice of thunder): He won't come! The hero's in the sulks! A VOICE (outside): Ah! Sandious! (Tumult outside. Noise of boots and swords is heard approaching.) CARBON (rubbing his hands): They are running 'cross the street! CADETS (entering): Mille dious! Capdedious! Pocapdedious! RAGUENEAU (drawing back startled): Gentlemen, are you all from Gascony? THE CADETS: All! A CADET (to Cyrano): Bravo! CYRANO: Baron! ANOTHER (shaking his hands): Vivat! CYRANO: Baron! THIRD CADET: Come! I must embrace you! CYRANO: Baron! SEVERAL GASCONS: We'll embrace Him, all in turn! CYRANO (not knowing whom to reply to): Baron!. . .Baron!. . .I beg. . . RAGUENEAU: Are you all Barons, Sirs? THE CADETS: Ay, every one! RAGUENEAU: Is it true?. . . FIRST CADET: Ay--why, you could build a tower With nothing but our coronets, my friend! LE BRET (entering, and running up to Cyrano): They're looking for you! Here's a crazy mob Led by the men who followed you last night. . . CYRANO (alarmed): What! Have you told them where to find me? LE BRET (rubbing his hands): Yes! A BURGHER (entering, followed by a group of men): Sir, all the Marais is a-coming here! (Outside the street has filled with people. Chaises a porteurs and carriages have drawn up.) LE BRET (in a low voice, smiling, to Cyrano): And Roxane? CYRANO (quickly): Hush! THE CROWD (calling outside): Cyrano!. . . (A crowd rush into the shop, pushing one another. Acclamations.) RAGUENEAU (standing on a table): Lo! my shop Invaded! They break all! Magnificent! PEOPLE (crowding round Cyrano): My friend!. . .my friend. . . Cyrano: Meseems that yesterday I had not all these friends! LE BRET (delighted): Success! A YOUNG MARQUIS (hurrying up with his hands held out): My friend, Didst thou but know. . . CYRANO: Thou!. . .Marry!. . .thou!. . .Pray when Did we herd swine together, you and I! ANOTHER: I would present you, Sir, to some fair dames Who in my carriage yonder. . . CYRANO (coldly): Ah! and who Will first present you, Sir, to me? LE BRET (astonished): What's wrong? CYRANO: Hush! A MAN OF LETTERS (with writing-board): A few details?. . . CYRANO: No. LE BRET (nudging his elbow): 'Tis Theophrast, Renaudet,. . .of the 'Court Gazette'! CYRANO: Who cares? LE BRET: This paper--but it is of great importance!. . . They say it will be an immense success! A POET (advancing): Sir. . . CYRANO: What, another! THE POET: . . .Pray permit I make A pentacrostic on your name. . . SOME ONE (also advancing): Pray, Sir. . . CYRANO: Enough! Enough! (A movement in the crowd. De Guiche appears, escorted by officers. Cuigy, Brissaille, the officers who went with Cyrano the night before. Cuigy comes rapidly up to Cyrano.) CUIGY (to Cyrano): Here is Monsieur de Guiche? (A murmur--every one makes way): He comes from the Marshal of Gassion! DE GUICHE (bowing to Cyrano): . . .Who would express his admiration, Sir, For your new exploit noised so loud abroad. THE CROWD: Bravo! CYRANO (bowing): The Marshal is a judge of valor. DE GUICHE: He could not have believed the thing, unless These gentlemen had sworn they witnessed it. CUIGY: With our own eyes! LE BRET (aside to Cyrano, who has an absent air): But. . .you. . . CYRANO: Hush! LE BRET: But. . .You suffer? CYRANO (starting): Before this rabble?--I?. . . (He draws himself up, twirls his mustache, and throws back his shoulders): Wait!. . .You shall see! DE GUICHE (to whom Cuigy has spoken in a low voice): In feats of arms, already your career Abounded.--You serve with those crazy pates Of Gascons? CYRANO: Ay, with the Cadets. A CADET (in a terrible voice): With us! DE GUICHE (looking at the cadets, ranged behind Cyrano): Ah!. . .All these gentlemen of haughty mien, Are they the famous?. . . CARBON: Cyrano! CYRANO: Ay, Captain! CARBON: Since all my company's assembled here, Pray favor me,--present them to my lord! CYRANO (making two steps toward De Guiche): My Lord de Guiche, permit that I present-- (pointing to the cadets): The bold Cadets of Gascony, Of Carbon of Castel-Jaloux! Brawling and swaggering boastfully, The bold Cadets of Gascony! Spouting of Armory, Heraldry, Their veins a-brimming with blood so blue, The bold Cadets of Gascony, Of Carbon of Castel-Jaloux: Eagle-eye, and spindle-shanks, Fierce mustache, and wolfish tooth! Slash-the-rabble and scatter-their-ranks; Eagle-eye and spindle-shanks, With a flaming feather that gayly pranks, Hiding the holes in their hats, forsooth! Eagle-eye and spindle-shanks, Fierce mustache, and wolfish tooth! 'Pink-your-Doublet' and 'Slit-your-Trunk' Are their gentlest sobriquets; With Fame and Glory their soul is drunk! 'Pink-your-Doublet' and 'Slit-your-Trunk,' In brawl and skirmish they show their spunk, Give rendezvous in broil and fray; 'Pink-your-Doublet' and 'Slit-your-Trunk' Are their gentlest sobriquets! What, ho! Cadets of Gascony! All jealous lovers are sport for you! O Woman! dear divinity! What, ho! Cadets of Gascony! Whom scowling husbands quake to see. Blow, 'taratara,' and cry 'Cuckoo.' What, ho! Cadets of Gascony! Husbands and lovers are game for you! DE GUICHE (seated with haughty carelessness in an armchair brought quickly by Ragueneau): A poet! 'Tis the fashion of the hour! --Will you be mine? CYRANO: No, Sir,--no man's! DE GUICHE: Last night Your fancy pleased my uncle Richelieu. I'll gladly say a word to him for you. LE BRET (overjoyed): Great Heavens! DE GUICHE: I imagine you have rhymed Five acts, or so? LE BRET (in Cyrano's ear): Your play!--your 'Agrippine!' You'll see it staged at last! DE GUICHE: Take them to him. CYRANO (beginning to be tempted and attracted): In sooth,--I would. . . DE GUICHE: He is a critic skilled: He may correct a line or two, at most. CYRANO (whose face stiffens at once): Impossible! My blood congeals to think That other hand should change a comma's dot. DE GUICHE: But when a verse approves itself to him He pays it dear, good friend. CYRANO: He pays less dear Than I myself; when a verse pleases me I pay myself, and sing it to myself! DE GUICHE: You are proud. CYRANO: Really? You have noticed that? A CADET (entering, with a string of old battered plumed beaver hats, full of holes, slung on his sword): See, Cyrano,--this morning, on the quay What strange bright-feathered game we caught! The hats O' the fugitives. . . CARBON: 'Spolia opima!' ALL (laughing): Ah! ah! ah! CUIGY: He who laid that ambush, 'faith! Must curse and swear! BRISSAILLE: Who was it? DE GUICHE: I myself. (The laughter stops): I charged them--work too dirty for my sword, To punish and chastise a rhymster sot. (Constrained silence.) The CADET (in a low voice, to Cyrano, showing him the beavers): What do with them? They're full of grease!--a stew? CYRANO (taking the sword and, with a salute, dropping the hats at De Guiche's feet): Sir, pray be good enough to render them Back to your friends. DE GUICHE (rising, sharply): My chair there--quick!--I go! (To Cyrano passionately): As to you, sirrah!. . . VOICE (in the street): Porters for my lord De Guiche! DE GUICHE (who has controlled himself--smiling): Have you read 'Don Quixote'? CYRANO: I have! And doff my hat at th' mad knight-errant's name. DE GUICHE: I counsel you to study. . . A PORTER (appearing at back): My lord's chair! DE GUICHE: . . .The windmill chapter! CYRANO (bowing): Chapter the Thirteenth. DE GUICHE: For when one tilts 'gainst windmills--it may chance. . . CYRANO: Tilt I 'gainst those who change with every breeze? DE GUICHE: . . .That windmill sails may sweep you with their arm Down--in the mire!. . . CYRANO: Or upward--to the stars! (De Guiche goes out, and mounts into his chair. The other lords go away whispering together. Le Bret goes to the door with them. The crowd disperses.)

Act 2, scene 7

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

Ragueneau, the poets, and the captain of the Guards, Carbon de Castel-Jaloux, enter with a crowd of people. Carbon tells Cyrano that everyone knows it was Cyrano who fought the hundred men, and they have come to congratulate him. Cyrano draws back, unwilling to be the center of attention. De Guiche arrives with a message of admiration from the Marechal de Gassion, an important man. Cyrano sings to him the song of the Guardsof Gascony. De Guiche asks Cyrano to accept his patronage, but Cyrano refuses, as he prefers to remain independent. De Guiche offers to introduce Cyrano to his uncle, Cardinal Richelieu, the most powerful man in France. Le Bret urges Cyrano to accept in order to further his literary career. But Cyrano is concerned that Richelieu will try to change his work, and again refuses. A cadet enters with some hats with broken feathers, left by at the Porte de Nesle by the men who ran away from Cyrano. Cyrano presents them to de Guiche, announcing that the hats belong to him, or his friends. De Guiche, furious, storms out. The crowd disperses

novelguide

all_chapterized_books/1254-chapters/17.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_8.txt

Cyrano de Bergerac.act 2.scene 8

act 2, scene 8

{"name": "Act 2, scene 8", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "Le Bret scolds Cyrano for his pride in refusing de Guiche's patronage. Cyrano replies that he wants to remain free and to be the sole owner of his work. He does not intend to live as a parasite. Le Bret counters that Cyrano makes enemies wherever he goes. Cyrano replies that he has no interest in making friends with unworthy men. Le Bret guesses that Cyrano has learned that Roxane does not love him", "analysis": ""}

Cyrano, Le Bret, the cadets, who are eating and drinking at the tables right and left. CYRANO (bowing mockingly to those who go out without daring to salute him): Gentlemen. . .Gentlemen. . . LE BRET (coming back, despairingly): Here's a fine coil! CYRANO: Oh! scold away! LE BRET: At least, you will agree That to annihilate each chance of Fate Exaggerates. . . CYRANO: Yes!--I exaggerate! LE BRET (triumphantly): Ah! CYRANO: But for principle--example too,-- I think 'tis well thus to exaggerate. LE BRET: Oh! lay aside that pride of musketeer, Fortune and glory wait you!. . . CYRANO: Ay, and then?. . . Seek a protector, choose a patron out, And like the crawling ivy round a tree That licks the bark to gain the trunk's support, Climb high by creeping ruse instead of force? No, grammercy! What! I, like all the rest Dedicate verse to bankers?--play buffoon In cringing hope to see, at last, a smile Not disapproving, on a patron's lips? Grammercy, no! What! learn to swallow toads? --With frame aweary climbing stairs?--a skin Grown grimed and horny,--here, about the knees? And, acrobat-like, teach my back to bend?-- No, grammercy! Or,--double-faced and sly-- Run with the hare, while hunting with the hounds; And, oily-tongued, to win the oil of praise, Flatter the great man to his very nose? No, grammercy! Steal soft from lap to lap, --A little great man in a circle small, Or navigate, with madrigals for sails, Blown gently windward by old ladies' sighs? No, grammercy! Bribe kindly editors To spread abroad my verses? Grammercy! Or try to be elected as the pope Of tavern-councils held by imbeciles? No, grammercy! Toil to gain reputation By one small sonnet, 'stead of making many? No, grammercy! Or flatter sorry bunglers? Be terrorized by every prating paper? Say ceaselessly, 'Oh, had I but the chance Of a fair notice in the "Mercury"!' Grammercy, no! Grow pale, fear, calculate? Prefer to make a visit to a rhyme? Seek introductions, draw petitions up? No, grammercy! and no! and no again! But--sing? Dream, laugh, go lightly, solitary, free, With eyes that look straight forward--fearless voice! To cock your beaver just the way you choose,-- For 'yes' or 'no' show fight, or turn a rhyme! --To work without one thought of gain or fame, To realize that journey to the moon! Never to pen a line that has not sprung Straight from the heart within. Embracing then Modesty, say to oneself, 'Good my friend, Be thou content with flowers,--fruit,--nay, leaves, But pluck them from no garden but thine own!' And then, if glory come by chance your way, To pay no tribute unto Caesar, none, But keep the merit all your own! In short, Disdaining tendrils of the parasite, To be content, if neither oak nor elm-- Not to mount high, perchance, but mount alone! LE BRET: Alone, an if you will! But not with hand 'Gainst every man! How in the devil's name Have you conceived this lunatic idea, To make foes for yourself at every turn? CYRANO: By dint of seeing you at every turn Make friends,--and fawn upon your frequent friends With mouth wide smiling, slit from ear to ear! I pass, still unsaluted, joyfully, And cry,--What, ho! another enemy? LE BRET: Lunacy! CYRANO: Well, what if it be my vice, My pleasure to displease--to love men hate me! Ah, friend of mine, believe me, I march better 'Neath the cross-fire of glances inimical! How droll the stains one sees on fine-laced doublets, From gall of envy, or the poltroon's drivel! --The enervating friendship which enfolds you Is like an open-laced Italian collar, Floating around your neck in woman's fashion; One is at ease thus,--but less proud the carriage! The forehead, free from mainstay or coercion, Bends here, there, everywhere. But I, embracing Hatred, she lends,--forbidding, stiffly fluted, The ruff's starched folds that hold the head so rigid; Each enemy--another fold--a gopher, Who adds constraint, and adds a ray of glory; For Hatred, like the ruff worn by the Spanish, Grips like a vice, but frames you like a halo! LE BRET (after a silence, taking his arm): Speak proud aloud, and bitter!--In my ear Whisper me simply this,--She loves thee not! CYRANO (vehemently): Hush! (Christian has just entered, and mingled with the cadets, who do not speak to him; he has seated himself at a table, where Lise serves him.)

Act 2, scene 8

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

Le Bret scolds Cyrano for his pride in refusing de Guiche's patronage. Cyrano replies that he wants to remain free and to be the sole owner of his work. He does not intend to live as a parasite. Le Bret counters that Cyrano makes enemies wherever he goes. Cyrano replies that he has no interest in making friends with unworthy men. Le Bret guesses that Cyrano has learned that Roxane does not love him

novelguide

all_chapterized_books/1254-chapters/18.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_9.txt

Cyrano de Bergerac.act 2.scene 9

act 2, scene 9

{"name": "Act 2, scene 9", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "Christian enters with some of the cadets. None of them sit with him. They taunt him for being a northerner, and warn him not to mention Cyrano's nose, as Cyrano may kill him. Christian asks Carbon what a northerner should do when southerners boast too much. Carbon answers that he should show them that a northerner can be as brave as a southerner. The Guards beg Cyrano to tell them the story of what happened at the Porte de Nesle. Christian, in an attempt to demonstrate his courage to the cadets, constantly interrupts Cyrano's narrative to make jokes about his nose. The Guardsare terrified of how Cyrano might respond. Cyrano moves threateningly towards Christian, but on hearing who he is, he stops in his tracks and controls his anger. Christian continues to taunt Cyrano about his nose. Finally, Cyrano can contain himself no longer and orders the other Guards out of the room. They rush out, expecting to return to see Christian's corpse chopped into pieces", "analysis": ""}

Cyrano, Le Bret, the cadets, Christian de Neuvillette. A CADET (seated at a table, glass in hand): Cyrano! (Cyrano turns round): The story! CYRANO: In its time! (He goes up on Le Bret's arm. They talk in low voices.) THE CADET (rising and coming down): The story of the fray! 'Twill lesson well (He stops before the table where Christian is seated): This timid young apprentice! CHRISTIAN (raising his head): 'Prentice! Who? ANOTHER CADET: This sickly Northern greenhorn! CHRISTIAN: Sickly! FIRST CADET (mockingly): Hark! Monsieur de Neuvillette, this in your ear: There's somewhat here, one no more dares to name, Than to say 'rope' to one whose sire was hanged! CHRISTIAN: What may that be? ANOTHER CADET (in a terrible voice): See here! (He puts his finger three times, mysteriously, on his nose): Do you understand? CHRISTIAN: Oh! 'tis the. . . ANOTHER: Hush! oh, never breathe that word, Unless you'd reckon with him yonder! (He points to Cyrano, who is talking with Le Bret.) ANOTHER (who has meanwhile come up noiselessly to sit on the table--whispering behind him): Hark! He put two snuffling men to death, in rage, For the sole reason they spoke through their nose! ANOTHER (in a hollow voice, darting on all-fours from under the table, where he had crept): And if you would not perish in flower o' youth, --Oh, mention not the fatal cartilage! ANOTHER (clapping him on the shoulder): A word? A gesture! For the indiscreet His handkerchief may prove his winding-sheet! (Silence. All, with crossed arms, look at Christian. He rises and goes over to Carbon de Castel-Jaloux, who is talking to an officer, and feigns to see nothing.) CHRISTIAN: Captain! CARBON (turning and looking at him from head to foot): Sir! CHRISTIAN: Pray, what skills it best to do To Southerners who swagger?. . . CARBON: Give them proof That one may be a Northerner, yet brave! (He turns his back on him.) CHRISTIAN: I thank you. FIRST CADET (to Cyrano): Now the tale! ALL: The tale! CYRANO (coming toward them): The tale?. . . (All bring their stools up, and group round him, listening eagerly. Christian is astride a chair): Well! I went all alone to meet the band. The moon was shining, clock-like, full i' th' sky, When, suddenly, some careful clockwright passed A cloud of cotton-wool across the case That held this silver watch. And, presto! heigh! The night was inky black, and all the quays Were hidden in the murky dark. Gadsooks! One could see nothing further. . . CHRISTIAN: Than one's nose! (Silence. All slowly rise, looking in terror at Cyrano, who has stopped-- dumfounded. Pause.) CYRANO: Who on God's earth is that? A CADET (whispering): It is a man Who joined to-day. CYRANO (making a step toward Christian): To-day? CARBON (in a low voice): Yes. . .his name is The Baron de Neuvil. . . CYRANO (checking himself): Good! It is well. . . (He turns pale, flushes, makes as if to fall on Christian): I. . . (He controls himself): What said I?. . . (With a burst of rage): MORDIOUS!. . . (Then continues calmly): That it was dark. (Astonishment. The cadets reseat themselves, staring at him): On I went, thinking, 'For a knavish cause I may provoke some great man, some great prince, Who certainly could break'. . . CHRISTIAN: My nose!. . . (Every one starts up. Christian balances on his chair.) CYRANO (in a choked voice): . . .'My teeth! Who would break my teeth, and I, imprudent-like, Was poking. . .' CHRISTIAN: My nose!. . . CYRANO: 'My finger,. . .in the crack Between the tree and bark! He may prove strong And rap me. . .' CHRISTIAN: Over the nose. . . CYRANO (wiping his forehead): . . .'O' th' knuckles! Ay,' But I cried, 'Forward, Gascon! Duty calls! On, Cyrano!' And thus I ventured on. . . When, from the shadow, came. . . CHRISTIAN: A crack o' th' nose. CYRANO: I parry it--find myself. . . CHRISTIAN: Nose to nose. . . CYRANO (bounding on to him): Heaven and earth! (All the Gascons leap up to see, but when he is close to Christian he controls himself and continues): . . .With a hundred brawling sots, Who stank. . . CHRISTIAN: A noseful. . . CYRANO (white, but smiling): Onions, brandy-cups! I leapt out, head well down. . . CHRISTIAN: Nosing the wind! CYRANO: I charge!--gore two, impale one--run him through, One aims at me--Paf! and I parry. . . CHRISTIAN: Pif! CYRANO (bursting out): Great God! Out! all of you! (The cadets rush to the doors.) FIRST CADET: The tiger wakes! CYRANO: Every man, out! Leave me alone with him! SECOND CADET: We shall find him minced fine, minced into hash In a big pasty! RAGUENEAU: I am turning pale, And curl up, like a napkin, limp and white! CARBON: Let us be gone. ANOTHER: He will not leave a crumb! ANOTHER: I die of fright to think what will pass here! ANOTHER (shutting door right): Something too horrible! (All have gone out by different doors, some by the staircase. Cyrano and Christian are face to face, looking at each other for a moment.)

Act 2, scene 9

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

Christian enters with some of the cadets. None of them sit with him. They taunt him for being a northerner, and warn him not to mention Cyrano's nose, as Cyrano may kill him. Christian asks Carbon what a northerner should do when southerners boast too much. Carbon answers that he should show them that a northerner can be as brave as a southerner. The Guards beg Cyrano to tell them the story of what happened at the Porte de Nesle. Christian, in an attempt to demonstrate his courage to the cadets, constantly interrupts Cyrano's narrative to make jokes about his nose. The Guardsare terrified of how Cyrano might respond. Cyrano moves threateningly towards Christian, but on hearing who he is, he stops in his tracks and controls his anger. Christian continues to taunt Cyrano about his nose. Finally, Cyrano can contain himself no longer and orders the other Guards out of the room. They rush out, expecting to return to see Christian's corpse chopped into pieces

novelguide

all_chapterized_books/1254-chapters/19.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_3_part_10.txt

Cyrano de Bergerac.act 2.scene 10

act 2, scene 10

{"name": "Act 2, scene 10", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10", "summary": "Cyrano commends Christian's bravery and, to Christian's astonishment, embraces him. Cyrano tells Christian that he is Roxane's cousin and that she loves him. Christian apologizes to Cyrano for insulting him. Christian fears that Roxane will lose interest in him as soon as he speaks to her, as he is so stupid. Cyrano proposes that he join his eloquence to Christian's good looks to create the perfect lover for Roxane. He will write some eloquent speeches for Christian to deliver to Roxane as his own. Cyrano claims that he only wants to do this to practise his literary skills. From his pocket, he produces the letter he wrote earlier to Roxane and hands it to Christian to give to her. Christian embraces Cyrano in gratitude. The other Guards, Lise, and the Musketeer enter and are astonished to see Cyrano embracing Christian. The Musketeer believes that Cyrano must have undergone a transformation that means it is safe to talk about his nose. He impudently stares at Cyrano's nose, asking what the smell could be. Cyrano cries, \"It's pigshit. and floors the Musketeer with a blow.", "analysis": "of Act 2, scenes 1-10. Act 2 draws a stark contrast between Cyrano's fearlessness in matters of courage and honor in battle, and his terror when faced with his love for Roxane. Christian, another brave man whose courage fails him in love, is Cyrano's mirror when it comes to feeling inadequate as a lover. But Christian is Cyrano's opposite when it comes to the reasons for his feelings of inadequacy. Christian is self-assured about his looks but is certain that he is so stupid that Roxane will lose interest in him the moment he opens his mouth to speak. Cyrano, on the other hand, feels physically unattractive but is confident in his wit and intelligence. Cyrano's suggestion that they combine his own wit and eloquence to Christian's good looks to make the perfect lover for Roxane is significant on many levels. First, it comments ironically on a conviction held by many a lover in every age: that they are not good enough to be loved by the object of their desires as they really are. Cyrano believes that if only he had Christian's looks, he would succeed with Roxane, and Christian believes that if only he had Cyrano's intelligence, he would succeed with Roxane. Second, the two men's decision to combine forces also carries the implicit suggestion that no one is perfect, so people should celebrate whatever good qualities they possess and not dwell on their shortcomings. In the character of Cyrano, the play focuses on a source of inadequacy that is particularly relevant to the modern age: the obsession with physical perfection. Third, Cyrano's suggestion represents a fall from grace for a man who in every other respect has shown honor, integrity, and a devotion to truth. However honorable and selfless Cyrano's final aim might be , the means by which he will achieve his aim is deception of Roxane. Roxane shows herself to be a person of intelligence, compassion, and integrity, and the reader may well feel indignant that she should be wooed by a chimera, an illusion that does not really exist. Fourth, Cyrano's suggestion sets in motion the major conflict that drives the action of the play. The notion of combining forces with Christian will enable him to have the vicarious joy of declaring his love for Roxane, but the fact that Cyrano deceives her into believing that his words are Christian's means that he can never win her for himself. The power of words, as embodied in literature, continues to be an important theme in Act 2. Rostand shows how words can both divide people and bring them closer together in love. Their intention that Christian will recite Cyrano's lines just as an actor recites lines in a play symbolically turns the wooing of Roxane into a piece of theater in which Cyrano is the playwright, Christian the unintelligent but attractive leading man, and Roxane the audience. This mirrors the opening scenes of the play, in which Cyrano directed events, Montfleury was the untalented actor, and Roxane was, once again, a spectator. There is bitter dramatic irony in the scene between Roxane and Cyrano. Cyrano, emboldened by Le Bret's encouragement, is ready to declare his love, but Roxane has invited him to the meeting in order to ask him to protect Christian. Ordinarily, Cyrano and Christian would be rivals or even enemies due to their love for the same woman. But Roxane's request to Cyrano that he protect Christian means that he must become Christian's friend and supporter. Cyrano's embrace of this unforeseen role is his greatest act of heroism so far. He is sacrificing his own self-interest for the sake of others' happiness"}

Cyrano, Christian. CYRANO: Embrace me now! CHRISTIAN: Sir. . . CYRANO: You are brave. CHRISTIAN: Oh! but. . . CYRANO: Nay, I insist. CHRISTIAN: Pray tell me. . . CYRANO: Come, embrace! I am her brother. CHRISTIAN: Whose brother? CYRANO: Hers i' faith! Roxane's! CHRISTIAN (rushing up to him): O heavens! Her brother. . .? CYRANO: Cousin--brother!. . .the same thing! CHRISTIAN: And she has told you. . .? CYRANO: All! CHRISTIAN: She loves me? say! CYRANO: Maybe! CHRISTIAN (taking his hands): How glad I am to meet you, Sir! CYRANO: That may be called a sudden sentiment! CHRISTIAN: I ask your pardon. . . CYRANO (looking at him, with his hand on his shoulder): True, he's fair, the villain! CHRISTIAN: Ah, Sir! If you but knew my admiration!. . . CYRANO: But all those noses?. . . CHRISTIAN: Oh! I take them back! CYRANO: Roxane expects a letter. CHRISTIAN: Woe the day! CYRANO: How? CHRISTIAN: I am lost if I but ope my lips! CYRANO: Why so? CHRISTIAN: I am a fool--could die for shame! CYRANO: None is a fool who knows himself a fool. And you did not attack me like a fool. CHRISTIAN: Bah! One finds battle-cry to lead th' assault! I have a certain military wit, But, before women, can but hold my tongue. Their eyes! True, when I pass, their eyes are kind. . . CYRANO: And, when you stay, their hearts, methinks, are kinder? CHRISTIAN: No! for I am one of those men--tongue-tied, I know it--who can never tell their love. CYRANO: And I, meseems, had Nature been more kind, More careful, when she fashioned me,--had been One of those men who well could speak their love! CHRISTIAN: Oh, to express one's thoughts with facile grace!. . . CYRANO: . . .To be a musketeer, with handsome face! CHRISTIAN: Roxane is precieuse. I'm sure to prove A disappointment to her! CYRANO (looking at him): Had I but Such an interpreter to speak my soul! CHRISTIAN (with despair): Eloquence! Where to find it? CYRANO (abruptly): That I lend, If you lend me your handsome victor-charms; Blended, we make a hero of romance! CHRISTIAN: How so? CYRANO: Think you you can repeat what things I daily teach your tongue? CHRISTIAN: What do you mean? CYRANO: Roxane shall never have a disillusion! Say, wilt thou that we woo her, double-handed? Wilt thou that we two woo her, both together? Feel'st thou, passing from my leather doublet, Through thy laced doublet, all my soul inspiring? CHRISTIAN: But, Cyrano!. . . CYRANO: Will you, I say? CHRISTIAN: I fear! CYRANO: Since, by yourself, you fear to chill her heart, Will you--to kindle all her heart to flame-- Wed into one my phrases and your lips? CHRISTIAN: Your eyes flash! CYRANO: Will you? CHRISTIAN: Will it please you so? --Give you such pleasure? CYRANO (madly): It!. . . (Then calmly, business-like): It would amuse me! It is an enterprise to tempt a poet. Will you complete me, and let me complete you? You march victorious,--I go in your shadow; Let me be wit for you, be you my beauty! CHRISTIAN: The letter, that she waits for even now! I never can. . . CYRANO (taking out the letter he had written): See! Here it is--your letter! CHRISTIAN: What? CYRANO: Take it! Look, it wants but the address. CHRISTIAN: But I. . . CYRANO: Fear nothing. Send it. It will suit. CHRISTIAN: But have you. . .? CYRANO: Oh! We have our pockets full, We poets, of love-letters, writ to Chloes, Daphnes--creations of our noddle-heads. Our lady-loves,--phantasms of our brains, --Dream-fancies blown into soap-bubbles! Come! Take it, and change feigned love-words into true; I breathed my sighs and moans haphazard-wise; Call all these wandering love-birds home to nest. You'll see that I was in these lettered lines, --Eloquent all the more, the less sincere! --Take it, and make an end! CHRISTIAN: Were it not well To change some words? Written haphazard-wise, Will it fit Roxane? CYRANO: 'Twill fit like a glove! CHRISTIAN: But. . . CYRANO: Ah, credulity of love! Roxane Will think each word inspired by herself! CHRISTIAN: My friend! (He throws himself into Cyrano's arms. They remain thus.)

Act 2, scene 10

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act2-scenes1-10

Cyrano commends Christian's bravery and, to Christian's astonishment, embraces him. Cyrano tells Christian that he is Roxane's cousin and that she loves him. Christian apologizes to Cyrano for insulting him. Christian fears that Roxane will lose interest in him as soon as he speaks to her, as he is so stupid. Cyrano proposes that he join his eloquence to Christian's good looks to create the perfect lover for Roxane. He will write some eloquent speeches for Christian to deliver to Roxane as his own. Cyrano claims that he only wants to do this to practise his literary skills. From his pocket, he produces the letter he wrote earlier to Roxane and hands it to Christian to give to her. Christian embraces Cyrano in gratitude. The other Guards, Lise, and the Musketeer enter and are astonished to see Cyrano embracing Christian. The Musketeer believes that Cyrano must have undergone a transformation that means it is safe to talk about his nose. He impudently stares at Cyrano's nose, asking what the smell could be. Cyrano cries, "It's pigshit. and floors the Musketeer with a blow.

of Act 2, scenes 1-10. Act 2 draws a stark contrast between Cyrano's fearlessness in matters of courage and honor in battle, and his terror when faced with his love for Roxane. Christian, another brave man whose courage fails him in love, is Cyrano's mirror when it comes to feeling inadequate as a lover. But Christian is Cyrano's opposite when it comes to the reasons for his feelings of inadequacy. Christian is self-assured about his looks but is certain that he is so stupid that Roxane will lose interest in him the moment he opens his mouth to speak. Cyrano, on the other hand, feels physically unattractive but is confident in his wit and intelligence. Cyrano's suggestion that they combine his own wit and eloquence to Christian's good looks to make the perfect lover for Roxane is significant on many levels. First, it comments ironically on a conviction held by many a lover in every age: that they are not good enough to be loved by the object of their desires as they really are. Cyrano believes that if only he had Christian's looks, he would succeed with Roxane, and Christian believes that if only he had Cyrano's intelligence, he would succeed with Roxane. Second, the two men's decision to combine forces also carries the implicit suggestion that no one is perfect, so people should celebrate whatever good qualities they possess and not dwell on their shortcomings. In the character of Cyrano, the play focuses on a source of inadequacy that is particularly relevant to the modern age: the obsession with physical perfection. Third, Cyrano's suggestion represents a fall from grace for a man who in every other respect has shown honor, integrity, and a devotion to truth. However honorable and selfless Cyrano's final aim might be , the means by which he will achieve his aim is deception of Roxane. Roxane shows herself to be a person of intelligence, compassion, and integrity, and the reader may well feel indignant that she should be wooed by a chimera, an illusion that does not really exist. Fourth, Cyrano's suggestion sets in motion the major conflict that drives the action of the play. The notion of combining forces with Christian will enable him to have the vicarious joy of declaring his love for Roxane, but the fact that Cyrano deceives her into believing that his words are Christian's means that he can never win her for himself. The power of words, as embodied in literature, continues to be an important theme in Act 2. Rostand shows how words can both divide people and bring them closer together in love. Their intention that Christian will recite Cyrano's lines just as an actor recites lines in a play symbolically turns the wooing of Roxane into a piece of theater in which Cyrano is the playwright, Christian the unintelligent but attractive leading man, and Roxane the audience. This mirrors the opening scenes of the play, in which Cyrano directed events, Montfleury was the untalented actor, and Roxane was, once again, a spectator. There is bitter dramatic irony in the scene between Roxane and Cyrano. Cyrano, emboldened by Le Bret's encouragement, is ready to declare his love, but Roxane has invited him to the meeting in order to ask him to protect Christian. Ordinarily, Cyrano and Christian would be rivals or even enemies due to their love for the same woman. But Roxane's request to Cyrano that he protect Christian means that he must become Christian's friend and supporter. Cyrano's embrace of this unforeseen role is his greatest act of heroism so far. He is sacrificing his own self-interest for the sake of others' happiness

novelguide

all_chapterized_books/1254-chapters/22.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_4_part_1.txt

Cyrano de Bergerac.act 3.scene 1

act 3, scene 1

{"name": "act 3, scene 1", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes1-4", "summary": "Ragueneau is sitting outside Roxane's house, telling her Duenna that his wife has just left him for the Musketeer, taking what little money they had. Ragueneau tried to hang himself, but Cyrano found him, cut him down, and sent him to Roxane to be her steward. The Duenna calls Roxane; they are going to hear a talk about love. Cyrano enters with some musicians and begins to serenade Roxane, who appears on her balcony. Cyrano explains that he won the services of the musicians in a bet about a point of grammar. He is now bored with them, however, and sends them away. Roxane comes down and discusses Christian with Cyrano. She says that she loves him, and that he is even cleverer than Cyrano in writing eloquent letters. Cyrano is disparaging about the phrases in the letters, and Roxane says he is jealous of Christian's literary talent. The Duenna warns Roxane and Cyrano that de Guiche is coming. Cyrano goes into the house", "analysis": ""}

Ragueneau, the duenna. Then Roxane, Cyrano, and two pages. RAGUENEAU: --And then, off she went, with a musketeer! Deserted and ruined too, I would make an end of all, and so hanged myself. My last breath was drawn:-- then in comes Monsieur de Bergerac! He cuts me down, and begs his cousin to take me for her steward. THE DUENNA: Well, but how came it about that you were thus ruined? RAGUENEAU: Oh! Lise loved the warriors, and I loved the poets! What cakes there were that Apollo chanced to leave were quickly snapped up by Mars. Thus ruin was not long a-coming. THE DUENNA (rising, and calling up to the open window): Roxane, are you ready? They wait for us! ROXANE'S VOICE (from the window): I will but put me on a cloak! THE DUENNA (to Ragueneau, showing him the door opposite): They wait us there opposite, at Clomire's house. She receives them all there to-day--the precieuses, the poets; they read a discourse on the Tender Passion. RAGUENEAU: The Tender Passion? THE DUENNA (in a mincing voice): Ay, indeed! (Calling up to the window): Roxane, an you come not down quickly, we shall miss the discourse on the Tender Passion! ROXANE'S VOICE: I come! I come! (A sound of stringed instruments approaching.) CYRANO'S VOICE (behind the scenes, singing): La, la, la, la! THE DUENNA (surprised): They serenade us? CYRANO (followed by two pages with arch-lutes): I tell you they are demi-semi-quavers, demi-semi-fool! FIRST PAGE (ironically): You know then, Sir, to distinguish between semi-quavers and demi-semi- quavers? CYRANO: Is not every disciple of Gassendi a musician? THE PAGE (playing and singing): La, la! CYRANO (snatching the lute from him, and going on with the phrase): In proof of which, I can continue! La, la, la, la! ROXANE (appearing on the balcony): What? 'Tis you? CYRANO (going on with the air, and singing to it): 'Tis I, who come to serenade your lilies, and pay my devoir to your ro-o- oses! ROXANE: I am coming down! (She leaves the balcony.) THE DUENNA (pointing to the pages): How come these two virtuosi here? CYRANO: 'Tis for a wager I won of D'Assoucy. We were disputing a nice point in grammar; contradictions raged hotly--''Tis so!' 'Nay, 'tis so!' when suddenly he shows me these two long-shanks, whom he takes about with him as an escort, and who are skillful in scratching lute-strings with their skinny claws! 'I will wager you a day's music,' says he!--And lost it! Thus, see you, till Phoebus' chariot starts once again, these lute-twangers are at my heels, seeing all I do, hearing all I say, and accompanying all with melody. 'Twas pleasant at the first, but i' faith, I begin to weary of it already! (To the musicians): Ho there! go serenade Montfleury for me! Play a dance to him! (The pages go toward the door. To the duenna): I have come, as is my wont, nightly, to ask Roxane whether. . . (To the pages, who are going out): Play a long time,--and play out of tune! (To the duenna): . . .Whether her soul's elected is ever the same, ever faultless! ROXANE (coming out of the house): Ah! How handsome he is, how brilliant a wit! And--how well I love him! CYRANO (smiling): Christian has so brilliant a wit? ROXANE: Brighter than even your own, cousin! CYRANO: Be it so, with all my heart! ROXANE: Ah! methinks 'twere impossible that there could breathe a man on this earth skilled to say as sweetly as he all the pretty nothings that mean so much-- that mean all! At times his mind seems far away, the Muse says naught--and then, presto! he speaks--bewitchingly! enchantingly! CYRANO (incredulously): No, no! ROXANE: Fie! That is ill said! But lo! men are ever thus! Because he is fair to see, you would have it that he must be dull of speech. CYRANO: He hath an eloquent tongue in telling his love? ROXANE: In telling his love? why, 'tis not simple telling, 'tis dissertation, 'tis analysis! CYRANO: How is he with the pen? ROXANE: Still better! Listen,--here:-- (Reciting): 'The more of my poor heart you take The larger grows my heart!' (Triumphantly to Cyrano): How like you those lines? CYRANO: Pooh! ROXANE: And thus it goes on. . . 'And, since some target I must show For Cupid's cruel dart, Oh, if mine own you deign to keep, Then give me your sweet heart!' CYRANO: Lord! first he has too much, then anon not enough! How much heart does the fellow want? ROXANE: You would vex a saint!. . .But 'tis your jealousy. CYRANO (starting): What mean you? ROXANE: Ay, your poet's jealousy! Hark now, if this again be not tender-sweet?-- 'My heart to yours sounds but one cry: If kisses fast could flee By letter, then with your sweet lips My letters read should be! If kisses could be writ with ink, If kisses fast could flee!' CYRANO (smiling approvingly in spite of himself): Ha! those last lines are,--hm!. . .hm!. . . (Correcting himself--contemptuously): --They are paltry enough! ROXANE: And this. . . CYRANO (enchanted): Then you have his letters by heart? ROXANE: Every one of them! CYRANO: By all oaths that can be sworn,--'tis flattering! ROXANE: They are the lines of a master! CYRANO (modestly): Come, nay. . .a master?. . . ROXANE: Ay, I say it--a master! CYRANO: Good--be it so. THE DUENNA (coming down quickly): Here comes Monsieur de Guiche! (To Cyrano, pushing him toward the house): In with you! 'twere best he see you not; it might perchance put him on the scent. . . ROXANE (to Cyrano): Ay, of my own dear secret! He loves me, and is powerful, and, if he knew, then all were lost! Marry! he could well deal a deathblow to my love! CYRANO (entering the house): Good! good! (De Guiche appears.)

act 3, scene 1

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes1-4

Ragueneau is sitting outside Roxane's house, telling her Duenna that his wife has just left him for the Musketeer, taking what little money they had. Ragueneau tried to hang himself, but Cyrano found him, cut him down, and sent him to Roxane to be her steward. The Duenna calls Roxane; they are going to hear a talk about love. Cyrano enters with some musicians and begins to serenade Roxane, who appears on her balcony. Cyrano explains that he won the services of the musicians in a bet about a point of grammar. He is now bored with them, however, and sends them away. Roxane comes down and discusses Christian with Cyrano. She says that she loves him, and that he is even cleverer than Cyrano in writing eloquent letters. Cyrano is disparaging about the phrases in the letters, and Roxane says he is jealous of Christian's literary talent. The Duenna warns Roxane and Cyrano that de Guiche is coming. Cyrano goes into the house

novelguide

all_chapterized_books/1254-chapters/23.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_4_part_2.txt

Cyrano de Bergerac.act 3.scene 2

act 3, scene 2

{"name": "act 3, scene 2", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes1-4", "summary": "De Guiche tells Roxane that he has come to say goodbye. He is leaving tonight to go to fight in the war at the northern French town of Arras, which in 1640 was occupied by the Spanish. De Guiche is disappointed that Roxane does not appear to care that he is leaving. He reveals that he is the officer in command of the Guards, the company in which Cyrano and Christian serve. Roxane realizes that de Guiche has the authority to send Christian into battle. Her fearful response leads de Guiche to fool himself that she is concerned about him , whereas in fact, she is worried about Christian's safety. Roxane thinks quickly and suggests that the best way for de Guiche to wreak revenge upon Cyrano would be to leave him and the other Guards at home while the rest of the army goes to war. De Guiche, convinced that Roxane loves him, leaves. Roxane makes the Duenna promise not to tell Cyrano that she has deprived him of a war", "analysis": ""}

Roxane, De Guiche, the duenna standing a little way off. ROXANE (courtesying to De Guiche): I was going out. DE GUICHE: I come to take my leave. ROXANE: Whither go you? DE GUICHE: To the war. ROXANE: Ah! DE GUICHE: Ay, to-night. ROXANE: Oh! DE GUICHE: I am ordered away. We are to besiege Arras. ROXANE: Ah--to besiege?. . . DE GUICHE: Ay. My going moves you not, meseems. ROXANE: Nay. . . DE GUICHE: I am grieved to the core of the heart. Shall I again behold you?. . .When? I know not. Heard you that I am named commander?. . . ROXANE (indifferently): Bravo! DE GUICHE: Of the Guards regiment. ROXANE (startled): What! the Guards? DE GUICHE: Ay, where serves your cousin, the swaggering boaster. I will find a way to revenge myself on him at Arras. ROXANE (choking): What mean you? The Guards go to Arras? DE GUICHE (laughing): Bethink you, is it not my own regiment? ROXANE (falling seated on the bench--aside): Christian! DE GUICHE: What ails you? ROXANE (moved deeply): Oh--I am in despair! The man one loves!--at the war! DE GUICHE (surprised and delighted): You say such sweet words to me! 'Tis the first time!--and just when I must quit you! ROXANE (collected, and fanning herself): Thus,--you would fain revenge your grudge against my cousin? DE GUICHE: My fair lady is on his side? ROXANE: Nay,--against him! DE GUICHE: Do you see him often? ROXANE: But very rarely. DE GUICHE: He is ever to be met now in company with one of the cadets,. . .one New-- villen--viller-- ROXANE: Of high stature? DE GUICHE: Fair-haired! ROXANE: Ay, a red-headed fellow! DE GUICHE: Handsome!. . . ROXANE: Tut! DE GUICHE: But dull-witted. ROXANE: One would think so, to look at him! (Changing her tone): How mean you to play your revenge on Cyrano? Perchance you think to put him i' the thick of the shots? Nay, believe me, that were a poor vengeance--he would love such a post better than aught else! I know the way to wound his pride far more keenly! DE GUICHE: What then? Tell. . . ROXANE: If, when the regiment march to Arras, he were left here with his beloved boon companions, the Cadets, to sit with crossed arms so long as the war lasted! There is your method, would you enrage a man of his kind; cheat him of his chance of mortal danger, and you punish him right fiercely. DE GUICHE (coming nearer): O woman! woman! Who but a woman had e'er devised so subtle a trick? ROXANE: See you not how he will eat out his heart, while his friends gnaw their thick fists for that they are deprived of the battle? So are you best avenged. DE GUICHE: You love me, then, a little? (She smiles): I would fain--seeing you thus espouse my cause, Roxane--believe it a proof of love! ROXANE: 'Tis a proof of love! DE GUICHE (showing some sealed papers): Here are the marching orders; they will be sent instantly to each company-- except-- (He detaches one): --This one! 'Tis that of the Cadets. (He puts it in his pocket): This I keep. (Laughing): Ha! ha! ha! Cyrano! His love of battle!. . .So you can play tricks on people?. . .you, of all ladies! ROXANE: Sometimes! DE GUICHE (coming close to her): Oh! how I love you!--to distraction! Listen! To-night--true, I ought to start--but--how leave you now that I feel your heart is touched! Hard by, in the Rue d'Orleans, is a convent founded by Father Athanasius, the syndic of the Capuchins. True that no layman may enter--but--I can settle that with the good Fathers! Their habit sleeves are wide enough to hide me in. 'Tis they who serve Richelieu's private chapel: and from respect to the uncle, fear the nephew. All will deem me gone. I will come to you, masked. Give me leave to wait till tomorrow, sweet Lady Fanciful! ROXANE: But, of this be rumored, your glory. . . DE GUICHE: Bah! ROXANE: But the siege--Arras. . . DE GUICHE: 'Twill take its chance. Grant but permission. ROXANE: No! DE GUICHE: Give me leave! ROXANE (tenderly): It were my duty to forbid you! DE GUICHE: Ah! ROXANE: You must go! (Aside): Christian stays here. (Aloud): I would have you heroic--Antoine! DE GUICHE: O heavenly word! You love, then, him?. . . ROXANE: . . .For whom I trembled. DE GUICHE (in an ecstasy): Ah! I go then! (He kisses her hand): Are you content? ROXANE: Yes, my friend! (He goes out.) THE DUENNA (making behind his back a mocking courtesy): Yes, my friend! ROXANE (to the duenna): Not a word of what I have done. Cyrano would never pardon me for stealing his fighting from him! (She calls toward the house): Cousin!

act 3, scene 2

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes1-4

De Guiche tells Roxane that he has come to say goodbye. He is leaving tonight to go to fight in the war at the northern French town of Arras, which in 1640 was occupied by the Spanish. De Guiche is disappointed that Roxane does not appear to care that he is leaving. He reveals that he is the officer in command of the Guards, the company in which Cyrano and Christian serve. Roxane realizes that de Guiche has the authority to send Christian into battle. Her fearful response leads de Guiche to fool himself that she is concerned about him , whereas in fact, she is worried about Christian's safety. Roxane thinks quickly and suggests that the best way for de Guiche to wreak revenge upon Cyrano would be to leave him and the other Guards at home while the rest of the army goes to war. De Guiche, convinced that Roxane loves him, leaves. Roxane makes the Duenna promise not to tell Cyrano that she has deprived him of a war

novelguide

all_chapterized_books/1254-chapters/24.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_4_part_3.txt

Cyrano de Bergerac.act 3.scene 3

act 3, scene 3

{"name": "act 3, scene 3", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes1-4", "summary": "Roxane and the Duenna prepare to go to the talk on love at the house opposite. She tells Cyrano that if Christian comes to visit her, Cyrano should ask him to wait. She reveals that she plans to ask Christian to improvise around the subject of love, but asks Cyrano not to pass this on to Christian, as she believes he would practice a speech beforehand. Roxane and the Duenna leave. Cyrano calls Christian, who has been waiting nearby", "analysis": ""}

Roxane, The duenna, Cyrano. ROXANE: We are going to Clomire's house. (She points to the door opposite): Alcandre and Lysimon are to discourse! THE DUENNA (putting her little finger in her ear): Yes! But my little finger tells me we shall miss them. CYRANO: 'Twere a pity to miss such apes! (They have come to Clomire's door.) THE DUENNA: Oh, see! The knocker is muffled up! (Speaking to the knocker): So they have gagged that metal tongue of yours, little noisy one, lest it should disturb the fine orators! (She lifts it carefully and knocks with precaution.) ROXANE (seeing that the door opens): Let us enter! (On the threshold, to Cyrano): If Christian comes, as I feel sure he will, bid him wait for me! CYRANO (quickly, as she is going in): Listen! (She turns): What mean you to question him on, as is your wont, to-night? ROXANE: Oh-- CYRANO (eagerly): Well, say. ROXANE: But you will be mute? CYRANO: Mute as a fish. ROXANE: I shall not question him at all, but say: Give rein to your fancy! Prepare not your speeches,--but speak the thoughts as they come! Speak to me of love, and speak splendidly! CYRANO (smiling): Very good! ROXANE: But secret!. . . CYRANO: Secret. ROXANE: Not a word! (She enters and shuts the door.) CYRANO (when the door is shut, bowing to her): A thousand thanks! (The door opens again, and Roxane puts her head out.) ROXANE: Lest he prepare himself! CYRANO: The devil!--no, no! BOTH TOGETHER: Secret. (The door shuts.) CYRANO (calling): Christian!

act 3, scene 3

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes1-4

Roxane and the Duenna prepare to go to the talk on love at the house opposite. She tells Cyrano that if Christian comes to visit her, Cyrano should ask him to wait. She reveals that she plans to ask Christian to improvise around the subject of love, but asks Cyrano not to pass this on to Christian, as she believes he would practice a speech beforehand. Roxane and the Duenna leave. Cyrano calls Christian, who has been waiting nearby

novelguide

all_chapterized_books/1254-chapters/25.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_4_part_4.txt

Cyrano de Bergerac.act 3.scene 4

act 3, scene 4

{"name": "act 3, scene 4", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes1-4", "summary": "Cyrano tries to persuade Christian to learn some lines that he has written, but Christian refuses. He is confident that Roxane loves him now, and he wants to speak to her in his own words.", "analysis": "of scenes 1-4. Cyrano's heroism is reinforced in this section by his compassionate treatment of Ragueneau after his wife runs away with the Musketeer. Cyrano saves him from a suicide attempt and gets him a job with Roxane. Roxane is revealed as a quick-thinking and resourceful woman. She successfully convinces de Guiche not to send Christian into battle and persuades de Guiche that he is the object of her affections. She does all this without compromising her feminine honor. Two elements in this section show the fragility of the love between Christian and Roxane. First, the audience knows that Roxane's plan to get Christian to improvise on the subject of love is doomed to failure. Not gifted with verbal dexterity at the best of times, he has already stated that talking about love is utterly beyond his abilities. Second, Christian's decision to dispense with Cyrano's services and to rely upon his own words seems rash and premature, as he has shown no evidence of improvement on his last feeble attempts to converse with Roxane. However, his decision effectively throws out a challenge to himself to prove that he is worthy of her. The audience is held in suspense as it awaits the outcome"}

Cyrano, Christian. CYRANO: I know all that is needful. Here's occasion For you to deck yourself with glory. Come, Lose no time; put away those sulky looks, Come to your house with me, I'll teach you. . . CHRISTIAN: No! CYRANO: Why? CHRISTIAN: I will wait for Roxane here. CYRANO: How? Crazy? Come quick with me and learn. . . CHRISTIAN: No, no! I say. I am aweary of these borrowed letters, --Borrowed love-makings! Thus to act a part, And tremble all the time!--'Twas well enough At the beginning!--Now I know she loves! I fear no longer!--I will speak myself. CYRANO: Mercy! CHRISTIAN: And how know you I cannot speak?-- I am not such a fool when all is said! I've by your lessons profited. You'll see I shall know how to speak alone! The devil! I know at least to clasp her in my arms! (Seeing Roxane come out from Clomire's house): --It is she! Cyrano, no!--Leave me not! CYRANO (bowing): Speak for yourself, my friend, and take your chance. (He disappears behind the garden wall.)

act 3, scene 4

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes1-4

Cyrano tries to persuade Christian to learn some lines that he has written, but Christian refuses. He is confident that Roxane loves him now, and he wants to speak to her in his own words.

of scenes 1-4. Cyrano's heroism is reinforced in this section by his compassionate treatment of Ragueneau after his wife runs away with the Musketeer. Cyrano saves him from a suicide attempt and gets him a job with Roxane. Roxane is revealed as a quick-thinking and resourceful woman. She successfully convinces de Guiche not to send Christian into battle and persuades de Guiche that he is the object of her affections. She does all this without compromising her feminine honor. Two elements in this section show the fragility of the love between Christian and Roxane. First, the audience knows that Roxane's plan to get Christian to improvise on the subject of love is doomed to failure. Not gifted with verbal dexterity at the best of times, he has already stated that talking about love is utterly beyond his abilities. Second, Christian's decision to dispense with Cyrano's services and to rely upon his own words seems rash and premature, as he has shown no evidence of improvement on his last feeble attempts to converse with Roxane. However, his decision effectively throws out a challenge to himself to prove that he is worthy of her. The audience is held in suspense as it awaits the outcome

novelguide

all_chapterized_books/1254-chapters/26.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_5_part_1.txt

Cyrano de Bergerac.act 3.scene 5

act 3, scene 5

{"name": "act 3, scene 5", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14", "summary": "Roxane and the Duenna return home. Roxane sits outside her house with Christian, and she asks him to talk to her about love. All he can say is \"I love you. Roxane expects him to elaborate, but he cannot, except to ask to kiss her neck. She is angry, goes into her house, and shuts the door on Christian. Cyrano appears and ironically congratulates Christian on his success", "analysis": ""}

Christian, Roxane, the duenna. ROXANE (coming out of Clomire's house, with a company of friends, whom she leaves. Bows and good-byes): Barthenoide!--Alcandre!--Gremione!-- THE DUENNA (bitterly disappointed): We've missed the speech upon the Tender Passion! (Goes into Roxane's house.) ROXANE (still bowing): Urimedonte--adieu! (All bow to Roxane and to each other, and then separate, going up different streets. Roxane suddenly seeing Christian): You! (She goes to him): Evening falls. Let's sit. Speak on. I listen. CHRISTIAN (sits by her on the bench. A silence): Oh! I love you! ROXANE (shutting her eyes): Ay, speak to me of love. CHRISTIAN: I love thee! ROXANE: That's The theme! But vary it. CHRISTIAN: I. . . ROXANE: Vary it! CHRISTIAN: I love you so! ROXANE: Oh! without doubt!--and then?. . . CHRISTIAN: And then--I should be--oh!--so glad--so glad If you would love me!--Roxane, tell me so! ROXANE (with a little grimace): I hoped for cream,--you give me gruel! Say How love possesses you? CHRISTIAN: Oh utterly! ROXANE: Come, come!. . .unknot those tangled sentiments! CHRISTIAN: Your throat I'd kiss it! ROXANE: Christian! CHRISTIAN: I love thee! ROXANE (half-rising): Again! CHRISTIAN (eagerly, detaining her): No, no! I love thee not! ROXANE (reseating herself): 'Tis well! CHRISTIAN: But I adore thee! ROXANE (rising, and going further off): Oh! CHRISTIAN: I am grown stupid! ROXANE (dryly): And that displeases me, almost as much As 'twould displease me if you grew ill-favored. CHRISTIAN: But. . . ROXANE: Rally your poor eloquence that's flown! CHRISTIAN: I. . . ROXANE: Yes, you love me, that I know. Adieu. (She goes toward her house.) CHRISTIAN: Oh, go not yet! I'd tell you-- ROXANE (opening the door): You adore me? I've heard it very oft. No!--Go away! CHRISTIAN: But I would fain. . . (She shuts the door in his face.) CYRANO (who has re-entered unseen): I' faith! It is successful!

act 3, scene 5

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14

Roxane and the Duenna return home. Roxane sits outside her house with Christian, and she asks him to talk to her about love. All he can say is "I love you. Roxane expects him to elaborate, but he cannot, except to ask to kiss her neck. She is angry, goes into her house, and shuts the door on Christian. Cyrano appears and ironically congratulates Christian on his success

novelguide

all_chapterized_books/1254-chapters/27.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_5_part_2.txt

Cyrano de Bergerac.act 3.scene 6

act 3, scene 6

{"name": "Act 3, scene 6", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14", "summary": "Christian begs Cyrano to help him get Roxane back. A light appears in the balcony window, so the men know that she is in her room. Cyrano hides under the balcony and makes Christian stand in front of it. Cyrano throws pebbles at Roxane's window to get her to come out", "analysis": ""}

Christian, Cyrano, two pages. CHRISTIAN: Come to my aid! CYRANO: Not I! CHRISTIAN: But I shall die, Unless at once I win back her fair favor. CYRANO: And how can I, at once, i' th' devil's name, Lesson you in. . . CHRISTIAN (seizing his arm): Oh, she is there! (The window of the balcony is now lighted up.) CYRANO (moved): Her window! CHRISTIAN: Oh! I shall die! CYRANO: Speak lower! CHRISTIAN (in a whisper): I shall die! CYRANO: The night is dark. . . CHRISTIAN: Well! CYRANO: All can be repaired. Although you merit not. Stand there, poor wretch! Fronting the balcony! I'll go beneath And prompt your words to you. . . CHRISTIAN: But. . . CYRANO: Hold your tongue! THE PAGES (reappearing at back--to Cyrano): Ho! CYRANO: Hush! (He signs to them to speak softly.) FIRST PAGE (in a low voice): We've played the serenade you bade To Montfleury! CYRANO (quickly, in a low voice): Go! lurk in ambush there, One at this street corner, and one at that; And if a passer-by should here intrude, Play you a tune! SECOND PAGE: What tune, Sir Gassendist? CYRANO: Gay, if a woman comes,--for a man, sad! (The pages disappear, one at each street corner. To Christian): Call her! CHRISTIAN: Roxane! CYRANO (picking up stones and throwing them at the window): Some pebbles! wait awhile! ROXANE (half-opening the casement): Who calls me? CHRISTIAN: I! ROXANE: Who's that? CHRISTIAN: Christian! ROXANE (disdainfully): Oh! you? CHRISTIAN: I would speak with you. CYRANO (under the balcony--to Christian): Good. Speak soft and low. ROXANE: No, you speak stupidly! CHRISTIAN: Oh, pity me! ROXANE: No! you love me no more! CHRISTIAN (prompted by Cyrano): You say--Great Heaven! I love no more?--when--I--love more and more! ROXANE (who was about to shut the casement, pausing): Hold! 'tis a trifle better! ay, a trifle! CHRISTIAN (same play): Love grew apace, rocked by the anxious beating. . . Of this poor heart, which the cruel wanton boy. . . Took for a cradle! ROXANE (coming out on to the balcony): That is better! But An if you deem that Cupid be so cruel You should have stifled baby-love in's cradle! CHRISTIAN (same play): Ah, Madame, I assayed, but all in vain This. . .new-born babe is a young. . .Hercules! ROXANE: Still better! CHRISTIAN (same play): Thus he strangled in my heart The. . .serpents twain, of. . .Pride. . .and Doubt! ROXANE (leaning over the balcony): Well said! --But why so faltering? Has mental palsy Seized on your faculty imaginative? CYRANO (drawing Christian under the balcony, and slipping into his place): Give place! This waxes critical!. . . ROXANE: To-day. . . Your words are hesitating. CYRANO (imitating Christian--in a whisper): Night has come. . . In the dusk they grope their way to find your ear. ROXANE: But my words find no such impediment. CYRANO: They find their way at once? Small wonder that! For 'tis within my heart they find their home; Bethink how large my heart, how small your ear! And,--from fair heights descending, words fall fast, But mine must mount, Madame, and that takes time! ROXANE: Meseems that your last words have learned to climb. CYRANO: With practice such gymnastic grows less hard! ROXANE: In truth, I seem to speak from distant heights! CYRANO: True, far above; at such a height 'twere death If a hard word from you fell on my heart. ROXANE (moving): I will come down. . . CYRANO (hastily): No! ROXANE (showing him the bench under the balcony): Mount then on the bench! CYRANO (starting back alarmed): No! ROXANE: How, you will not? CYRANO (more and more moved): Stay awhile! 'Tis sweet,. . . The rare occasion, when our hearts can speak Our selves unseen, unseeing! ROXANE: Why--unseen? CYRANO: Ay, it is sweet! Half hidden,--half revealed-- You see the dark folds of my shrouding cloak, And I, the glimmering whiteness of your dress: I but a shadow--you a radiance fair! Know you what such a moment holds for me? If ever I were eloquent. . . ROXANE: You were! CYRANO: Yet never till to-night my speech has sprung Straight from my heart as now it springs. ROXANE: Why not? CYRANO: Till now I spoke haphazard. . . ROXANE: What? CYRANO: Your eyes Have beams that turn men dizzy!--But to-night Methinks I shall find speech for the first time! ROXANE: 'Tis true, your voice rings with a tone that's new. CYRANO (coming nearer, passionately): Ay, a new tone! In the tender, sheltering dusk I dare to be myself for once,--at last! (He stops, falters): What say I? I know not!--Oh, pardon me-- It thrills me,--'tis so sweet, so novel. . . ROXANE: How? So novel? CYRANO (off his balance, trying to find the thread of his sentence): Ay,--to be at last sincere; Till now, my chilled heart, fearing to be mocked. . . ROXANE: Mocked, and for what? CYRANO: For its mad beating!--Ay, My heart has clothed itself with witty words, To shroud itself from curious eyes:--impelled At times to aim at a star, I stay my hand, And, fearing ridicule,--cull a wild flower! ROXANE: A wild flower's sweet. CYRANO: Ay, but to-night--the star! ROXANE: Oh! never have you spoken thus before! CYRANO: If, leaving Cupid's arrows, quivers, torches, We turned to seek for sweeter--fresher things! Instead of sipping in a pygmy glass Dull fashionable waters,--did we try How the soul slakes its thirst in fearless draught By drinking from the river's flooding brim! ROXANE: But wit?. . . CYRANO: If I have used it to arrest you At the first starting,--now, 'twould be an outrage, An insult--to the perfumed Night--to Nature-- To speak fine words that garnish vain love-letters! Look up but at her stars! The quiet Heaven Will ease our hearts of all things artificial; I fear lest, 'midst the alchemy we're skilled in The truth of sentiment dissolve and vanish,-- The soul exhausted by these empty pastimes, The gain of fine things be the loss of all things! ROXANE: But wit? I say. . . CYRANO: In love 'tis crime,--'tis hateful! Turning frank loving into subtle fencing! At last the moment comes, inevitable,-- --Oh, woe for those who never know that moment! When feeling love exists in us, ennobling, Each well-weighed word is futile and soul-saddening! ROXANE: Well, if that moment's come for us--suppose it! What words would serve you? CYRANO: All, all, all, whatever That came to me, e'en as they came, I'd fling them In a wild cluster, not a careful bouquet. I love thee! I am mad! I love, I stifle! Thy name is in my heart as in a sheep-bell, And as I ever tremble, thinking of thee, Ever the bell shakes, ever thy name ringeth! All things of thine I mind, for I love all things; I know that last year on the twelfth of May-month, To walk abroad, one day you changed your hair-plaits! I am so used to take your hair for daylight That,--like as when the eye stares on the sun's disk, One sees long after a red blot on all things-- So, when I quit thy beams, my dazzled vision Sees upon all things a blonde stain imprinted. ROXANE (agitated): Why, this is love indeed!. . . CYRANO: Ay, true, the feeling Which fills me, terrible and jealous, truly Love,--which is ever sad amid its transports! Love,--and yet, strangely, not a selfish passion! I for your joy would gladly lay mine own down, --E'en though you never were to know it,--never! --If but at times I might--far off and lonely,-- Hear some gay echo of the joy I bought you! Each glance of thine awakes in me a virtue,-- A novel, unknown valor. Dost begin, sweet, To understand? So late, dost understand me? Feel'st thou my soul, here, through the darkness mounting? Too fair the night! Too fair, too fair the moment! That I should speak thus, and that you should hearken! Too fair! In moments when my hopes rose proudest, I never hoped such guerdon. Naught is left me But to die now! Have words of mine the power To make you tremble,--throned there in the branches? Ay, like a leaf among the leaves, you tremble! You tremble! For I feel,--an if you will it, Or will it not,--your hand's beloved trembling Thrill through the branches, down your sprays of jasmine! (He kisses passionately one of the hanging tendrils.) ROXANE: Ay! I am trembling, weeping!--I am thine! Thou hast conquered all of me! CYRANO: Then let death come! 'Tis I, 'tis I myself, who conquered thee! One thing, but one, I dare to ask-- CHRISTIAN (under the balcony): A kiss! ROXANE (drawing back): What? CYRANO: Oh! ROXANE: You ask. . .? CYRANO: I. . . (To Christian, whispering): Fool! you go too quick! CHRISTIAN: Since she is moved thus--I will profit by it! CYRANO (to Roxane): My words sprang thoughtlessly, but now I see-- Shame on me!--I was too presumptuous. ROXANE (a little chilled): How quickly you withdraw. CYRANO: Yes, I withdraw Without withdrawing! Hurt I modesty? If so--the kiss I asked--oh, grant it not. CHRISTIAN (to Cyrano, pulling him by his cloak): Why? CYRANO: Silence, Christian! Hush! ROXANE (leaning over): What whisper you? CYRANO: I chid myself for my too bold advances; Said, 'Silence, Christian!' (The lutes begin to play): Hark! Wait awhile,. . . Steps come! (Roxane shuts the window. Cyrano listens to the lutes, one of which plays a merry, the other a melancholy, tune): Why, they play sad--then gay--then sad! What? Neither man nor woman?--oh! a monk! (Enter a capuchin friar, with a lantern. He goes from house to house, looking at every door.)

Act 3, scene 6

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14

Christian begs Cyrano to help him get Roxane back. A light appears in the balcony window, so the men know that she is in her room. Cyrano hides under the balcony and makes Christian stand in front of it. Cyrano throws pebbles at Roxane's window to get her to come out

novelguide

all_chapterized_books/1254-chapters/28.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_5_part_3.txt

Cyrano de Bergerac.act 3.scene 7

act 3, scene 7

{"name": "Act 3, scene 7", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14", "summary": "Roxane opens her window and tells Christian to go away as he has nothing to say. She is on the point of closing her window when Cyrano prompts Christian with eloquent speeches, which he delivers to Roxane. She changes her mind and decides to listen to her suitor. She asks Christian why his speech is full of delays. Cyrano quickly pulls Christian under the balcony and steps out in his place. He imitates Christian's voice and, because it is dark, Roxane cannot see that it is Cyrano who is addressing her. Cyrano is at last able to express the love he has always felt for Roxane. Spellbound by Cyrano's poetry, Roxane wants to come down, but Cyrano persuades her not to. Christian almost ruins the moment by asking Roxane for a kiss, which pulls her out of her enchantment, but Cyrano rescues the situation through his tact and sensitivity. He hears someone coming, and Roxane hastily withdraws inside the house", "analysis": ""}

Cyrano, Christian, a capuchin friar. CYRANO (to the friar): What do you, playing at Diogenes? THE FRIAR: I seek the house of Madame. . . CHRISTIAN: Oh! plague take him! THE FRIAR: Madeleine Robin. . . CHRISTIAN: What would he?. . . CYRANO (pointing to a street at the back): This way! Straight on. . . THE FRIAR I thank you, and, in your intention Will tell my rosary to its last bead. (He goes out.) CYRANO: Good luck! My blessings rest upon your cowl! (He goes back to Christian.)

Act 3, scene 7

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14

Roxane opens her window and tells Christian to go away as he has nothing to say. She is on the point of closing her window when Cyrano prompts Christian with eloquent speeches, which he delivers to Roxane. She changes her mind and decides to listen to her suitor. She asks Christian why his speech is full of delays. Cyrano quickly pulls Christian under the balcony and steps out in his place. He imitates Christian's voice and, because it is dark, Roxane cannot see that it is Cyrano who is addressing her. Cyrano is at last able to express the love he has always felt for Roxane. Spellbound by Cyrano's poetry, Roxane wants to come down, but Cyrano persuades her not to. Christian almost ruins the moment by asking Roxane for a kiss, which pulls her out of her enchantment, but Cyrano rescues the situation through his tact and sensitivity. He hears someone coming, and Roxane hastily withdraws inside the house

novelguide

all_chapterized_books/1254-chapters/29.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_5_part_4.txt

Cyrano de Bergerac.act 3.scene 8

act 3, scene 8

{"name": "Act 3, scene 8", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14", "summary": "A Capuchin monk enters, looking for Roxane's house. Cyrano, not wanting to be disturbed, sends him in the opposite direction", "analysis": ""}

Cyrano, Christian. CHRISTIAN: Oh! win for me that kiss. . . CYRANO: No! CHRISTIAN: Soon or late!. . . CYRANO: 'Tis true! The moment of intoxication-- Of madness,--when your mouths are sure to meet Thanks to your fair mustache--and her rose lips! (To himself): I'd fainer it should come thanks to. . . (A sound of shutters reopening. Christian goes in again under the balcony.)

Act 3, scene 8

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14

A Capuchin monk enters, looking for Roxane's house. Cyrano, not wanting to be disturbed, sends him in the opposite direction

novelguide

all_chapterized_books/1254-chapters/30.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_5_part_5.txt

Cyrano de Bergerac.act 3.scene 9

act 3, scene 9

{"name": "Act 3, scene 9", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14", "summary": "Christian tells Cyrano that he must have a kiss from Roxane. Cyrano reluctantly agrees", "analysis": ""}

Cyrano, Christian, Roxane. ROXANE (coming out on the balcony): Still there? We spoke of a. . . CYRANO: A kiss! The word is sweet. I see not why your lip should shrink from it; If the word burns it,--what would the kiss do? Oh! let it not your bashfulness affright; Have you not, all this time, insensibly, Left badinage aside, and unalarmed Glided from smile to sigh,--from sigh to weeping? Glide gently, imperceptibly, still onward-- From tear to kiss,--a moment's thrill!--a heartbeat! ROXANE: Hush! hush! CYRANO: A kiss, when all is said,--what is it? An oath that's ratified,--a sealed promise, A heart's avowal claiming confirmation,-- A rose-dot on the 'i' of 'adoration,'-- A secret that to mouth, not ear, is whispered,-- Brush of a bee's wing, that makes time eternal,-- Communion perfumed like the spring's wild flowers,-- The heart's relieving in the heart's outbreathing, When to the lips the soul's flood rises, brimming! ROXANE: Hush! hush! CYRANO: A kiss, Madame, is honorable: The Queen of France, to a most favored lord Did grant a kiss--the Queen herself! ROXANE: What then? CYRANO (speaking more warmly): Buckingham suffered dumbly,--so have I,-- Adored his Queen, as loyally as I,-- Was sad, but faithful,--so am I. . . ROXANE: And you Are fair as Buckingham! CYRANO (aside--suddenly cooled): True,--I forgot! ROXANE: Must I then bid thee mount to cull this flower? CYRANO (pushing Christian toward the balcony): Mount! ROXANE: This heart-breathing!. . . CYRANO: Mount! ROXANE: This brush of bee's wing!. . . CYRANO: Mount! CHRISTIAN (hesitating): But I feel now, as though 'twere ill done! ROXANE: This moment infinite!. . . CYRANO (still pushing him): Come, blockhead, mount! (Christian springs forward, and by means of the bench, the branches, and the pillars, climbs to the balcony and strides over it.) CHRISTIAN: Ah, Roxane! (He takes her in his arms, and bends over her lips.) CYRANO: Aie! Strange pain that wrings my heart! The kiss, love's feast, so near! I, Lazarus, Lie at the gate in darkness. Yet to me Falls still a crumb or two from the rich man's board-- Ay, 'tis my heart receives thee, Roxane--mine! For on the lips you press you kiss as well The words I spoke just now!--my words--my words! (The lutes play): A sad air,--a gay air: the monk! (He begins to run as if he came from a long way off, and cries out): Hola! ROXANE: Who is it? CYRANO: I--I was but passing by. . . Is Christian there? CHRISTIAN (astonished): Cyrano! ROXANE: Good-day, cousin! CYRANO: Cousin, good-day! ROXANE: I'm coming! (She disappears into the house. At the back re-enter the friar.) CHRISTIAN (seeing him): Back again! (He follows Roxane.)

Act 3, scene 9

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14

Christian tells Cyrano that he must have a kiss from Roxane. Cyrano reluctantly agrees

novelguide

all_chapterized_books/1254-chapters/31.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_5_part_6.txt

Cyrano de Bergerac.act 3.scene 10

act 3, scene 10

{"name": "Act 3, scene 10", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14", "summary": "Roxane reappears on her balcony. Cyrano charms her into agreeing to the kiss. He urges Christian to climb up and kiss Roxane. Christian hesitates, saying, \"It feels wrong. But Cyrano urges Christian more insistently, and Christian climbs up onto the balcony and kisses Roxane. Cyrano takes comfort in the thought that his words won the kiss", "analysis": ""}

Cyrano, Christian, Roxane, the friar, Ragueneau. THE FRIAR: 'Tis here,--I'm sure of it--Madame Madeleine Robin. CYRANO: Why, you said Ro-LIN. THE FRIAR: No, not I. B,I,N,BIN! ROXANE (appearing on the threshold, followed by Ragueneau, who carries a lantern, and Christian): What is't? THE FRIAR: A letter. CHRISTIAN: What? THE FRIAR (to Roxane): Oh, it can boot but a holy business! 'Tis from a worthy lord. . . ROXANE (to Christian): De Guiche! CHRISTIAN: He dares. . . ROXANE: Oh, he will not importune me forever! (Unsealing the letter): I love you,--therefore-- (She reads in a low voice by the aid of Ragueneau's lantern): 'Lady, The drums beat; My regiment buckles its harness on And starts; but I,--they deem me gone before-- But I stay. I have dared to disobey Your mandate. I am here in convent walls. I come to you to-night. By this poor monk-- A simple fool who knows not what he bears-- I send this missive to apprise your ear. Your lips erewhile have smiled on me, too sweet: I go not ere I've seen them once again! I would be private; send each soul away, Receive alone him,--whose great boldness you Have deigned, I hope, to pardon, ere he asks,-- He who is ever your--et cetera.' (To the monk): Father, this is the matter of the letter:-- (All come near her, and she reads aloud): 'Lady, The Cardinal's wish is law; albeit It be to you unwelcome. For this cause I send these lines--to your fair ear addressed-- By a holy man, discreet, intelligent: It is our will that you receive from him, In your own house, the marriage (She turns the page): benediction Straightway, this night. Unknown to all the world Christian becomes your husband. Him we send. He is abhorrent to your choice. Let be. Resign yourself, and this obedience Will be by Heaven well recompensed. Receive, Fair lady, all assurance of respect, From him who ever was, and still remains, Your humble and obliged--et cetera.' THE FRIAR (with great delight): O worthy lord! I knew naught was to fear; It could be but holy business! ROXANE (to Christian, in a low voice): Am I not apt at reading letters? CHRISTIAN: Hum! ROXANE (aloud, with despair): But this is horrible! THE FRIAR (who has turned his lantern on Cyrano): 'Tis you? CHRISTIAN: 'Tis I! THE FRIAR (turning the light on to him, and as if a doubt struck him on seeing his beauty): But. . . ROXANE (quickly): I have overlooked the postscript--see:-- 'Give twenty pistoles for the Convent.' THE FRIAR: . . .Oh! Most worthy lord! (To Roxane): Submit you? ROXANE (with a martyr's look): I submit! (While Ragueneau opens the door, and Christian invites the friar to enter, she whispers to Cyrano): Oh, keep De Guiche at bay! He will be here! Let him not enter till. . . CYRANO: I understand! (To the friar): What time need you to tie the marriage-knot? THE FRIAR: A quarter of an hour. CYRANO (pushing them all toward the house): Go! I stay. ROXANE (to Christian): Come!. . . (They enter.) CYRANO: Now, how to detain De Guiche so long? (He jumps on the bench, climbs to the balcony by the wall): Come!. . .up I go!. . .I have my plan!. . . (The lutes begin to play a very sad air): What, ho! (The tremolo grows more and more weird): It is a man! ay! 'tis a man this time! (He is on the balcony, pulls his hat over his eyes, takes off his sword, wraps himself in his cloak, then leans over): 'Tis not too high! (He strides across the balcony, and drawing to him a long branch of one of the trees that are by the garden wall, he hangs on to it with both hands, ready to let himself fall): I'll shake this atmosphere!

Act 3, scene 10

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14

Roxane reappears on her balcony. Cyrano charms her into agreeing to the kiss. He urges Christian to climb up and kiss Roxane. Christian hesitates, saying, "It feels wrong. But Cyrano urges Christian more insistently, and Christian climbs up onto the balcony and kisses Roxane. Cyrano takes comfort in the thought that his words won the kiss

novelguide

all_chapterized_books/1254-chapters/32.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_5_part_7.txt

Cyrano de Bergerac.act 3.scene 11

act 3, scene 11

{"name": "Act 3, scene 11", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14", "summary": "The monk reappears, having discovered that Roxane does live here. He brings a letter to Roxane from de Guiche. In the letter, de Guiche says that he has not gone to the war but has remained behind, hiding in a nearby convent. He intends to visit Roxane tonight. Pretending to read the letter aloud, Roxane says that de Guiche wants Christian to marry Roxane immediately; the monk will conduct the ceremony. The monk hesitates, but when Roxane pretends to discover a postscript promising a large donation to the convent, he agrees to marry them. The monk, Christian, and Roxane go into the house for the ceremony. Roxane asks Cyrano to keep de Guiche outside, talking, to prevent him disturbing the wedding", "analysis": ""}

Cyrano, De Guiche. DE GUICHE (who enters, masked, feeling his way in the dark): What can that cursed Friar be about? CYRANO: The devil!. . .If he knows my voice! (Letting go with one hand, he pretends to turn an invisible key. Solemnly): Cric! Crac! Assume thou, Cyrano, to serve the turn, The accent of thy native Bergerac!. . . DE GUICHE (looking at the house): 'Tis there. I see dim,--this mask hinders me! (He is about to enter, when Cyrano leaps from the balcony, holding on to the branch, which bends, dropping him between the door and De Guiche; he pretends to fall heavily, as from a great height, and lies flat on the ground, motionless, as if stunned. De Guiche starts back): What's this? (When he looks up, the branch has sprung back into its place. He sees only the sky, and is lost in amazement): Where fell that man from? CYRANO (sitting up, and speaking with a Gascon accent): From the moon! DE GUICHE: From?. . . CYRANO (in a dreamy voice): What's o'clock? DE GUICHE: He's lost his mind, for sure! CYRANO: What hour? What country this? What month? What day? DE GUICHE: But. . . CYRANO: I am stupefied! DE GUICHE: Sir! CYRANO: Like a bomb I fell from the moon! DE GUICHE (impatiently): Come now! CYRANO (rising, in a terrible voice): I say,--the moon! DE GUICHE (recoiling): Good, good! let it be so!. . .He's raving mad! CYRANO (walking up to him): I say from the moon! I mean no metaphor!. . . DE GUICHE: But. . . CYRANO: Was't a hundred years--a minute, since? --I cannot guess what time that fall embraced!-- That I was in that saffron-colored ball? DE GUICHE (shrugging his shoulders): Good! let me pass! CYRANO (intercepting him): Where am I? Tell the truth! Fear not to tell! Oh, spare me not! Where? where? Have I fallen like a shooting star? DE GUICHE: Morbleu! CYRANO: The fall was lightning-quick! no time to choose Where I should fall--I know not where it be! Oh, tell me! Is it on a moon or earth, that my posterior weight has landed me? DE GUICHE: I tell you, Sir. . . CYRANO (with a screech of terror, which makes De Guiche start back): No? Can it be? I'm on A planet where men have black faces? DE GUICHE (putting a hand to his face): What? CYRANO (feigning great alarm): Am I in Africa? A native you? DE GUICHE (who has remembered his mask): This mask of mine. . . CYRANO (pretending to be reassured): In Venice? ha!--or Rome? DE GUICHE (trying to pass): A lady waits. . CYRANO (quite reassured): Oh-ho! I am in Paris! DE GUICHE (smiling in spite of himself): The fool is comical! CYRANO: You laugh? DE GUICHE: I laugh, But would get by! CYRANO (beaming with joy): I have shot back to Paris! (Quite at ease, laughing, dusting himself, bowing): Come--pardon me--by the last water-spout, Covered with ether,--accident of travel! My eyes still full of star-dust, and my spurs Encumbered by the planets' filaments! (Picking something off his sleeve): Ha! on my doublet?--ah, a comet's hair!. . . (He puffs as if to blow it away.) DE GUICHE (beside himself): Sir!. . . CYRANO (just as he is about to pass, holds out his leg as if to show him something and stops him): In my leg--the calf--there is a tooth Of the Great Bear, and, passing Neptune close, I would avoid his trident's point, and fell, Thus sitting, plump, right in the Scales! My weight Is marked, still registered, up there in heaven! (Hurriedly preventing De Guiche from passing, and detaining him by the button of his doublet): I swear to you that if you squeezed my nose It would spout milk! DE GUICHE: Milk? CYRANO: From the Milky Way! DE GUICHE: Oh, go to hell! CYRANO (crossing his arms): I fall, Sir, out of heaven! Now, would you credit it, that as I fell I saw that Sirius wears a nightcap? True! (Confidentially): The other Bear is still too small to bite. (Laughing): I went through the Lyre, but I snapped a cord; (Grandiloquent): I mean to write the whole thing in a book; The small gold stars, that, wrapped up in my cloak, I carried safe away at no small risks, Will serve for asterisks i' the printed page! DE GUICHE: Come, make an end! I want. . . CYRANO: Oh-ho! You are sly! DE GUICHE: Sir! CYRANO: You would worm all out of me!--the way The moon is made, and if men breathe and live In its rotund cucurbita? DE GUICHE (angrily): No, no! I want. . . CYRANO: Ha, ha!--to know how I got up? Hark, it was by a method all my own. DE GUICHE (wearied): He's mad! CYRANO(contemptuously): No! not for me the stupid eagle Of Regiomontanus, nor the timid Pigeon of Archytas--neither of those! DE GUICHE: Ay, 'tis a fool! But 'tis a learned fool! CYRANO: No imitator I of other men! (De Guiche has succeeded in getting by, and goes toward Roxane's door. Cyrano follows him, ready to stop him by force): Six novel methods, all, this brain invented! DE GUICHE (turning round): Six? CYRANO (volubly): First, with body naked as your hand, Festooned about with crystal flacons, full O' th' tears the early morning dew distils; My body to the sun's fierce rays exposed To let it suck me up, as 't sucks the dew! DE GUICHE (surprised, making one step toward Cyrano): Ah! that makes one! CYRANO (stepping back, and enticing him further away): And then, the second way, To generate wind--for my impetus-- To rarefy air, in a cedar case, By mirrors placed icosahedron-wise. DE GUICHE (making another step): Two! CYRANO (still stepping backward): Or--for I have some mechanic skill-- To make a grasshopper, with springs of steel, And launch myself by quick succeeding fires Saltpeter-fed to the stars' pastures blue! DE GUICHE (unconsciously following him and counting on his fingers): Three! CYRANO: Or (since fumes have property to mount)-- To charge a globe with fumes, sufficiently To carry me aloft! DE GUICHE (same play, more and more astonished): Well, that makes four! CYRANO: Or smear myself with marrow from a bull, Since, at the lowest point of Zodiac, Phoebus well loves to suck that marrow up! DE GUICHE (amazed): Five! CYRANO (who, while speaking, had drawn him to the other side of the square near a bench): Sitting on an iron platform--thence To throw a magnet in the air. This is A method well conceived--the magnet flown, Infallibly the iron will pursue: Then quick! relaunch your magnet, and you thus Can mount and mount unmeasured distances! DE GUICHE: Here are six excellent expedients! Which of the six chose you? CYRANO: Why, none!--a seventh! DE GUICHE: Astonishing! What was it? CYRANO: I'll recount. DE GUICHE: This wild eccentric becomes interesting! CYRANO (making a noise like the waves, with weird gestures): Houuh! Houuh! DE GUICHE: Well. CYRANO: You have guessed? DE GUICHE: Not I! CYRANO: The tide! I' th' witching hour when the moon woos the wave, I laid me, fresh from a sea-bath, on the shore-- And, failing not to put head foremost--for The hair holds the sea-water in its mesh-- I rose in air, straight! straight! like angel's flight, And mounted, mounted, gently, effortless,. . . When lo! a sudden shock! Then. . . DE GUICHE (overcome by curiosity, sitting down on the bench): Then? CYRANO: Oh! then. . . (Suddenly returning to his natural voice): The quarter's gone--I'll hinder you no more: The marriage-vows are made. DE GUICHE (springing up): What? Am I mad? That voice? (The house-door opens. Lackeys appear carrying lighted candelabra. Light. Cyrano gracefully uncovers): That nose--Cyrano? CYRANO (bowing): Cyrano. While we were chatting, they have plighted troth. DE GUICHE: Who? (He turns round. Tableau. Behind the lackeys appear Roxane and Christian, holding each other by the hand. The friar follows them, smiling. Ragueneau also holds a candlestick. The duenna closes the rear, bewildered, having made a hasty toilet): Heavens!

Act 3, scene 11

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14

The monk reappears, having discovered that Roxane does live here. He brings a letter to Roxane from de Guiche. In the letter, de Guiche says that he has not gone to the war but has remained behind, hiding in a nearby convent. He intends to visit Roxane tonight. Pretending to read the letter aloud, Roxane says that de Guiche wants Christian to marry Roxane immediately; the monk will conduct the ceremony. The monk hesitates, but when Roxane pretends to discover a postscript promising a large donation to the convent, he agrees to marry them. The monk, Christian, and Roxane go into the house for the ceremony. Roxane asks Cyrano to keep de Guiche outside, talking, to prevent him disturbing the wedding

novelguide

all_chapterized_books/1254-chapters/33.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_5_part_8.txt

Cyrano de Bergerac.act 3.scene 12

act 3, scene 12

{"name": "Act 3, scene 12", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14", "summary": "Cyrano pulls his hat down over his eyes and waits on the balcony for de Guiche", "analysis": ""}

The same. Roxane, Christian, the friar, Ragueneau, lackeys, the duenna. DE GUICHE (to Roxane): You? (Recognizing Christian, in amazement): He? (Bowing, with admiration, to Roxane): Cunningly contrived! (To Cyrano): My compliments--Sir Apparatus-maker! Your story would arrest at Peter's gate Saints eager for their Paradise! Note well The details. 'Faith! They'd make a stirring book! CYRANO (bowing): I shall not fail to follow your advice. THE FRIAR (showing with satisfaction the two lovers to De Guiche): A handsome couple, son, made one by you! DE GUICHE (with a freezing look): Ay! (To Roxane): Bid your bridegroom, Madame, fond farewell. ROXANE: Why so? DE GUICHE (to Christian): Even now the regiment departs. Join it! ROXANE: It goes to battle? DE GUICHE: Without doubt. ROXANE: But the Cadets go not? DE GUICHE: Oh ay! they go. (Drawing out the paper he had put in his pocket): Here is the order. (To Christian): Baron, bear it, quick! ROXANE (throwing herself in Christian's arms): Christian! DE GUICHE (sneeringly to Cyrano): The wedding-night is far, methinks! CYRANO (aside): He thinks to give me pain of death by this! CHRISTIAN (to Roxane): Oh! once again! Your lips! CYRANO: Come, come, enough! CHRISTIAN (still kissing Roxane): --'Tis hard to leave her, you know not. . . CYRANO (trying to draw him away): I know. (Sound of drums beating a march in the distance.) DE GUICHE: The regiment starts! ROXANE (To Cyrano, holding back Christian, whom Cyrano is drawing away): Oh!--I trust him you! Promise me that no risks shall put his life In danger! CYRANO: I will try my best, but promise. . . That I cannot! ROXANE: But swear he shall be prudent? CYRANO: Again, I'll do my best, but. . . ROXANE: In the siege Let him not suffer! CYRANO: All that man can do, I. . . ROXANE: That he shall be faithful! CYRANO: Doubtless, but. . . ROXANE: That he will write oft? CYRANO (pausing): That, I promise you! Curtain.

Act 3, scene 12

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act3-scenes5-14

Cyrano pulls his hat down over his eyes and waits on the balcony for de Guiche

novelguide

all_chapterized_books/1254-chapters/35.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_6_part_1.txt

Cyrano de Bergerac.act 4.scene 1

act 4, scene 1

{"name": "act 4, scene 1", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5", "summary": "The scene shifts to the encampment of Carbon's regiment at the siege of Arras, just before dawn. Christian is asleep. Le Bret and Carbon are keeping watch. They look thin, and Carbon remarks to Le Bret that they have run out of food. The sound of gunfire is heard. Cyrano arrives. Every morning, he crosses the enemy line to post a letter to Roxane, keeping his promise to her. He vanishes into a tent to write another letter", "analysis": ""}

Christian, Carbon de Castel-Jaloux, Le Bret, the cadets, then Cyrano. LE BRET: 'Tis terrible. CARBON: Not a morsel left. LE BRET: Mordioux! CARBON (making a sign that he should speak lower): Curse under your breath. You will awake them. (To the cadets): Hush! Sleep on. (To Le Bret): He who sleeps, dines! LE BRET: But that is sorry comfort for the sleepless!. . . What starvation! (Firing is heard in the distance.) CARBON: Oh, plague take their firing! 'Twill wake my sons. (To the cadets, who lift up their heads): Sleep on! (Firing is again heard, nearer this time.) A CADET (moving): The devil!. . .Again. CARBON: 'Tis nothing! 'Tis Cyrano coming back! (Those who have lifted up their heads prepare to sleep again.) A SENTINEL (from without): Ventrebieu! Who goes there? THE VOICE Of CYRANO: Bergerac. The SENTINEL (who is on the redoubt): Ventrebieu! Who goes there? CYRANO (appearing at the top): Bergerac, idiot! (He comes down; Le Bret advances anxiously to meet him.) LE BRET: Heavens! CYRANO (making signs that he should not awake the others): Hush! LE BRET: Wounded? CYRANO: Oh! you know it has become their custom to shoot at me every morning and to miss me. LE BRET: This passes all! To take letters at each day's dawn. To risk. . . CYRANO (stopping before Christian): I promised he should write often. (He looks at him): He sleeps. How pale he is! But how handsome still, despite his sufferings. If his poor little lady-love knew that he is dying of hunger. . . LE BRET: Get you quick to bed. CYRANO: Nay, never scold, Le Bret. I ran but little risk. I have found me a spot to pass the Spanish lines, where each night they lie drunk. LE BRET: You should try to bring us back provision. CYRANO: A man must carry no weight who would get by there! But there will be surprise for us this night. The French will eat or die. . .if I mistake not! LE BRET: Oh!. . .tell me!. . . CYRANO: Nay, not yet. I am not certain. . .You will see! CARBON: It is disgraceful that we should starve while we're besieging! LE BRET: Alas, how full of complication is this siege of Arras! To think that while we are besieging, we should ourselves be caught in a trap and besieged by the Cardinal Infante of Spain. CYRANO: It were well done if he should be besieged in his turn. LE BRET: I am in earnest. CYRANO: Oh! indeed! LE BRET: To think you risk a life so precious. . .for the sake of a letter. . .Thankless one. (Seeing him turning to enter the tent): Where are you going? CYRANO: I am going to write another. (He enters the tent and disappears.)

act 4, scene 1

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5

The scene shifts to the encampment of Carbon's regiment at the siege of Arras, just before dawn. Christian is asleep. Le Bret and Carbon are keeping watch. They look thin, and Carbon remarks to Le Bret that they have run out of food. The sound of gunfire is heard. Cyrano arrives. Every morning, he crosses the enemy line to post a letter to Roxane, keeping his promise to her. He vanishes into a tent to write another letter

novelguide

all_chapterized_books/1254-chapters/36.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_6_part_2.txt

Cyrano de Bergerac.act 4.scene 2

act 4, scene 2

{"name": "act 4, scene 2", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5", "summary": "Reveille sounds. The Guards wake up and immediately start complaining about how hungry they are. Carbon asks Cyrano to come of the tent and entertain the men", "analysis": ""}

The same, all but Cyrano. The day is breaking in a rosy light. The town of Arras is golden in the horizon. The report of cannon is heard in the distance, followed immediately by the beating of drums far away to the left. Other drums are heard much nearer. Sounds of stirring in the camp. Voices of officers in the distance. CARBON (sighing): The reveille! (The cadets move and stretch themselves): Nourishing sleep! Thou art at an end!. . .I know well what will be their first cry! A CADET (sitting up): I am so hungry! ANOTHER: I am dying of hunger. TOGETHER: Oh! CARBON: Up with you! THIRD CADET: --Cannot move a limb. FOURTH CADET: Nor can I. THE FIRST (looking at himself in a bit of armor): My tongue is yellow. The air at this season of the year is hard to digest. ANOTHER: My coronet for a bit of Chester! ANOTHER: If none can furnish to my gaster wherewith to make a pint of chyle, I shall retire to my tent--like Achilles! ANOTHER: Oh! something! were it but a crust! CARBON (going to the tent and calling softly): Cyrano! ALL THE CADETS: We are dying! CARBON (continuing to speak under his breath at the opening of the tent): Come to my aid, you, who have the art of quick retort and gay jest. Come, hearten them up. SECOND CADET (rushing toward another who is munching something): What are you crunching there? FIRST CADET: Cannon-wads soaked in axle-grease! 'Tis poor hunting round about Arras! A CADET (entering): I have been after game. ANOTHER (following him): And I after fish. ALL (rushing to the two newcomers): Well! what have you brought?--a pheasant?--a carp?--Come, show us quick! THE ANGLER: A gudgeon! THE SPORTSMAN: A sparrow! ALL TOGETHER (beside themselves): 'Tis more than can be borne! We will mutiny! CARBON: Cyrano! Come to my help. (The daylight has now come.)

act 4, scene 2

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5

Reveille sounds. The Guards wake up and immediately start complaining about how hungry they are. Carbon asks Cyrano to come of the tent and entertain the men

novelguide

all_chapterized_books/1254-chapters/37.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_6_part_3.txt

Cyrano de Bergerac.act 4.scene 3

act 4, scene 3

{"name": "act 4, scene 3", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5", "summary": "Cyrano comes out of the tent and restores the men's morale with his witty banter. He gets a piper to play an old Gascon song, which reminds the men of their homeland. There is a murmur of disapproval as de Guiche is seen approaching. Cyrano asks the men to start a game of cards, so that de Guiche will not see them suffer", "analysis": ""}

The SAME. Cyrano. CYRANO (appearing from the tent, very calm, with a pen stuck behind his ear and a book in his hand): What is wrong? (Silence. To the first cadet): Why drag you your legs so sorrowfully? THE CADET: I have something in my heels which weighs them down. CYRANO: And what may that be? THE CADET: My stomach! CYRANO: So have I, 'faith! THE CADET: It must be in your way? CYRANO: Nay, I am all the taller. A THIRD: My stomach's hollow. CYRANO: 'Faith, 'twill make a fine drum to sound the assault. ANOTHER: I have a ringing in my ears. CYRANO: No, no, 'tis false; a hungry stomach has no ears. ANOTHER: Oh, to eat something--something oily! CYRANO (pulling off the cadet's helmet and holding it out to him): Behold your salad! ANOTHER: What, in God's name, can we devour? CYRANO (throwing him the book which he is carrying): The 'Iliad'. ANOTHER: The first minister in Paris has his four meals a day! CYRANO: 'Twere courteous an he sent you a few partridges! THE SAME: And why not? with wine, too! CYRANO: A little Burgundy. Richelieu, s'il vous plait! THE SAME: He could send it by one of his friars. CYRANO: Ay! by His Eminence Joseph himself. ANOTHER: I am as ravenous as an ogre! CYRANO: Eat your patience, then. THE FIRST CADET (shrugging his shoulders): Always your pointed word! CYRANO: Ay, pointed words! I would fain die thus, some soft summer eve, Making a pointed word for a good cause. --To make a soldier's end by soldier's sword, Wielded by some brave adversary--die On blood-stained turf, not on a fever-bed, A point upon my lips, a point within my heart. CRIES FROM ALL: I'm hungry! CYRANO (crossing his arms): All your thoughts of meat and drink! Bertrand the fifer!--you were shepherd once,-- Draw from its double leathern case your fife, Play to these greedy, guzzling soldiers. Play Old country airs with plaintive rhythm recurring, Where lurk sweet echoes of the dear home-voices, Each note of which calls like a little sister, Those airs slow, slow ascending, as the smoke-wreaths Rise from the hearthstones of our native hamlets, Their music strikes the ear like Gascon patois!. . . (The old man seats himself, and gets his flute ready): Your flute was now a warrior in durance; But on its stem your fingers are a-dancing A bird-like minuet! O flute! Remember That flutes were made of reeds first, not laburnum; Make us a music pastoral days recalling-- The soul-time of your youth, in country pastures!. . . (The old man begins to play the airs of Languedoc): Hark to the music, Gascons!. . .'Tis no longer The piercing fife of camp--but 'neath his fingers The flute of the woods! No more the call to combat, 'Tis now the love-song of the wandering goat-herds!. . . Hark!. . .'tis the valley, the wet landes, the forest, The sunburnt shepherd-boy with scarlet beret, The dusk of evening on the Dordogne river,-- 'Tis Gascony! Hark, Gascons, to the music! (The cadets sit with bowed heads; their eyes have a far-off look as if dreaming, and they surreptitiously wipe away their tears with their cuffs and the corner of their cloaks.) CARBON (to Cyrano in a whisper): But you make them weep! CYRANO: Ay, for homesickness. A nobler pain than hunger,--'tis of the soul, not of the body! I am well pleased to see their pain change its viscera. Heart-ache is better than stomach-ache. CARBON: But you weaken their courage by playing thus on their heart-strings! CYRANO (making a sign to a drummer to approach): Not I. The hero that sleeps in Gascon blood is ever ready to awake in them. 'Twould suffice. . . (He makes a signal; the drum beats.) ALL THE CADETS (stand up and rush to take arms): What? What is it? CYRANO (smiling): You see! One roll of the drum is enough! Good-by dreams, regrets, native land, love. . .All that the pipe called forth the drum has chased away! A CADET (looking toward the back of the stage): Ho! here comes Monsieur de Guiche. ALL THE CADETS (muttering): Ugh!. . .Ugh!. . . CYRANO (smiling): A flattering welcome! A CADET: We are sick to death of him! ANOTHER CADET: --With his lace collar over his armor, playing the fine gentleman! ANOTHER: As if one wore linen over steel! THE FIRST: It were good for a bandage had he boils on his neck. THE SECOND: Another plotting courtier! ANOTHER CADET: His uncle's own nephew! CARBON: For all that--a Gascon. THE FIRST: Ay, false Gascon!. . .trust him not. . . Gascons should ever be crack-brained. . . Naught more dangerous than a rational Gascon. LE BRET: How pale he is! ANOTHER: Oh! he is hungry, just like us poor devils; but under his cuirass, with its fine gilt nails, his stomach-ache glitters brave in the sun. CYRANO (hurriedly): Let us not seem to suffer either! Out with your cards, pipes, and dice. . . (All begin spreading out the games on the drums, the stools, the ground, and on their cloaks, and light long pipes): And I shall read Descartes. (He walks up and down, reading a little book which he has drawn from his pocket. Tableau. Enter De Guiche. All appear absorbed and happy. He is very pale. He goes up to Carbon.)

act 4, scene 3

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5

Cyrano comes out of the tent and restores the men's morale with his witty banter. He gets a piper to play an old Gascon song, which reminds the men of their homeland. There is a murmur of disapproval as de Guiche is seen approaching. Cyrano asks the men to start a game of cards, so that de Guiche will not see them suffer

novelguide

all_chapterized_books/1254-chapters/38.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_6_part_4.txt

Cyrano de Bergerac.act 4.scene 4

act 4, scene 4

{"name": "act 4, scene 4", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5", "summary": "De Guiche arrives and boasts about his courage on the battlefield the previous day. Cyrano asks him about his white plume of feathers. De Guiche explains that he threw away his white plume to confuse the Spaniards, and led his troops in a charge that broke through the enemy line. A silence falls upon the Guards. Cyrano says that a courageous man would not have thrown away his white plume, whatever the danger, and that he himself would be proud to wear it. De Guiche replies that Cyrano is only saying this because he knows the plume is lost on the battlefield. Cyrano pulls the plume from his pocket and hands it to de Guiche. After a pause, de Guiche collects his thoughts, seizes the plume, and waves it at a man, who runs off. De Guiche explains that the man is a double agent who will take a message to the Spaniards. De Guiche has just given the signal for the Spaniards to attack the Guards. Many Guardsmen will die, but the ruse will buy time for the French until the Marshal arrives with reinforcements. The Spanish attack is likely to come in one hour's time. Cyrano thanks de Guiche for giving them the opportunity to die with honor. Christian thinks sadly of Roxane and wishes that he could put his thoughts in a letter to her. Cyrano, who expected the Spanish to attack today, produces a letter that he has already written. Christian notices a tear stain on it. Cyrano admits that the thought of never seeing Roxane again is terrible. Christian grows uneasy and may be about to guess Cyrano's secret when they are interrupted by the arrival of a carriage. The Guards are astonished to see Roxane get out", "analysis": ""}

The same. De Guiche. DE GUICHE (to Carbon): Good-day! (They examine each other. Aside, with satisfaction): He's green. CARBON (aside): He has nothing left but eyes. DE GUICHE (looking at the cadets): Here are the rebels! Ay, Sirs, on all sides I hear that in your ranks you scoff at me; That the Cadets, these loutish, mountain-bred, Poor country squires, and barons of Perigord, Scarce find for me--their Colonel--a disdain Sufficient! call me plotter, wily courtier! It does not please their mightiness to see A point-lace collar on my steel cuirass,-- And they enrage, because a man, in sooth, May be no ragged-robin, yet a Gascon! (Silence. All smoke and play): Shall I command your Captain punish you? No. CARBON: I am free, moreover,--will not punish-- DE GUICHE: Ah! CARBON: I have paid my company--'tis mine. I bow but to headquarters. DE GUICHE: So?--in faith! That will suffice. (Addressing himself to the cadets): I can despise your taunts 'Tis well known how I bear me in the war; At Bapaume, yesterday, they saw the rage With which I beat back the Count of Bucquoi; Assembling my own men, I fell on his, And charged three separate times! CYRANO (without lifting his eyes from his book): And your white scarf? DE GUICHE (surprised and gratified): You know that detail?. . .Troth! It happened thus: While caracoling to recall the troops For the third charge, a band of fugitives Bore me with them, close by the hostile ranks: I was in peril--capture, sudden death!-- When I thought of the good expedient To loosen and let fall the scarf which told My military rank; thus I contrived --Without attention waked--to leave the foes, And suddenly returning, reinforced With my own men, to scatter them! And now, --What say you, Sir? (The cadets pretend not to be listening, but the cards and the dice-boxes remain suspended in their hands, the smoke of their pipes in their cheeks. They wait.) CYRANO: I say, that Henri Quatre Had not, by any dangerous odds, been forced To strip himself of his white helmet plume. (Silent delight. The cards fall, the dice rattle. The smoke is puffed.) DE GUICHE: The ruse succeeded, though! (Same suspension of play, etc.) CYRANO: Oh, may be! But One does not lightly abdicate the honor To serve as target to the enemy (Cards, dice, fall again, and the cadets smoke with evident delight): Had I been present when your scarf fell low, --Our courage, Sir, is of a different sort-- I would have picked it up and put it on. DE GUICHE: Oh, ay! Another Gascon boast! CYRANO: A boast? Lend it to me. I pledge myself, to-night, --With it across my breast,--to lead th' assault. DE GUICHE: Another Gascon vaunt! You know the scarf Lies with the enemy, upon the brink Of the stream,. . .the place is riddled now with shot,-- No one can fetch it hither! CYRANO (drawing the scarf from his pocket, and holding it out to him): Here it is. (Silence. The cadets stifle their laughter in their cards and dice-boxes. De Guiche turns and looks at them; they instantly become grave, and set to play. One of them whistles indifferently the air just played by the fifer.) DE GUICHE (taking the scarf): I thank you. It will now enable me To make a signal,--that I had forborne To make--till now. (He goes to the rampart, climbs it, and waves the scarf thrice.) ALL: What's that? THE SENTINEL (from the top of the rampart): See you yon man Down there, who runs?. . . DE GUICHE (descending): 'Tis a false Spanish spy Who is extremely useful to my ends. The news he carries to the enemy Are those I prompt him with--so, in a word, We have an influence on their decisions! CYRANO: Scoundrel! DE GUICHE (carelessly knotting on his scarf): 'Tis opportune. What were we saying? Ah! I have news for you. Last evening --To victual us--the Marshal did attempt A final effort:--secretly he went To Dourlens, where the King's provisions be. But--to return to camp more easily-- He took with him a goodly force of troops. Those who attacked us now would have fine sport! Half of the army's absent from the camp! CARBON: Ay, if the Spaniards knew, 'twere ill for us, But they know nothing of it? DE GUICHE: Oh! they know. They will attack us. CARBON: Ah! DE GUICHE: For my false spy Came to warn me of their attack. He said, 'I can decide the point for their assault; Where would you have it? I will tell them 'tis The least defended--they'll attempt you there.' I answered, 'Good. Go out of camp, but watch My signal. Choose the point from whence it comes.' CARBON (to cadets): Make ready! (All rise; sounds of swords and belts being buckled.) DE GUICHE: 'Twill be in an hour. FIRST CADET: Good!. . . (They all sit down again and take up their games.) DE GUICHE (to Carbon): Time must be gained. The Marshal will return. CARBON: How gain it? DE GUICHE: You will all be good enough To let yourselves to be killed. CYRANO: Vengeance! oho! DE GUICHE: I do not say that, if I loved you well, I had chosen you and yours,--but, as things stand,-- Your courage yielding to no corps the palm-- I serve my King, and serve my grudge as well. CYRANO: Permit that I express my gratitude. . . DE GUICHE: I know you love to fight against five score; You will not now complain of paltry odds. (He goes up with Carbon.) CYRANO (to the cadets): We shall add to the Gascon coat of arms, With its six bars of blue and gold, one more-- The blood-red bar that was a-missing there! (De Guiche speaks in a low voice with Carbon at the back. Orders are given. Preparations go forward. Cyrano goes up to Christian, who stands with crossed arms.) CYRANO (putting his hand on Christian's shoulder): Christian! CHRISTIAN (shaking his head): Roxane! CYRANO: Alas! CHRISTIAN: At least, I'd send My heart's farewell to her in a fair letter!. . . CYRANO: I had suspicion it would be to-day, (He draws a letter out of his doublet): And had already writ. . . CHRISTIAN: Show! CYRANO: Will you. . .? CHRISTIAN (taking the letter): Ay! (He opens and reads it): Hold! CYRANO: What? CHRISTIAN: This little spot! CYRANO (taking the letter, with an innocent look): A spot? CHRISTIAN: A tear! CYRANO: Poets, at last,--by dint of counterfeiting-- Take counterfeit for true--that is the charm! This farewell letter,--it was passing sad, I wept myself in writing it! CHRISTIAN: Wept? why? CYRANO: Oh!. . .death itself is hardly terrible,. . . --But, ne'er to see her more! That is death's sting! --For. . .I shall never. . . (Christian looks at him): We shall. . . (Quickly): I mean, you. . . CHRISTIAN (snatching the letter from him): Give me that letter! (A rumor, far off in the camp.) VOICE Of SENTINEL: Who goes there? Halloo! (Shots--voices--carriage-bells.) CARBON: What is it? A SENTINEL (on the rampart): 'Tis a carriage! (All rush to see.) CRIES: In the camp? It enters!--It comes from the enemy! --Fire!--No!--The coachman cries!--What does he say? --'On the King's service!' (Everyone is on the rampart, staring. The bells come nearer.) DE GUICHE: The King's service? How? (All descend and draw up in line.) CARBON: Uncover, all! DE GUICHE: The King's! Draw up in line! Let him describe his curve as it befits! (The carriage enters at full speed covered with dust and mud. The curtains are drawn close. Two lackeys behind. It is pulled up suddenly.) CARBON: Beat a salute! (A roll of drums. The cadets uncover.) DE GUICHE: Lower the carriage-steps! (Two cadets rush forward. The door opens.) ROXANE (jumping down from the carriage): Good-day! (All are bowing to the ground, but at the sound of a woman's voice every head is instantly raised.)

act 4, scene 4

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5

De Guiche arrives and boasts about his courage on the battlefield the previous day. Cyrano asks him about his white plume of feathers. De Guiche explains that he threw away his white plume to confuse the Spaniards, and led his troops in a charge that broke through the enemy line. A silence falls upon the Guards. Cyrano says that a courageous man would not have thrown away his white plume, whatever the danger, and that he himself would be proud to wear it. De Guiche replies that Cyrano is only saying this because he knows the plume is lost on the battlefield. Cyrano pulls the plume from his pocket and hands it to de Guiche. After a pause, de Guiche collects his thoughts, seizes the plume, and waves it at a man, who runs off. De Guiche explains that the man is a double agent who will take a message to the Spaniards. De Guiche has just given the signal for the Spaniards to attack the Guards. Many Guardsmen will die, but the ruse will buy time for the French until the Marshal arrives with reinforcements. The Spanish attack is likely to come in one hour's time. Cyrano thanks de Guiche for giving them the opportunity to die with honor. Christian thinks sadly of Roxane and wishes that he could put his thoughts in a letter to her. Cyrano, who expected the Spanish to attack today, produces a letter that he has already written. Christian notices a tear stain on it. Cyrano admits that the thought of never seeing Roxane again is terrible. Christian grows uneasy and may be about to guess Cyrano's secret when they are interrupted by the arrival of a carriage. The Guards are astonished to see Roxane get out

novelguide

all_chapterized_books/1254-chapters/39.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_6_part_5.txt

Cyrano de Bergerac.act 4.scene 5

act 4, scene 5

{"name": "act 4, scene 5", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5", "summary": "Roxane says she came to the battlefield because she got fed up with writing. She crossed the Spanish lines and was shot at. When she was stopped by Spaniards, she told them she was going to see her lover and they let her pass. De Guiche, Christian, and Cyrano all tell her that she must leave immediately, as they will soon be under attack. Roxane insists that she will stay, saying that if Christian dies, she wants to die beside him. De Guiche protests that their position is the weakest of all; Cyrano adds that this is why de Guiche assigned them to it. Roxane realizes that de Guiche has deliberately sent Christian to his death, and this makes her all the more determined to stay. She suggests that de Guiche might like to leave before the fighting starts. A furious de Guiche leaves to check the cannon, saying that he will return soon.", "analysis": "of scenes 1-5. With the beginning of the tone shifts from boisterous comedy and satire to a more tragic note. At the battlefront, the Guards are starving and demoralized. Only Cyrano retains a positive outlook, and is called upon by Carbon to cheer up the men, which he does. Cyrano's resilience can be attributed for the most part to his extraordinarily courageous and resourceful nature, but may be partly due to his love for Roxane and his focus on writing letters to her. De Guiche, too, darkens in tone, shifting from his former role as stage villain opposing the young lovers to a potential murderer. He hopes that Christian, his rival in love of Roxane, will die on the battlefield. He also wants vengeance against Cyrano for repeatedly humiliating him. To this end, he has arranged for the Guards to be stationed in the weakest position and signals to a double agent to let the Spanish know that they can attack. It is significant that he uses his white plume of feathers to signal the attack. De Guiche has already thrown this plume away on the battlefield in order to save his own skin. The plume becomes a symbol of courage and honor, and de Guiche's treatment of it shows his cowardice and duplicity. Although he justifies his action militarily by claiming that allowing the Spanish to slaughter the Guards will buy time for the French, it seems a murderously cruel and vindictive way to gain his ends. Cyrano's risking his own life to pick up the plume and his insistence that he would be proud to wear it sets him up in contrast with de Guiche. Where de Guiche is cowardly, Cyrano is brave; where de Guiche uses deception to save his own life, Cyrano stands for truth. Roxane shows her spirit and courage by choosing to join Christian on the battlefield and, if necessary, to die with him. Her refusal to be discouraged or deflected from her purpose mirrors Cyrano's buoyant spirits. Again, she is shown to be a fitting lover for Cyrano, not for the rather bland Christian. Suspense escalates around Cyrano's secret as Christian seems about to guess it, when they are interrupted by the arrival of Roxane's coach. The men's collaborative deception seems increasingly unsustainable"}

The same. Roxane. DE GUICHE: On the King's service! You? ROXANE: Ay,--King Love's! What other king? CYRANO: Great God! CHRISTIAN (rushing forward): Why have you come? ROXANE: This siege--'tis too long! CHRISTIAN: But why?. . . ROXANE: I will tell you all! CYRANO (who, at the sound of her voice, has stood still, rooted to the ground, afraid to raise his eyes): My God! dare I look at her? DE GUICHE: You cannot remain here! ROXANE (merrily): But I say yes! Who will push a drum hither for me? (She seats herself on the drum they roll forward): So! I thank you. (She laughs): My carriage was fired at (proudly): by the patrol! Look! would you not think 'twas made of a pumpkin, like Cinderella's chariot in the tale,--and the footmen out of rats? (Sending a kiss with her lips to Christian): Good-morrow! (Examining them all): You look not merry, any of you! Ah! know you that 'tis a long road to get to Arras? (Seeing Cyrano): Cousin, delighted! CYRANO (coming up to her): But how, in Heaven's name?. . . ROXANE: How found I the way to the army? It was simple enough, for I had but to pass on and on, as far as I saw the country laid waste. Ah, what horrors were there! Had I not seen, then I could never have believed it! Well, gentlemen, if such be the service of your King, I would fainer serve mine! CYRANO: But 'tis sheer madness! Where in the fiend's name did you get through? ROXANE: Where? Through the Spanish lines. FIRST CADET: --For subtle craft, give me a woman! DE GUICHE: But how did you pass through their lines? LE BRET: Faith! that must have been a hard matter!. . . ROXANE: None too hard. I but drove quietly forward in my carriage, and when some hidalgo of haughty mien would have stayed me, lo! I showed at the window my sweetest smile, and these Senors being (with no disrespect to you) the most gallant gentlemen in the world,--I passed on! CARBON: True, that smile is a passport! But you must have been asked frequently to give an account of where you were going, Madame? ROXANE: Yes, frequently. Then I would answer, 'I go to see my lover.' At that word the very fiercest Spaniard of them all would gravely shut the carriage-door, and, with a gesture that a king might envy, make signal to his men to lower the muskets leveled at me;--then, with melancholy but withal very graceful dignity--his beaver held to the wind that the plumes might flutter bravely, he would bow low, saying to me, 'Pass on, Senorita!' CHRISTIAN: But, Roxane. . . ROXANE: Forgive me that I said, 'my lover!' But bethink you, had I said 'my husband,' not one of them had let me pass! CHRISTIAN: But. . . ROXANE: What ails you? DE GUICHE: You must leave this place! ROXANE: I? CYRANO: And that instantly! LE BRET: No time to lose. CHRISTIAN: Indeed, you must. ROXANE: But wherefore must I? CHRISTIAN (embarrassed): 'Tis that. . . CYRANO (the same): --In three quarters of an hour. . . DE GUICHE (the same): --Or for. . . CARBON (the same): It were best. . . LE BRET (the same): You might. . . ROXANE: You are going to fight?--I stay here. ALL: No, no! ROXANE: He is my husband! (She throws herself into Christian's arms): They shall kill us both together! CHRISTIAN: Why do you look at me thus? ROXANE: I will tell you why! DE GUICHE (in despair): 'Tis a post of mortal danger! ROXANE (turning round): Mortal danger! CYRANO: Proof enough, that he has put us here! ROXANE (to De Guiche): So, Sir, you would have made a widow of me? DE GUICHE: Nay, on my oath. . . ROXANE: I will not go! I am reckless now, and I shall not stir from here!--Besides, 'tis amusing! CYRANO: Oh-ho! So our precieuse is a heroine! ROXANE: Monsieur de Bergerac, I am your cousin. A CADET: We will defend you well! ROXANE (more and more excited): I have no fear of that, my friends! ANOTHER (in ecstasy): The whole camp smells sweet of orris-root! ROXANE: And, by good luck, I have chosen a hat that will suit well with the battlefield! (Looking at De Guiche): But were it not wisest that the Count retire? They may begin the attack. DE GUICHE: That is not to be brooked! I go to inspect the cannon, and shall return. You have still time--think better of it! ROXANE: Never! (De Guiche goes out.)

act 4, scene 5

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes1-5

Roxane says she came to the battlefield because she got fed up with writing. She crossed the Spanish lines and was shot at. When she was stopped by Spaniards, she told them she was going to see her lover and they let her pass. De Guiche, Christian, and Cyrano all tell her that she must leave immediately, as they will soon be under attack. Roxane insists that she will stay, saying that if Christian dies, she wants to die beside him. De Guiche protests that their position is the weakest of all; Cyrano adds that this is why de Guiche assigned them to it. Roxane realizes that de Guiche has deliberately sent Christian to his death, and this makes her all the more determined to stay. She suggests that de Guiche might like to leave before the fighting starts. A furious de Guiche leaves to check the cannon, saying that he will return soon.

of scenes 1-5. With the beginning of the tone shifts from boisterous comedy and satire to a more tragic note. At the battlefront, the Guards are starving and demoralized. Only Cyrano retains a positive outlook, and is called upon by Carbon to cheer up the men, which he does. Cyrano's resilience can be attributed for the most part to his extraordinarily courageous and resourceful nature, but may be partly due to his love for Roxane and his focus on writing letters to her. De Guiche, too, darkens in tone, shifting from his former role as stage villain opposing the young lovers to a potential murderer. He hopes that Christian, his rival in love of Roxane, will die on the battlefield. He also wants vengeance against Cyrano for repeatedly humiliating him. To this end, he has arranged for the Guards to be stationed in the weakest position and signals to a double agent to let the Spanish know that they can attack. It is significant that he uses his white plume of feathers to signal the attack. De Guiche has already thrown this plume away on the battlefield in order to save his own skin. The plume becomes a symbol of courage and honor, and de Guiche's treatment of it shows his cowardice and duplicity. Although he justifies his action militarily by claiming that allowing the Spanish to slaughter the Guards will buy time for the French, it seems a murderously cruel and vindictive way to gain his ends. Cyrano's risking his own life to pick up the plume and his insistence that he would be proud to wear it sets him up in contrast with de Guiche. Where de Guiche is cowardly, Cyrano is brave; where de Guiche uses deception to save his own life, Cyrano stands for truth. Roxane shows her spirit and courage by choosing to join Christian on the battlefield and, if necessary, to die with him. Her refusal to be discouraged or deflected from her purpose mirrors Cyrano's buoyant spirits. Again, she is shown to be a fitting lover for Cyrano, not for the rather bland Christian. Suspense escalates around Cyrano's secret as Christian seems about to guess it, when they are interrupted by the arrival of Roxane's coach. The men's collaborative deception seems increasingly unsustainable

novelguide

all_chapterized_books/1254-chapters/40.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_7_part_1.txt

Cyrano de Bergerac.act 4.scene 6

act 4, scene 6

{"name": "act 4, scene 6", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10", "summary": "Carbon presents the Guards to Roxane, and asks her to give them her handkerchief to use as a banner, which she does. One of the men complains of hunger. To their delight, Roxane produces Ragueneau from her carriage, along with food for everyone. Roxane busies herself with ensuring that all the men are served with food and drink. Le Bret notices that de Guiche is approaching, and everyone quickly hides the food", "analysis": ""}

The same, all but De Guiche. CHRISTIAN (entreatingly): Roxane! ROXANE: No! FIRST CADET (to the others): She stays! ALL (hurrying, hustling each other, tidying themselves): A comb!--Soap!--My uniform is torn!--A needle!--A ribbon!--Lend your mirror!--My cuffs!--Your curling-iron!--A razor!. . . ROXANE (to Cyrano, who still pleads with her): No! Naught shall make me stir from this spot! CARBON (who, like the others, has been buckling, dusting, brushing his hat, settling his plume, and drawing on his cuffs, advances to Roxane, and ceremoniously): It is perchance more seemly, since things are thus, that I present to you some of these gentlemen who are about to have the honor of dying before your eyes. (Roxane bows, and stands leaning on Christian's arm, while Carbon introduces the cadets to her): Baron de Peyrescous de Colignac! THE CADET (with a low reverence): Madame. . . CARBON (continuing): Baron de Casterac de Cahuzac,--Vidame de Malgouyre Estressac Lesbas d'Escarabiot, Chevalier d'Antignac-Juzet, Baron Hillot de Blagnac-Salechan de Castel Crabioules. . . ROXANE: But how many names have you each? BARON HILLOT: Scores! CARBON (to Roxane): Pray, upon the hand that holds your kerchief. ROXANE (opens her hand, and the handkerchief falls): Why? (The whole company start forward to pick it up.) CARBON (quickly raising it): My company had no flag. But now, by my faith, they will have the fairest in all the camp! ROXANE (smiling): 'Tis somewhat small. CARBON (tying the handkerchief on the staff of his lance): But--'tis of lace! A CADET (to the rest): I could die happy, having seen so sweet a face, if I had something in my stomach--were it but a nut! CARBON (who has overheard, indignantly): Shame on you! What, talk of eating when a lovely woman!. . . ROXANE: But your camp air is keen; I myself am famished. Pasties, cold fricassee, old wines--there is my bill of fare? Pray bring it all here. (Consternation.) A CADET: All that? ANOTHER: But where on earth find it? ROXANE (quietly): In my carriage. ALL: How? ROXANE: Now serve up--carve! Look a little closer at my coachman, gentlemen, and you will recognize a man most welcome. All the sauces can be sent to table hot, if we will! THE CADETS (rushing pellmell to the carriage): 'Tis Ragueneau! (Acclamations): Oh, oh! ROXANE (looking after them): Poor fellows! CYRANO (kissing her hand): Kind fairy! RAGUENEAU (standing on the box like a quack doctor at a fair): Gentlemen!. . . (General delight.) THE CADETS: Bravo! bravo! RAGUENEAU: . . .The Spaniards, gazing on a lady so dainty fair, overlooked the fare so dainty!. . . (Applause.) CYRANO (in a whisper to Christian): Hark, Christian! RAGUENEAU: . . .And, occupied with gallantry, perceived not-- (His draws a plate from under the seat, and holds it up): --The galantine!. . . (Applause. The galantine passes from hand to hand.) CYRANO (still whispering to Christian): Prythee, one word! RAGUENEAU: And Venus so attracted their eyes that Diana could secretly pass by with-- (He holds up a shoulder of mutton): --her fawn! (Enthusiasm. Twenty hands are held out to seize the shoulder of mutton.) CYRANO (in a low whisper to Christian): I must speak to you! ROXANE (to the cadets, who come down, their arms laden with food): Put it all on the ground! (She lays all out on the grass, aided by the two imperturbable lackeys who were behind the carriage.) ROXANE (to Christian, just as Cyrano is drawing him apart): Come, make yourself of use! (Christian comes to help her. Cyrano's uneasiness increases.) RAGUENEAU: Truffled peacock! FIRST CADET (radiant, coming down, cutting a big slice of ham): By the mass! We shall not brave the last hazard without having had a gullet-full!-- (quickly correcting himself on seeing Roxane): --Pardon! A Balthazar feast! RAGUENEAU (throwing down the carriage cushions): The cushions are stuffed with ortolans! (Hubbub. They tear open and turn out the contents of the cushions. Bursts of laughter--merriment.) THIRD CADET: Ah! Viedaze! RAGUENEAU (throwing down to the cadets bottles of red wine): Flasks of rubies!-- (and white wine): --Flasks of topaz! ROXANE (throwing a folded tablecloth at Cyrano's head): Unfold me that napkin!--Come, come! be nimble! RAGUENEAU (waving a lantern): Each of the carriage-lamps is a little larder! CYRANO (in a low voice to Christian, as they arrange the cloth together): I must speak with you ere you speak to her. RAGUENEAU: My whip-handle is an Arles sausage! ROXANE (pouring out wine, helping): Since we are to die, let the rest of the army shift for itself. All for the Gascons! And mark! if De Guiche comes, let no one invite him! (Going from one to the other): There! there! You have time enough! Do not eat too fast!--Drink a little.- -Why are you crying? FIRST CADET: It is all so good!. . . ROXANE: Tut!--Red or white?--Some bread for Monsieur de Carbon!--a knife! Pass your plate!--a little of the crust? Some more? Let me help you!--Some champagne?- -A wing? CYRANO (who follows her, his arms laden with dishes, helping her to wait on everybody): How I worship her! ROXANE (going up to Christian): What will you? CHRISTIAN: Nothing. ROXANE: Nay, nay, take this biscuit, steeped in muscat; come!. . .but two drops! CHRISTIAN (trying to detain her): Oh! tell me why you came? ROXANE: Wait; my first duty is to these poor fellows.--Hush! In a few minutes. . . LE BRET (who had gone up to pass a loaf on the end of a lance to the sentry on the rampart): De Guiche! CYRANO: Quick! hide flasks, plates, pie-dishes, game-baskets! Hurry!--Let us all look unconscious! (To Ragueneau): Up on your seat!--Is everything covered up? (In an instant all has been pushed into the tents, or hidden under doublets, cloaks, and beavers. De Guiche enters hurriedly--stops suddenly, sniffing the air. Silence.)

act 4, scene 6

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10

Carbon presents the Guards to Roxane, and asks her to give them her handkerchief to use as a banner, which she does. One of the men complains of hunger. To their delight, Roxane produces Ragueneau from her carriage, along with food for everyone. Roxane busies herself with ensuring that all the men are served with food and drink. Le Bret notices that de Guiche is approaching, and everyone quickly hides the food

novelguide

all_chapterized_books/1254-chapters/41.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_7_part_2.txt

Cyrano de Bergerac.act 4.scene 7

act 4, scene 7

{"name": "Act 4, scene 7", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10", "summary": "De Guiche returns and again asks Roxane to leave. When she refuses, he resolves to stay and fight too. The men are impressed by his courage, wondering if de Guiche too is a Gascon, and offer him some food. He refuses to eat their left-overs, and betrays a hint of a Gascon accent, making them all the more certain that he is one of them. Cyrano takes Christian to one side and confesses that he sent Roxane more letters than Christian thought. He wrote to her every day, sometimes twice a day. Christian realizes that with each letter, Cyrano had to risk his life crossing enemy lines. He suspects Cyrano's secret, but once again, they are interrupted by Roxane. Cyrano disappears into a tent", "analysis": ""}

The same. De Guiche. DE GUICHE: It smells good here. A CADET (humming): Lo! Lo-lo! DE GUICHE (looking at him): What is the matter?--You are very red. THE CADET: The matter?--Nothing!--'Tis my blood--boiling at the thought of the coming battle! ANOTHER: Poum, poum--poum. . . DE GUICHE (turning round): What's that? THE CADET (slightly drunk): Nothing!. . .'Tis a song!--a little. . . DE GUICHE: You are merry, my friend! THE CADET: The approach of danger is intoxicating! DE GUICHE (calling Carbon de Castel-Jaloux, to give him an order): Captain! I. . . (He stops short on seeing him): Plague take me! but you look bravely, too! CARBON (crimson in the face, hiding a bottle behind his back, with an evasive movement): Oh!. . . DE GUICHE: I have one cannon left, and have had it carried there-- (he points behind the scenes): --in that corner. . .Your men can use it in case of need. A CADET (reeling slightly): Charming attention! ANOTHER (with a gracious smile): Kind solicitude! DE GUICHE: How? they are all gone crazy? (Drily): As you are not used to cannon, beware of the recoil. FIRST CADET: Pooh! DE GUICHE (furious, going up to him): But. . . THE CADET: Gascon cannons never recoil! DE GUICHE (taking him by the arm and shaking him): You are tipsy!--but what with? THE CADET (grandiloquently): --With the smell of powder! DE GUICHE (shrugging his shoulders and pushing him away, then going quickly to Roxane): Briefly, Madame, what decision do you deign to take? ROXANE: I stay here. DE GUICHE: You must fly! ROXANE: No! I will stay. DE GUICHE: Since things are thus, give me a musket, one of you! CARBON: Wherefore? DE GUICHE: Because I too--mean to remain. CYRANO: At last! This is true valor, Sir! FIRST CADET: Then you are Gascon after all, spite of your lace collar? ROXANE: What is all this? DE GUICHE: I leave no woman in peril. SECOND CADET (to the first): Hark you! Think you not we might give him something to eat? (All the viands reappear as if by magic.) DE GUICHE (whose eyes sparkle): Victuals! THE THIRD CADET: Yes, you'll see them coming from under every coat! DE GUICHE (controlling himself, haughtily): Do you think I will eat your leavings? CYRANO (saluting him): You make progress. DE GUICHE (proudly, with a light touch of accent on the word 'breaking'): I will fight without br-r-eaking my fast! FIRST CADET (with wild delight): Br-r-r-eaking! He has got the accent! DE GUICHE (laughing): I? THE CADET: 'Tis a Gascon! (All begin to dance.) CARBON DE CASTEL-JALOUX (who had disappeared behind the rampart, reappearing on the ridge): I have drawn my pikemen up in line. They are a resolute troop. (He points to a row of pikes, the tops of which are seen over the ridge.) DE GUICHE (bowing to Roxane): Will you accept my hand, and accompany me while I review them? (She takes it, and they go up toward the rampart. All uncover and follow them.) CHRISTIAN (going to Cyrano, eagerly): Tell me quickly! (As Roxane appears on the ridge, the tops of the lances disappear, lowered for the salute, and a shout is raised. She bows.) THE PIKEMEN (outside): Vivat! CHRISTIAN: What is this secret? CYRANO: If Roxane should. . . CHRISTIAN: Should?. . . CYRANO: Speak of the letters?. . . CHRISTIAN: Yes, I know!. . . CYRANO: Do not spoil all by seeming surprised. . . CHRISTIAN: At what? CYRANO: I must explain to you!. . .Oh! 'tis no great matter--I but thought of it to- day on seeing her. You have. . . CHRISTIAN: Tell quickly! CYRANO: You have. . .written to her oftener than you think. . . CHRISTIAN: How so? CYRANO: Thus, 'faith! I had taken it in hand to express your flame for you!. . .At times I wrote without saying, 'I am writing!' CHRISTIAN: Ah!. . . CYRANO: 'Tis simple enough! CHRISTIAN: But how did you contrive, since we have been cut off, thus. . .to?. . . CYRANO: . . .Oh! before dawn. . .I was able to get through. . . CHRISTIAN (folding his arms): That was simple, too? And how oft, pray you, have I written?. . .Twice in the week?. . .Three times?. . .Four?. . . CYRANO: More often still. CHRISTIAN: What! Every day? CYRANO: Yes, every day,--twice. CHRISTIAN (violently): And that became so mad a joy for you, that you braved death. . . CYRANO (seeing Roxane returning): Hush! Not before her! (He goes hurriedly into his tent.)

Act 4, scene 7

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10

De Guiche returns and again asks Roxane to leave. When she refuses, he resolves to stay and fight too. The men are impressed by his courage, wondering if de Guiche too is a Gascon, and offer him some food. He refuses to eat their left-overs, and betrays a hint of a Gascon accent, making them all the more certain that he is one of them. Cyrano takes Christian to one side and confesses that he sent Roxane more letters than Christian thought. He wrote to her every day, sometimes twice a day. Christian realizes that with each letter, Cyrano had to risk his life crossing enemy lines. He suspects Cyrano's secret, but once again, they are interrupted by Roxane. Cyrano disappears into a tent

novelguide

all_chapterized_books/1254-chapters/42.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_7_part_3.txt

Cyrano de Bergerac.act 4.scene 8

act 4, scene 8

{"name": "Act 4, scene 8", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10", "summary": "Christian asks Roxane why she risked her life to come to the battlefield. She tells him that it was because of his wonderful letters. At first, she says, she loved him for his beauty, but then she was a foolish, shallow girl. Now, his beauty no longer matters, and she loves the soul that shone through in his letters. She would love him even if he were ugly. Christian is miserable at this news, as he realizes that it is Cyrano whom she loves. Roxane cannot understand why he is unhappy. As he tries to control his emotions, he sends Roxane off to speak to the men to lift their spirits before they die", "analysis": ""}

Roxane, Christian. In the distance cadets coming and going. Carbon and De Guiche give orders. ROXANE (running up to Christian): Ah, Christian, at last!. . . CHRISTIAN (taking her hands): Now tell me why-- Why, by these fearful paths so perilous-- Across these ranks of ribald soldiery, You have come? ROXANE: Love, your letters brought me here! CHRISTIAN: What say you? ROXANE: 'Tis your fault if I ran risks! Your letters turned my head! Ah! all this month, How many!--and the last one ever bettered The one that went before! CHRISTIAN: What!--for a few Inconsequent love-letters! ROXANE: Hold your peace! Ah! you cannot conceive it! Ever since That night, when, in a voice all new to me, Under my window you revealed your soul-- Ah! ever since I have adored you! Now Your letters all this whole month long!--meseemed As if I heard that voice so tender, true, Sheltering, close! Thy fault, I say! It drew me, The voice o' th' night! Oh! wise Penelope Would ne'er have stayed to broider on her hearthstone, If her Ulysses could have writ such letters! But would have cast away her silken bobbins, And fled to join him, mad for love as Helen! CHRISTIAN: But. . . ROXANE: I read, read again--grew faint for love; I was thine utterly. Each separate page Was like a fluttering flower-petal, loosed From your own soul, and wafted thus to mine. Imprinted in each burning word was love Sincere, all-powerful. . . CHRISTIAN: A love sincere! Can that be felt, Roxane! ROXANE: Ay, that it can! CHRISTIAN: You come. . .? ROXANE: O, Christian, my true lord, I come-- (Were I to throw myself, here, at your knees, You would raise me--but 'tis my soul I lay At your feet--you can raise it nevermore!) --I come to crave your pardon. (Ay, 'tis time To sue for pardon, now that death may come!) For the insult done to you when, frivolous, At first I loved you only for your face! CHRISTIAN (horror-stricken): Roxane! ROXANE: And later, love--less frivolous-- Like a bird that spreads its wings, but can not fly-- Arrested by your beauty, by your soul Drawn close--I loved for both at once! CHRISTIAN: And now? ROXANE: Ah! you yourself have triumphed o'er yourself, And now, I love you only for your soul! CHRISTIAN (stepping backward): Roxane! ROXANE: Be happy. To be loved for beauty-- A poor disguise that time so soon wears threadbare-- Must be to noble souls--to souls aspiring-- A torture. Your dear thoughts have now effaced That beauty that so won me at the outset. Now I see clearer--and I no more see it! CHRISTIAN: Oh!. . . ROXANE: You are doubtful of such victory? CHRISTIAN (pained): Roxane! ROXANE: I see you cannot yet believe it. Such love. . .? CHRISTIAN: I do not ask such love as that! I would be loved more simply; for. . . ROXANE: For that Which they have all in turns loved in thee?-- Shame! Oh! be loved henceforth in a better way! CHRISTIAN: No! the first love was best! ROXANE: Ah! how you err! 'Tis now that I love best--love well! 'Tis that Which is thy true self, see!--that I adore! Were your brilliance dimmed. . . CHRISTIAN: Hush! ROXANE: I should love still! Ay, if your beauty should to-day depart. . . CHRISTIAN: Say not so! ROXANE: Ay, I say it! CHRISTIAN: Ugly? How? ROXANE: Ugly! I swear I'd love you still! CHRISTIAN: My God! ROXANE: Are you content at last? CHRISTIAN (in a choked voice): Ay!. . . ROXANE: What is wrong? CHRISTIAN (gently pushing her away): Nothing. . .I have two words to say:--one second. . . ROXANE: But?. . . CHRISTIAN (pointing to the cadets): Those poor fellows, shortly doomed to death,-- My love deprives them of the sight of you: Go,--speak to them--smile on them ere they die! ROXANE (deeply affected): Dear Christian!. . . (She goes up to the cadets, who respectfully crowd round her.)

Act 4, scene 8

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10

Christian asks Roxane why she risked her life to come to the battlefield. She tells him that it was because of his wonderful letters. At first, she says, she loved him for his beauty, but then she was a foolish, shallow girl. Now, his beauty no longer matters, and she loves the soul that shone through in his letters. She would love him even if he were ugly. Christian is miserable at this news, as he realizes that it is Cyrano whom she loves. Roxane cannot understand why he is unhappy. As he tries to control his emotions, he sends Roxane off to speak to the men to lift their spirits before they die

novelguide

all_chapterized_books/1254-chapters/43.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_7_part_4.txt

Cyrano de Bergerac.act 4.scene 9

act 4, scene 9

{"name": "Act 4, scene 9", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10", "summary": "Christian tells Cyrano that Roxane no longer loves him; it is Cyrano whom she loves. Christian also says it is plain that Cyrano returns her love. Cyrano admits that this is so. Christian tells Cyrano to tell her their secret. Cyrano says he cannot, as he is so ugly. Christian points out that Roxane said she would love him even if he were ugly. He adds that Cyrano should not lose the chance of happiness just because he is handsome. As Christian leaves to go to the sentry-post, he says that Cyrano must ask Roxane to choose between them", "analysis": ""}

Christian, Cyrano. At back Roxane talking to Carbon and some cadets. CHRISTIAN (calling toward Cyrano's tent): Cyrano! CYRANO (reappearing, fully armed): What? Why so pale? CHRISTIAN: She does not love me! CYRANO: What? CHRISTIAN: 'Tis you she loves! CYRANO: No! CHRISTIAN: --For she loves me only for my soul! CYRANO: Truly? CHRISTIAN: Yes! Thus--you see, that soul is you,. . . Therefore, 'tis you she loves!--And you--love her! CYRANO: I? CHRISTIAN: Oh, I know it! CYRANO: Ay, 'tis true! CHRISTIAN: You love To madness! CYRANO: Ay! and worse! CHRISTIAN: Then tell her so! CYRANO: No! CHRISTIAN: And why not? CYRANO: Look at my face!--be answered! CHRISTIAN: She'd love me--were I ugly. CYRANO: Said she so? CHRISTIAN: Ay! in those words! CYRANO: I'm glad she told you that! But pooh!--believe it not! I am well pleased She thought to tell you. Take it not for truth. Never grow ugly:--she'd reproach me then! CHRISTIAN: That I intend discovering! CYRANO: No! I beg! CHRISTIAN: Ay! she shall choose between us!--Tell her all! CYRANO: No! no! I will not have it! Spare me this! CHRISTIAN: Because my face is haply fair, shall I Destroy your happiness? 'Twere too unjust! CYRANO: And I,--because by Nature's freak I have The gift to say--all that perchance you feel. Shall I be fatal to your happiness? CHRISTIAN: Tell all! CYRANO: It is ill done to tempt me thus! CHRISTIAN: Too long I've borne about within myself A rival to myself--I'll make an end! CYRANO: Christian! CHRISTIAN: Our union, without witness--secret-- Clandestine--can be easily dissolved If we survive. CYRANO: My God!--he still persists! CHRISTIAN: I will be loved myself--or not at all! --I'll go see what they do--there, at the end Of the post: speak to her, and then let her choose One of us two! CYRANO: It will be you. CHRISTIAN: Pray God! (He calls): Roxane! CYRANO: No! no! ROXANE (coming up quickly): What? CHRISTIAN: Cyrano has things Important for your ear. . . (She hastens to Cyrano. Christian goes out.)

Act 4, scene 9

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10

Christian tells Cyrano that Roxane no longer loves him; it is Cyrano whom she loves. Christian also says it is plain that Cyrano returns her love. Cyrano admits that this is so. Christian tells Cyrano to tell her their secret. Cyrano says he cannot, as he is so ugly. Christian points out that Roxane said she would love him even if he were ugly. He adds that Cyrano should not lose the chance of happiness just because he is handsome. As Christian leaves to go to the sentry-post, he says that Cyrano must ask Roxane to choose between them

novelguide

all_chapterized_books/1254-chapters/44.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_7_part_5.txt

Cyrano de Bergerac.act 4.scene 10

act 4, scene 10

{"name": "Act 4, scene 10", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10", "summary": "Cyrano and Roxane discuss her conversation with Christian. Musket fire is heard offstage. Cyrano asks Roxane if it is true that she would love him even if he were ugly, or even disfigured. She confirms that she would. Cyrano is ecstatic, and is on the brink of revealing his secret to Roxane. Before he can speak, however, Le Bret rushes in and whispers something in Cyrano's ear. Cyrano, anguished, cries that it is too late: he can never tell Roxane his feelings. Some men enter, carrying Christian. He is dying. Le Bret tells Cyrano that he was the first to die. Roxane, distraught, throws herself on Christian's body. Cyrano whispers in his ear that he told Roxane their secret, and asked her to choose between them: she chose Christian. Christian dies. The battle begins all around them. Roxane notices a letter addressed to her in Christian's pocket. It is Cyrano's latest letter. Roxane praises Christian's fine intellect, sensitivity, and gift for poetry to Cyrano. Cyrano reflects that he can die happy today, as she is really weeping for him. De Guiche enters, with a head wound. Roxane notices that the letter in Christian's pocket is stained with blood and tears. She is on the verge of fainting. Cyrano asks de Guiche to take her away, as he is going to charge against the Spanish. Cyrano also tells de Guiche that he has proved his worth. De Guiche agrees to take Roxane away, and tells Cyrano that if the Guards can hold the line even for half an hour, the main forces will have returned and they can beat the Spanish. A wounded Carbon runs in with some other men, with the news that the French line is breaking. Cyrano says the Spanish will pay for two things: Christian's death and his own hopes of happiness. Cyrano plants the standard, Roxane's handkerchief, in the ground, and rallies the troops.", "analysis": "of Act 4, scenes 6-10. The play's action regarding Cyrano and Christian's collaboration comes to a climax in this section. This escalating internal conflict is paralleled by the external conflict of the battle between the French and the Spanish. De Guiche rapidly metamorphoses from villain to sympathetic character, even with a tinge of the hero. Inspired by Roxane's refusal to leave the battlefield, he too decides to stay. In addition, he endears himself to the Guards by the trace of the Gascon accent that emerges in his speech, and his proud refusal to eat the other men's leftovers. The men's decision that he is a Gascon, just like them, and Cyrano's appreciative words as he sends him away with Roxane, completes his redemption. Though the change in de Guiche may be considered too sudden to be convincing, its dramatic purpose is to remove him from the plot so that the action can focus on the main story involving Cyrano, Christian, and Roxane. There is bitter irony in the fact that Roxane's good news that she has risked her life to tell Christian is the worst thing that he could possibly hear. It tells him that in fact, Roxane loves Cyrano, and Christian's one claim on her affections, his outward beauty, has become irrelevant. With this development, Christian becomes redundant. Cyrano's chivalry is apparent, however, in his whispering to the dying Christian that he told Roxane their secret and asked her to choose between them, and that she chose Christian. Cyrano ensures that Christian dies happy and fulfilled in his role as Roxane's lover. Christian's death does, however, push the irony and the tragedy of the play to new heights. It means that Cyrano can never tell Roxane his secret, as to do so would betray his friend, Christian, and make a mockery of her mourning. Cyrano's anguished cry of \"Too late. on hearing of Christian's death in scene 10 expresses his sorrow and despair that he can never be united with Roxane"}

Roxane, Cyrano. Then Le Bret, Carbon de Castel-Jaloux, the cadets, Ragueneau, De Guiche, etc. ROXANE: Important, how? CYRANO (in despair. to Roxane): He's gone! 'Tis naught!--Oh, you know how he sees Importance in a trifle! ROXANE (warmly): Did he doubt Of what I said?--Ah, yes, I saw he doubted! CYRANO (taking her hand): But are you sure you told him all the truth? ROXANE: Yes, I would love him were he. . . (She hesitates.) CYRANO: Does that word Embarrass you before my face, Roxane? ROXANE: I. . . CYRANO (smiling sadly): 'Twill not hurt me! Say it! If he were Ugly!. . . ROXANE: Yes, ugly! (Musket report outside): Hark! I hear a shot! CYRANO (ardently): Hideous! ROXANE: Hideous! yes! CYRANO: Disfigured. ROXANE: Ay! CYRANO: Grotesque? ROXANE: He could not be grotesque to me! CYRANO: You'd love the same?. . . ROXANE: The same--nay, even more! CYRANO (losing command over himself--aside): My God! it's true, perchance, love waits me there! (To Roxane): I. . .Roxane. . .listen. . . LE BRET (entering hurriedly--to Cyrano): Cyrano! CYRANO (turning round): What? LE BRET: Hush! (He whispers something to him.) CYRANO (letting go Roxane's hand and exclaiming): Ah, God! ROXANE: What is it? CYRANO (to himself--stunned): All is over now. (Renewed reports.) ROXANE: What is the matter? Hark! another shot! (She goes up to look outside.) CYRANO: It is too late, now I can never tell! ROXANE (trying to rush out): What has chanced? CYRANO (rushing to stop her): Nothing! (Some cadets enter, trying to hide something they are carrying, and close round it to prevent Roxane approaching.) ROXANE: And those men? (Cyrano draws her away): What were you just about to say before. . .? CYRANO: What was I saying? Nothing now, I swear! (Solemnly): I swear that Christian's soul, his nature, were. . . (Hastily correcting himself): Nay, that they are, the noblest, greatest. . . ROXANE: Were? (With a loud scream): Oh! (She rushes up, pushing every one aside.) CYRANO: All is over now! ROXANE (seeing Christian lying on the ground, wrapped in his cloak): O Christian! LE BRET (to Cyrano): Struck by first shot of the enemy! (Roxane flings herself down by Christian. Fresh reports of cannon--clash of arms--clamor--beating of drums.) CARBON (with sword in the air): O come! Your muskets. (Followed by the cadets, he passes to the other side of the ramparts.) ROXANE: Christian! THE VOICE OF CARBON (from the other side): Ho! make haste! ROXANE: Christian! CARBON: FORM LINE! ROXANE: Christian! CARBON: HANDLE YOUR MATCH! (Ragueneau rushes up, bringing water in a helmet.) CHRISTIAN (in a dying voice): Roxane! CYRANO (quickly, whispering into Christian's ear, while Roxane distractedly tears a piece of linen from his breast, which she dips into the water, trying to stanch the bleeding): I told her all. She loves you still. (Christian closes his eyes.) ROXANE: How, my sweet love? CARBON: DRAW RAMRODS! ROXANE (to Cyrano): He is not dead? CARBON: OPEN YOUR CHARGES WITH YOUR TEETH! ROXANE: His cheek Grows cold against my own! CARBON: READY! PRESENT! ROXANE (seeing a letter in Christian's doublet): A letter!. . . 'Tis for me! (She opens it.) CYRANO (aside): My letter! CARBON: FIRE! (Musket reports--shouts--noise of battle.) CYRANO (trying to disengage his hand, which Roxane on her knees is holding): But, Roxane, hark, they fight! ROXANE (detaining him): Stay yet awhile. For he is dead. You knew him, you alone. (Weeping quietly): Ah, was not his a beauteous soul, a soul Wondrous! CYRANO (standing up--bareheaded): Ay, Roxane. ROXANE: An inspired poet? CYRANO: Ay, Roxane. ROXANE: And a mind sublime? CYRANO: Oh, yes! ROXANE: A heart too deep for common minds to plumb, A spirit subtle, charming? CYRANO (firmly): Ay, Roxane. ROXANE (flinging herself on the dead body): Dead, my love! CYRANO (aside--drawing his sword): Ay, and let me die to-day, Since, all unconscious, she mourns me--in him! (Sounds of trumpets in the distance.) DE GUICHE (appearing on the ramparts--bareheaded--with a wound on his forehead--in a voice of thunder): It is the signal! Trumpet flourishes! The French bring the provisions into camp! Hold but the place awhile! ROXANE: See, there is blood Upon the letter--tears! A VOICE (outside--shouting): Surrender! VOICE OF CADETS: No! RAGUENEAU (standing on the top of his carriage, watches the battle over the edge of the ramparts): The danger's ever greater! CYRANO (to De Guiche--pointing to Roxane): I will charge! Take her away! ROXANE (kissing the letter--in a half-extinguished voice): O God! his tears! his blood!. . . RAGUENEAU (jumping down from the carriage and rushing toward her): She's swooned away! DE GUICHE (on the rampart--to the cadets--with fury): Stand fast! A VOICE (outside): Lay down your arms! THE CADETS: No! CYRANO (to De Guiche): Now that you have proved your valor, Sir, (Pointing to Roxane): Fly, and save her! DE GUICHE (rushing to Roxane, and carrying her away in his arms): So be it! Gain but time, The victory's ours! CYRANO: Good. (Calling out to Roxane, whom De Guiche, aided by Ragueneau, is bearing away in a fainting condition): Farewell, Roxane! (Tumult. Shouts. Cadets reappear, wounded, falling on the scene. Cyrano, rushing to the battle, is stopped by Carbon de Castel-Jaloux, who is streaming with blood.) CARBON: We are breaking! I am wounded--wounded twice! CYRANO (shouting to the Gascons): GASCONS! HO, GASCONS! NEVER TURN YOUR BACKS! (To Carbon, whom he is supporting): Have no fear! I have two deaths to avenge: My friend who's slain;--and my dead happiness! (They come down, Cyrano brandishing the lance to which is attached Roxane's handkerchief): Float there! laced kerchief broidered with her name! (He sticks it in the ground and shouts to the cadets): FALL ON THEM, GASCONS! CRUSH THEM! (To the fifer): Fifer, play! (The fife plays. The wounded try to rise. Some cadets, falling one over the other down the slope, group themselves round Cyrano and the little flag. The carriage is crowded with men inside and outside, and, bristling with arquebuses, is turned into a fortress.) A CADET (appearing on the crest, beaten backward, but still fighting, cries): They're climbing the redoubt! (and falls dead.) CYRANO: Let us salute them! (The rampart is covered instantly by a formidable row of enemies. The standards of the Imperialists are raised): Fire! (General discharge.) A CRY IN THE ENEMY'S RANKS: Fire! (A deadly answering volley. The cadets fall on all sides.) A SPANISH OFFICER (uncovering): Who are these men who rush on death? CYRANO (reciting, erect, amid a storm of bullets): The bold Cadets of Gascony, Of Carbon of Castel-Jaloux! Brawling, swaggering boastfully, (He rushes forward, followed by a few survivors): The bold Cadets. . . (His voice is drowned in the battle.) Curtain.

Act 4, scene 10

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act4-scenes6-10

Cyrano and Roxane discuss her conversation with Christian. Musket fire is heard offstage. Cyrano asks Roxane if it is true that she would love him even if he were ugly, or even disfigured. She confirms that she would. Cyrano is ecstatic, and is on the brink of revealing his secret to Roxane. Before he can speak, however, Le Bret rushes in and whispers something in Cyrano's ear. Cyrano, anguished, cries that it is too late: he can never tell Roxane his feelings. Some men enter, carrying Christian. He is dying. Le Bret tells Cyrano that he was the first to die. Roxane, distraught, throws herself on Christian's body. Cyrano whispers in his ear that he told Roxane their secret, and asked her to choose between them: she chose Christian. Christian dies. The battle begins all around them. Roxane notices a letter addressed to her in Christian's pocket. It is Cyrano's latest letter. Roxane praises Christian's fine intellect, sensitivity, and gift for poetry to Cyrano. Cyrano reflects that he can die happy today, as she is really weeping for him. De Guiche enters, with a head wound. Roxane notices that the letter in Christian's pocket is stained with blood and tears. She is on the verge of fainting. Cyrano asks de Guiche to take her away, as he is going to charge against the Spanish. Cyrano also tells de Guiche that he has proved his worth. De Guiche agrees to take Roxane away, and tells Cyrano that if the Guards can hold the line even for half an hour, the main forces will have returned and they can beat the Spanish. A wounded Carbon runs in with some other men, with the news that the French line is breaking. Cyrano says the Spanish will pay for two things: Christian's death and his own hopes of happiness. Cyrano plants the standard, Roxane's handkerchief, in the ground, and rallies the troops.

of Act 4, scenes 6-10. The play's action regarding Cyrano and Christian's collaboration comes to a climax in this section. This escalating internal conflict is paralleled by the external conflict of the battle between the French and the Spanish. De Guiche rapidly metamorphoses from villain to sympathetic character, even with a tinge of the hero. Inspired by Roxane's refusal to leave the battlefield, he too decides to stay. In addition, he endears himself to the Guards by the trace of the Gascon accent that emerges in his speech, and his proud refusal to eat the other men's leftovers. The men's decision that he is a Gascon, just like them, and Cyrano's appreciative words as he sends him away with Roxane, completes his redemption. Though the change in de Guiche may be considered too sudden to be convincing, its dramatic purpose is to remove him from the plot so that the action can focus on the main story involving Cyrano, Christian, and Roxane. There is bitter irony in the fact that Roxane's good news that she has risked her life to tell Christian is the worst thing that he could possibly hear. It tells him that in fact, Roxane loves Cyrano, and Christian's one claim on her affections, his outward beauty, has become irrelevant. With this development, Christian becomes redundant. Cyrano's chivalry is apparent, however, in his whispering to the dying Christian that he told Roxane their secret and asked her to choose between them, and that she chose Christian. Cyrano ensures that Christian dies happy and fulfilled in his role as Roxane's lover. Christian's death does, however, push the irony and the tragedy of the play to new heights. It means that Cyrano can never tell Roxane his secret, as to do so would betray his friend, Christian, and make a mockery of her mourning. Cyrano's anguished cry of "Too late. on hearing of Christian's death in scene 10 expresses his sorrow and despair that he can never be united with Roxane

novelguide

all_chapterized_books/1254-chapters/46.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_8_part_1.txt

Cyrano de Bergerac.act 5.scene 1

act 5, scene 1

{"name": "act 5, scene 1", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6", "summary": "It is fifteen years later, in 1655. The action opens in the garden of the convent into which Roxane has retired. The nuns are talking about Cyrano, who they say has visited Roxane regularly for the fourteen years since she came to live there. He is the only person who makes her smile. Mother Margaret, the head of the convent, mentions that he is so poor that on some days he does not eat", "analysis": ""}

Mother Marguerite, Sister Martha, Sister Claire, other sisters. SISTER MARTHA (to Mother Marguerite): Sister Claire glanced in the mirror, once--nay, twice, to see if her coif suited. MOTHER MARGUERITE (to Sister Claire): 'Tis not well. SISTER CLAIRE: But I saw Sister Martha take a plum Out of the tart. MOTHER MARGUERITE (to Sister Martha): That was ill done, my sister. SISTER CLAIRE: A little glance! SISTER MARTHA: And such a little plum! MOTHER MARGUERITE: I shall tell this to Monsieur Cyrano. SISTER CLAIRE: Nay, prithee do not!--he will mock! SISTER MARTHA: He'll say we nuns are vain! SISTER CLAIRE: And greedy! MOTHER MARGUERITE (smiling): Ay, and kind! SISTER CLAIRE: Is it not true, pray, Mother Marguerite, That he has come, each week, on Saturday For ten years, to the convent? MOTHER MARGUERITE: Ay! and more! Ever since--fourteen years ago--the day His cousin brought here, 'midst our woolen coifs, The worldly mourning of her widow's veil, Like a blackbird's wing among the convent doves! SISTER MARTHA: He only has the skill to turn her mind From grief--unsoftened yet by Time--unhealed! ALL THE SISTERS: He is so droll!--It's cheerful when he comes!-- He teases us!--But we all like him well!-- --We make him pasties of angelica! SISTER MARTHA: But, he is not a faithful Catholic! SISTER CLAIRE: We will convert him! THE SISTERS: Yes! Yes! MOTHER MARGUERITE: I forbid, My daughters, you attempt that subject. Nay, Weary him not--he might less oft come here! SISTER MARTHA: But. . .God. . . MOTHER MARGUERITE: Nay, never fear! God knows him well! SISTER MARTHA: But--every Saturday, when he arrives, He tells me, 'Sister, I eat meat on Friday!' MOTHER MARGUERITE: Ah! says he so? Well, the last time he came Food had not passed his lips for two whole days! SISTER MARTHA: Mother! MOTHER MARGUERITE: He's poor. SISTER MARTHA: Who told you so, dear Mother? MOTHER MARGUERITE: Monsieur Le Bret. SISTER MARTHA: None help him? MOTHER MARGUERITE: He permits not. (In an alley at the back Roxane appears, dressed in black, with a widow's coif and veil. De Guiche, imposing-looking and visibly aged, walks by her side. They saunter slowly. Mother Marguerite rises): 'Tis time we go in; Madame Madeleine Walks in the garden with a visitor. SISTER MARTHA (to Sister Claire, in a low voice): The Marshal of Grammont? SISTER CLAIRE (looking at him): 'Tis he, I think. SISTER MARTHA: 'Tis many months now since he came to see her. THE SISTERS: He is so busy!--The Court,--the camp!. . . SISTER CLAIRE: The world! (They go out. De Guiche and Roxane come forward in silence, and stop close to the embroidery frame.)

act 5, scene 1

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6

It is fifteen years later, in 1655. The action opens in the garden of the convent into which Roxane has retired. The nuns are talking about Cyrano, who they say has visited Roxane regularly for the fourteen years since she came to live there. He is the only person who makes her smile. Mother Margaret, the head of the convent, mentions that he is so poor that on some days he does not eat

novelguide

all_chapterized_books/1254-chapters/47.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_8_part_2.txt

Cyrano de Bergerac.act 5.scene 2

act 5, scene 2

{"name": "Act 5, scene 2", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6", "summary": "Roxane enters with de Guiche, who is visiting her. He is now the Duc de Grammont and one of the most powerful men in France. De Guiche asks her whether she intends to waste her beauty living in the convent forever, guarding Christian's memory. She says that she does, and that she still keeps his last letter next to her heart. He asks her whether she forgives him for sending Christian to his death; she says that she must, since she lives in the convent. She adds that she still feels Christian's love all around her. He asks if Cyrano still visits her. She replies that he visits every week and tells her all the news. Le Bret enters and reports that Cyrano is suffering from poverty, hunger, and loneliness. De Guiche comments that Cyrano should not be pitied too much because he has lived the life he chose, free and not obligated to anyone. De Guiche adds that he himself has everything, while Cyrano has nothing, yet he would still like to shake his hand. He envies Cyrano, as it seems he can have no regrets about his life. De Guiche takes Le Bret aside and warns him that Cyrano has made enemies. De Guiche overheard one influential person saying, \"Cyrano might have an accident. Ragueneau arrives to visit Roxane. He has fallen on hard times. He gave up his shop to become a writer, but has found himself doing a series of other jobs", "analysis": ""}

Roxane; the Duke de Grammont, formerly Count de Guiche. Then Le Bret and Ragueneau. THE DUKE: And you stay here still--ever vainly fair, Ever in weeds? ROXANE: Ever. THE DUKE: Still faithful? ROXANE: Still. THE DUKE (after a pause): Am I forgiven? ROXANE: Ay, since I am here. (Another pause.) THE DUKE: His was a soul, you say?. . . ROXANE: Ah!--when you knew him! THE DUKE: Ah, may be!. . .I, perchance, too little knew him! . . .And his last letter, ever next your heart? ROXANE: Hung from this chain, a gentle scapulary. THE DUKE: And, dead, you love him still? ROXANE: At times,--meseems He is but partly dead--our hearts still speak, As if his love, still living, wrapped me round! THE DUKE (after another pause): Cyrano comes to see you? ROXANE: Often, ay. Dear, kind old friend! We call him my 'Gazette.' He never fails to come: beneath this tree They place his chair, if it be fine:--I wait, I broider;--the clock strikes;--at the last stroke I hear,--for now I never turn to look-- Too sure to hear his cane tap down the steps; He seats himself:--with gentle raillery He mocks my tapestry that's never done; He tells me all the gossip of the week. . . (Le Bret appears on the steps): Why, here's Le Bret! (Le Bret descends): How goes it with our friend? LE BRET: Ill!--very ill. THE DUKE: How? ROXANE (to the Duke): He exaggerates! LE BRET: All that I prophesied: desertion, want!. . . His letters now make him fresh enemies!-- Attacking the sham nobles, sham devout, Sham brave,--the thieving authors,--all the world! ROXANE: Ah! but his sword still holds them all in check; None get the better of him. THE DUKE (shaking his head): Time will show! LE BRET: Ah, but I fear for him--not man's attack,-- Solitude--hunger--cold December days, That wolf-like steal into his chamber drear:-- Lo! the assassins that I fear for him! Each day he tightens by one hole his belt: That poor nose--tinted like old ivory: He has retained one shabby suit of serge. THE DUKE: Ay, there is one who has no prize of Fortune!-- Yet is not to be pitied! LE BRET (with a bitter smile): My Lord Marshal!. . . THE DUKE: Pity him not! He has lived out his vows, Free in his thoughts, as in his actions free! LE BRET (in the same tone): My Lord!. . . THE DUKE (haughtily): True! I have all, and he has naught;. . . Yet I were proud to take his hand! (Bowing to Roxane): Adieu! ROXANE: I go with you. (The Duke bows to Le Bret, and goes with Roxane toward the steps.) THE DUKE (pausing, while she goes up): Ay, true,--I envy him. Look you, when life is brimful of success --Though the past hold no action foul--one feels A thousand self-disgusts, of which the sum Is not remorse, but a dim, vague unrest; And, as one mounts the steps of worldly fame, The Duke's furred mantles trail within their folds A sound of dead illusions, vain regrets, A rustle--scarce a whisper--like as when, Mounting the terrace steps, by your mourning robe Sweeps in its train the dying autumn leaves. ROXANE (ironically): You are pensive? THE DUKE: True! I am! (As he is going out, suddenly): Monsieur Le Bret! (To Roxane): A word, with your permission? (He goes to Le Bret, and in a low voice): True, that none Dare to attack your friend;--but many hate him; Yesterday, at the Queen's card-play, 'twas said 'That Cyrano may die--by accident!' Let him stay in--be prudent! LE BRET (raising his arms to heaven): Prudent! He!. . . He's coming here. I'll warn him--but!. . . ROXANE (who has stayed on the steps, to a sister who comes toward her): What is it? THE SISTER: Ragueneau would see you, Madame. ROXANE: Let him come. (To the Duke and Le Bret): He comes to tell his troubles. Having been An author (save the mark!)--poor fellow--now By turns he's singer. . . LE BRET: Bathing-man. . . ROXANE: Then actor. . . LE BRET: Beadle. . . ROXANE: Wig-maker. . . LE BRET: Teacher of the lute. . . ROXANE: What will he be to-day, by chance? RAGUENEAU (entering hurriedly): Ah! Madame! (He sees Le Bret): Ah! you here, Sir! ROXANE (smiling): Tell all your miseries To him; I will return anon. RAGUENEAU: But, Madame. . . (Roxane goes out with the Duke. Ragueneau goes toward Le Bret.)

Act 5, scene 2

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6

Roxane enters with de Guiche, who is visiting her. He is now the Duc de Grammont and one of the most powerful men in France. De Guiche asks her whether she intends to waste her beauty living in the convent forever, guarding Christian's memory. She says that she does, and that she still keeps his last letter next to her heart. He asks her whether she forgives him for sending Christian to his death; she says that she must, since she lives in the convent. She adds that she still feels Christian's love all around her. He asks if Cyrano still visits her. She replies that he visits every week and tells her all the news. Le Bret enters and reports that Cyrano is suffering from poverty, hunger, and loneliness. De Guiche comments that Cyrano should not be pitied too much because he has lived the life he chose, free and not obligated to anyone. De Guiche adds that he himself has everything, while Cyrano has nothing, yet he would still like to shake his hand. He envies Cyrano, as it seems he can have no regrets about his life. De Guiche takes Le Bret aside and warns him that Cyrano has made enemies. De Guiche overheard one influential person saying, "Cyrano might have an accident. Ragueneau arrives to visit Roxane. He has fallen on hard times. He gave up his shop to become a writer, but has found himself doing a series of other jobs

novelguide

all_chapterized_books/1254-chapters/48.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_8_part_3.txt

Cyrano de Bergerac.act 5.scene 3

act 5, scene 3

{"name": "Act 5, scene 3", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6", "summary": "Roxane leaves to talk to de Guiche. Ragueneau tells Le Bret that Cyrano has been seriously injured and is unconscious. As he walked under a window, a man dropped a log of wood on his head. Le Bret is sure that it is no accident. A doctor has said that if Cyrano gets up, he will die", "analysis": ""}

Le Bret, Ragueneau. RAGUENEAU: Since you are here, 'tis best she should not know! I was going to your friend just now--was but A few steps from the house, when I saw him Go out. I hurried to him. Saw him turn The corner. . .suddenly, from out a window Where he was passing--was it chance?. . .may be! A lackey let fall a large piece of wood. LE BRET: Cowards! O Cyrano! RAGUENEAU: I ran--I saw. . . LE BRET: 'Tis hideous! RAGUENEAU: Saw our poet, Sir--our friend-- Struck to the ground--a large wound in his head! LE BRET: He's dead? RAGUENEAU: No--but--I bore him to his room. . . Ah! his room! What a thing to see!--that garret! LE BRET: He suffers? RAGUENEAU: No, his consciousness has flown. LE BRET: Saw you a doctor? RAGUENEAU: One was kind--he came. LE BRET: My poor Cyrano!--We must not tell this To Roxane suddenly.--What said this leech?-- RAGUENEAU: Said,--what, I know not--fever, meningitis!-- Ah! could you see him--all his head bound up!-- But let us haste!--There's no one by his bed!-- And if he try to rise, Sir, he might die! LE BRET (dragging him toward the right): Come! Through the chapel! 'Tis the quickest way! ROXANE (appearing on the steps, and seeing Le Bret go away by the colonnade leading to the chapel door): Monsieur le Bret! (Le Bret and Ragueneau disappear without answering): Le Bret goes--when I call! 'Tis some new trouble of good Ragueneau's. (She descends the steps.)

Act 5, scene 3

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6

Roxane leaves to talk to de Guiche. Ragueneau tells Le Bret that Cyrano has been seriously injured and is unconscious. As he walked under a window, a man dropped a log of wood on his head. Le Bret is sure that it is no accident. A doctor has said that if Cyrano gets up, he will die

novelguide

all_chapterized_books/1254-chapters/49.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_8_part_4.txt

Cyrano de Bergerac.act 5.scene 4

act 5, scene 4

{"name": "Act 5, scene 4", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6", "summary": "Roxane sits doing her needlework and wonders why Cyrano is late for his usual visit", "analysis": ""}

Roxane alone. Two sisters, for a moment. ROXANE: Ah! what a beauty in September's close! My sorrow's eased. April's joy dazzled it, But autumn wins it with her dying calm. (She seats herself at the embroidery frame. Two sisters come out of the house, and bring a large armchair under the tree): There comes the famous armchair where he sits, Dear faithful friend! SISTER MARTHA: It is the parlor's best! ROXANE: Thanks, sister. (The sisters go): He'll be here now. (She seats herself. A clock strikes): The hour strikes. --My silks?--Why, now, the hour's struck! How strange To be behind his time, at last, to-day! Perhaps the portress--where's my thimble?. . . Here!--Is preaching to him. (A pause): Yes, she must be preaching! Surely he must come soon!--Ah, a dead leaf!-- (She brushes off the leaf from her work): Nothing, besides, could--scissors?--In my bag! --Could hinder him. . . A SISTER (coming to the steps): Monsieur de Bergerac.

Act 5, scene 4

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6

Roxane sits doing her needlework and wonders why Cyrano is late for his usual visit

novelguide

all_chapterized_books/1254-chapters/50.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_8_part_5.txt

Cyrano de Bergerac.act 5.scene 5

act 5, scene 5

{"name": "Act 5, scene 5", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6", "summary": "Cyrano enters, looking pale and walking with difficulty. He warns her that he may have to leave before evening. He teases Sister Martha and surprises her by saying that she can pray for him this evening. As he begins to tell Roxane the latest gossip, he is obviously struggling to continue. He almost faints, but tells Roxane it is an old war wound. Roxane tells him that her wound is in her heart, under Christian's letter. She says that the letter is stained with blood and tears. Cyrano asks to read it. Cyrano begins to read the letter aloud. The letter says that the writer will die today, and says goodbye to \"My dearest love\" Roxane. Roxane suddenly realizes that she has heard that voice before, beneath her balcony. She notices that it has grown so dark by now that Cyrano cannot possibly see to read, but still he is speaking the words in the letter. She realizes that it is he who has loved her all these years, he who spoke to her from beneath the balcony and who wrote the letters. Cyrano denies that he loved her, saying that Christian did. She does not believe him. She asks why he kept silent for fourteen years about a letter that Christian did not write. Cyrano replies, \"The tears were mine, but Christian shed the blood. Roxane asks why he has broken his silence today", "analysis": ""}

Roxane, Cyrano and, for a moment, Sister Martha. ROXANE (without turning round): What was I saying?. . . (She embroiders. Cyrano, very pale, his hat pulled down over his eyes, appears. The sister who had announced him retires. He descends the steps slowly, with a visible difficulty in holding himself upright, bearing heavily on his cane. Roxane still works at her tapestry): Time has dimmed the tints. . . How harmonize them now? (To Cyrano, with playful reproach): For the first time Late!--For the first time, all these fourteen years! CYRANO (who has succeeded in reaching the chair, and has seated himself--in a lively voice, which is in great contrast with his pale face): Ay! It is villainous! I raged--was stayed. . . ROXANE: By?. . . CYRANO: By a bold, unwelcome visitor. ROXANE (absently, working): Some creditor? CYRANO: Ay, cousin,--the last creditor Who has a debt to claim from me. ROXANE: And you Have paid it? CYRANO: No, not yet! I put it off; --Said, 'Cry you mercy; this is Saturday, When I have get a standing rendezvous That naught defers. Call in an hour's time!' ROXANE (carelessly): Oh, well, a creditor can always wait! I shall not let you go ere twilight falls. CYRANO: Haply, perforce, I quit you ere it falls! (He shuts his eyes, and is silent for a moment. Sister Martha crosses the park from the chapel to the flight of steps. Roxane, seeing her, signs to her to approach.) ROXANE (to Cyrano): How now? You have not teased the Sister? CYRANO (hastily opening his eyes): True! (In a comically loud voice): Sister! come here! (The sister glides up to him): Ha! ha! What? Those bright eyes Bent ever on the ground? SISTER MARTHA (who makes a movement of astonishment on seeing his face): Oh! CYRANO (in a whisper, pointing to Roxane): Hush! 'tis naught!-- (Loudly, in a blustering voice): I broke fast yesterday! SISTER MARTHA (aside): I know, I know! That's how he is so pale! Come presently To the refectory, I'll make you drink A famous bowl of soup. . .You'll come? CYRANO: Ay, ay! SISTER MARTHA: There, see! You are more reasonable to-day! ROXANE (who hears them whispering): The Sister would convert you? SISTER MARTHA: Nay, not I! CYRANO: Hold! but it's true! You preach to me no more, You, once so glib with holy words! I am Astonished!. . . (With burlesque fury): Stay, I will surprise you too! Hark! I permit you. . . (He pretends to be seeking for something to tease her with, and to have found it): . . .It is something new!-- To--pray for me, to-night, at chapel-time! ROXANE: Oh! oh! CYRANO (laughing): Good Sister Martha is struck dumb! SISTER MARTHA (gently): I did not wait your leave to pray for you. (She goes out.) CYRANO (turning to Roxane, who is still bending over her work): That tapestry! Beshrew me if my eyes Will ever see it finished! ROXANE: I was sure To hear that well-known jest! (A light breeze causes the leaves to fall.) CYRANO: The autumn leaves! ROXANE (lifting her head, and looking down the distant alley): Soft golden brown, like a Venetian's hair. --See how they fall! CYRANO: Ay, see how brave they fall, In their last journey downward from the bough, To rot within the clay; yet, lovely still, Hiding the horror of the last decay, With all the wayward grace of careless flight! ROXANE: What, melancholy--you? CYRANO (collecting himself): Nay, nay, Roxane! ROXANE: Then let the dead leaves fall the way they will. . . And chat. What, have you nothing new to tell, My Court Gazette? CYRANO: Listen. ROXANE: Ah! CYRANO (growing whiter and whiter): Saturday The nineteenth: having eaten to excess Of pear-conserve, the King felt feverish; The lancet quelled this treasonable revolt, And the august pulse beats at normal pace. At the Queen's ball on Sunday thirty score Of best white waxen tapers were consumed. Our troops, they say, have chased the Austrians. Four sorcerers were hanged. The little dog Of Madame d'Athis took a dose. . . ROXANE: I bid You hold your tongue, Monsieur de Bergerac! CYRANO: Monday--not much--Claire changed protector. ROXANE: Oh! CYRANO (whose face changes more and more): Tuesday, the Court repaired to Fontainebleau. Wednesday, the Montglat said to Comte de Fiesque. . . No! Thursday--Mancini, Queen of France! (almost!) Friday, the Monglat to Count Fiesque said--'Yes!' And Saturday the twenty-sixth. . . (He closes his eyes. His head falls forward. Silence.) ROXANE (surprised at his voice ceasing, turns round, looks at him, and rising, terrified): He swoons! (She runs toward him crying): Cyrano! CYRANO (opening his eyes, in an unconcerned voice): What is this? (He sees Roxane bending over him, and, hastily pressing his hat on his head, and shrinking back in his chair): Nay, on my word 'Tis nothing! Let me be! ROXANE: But. . . CYRANO: That old wound Of Arras, sometimes,--as you know. . . ROXANE: Dear friend! CYRANO: 'Tis nothing, 'twill pass soon; (He smiles with an effort): See!--it has passed! ROXANE: Each of us has his wound; ay, I have mine,-- Never healed up--not healed yet, my old wound! (She puts her hand on her breast): 'Tis here, beneath this letter brown with age, All stained with tear-drops, and still stained with blood. (Twilight begins to fall.) CYRANO: His letter! Ah! you promised me one day That I should read it. ROXANE: What would you?--His letter? CYRANO: Yes, I would fain,--to-day. . . ROXANE (giving the bag hung at her neck): See! here it is! CYRANO (taking it): Have I your leave to open? ROXANE: Open--read! (She comes back to her tapestry frame, folds it up, sorts her wools.) CYRANO (reading): 'Roxane, adieu! I soon must die! This very night, beloved; and I Feel my soul heavy with love untold. I die! No more, as in days of old, My loving, longing eyes will feast On your least gesture--ay, the least! I mind me the way you touch your cheek With your finger, softly, as you speak! Ah me! I know that gesture well! My heart cries out!--I cry "Farewell"!' ROXANE: But how you read that letter! One would think. . . CYRANO (continuing to read): 'My life, my love, my jewel, my sweet, My heart has been yours in every beat!' (The shades of evening fall imperceptibly.) ROXANE: You read in such a voice--so strange--and yet-- It is not the first time I hear that voice! (She comes nearer very softly, without his perceiving it, passes behind his chair, and, noiselessly leaning over him, looks at the letter. The darkness deepens.) CYRANO: 'Here, dying, and there, in the land on high, I am he who loved, who loves you,--I. . .' ROXANE (putting her hand on his shoulder): How can you read? It is too dark to see! (He starts, turns, sees her close to him. Suddenly alarmed, he holds his head down. Then in the dusk, which has now completely enfolded them, she says, very slowly, with clasped hands): And, fourteen years long, he has played this part Of the kind old friend who comes to laugh and chat. CYRANO: Roxane! ROXANE: 'Twas you! CYRANO: No, never; Roxane, no! ROXANE: I should have guessed, each time he said my name! CYRANO: No, it was not I! ROXANE: It was you! CYRANO: I swear! ROXANE: I see through all the generous counterfeit-- The letters--you! CYRANO: No. ROXANE: The sweet, mad love-words! You! CYRANO: No! ROXANE: The voice that thrilled the night--you, you! CYRANO: I swear you err. ROXANE: The soul--it was your soul! CYRANO: I loved you not. ROXANE: You loved me not? CYRANO: 'Twas he! ROXANE: You loved me! CYRANO: No! ROXANE: See! how you falter now! CYRANO: No, my sweet love, I never loved you! ROXANE: Ah! Things dead, long dead, see! how they rise again! --Why, why keep silence all these fourteen years, When, on this letter, which he never wrote, The tears were your tears? CYRANO (holding out the letter to her): The bloodstains were his. ROXANE: Why, then, that noble silence,--kept so long-- Broken to-day for the first time--why? CYRANO: Why?. . . (Le Bret and Ragueneau enter running.)

Act 5, scene 5

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6

Cyrano enters, looking pale and walking with difficulty. He warns her that he may have to leave before evening. He teases Sister Martha and surprises her by saying that she can pray for him this evening. As he begins to tell Roxane the latest gossip, he is obviously struggling to continue. He almost faints, but tells Roxane it is an old war wound. Roxane tells him that her wound is in her heart, under Christian's letter. She says that the letter is stained with blood and tears. Cyrano asks to read it. Cyrano begins to read the letter aloud. The letter says that the writer will die today, and says goodbye to "My dearest love" Roxane. Roxane suddenly realizes that she has heard that voice before, beneath her balcony. She notices that it has grown so dark by now that Cyrano cannot possibly see to read, but still he is speaking the words in the letter. She realizes that it is he who has loved her all these years, he who spoke to her from beneath the balcony and who wrote the letters. Cyrano denies that he loved her, saying that Christian did. She does not believe him. She asks why he kept silent for fourteen years about a letter that Christian did not write. Cyrano replies, "The tears were mine, but Christian shed the blood. Roxane asks why he has broken his silence today

novelguide

all_chapterized_books/1254-chapters/51.txt

finished_summaries/novelguide/Cyrano de Bergerac/section_8_part_6.txt

Cyrano de Bergerac.act 5.scene 6

act 5, scene 6

{"name": "Act 5, scene 6", "url": "https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6", "summary": "Le Bret and Ragueneau rush in, crying that Cyrano's coming here will kill him. Cyrano tells Roxane his last piece of news: \"Today. Monsieur de Bergerac was murdered. He takes off his hat and reveals his bandaged head. Roxane is distraught. Cyrano says he always expected to die on the point of a hero's sword, but instead he has been struck down from behind with a lump of wood, by a servant. Even his death, he adds, is \"laughable. Ragueneau tells Cyrano that Moliere has been stealing jokes and scenes that Cyrano has written to put in his plays. Cyrano says that it does not matter as long as the scene worked. Ragueneau says that the audience laughed and laughed. Cyrano comments that his role in life has been to feed lines to others. He tells Roxane that when Christian courted her under the balcony, he was feeding him his lines, but it was Christian who climbed up to claim the kiss from her. Roxane says that Cyrano cannot die, and that she loves him. She says that she has only ever loved one man, and now she is losing him again. Cyrano becomes delirious. He sees that his death is approaching. He stands up, his sword in his hand, to meet death. He says he thinks that death is looking at his nose. He begins to fence his old enemies: Lies, Compromise, Spite, Cowardice, and Stupidity. He says that they can take his poet's crown and lover's garland, yet he will go into God's presence with one thing that he will take unstained out of this world. Roxane, kissing him, asks him what it is. He answers, \"My white plume.", "analysis": "of Act 5, scenes 1-6. The last act of the play jumps forward in time fifteen years, to resolve the plotlines that still involve the main characters after Christian's death. The time of year and the time of day are symbolic of Cyrano's approaching death. The mood of this act, while it retains elements of comedy, comments pessimistically on the fate of a less-than-honorable man and an honorable man. De Guiche has achieved great worldly success by compromising his principles, not to any serious extent, but enough to prompt unease in his conscience. Cyrano, in contrast has not compromised his ideals. But he is poor, hungry, and has made powerful enemies by writing satirical works. This point reinforces one of the themes of the play: the degraded nature of a society that has lost touch with the honorable values of old. The manner of Cyrano's death reflects and comments on his life. It is simultaneously comic and tragic. He does not die on the point of a hero's sword, but is dispatched in a far less honorable fashion by a servant in the pay of a powerful enemy who slyly drops a log of wood on his head. As he is dying, he reflects that his role has always been to remain \"Off in the wings, feeding the lines to others. As a consequence, he has been denied recognition for his literary efforts and the chance to be loved by Roxane. Finally, she finds out his secret, but in a final tragic irony, it is too late: Cyrano is about to die. In his final moments, Cyrano fences not a human enemy, but abstract qualities that he has opposed in his life: Lies, Compromise, Spite, Cowardice, and Stupidity. It could be said, in some interpretations of the play, that in his dealings with Roxane, Cyrano has indeed lied, compromised, acted stupidly, and surrendered to cowardice, because due to his ugly appearance, he feared that Roxane could not love him. But even in this behavior, Cyrano's honor has shone through. He consistently defended Christian's memory and Christian's right to Roxane's love, sacrificing his own interests in the process. Because of this, there is no irony in Cyrano's final claim to appear before God with one unstained thing: his white plume, a symbol of courage, leadership, and honor"}

The same. Le Bret and Ragueneau. LE BRET: What madness! Here? I knew it well! CYRANO (smiling and sitting up): What now? LE BRET: He has brought his death by coming, Madame. ROXANE: God! Ah, then! that faintness of a moment since. . .? CYRANO: Why, true! It interrupted the 'Gazette:' . . .Saturday, twenty-sixth, at dinner-time, Assassination of De Bergerac. (He takes off his hat; they see his head bandaged.) ROXANE: What says he? Cyrano!--His head all bound! Ah, what has chanced? How?--Who?. . . CYRANO: 'To be struck down, Pierced by sword i' the heart, from a hero's hand!' That I had dreamed. O mockery of Fate! --Killed, I! of all men--in an ambuscade! Struck from behind, and by a lackey's hand! 'Tis very well. I am foiled, foiled in all, Even in my death. RAGUENEAU: Ah, Monsieur!. . . CYRANO (holding out his hand to him): Ragueneau, Weep not so bitterly!. . .What do you now, Old comrade? RAGUENEAU (amid his tears): Trim the lights for Moliere's stage. CYRANO: Moliere! RAGUENEAU: Yes; but I shall leave to-morrow. I cannot bear it!--Yesterday, they played 'Scapin'--I saw he'd thieved a scene from you! LE BRET: What! a whole scene? RAGUENEAU: Oh, yes, indeed, Monsieur, The famous one, 'Que Diable allait-il faire?' LE BRET: Moliere has stolen that? CYRANO: Tut! He did well!. . . (to Ragueneau): How went the scene? It told--I think it told? RAGUENEAU (sobbing): Ah! how they laughed! CYRANO: Look you, it was my life To be the prompter every one forgets! (To Roxane): That night when 'neath your window Christian spoke --Under your balcony, you remember? Well! There was the allegory of my whole life: I, in the shadow, at the ladder's foot, While others lightly mount to Love and Fame! Just! very just! Here on the threshold drear Of death, I pay my tribute with the rest, To Moliere's genius,--Christian's fair face! (The chapel-bell chimes. The nuns are seen passing down the alley at the back, to say their office): Let them go pray, go pray, when the bell rings! ROXANE (rising and calling): Sister! Sister! CYRANO (holding her fast): Call no one. Leave me not; When you come back, I should be gone for aye. (The nuns have all entered the chapel. The organ sounds): I was somewhat fain for music--hark! 'tis come. ROXANE: Live, for I love you! CYRANO: No, In fairy tales When to the ill-starred Prince the lady says 'I love you!' all his ugliness fades fast-- But I remain the same, up to the last! ROXANE: I have marred your life--I, I! CYRANO: You blessed my life! Never on me had rested woman's love. My mother even could not find me fair: I had no sister; and, when grown a man, I feared the mistress who would mock at me. But I have had your friendship--grace to you A woman's charm has passed across my path. LE BRET (pointing to the moon, which is seen between the trees): Your other lady-love is come. CYRANO (smiling): I see. ROXANE: I loved but once, yet twice I lose my love! CYRANO: Hark you, Le Bret! I soon shall reach the moon. To-night, alone, with no projectile's aid!. . . LE BRET: What are you saying? CYRANO: I tell you, it is there, There, that they send me for my Paradise, There I shall find at last the souls I love, In exile,--Galileo--Socrates! LE BRET (rebelliously): No, no! It is too clumsy, too unjust! So great a heart! So great a poet! Die Like this? what, die. . .? CYRANO: Hark to Le Bret, who scolds! LE BRET (weeping): Dear friend. . . CYRANO (starting up, his eyes wild): What ho! Cadets of Gascony! The elemental mass--ah yes! The hic. . . LE BRET: His science still--he raves! CYRANO: Copernicus Said. . . ROXANE: Oh! CYRANO: Mais que diable allait-il faire, Mais que diable allait-il faire dans cette galere?. . . Philosopher, metaphysician, Rhymer, brawler, and musician, Famed for his lunar expedition, And the unnumbered duels he fought,-- And lover also,--by interposition!-- Here lies Hercule Savinien De Cyrano de Bergerac, Who was everything, yet was naught. I cry you pardon, but I may not stay; See, the moon-ray that comes to call me hence! (He has fallen back in his chair; the sobs of Roxane recall him to reality; he looks long at her, and, touching her veil): I would not bid you mourn less faithfully That good, brave Christian: I would only ask That when my body shall be cold in clay You wear those sable mourning weeds for two, And mourn awhile for me, in mourning him. ROXANE: I swear it you!. . . CYRANO (shivering violently, then suddenly rising): Not there! what, seated?--no! (They spring toward him): Let no one hold me up-- (He props himself against the tree): Only the tree! (Silence): It comes. E'en now my feet have turned to stone, My hands are gloved with lead! (He stands erect): But since Death comes, I meet him still afoot, (He draws his sword): And sword in hand! LE BRET: Cyrano! ROXANE (half fainting): Cyrano! (All shrink back in terror.) CYRANO: Why, I well believe He dares to mock my nose? Ho! insolent! (He raises his sword): What say you? It is useless? Ay, I know But who fights ever hoping for success? I fought for lost cause, and for fruitless quest! You there, who are you!--You are thousands! Ah! I know you now, old enemies of mine! Falsehood! (He strikes in air with his sword): Have at you! Ha! and Compromise! Prejudice, Treachery!. . . (He strikes): Surrender, I? Parley? No, never! You too, Folly,--you? I know that you will lay me low at last; Let be! Yet I fall fighting, fighting still! (He makes passes in the air, and stops, breathless): You strip from me the laurel and the rose! Take all! Despite you there is yet one thing I hold against you all, and when, to-night, I enter Christ's fair courts, and, lowly bowed, Sweep with doffed casque the heavens' threshold blue, One thing is left, that, void of stain or smutch, I bear away despite you. (He springs forward, his sword raised; it falls from his hand; he staggers, falls back into the arms of Le Bret and Ragueneau.) ROXANE (bending and kissing his forehead): 'Tis?. . . CYRANO (opening his eyes, recognizing her, and smiling): MY PANACHE. Curtain.

Act 5, scene 6

https://web.archive.org/web/20210212220419/https://www.novelguide.com/cyrano-de-bergerac/summaries/act5-scenes1-6

Le Bret and Ragueneau rush in, crying that Cyrano's coming here will kill him. Cyrano tells Roxane his last piece of news: "Today. Monsieur de Bergerac was murdered. He takes off his hat and reveals his bandaged head. Roxane is distraught. Cyrano says he always expected to die on the point of a hero's sword, but instead he has been struck down from behind with a lump of wood, by a servant. Even his death, he adds, is "laughable. Ragueneau tells Cyrano that Moliere has been stealing jokes and scenes that Cyrano has written to put in his plays. Cyrano says that it does not matter as long as the scene worked. Ragueneau says that the audience laughed and laughed. Cyrano comments that his role in life has been to feed lines to others. He tells Roxane that when Christian courted her under the balcony, he was feeding him his lines, but it was Christian who climbed up to claim the kiss from her. Roxane says that Cyrano cannot die, and that she loves him. She says that she has only ever loved one man, and now she is losing him again. Cyrano becomes delirious. He sees that his death is approaching. He stands up, his sword in his hand, to meet death. He says he thinks that death is looking at his nose. He begins to fence his old enemies: Lies, Compromise, Spite, Cowardice, and Stupidity. He says that they can take his poet's crown and lover's garland, yet he will go into God's presence with one thing that he will take unstained out of this world. Roxane, kissing him, asks him what it is. He answers, "My white plume.

of Act 5, scenes 1-6. The last act of the play jumps forward in time fifteen years, to resolve the plotlines that still involve the main characters after Christian's death. The time of year and the time of day are symbolic of Cyrano's approaching death. The mood of this act, while it retains elements of comedy, comments pessimistically on the fate of a less-than-honorable man and an honorable man. De Guiche has achieved great worldly success by compromising his principles, not to any serious extent, but enough to prompt unease in his conscience. Cyrano, in contrast has not compromised his ideals. But he is poor, hungry, and has made powerful enemies by writing satirical works. This point reinforces one of the themes of the play: the degraded nature of a society that has lost touch with the honorable values of old. The manner of Cyrano's death reflects and comments on his life. It is simultaneously comic and tragic. He does not die on the point of a hero's sword, but is dispatched in a far less honorable fashion by a servant in the pay of a powerful enemy who slyly drops a log of wood on his head. As he is dying, he reflects that his role has always been to remain "Off in the wings, feeding the lines to others. As a consequence, he has been denied recognition for his literary efforts and the chance to be loved by Roxane. Finally, she finds out his secret, but in a final tragic irony, it is too late: Cyrano is about to die. In his final moments, Cyrano fences not a human enemy, but abstract qualities that he has opposed in his life: Lies, Compromise, Spite, Cowardice, and Stupidity. It could be said, in some interpretations of the play, that in his dealings with Roxane, Cyrano has indeed lied, compromised, acted stupidly, and surrendered to cowardice, because due to his ugly appearance, he feared that Roxane could not love him. But even in this behavior, Cyrano's honor has shone through. He consistently defended Christian's memory and Christian's right to Roxane's love, sacrificing his own interests in the process. Because of this, there is no irony in Cyrano's final claim to appear before God with one unstained thing: his white plume, a symbol of courage, leadership, and honor

cliffnotes

all_chapterized_books/1134-chapters/1.txt

finished_summaries/cliffnotes/The Winter's Tale/section_0_part_0.txt

The Winter's Tale.act 1.scene 1

scene 1

{"name": "Scene 1", "url": "https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-i-scene-1", "summary": "Archidamus, a lord of Bohemia, tells Camillo, a lord of Sicilia, that should he ever visit Bohemia that he would find great differences between the two countries. Camillo responds that he thinks his king plans an exchange visit during the coming summer. Archidamus predicts that although their entertainments cannot match Sicilia's, they will manage to express their love. When Camillo protests the apology, Archidamus emphasizes that he knows that his country of Bohemia cannot produce \"such magnificence.\" Archidamus then envisions offering drinks that will drug the visitors; if unable to praise their hosts, they will at least not be able to blame them for inadequate \"magnificence.\" Camillo then tells Archidamus that Leontes is being so generous because of the great love that he has had for the Bohemian king since childhood. All of the formal, diplomatic gifts that the kings have exchanged during the intervening years of separation have maintained the strong friendship that still binds them. Camillo calls for help from the heavens to maintain this love. Archidamus comments that no earthly force could be strong enough to alter that love. Then he praises Leontes' son, Prince Mamillius, as the most promising young man he has ever observed. Camillo agrees, claiming that Leontes' elderly subjects remain alive only for the joy of observing Mamillius when he grows to adulthood. Archidamus, more realistically, states that the elderly would find a reason to continue to survive even if Mamillius did not exist.", "analysis": "The conversation between Archidamus and Camillo establishes the two main settings of the play and introduces the theme of deep and lasting friendship between the two kings. We can also infer that Leontes possesses natural riches far beyond those of Polixenes . The fact that no single main character appears in this scene forces our initial focus onto the contrasting settings; Sicilia is established as being the preferable location. While Archidamus bemoans the impossibility of matching the hospitality of Sicilia, he introduces a human temptation that will cause great harm throughout the play -- that is, confusing reality with illusion. First, he is stymied by reality: \"We cannot with such magnificence -- in so rare -- I know not what to say.\" Then, he envisions a means to avoid the reality: \"We will give you sleepy drinks, that your senses, unintelligent of our insufficience, may, though they cannot praise us, as little accuse us.\" A little later, Archidamus reverses his vision and returns to reality, when he counters Camillo's claim about Mamillius: \"They that went on crutches ere he was born desire yet their life to see him a man.\" Archidamus doubts that the elderly would die without the inspiration of Mamillius, and he bluntly declares: \"If the King had no son, they would desire to live on crutches till he had one.\" Archidamus then speaks of the long friendship between the two kings, and he says that he doubts if there is \"in the world either malice or matter to alter it.\" In fact, no reality does exist to alter that friendship, but illusion can, and will, alter it."}

Sicilia. The palace of LEONTES Enter CAMILLO and ARCHIDAMUS ARCHIDAMUS. If you shall chance, Camillo, to visit Bohemia, on the like occasion whereon my services are now on foot, you shall see, as I have said, great difference betwixt our Bohemia and your Sicilia. CAMILLO. I think this coming summer the King of Sicilia means to pay Bohemia the visitation which he justly owes him. ARCHIDAMUS. Wherein our entertainment shall shame us we will be justified in our loves; for indeed- CAMILLO. Beseech you- ARCHIDAMUS. Verily, I speak it in the freedom of my knowledge: we cannot with such magnificence, in so rare- I know not what to say. We will give you sleepy drinks, that your senses, unintelligent of our insufficience, may, though they cannot praise us, as little accuse us. CAMILLO. You pay a great deal too dear for what's given freely. ARCHIDAMUS. Believe me, I speak as my understanding instructs me and as mine honesty puts it to utterance. CAMILLO. Sicilia cannot show himself overkind to Bohemia. They were train'd together in their childhoods; and there rooted betwixt them then such an affection which cannot choose but branch now. Since their more mature dignities and royal necessities made separation of their society, their encounters, though not personal, have been royally attorneyed with interchange of gifts, letters, loving embassies; that they have seem'd to be together, though absent; shook hands, as over a vast; and embrac'd as it were from the ends of opposed winds. The heavens continue their loves! ARCHIDAMUS. I think there is not in the world either malice or matter to alter it. You have an unspeakable comfort of your young Prince Mamillius; it is a gentleman of the greatest promise that ever came into my note. CAMILLO. I very well agree with you in the hopes of him. It is a gallant child; one that indeed physics the subject, makes old hearts fresh; they that went on crutches ere he was born desire yet their life to see him a man. ARCHIDAMUS. Would they else be content to die? CAMILLO. Yes; if there were no other excuse why they should desire to live. ARCHIDAMUS. If the King had no son, they would desire to live on crutches till he had one. Exeunt

Scene 1

https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-i-scene-1

Archidamus, a lord of Bohemia, tells Camillo, a lord of Sicilia, that should he ever visit Bohemia that he would find great differences between the two countries. Camillo responds that he thinks his king plans an exchange visit during the coming summer. Archidamus predicts that although their entertainments cannot match Sicilia's, they will manage to express their love. When Camillo protests the apology, Archidamus emphasizes that he knows that his country of Bohemia cannot produce "such magnificence." Archidamus then envisions offering drinks that will drug the visitors; if unable to praise their hosts, they will at least not be able to blame them for inadequate "magnificence." Camillo then tells Archidamus that Leontes is being so generous because of the great love that he has had for the Bohemian king since childhood. All of the formal, diplomatic gifts that the kings have exchanged during the intervening years of separation have maintained the strong friendship that still binds them. Camillo calls for help from the heavens to maintain this love. Archidamus comments that no earthly force could be strong enough to alter that love. Then he praises Leontes' son, Prince Mamillius, as the most promising young man he has ever observed. Camillo agrees, claiming that Leontes' elderly subjects remain alive only for the joy of observing Mamillius when he grows to adulthood. Archidamus, more realistically, states that the elderly would find a reason to continue to survive even if Mamillius did not exist.

The conversation between Archidamus and Camillo establishes the two main settings of the play and introduces the theme of deep and lasting friendship between the two kings. We can also infer that Leontes possesses natural riches far beyond those of Polixenes . The fact that no single main character appears in this scene forces our initial focus onto the contrasting settings; Sicilia is established as being the preferable location. While Archidamus bemoans the impossibility of matching the hospitality of Sicilia, he introduces a human temptation that will cause great harm throughout the play -- that is, confusing reality with illusion. First, he is stymied by reality: "We cannot with such magnificence -- in so rare -- I know not what to say." Then, he envisions a means to avoid the reality: "We will give you sleepy drinks, that your senses, unintelligent of our insufficience, may, though they cannot praise us, as little accuse us." A little later, Archidamus reverses his vision and returns to reality, when he counters Camillo's claim about Mamillius: "They that went on crutches ere he was born desire yet their life to see him a man." Archidamus doubts that the elderly would die without the inspiration of Mamillius, and he bluntly declares: "If the King had no son, they would desire to live on crutches till he had one." Archidamus then speaks of the long friendship between the two kings, and he says that he doubts if there is "in the world either malice or matter to alter it." In fact, no reality does exist to alter that friendship, but illusion can, and will, alter it.

cliffnotes

all_chapterized_books/1134-chapters/4.txt

finished_summaries/cliffnotes/The Winter's Tale/section_3_part_0.txt

The Winter's Tale.act 2.scene 2

scene 2

{"name": "Scene 2", "url": "https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-ii-scene-2", "summary": "Paulina and her attendants appear at the prison to request a visit with Hermione. The gaoler replies that he has orders not to allow visitors. Paulina then requests a chance to speak to one of the queen's ladies, Emilia if possible. The gaoler agrees to bring Emilia to Paulina if she dismisses her attendants, and if he himself can attend the conference. Paulina cooperates, but she expresses in asides the building fury that she feels about her good queen's imprisonment. Emilia reports that Hermione is doing as well as one \"so great and so forlorn\" might expect in her situation. Blaming the fears and sadnesses that weigh upon the queen, Emilia reports the premature delivery of a daughter. In spite of the \"dangerous unsafe lunes i' the king,\" Paulina decides to show Leontes his infant daughter, and she pledges a blistering advocacy for the queen. If Hermione will trust her with the infant, Paulina feels that the sight of the innocent baby will persuade Leontes to change his attitude toward the queen. Emilia praises Paulina as the most suitable woman to undertake the brave errand. In fact, she says, Hermione had thought of the same plan but had rejected it because she feared that anyone whom she might ask to do so would turn her down. When Emilia exits to ask for the baby, the gaoler tells Paulina that he cannot allow the baby to leave the prison unless he sees a warrant. Paulina convinces him that the baby entered the prison as an innocent in her mother's womb and therefore needs no warrant in order to leave. This argument easily sways the simple gaoler, but Paulina further soothes his fears by pledging to stand between him and any danger from Leontes.", "analysis": "Compared to Hermione's gentle, obedient reaction to Leontes' tyranny, Paulina's rage is graphically gathering as she prepares to confront her king. Obviously she has no intention of using the diplomatic ploys of Camillo or the other advisers; she will voice only her own absolute outrage at the mistreatment of the innocent. Well aware of the \"lunes\" that now control Leontes, Paulina determines that a direct attack of Truth will shake him loose from his insanity. And clearly, Leontes' actions can be called insane for they have destroyed a peaceful court life and a happy family life. The scene is focused on Hermione's hard and unjust imprisonment and Paulina's resulting rebellion: \"Here's ado,/ To lock up honesty and honor from/ The access of gentle visitors.\" Paulina must claw her way into a position to argue the queen's case. She is not only a singular volunteer, but she is the most qualified person to do so, according to Emilia: \"There is no lady living/ So meet for this great errand.\" Paulina believes that she knows what Leontes really wants, and what truly motivates him. She believes that he wants to love his wife and child, but needs a new cause to do so. She is correct, but only after many tragedies and many years will this be proven. At present, Paulina chooses her own dangerous, unswerving course."}

Sicilia. A prison Enter PAULINA, a GENTLEMAN, and ATTENDANTS PAULINA. The keeper of the prison- call to him; Let him have knowledge who I am. Exit GENTLEMAN Good lady! No court in Europe is too good for thee; What dost thou then in prison? Re-enter GENTLEMAN with the GAOLER Now, good sir, You know me, do you not? GAOLER. For a worthy lady, And one who much I honour. PAULINA. Pray you, then, Conduct me to the Queen. GAOLER. I may not, madam; To the contrary I have express commandment. PAULINA. Here's ado, to lock up honesty and honour from Th' access of gentle visitors! Is't lawful, pray you, To see her women- any of them? Emilia? GAOLER. So please you, madam, To put apart these your attendants, Shall bring Emilia forth. PAULINA. I pray now, call her. Withdraw yourselves. Exeunt ATTENDANTS GAOLER. And, madam, I must be present at your conference. PAULINA. Well, be't so, prithee. Exit GAOLER Here's such ado to make no stain a stain As passes colouring. Re-enter GAOLER, with EMILIA Dear gentlewoman, How fares our gracious lady? EMILIA. As well as one so great and so forlorn May hold together. On her frights and griefs, Which never tender lady hath borne greater, She is, something before her time, deliver'd. PAULINA. A boy? EMILIA. A daughter, and a goodly babe, Lusty, and like to live. The Queen receives Much comfort in't; says 'My poor prisoner, I am as innocent as you.' PAULINA. I dare be sworn. These dangerous unsafe lunes i' th' King, beshrew them! He must be told on't, and he shall. The office Becomes a woman best; I'll take't upon me; If I prove honey-mouth'd, let my tongue blister, And never to my red-look'd anger be The trumpet any more. Pray you, Emilia, Commend my best obedience to the Queen; If she dares trust me with her little babe, I'll show't the King, and undertake to be Her advocate to th' loud'st. We do not know How he may soften at the sight o' th' child: The silence often of pure innocence Persuades when speaking fails. EMILIA. Most worthy madam, Your honour and your goodness is so evident That your free undertaking cannot miss A thriving issue; there is no lady living So meet for this great errand. Please your ladyship To visit the next room, I'll presently Acquaint the Queen of your most noble offer Who but to-day hammer'd of this design, But durst not tempt a minister of honour, Lest she should be denied. PAULINA. Tell her, Emilia, I'll use that tongue I have; if wit flow from't As boldness from my bosom, let't not be doubted I shall do good. EMILIA. Now be you blest for it! I'll to the Queen. Please you come something nearer. GAOLER. Madam, if't please the Queen to send the babe, I know not what I shall incur to pass it, Having no warrant. PAULINA. You need not fear it, sir. This child was prisoner to the womb, and is By law and process of great Nature thence Freed and enfranchis'd- not a party to The anger of the King, nor guilty of, If any be, the trespass of the Queen. GAOLER. I do believe it. PAULINA. Do not you fear. Upon mine honour, I Will stand betwixt you and danger. Exeunt

Scene 2

https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-ii-scene-2

Paulina and her attendants appear at the prison to request a visit with Hermione. The gaoler replies that he has orders not to allow visitors. Paulina then requests a chance to speak to one of the queen's ladies, Emilia if possible. The gaoler agrees to bring Emilia to Paulina if she dismisses her attendants, and if he himself can attend the conference. Paulina cooperates, but she expresses in asides the building fury that she feels about her good queen's imprisonment. Emilia reports that Hermione is doing as well as one "so great and so forlorn" might expect in her situation. Blaming the fears and sadnesses that weigh upon the queen, Emilia reports the premature delivery of a daughter. In spite of the "dangerous unsafe lunes i' the king," Paulina decides to show Leontes his infant daughter, and she pledges a blistering advocacy for the queen. If Hermione will trust her with the infant, Paulina feels that the sight of the innocent baby will persuade Leontes to change his attitude toward the queen. Emilia praises Paulina as the most suitable woman to undertake the brave errand. In fact, she says, Hermione had thought of the same plan but had rejected it because she feared that anyone whom she might ask to do so would turn her down. When Emilia exits to ask for the baby, the gaoler tells Paulina that he cannot allow the baby to leave the prison unless he sees a warrant. Paulina convinces him that the baby entered the prison as an innocent in her mother's womb and therefore needs no warrant in order to leave. This argument easily sways the simple gaoler, but Paulina further soothes his fears by pledging to stand between him and any danger from Leontes.

Compared to Hermione's gentle, obedient reaction to Leontes' tyranny, Paulina's rage is graphically gathering as she prepares to confront her king. Obviously she has no intention of using the diplomatic ploys of Camillo or the other advisers; she will voice only her own absolute outrage at the mistreatment of the innocent. Well aware of the "lunes" that now control Leontes, Paulina determines that a direct attack of Truth will shake him loose from his insanity. And clearly, Leontes' actions can be called insane for they have destroyed a peaceful court life and a happy family life. The scene is focused on Hermione's hard and unjust imprisonment and Paulina's resulting rebellion: "Here's ado,/ To lock up honesty and honor from/ The access of gentle visitors." Paulina must claw her way into a position to argue the queen's case. She is not only a singular volunteer, but she is the most qualified person to do so, according to Emilia: "There is no lady living/ So meet for this great errand." Paulina believes that she knows what Leontes really wants, and what truly motivates him. She believes that he wants to love his wife and child, but needs a new cause to do so. She is correct, but only after many tragedies and many years will this be proven. At present, Paulina chooses her own dangerous, unswerving course.

cliffnotes

all_chapterized_books/1134-chapters/6.txt

finished_summaries/cliffnotes/The Winter's Tale/section_5_part_0.txt

The Winter's Tale.act 3.scene 1

scene 1

{"name": "Scene 1", "url": "https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-iii-scene-1", "summary": "Walking through the streets of a Sicilian town, Cleomenes and Dion exchange their impressions of the general appearance and, especially, the religious atmosphere that they observed on the \"island of Delphos .\" Cleomenes remembers vividly the thundering voice of the oracle; Dion says that he hopes that the trip will prove as successful for the queen as it has for them. Both messengers are certain that Apollo's divination will clear up all doubts surrounding the accusations against Hermione. The two messengers exit to mount fresh horses in order to speed their delivery of the sealed message.", "analysis": "At first glance, this brief scene seems to serve only as extraneous travelogue. It serves this purpose, but more important, it adds to the dramatic tension as preparations are being made for Hermione's trial. By verifying the \"religious\" authenticity of their visit to Delphos and by anticipating the divine perception of Hermione's innocence, the messengers seem now to bear an unimpeachable testimony against Leontes' tyranny. As was mentioned earlier, the scene also employs the license that is recognizable in the Pastoral Romance genre when Delphos is described as an island."}

Sicilia. On the road to the Capital Enter CLEOMENES and DION CLEOMENES. The climate's delicate, the air most sweet, Fertile the isle, the temple much surpassing The common praise it bears. DION. I shall report, For most it caught me, the celestial habits- Methinks I so should term them- and the reverence Of the grave wearers. O, the sacrifice! How ceremonious, solemn, and unearthly, It was i' th' off'ring! CLEOMENES. But of all, the burst And the ear-deaf'ning voice o' th' oracle, Kin to Jove's thunder, so surpris'd my sense That I was nothing. DION. If th' event o' th' journey Prove as successful to the Queen- O, be't so!- As it hath been to us rare, pleasant, speedy, The time is worth the use on't. CLEOMENES. Great Apollo Turn all to th' best! These proclamations, So forcing faults upon Hermione, I little like. DION. The violent carriage of it Will clear or end the business. When the oracle- Thus by Apollo's great divine seal'd up- Shall the contents discover, something rare Even then will rush to knowledge. Go; fresh horses. And gracious be the issue! Exeunt

Scene 1

https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-iii-scene-1

Walking through the streets of a Sicilian town, Cleomenes and Dion exchange their impressions of the general appearance and, especially, the religious atmosphere that they observed on the "island of Delphos ." Cleomenes remembers vividly the thundering voice of the oracle; Dion says that he hopes that the trip will prove as successful for the queen as it has for them. Both messengers are certain that Apollo's divination will clear up all doubts surrounding the accusations against Hermione. The two messengers exit to mount fresh horses in order to speed their delivery of the sealed message.

At first glance, this brief scene seems to serve only as extraneous travelogue. It serves this purpose, but more important, it adds to the dramatic tension as preparations are being made for Hermione's trial. By verifying the "religious" authenticity of their visit to Delphos and by anticipating the divine perception of Hermione's innocence, the messengers seem now to bear an unimpeachable testimony against Leontes' tyranny. As was mentioned earlier, the scene also employs the license that is recognizable in the Pastoral Romance genre when Delphos is described as an island.

cliffnotes

all_chapterized_books/1134-chapters/9.txt

finished_summaries/cliffnotes/The Winter's Tale/section_8_part_0.txt

The Winter's Tale.act 4.scene 1

scene 1

{"name": "Scene 1", "url": "https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-iv-scene-1", "summary": "A Chorus symbolizing Time announces that sixteen years have passed. During those years, Leontes has replaced his jealousy with seclusion, while Florizel and Perdita have grown up and matured in Bohemia.", "analysis": "As in ancient Greek plays, a Chorus substitutes narrative for dramatic action. In addition to preparing the audience for an adult Florizel and Perdita, when next we see them, the narrative transcends the focus from the actions of Leontes to the actions of the Bohemian cast of characters."}

Enter TIME, the CHORUS TIME. I, that please some, try all, both joy and terror Of good and bad, that makes and unfolds error, Now take upon me, in the name of Time, To use my wings. Impute it not a crime To me or my swift passage that I slide O'er sixteen years, and leave the growth untried Of that wide gap, since it is in my pow'r To o'erthrow law, and in one self-born hour To plant and o'erwhelm custom. Let me pass The same I am, ere ancient'st order was Or what is now receiv'd. I witness to The times that brought them in; so shall I do To th' freshest things now reigning, and make stale The glistering of this present, as my tale Now seems to it. Your patience this allowing, I turn my glass, and give my scene such growing As you had slept between. Leontes leaving- Th' effects of his fond jealousies so grieving That he shuts up himself- imagine me, Gentle spectators, that I now may be In fair Bohemia; and remember well I mention'd a son o' th' King's, which Florizel I now name to you; and with speed so pace To speak of Perdita, now grown in grace Equal with wond'ring. What of her ensues I list not prophesy; but let Time's news Be known when 'tis brought forth. A shepherd's daughter, And what to her adheres, which follows after, Is th' argument of Time. Of this allow, If ever you have spent time worse ere now; If never, yet that Time himself doth say He wishes earnestly you never may. Exit

Scene 1

https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-iv-scene-1

A Chorus symbolizing Time announces that sixteen years have passed. During those years, Leontes has replaced his jealousy with seclusion, while Florizel and Perdita have grown up and matured in Bohemia.

As in ancient Greek plays, a Chorus substitutes narrative for dramatic action. In addition to preparing the audience for an adult Florizel and Perdita, when next we see them, the narrative transcends the focus from the actions of Leontes to the actions of the Bohemian cast of characters.

cliffnotes

all_chapterized_books/1134-chapters/10.txt

finished_summaries/cliffnotes/The Winter's Tale/section_9_part_0.txt

The Winter's Tale.act 4.scene 2

scene 2

{"name": "Scene 2", "url": "https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-iv-scene-2", "summary": "Polixenes and Camillo enter; they are in the middle of a discussion. The King of Bohemia has asked Camillo to drop his request to return to Sicilia, but Camillo cannot; he urges Polixenes to allow him to return to his beloved Sicilia because the penitent Leontes has requested him to do so. Camillo is growing old; he longs both to die at home and to ease the sorrows of the Sicilian king. Polixenes pleads with Camillo to stay; he claims that the goodness and administrative skills of Camillo can never be equaled. And as for the grief in Sicilia, Polixenes prefers not to be reminded of it. Edging toward his own problems, Polixenes asks Camillo if he has seen Prince Florizel recently. The king hints that a living son can create as much grief as a dead one. Camillo has neither seen Florizel nor can he guess where the prince goes. He knows only that the prince is often absent and has been neglecting his court duties. The king, however, does know where Florizel goes. Spies have reported that Florizel has been seen dawdling about the home of a shepherd, whose financial circumstances have mysteriously improved. Camillo recognizes the description of this shepherd: His household is said to include a daughter of unusual rarity. In order to discover why Florizel visits the shepherd's home, suspecting the lure of the shepherd's daughter, Polixenes wants Camillo to accompany him to the site. There, in disguise, they should be able to extract an answer of some kind from the simple shepherd. Camillo agrees to drop his request to return to Sicilia and accompany Polixenes on this mission.", "analysis": "This scene begins with the central conflict of the subplot. Its complications include Camillo's presence near the persuasive Polixenes, who opposes Camillo's yearning to return home to Sicilia. Another, later conflict, barely sketched here, will be the conflict between the desire of Polixenes, who wants his son to perform filial and royal duties, and Florizel, who wants only to be with Perdita. Camillo's characterization remains impressive. He behaves superbly as the able and trusted administrator who always exercises independent judgment. As in the first act, he now struggles with a conflict between his desire to serve both kings who want him and his own stronger personal motivation to return home. Polixenes is developing into a more manipulative and selfish character than we discerned earlier. However, he cannot be mistaken for an evil villain. Like Leontes, he must confront the question of loyal obedience within a family that he loves, but unlike Leontes, he does not permit a few observations to fester until he becomes mad. Before we leave this scene, note that two favorite Elizabethan dramatic gimmicks are promised for the audience's interest -- love and disguise."}

Bohemia. The palace of POLIXENES Enter POLIXENES and CAMILLO POLIXENES. I pray thee, good Camillo, be no more importunate: 'tis a sickness denying thee anything; a death to grant this. CAMILLO. It is fifteen years since I saw my country; though I have for the most part been aired abroad, I desire to lay my bones there. Besides, the penitent King, my master, hath sent for me; to whose feeling sorrows I might be some allay, or I o'erween to think so, which is another spur to my departure. POLIXENES. As thou lov'st me, Camillo, wipe not out the rest of thy services by leaving me now. The need I have of thee thine own goodness hath made. Better not to have had thee than thus to want thee; thou, having made me businesses which none without thee can sufficiently manage, must either stay to execute them thyself, or take away with thee the very services thou hast done; which if I have not enough considered- as too much I cannot- to be more thankful to thee shall be my study; and my profit therein the heaping friendships. Of that fatal country Sicilia, prithee, speak no more; whose very naming punishes me with the remembrance of that penitent, as thou call'st him, and reconciled king, my brother; whose loss of his most precious queen and children are even now to be afresh lamented. Say to me, when saw'st thou the Prince Florizel, my son? Kings are no less unhappy, their issue not being gracious, than they are in losing them when they have approved their virtues. CAMILLO. Sir, it is three days since I saw the Prince. What his happier affairs may be are to me unknown; but I have missingly noted he is of late much retired from court, and is less frequent to his princely exercises than formerly he hath appeared. POLIXENES. I have considered so much, Camillo, and with some care, so far that I have eyes under my service which look upon his removedness; from whom I have this intelligence, that he is seldom from the house of a most homely shepherd- a man, they say, that from very nothing, and beyond the imagination of his neighbours, is grown into an unspeakable estate. CAMILLO. I have heard, sir, of such a man, who hath a daughter of most rare note. The report of her is extended more than can be thought to begin from such a cottage. POLIXENES. That's likewise part of my intelligence; but, I fear, the angle that plucks our son thither. Thou shalt accompany us to the place; where we will, not appearing what we are, have some question with the shepherd; from whose simplicity I think it not uneasy to get the cause of my son's resort thither. Prithee be my present partner in this business, and lay aside the thoughts of Sicilia. CAMILLO. I willingly obey your command. POLIXENES. My best Camillo! We must disguise ourselves. Exeunt

Scene 2

https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-iv-scene-2

Polixenes and Camillo enter; they are in the middle of a discussion. The King of Bohemia has asked Camillo to drop his request to return to Sicilia, but Camillo cannot; he urges Polixenes to allow him to return to his beloved Sicilia because the penitent Leontes has requested him to do so. Camillo is growing old; he longs both to die at home and to ease the sorrows of the Sicilian king. Polixenes pleads with Camillo to stay; he claims that the goodness and administrative skills of Camillo can never be equaled. And as for the grief in Sicilia, Polixenes prefers not to be reminded of it. Edging toward his own problems, Polixenes asks Camillo if he has seen Prince Florizel recently. The king hints that a living son can create as much grief as a dead one. Camillo has neither seen Florizel nor can he guess where the prince goes. He knows only that the prince is often absent and has been neglecting his court duties. The king, however, does know where Florizel goes. Spies have reported that Florizel has been seen dawdling about the home of a shepherd, whose financial circumstances have mysteriously improved. Camillo recognizes the description of this shepherd: His household is said to include a daughter of unusual rarity. In order to discover why Florizel visits the shepherd's home, suspecting the lure of the shepherd's daughter, Polixenes wants Camillo to accompany him to the site. There, in disguise, they should be able to extract an answer of some kind from the simple shepherd. Camillo agrees to drop his request to return to Sicilia and accompany Polixenes on this mission.

This scene begins with the central conflict of the subplot. Its complications include Camillo's presence near the persuasive Polixenes, who opposes Camillo's yearning to return home to Sicilia. Another, later conflict, barely sketched here, will be the conflict between the desire of Polixenes, who wants his son to perform filial and royal duties, and Florizel, who wants only to be with Perdita. Camillo's characterization remains impressive. He behaves superbly as the able and trusted administrator who always exercises independent judgment. As in the first act, he now struggles with a conflict between his desire to serve both kings who want him and his own stronger personal motivation to return home. Polixenes is developing into a more manipulative and selfish character than we discerned earlier. However, he cannot be mistaken for an evil villain. Like Leontes, he must confront the question of loyal obedience within a family that he loves, but unlike Leontes, he does not permit a few observations to fester until he becomes mad. Before we leave this scene, note that two favorite Elizabethan dramatic gimmicks are promised for the audience's interest -- love and disguise.

cliffnotes

all_chapterized_books/1134-chapters/14.txt

finished_summaries/cliffnotes/The Winter's Tale/section_13_part_0.txt

The Winter's Tale.act 5.scene 2

scene 2

{"name": "Scene 2", "url": "https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-v-scene-2", "summary": "Autolycus organizes the majority of the events in this scene, which is a great help since it is told in fragments. First, Autolycus questions three gentlemen about proceedings in the nearby palace of Leontes. Gradually, he gathers information about the shepherd's testimony. The first gentleman heard only a vague reference to someone's finding a child; thus, he could not guess from what he saw whether or not Leontes and Camillo gestured in joy or sorrow. A second gentleman knows that people are celebrating because \"the king's daughter is found.\" A third gentleman, steward to Paulina, fists enough evidence to dispel doubt about this truth \"pregnant/ By circumstance.\" All major characters in the royal drama were observed to have behaved with a mixture of joy and sorrow when they learned about all of the sorrows that occurred sixteen years ago and rejoiced at today's news. Now, they are gathering at the site of a remarkably lifelike statue of Hermione to eat dinner, during which they hope to witness new and exciting discoveries. Autolycus reflects on how close he came to being the one to reveal these facts. When he sees the clown and the shepherd, he observes: \"Here come those I have done good to against my will.\" He acknowledges the clown's favorite reward: I know you are now, sir, a gentleman born.\" Autolycus patiently listens to the two men boast that they have been \"gentlemen born\" for four hours. Then, Autolycus begs them to forgive his transgression and to provide a favorable report to Prince Florizel. Both the clown and shepherd agree because they believe that as \"gentlemen\" they should be generous. Thus, they invite Autolycus to accompany them in the capacity of a servant to view Hermione's statue.", "analysis": "This scene dramatizes the effect of repentance and reconciliation that is, reward. Leontes has repented and Autolycus has nearly done away with his knavery. All of the major characters are reconciled. Rewards are given to the clown and the shepherd. Their primary reward, the rank of gentlemen, along with the reconciliation accomplished by the recognition of Perdita's royal rank, helps restore order because all are placed in a proper rank for the marriage. Unity with universal order is achieved by unifying most of the straggling elements of the plot. Narration informs the audience about the reconciliations. All of the emotional scenes occur offstage. But Shakespeare does provide guidelines for action which could be used to enliven the dull narrative: \". . . the king and Camillo/ . . . seemed almost) With staring on one another, to tear the cases/ Of their eyes. A notable passion of wonder appeared in them.\""}

Sicilia. Before the palace of LEONTES Enter AUTOLYCUS and a GENTLEMAN AUTOLYCUS. Beseech you, sir, were you present at this relation? FIRST GENTLEMAN. I was by at the opening of the fardel, heard the old shepherd deliver the manner how he found it; whereupon, after a little amazedness, we were all commanded out of the chamber; only this, methought I heard the shepherd say he found the child. AUTOLYCUS. I would most gladly know the issue of it. FIRST GENTLEMAN. I make a broken delivery of the business; but the changes I perceived in the King and Camillo were very notes of admiration. They seem'd almost, with staring on one another, to tear the cases of their eyes; there was speech in their dumbness, language in their very gesture; they look'd as they had heard of a world ransom'd, or one destroyed. A notable passion of wonder appeared in them; but the wisest beholder that knew no more but seeing could not say if th' importance were joy or sorrow- but in the extremity of the one it must needs be. Enter another GENTLEMAN Here comes a gentleman that happily knows more. The news, Rogero? SECOND GENTLEMAN. Nothing but bonfires. The oracle is fulfill'd: the King's daughter is found. Such a deal of wonder is broken out within this hour that ballad-makers cannot be able to express it. Enter another GENTLEMAN Here comes the Lady Paulina's steward; he can deliver you more. How goes it now, sir? This news, which is call'd true, is so like an old tale that the verity of it is in strong suspicion. Has the King found his heir? THIRD GENTLEMAN. Most true, if ever truth were pregnant by circumstance. That which you hear you'll swear you see, there is such unity in the proofs. The mantle of Queen Hermione's; her jewel about the neck of it; the letters of Antigonus found with it, which they know to be his character; the majesty of the creature in resemblance of the mother; the affection of nobleness which nature shows above her breeding; and many other evidences- proclaim her with all certainty to be the King's daughter. Did you see the meeting of the two kings? SECOND GENTLEMAN. No. THIRD GENTLEMAN. Then you have lost a sight which was to be seen, cannot be spoken of. There might you have beheld one joy crown another, so and in such manner that it seem'd sorrow wept to take leave of them; for their joy waded in tears. There was casting up of eyes, holding up of hands, with countenance of such distraction that they were to be known by garment, not by favour. Our king, being ready to leap out of himself for joy of his found daughter, as if that joy were now become a loss, cries 'O, thy mother, thy mother!' then asks Bohemia forgiveness; then embraces his son-in-law; then again worries he his daughter with clipping her. Now he thanks the old shepherd, which stands by like a weather-bitten conduit of many kings' reigns. I never heard of such another encounter, which lames report to follow it and undoes description to do it. SECOND GENTLEMAN. What, pray you, became of Antigonus, that carried hence the child? THIRD GENTLEMAN. Like an old tale still, which will have matter to rehearse, though credit be asleep and not an ear open: he was torn to pieces with a bear. This avouches the shepherd's son, who has not only his innocence, which seems much, to justify him, but a handkerchief and rings of his that Paulina knows. FIRST GENTLEMAN. What became of his bark and his followers? THIRD GENTLEMAN. Wreck'd the same instant of their master's death, and in the view of the shepherd; so that all the instruments which aided to expose the child were even then lost when it was found. But, O, the noble combat that 'twixt joy and sorrow was fought in Paulina! She had one eye declin'd for the loss of her husband, another elevated that the oracle was fulfill'd. She lifted the Princess from the earth, and so locks her in embracing as if she would pin her to her heart, that she might no more be in danger of losing. FIRST GENTLEMAN. The dignity of this act was worth the audience of kings and princes; for by such was it acted. THIRD GENTLEMAN. One of the prettiest touches of all, and that which angl'd for mine eyes- caught the water, though not the fish- was, when at the relation of the Queen's death, with the manner how she came to't bravely confess'd and lamented by the King, how attentivenes wounded his daughter; till, from one sign of dolour to another, she did with an 'Alas!'- I would fain say- bleed tears; for I am sure my heart wept blood. Who was most marble there changed colour; some swooned, all sorrowed. If all the world could have seen't, the woe had been universal. FIRST GENTLEMAN. Are they returned to the court? THIRD GENTLEMAN. No. The Princess hearing of her mother's statue, which is in the keeping of Paulina- a piece many years in doing and now newly perform'd by that rare Italian master, Julio Romano, who, had he himself eternity and could put breath into his work, would beguile nature of her custom, so perfectly he is her ape. He so near to Hermione hath done Hermione that they say one would speak to her and stand in hope of answer- thither with all greediness of affection are they gone, and there they intend to sup. SECOND GENTLEMAN. I thought she had some great matter there in hand; for she hath privately twice or thrice a day, ever since the death of Hermione, visited that removed house. Shall we thither, and with our company piece the rejoicing? FIRST GENTLEMAN. Who would be thence that has the benefit of access? Every wink of an eye some new grace will be born. Our absence makes us unthrifty to our knowledge. Let's along. Exeunt GENTLEMEN AUTOLYCUS. Now, had I not the dash of my former life in me, would preferment drop on my head. I brought the old man and his son aboard the Prince; told him I heard them talk of a fardel and I know not what; but he at that time over-fond of the shepherd's daughter- so he then took her to be- who began to be much sea-sick, and himself little better, extremity of weather continuing, this mystery remained undiscover'd. But 'tis all one to me; for had I been the finder-out of this secret, it would not have relish'd among my other discredits. Enter SHEPHERD and CLOWN Here come those I have done good to against my will, and already appearing in the blossoms of their fortune. SHEPHERD. Come, boy; I am past moe children, but thy sons and daughters will be all gentlemen born. CLOWN. You are well met, sir. You denied to fight with me this other day, because I was no gentleman born. See you these clothes? Say you see them not and think me still no gentleman born. You were best say these robes are not gentlemen born. Give me the lie, do; and try whether I am not now a gentleman born. AUTOLYCUS. I know you are now, sir, a gentleman born. CLOWN. Ay, and have been so any time these four hours. SHEPHERD. And so have I, boy. CLOWN. So you have; but I was a gentleman born before my father; for the King's son took me by the hand and call'd me brother; and then the two kings call'd my father brother; and then the Prince, my brother, and the Princess, my sister, call'd my father father. And so we wept; and there was the first gentleman-like tears that ever we shed. SHEPHERD. We may live, son, to shed many more. CLOWN. Ay; or else 'twere hard luck, being in so preposterous estate as we are. AUTOLYCUS. I humbly beseech you, sir, to pardon me all the faults I have committed to your worship, and to give me your good report to the Prince my master. SHEPHERD. Prithee, son, do; for we must be gentle, now we are gentlemen. CLOWN. Thou wilt amend thy life? AUTOLYCUS. Ay, an it like your good worship. CLOWN. Give me thy hand. I will swear to the Prince thou art as honest a true fellow as any is in Bohemia. SHEPHERD. You may say it, but not swear it. CLOWN. Not swear it, now I am a gentleman? Let boors and franklins say it: I'll swear it. SHEPHERD. How if it be false, son? CLOWN. If it be ne'er so false, a true gentleman may swear it in the behalf of his friend. And I'll swear to the Prince thou art a tall fellow of thy hands and that thou wilt not be drunk; but I know thou art no tall fellow of thy hands and that thou wilt be drunk. But I'll swear it; and I would thou wouldst be a tall fellow of thy hands. AUTOLYCUS. I will prove so, sir, to my power. CLOWN. Ay, by any means, prove a tall fellow. If I do not wonder how thou dar'st venture to be drunk not being a tall fellow, trust me not. Hark! the kings and the princes, our kindred, are going to see the Queen's picture. Come, follow us; we'll be thy good masters. Exeunt

Scene 2

https://web.archive.org/web/20201130173005/https://www.cliffsnotes.com/literature/w/the-winters-tale/summary-and-analysis/act-v-scene-2

Autolycus organizes the majority of the events in this scene, which is a great help since it is told in fragments. First, Autolycus questions three gentlemen about proceedings in the nearby palace of Leontes. Gradually, he gathers information about the shepherd's testimony. The first gentleman heard only a vague reference to someone's finding a child; thus, he could not guess from what he saw whether or not Leontes and Camillo gestured in joy or sorrow. A second gentleman knows that people are celebrating because "the king's daughter is found." A third gentleman, steward to Paulina, fists enough evidence to dispel doubt about this truth "pregnant/ By circumstance." All major characters in the royal drama were observed to have behaved with a mixture of joy and sorrow when they learned about all of the sorrows that occurred sixteen years ago and rejoiced at today's news. Now, they are gathering at the site of a remarkably lifelike statue of Hermione to eat dinner, during which they hope to witness new and exciting discoveries. Autolycus reflects on how close he came to being the one to reveal these facts. When he sees the clown and the shepherd, he observes: "Here come those I have done good to against my will." He acknowledges the clown's favorite reward: I know you are now, sir, a gentleman born." Autolycus patiently listens to the two men boast that they have been "gentlemen born" for four hours. Then, Autolycus begs them to forgive his transgression and to provide a favorable report to Prince Florizel. Both the clown and shepherd agree because they believe that as "gentlemen" they should be generous. Thus, they invite Autolycus to accompany them in the capacity of a servant to view Hermione's statue.

This scene dramatizes the effect of repentance and reconciliation that is, reward. Leontes has repented and Autolycus has nearly done away with his knavery. All of the major characters are reconciled. Rewards are given to the clown and the shepherd. Their primary reward, the rank of gentlemen, along with the reconciliation accomplished by the recognition of Perdita's royal rank, helps restore order because all are placed in a proper rank for the marriage. Unity with universal order is achieved by unifying most of the straggling elements of the plot. Narration informs the audience about the reconciliations. All of the emotional scenes occur offstage. But Shakespeare does provide guidelines for action which could be used to enliven the dull narrative: ". . . the king and Camillo/ . . . seemed almost) With staring on one another, to tear the cases/ Of their eyes. A notable passion of wonder appeared in them."

gradesaver

all_chapterized_books/2266-chapters/1.txt

finished_summaries/gradesaver/King Lear/section_0_part_1.txt

King Lear.act 1.scene 1

act 1 scene 1

{"name": "act 1, scene i", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-i", "summary": "Gloucester and Kent, loyal to King Lear, objectively discuss his division of the kingdom and to which dukes, Cornwall and Albany, they believe it will equally fall. Kent is introduced to Gloucester's illegitimate son, Edmund. Gloucester nonchalantly admits that the boy's breeding has been his charge ever since impregnating another woman soon after his legitimate son, Edgar, was born. Kent is pleased to meet Edmund. Gloucester mentions that Edmund has been nine years in military service and will return shortly. Lear enters and sends Gloucester to find France and Burgundy, Cordelia's suitors. He then begins to discuss the partitioning of Britain he has devised to each of his three daughters and their husbands. Lear decides to ask each of his daughters to express how much they love him before he hands over their piece of the kingdom. As oldest, Goneril speaks first, expressing her love as all encompassing. Regan adds that she is enemy to other joys. Lear gives each their parcel, wishing them well. Cordelia, as the youngest and most liked daughter, is saved the choicest piece of land. However, she responds to her father's request by saying she has nothing to add. She loves only as much as her obligation entitles and will save some of her love for a husband. Lear is enraged and hurt. After giving her a few chances, he strips Cordelia of any title or relation. Kent intercedes on her behalf but he too is estranged by Lear. Kent cries that honesty will continue to be his guide in any kingdom. Cordelia's suitors enter. Lear apprises them of Cordelia's new state of non-inheritance. Burgundy cannot accept her under the circumstances, but France finds her more appealing and takes her as his wife. Cordelia is not unhappy to leave her sisters and leaves with France. Goneril and Regan conspire to take rule away from Lear quickly as he is becoming more unreasonable", "analysis": ""}

Actus Primus. Scoena Prima. Enter Kent, Gloucester, and Edmond. Kent. I thought the King had more affected the Duke of Albany, then Cornwall Glou. It did alwayes seeme so to vs: But now in the diuision of the Kingdome, it appeares not which of the Dukes hee valewes most, for qualities are so weigh'd, that curiosity in neither, can make choise of eithers moity Kent. Is not this your Son, my Lord? Glou. His breeding Sir, hath bin at my charge. I haue so often blush'd to acknowledge him, that now I am braz'd too't Kent. I cannot conceiue you Glou. Sir, this yong Fellowes mother could; wherevpon she grew round womb'd, and had indeede (Sir) a Sonne for her Cradle, ere she had a husband for her bed. Do you smell a fault? Kent. I cannot wish the fault vndone, the issue of it, being so proper Glou. But I haue a Sonne, Sir, by order of Law, some yeere elder then this; who, yet is no deerer in my account, though this Knaue came somthing sawcily to the world before he was sent for: yet was his Mother fayre, there was good sport at his making, and the horson must be acknowledged. Doe you know this Noble Gentleman, Edmond? Edm. No, my Lord Glou. My Lord of Kent: Remember him heereafter, as my Honourable Friend Edm. My seruices to your Lordship Kent. I must loue you, and sue to know you better Edm. Sir, I shall study deseruing Glou. He hath bin out nine yeares, and away he shall againe. The King is comming. Sennet. Enter King Lear, Cornwall, Albany, Gonerill, Regan, Cordelia, and attendants. Lear. Attend the Lords of France & Burgundy, Gloster Glou. I shall, my Lord. Enter. Lear. Meane time we shal expresse our darker purpose. Giue me the Map there. Know, that we haue diuided In three our Kingdome: and 'tis our fast intent, To shake all Cares and Businesse from our Age, Conferring them on yonger strengths, while we Vnburthen'd crawle toward death. Our son of Cornwal, And you our no lesse louing Sonne of Albany, We haue this houre a constant will to publish Our daughters seuerall Dowers, that future strife May be preuented now. The Princes, France & Burgundy, Great Riuals in our yongest daughters loue, Long in our Court, haue made their amorous soiourne, And heere are to be answer'd. Tell me my daughters (Since now we will diuest vs both of Rule, Interest of Territory, Cares of State) Which of you shall we say doth loue vs most, That we, our largest bountie may extend Where Nature doth with merit challenge. Gonerill, Our eldest borne, speake first Gon. Sir, I loue you more then word can weild y matter, Deerer then eye-sight, space, and libertie, Beyond what can be valewed, rich or rare, No lesse then life, with grace, health, beauty, honor: As much as Childe ere lou'd, or Father found. A loue that makes breath poore, and speech vnable, Beyond all manner of so much I loue you Cor. What shall Cordelia speake? Loue, and be silent Lear. Of all these bounds euen from this Line, to this, With shadowie Forrests, and with Champains rich'd With plenteous Riuers, and wide-skirted Meades We make thee Lady. To thine and Albanies issues Be this perpetuall. What sayes our second Daughter? Our deerest Regan, wife of Cornwall? Reg. I am made of that selfe-mettle as my Sister, And prize me at her worth. In my true heart, I finde she names my very deede of loue: Onely she comes too short, that I professe My selfe an enemy to all other ioyes, Which the most precious square of sense professes, And finde I am alone felicitate In your deere Highnesse loue Cor. Then poore Cordelia, And yet not so, since I am sure my loue's More ponderous then my tongue Lear. To thee, and thine hereditarie euer, Remaine this ample third of our faire Kingdome, No lesse in space, validitie, and pleasure Then that conferr'd on Gonerill. Now our Ioy, Although our last and least; to whose yong loue, The Vines of France, and Milke of Burgundie, Striue to be interest. What can you say, to draw A third, more opilent then your Sisters? speake Cor. Nothing my Lord Lear. Nothing? Cor. Nothing Lear. Nothing will come of nothing, speake againe Cor. Vnhappie that I am, I cannot heaue My heart into my mouth: I loue your Maiesty According to my bond, no more nor lesse Lear. How, how Cordelia? Mend your speech a little, Least you may marre your Fortunes Cor. Good my Lord, You haue begot me, bred me, lou'd me. I returne those duties backe as are right fit, Obey you, Loue you, and most Honour you. Why haue my Sisters Husbands, if they say They loue you all? Happily when I shall wed, That Lord, whose hand must take my plight, shall carry Halfe my loue with him, halfe my Care, and Dutie, Sure I shall neuer marry like my Sisters Lear. But goes thy heart with this? Cor. I my good Lord Lear. So young, and so vntender? Cor. So young my Lord, and true Lear. Let it be so, thy truth then be thy dowre: For by the sacred radience of the Sunne, The misteries of Heccat and the night: By all the operation of the Orbes, From whom we do exist, and cease to be, Heere I disclaime all my Paternall care, Propinquity and property of blood, And as a stranger to my heart and me, Hold thee from this for euer. The barbarous Scythian, Or he that makes his generation messes To gorge his appetite, shall to my bosome Be as well neighbour'd, pittied, and releeu'd, As thou my sometime Daughter Kent. Good my Liege Lear. Peace Kent, Come not betweene the Dragon and his wrath, I lou'd her most, and thought to set my rest On her kind nursery. Hence and avoid my sight: So be my graue my peace, as here I giue Her Fathers heart from her; call France, who stirres? Call Burgundy, Cornwall, and Albanie, With my two Daughters Dowres, digest the third, Let pride, which she cals plainnesse, marry her: I doe inuest you ioyntly with my power, Preheminence, and all the large effects That troope with Maiesty. Our selfe by Monthly course, With reseruation of an hundred Knights, By you to be sustain'd, shall our abode Make with you by due turne, onely we shall retaine The name, and all th' addition to a King: the Sway, Reuennew, Execution of the rest, Beloued Sonnes be yours, which to confirme, This Coronet part betweene you Kent. Royall Lear, Whom I haue euer honor'd as my King, Lou'd as my Father, as my Master follow'd, As my great Patron thought on in my praiers Le. The bow is bent & drawne, make from the shaft Kent. Let it fall rather, though the forke inuade The region of my heart, be Kent vnmannerly, When Lear is mad, what wouldest thou do old man? Think'st thou that dutie shall haue dread to speake, When power to flattery bowes? To plainnesse honour's bound, When Maiesty falls to folly, reserue thy state, And in thy best consideration checke This hideous rashnesse, answere my life, my iudgement: Thy yongest Daughter do's not loue thee least, Nor are those empty hearted, whose low sounds Reuerbe no hollownesse Lear. Kent, on thy life no more Kent. My life I neuer held but as pawne To wage against thine enemies, nere feare to loose it, Thy safety being motiue Lear. Out of my sight Kent. See better Lear, and let me still remaine The true blanke of thine eie Lear. Now by Apollo, Kent. Now by Apollo, King Thou swear'st thy Gods in vaine Lear. O Vassall! Miscreant Alb. Cor. Deare Sir forbeare Kent. Kill thy Physition, and thy fee bestow Vpon the foule disease, reuoke thy guift, Or whil'st I can vent clamour from my throate, Ile tell thee thou dost euill Lea. Heare me recreant, on thine allegeance heare me; That thou hast sought to make vs breake our vowes, Which we durst neuer yet; and with strain'd pride, To come betwixt our sentences, and our power, Which, nor our nature, nor our place can beare; Our potencie made good, take thy reward. Fiue dayes we do allot thee for prouision, To shield thee from disasters of the world, And on the sixt to turne thy hated backe Vpon our kingdome: if on the tenth day following, Thy banisht trunke be found in our Dominions, The moment is thy death, away. By Iupiter, This shall not be reuok'd, Kent. Fare thee well King, sith thus thou wilt appeare, Freedome liues hence, and banishment is here; The Gods to their deere shelter take thee Maid, That iustly think'st, and hast most rightly said: And your large speeches, may your deeds approue, That good effects may spring from words of loue: Thus Kent, O Princes, bids you all adew, Hee'l shape his old course, in a Country new. Enter. Flourish. Enter Gloster with France, and Burgundy, Attendants. Cor. Heere's France and Burgundy, my Noble Lord Lear. My Lord of Burgundie, We first addresse toward you, who with this King Hath riuald for our Daughter; what in the least Will you require in present Dower with her, Or cease your quest of Loue? Bur. Most Royall Maiesty, I craue no more then hath your Highnesse offer'd, Nor will you tender lesse? Lear. Right Noble Burgundy, When she was deare to vs, we did hold her so, But now her price is fallen: Sir, there she stands, If ought within that little seeming substance, Or all of it with our displeasure piec'd, And nothing more may fitly like your Grace, Shee's there, and she is yours Bur. I know no answer Lear. Will you with those infirmities she owes, Vnfriended, new adopted to our hate, Dow'rd with our curse, and stranger'd with our oath, Take her or, leaue her Bur. Pardon me Royall Sir, Election makes not vp in such conditions Le. Then leaue her sir, for by the powre that made me, I tell you all her wealth. For you great King, I would not from your loue make such a stray, To match you where I hate, therefore beseech you T' auert your liking a more worthier way, Then on a wretch whom Nature is asham'd Almost t' acknowledge hers Fra. This is most strange, That she whom euen but now, was your obiect, The argument of your praise, balme of your age, The best, the deerest, should in this trice of time Commit a thing so monstrous, to dismantle So many folds of fauour: sure her offence Must be of such vnnaturall degree, That monsters it: Or your fore-voucht affection Fall into taint, which to beleeue of her Must be a faith that reason without miracle Should neuer plant in me Cor. I yet beseech your Maiesty. If for I want that glib and oylie Art, To speake and purpose not, since what I will intend, Ile do't before I speake, that you make knowne It is no vicious blot, murther, or foulenesse, No vnchaste action or dishonoured step That hath depriu'd me of your Grace and fauour, But euen for want of that, for which I am richer, A still soliciting eye, and such a tongue, That I am glad I haue not, though not to haue it, Hath lost me in your liking Lear. Better thou had'st Not beene borne, then not t'haue pleas'd me better Fra. Is it but this? A tardinesse in nature, Which often leaues the history vnspoke That it intends to do: my Lord of Burgundy, What say you to the Lady? Loue's not loue When it is mingled with regards, that stands Aloofe from th' intire point, will you haue her? She is herselfe a Dowrie Bur. Royall King, Giue but that portion which your selfe propos'd, And here I take Cordelia by the hand, Dutchesse of Burgundie Lear. Nothing, I haue sworne, I am firme Bur. I am sorry then you haue so lost a Father, That you must loose a husband Cor. Peace be with Burgundie, Since that respect and Fortunes are his loue, I shall not be his wife Fra. Fairest Cordelia, that art most rich being poore, Most choise forsaken, and most lou'd despis'd, Thee and thy vertues here I seize vpon, Be it lawfull I take vp what's cast away. Gods, Gods! 'Tis strange, that from their cold'st neglect My Loue should kindle to enflam'd respect. Thy dowrelesse Daughter King, throwne to my chance, Is Queene of vs, of ours, and our faire France: Not all the Dukes of watrish Burgundy, Can buy this vnpriz'd precious Maid of me. Bid them farewell Cordelia, though vnkinde, Thou loosest here a better where to finde Lear. Thou hast her France, let her be thine, for we Haue no such Daughter, nor shall euer see That face of hers againe, therfore be gone, Without our Grace, our Loue, our Benizon: Come Noble Burgundie. Flourish. Exeunt. Fra. Bid farwell to your Sisters Cor. The Iewels of our Father, with wash'd eies Cordelia leaues you, I know you what you are, And like a Sister am most loth to call Your faults as they are named. Loue well our Father: To your professed bosomes I commit him, But yet alas, stood I within his Grace, I would prefer him to a better place, So farewell to you both Regn. Prescribe not vs our dutie Gon. Let your study Be to content your Lord, who hath receiu'd you At Fortunes almes, you haue obedience scanted, And well are worth the want that you haue wanted Cor. Time shall vnfold what plighted cunning hides, Who couers faults, at last with shame derides: Well may you prosper Fra. Come my faire Cordelia. Exit France and Cor. Gon. Sister, it is not little I haue to say, Of what most neerely appertaines to vs both, I thinke our Father will hence to night Reg. That's most certaine, and with you: next moneth with vs Gon. You see how full of changes his age is, the obseruation we haue made of it hath beene little; he alwaies lou'd our Sister most, and with what poore iudgement he hath now cast her off, appeares too grossely Reg. 'Tis the infirmity of his age, yet he hath euer but slenderly knowne himselfe Gon. The best and soundest of his time hath bin but rash, then must we looke from his age, to receiue not alone the imperfections of long ingraffed condition, but therewithall the vnruly way-wardnesse, that infirme and cholericke yeares bring with them Reg. Such vnconstant starts are we like to haue from him, as this of Kents banishment Gon. There is further complement of leaue-taking betweene France and him, pray you let vs sit together, if our Father carry authority with such disposition as he beares, this last surrender of his will but offend vs Reg. We shall further thinke of it Gon. We must do something, and i'th' heate. Exeunt.

act 1, scene i

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-i

Gloucester and Kent, loyal to King Lear, objectively discuss his division of the kingdom and to which dukes, Cornwall and Albany, they believe it will equally fall. Kent is introduced to Gloucester's illegitimate son, Edmund. Gloucester nonchalantly admits that the boy's breeding has been his charge ever since impregnating another woman soon after his legitimate son, Edgar, was born. Kent is pleased to meet Edmund. Gloucester mentions that Edmund has been nine years in military service and will return shortly. Lear enters and sends Gloucester to find France and Burgundy, Cordelia's suitors. He then begins to discuss the partitioning of Britain he has devised to each of his three daughters and their husbands. Lear decides to ask each of his daughters to express how much they love him before he hands over their piece of the kingdom. As oldest, Goneril speaks first, expressing her love as all encompassing. Regan adds that she is enemy to other joys. Lear gives each their parcel, wishing them well. Cordelia, as the youngest and most liked daughter, is saved the choicest piece of land. However, she responds to her father's request by saying she has nothing to add. She loves only as much as her obligation entitles and will save some of her love for a husband. Lear is enraged and hurt. After giving her a few chances, he strips Cordelia of any title or relation. Kent intercedes on her behalf but he too is estranged by Lear. Kent cries that honesty will continue to be his guide in any kingdom. Cordelia's suitors enter. Lear apprises them of Cordelia's new state of non-inheritance. Burgundy cannot accept her under the circumstances, but France finds her more appealing and takes her as his wife. Cordelia is not unhappy to leave her sisters and leaves with France. Goneril and Regan conspire to take rule away from Lear quickly as he is becoming more unreasonable

gradesaver

all_chapterized_books/2266-chapters/2.txt

finished_summaries/gradesaver/King Lear/section_0_part_2.txt

King Lear.act 1.scene 2

act 1 scene 2

{"name": "act 1, scene ii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-i", "summary": "The scene centers around Edmund, at first alone on stage, crying out against his position as bastard to the material world. He is envious of Edgar, the legitimate son, and wishes to gain what he has by forging a treasonous letter concerning Gloucester from Edgar. Gloucester enters, amazed at the events which have occurred during the last scene. He wishes to know why Edmund is hiding a letter and demands to see it. He shrewdly acts as if he is embarrassed to show it to Gloucester and continually makes excuses for Edgar's apparent behavior. Gloucester reads the letter detailing \"Edgar's\" call to Edmund to take their father's land from him. Edmund asks that he not make too quick a judgment before they talk to Edgar as perhaps he is simply testing Edmund. He suggests forming a meeting where Edmund can ask Edgar about his proposals while Gloucester listens in secret. Gloucester agrees, musing on the effects of nature and its predictions. He leaves directly before Edgar enters. Edmund brings up the astronomical predictions he had discussed with Gloucester and alerts Edgar that Gloucester is very upset with him, though he knows not why. Edmund offers to take Edgar back to his lodging until he can bring he and Gloucester together and advises him to go armed. Edgar leaves and Edmund notes that he will soon take his due through wit", "analysis": ""}

Scena Secunda. Enter Bastard. Bast. Thou Nature art my Goddesse, to thy Law My seruices are bound, wherefore should I Stand in the plague of custome, and permit The curiosity of Nations, to depriue me? For that I am some twelue, or fourteene Moonshines Lag of a Brother? Why Bastard? Wherefore base? When my Dimensions are as well compact, My minde as generous, and my shape as true As honest Madams issue? Why brand they vs With Base? With basenes Bastardie? Base, Base? Who in the lustie stealth of Nature, take More composition, and fierce qualitie, Then doth within a dull stale tyred bed Goe to th' creating a whole tribe of Fops Got 'tweene a sleepe, and wake? Well then, Legitimate Edgar, I must haue your land, Our Fathers loue, is to the Bastard Edmond, As to th' legitimate: fine word: Legitimate. Well, my Legittimate, if this Letter speed, And my inuention thriue, Edmond the base Shall to'th' Legitimate: I grow, I prosper: Now Gods, stand vp for Bastards. Enter Gloucester. Glo. Kent banish'd thus? and France in choller parted? And the King gone to night? Prescrib'd his powre, Confin'd to exhibition? All this done Vpon the gad? Edmond, how now? What newes? Bast. So please your Lordship, none Glou. Why so earnestly seeke you to put vp y Letter? Bast. I know no newes, my Lord Glou. What Paper were you reading? Bast. Nothing my Lord Glou. No? what needed then that terrible dispatch of it into your Pocket? The quality of nothing, hath not such neede to hide it selfe. Let's see: come, if it bee nothing, I shall not neede Spectacles Bast. I beseech you Sir, pardon mee; it is a Letter from my Brother, that I haue not all ore-read; and for so much as I haue perus'd, I finde it not fit for your ore-looking Glou. Giue me the Letter, Sir Bast. I shall offend, either to detaine, or giue it: The Contents, as in part I vnderstand them, Are too blame Glou. Let's see, let's see Bast. I hope for my Brothers iustification, hee wrote this but as an essay, or taste of my Vertue Glou. reads. This policie, and reuerence of Age, makes the world bitter to the best of our times: keepes our Fortunes from vs, till our oldnesse cannot rellish them. I begin to finde an idle and fond bondage, in the oppression of aged tyranny, who swayes not as it hath power, but as it is suffer'd. Come to me, that of this I may speake more. If our Father would sleepe till I wak'd him, you should enioy halfe his Reuennew for euer, and liue the beloued of your Brother. Edgar. Hum? Conspiracy? Sleepe till I wake him, you should enioy halfe his Reuennew: my Sonne Edgar, had hee a hand to write this? A heart and braine to breede it in? When came you to this? Who brought it? Bast. It was not brought mee, my Lord; there's the cunning of it. I found it throwne in at the Casement of my Closset Glou. You know the character to be your Brothers? Bast. If the matter were good my Lord, I durst swear it were his: but in respect of that, I would faine thinke it were not Glou. It is his Bast. It is his hand, my Lord: but I hope his heart is not in the Contents Glo. Has he neuer before sounded you in this busines? Bast. Neuer my Lord. But I haue heard him oft maintaine it to be fit, that Sonnes at perfect age, and Fathers declin'd, the Father should bee as Ward to the Son, and the Sonne manage his Reuennew Glou. O Villain, villain: his very opinion in the Letter. Abhorred Villaine, vnnaturall, detested, brutish Villaine; worse then brutish: Go sirrah, seeke him: Ile apprehend him. Abhominable Villaine, where is he? Bast. I do not well know my L[ord]. If it shall please you to suspend your indignation against my Brother, til you can deriue from him better testimony of his intent, you shold run a certaine course: where, if you violently proceed against him, mistaking his purpose, it would make a great gap in your owne Honor, and shake in peeces, the heart of his obedience. I dare pawne downe my life for him, that he hath writ this to feele my affection to your Honor, & to no other pretence of danger Glou. Thinke you so? Bast. If your Honor iudge it meete, I will place you where you shall heare vs conferre of this, and by an Auricular assurance haue your satisfaction, and that without any further delay, then this very Euening Glou. He cannot bee such a Monster. Edmond seeke him out: winde me into him, I pray you: frame the Businesse after your owne wisedome. I would vnstate my selfe, to be in a due resolution Bast. I will seeke him Sir, presently: conuey the businesse as I shall find meanes, and acquaint you withall Glou. These late Eclipses in the Sun and Moone portend no good to vs: though the wisedome of Nature can reason it thus, and thus, yet Nature finds it selfe scourg'd by the sequent effects. Loue cooles, friendship falls off, Brothers diuide. In Cities, mutinies; in Countries, discord; in Pallaces, Treason; and the Bond crack'd, 'twixt Sonne and Father. This villaine of mine comes vnder the prediction; there's Son against Father, the King fals from byas of Nature, there's Father against Childe. We haue seene the best of our time. Machinations, hollownesse, treacherie, and all ruinous disorders follow vs disquietly to our Graues. Find out this Villain, Edmond, it shall lose thee nothing, do it carefully: and the Noble & true-harted Kent banish'd; his offence, honesty. 'Tis strange. Exit Bast. This is the excellent foppery of the world, that when we are sicke in fortune, often the surfets of our own behauiour, we make guilty of our disasters, the Sun, the Moone, and Starres, as if we were villaines on necessitie, Fooles by heauenly compulsion, Knaues, Theeues, and Treachers by Sphericall predominance. Drunkards, Lyars, and Adulterers by an inforc'd obedience of Planatary influence; and all that we are euill in, by a diuine thrusting on. An admirable euasion of Whore-master-man, to lay his Goatish disposition on the charge of a Starre, My father compounded with my mother vnder the Dragons taile, and my Natiuity was vnder Vrsa Maior, so that it followes, I am rough and Leacherous. I should haue bin that I am, had the maidenlest Starre in the Firmament twinkled on my bastardizing. Enter Edgar. Pat: he comes like the Catastrophe of the old Comedie: my Cue is villanous Melancholly, with a sighe like Tom o' Bedlam. - O these Eclipses do portend these diuisions. Fa, Sol, La, Me Edg. How now Brother Edmond, what serious contemplation are you in? Bast. I am thinking Brother of a prediction I read this other day, what should follow these Eclipses Edg. Do you busie your selfe with that? Bast. I promise you, the effects he writes of, succeede vnhappily. When saw you my Father last? Edg. The night gone by Bast. Spake you with him? Edg. I, two houres together Bast. Parted you in good termes? Found you no displeasure in him, by word, nor countenance? Edg. None at all, Bast. Bethink your selfe wherein you may haue offended him: and at my entreaty forbeare his presence, vntill some little time hath qualified the heat of his displeasure, which at this instant so rageth in him, that with the mischiefe of your person, it would scarsely alay Edg. Some Villaine hath done me wrong Edm. That's my feare, I pray you haue a continent forbearance till the speed of his rage goes slower: and as I say, retire with me to my lodging, from whence I will fitly bring you to heare my Lord speake: pray ye goe, there's my key: if you do stirre abroad, goe arm'd Edg. Arm'd, Brother? Edm. Brother, I aduise you to the best, I am no honest man, if ther be any good meaning toward you: I haue told you what I haue seene, and heard: But faintly. Nothing like the image, and horror of it, pray you away Edg. Shall I heare from you anon? Enter. Edm. I do serue you in this businesse: A Credulous Father, and a Brother Noble, Whose nature is so farre from doing harmes, That he suspects none: on whose foolish honestie My practises ride easie: I see the businesse. Let me, if not by birth, haue lands by wit, All with me's meete, that I can fashion fit. Enter.

act 1, scene ii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-i

The scene centers around Edmund, at first alone on stage, crying out against his position as bastard to the material world. He is envious of Edgar, the legitimate son, and wishes to gain what he has by forging a treasonous letter concerning Gloucester from Edgar. Gloucester enters, amazed at the events which have occurred during the last scene. He wishes to know why Edmund is hiding a letter and demands to see it. He shrewdly acts as if he is embarrassed to show it to Gloucester and continually makes excuses for Edgar's apparent behavior. Gloucester reads the letter detailing "Edgar's" call to Edmund to take their father's land from him. Edmund asks that he not make too quick a judgment before they talk to Edgar as perhaps he is simply testing Edmund. He suggests forming a meeting where Edmund can ask Edgar about his proposals while Gloucester listens in secret. Gloucester agrees, musing on the effects of nature and its predictions. He leaves directly before Edgar enters. Edmund brings up the astronomical predictions he had discussed with Gloucester and alerts Edgar that Gloucester is very upset with him, though he knows not why. Edmund offers to take Edgar back to his lodging until he can bring he and Gloucester together and advises him to go armed. Edgar leaves and Edmund notes that he will soon take his due through wit

gradesaver

all_chapterized_books/2266-chapters/3.txt

finished_summaries/gradesaver/King Lear/section_0_part_3.txt

King Lear.act 1.scene 3

act 1 scene 3

{"name": "act 1, scene iii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-i", "summary": "Scene iii reintroduces Goneril, as she is outraged by the offenses she contends Lear has been showing her since moving into her residence. He has struck Oswald for criticizing his fool, his knights are riotous and so on, she claims. Lear is out hunting. Goneril commands Oswald to allow her privacy from Lear and to treat Lear with \"weary negligence\". She does not want him to be happy, hoping that he will move to Regan's where she knows he will face the same contempt. She demands Oswald to treat his knights coldly as well. She leaves to write Regan", "analysis": ""}

Scena Tertia. Enter Gonerill, and Steward. Gon. Did my Father strike my Gentleman for chiding of his Foole? Ste. I Madam Gon. By day and night, he wrongs me, euery howre He flashes into one grosse crime, or other, That sets vs all at ods: Ile not endure it; His Knights grow riotous, and himselfe vpbraides vs On euery trifle. When he returnes from hunting, I will not speake with him, say I am sicke, If you come slacke of former seruices, You shall do well, the fault of it Ile answer Ste. He's comming Madam, I heare him Gon. Put on what weary negligence you please, You and your Fellowes: I'de haue it come to question; If he distaste it, let him to my Sister, Whose mind and mine I know in that are one, Remember what I haue said Ste. Well Madam Gon. And let his Knights haue colder lookes among you: what growes of it no matter, aduise your fellowes so, Ile write straight to my Sister to hold my course; prepare for dinner. Exeunt.

act 1, scene iii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-i

Scene iii reintroduces Goneril, as she is outraged by the offenses she contends Lear has been showing her since moving into her residence. He has struck Oswald for criticizing his fool, his knights are riotous and so on, she claims. Lear is out hunting. Goneril commands Oswald to allow her privacy from Lear and to treat Lear with "weary negligence". She does not want him to be happy, hoping that he will move to Regan's where she knows he will face the same contempt. She demands Oswald to treat his knights coldly as well. She leaves to write Regan

gradesaver

all_chapterized_books/2266-chapters/5.txt

finished_summaries/gradesaver/King Lear/section_0_part_5.txt

King Lear.act 1.scene 5

act 1 scene 5

{"name": "act 1, scene v", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-i", "summary": "Impatient, Lear sends the disguised Kent to bring letters to Gloucester. The Fool wisely warns that Regan will likely act no better than her sister had. He criticizes Lear for giving away his own home and place, using examples such as a snail carrying his shell. Lear recognizes he will have to subdue his fatherly instincts toward Regan as well. Fool points out that Lear has gotten old before he is wise. Lear cries out, praying that he will not go mad.", "analysis": "Analysis: The kingdom's division as alluded to by Kent and Gloucester is strange in that it is not mentioned in the context of Lear's daughters. The seeming arbitrariness this sheds on Lear's enactment of the love test provides a contrast through which to view the misplaced importance Lear is placing on words, appearance, and position. We will soon learn that Kent and Gloucester are two of the only men who could provide Lear with sound, sincere advice, thus endowing their original take of the situation with a greater significance. They have no problem with Lear's decision to divide the kingdom as he is old and is attempting to escape greater conflict after his death. Thus Kent's revolt against Lear's actions arises not from Lear's initial undertaking but from his reaction to Cordelia. Notice too that he does not protest when Lear asks for an estimation/competition for love from his daughters or when Goneril and Regan respond in very coarse, superficial words. He only strikes against Lear's rule when Lear does not notice the sincerity of Cordelia's words and then moves to strip her of his love and titles. This is not only foolish but hurtful and unjust. The love test was foolish but, on the surface, harmed little. Yet, Goneril and Regan likely knew that their sister would not compete with them if their were extravagant enough in their claims of love toward their father. Of course, they did not love him with their all, but in Lear's old and insecure state, they knew he would fall for their insincerity and Cordelia would refrain from competing on such a hypocritical level. Notice the sonorous quality of the sisters' names. The two oldest have very harsh, coarse sounding names, lacking in femininity or beauty. Cordelia's name is much more melodic and feminine. This is the first constructed quality which sets her apart from her sisters. Also pay attention to the inflated verse Goneril and Regan use when addressing their father as opposed to the much harsher prose they regress to upon his exit in scene i. Their true voices are symbolized by the harsh prose we receive from them when alone, just as their names reverberate with crudeness. Cordelia however often speaks in rhyming couplets, a much more elevated form than her sisters, which allows her to be further set apart from their hypocrisy. We also note that Kent will at times, especially in his defense of Cordelia, slip into rhyming couplets. Shakespeare stresses the elevation of language to symbolize the true nature of characters, highlighting Kent and Cordelia as honorable characters. Cordelia frequently however understates her sincerity and true affections. She is aware that her sisters speak superficially, employing terms of value and worth in expressing their love, and refuses to echo their hypocrisy, thus responding more coldly than she likely otherwise would. Her asides to the audience give an unadulterated view into her thoughts, similar to the true voices of Goneril and Regan we meet at the end of scene i. Her response \"Nothing\" echoes these asides instead of disguising them and illustrates to the reader how Cordelia as a character is stripped of pretense and artifice. The idea is echoed literally and symbolically in Lear's comment of scene iv, \"Nothing can be made out of nothing\". In the very same scene that Lear admits he has overreacted toward Cordelia, though only at this point acknowledging that Goneril's offense is greater, he perceives that truth and sincerity cannot be represented by pretense. Regardless of how well Lear has been fooled by the artifice of his older daughters, he allows the Fool to counteract his elderly need for praise and love. Not surprisingly in Shakespeare's plays, the Fool is often the least foolish, directing the lead characters to their miscues in slightly comedic or condescending ways. His singing to Lear illustrates further the use of language and the presentation of language which Shakespeare employs to distinguish between different characters' qualities or the different intentions of single characters. King Lear is a parable, encrusted with symbolic figures and actions toward a predicted and fabled end. Suspension of disbelief must be enacted on a level as many readers are moved to question Lear's decision making and early blindness toward truth and goodness. As one critic raises, how would Kent and France recognize Cordelia's sincerity and inner beauty when her own father cannot. On a realistic level, Lear has started to regress toward dementia and old age. We know by Kent and Gloucester's loyalty toward him, that he had once been more reasonable. On the figurative and more appropriate level, Lear is a allegorical figure in a parable and must move blindly toward this character demise in order to be resurrected to honesty and the goodness his fallen daughter represents in the end. He committed a fatal and selfish human error which cannot be mended without the journey and transformation he must undergo. The story of King Lear had been kicked around in old British literature and lore, but Shakespeare appears to be the first to allow it to end as tragically as the story's course first suggests. With this in mind, Lear's life is headed in an almost inevitable downward spiral. The plot centers more around how Lear will handle this spiral and his conquering of artifice and insincerity. Blindness is one of the most frequently employed metaphors in King Lear. Blindness will become a physical problem for Gloucester later in the play, but its metaphoric weight is used to foreshadow and heighten this development. Lear is blind to the blatant hypocrisy of his two oldest daughters from the first moment we meet him. However, unlike the implication that he was once a more noble man since he has the support of seemingly noble subcharacters, Kent and Gloucester, we are not given the impression that he ever knew well enough to previously suspect Goneril or Regan of ingratitude or dishonesty. They have obviously shown their true colors at some point before though since Cordelia responds in such a manner to alert us that she will not sink as low in hypocrisy as her sisters will. For instance, she comments, \"A still-soliciting eye, and such a tongue/ That I am glad I have not, though not to have it/ Hath lost me in your liking\". Thus, although Lear has obviously favored Cordelia, he has been blind to the inherent ingratitude of his two other daughters and is foolish enough to trust them with his livelihood after more foolishly disinheriting Cordelia and exiling Kent. A good example of this is presented in the very first scene. Lear cries to Kent, \"Out of my sight. to which Kent retorts, \"See better, Lear, and let me still remain/ The true blank of thine eye\". He wishes to be allowed to remain the one who could center Lear's focus. Yet even when Kent reenters the play disguised, he cannot alter the course that Lear has begun. Lear becomes increasingly blind to the truth around him. Sight, or the lack of it, is referenced a few scenes later more explicitly when Lear himself notices that he has lost sight of what is important, so to say. He cries, \"Does any here know me. This is not Lear. Does Lear walk thus. speak thus. Where are his eyes. Kent cannot become his eyes as the tragic plot and subplot move toward blindness and disillusion. The subplot of child betraying sibling and father eerily and intentionally mirrors the plot of children betraying father and father betraying child. Shakespeare's method of juxtaposing the two plots through the interspersing of a scene relating to the plot with a scene centered around Edmund's sinister conspiracy allows the audience to have a heightened awareness of the actions of one through the other. In both, the strong, honorable patriarch is undone by the ingratitude of at least one of his children. Both patriarchs seem to have contributed slightly to the misdeeds of their children. Gloucester directly separates his sons as legitimate and illegitimate and mentions it frequently. He also notes that he sent Edmund away, likely because of his illegitimacy, for a long period of time and plans to do so again. Stripped of property and title, one is less surprised by Edmund's move to undo his destiny. However, Shakespeare creates in the characters of Edgar and Gloucester hearts which seem honorable and trusting, making Edmund's plot to betray them more disgusting. Note that Gloucester immediately believes the letter which Edmund shows him, not at once questioning Edmund's honesty although it would be doubtful that Gloucester had any previous reason to suspect or distrust Edgar. Similarly, Edgar immediately believes Edmund when he tells him he should worry about his safety and his relationship with his father. The audience gains from these interactions that Edmund has done nothing in the past to arouse suspicion. Instead it seems that he has been waiting patiently to upset the familial balance and now hurries to do so when threatened with further military service. But remember, we must also keep in mind that an attempt to make sense out of every encounter and character intention is not the purpose of the play. Instead, we must explore the character flaws and relationship developments as they are entwined within the parable Shakespeare is constructing and expanding. The parable's breadth is exaggerated and amplified by the doubling of themes in the plot and subplot. The demise of the father's position through betrayal by his own children was considered to be one of the cruelest, harshest offenses imaginable. This reflection of plot, for which the seeds are planted in Act I, magnifies the horrors of the tragedy. In this manner, blindness is one of the main symbolic and physical vehicles through which Shakespeare describes the horrors of ingratitude, insincerity, and hypocrisy. Goneril is represented to the audience as one of the most evil participants in the familial crimes taking place. This character description is illustrated through the contrast Shakespeare establishes between her and her husband. Woman as the most evil of characters is not a new experiment for Shakespeare. Shortly before writing King Lear, he created a Lady Macbeth who expressed the need to sacrifice one's own children if necessary to gain more power and who urged her more weakhearted husband to kill the kindhearted King. Though in the end of Macbeth Lady Macbeth is suffering from her evil, she was still the instigator who brought about the continued evils by urging her husband to yearn for more and more power. Here, Goneril also yearns for power but does not feel the need to aim indirectly for it. Albany is basically told to stay out of her way as he is too weak to know what is best. She places more trust in her servant Oswald, it seems, as she sends him off to run her important letter to Regan whereas she pushes Albany off to the side. She manipulates how her sister will act and the manner in which they will strip Lear of his property and authority. The stories she creates of Lear's riotous knights and so on are supported by nothing in Shakespeare's text. The characters in Lear's train who speak to him are well behaved, polite, and honorable. They try to protect him and Lear himself is shown well when he places the blame for Goneril's coldness on himself instead of her and her household. Thus we exit the first Act with the knowledge of Cordelia's goodness, Lear's previous goodness and impending madness, Fool's truth telling, Edmund's plotting, and Goneril's evil. The parable is well in place"}

Scena Quinta. Enter Lear, Kent, Gentleman, and Foole. Lear. Go you before to Gloster with these Letters; acquaint my Daughter no further with any thing you know, then comes from her demand out of the Letter, if your Dilligence be not speedy, I shall be there afore you Kent. I will not sleepe my Lord, till I haue deliuered your Letter. Enter. Foole. If a mans braines were in's heeles, wert not in danger of kybes? Lear. I Boy Foole. Then I prythee be merry, thy wit shall not go slip-shod Lear. Ha, ha, ha Fool. Shalt see thy other Daughter will vse thee kindly, for though she's as like this, as a Crabbe's like an Apple, yet I can tell what I can tell Lear. What can'st tell Boy? Foole. She will taste as like this as, a Crabbe do's to a Crab: thou canst, tell why ones nose stands i'th' middle on's face? Lear. No Foole. Why to keepe ones eyes of either side 's nose, that what a man cannot smell out, he may spy into Lear. I did her wrong Foole. Can'st tell how an Oyster makes his shell? Lear. No Foole. Nor I neither; but I can tell why a Snaile ha's a house Lear. Why? Foole. Why to put's head in, not to giue it away to his daughters, and leaue his hornes without a case Lear. I will forget my Nature, so kind a Father? Be my Horsses ready? Foole. Thy Asses are gone about 'em; the reason why the seuen Starres are no mo then seuen, is a pretty reason Lear. Because they are not eight Foole. Yes indeed, thou would'st make a good Foole Lear. To tak't againe perforce; Monster Ingratitude! Foole. If thou wert my Foole Nunckle, Il'd haue thee beaten for being old before thy time Lear. How's that? Foole. Thou shouldst not haue bin old, till thou hadst bin wise Lear. O let me not be mad, not mad sweet Heauen: keepe me in temper, I would not be mad. How now are the Horses ready? Gent. Ready my Lord Lear. Come Boy Fool. She that's a Maid now, & laughs at my departure, Shall not be a Maid long, vnlesse things be cut shorter. Exeunt.

act 1, scene v

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-i

Impatient, Lear sends the disguised Kent to bring letters to Gloucester. The Fool wisely warns that Regan will likely act no better than her sister had. He criticizes Lear for giving away his own home and place, using examples such as a snail carrying his shell. Lear recognizes he will have to subdue his fatherly instincts toward Regan as well. Fool points out that Lear has gotten old before he is wise. Lear cries out, praying that he will not go mad.

Analysis: The kingdom's division as alluded to by Kent and Gloucester is strange in that it is not mentioned in the context of Lear's daughters. The seeming arbitrariness this sheds on Lear's enactment of the love test provides a contrast through which to view the misplaced importance Lear is placing on words, appearance, and position. We will soon learn that Kent and Gloucester are two of the only men who could provide Lear with sound, sincere advice, thus endowing their original take of the situation with a greater significance. They have no problem with Lear's decision to divide the kingdom as he is old and is attempting to escape greater conflict after his death. Thus Kent's revolt against Lear's actions arises not from Lear's initial undertaking but from his reaction to Cordelia. Notice too that he does not protest when Lear asks for an estimation/competition for love from his daughters or when Goneril and Regan respond in very coarse, superficial words. He only strikes against Lear's rule when Lear does not notice the sincerity of Cordelia's words and then moves to strip her of his love and titles. This is not only foolish but hurtful and unjust. The love test was foolish but, on the surface, harmed little. Yet, Goneril and Regan likely knew that their sister would not compete with them if their were extravagant enough in their claims of love toward their father. Of course, they did not love him with their all, but in Lear's old and insecure state, they knew he would fall for their insincerity and Cordelia would refrain from competing on such a hypocritical level. Notice the sonorous quality of the sisters' names. The two oldest have very harsh, coarse sounding names, lacking in femininity or beauty. Cordelia's name is much more melodic and feminine. This is the first constructed quality which sets her apart from her sisters. Also pay attention to the inflated verse Goneril and Regan use when addressing their father as opposed to the much harsher prose they regress to upon his exit in scene i. Their true voices are symbolized by the harsh prose we receive from them when alone, just as their names reverberate with crudeness. Cordelia however often speaks in rhyming couplets, a much more elevated form than her sisters, which allows her to be further set apart from their hypocrisy. We also note that Kent will at times, especially in his defense of Cordelia, slip into rhyming couplets. Shakespeare stresses the elevation of language to symbolize the true nature of characters, highlighting Kent and Cordelia as honorable characters. Cordelia frequently however understates her sincerity and true affections. She is aware that her sisters speak superficially, employing terms of value and worth in expressing their love, and refuses to echo their hypocrisy, thus responding more coldly than she likely otherwise would. Her asides to the audience give an unadulterated view into her thoughts, similar to the true voices of Goneril and Regan we meet at the end of scene i. Her response "Nothing" echoes these asides instead of disguising them and illustrates to the reader how Cordelia as a character is stripped of pretense and artifice. The idea is echoed literally and symbolically in Lear's comment of scene iv, "Nothing can be made out of nothing". In the very same scene that Lear admits he has overreacted toward Cordelia, though only at this point acknowledging that Goneril's offense is greater, he perceives that truth and sincerity cannot be represented by pretense. Regardless of how well Lear has been fooled by the artifice of his older daughters, he allows the Fool to counteract his elderly need for praise and love. Not surprisingly in Shakespeare's plays, the Fool is often the least foolish, directing the lead characters to their miscues in slightly comedic or condescending ways. His singing to Lear illustrates further the use of language and the presentation of language which Shakespeare employs to distinguish between different characters' qualities or the different intentions of single characters. King Lear is a parable, encrusted with symbolic figures and actions toward a predicted and fabled end. Suspension of disbelief must be enacted on a level as many readers are moved to question Lear's decision making and early blindness toward truth and goodness. As one critic raises, how would Kent and France recognize Cordelia's sincerity and inner beauty when her own father cannot. On a realistic level, Lear has started to regress toward dementia and old age. We know by Kent and Gloucester's loyalty toward him, that he had once been more reasonable. On the figurative and more appropriate level, Lear is a allegorical figure in a parable and must move blindly toward this character demise in order to be resurrected to honesty and the goodness his fallen daughter represents in the end. He committed a fatal and selfish human error which cannot be mended without the journey and transformation he must undergo. The story of King Lear had been kicked around in old British literature and lore, but Shakespeare appears to be the first to allow it to end as tragically as the story's course first suggests. With this in mind, Lear's life is headed in an almost inevitable downward spiral. The plot centers more around how Lear will handle this spiral and his conquering of artifice and insincerity. Blindness is one of the most frequently employed metaphors in King Lear. Blindness will become a physical problem for Gloucester later in the play, but its metaphoric weight is used to foreshadow and heighten this development. Lear is blind to the blatant hypocrisy of his two oldest daughters from the first moment we meet him. However, unlike the implication that he was once a more noble man since he has the support of seemingly noble subcharacters, Kent and Gloucester, we are not given the impression that he ever knew well enough to previously suspect Goneril or Regan of ingratitude or dishonesty. They have obviously shown their true colors at some point before though since Cordelia responds in such a manner to alert us that she will not sink as low in hypocrisy as her sisters will. For instance, she comments, "A still-soliciting eye, and such a tongue/ That I am glad I have not, though not to have it/ Hath lost me in your liking". Thus, although Lear has obviously favored Cordelia, he has been blind to the inherent ingratitude of his two other daughters and is foolish enough to trust them with his livelihood after more foolishly disinheriting Cordelia and exiling Kent. A good example of this is presented in the very first scene. Lear cries to Kent, "Out of my sight. to which Kent retorts, "See better, Lear, and let me still remain/ The true blank of thine eye". He wishes to be allowed to remain the one who could center Lear's focus. Yet even when Kent reenters the play disguised, he cannot alter the course that Lear has begun. Lear becomes increasingly blind to the truth around him. Sight, or the lack of it, is referenced a few scenes later more explicitly when Lear himself notices that he has lost sight of what is important, so to say. He cries, "Does any here know me. This is not Lear. Does Lear walk thus. speak thus. Where are his eyes. Kent cannot become his eyes as the tragic plot and subplot move toward blindness and disillusion. The subplot of child betraying sibling and father eerily and intentionally mirrors the plot of children betraying father and father betraying child. Shakespeare's method of juxtaposing the two plots through the interspersing of a scene relating to the plot with a scene centered around Edmund's sinister conspiracy allows the audience to have a heightened awareness of the actions of one through the other. In both, the strong, honorable patriarch is undone by the ingratitude of at least one of his children. Both patriarchs seem to have contributed slightly to the misdeeds of their children. Gloucester directly separates his sons as legitimate and illegitimate and mentions it frequently. He also notes that he sent Edmund away, likely because of his illegitimacy, for a long period of time and plans to do so again. Stripped of property and title, one is less surprised by Edmund's move to undo his destiny. However, Shakespeare creates in the characters of Edgar and Gloucester hearts which seem honorable and trusting, making Edmund's plot to betray them more disgusting. Note that Gloucester immediately believes the letter which Edmund shows him, not at once questioning Edmund's honesty although it would be doubtful that Gloucester had any previous reason to suspect or distrust Edgar. Similarly, Edgar immediately believes Edmund when he tells him he should worry about his safety and his relationship with his father. The audience gains from these interactions that Edmund has done nothing in the past to arouse suspicion. Instead it seems that he has been waiting patiently to upset the familial balance and now hurries to do so when threatened with further military service. But remember, we must also keep in mind that an attempt to make sense out of every encounter and character intention is not the purpose of the play. Instead, we must explore the character flaws and relationship developments as they are entwined within the parable Shakespeare is constructing and expanding. The parable's breadth is exaggerated and amplified by the doubling of themes in the plot and subplot. The demise of the father's position through betrayal by his own children was considered to be one of the cruelest, harshest offenses imaginable. This reflection of plot, for which the seeds are planted in Act I, magnifies the horrors of the tragedy. In this manner, blindness is one of the main symbolic and physical vehicles through which Shakespeare describes the horrors of ingratitude, insincerity, and hypocrisy. Goneril is represented to the audience as one of the most evil participants in the familial crimes taking place. This character description is illustrated through the contrast Shakespeare establishes between her and her husband. Woman as the most evil of characters is not a new experiment for Shakespeare. Shortly before writing King Lear, he created a Lady Macbeth who expressed the need to sacrifice one's own children if necessary to gain more power and who urged her more weakhearted husband to kill the kindhearted King. Though in the end of Macbeth Lady Macbeth is suffering from her evil, she was still the instigator who brought about the continued evils by urging her husband to yearn for more and more power. Here, Goneril also yearns for power but does not feel the need to aim indirectly for it. Albany is basically told to stay out of her way as he is too weak to know what is best. She places more trust in her servant Oswald, it seems, as she sends him off to run her important letter to Regan whereas she pushes Albany off to the side. She manipulates how her sister will act and the manner in which they will strip Lear of his property and authority. The stories she creates of Lear's riotous knights and so on are supported by nothing in Shakespeare's text. The characters in Lear's train who speak to him are well behaved, polite, and honorable. They try to protect him and Lear himself is shown well when he places the blame for Goneril's coldness on himself instead of her and her household. Thus we exit the first Act with the knowledge of Cordelia's goodness, Lear's previous goodness and impending madness, Fool's truth telling, Edmund's plotting, and Goneril's evil. The parable is well in place

gradesaver

all_chapterized_books/2266-chapters/6.txt

finished_summaries/gradesaver/King Lear/section_1_part_1.txt

King Lear.act 2.scene 1

act 2 scene 1

{"name": "act 2, scene i", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-ii", "summary": "Act II begins with a return to the secondary plot of Edmund, Edgar, and Gloucester. Edmund speaks with the courtier, Curan, who advises him that Regan and Cornwall will arrive shortly at Gloucester's castle. He also passes on the gossip that there may soon be a war between Cornwall and Albany. After Curan leaves, Edmund expresses his delight over the news he has learned as he can use that in his plot. Edgar enters and Edmund cleverly asks if he has offended Cornwall or Albany. Edgar says he has not. Edmund cries that he hears Gloucester coming and forces Edgar to draw his sword with him. Telling Edgar to flee, Edmund then wounds himself with his sword before calling out to Gloucester for help. Gloucester arrives quickly and sends servants to chase down the villain. Edmund explains that he would not allow Edgar to persuade him into murdering their father causing Edgar to slash him with his sword. He continues that Edgar threatened him and by no means intended to permit Edmund, an \"unpossessing bastard\", to stop him from his evil plot. Gloucester is indignant and claims that Edgar will be captured and punished. He promises that Edmund will become the heir of his land. At this point, Cornwall and Regan enter the scene, wondering if the gossip they had heard about Edgar is correct. Gloucester confirms it is. Edmund cleverly confirms Regan's fear that Edgar was acting as part of Lear's riotous knights. Cornwall acknowledges the good act Edmund has done for Gloucester and promises to take him into their favor. After Gloucester and Edmund thank them, Regan explains why she and Cornwall have come to Gloucester's castle. She had received a letter from Goneril and so had left home to avoid Lear. She asks for Gloucester's assistance", "analysis": ""}

Actus Secundus. Scena Prima. Enter Bastard, and Curan, seuerally. Bast. Saue thee Curan Cur. And you Sir, I haue bin With your Father, and giuen him notice That the Duke of Cornwall, and Regan his Duchesse Will be here with him this night Bast. How comes that? Cur. Nay I know not, you haue heard of the newes abroad, I meane the whisper'd ones, for they are yet but ear-kissing arguments Bast. Not I: pray you what are they? Cur. Haue you heard of no likely Warres toward, 'Twixt the Dukes of Cornwall, and Albany? Bast. Not a word Cur. You may do then in time, Fare you well Sir. Enter. Bast. The Duke be here to night? The better best, This weaues it selfe perforce into my businesse, My Father hath set guard to take my Brother, And I haue one thing of a queazie question Which I must act, Briefenesse, and Fortune worke. Enter Edgar. Brother, a word, discend; Brother I say, My Father watches: O Sir, fly this place, Intelligence is giuen where you are hid; You haue now the good aduantage of the night, Haue you not spoken 'gainst the Duke of Cornewall? Hee's comming hither, now i'th' night, i'th' haste, And Regan with him, haue you nothing said Vpon his partie 'gainst the Duke of Albany? Aduise your selfe Edg. I am sure on't, not a word Bast. I heare my Father comming, pardon me: In cunning, I must draw my Sword vpon you: Draw, seeme to defend your selfe, Now quit you well. Yeeld, come before my Father, light hoa, here, Fly Brother, Torches, Torches, so farewell. Exit Edgar. Some blood drawne on me, would beget opinion Of my more fierce endeauour. I haue seene drunkards Do more then this in sport; Father, Father, Stop, stop, no helpe? Enter Gloster, and Seruants with Torches. Glo. Now Edmund, where's the villaine? Bast. Here stood he in the dark, his sharpe Sword out, Mumbling of wicked charmes, coniuring the Moone To stand auspicious Mistris Glo. But where is he? Bast. Looke Sir, I bleed Glo. Where is the villaine, Edmund? Bast. Fled this way Sir, when by no meanes he could Glo. Pursue him, ho: go after. By no meanes, what? Bast. Perswade me to the murther of your Lordship, But that I told him the reuenging Gods, 'Gainst Paricides did all the thunder bend, Spoke with how manifold, and strong a Bond The Child was bound to'th' Father; Sir in fine, Seeing how lothly opposite I stood To his vnnaturall purpose, in fell motion With his prepared Sword, he charges home My vnprouided body, latch'd mine arme; And when he saw my best alarum'd spirits Bold in the quarrels right, rouz'd to th' encounter, Or whether gasted by the noyse I made, Full sodainely he fled Glost. Let him fly farre: Not in this Land shall he remaine vncaught And found; dispatch, the Noble Duke my Master, My worthy Arch and Patron comes to night, By his authoritie I will proclaime it, That he which finds him shall deserue our thankes, Bringing the murderous Coward to the stake: He that conceales him death Bast. When I disswaded him from his intent, And found him pight to doe it, with curst speech I threaten'd to discouer him; he replied, Thou vnpossessing Bastard, dost thou thinke, If I would stand against thee, would the reposall Of any trust, vertue, or worth in thee Make thy words faith'd? No, what should I denie, (As this I would, though thou didst produce My very Character) I'ld turne it all To thy suggestion, plot, and damned practise: And thou must make a dullard of the world, If they not thought the profits of my death Were very pregnant and potentiall spirits To make thee seeke it. Tucket within. Glo. O strange and fastned Villaine, Would he deny his Letter, said he? Harke, the Dukes Trumpets, I know not wher he comes; All Ports Ile barre, the villaine shall not scape, The Duke must grant me that: besides, his picture I will send farre and neere, that all the kingdome May haue due note of him, and of my land, (Loyall and naturall Boy) Ile worke the meanes To make thee capable. Enter Cornewall, Regan, and Attendants. Corn. How now my Noble friend, since I came hither (Which I can call but now,) I haue heard strangenesse Reg. If it be true, all vengeance comes too short Which can pursue th' offender; how dost my Lord? Glo. O Madam, my old heart is crack'd, it's crack'd Reg. What, did my Fathers Godsonne seeke your life? He whom my Father nam'd, your Edgar? Glo. O Lady, Lady, shame would haue it hid Reg. Was he not companion with the riotous Knights That tended vpon my Father? Glo. I know not Madam, 'tis too bad, too bad Bast. Yes Madam, he was of that consort Reg. No maruaile then, though he were ill affected, 'Tis they haue put him on the old mans death, To haue th' expence and wast of his Reuenues: I haue this present euening from my Sister Beene well inform'd of them, and with such cautions, That if they come to soiourne at my house, Ile not be there Cor. Nor I, assure thee Regan; Edmund, I heare that you haue shewne your Father A Child-like Office Bast. It was my duty Sir Glo. He did bewray his practise, and receiu'd This hurt you see, striuing to apprehend him Cor. Is he pursued? Glo. I my good Lord Cor. If he be taken, he shall neuer more Be fear'd of doing harme, make your owne purpose, How in my strength you please: for you Edmund, Whose vertue and obedience doth this instant So much commend it selfe, you shall be ours, Nature's of such deepe trust, we shall much need: You we first seize on Bast. I shall serue you Sir truely, how euer else Glo. For him I thanke your Grace Cor. You know not why we came to visit you? Reg. Thus out of season, thredding darke ey'd night, Occasions Noble Gloster of some prize, Wherein we must haue vse of your aduise. Our Father he hath writ, so hath our Sister, Of differences, which I best thought it fit To answere from our home: the seuerall Messengers From hence attend dispatch, our good old Friend, Lay comforts to your bosome, and bestow Your needfull counsaile to our businesses, Which craues the instant vse Glo. I serue you Madam, Your Graces are right welcome. Exeunt. Flourish.

act 2, scene i

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-ii

Act II begins with a return to the secondary plot of Edmund, Edgar, and Gloucester. Edmund speaks with the courtier, Curan, who advises him that Regan and Cornwall will arrive shortly at Gloucester's castle. He also passes on the gossip that there may soon be a war between Cornwall and Albany. After Curan leaves, Edmund expresses his delight over the news he has learned as he can use that in his plot. Edgar enters and Edmund cleverly asks if he has offended Cornwall or Albany. Edgar says he has not. Edmund cries that he hears Gloucester coming and forces Edgar to draw his sword with him. Telling Edgar to flee, Edmund then wounds himself with his sword before calling out to Gloucester for help. Gloucester arrives quickly and sends servants to chase down the villain. Edmund explains that he would not allow Edgar to persuade him into murdering their father causing Edgar to slash him with his sword. He continues that Edgar threatened him and by no means intended to permit Edmund, an "unpossessing bastard", to stop him from his evil plot. Gloucester is indignant and claims that Edgar will be captured and punished. He promises that Edmund will become the heir of his land. At this point, Cornwall and Regan enter the scene, wondering if the gossip they had heard about Edgar is correct. Gloucester confirms it is. Edmund cleverly confirms Regan's fear that Edgar was acting as part of Lear's riotous knights. Cornwall acknowledges the good act Edmund has done for Gloucester and promises to take him into their favor. After Gloucester and Edmund thank them, Regan explains why she and Cornwall have come to Gloucester's castle. She had received a letter from Goneril and so had left home to avoid Lear. She asks for Gloucester's assistance

gradesaver

all_chapterized_books/2266-chapters/7.txt

finished_summaries/gradesaver/King Lear/section_1_part_2.txt

King Lear.act 2.scene 2

act 2 scene 2

{"name": "act 2, scene ii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-ii", "summary": "Oswald, Goneril's servant, and Kent, still disguised as Lear's servant Caius, meet at Gloucester's castle after first trekking to Cornwall's residence with messages. Oswald does not first recognize Kent but Kent recognizes him and responds to him curtly with curses and name-calling. He claims that Oswald comes with letters against the King and sides with his evil daughter. He calls Oswald to draw his sword at which Oswald cries out for help. The noise brings in Edmund, Cornwall, Regan, Gloucester, and some servants. When asked what the commotion is, Kent continues to insult Oswald, who is breathless. Oswald claims that he has spared Kent because of his grey beard at which Kent scoffs. He describes that Oswald is like a dog, ignorantly following a master. To Cornwall's incredulousness, Kent says that he does not like the look of his face. Oswald explains that Kent had no reason to strike him in Lear's company or to draw on him at Gloucester's. Kent refers to Cornwall and Regan as cowards and they call for the stocks. Regan comments that they should leave him not only until noon, as Cornwall had suggested, but for over a day. Gloucester protests but is overruled. After the others have exited, Gloucester apologizes to Kent and admits that the Duke is to blame. Alone, Kent muses over a letter he has received from Cordelia, implying that she knows he has taken disguise and promises to try to save her father from the evil of her sisters. Kent recognizes he is at the bottom of luck. He falls asleep", "analysis": ""}

Scena Secunda. Enter Kent, and Steward seuerally. Stew. Good dawning to thee Friend, art of this house? Kent. I Stew. Where may we set our horses? Kent. I'th' myre Stew. Prythee, if thou lou'st me, tell me Kent. I loue thee not Ste. Why then I care not for thee Kent. If I had thee in Lipsbury Pinfold, I would make thee care for me Ste. Why do'st thou vse me thus? I know thee not Kent. Fellow I know thee Ste. What do'st thou know me for? Kent. A Knaue, a Rascall, an eater of broken meates, a base, proud, shallow, beggerly, three-suited-hundred pound, filthy woosted-stocking knaue, a Lilly-liuered, action-taking, whoreson glasse-gazing super-seruiceable finicall Rogue, one Trunke-inheriting slaue, one that would'st be a Baud in way of good seruice, and art nothing but the composition of a Knaue, Begger, Coward, Pandar, and the Sonne and Heire of a Mungrill Bitch, one whom I will beate into clamours whining, if thou deny'st the least sillable of thy addition Stew. Why, what a monstrous Fellow art thou, thus to raile on one, that is neither knowne of thee, nor knowes thee? Kent. What a brazen-fac'd Varlet art thou, to deny thou knowest me? Is it two dayes since I tript vp thy heeles, and beate thee before the King? Draw you rogue, for though it be night, yet the Moone shines, Ile make a sop oth' Moonshine of you, you whoreson Cullyenly Barber-monger, draw Stew. Away, I haue nothing to do with thee Kent. Draw you Rascall, you come with Letters against the King, and take Vanitie the puppets part, against the Royaltie of her Father: draw you Rogue, or Ile so carbonado your shanks, draw you Rascall, come your waies Ste. Helpe, ho, murther, helpe Kent. Strike you slaue: stand rogue, stand you neat slaue, strike Stew. Helpe hoa, murther, murther. Enter Bastard, Cornewall, Regan, Gloster, Seruants. Bast. How now, what's the matter? Part Kent. With you goodman Boy, if you please, come, Ile flesh ye, come on yong Master Glo. Weapons? Armes? what's the matter here? Cor. Keepe peace vpon your liues, he dies that strikes againe, what is the matter? Reg. The Messengers from our Sister, and the King? Cor. What is your difference, speake? Stew. I am scarce in breath my Lord Kent. No Maruell, you haue so bestir'd your valour, you cowardly Rascall, nature disclaimes in thee: a Taylor made thee Cor. Thou art a strange fellow, a Taylor make a man? Kent. A Taylor Sir, a Stone-cutter, or a Painter, could not haue made him so ill, though they had bin but two yeares oth' trade Cor. Speake yet, how grew your quarrell? Ste. This ancient Ruffian Sir, whose life I haue spar'd at sute of his gray-beard Kent. Thou whoreson Zed, thou vnnecessary letter: my Lord, if you will giue me leaue, I will tread this vnboulted villaine into morter, and daube the wall of a Iakes with him. Spare my gray-beard, you wagtaile? Cor. Peace sirrah, You beastly knaue, know you no reuerence? Kent. Yes Sir, but anger hath a priuiledge Cor. Why art thou angrie? Kent. That such a slaue as this should weare a Sword, Who weares no honesty: such smiling rogues as these, Like Rats oft bite the holy cords a twaine, Which are t' intrince, t' vnloose: smooth euery passion That in the natures of their Lords rebell, Being oile to fire, snow to the colder moodes, Reuenge, affirme, and turne their Halcion beakes With euery gall, and varry of their Masters, Knowing naught (like dogges) but following: A plague vpon your Epilepticke visage, Smoile you my speeches, as I were a Foole? Goose, if I had you vpon Sarum Plaine, I'ld driue ye cackling home to Camelot Corn. What art thou mad old Fellow? Glost. How fell you out, say that? Kent. No contraries hold more antipathy, Then I, and such a knaue Corn. Why do'st thou call him Knaue? What is his fault? Kent. His countenance likes me not Cor. No more perchance do's mine, nor his, nor hers Kent. Sir, 'tis my occupation to be plaine, I haue seene better faces in my Time, Then stands on any shoulder that I see Before me, at this instant Corn. This is some Fellow, Who hauing beene prais'd for bluntnesse, doth affect A saucy roughnes, and constraines the garb Quite from his Nature. He cannot flatter he, An honest mind and plaine, he must speake truth, And they will take it so, if not, hee's plaine. These kind of Knaues I know, which in this plainnesse Harbour more craft, and more corrupter ends, Then twenty silly-ducking obseruants, That stretch their duties nicely Kent. Sir, in good faith, in sincere verity, Vnder th' allowance of your great aspect, Whose influence like the wreath of radient fire On flickring Phoebus front Corn. What mean'st by this? Kent. To go out of my dialect, which you discommend so much; I know Sir, I am no flatterer, he that beguild you in a plaine accent, was a plaine Knaue, which for my part I will not be, though I should win your displeasure to entreat me too't Corn. What was th' offence you gaue him? Ste. I neuer gaue him any: It pleas'd the King his Master very late To strike at me vpon his misconstruction, When he compact, and flattering his displeasure Tript me behind: being downe, insulted, rail'd, And put vpon him such a deale of Man, That worthied him, got praises of the King, For him attempting, who was selfe-subdued, And in the fleshment of this dead exploit, Drew on me here againe Kent. None of these Rogues, and Cowards But Aiax is there Foole Corn. Fetch forth the Stocks? You stubborne ancient Knaue, you reuerent Bragart, Wee'l teach you Kent. Sir, I am too old to learne: Call not your Stocks for me, I serue the King. On whose imployment I was sent to you, You shall doe small respects, show too bold malice Against the Grace, and Person of my Master, Stocking his Messenger Corn. Fetch forth the Stocks; As I haue life and Honour, there shall he sit till Noone Reg. Till noone? till night my Lord, and all night too Kent. Why Madam, if I were your Fathers dog, You should not vse me so Reg. Sir, being his Knaue, I will. Stocks brought out. Cor. This is a Fellow of the selfe same colour, Our Sister speakes of. Come, bring away the Stocks Glo. Let me beseech your Grace, not to do so, The King his Master, needs must take it ill That he so slightly valued in his Messenger, Should haue him thus restrained Cor. Ile answere that Reg. My Sister may recieue it much more worsse, To haue her Gentleman abus'd, assaulted Corn. Come my Lord, away. Enter. Glo. I am sorry for thee friend, 'tis the Dukes pleasure, Whose disposition all the world well knowes Will not be rub'd nor stopt, Ile entreat for thee Kent. Pray do not Sir, I haue watch'd and trauail'd hard, Some time I shall sleepe out, the rest Ile whistle: A good mans fortune may grow out at heeles: Giue you good morrow Glo. The Duke's too blame in this, 'Twill be ill taken. Enter. Kent. Good King, that must approue the common saw, Thou out of Heauens benediction com'st To the warme Sun. Approach thou Beacon to this vnder Globe, That by thy comfortable Beames I may Peruse this Letter. Nothing almost sees miracles But miserie. I know 'tis from Cordelia, Who hath most fortunately beene inform'd Of my obscured course. And shall finde time From this enormous State, seeking to giue Losses their remedies. All weary and o're-watch'd, Take vantage heauie eyes, not to behold This shamefull lodging. Fortune goodnight, Smile once more, turne thy wheele. Enter Edgar. Edg. I heard my selfe proclaim'd, And by the happy hollow of a Tree, Escap'd the hunt. No Port is free, no place That guard, and most vnusall vigilance Do's not attend my taking. Whiles I may scape I will preserue myselfe: and am bethought To take the basest, and most poorest shape That euer penury in contempt of man, Brought neere to beast; my face Ile grime with filth, Blanket my loines, else all my haires in knots, And with presented nakednesse out-face The Windes, and persecutions of the skie; The Country giues me proofe, and president Of Bedlam beggers, who with roaring voices, Strike in their num'd and mortified Armes. Pins, Wodden-prickes, Nayles, Sprigs of Rosemarie: And with this horrible obiect, from low Farmes, Poore pelting Villages, Sheeps-Coates, and Milles, Sometimes with Lunaticke bans, sometime with Praiers Inforce their charitie: poore Turlygod poore Tom, That's something yet: Edgar I nothing am. Enter. Enter Lear, Foole, and Gentleman. Lea. 'Tis strange that they should so depart from home, And not send backe my Messengers Gent. As I learn'd, The night before, there was no purpose in them Of this remoue Kent. Haile to thee Noble Master Lear. Ha? Mak'st thou this shame thy pastime? Kent. No my Lord Foole. Hah, ha, he weares Cruell Garters Horses are tide by the heads, Dogges and Beares by'th' necke, Monkies by'th' loynes, and Men by'th' legs: when a man ouerlustie at legs, then he weares wodden nether-stocks Lear. What's he, That hath so much thy place mistooke To set thee heere? Kent. It is both he and she, Your Son, and Daughter Lear. No Kent. Yes Lear. No I say Kent. I say yea Lear. By Iupiter I sweare no Kent. By Iuno, I sweare I Lear. They durst not do't: They could not, would not do't: 'tis worse then murther, To do vpon respect such violent outrage: Resolue me with all modest haste, which way Thou might'st deserue, or they impose this vsage, Comming from vs Kent. My Lord, when at their home I did commend your Highnesse Letters to them, Ere I was risen from the place, that shewed My dutie kneeling, came there a reeking Poste, Stew'd in his haste, halfe breathlesse, painting forth From Gonerill his Mistris, salutations; Deliuer'd Letters spight of intermission, Which presently they read; on those contents They summon'd vp their meiney, straight tooke Horse, Commanded me to follow, and attend The leisure of their answer, gaue me cold lookes, And meeting heere the other Messenger, Whose welcome I perceiu'd had poison'd mine, Being the very fellow which of late Displaid so sawcily against your Highnesse, Hauing more man then wit about me, drew; He rais'd the house, with loud and coward cries, Your Sonne and Daughter found this trespasse worth The shame which heere it suffers Foole. Winters not gon yet, if the wil'd Geese fly that way, Fathers that weare rags, do make their Children blind, But Fathers that beare bags, shall see their children kind. Fortune that arrant whore, nere turns the key toth' poore. But for all this thou shalt haue as many Dolors for thy Daughters, as thou canst tell in a yeare Lear. Oh how this Mother swels vp toward my heart! Historica passio, downe thou climing sorrow, Thy Elements below where is this Daughter? Kent. With the Earle Sir, here within Lear. Follow me not, stay here. Enter. Gen. Made you no more offence, But what you speake of? Kent. None: How chance the King comes with so small a number? Foole. And thou hadst beene set i'th' Stockes for that question, thoud'st well deseru'd it Kent. Why Foole? Foole. Wee'l set thee to schoole to an Ant, to teach thee ther's no labouring i'th' winter. All that follow their noses, are led by their eyes, but blinde men, and there's not a nose among twenty, but can smell him that's stinking; let go thy hold when a great wheele runs downe a hill, least it breake thy necke with following. But the great one that goes vpward, let him draw thee after: when a wiseman giues thee better counsell giue me mine againe, I would haue none but knaues follow it, since a Foole giues it. That Sir, which serues and seekes for gaine, And followes but for forme; Will packe, when it begins to raine, And leaue thee in the storme, But I will tarry, the Foole will stay, And let the wiseman flie: The knaue turnes Foole that runnes away, The Foole no knaue perdie. Enter Lear, and Gloster] : Kent. Where learn'd you this Foole? Foole. Not i'th' Stocks Foole Lear. Deny to speake with me? They are sicke, they are weary, They haue trauail'd all the night? meere fetches, The images of reuolt and flying off. Fetch me a better answer Glo. My deere Lord, You know the fiery quality of the Duke, How vnremoueable and fixt he is In his owne course Lear. Vengeance, Plague, Death, Confusion: Fiery? What quality? Why Gloster, Gloster, I'ld speake with the Duke of Cornewall, and his wife Glo. Well my good Lord, I haue inform'd them so Lear. Inform'd them? Do'st thou vnderstand me man Glo. I my good Lord Lear. The King would speake with Cornwall, The deere Father Would with his Daughter speake, commands, tends, seruice, Are they inform'd of this? My breath and blood: Fiery? The fiery Duke, tell the hot Duke that- No, but not yet, may be he is not well, Infirmity doth still neglect all office, Whereto our health is bound, we are not our selues, When Nature being opprest, commands the mind To suffer with the body; Ile forbeare, And am fallen out with my more headier will, To take the indispos'd and sickly fit, For the sound man. Death on my state: wherefore Should he sit heere? This act perswades me, That this remotion of the Duke and her Is practise only. Giue me my Seruant forth; Goe tell the Duke, and's wife, Il'd speake with them: Now, presently: bid them come forth and heare me, Or at their Chamber doore Ile beate the Drum, Till it crie sleepe to death Glo. I would haue all well betwixt you. Enter. Lear. Oh me my heart! My rising heart! But downe Foole. Cry to it Nunckle, as the Cockney did to the Eeles, when she put 'em i'th' Paste aliue, she knapt 'em o'th' coxcombs with a sticke, and cryed downe wantons, downe; 'twas her Brother, that in pure kindnesse to his Horse buttered his Hay. Enter Cornewall, Regan, Gloster, Seruants. Lear. Good morrow to you both Corn. Haile to your Grace. Kent here set at liberty. Reg. I am glad to see your Highnesse Lear. Regan, I thinke you are. I know what reason I haue to thinke so, if thou should'st not be glad, I would diuorce me from thy Mother Tombe, Sepulchring an Adultresse. O are you free? Some other time for that. Beloued Regan, Thy Sisters naught: oh Regan, she hath tied Sharpe-tooth'd vnkindnesse, like a vulture heere, I can scarce speake to thee, thou'lt not beleeue With how deprau'd a quality. Oh Regan Reg. I pray you Sir, take patience, I haue hope You lesse know how to value her desert, Then she to scant her dutie Lear. Say? How is that? Reg. I cannot thinke my Sister in the least Would faile her Obligation. If Sir perchance She haue restrained the Riots of your Followres, 'Tis on such ground, and to such wholesome end, As cleeres her from all blame Lear. My curses on her Reg. O Sir, you are old, Nature in you stands on the very Verge Of his confine: you should be rul'd, and led By some discretion, that discernes your state Better then you your selfe: therefore I pray you, That to our Sister, you do make returne, Say you haue wrong'd her Lear. Aske her forgiuenesse? Do you but marke how this becomes the house? Deere daughter, I confesse that I am old; Age is vnnecessary: on my knees I begge, That you'l vouchsafe me Rayment, Bed, and Food Reg. Good Sir, no more: these are vnsightly trickes: Returne you to my Sister Lear. Neuer Regan: She hath abated me of halfe my Traine; Look'd blacke vpon me, strooke me with her Tongue Most Serpent-like, vpon the very Heart. All the stor'd Vengeances of Heauen, fall On her ingratefull top: strike her yong bones You taking Ayres, with Lamenesse Corn. Fye sir, fie Le. You nimble Lightnings, dart your blinding flames Into her scornfull eyes: Infect her Beauty, You Fen-suck'd Fogges, drawne by the powrfull Sunne, To fall, and blister Reg. O the blest Gods! So will you wish on me, when the rash moode is on Lear. No Regan, thou shalt neuer haue my curse: Thy tender-hefted Nature shall not giue Thee o're to harshnesse: Her eyes are fierce, but thine Do comfort, and not burne. 'Tis not in thee To grudge my pleasures, to cut off my Traine, To bandy hasty words, to scant my sizes, And in conclusion, to oppose the bolt Against my comming in. Thou better know'st The Offices of Nature, bond of Childhood, Effects of Curtesie, dues of Gratitude: Thy halfe o'th' Kingdome hast thou not forgot, Wherein I thee endow'd Reg. Good Sir, to'th' purpose. Tucket within. Lear. Who put my man i'th' Stockes? Enter Steward. Corn. What Trumpet's that? Reg. I know't, my Sisters: this approues her Letter, That she would soone be heere. Is your Lady come? Lear. This is a Slaue, whose easie borrowed pride Dwels in the sickly grace of her he followes. Out Varlet, from my sight Corn. What meanes your Grace? Enter Gonerill. Lear. Who stockt my Seruant? Regan, I haue good hope Thou did'st not know on't. Who comes here? O Heauens! If you do loue old men; if your sweet sway Allow Obedience; if you your selues are old, Make it your cause: Send downe, and take my part. Art not asham'd to looke vpon this Beard? O Regan, will you take her by the hand? Gon. Why not by'th' hand Sir? How haue I offended? All's not offence that indiscretion findes, And dotage termes so Lear. O sides, you are too tough! Will you yet hold? How came my man i'th' Stockes? Corn. I set him there, Sir: but his owne Disorders Deseru'd much lesse aduancement Lear. You? Did you? Reg. I pray you Father being weake, seeme so. If till the expiration of your Moneth You will returne and soiourne with my Sister, Dismissing halfe your traine, come then to me, I am now from home, and out of that prouision Which shall be needfull for your entertainement Lear. Returne to her? and fifty men dismiss'd? No, rather I abiure all roofes, and chuse To wage against the enmity oth' ayre, To be a Comrade with the Wolfe, and Owle, Necessities sharpe pinch. Returne with her? Why the hot-bloodied France, that dowerlesse tooke Our yongest borne, I could as well be brought To knee his Throne, and Squire-like pension beg, To keepe base life a foote; returne with her? Perswade me rather to be slaue and sumpter To this detested groome Gon. At your choice Sir Lear. I prythee Daughter do not make me mad, I will not trouble thee my Child; farewell: Wee'l no more meete, no more see one another. But yet thou art my flesh, my blood, my Daughter, Or rather a disease that's in my flesh, Which I must needs call mine. Thou art a Byle, A plague sore, or imbossed Carbuncle In my corrupted blood. But Ile not chide thee, Let shame come when it will, I do not call it, I do not bid the Thunder-bearer shoote, Nor tell tales of thee to high-iudging Ioue, Mend when thou can'st, be better at thy leisure, I can be patient, I can stay with Regan, I and my hundred Knights Reg. Not altogether so, I look'd not for you yet, nor am prouided For your fit welcome, giue eare Sir to my Sister, For those that mingle reason with your passion, Must be content to thinke you old, and so, But she knowes what she doe's Lear. Is this well spoken? Reg. I dare auouch it Sir, what fifty Followers? Is it not well? What should you need of more? Yea, or so many? Sith that both charge and danger, Speake 'gainst so great a number? How in one house Should many people, vnder two commands Hold amity? 'Tis hard, almost impossible Gon. Why might not you my Lord, receiue attendance From those that she cals Seruants, or from mine? Reg. Why not my Lord? If then they chanc'd to slacke ye, We could comptroll them; if you will come to me, (For now I spie a danger) I entreate you To bring but fiue and twentie, to no more Will I giue place or notice Lear. I gaue you all Reg. And in good time you gaue it Lear. Made you my Guardians, my Depositaries, But kept a reseruation to be followed With such a number? What, must I come to you With fiue and twenty? Regan, said you so? Reg. And speak't againe my Lord, no more with me Lea. Those wicked Creatures yet do look wel fauor'd When others are more wicked, not being the worst Stands in some ranke of praise, Ile go with thee, Thy fifty yet doth double fiue and twenty, And thou art twice her Loue Gon. Heare me my Lord; What need you fiue and twenty? Ten? Or fiue? To follow in a house, where twice so many Haue a command to tend you? Reg. What need one? Lear. O reason not the need: our basest Beggers Are in the poorest thing superfluous. Allow not Nature, more then Nature needs: Mans life is cheape as Beastes. Thou art a Lady; If onely to go warme were gorgeous, Why Nature needs not what thou gorgeous wear'st, Which scarcely keepes thee warme, but for true need: You Heauens, giue me that patience, patience I need, You see me heere (you Gods) a poore old man, As full of griefe as age, wretched in both, If it be you that stirres these Daughters hearts Against their Father, foole me not so much, To beare it tamely: touch me with Noble anger, And let not womens weapons, water drops, Staine my mans cheekes. No you vnnaturall Hags, I will haue such reuenges on you both, That all the world shall- I will do such things, What they are yet, I know not, but they shalbe The terrors of the earth? you thinke Ile weepe, No, Ile not weepe, I haue full cause of weeping. Storme and Tempest. But this heart shal break into a hundred thousand flawes Or ere Ile weepe; O Foole, I shall go mad. Exeunt. Corn. Let vs withdraw, 'twill be a Storme Reg. This house is little, the old man and's people, Cannot be well bestow'd Gon. 'Tis his owne blame hath put himselfe from rest, And must needs taste his folly Reg. For his particular, Ile receiue him gladly, But not one follower Gon. So am I purpos'd, Where is my Lord of Gloster? Enter Gloster. Corn. Followed the old man forth, he is return'd Glo. The King is in high rage Corn. Whether is he going? Glo. He cals to Horse, but will I know not whether Corn. 'Tis best to giue him way, he leads himselfe Gon. My Lord, entreate him by no meanes to stay Glo. Alacke the night comes on, and the high windes Do sorely ruffle, for many Miles about There's scarce a Bush Reg. O Sir, to wilfull men, The iniuries that they themselues procure, Must be their Schoole-Masters: shut vp your doores, He is attended with a desperate traine, And what they may incense him too, being apt, To haue his eare abus'd, wisedome bids feare Cor. Shut vp your doores my Lord, 'tis a wil'd night, My Regan counsels well: come out oth' storme. Exeunt.

act 2, scene ii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-ii

Oswald, Goneril's servant, and Kent, still disguised as Lear's servant Caius, meet at Gloucester's castle after first trekking to Cornwall's residence with messages. Oswald does not first recognize Kent but Kent recognizes him and responds to him curtly with curses and name-calling. He claims that Oswald comes with letters against the King and sides with his evil daughter. He calls Oswald to draw his sword at which Oswald cries out for help. The noise brings in Edmund, Cornwall, Regan, Gloucester, and some servants. When asked what the commotion is, Kent continues to insult Oswald, who is breathless. Oswald claims that he has spared Kent because of his grey beard at which Kent scoffs. He describes that Oswald is like a dog, ignorantly following a master. To Cornwall's incredulousness, Kent says that he does not like the look of his face. Oswald explains that Kent had no reason to strike him in Lear's company or to draw on him at Gloucester's. Kent refers to Cornwall and Regan as cowards and they call for the stocks. Regan comments that they should leave him not only until noon, as Cornwall had suggested, but for over a day. Gloucester protests but is overruled. After the others have exited, Gloucester apologizes to Kent and admits that the Duke is to blame. Alone, Kent muses over a letter he has received from Cordelia, implying that she knows he has taken disguise and promises to try to save her father from the evil of her sisters. Kent recognizes he is at the bottom of luck. He falls asleep

gradesaver

all_chapterized_books/2266-chapters/8.txt

finished_summaries/gradesaver/King Lear/section_2_part_1.txt

King Lear.act 3.scene 1

act 3 scene 1

{"name": "act 3, scene i", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii", "summary": "As it continues to storm, Kent enters the stage asking who else is there and where is the King. A gentleman, one of Lear's knights, answers, describing the King as struggling and becoming one with the raging elements of nature. The King has been left alone except for his fool. Kent recognizes the gentleman and fills him in on the events he has learned concerning the Dukes and the news from France. He explains that a conflict has grown between Albany and Cornwall which is momentarily forgotten because they are united against Lear. He then mentions that French spies and soldiers have moved onto the island, nearly ready to admit openly to their invasion. He urges the gentleman to hurry to Dover where he will find allies to whom he can give an honest report of the treatment to the King and his declining health. Kent gives him his purse and a ring to confirm his honor and to show to Cordelia if he sees her. They move out to look for Lear before the gentleman leaves on his mission", "analysis": ""}

Actus Tertius. Scena Prima. Storme still. Enter Kent, and a Gentleman, seuerally. Kent. Who's there besides foule weather? Gen. One minded like the weather, most vnquietly Kent. I know you: Where's the King? Gent. Contending with the fretfull Elements; Bids the winde blow the Earth into the Sea, Or swell the curled Waters 'boue the Maine, That things might change, or cease Kent. But who is with him? Gent. None but the Foole, who labours to out-iest His heart-strooke iniuries Kent. Sir, I do know you, And dare vpon the warrant of my note Commend a deere thing to you. There is diuision (Although as yet the face of it is couer'd With mutuall cunning) 'twixt Albany, and Cornwall: Who haue, as who haue not, that their great Starres Thron'd and set high; Seruants, who seeme no lesse, Which are to France the Spies and Speculations Intelligent of our State. What hath bin seene, Either in snuffes, and packings of the Dukes, Or the hard Reine which both of them hath borne Against the old kinde King; or something deeper, Whereof (perchance) these are but furnishings Gent. I will talke further with you Kent. No, do not: For confirmation that I am much more Then my out-wall; open this Purse, and take What it containes. If you shall see Cordelia, (As feare not but you shall) shew her this Ring, And she will tell you who that Fellow is That yet you do not know. Fye on this Storme, I will go seeke the King Gent. Giue me your hand, Haue you no more to say? Kent. Few words, but to effect more then all yet; That when we haue found the King, in which your pain That way, Ile this: He that first lights on him, Holla the other. Exeunt.

act 3, scene i

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii

As it continues to storm, Kent enters the stage asking who else is there and where is the King. A gentleman, one of Lear's knights, answers, describing the King as struggling and becoming one with the raging elements of nature. The King has been left alone except for his fool. Kent recognizes the gentleman and fills him in on the events he has learned concerning the Dukes and the news from France. He explains that a conflict has grown between Albany and Cornwall which is momentarily forgotten because they are united against Lear. He then mentions that French spies and soldiers have moved onto the island, nearly ready to admit openly to their invasion. He urges the gentleman to hurry to Dover where he will find allies to whom he can give an honest report of the treatment to the King and his declining health. Kent gives him his purse and a ring to confirm his honor and to show to Cordelia if he sees her. They move out to look for Lear before the gentleman leaves on his mission

gradesaver

all_chapterized_books/2266-chapters/9.txt

finished_summaries/gradesaver/King Lear/section_2_part_2.txt

King Lear.act 3.scene 2

act 3 scene 2

{"name": "act 3, scene ii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii", "summary": "We meet Lear, raging against the storm, daring the storm to break up the Earth. Fool pleads with him to dodge his pride and ask for his daughters' forgiveness so that he can take shelter in the castle. Lear notes that the storm, unlike his daughters, owes him nothing and has no obligation to treat him any better. Still, the storm is joining to help his ungrateful daughters in their unnecessary punishing of him. The fool says he is foolish, nevertheless, to reside in the house of of the storm but Lear responds that he will say nothing to his daughters. Kent enters, pleased to have found the King, and remarks that he has never witnessed a more violent storm. Lear cries that the gods will now show who has committed any wrongs by their treatment in the storm and Kent pushes him toward a cave where they can find a little shelter. Lear agrees to go, recognizing the cold which must be ravaging he and his fool. Before entering the hovel, Fool prophecies that when the abuses of England are reformed, the country will come into great confusion", "analysis": ""}

Scena Secunda. Storme still. Enter Lear, and Foole. Lear. Blow windes, & crack your cheeks; Rage, blow You Cataracts, and Hyrricano's spout, Till you haue drench'd our Steeples, drown the Cockes. You Sulph'rous and Thought-executing Fires, Vaunt-curriors of Oake-cleauing Thunder-bolts, Sindge my white head. And thou all-shaking Thunder, Strike flat the thicke Rotundity o'th' world, Cracke Natures moulds, all germaines spill at once That makes ingratefull Man Foole. O Nunkle, Court holy-water in a dry house, is better then this Rain-water out o' doore. Good Nunkle, in, aske thy Daughters blessing, heere's a night pitties neither Wisemen, nor Fooles Lear. Rumble thy belly full: spit Fire, spowt Raine: Nor Raine, Winde, Thunder, Fire are my Daughters; I taxe not you, you Elements with vnkindnesse. I neuer gaue you Kingdome, call'd you Children; You owe me no subscription. Then let fall Your horrible pleasure. Heere I stand your Slaue, A poore, infirme, weake, and dispis'd old man: But yet I call you Seruile Ministers, That will with two pernicious Daughters ioyne Your high-engender'd Battailes, 'gainst a head So old, and white as this. O, ho! 'tis foule Foole. He that has a house to put's head in, has a good Head-peece: The Codpiece that will house, before the head has any; The Head, and he shall Lowse: so Beggers marry many. The man y makes his Toe, what he his Hart shold make, Shall of a Corne cry woe, and turne his sleepe to wake. For there was neuer yet faire woman, but shee made mouthes in a glasse. Enter Kent Lear. No, I will be the patterne of all patience, I will say nothing Kent. Who's there? Foole. Marry here's Grace, and a Codpiece, that's a Wiseman, and a Foole Kent. Alas Sir are you here? Things that loue night, Loue not such nights as these: The wrathfull Skies Gallow the very wanderers of the darke And make them keepe their Caues: Since I was man, Such sheets of Fire, such bursts of horrid Thunder, Such groanes of roaring Winde, and Raine, I neuer Remember to haue heard. Mans Nature cannot carry Th' affliction, nor the feare Lear. Let the great Goddes That keepe this dreadfull pudder o're our heads, Finde out their enemies now. Tremble thou Wretch, That hast within thee vndivulged Crimes Vnwhipt of Iustice. Hide thee, thou Bloudy hand; Thou Periur'd, and thou Simular of Vertue That art Incestuous. Caytiffe, to peeces shake That vnder couert, and conuenient seeming Ha's practis'd on mans life. Close pent-vp guilts, Riue your concealing Continents, and cry These dreadfull Summoners grace. I am a man, More sinn'd against, then sinning Kent. Alacke, bare-headed? Gracious my Lord, hard by heere is a Houell, Some friendship will it lend you 'gainst the Tempest: Repose you there, while I to this hard house, (More harder then the stones whereof 'tis rais'd, Which euen but now, demanding after you, Deny'd me to come in) returne, and force Their scanted curtesie Lear. My wits begin to turne. Come on my boy. How dost my boy? Art cold? I am cold my selfe. Where is this straw, my Fellow? The Art of our Necessities is strange, And can make vilde things precious. Come, your Houel; Poore Foole, and Knaue, I haue one part in my heart That's sorry yet for thee Foole. He that has and a little-tyne wit, With heigh-ho, the Winde and the Raine, Must make content with his Fortunes fit, Though the Raine it raineth euery day Le. True Boy: Come bring vs to this Houell. Enter. Foole. This is a braue night to coole a Curtizan: Ile speake a Prophesie ere I go: When Priests are more in word, then matter; When Brewers marre their Malt with water; When Nobles are their Taylors Tutors, No Heretiques burn'd, but wenches Sutors; When euery Case in Law, is right; No Squire in debt, nor no poore Knight; When Slanders do not liue in Tongues; Nor Cut-purses come not to throngs; When Vsurers tell their Gold i'th' Field, And Baudes, and whores, do Churches build, Then shal the Realme of Albion, come to great confusion: Then comes the time, who liues to see't, That going shalbe vs'd with feet. This prophecie Merlin shall make, for I liue before his time. Enter.

act 3, scene ii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii

We meet Lear, raging against the storm, daring the storm to break up the Earth. Fool pleads with him to dodge his pride and ask for his daughters' forgiveness so that he can take shelter in the castle. Lear notes that the storm, unlike his daughters, owes him nothing and has no obligation to treat him any better. Still, the storm is joining to help his ungrateful daughters in their unnecessary punishing of him. The fool says he is foolish, nevertheless, to reside in the house of of the storm but Lear responds that he will say nothing to his daughters. Kent enters, pleased to have found the King, and remarks that he has never witnessed a more violent storm. Lear cries that the gods will now show who has committed any wrongs by their treatment in the storm and Kent pushes him toward a cave where they can find a little shelter. Lear agrees to go, recognizing the cold which must be ravaging he and his fool. Before entering the hovel, Fool prophecies that when the abuses of England are reformed, the country will come into great confusion

gradesaver

all_chapterized_books/2266-chapters/22.txt

finished_summaries/gradesaver/King Lear/section_2_part_3.txt

King Lear.act 3.scene 3

act 3 scene 3

{"name": "act 3, scene iii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii", "summary": "Gloucester and Edmund speak in confidence. Gloucester complains of the unnatural dealings of Cornwall and Regan, taking over his home and forbidding him to help or appeal for Lear. Edmund feigns agreement. Taking him further in confidence, Gloucester alerts him to the division between Albany and Cornwall. He then tells him that he has received a letter, which he has locked in the closet because of it dangerous contents, divulging that a movement has started to avenge Lear at home. Gloucester plans to go find him and aid him until the forces arrive to help. He tells Edmund to accompany the Duke so that his absence is not felt and if they ask for him to report that he went to bed ill. Gloucester notes that he is risking his life but if he can save the King, his death would not be in vain. After he departs, Edmund tells the audience that he will alert Cornwall immediately of Gloucester's plans and the treasonous letter. The young will gain, he comments, where the old have faltered", "analysis": ""}

Enter Gloster, and Edmund. Glo. Alacke, alacke Edmund, I like not this vnnaturall dealing; when I desired their leaue that I might pity him, they tooke from me the vse of mine owne house, charg'd me on paine of perpetuall displeasure, neither to speake of him, entreat for him, or any way sustaine him Bast. Most sauage and vnnaturall Glo. Go too; say you nothing. There is diuision betweene the Dukes, and a worsse matter then that: I haue receiued a Letter this night, 'tis dangerous to be spoken, I haue lock'd the Letter in my Closset, these iniuries the King now beares, will be reuenged home; ther is part of a Power already footed, we must incline to the King, I will looke him, and priuily relieue him; goe you and maintaine talke with the Duke, that my charity be not of him perceiued; If he aske for me, I am ill, and gone to bed, if I die for it, (as no lesse is threatned me) the King my old Master must be relieued. There is strange things toward Edmund, pray you be carefull. Enter. Bast. This Curtesie forbid thee, shall the Duke Instantly know, and of that Letter too; This seemes a faire deseruing, and must draw me That which my Father looses: no lesse then all, The yonger rises, when the old doth fall. Enter.

act 3, scene iii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii

Gloucester and Edmund speak in confidence. Gloucester complains of the unnatural dealings of Cornwall and Regan, taking over his home and forbidding him to help or appeal for Lear. Edmund feigns agreement. Taking him further in confidence, Gloucester alerts him to the division between Albany and Cornwall. He then tells him that he has received a letter, which he has locked in the closet because of it dangerous contents, divulging that a movement has started to avenge Lear at home. Gloucester plans to go find him and aid him until the forces arrive to help. He tells Edmund to accompany the Duke so that his absence is not felt and if they ask for him to report that he went to bed ill. Gloucester notes that he is risking his life but if he can save the King, his death would not be in vain. After he departs, Edmund tells the audience that he will alert Cornwall immediately of Gloucester's plans and the treasonous letter. The young will gain, he comments, where the old have faltered

gradesaver

all_chapterized_books/2266-chapters/10.txt

finished_summaries/gradesaver/King Lear/section_2_part_4.txt

King Lear.act 3.scene 4

act 3 scene 4

{"name": "act 3, scene iv", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii", "summary": "Kent and Lear find their way to the cave, where Lear asks to be left alone. He notes that the storm rages harsher in his own mind and body due to the \"filial ingratitude\" he has been forced to endure. Thinking it may lead to madness, Lear tries not to think of his daughters' betrayal. Feeling the cruelty of the elements, Lear remarks that he has taken too little care of the poor who often do not have shelter from such storms in life. The fool enters the cave first and is frightened by the presence of Edgar disguised as poor Tom. Edgar enters, speaking in confused jargon and pointing to the foul fiend who bothers him greatly. Lear decides that Tom must have been betrayed by daughters in order to have fallen to such a state of despair and madness. Kent attempts to tell Lear that Tom has no daughters, but Lear can comprehend no other reason. Fool notes that the cold night would turn them all into madmen. Lear finds Tom intriguing and asks him about his life, to which Edgar replies that Tom was a serving man who was ruined by a woman he had loved. Lear realizes that man is no more than what they have been stripped to and begins to take off his clothes before Fool stops him. Gloucester finds his way to the cave. He questions the King's company before remarking that he and Lear must both hate what their bodies have given birth to, namely Edgar, Regan, and Goneril. Although he has been barred from securing shelter in his own castle for Lear, Gloucester entreats the King to come with him to a better shelter. Lear wishes to stay and talk with Tom, terming him a philosopher. Kent urges Gloucester to plead with Lear to go, but Gloucester notes it is no surprise that Lear's wits are not about him when his own daughters seek his death. Lear is persuaded to follow Gloucester when they agree to allow Tom to accompany him", "analysis": ""}

Scena Quarta. Enter Lear, Kent, and Foole. Kent. Here is the place my Lord, good my Lord enter, The tirrany of the open night's too rough For Nature to endure. Storme still Lear. Let me alone Kent. Good my Lord enter heere Lear. Wilt breake my heart? Kent. I had rather breake mine owne, Good my Lord enter Lear. Thou think'st 'tis much that this contentious storme Inuades vs to the skin so: 'tis to thee, But where the greater malady is fixt, The lesser is scarce felt. Thou'dst shun a Beare, But if thy flight lay toward the roaring sea, Thou'dst meete the Beare i'th' mouth, when the mind's free, The bodies delicate: the tempest in my mind, Doth from my sences take all feeling else, Saue what beates there, Filliall ingratitude, Is it not as this mouth should teare this hand For lifting food too't? But I will punish home; No, I will weepe no more; in such a night, To shut me out? Poure on, I will endure: In such a night as this? O Regan, Gonerill, Your old kind Father, whose franke heart gaue all, O that way madnesse lies, let me shun that: No more of that Kent. Good my Lord enter here Lear. Prythee go in thy selfe, seeke thine owne ease, This tempest will not giue me leaue to ponder On things would hurt me more, but Ile goe in, In Boy, go first. You houselesse pouertie, Enter. Nay get thee in; Ile pray, and then Ile sleepe. Poore naked wretches, where so ere you are That bide the pelting of this pittilesse storme, How shall your House-lesse heads, and vnfed sides, Your lop'd, and window'd raggednesse defend you From seasons such as these? O I haue tane Too little care of this: Take Physicke, Pompe, Expose thy selfe to feele what wretches feele, That thou maist shake the superflux to them, And shew the Heauens more iust. Enter Edgar, and Foole. Edg. Fathom, and halfe, Fathom and halfe; poore Tom Foole. Come not in heere Nuncle, here's a spirit, helpe me, helpe me Kent. Giue my thy hand, who's there? Foole. A spirite, a spirite, he sayes his name's poore Tom Kent. What art thou that dost grumble there i'th' straw? Come forth Edg. Away, the foule Fiend followes me, through the sharpe Hauthorne blow the windes. Humh, goe to thy bed and warme thee Lear. Did'st thou giue all to thy Daughters? And art thou come to this? Edgar. Who giues any thing to poore Tom? Whom the foule fiend hath led through Fire, and through Flame, through Sword, and Whirle-Poole, o're Bog, and Quagmire, that hath laid Kniues vnder his Pillow, and Halters in his Pue, set Rats-bane by his Porredge, made him Proud of heart, to ride on a Bay trotting Horse, ouer foure incht Bridges, to course his owne shadow for a Traitor. Blisse thy fiue Wits, Toms a cold. O do, de, do, de, do, de, blisse thee from Whirle-Windes, Starre-blasting, and taking, do poore Tom some charitie, whom the foule Fiend vexes. There could I haue him now, and there, and there againe, and there. Storme still. Lear. Ha's his Daughters brought him to this passe? Could'st thou saue nothing? Would'st thou giue 'em all? Foole. Nay, he reseru'd a Blanket, else we had bin all sham'd Lea. Now all the plagues that in the pendulous ayre Hang fated o're mens faults, light on thy Daughters Kent. He hath no Daughters Sir Lear. Death Traitor, nothing could haue subdu'd Nature To such a lownesse, but his vnkind Daughters. Is it the fashion, that discarded Fathers, Should haue thus little mercy on their flesh: Iudicious punishment, 'twas this flesh begot Those Pelicane Daughters Edg. Pillicock sat on Pillicock hill, alow: alow, loo, loo Foole. This cold night will turne vs all to Fooles, and Madmen Edgar. Take heed o'th' foule Fiend, obey thy Parents, keepe thy words Iustice, sweare not, commit not, with mans sworne Spouse: set not thy Sweet-heart on proud array. Tom's a cold Lear. What hast thou bin? Edg. A Seruingman? Proud in heart, and minde; that curl'd my haire, wore Gloues in my cap; seru'd the Lust of my Mistris heart, and did the acte of darkenesse with her. Swore as many Oathes, as I spake words, & broke them in the sweet face of Heauen. One, that slept in the contriuing of Lust, and wak'd to doe it. Wine lou'd I deerely, Dice deerely; and in Woman, out-Paramour'd the Turke. False of heart, light of eare, bloody of hand; Hog in sloth, Foxe in stealth, Wolfe in greedinesse, Dog in madnes, Lyon in prey. Let not the creaking of shooes, Nor the rustling of Silkes, betray thy poore heart to woman. Keepe thy foote out of Brothels, thy hand out of Plackets, thy pen from Lenders Bookes, and defye the foule Fiend. Still through the Hauthorne blowes the cold winde: Sayes suum, mun, nonny, Dolphin my Boy, Boy Sesey: let him trot by. Storme still. Lear. Thou wert better in a Graue, then to answere with thy vncouer'd body, this extremitie of the Skies. Is man no more then this? Consider him well. Thou ow'st the Worme no Silke; the Beast, no Hide; the Sheepe, no Wooll; the Cat, no perfume. Ha? Here's three on's are sophisticated. Thou art the thing it selfe; vnaccommodated man, is no more but such a poore, bare, forked Animall as thou art. Off, off you Lendings: Come, vnbutton heere. Enter Gloucester, with a Torch. Foole. Prythee Nunckle be contented, 'tis a naughtie night to swimme in. Now a little fire in a wilde Field, were like an old Letchers heart, a small spark, all the rest on's body, cold: Looke, heere comes a walking fire Edg. This is the foule Flibbertigibbet; hee begins at Curfew, and walkes at first Cocke: Hee giues the Web and the Pin, squints the eye, and makes the Hare-lippe; Mildewes the white Wheate, and hurts the poore Creature of earth. Swithold footed thrice the old, He met the Night-Mare, and her nine-fold; Bid her a-light, and her troth-plight, And aroynt thee Witch, aroynt thee Kent. How fares your Grace? Lear. What's he? Kent. Who's there? What is't you seeke? Glou. What are you there? Your Names? Edg. Poore Tom, that eates the swimming Frog, the Toad, the Tod-pole, the wall-Neut, and the water: that in the furie of his heart, when the foule Fiend rages, eats Cow-dung for Sallets; swallowes the old Rat, and the ditch-Dogge; drinkes the green Mantle of the standing Poole: who is whipt from Tything to Tything, and stockt, punish'd, and imprison'd: who hath three Suites to his backe, sixe shirts to his body: Horse to ride, and weapon to weare: But Mice, and Rats, and such small Deare, Haue bin Toms food, for seuen long yeare: Beware my Follower. Peace Smulkin, peace thou Fiend Glou. What, hath your Grace no better company? Edg. The Prince of Darkenesse is a Gentleman. Modo he's call'd, and Mahu Glou. Our flesh and blood, my Lord, is growne so vilde, that it doth hate what gets it Edg. Poore Tom's a cold Glou. Go in with me; my duty cannot suffer T' obey in all your daughters hard commands: Though their Iniunction be to barre my doores, And let this Tyrannous night take hold vpon you, Yet haue I ventured to come seeke you out, And bring you where both fire, and food is ready Lear. First let me talke with this Philosopher, What is the cause of Thunder? Kent. Good my Lord take his offer, Go into th' house Lear. Ile talke a word with this same lerned Theban: What is your study? Edg. How to preuent the Fiend, and to kill Vermine Lear. Let me aske you one word in priuate Kent. Importune him once more to go my Lord, His wits begin t' vnsettle Glou. Canst thou blame him? Storm still His Daughters seeke his death: Ah, that good Kent, He said it would be thus: poore banish'd man: Thou sayest the King growes mad, Ile tell thee Friend I am almost mad my selfe. I had a Sonne, Now out-law'd from my blood: he sought my life But lately: very late: I lou'd him (Friend) No Father his Sonne deerer: true to tell thee, The greefe hath craz'd my wits. What a night's this? I do beseech your grace Lear. O cry you mercy, Sir: Noble Philosopher, your company Edg. Tom's a cold Glou. In fellow there, into th' Houel; keep thee warm Lear. Come, let's in all Kent. This way, my Lord Lear. With him; I will keepe still with my Philosopher Kent. Good my Lord, sooth him: Let him take the Fellow Glou. Take him you on Kent. Sirra, come on: go along with vs Lear. Come, good Athenian Glou. No words, no words, hush Edg. Childe Rowland to the darke Tower came, His word was still, fie, foh, and fumme, I smell the blood of a Brittish man. Exeunt.

act 3, scene iv

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii

Kent and Lear find their way to the cave, where Lear asks to be left alone. He notes that the storm rages harsher in his own mind and body due to the "filial ingratitude" he has been forced to endure. Thinking it may lead to madness, Lear tries not to think of his daughters' betrayal. Feeling the cruelty of the elements, Lear remarks that he has taken too little care of the poor who often do not have shelter from such storms in life. The fool enters the cave first and is frightened by the presence of Edgar disguised as poor Tom. Edgar enters, speaking in confused jargon and pointing to the foul fiend who bothers him greatly. Lear decides that Tom must have been betrayed by daughters in order to have fallen to such a state of despair and madness. Kent attempts to tell Lear that Tom has no daughters, but Lear can comprehend no other reason. Fool notes that the cold night would turn them all into madmen. Lear finds Tom intriguing and asks him about his life, to which Edgar replies that Tom was a serving man who was ruined by a woman he had loved. Lear realizes that man is no more than what they have been stripped to and begins to take off his clothes before Fool stops him. Gloucester finds his way to the cave. He questions the King's company before remarking that he and Lear must both hate what their bodies have given birth to, namely Edgar, Regan, and Goneril. Although he has been barred from securing shelter in his own castle for Lear, Gloucester entreats the King to come with him to a better shelter. Lear wishes to stay and talk with Tom, terming him a philosopher. Kent urges Gloucester to plead with Lear to go, but Gloucester notes it is no surprise that Lear's wits are not about him when his own daughters seek his death. Lear is persuaded to follow Gloucester when they agree to allow Tom to accompany him

gradesaver

all_chapterized_books/2266-chapters/11.txt

finished_summaries/gradesaver/King Lear/section_2_part_5.txt

King Lear.act 3.scene 5

act 3 scene 5

{"name": "act 3, scene v", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii", "summary": "Cornwall and Edmund converse over the information Edmund has shared with him. Edmund plays the part of a tortured son doing his duty for the kingdom. Cornwall muses that Edgar's disloyalty is better understood in terms of his own father's betrayal. Handing over the letter Gloucester had received, Edmund cries out wishing that he were not the filial traitor. Cornwall makes Edmund the new Earl of Gloucester and demands he find where his father is hiding. In an aside, Edmund hopes he will find Gloucester aiding the King to further incriminate him although it would be greater filial ingratitude on his part. Cornwall offers himself as a new and more loving father to Edmund", "analysis": ""}

Scena Quinta. Enter Cornwall, and Edmund. Corn. I will haue my reuenge, ere I depart his house Bast. How my Lord, I may be censured, that Nature thus giues way to Loyaltie, something feares mee to thinke of Cornw. I now perceiue, it was not altogether your Brothers euill disposition made him seeke his death: but a prouoking merit set a-worke by a reprouable badnesse in himselfe Bast. How malicious is my fortune, that I must repent to be iust? This is the Letter which hee spoake of; which approues him an intelligent partie to the aduantages of France. O Heauens! that this Treason were not; or not I the detector Corn. Go with me to the Dutchesse Bast. If the matter of this Paper be certain, you haue mighty businesse in hand Corn. True or false, it hath made thee Earle of Gloucester: seeke out where thy Father is, that hee may bee ready for our apprehension Bast. If I finde him comforting the King, it will stuffe his suspition more fully. I will perseuer in my course of Loyalty, though the conflict be sore betweene that, and my blood Corn. I will lay trust vpon thee: and thou shalt finde a deere Father in my loue. Exeunt.

act 3, scene v

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii

Cornwall and Edmund converse over the information Edmund has shared with him. Edmund plays the part of a tortured son doing his duty for the kingdom. Cornwall muses that Edgar's disloyalty is better understood in terms of his own father's betrayal. Handing over the letter Gloucester had received, Edmund cries out wishing that he were not the filial traitor. Cornwall makes Edmund the new Earl of Gloucester and demands he find where his father is hiding. In an aside, Edmund hopes he will find Gloucester aiding the King to further incriminate him although it would be greater filial ingratitude on his part. Cornwall offers himself as a new and more loving father to Edmund

gradesaver

all_chapterized_books/2266-chapters/12.txt

finished_summaries/gradesaver/King Lear/section_2_part_6.txt

King Lear.act 3.scene 6

act 3 scene 6

{"name": "act 3, scene vi", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii", "summary": "Gloucester finds the group slightly better shelter and then heads off to get assistance. Edgar speaks of the foul fiend and Fool tells the King a rhyme, concluding that the madman is the man who has too greatly indulged his own children. Lear pretends to hold a trial for his evil daughters, placing Edgar, the fool, and Kent on the bench to try them. Lear tries Goneril first and then Regan before crying that someone had accepted a bribe and allowed one to escape. Kent calls for him to remain patient as he had often been in the past and Edgar notes in an aside that he has nearly threatened his disguise with tears. He tells Lear that he will punish the daughters himself. Lear appreciates the gesture and claims that he will take Tom as one of the hundred in his train if he will agree to change his seemingly Persian garments. As Gloucester returns, he urges Kent to keep the King in his arms due to the death threats circulating. There is a caravan waiting which will take Lear to Dover and safety if they hurry. Edgar is left on stage and soliloquizes that the King's pains are so much greater than his own and he will pledge himself to helping him escape safely", "analysis": ""}

Scena Sexta. Enter Kent, and Gloucester. Glou. Heere is better then the open ayre, take it thankfully: I will peece out the comfort with what addition I can: I will not be long from you. Exit Kent. All the powre of his wits, haue giuen way to his impatience: the Gods reward your kindnesse. Enter Lear, Edgar, and Foole. Edg. Fraterretto cals me, and tells me Nero is an Angler in the Lake of Darknesse: pray Innocent, and beware the foule Fiend Foole. Prythee Nunkle tell me, whether a madman be a Gentleman, or a Yeoman Lear. A King, a King Foole. No, he's a Yeoman, that ha's a Gentleman to his Sonne: for hee's a mad Yeoman that sees his Sonne a Gentleman before him Lear. To haue a thousand with red burning spits Come hizzing in vpon 'em Edg. Blesse thy fiue wits Kent. O pitty: Sir, where is the patience now That you so oft haue boasted to retaine? Edg. My teares begin to take his part so much, They marre my counterfetting Lear. The little dogges, and all; Trey, Blanch, and Sweet-heart: see, they barke at me Edg. Tom, will throw his head at them: Auaunt you Curres, be thy mouth or blacke or white: Tooth that poysons if it bite: Mastiffe, Grey-hound, Mongrill, Grim, Hound or Spaniell, Brache, or Hym: Or Bobtaile tight, or Troudle taile, Tom will make him weepe and waile, For with throwing thus my head; Dogs leapt the hatch, and all are fled. Do, de, de, de: sese: Come, march to Wakes and Fayres, And Market Townes: poore Tom thy horne is dry, Lear. Then let them Anatomize Regan: See what breeds about her heart. Is there any cause in Nature that make these hard-hearts. You sir, I entertaine for one of my hundred; only, I do not like the fashion of your garments. You will say they are Persian; but let them bee chang'd. Enter Gloster. Kent. Now good my Lord, lye heere, and rest awhile Lear. Make no noise, make no noise, draw the Curtaines: so, so, wee'l go to Supper i'th' morning Foole. And Ile go to bed at noone Glou. Come hither Friend: Where is the King my Master? Kent. Here Sir, but trouble him not, his wits are gon Glou. Good friend, I prythee take him in thy armes; I haue ore-heard a plot of death vpon him: There is a Litter ready, lay him in't, And driue toward Douer friend, where thou shalt meete Both welcome, and protection. Take vp thy Master, If thou should'st dally halfe an houre, his life With thine, and all that offer to defend him, Stand in assured losse. Take vp, take vp, And follow me, that will to some prouision Giue thee quicke conduct. Come, come, away. Exeunt.

act 3, scene vi

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii

Gloucester finds the group slightly better shelter and then heads off to get assistance. Edgar speaks of the foul fiend and Fool tells the King a rhyme, concluding that the madman is the man who has too greatly indulged his own children. Lear pretends to hold a trial for his evil daughters, placing Edgar, the fool, and Kent on the bench to try them. Lear tries Goneril first and then Regan before crying that someone had accepted a bribe and allowed one to escape. Kent calls for him to remain patient as he had often been in the past and Edgar notes in an aside that he has nearly threatened his disguise with tears. He tells Lear that he will punish the daughters himself. Lear appreciates the gesture and claims that he will take Tom as one of the hundred in his train if he will agree to change his seemingly Persian garments. As Gloucester returns, he urges Kent to keep the King in his arms due to the death threats circulating. There is a caravan waiting which will take Lear to Dover and safety if they hurry. Edgar is left on stage and soliloquizes that the King's pains are so much greater than his own and he will pledge himself to helping him escape safely

gradesaver

all_chapterized_books/2266-chapters/13.txt

finished_summaries/gradesaver/King Lear/section_2_part_7.txt

King Lear.act 3.scene 7

act 3 scene 7

{"name": "act 3, scene vii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii", "summary": "Cornwall calls for Goneril to bring the letter concerning France's invasion to her husband and calls to his servants to seek out the traitor, Gloucester. Regan and Goneril call for tortuous punishment. Edmund is asked to accompany Goneril so as not to be present when his father is brought in. Oswald enters and alerts the court to the news of Gloucester's successful move of the King to Dover. As Goneril and Edmund depart, Cornwall sends servants in search of Gloucester. Gloucester enters with servants and Cornwall commands that he be bound to a chair. Regan plucks his beard as he protests that they are his guests and friends. They interrogate him on the letter he received from France and his part helping King Lear. Gloucester responds that he received the letter from an objective third-party but he is not believed. He admits that he sent the King to Dover, explaining that he was not safe out in the terrible storm nor in the company of those who would leave him in such conditions. He hopes that Lear's horrific children will have revenge light upon them. Cornwall answers that he will see no such thing, blinding one of his eyes. A servant speaks up in Gloucester's defense and is quickly stabbed by Regan using the sword Cornwall had drawn. Before the servant dies, he cries that Gloucester has one eye remaining to see harm come to the Duke and Duchess. Cornwall immediately blinds the other eye. Gloucester calls out for Edmund to help him in the time of peril to which Regan replies that it was Edmund who had alerted them to Gloucester's treachery. At this low point, Gloucester realizes the wrong he has shown Edgar if Edmund has done such evil. Regan has Gloucester thrown out of the castle and then helps Cornwall, who has received an injury, out of the room. Two servants discuss the incomprehensible evil of Cornwall and Regan, proposing to aid Gloucester in his blind stumbles. One of the servants leaves to find him while the other searches for ointments to sooth Gloucester's wounds.", "analysis": "Analysis: The theme of madness is explored deeply in Act III as we encounter at least three different forms of madness in at least three different characters. King Lear most notably goes, or is driven, to a madness he had predicted in this Act, but he is accompanied by two others whom are meant to be playing fools or madmen but to whom he grants the greatest sincerity. These two men, the two Lear places on the bench of his fictitious jury, are Edgar as poor Tom and Lear's Fool. Edgar feigns a madness as poor Tom that provides a great contrast to Lear's actual madness by bringing into question what madness is and how it was looked upon in Shakespeare's day. History shows that in Shakespeare's time lunatics were viewed as comic entertainment. Elizabethans would go to certain places simply in order to watch lunatics act crazy. Furthermore, Edgar's character was believable on the level of a mad trickster, a common character in the day who was known to trick others into believing him out of his wits. In a time such as this, one had to be careful to illuminate a lunacy which would be taken seriously if that was Shakespeare's intent, which concerning King Lear we must assume it was. The reasons which justify his serious plunge into insanity are many as the audience is privy to the actions of his daughters and the indignity he has been shown since giving up his title which could easily drop an old proud former king into madness. The horrific action of all but two children in the play, Cordelia and Edgar, is summed up in a neat sentence by Gloucester as he enters the hovel to speak to Lear. He cries, \"Our flesh and blood, my lord, is grown so vile/ That it doth hate what gets it\". The vileness, the evil, of Lear's two daughters and of Edmund is such a betrayal that it has made the skin crawl and wish to reject the beings it helped to create. They have forsworn any human tie to their parents in such a vile way that hatred is the only word which can describe the relation. We also learn from Gloucester that Lear's daughters are now trying to kill him. Not only have they stripped him of all dignity, condescendingly and hypothetically turned many of his own knights against him, and thrown him unsheltered out into a raging dangerous storm, but they have finally cut the corner of pretense in which they said they would accept their father if he came without train and resolved to kill their own father who gave them all of his kingdom. Lear's fault in facing them was a quick temper and a love quantified into value and material weight. This love, as we have discussed, could not have always existed in this form as we know from Lear's reaction in Act I that Cordelia had been his favorite daughter and that she had never rejected him or his wish previously. Thus, the self-centered plea for love seems to be a fault of old age as well as ego. As Gloucester mentions flesh and blood, Lear's daughters have turned out for blood and power, in a way again similar to the ambition of Lady Macbeth, to which they have no need to battle for but of which they can seemingly not get enough. The rumors continue along the vein of a rift between Albany and Cornwall and we will soon encounter a major rivalry between Regan and Goneril. Their undoing, their evil, is thus based on an arrogant ambition and a horrific filial ingratitude. This evil leads Lear to his belief that madness on a large scale can only result from the betrayal of daughters. He has sincerely been led astray in his trust and loyalty and thus plunges into a darkness and a madness which the storm, the hovel, and the night quite literally and symbolically portray. Vividly Shakespeare portrays the transformation of man into storm and storm into man as Lear goes mad. Personifying the storm with himself and the children he has begotten, Lear wails, \"Rumble thy bellyful. Spit, fire. Spout, rain. Nor rain, wind, thunder, fire are my daughters\". The storm is given a belly and the elements are compared to daughters. Note even the sound effects are called for at key points in the dialogue to echo Lear's mutation. Storm still \" is included by Shakespeare, for example, between poor Tom's continuing rants and Lear's conclusion that his madness must be the result of the betrayal of his daughters. In this state of rugged, stripped, essential man, Lear is able to focus on some important human issues that he has overlooked as king. Left to battle the elements of nature and the storms that are its products like the poor, Lear is forced to think on the daily lives of the homeless and his ignorance of the poor's situation. He comments, \"Poor naked wretches, wheresoe'er you are,/ That bide the pelting of this pitiless storm,/ How shall your houseless heads and unfed sides,/ Your looped and windowed raggedness, defend you/ From seasons such as these. O, I have ta'en/ Too little care of this. This is a climactic moment for Lear, as he stands on the threshold of madness. He will descend, it seems, as soon as he comes face to face with Edgar the reflection of madness he holds as philosophy and wisdom. And perhaps Lear comes much closer to a wisdom of humankind as a result. Madly, he attempts to strip himself naked only moments later before being stopped by the Fool, whose madness becomes simple complacency as he tries to look out for his master's safekeeping. In this, we see again how sane the Fool has been all along and how real Lear's madness is to make the Fool's speech become so practical. Lear is trying to physically strip himself of the artifice he has noticed within himself and most of mankind. He wishes to be put on par with poor Tom, a man who has lived much closer, he thinks, to the truth of nature. Edgar's character of poor Tom of Bedlam was based greatly on a text published shortly before Shakespeare's writing of King Lear. Harsnet's Declaration of Egregious Popishe Impostures, published in 1603, seems to provide much of the basis for Tom's language as well as the mention of the surreptitious \"foul fiend\" which plagues Tom constantly, biting at his back and instigating other evils upon him. With a feigned demonic madness, Tom's character is questioned less by the other characters allowing Edgar to provide commentary through his asides and the irony he often provides, especially in the contrast established between the disguised and acted madness he chooses and the uncontrollable, anguished madness which overtakes Lear. Tom also provides the physical character to represent the man Lear realizes he has ignored during his rule as King of Britain. Immediately after Lear cries out in recognition of his ignorance, he meets poor Tom. This allows Shakespeare to give more distinct meaning to Lear's, and later Gloucester's, wish for greater equality among the population in terms of money and favors. Lear exclaims, \"Take physic, pomp;/ Expose thyself to feel what wretches feel,/ That thou mayst shake the superflux to them/ And show the heavens more just\". In much the same vein as Robin Hood, Shakespeare here promotes a system where the rich would share their excess, their artifice, with the poor in order to even out the ranks a bit. Lear, in this manner, places himself at an equitable level with Tom and refuses to leave the stormy outdoors for shelter unless he can bring Tom with him. Lear has made his greatest leaps in humane awareness since his descent toward madness and his acquaintance with Tom. He states this for the audience when he remarks, \"Is man no more than this. Consider him well. Thou ow'st the/ worm no silk, the beast no hide, the sheep no wool, the cat no perfumeThou art the thing itself; unaccomodated man is no/ more but such a poor, bare, forked animal as thou art\". Clothing, excesses such as Lear referred to when speaking to Regan and Goneril about the need of his train, is superfluous and a great symbol of the artifice Lear has finally stripped from his body. Regan and Goneril move ever closer to their tragic ends as they progress substantially in their evil, as evidenced through their desire to kill Lear and the blinding of Gloucester. Regan, thought at first to be the tenderer of the two by Lear, leads the charge against Gloucester. Gloucester responds finally to the demands of why he sent Lear to Dover by addressing her and her sister as the basest of evils. It is her nails he mentions, not the power of Cornwall, even though the two have been joined in the punishment of Gloucester. He declares, \"Because I would not see thy cruel nails/ Pluck out his poor old eyes\". Ironically, this statement has greater truth for Gloucester himself. Regan taunts Gloucester after one eye is blinded and then takes the sword herself to kill a servant who stands up for Gloucester's honor. Moreover, she happily brags to Gloucester that his trusted Edmund was the one who alerted them to his treachery and then sends Gloucester out to \"smell his way to Dover\". In truth, we recognize this woman as more of a beast, a \"bare, forked animal\" than any of the characters against whom she is battling"}

Scena Septima. Enter Cornwall, Regan, Gonerill, Bastard, and Seruants. Corn. Poste speedily to my Lord your husband, shew him this Letter, the Army of France is landed: seeke out the Traitor Glouster Reg. Hang him instantly Gon. Plucke out his eyes Corn. Leaue him to my displeasure. Edmond, keepe you our Sister company: the reuenges wee are bound to take vppon your Traitorous Father, are not fit for your beholding. Aduice the Duke where you are going, to a most festinate preparation: we are bound to the like. Our Postes shall be swift, and intelligent betwixt vs. Farewell deere Sister, farewell my Lord of Glouster. Enter Steward. How now? Where's the King? Stew. My Lord of Glouster hath conuey'd him hence Some fiue or six and thirty of his Knights Hot Questrists after him, met him at gate, Who, with some other of the Lords, dependants, Are gone with him toward Douer; where they boast To haue well armed Friends Corn. Get horses for your Mistris Gon. Farewell sweet Lord, and Sister. Exit Corn. Edmund farewell: go seek the Traitor Gloster, Pinnion him like a Theefe, bring him before vs: Though well we may not passe vpon his life Without the forme of Iustice: yet our power Shall do a curt'sie to our wrath, which men May blame, but not comptroll. Enter Gloucester, and Seruants. Who's there? the Traitor? Reg. Ingratefull Fox, 'tis he Corn. Binde fast his corky armes Glou. What meanes your Graces? Good my Friends consider you are my Ghests: Do me no foule play, Friends Corn. Binde him I say Reg. Hard, hard: O filthy Traitor Glou. Vnmercifull Lady, as you are, I'me none Corn. To this Chaire binde him, Villaine, thou shalt finde Glou. By the kinde Gods, 'tis most ignobly done To plucke me by the Beard Reg. So white, and such a Traitor? Glou. Naughty Ladie, These haires which thou dost rauish from my chin Will quicken and accuse thee. I am your Host, With Robbers hands, my hospitable fauours You should not ruffle thus. What will you do? Corn. Come Sir. What Letters had you late from France? Reg. Be simple answer'd, for we know the truth Corn. And what confederacie haue you with the Traitors, late footed in the Kingdome? Reg. To whose hands You haue sent the Lunaticke King: Speake Glou. I haue a Letter guessingly set downe Which came from one that's of a newtrall heart, And not from one oppos'd Corn. Cunning Reg. And false Corn. Where hast thou sent the King? Glou. To Douer Reg. Wherefore to Douer? Was't thou not charg'd at perill Corn. Wherefore to Douer? Let him answer that Glou. I am tyed to'th' Stake, And I must stand the Course Reg. Wherefore to Douer? Glou. Because I would not see thy cruell Nailes Plucke out his poore old eyes: nor thy fierce Sister, In his Annointed flesh, sticke boarish phangs. The Sea, with such a storme as his bare head, In Hell-blacke-night indur'd, would haue buoy'd vp And quench'd the Stelled fires: Yet poore old heart, he holpe the Heauens to raine. If Wolues had at thy Gate howl'd that sterne time, Thou should'st haue said, good Porter turne the Key: All Cruels else subscribe: but I shall see The winged Vengeance ouertake such Children Corn. See't shalt thou neuer. Fellowes hold y Chaire, Vpon these eyes of thine, Ile set my foote Glou. He that will thinke to liue, till he be old, Giue me some helpe. - O cruell! O you Gods Reg. One side will mocke another: Th' other too Corn. If you see vengeance Seru. Hold your hand, my Lord: I haue seru'd you euer since I was a Childe: But better seruice haue I neuer done you, Then now to bid you hold Reg. How now, you dogge? Ser. If you did weare a beard vpon your chin, I'ld shake it on this quarrell. What do you meane? Corn. My Villaine? Seru. Nay then come on, and take the chance of anger Reg. Giue me thy Sword. A pezant stand vp thus? Killes him. Ser. Oh I am slaine: my Lord, you haue one eye left To see some mischefe on him. Oh Corn. Lest it see more, preuent it; Out vilde gelly: Where is thy luster now? Glou. All darke and comfortlesse? Where's my Sonne Edmund? Edmund, enkindle all the sparkes of Nature To quit this horrid acte Reg. Out treacherous Villaine, Thou call'st on him, that hates thee. It was he That made the ouerture of thy Treasons to vs: Who is too good to pitty thee Glou. O my Follies! then Edgar was abus'd, Kinde Gods, forgiue me that, and prosper him Reg. Go thrust him out at gates, and let him smell His way to Douer. Exit with Glouster. How is't my Lord? How looke you? Corn. I haue receiu'd a hurt: Follow me Lady; Turne out that eyelesse Villaine: throw this Slaue Vpon the Dunghill: Regan, I bleed apace, Vntimely comes this hurt. Giue me your arme. Exeunt.

act 3, scene vii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iii

Cornwall calls for Goneril to bring the letter concerning France's invasion to her husband and calls to his servants to seek out the traitor, Gloucester. Regan and Goneril call for tortuous punishment. Edmund is asked to accompany Goneril so as not to be present when his father is brought in. Oswald enters and alerts the court to the news of Gloucester's successful move of the King to Dover. As Goneril and Edmund depart, Cornwall sends servants in search of Gloucester. Gloucester enters with servants and Cornwall commands that he be bound to a chair. Regan plucks his beard as he protests that they are his guests and friends. They interrogate him on the letter he received from France and his part helping King Lear. Gloucester responds that he received the letter from an objective third-party but he is not believed. He admits that he sent the King to Dover, explaining that he was not safe out in the terrible storm nor in the company of those who would leave him in such conditions. He hopes that Lear's horrific children will have revenge light upon them. Cornwall answers that he will see no such thing, blinding one of his eyes. A servant speaks up in Gloucester's defense and is quickly stabbed by Regan using the sword Cornwall had drawn. Before the servant dies, he cries that Gloucester has one eye remaining to see harm come to the Duke and Duchess. Cornwall immediately blinds the other eye. Gloucester calls out for Edmund to help him in the time of peril to which Regan replies that it was Edmund who had alerted them to Gloucester's treachery. At this low point, Gloucester realizes the wrong he has shown Edgar if Edmund has done such evil. Regan has Gloucester thrown out of the castle and then helps Cornwall, who has received an injury, out of the room. Two servants discuss the incomprehensible evil of Cornwall and Regan, proposing to aid Gloucester in his blind stumbles. One of the servants leaves to find him while the other searches for ointments to sooth Gloucester's wounds.

Analysis: The theme of madness is explored deeply in Act III as we encounter at least three different forms of madness in at least three different characters. King Lear most notably goes, or is driven, to a madness he had predicted in this Act, but he is accompanied by two others whom are meant to be playing fools or madmen but to whom he grants the greatest sincerity. These two men, the two Lear places on the bench of his fictitious jury, are Edgar as poor Tom and Lear's Fool. Edgar feigns a madness as poor Tom that provides a great contrast to Lear's actual madness by bringing into question what madness is and how it was looked upon in Shakespeare's day. History shows that in Shakespeare's time lunatics were viewed as comic entertainment. Elizabethans would go to certain places simply in order to watch lunatics act crazy. Furthermore, Edgar's character was believable on the level of a mad trickster, a common character in the day who was known to trick others into believing him out of his wits. In a time such as this, one had to be careful to illuminate a lunacy which would be taken seriously if that was Shakespeare's intent, which concerning King Lear we must assume it was. The reasons which justify his serious plunge into insanity are many as the audience is privy to the actions of his daughters and the indignity he has been shown since giving up his title which could easily drop an old proud former king into madness. The horrific action of all but two children in the play, Cordelia and Edgar, is summed up in a neat sentence by Gloucester as he enters the hovel to speak to Lear. He cries, "Our flesh and blood, my lord, is grown so vile/ That it doth hate what gets it". The vileness, the evil, of Lear's two daughters and of Edmund is such a betrayal that it has made the skin crawl and wish to reject the beings it helped to create. They have forsworn any human tie to their parents in such a vile way that hatred is the only word which can describe the relation. We also learn from Gloucester that Lear's daughters are now trying to kill him. Not only have they stripped him of all dignity, condescendingly and hypothetically turned many of his own knights against him, and thrown him unsheltered out into a raging dangerous storm, but they have finally cut the corner of pretense in which they said they would accept their father if he came without train and resolved to kill their own father who gave them all of his kingdom. Lear's fault in facing them was a quick temper and a love quantified into value and material weight. This love, as we have discussed, could not have always existed in this form as we know from Lear's reaction in Act I that Cordelia had been his favorite daughter and that she had never rejected him or his wish previously. Thus, the self-centered plea for love seems to be a fault of old age as well as ego. As Gloucester mentions flesh and blood, Lear's daughters have turned out for blood and power, in a way again similar to the ambition of Lady Macbeth, to which they have no need to battle for but of which they can seemingly not get enough. The rumors continue along the vein of a rift between Albany and Cornwall and we will soon encounter a major rivalry between Regan and Goneril. Their undoing, their evil, is thus based on an arrogant ambition and a horrific filial ingratitude. This evil leads Lear to his belief that madness on a large scale can only result from the betrayal of daughters. He has sincerely been led astray in his trust and loyalty and thus plunges into a darkness and a madness which the storm, the hovel, and the night quite literally and symbolically portray. Vividly Shakespeare portrays the transformation of man into storm and storm into man as Lear goes mad. Personifying the storm with himself and the children he has begotten, Lear wails, "Rumble thy bellyful. Spit, fire. Spout, rain. Nor rain, wind, thunder, fire are my daughters". The storm is given a belly and the elements are compared to daughters. Note even the sound effects are called for at key points in the dialogue to echo Lear's mutation. Storm still " is included by Shakespeare, for example, between poor Tom's continuing rants and Lear's conclusion that his madness must be the result of the betrayal of his daughters. In this state of rugged, stripped, essential man, Lear is able to focus on some important human issues that he has overlooked as king. Left to battle the elements of nature and the storms that are its products like the poor, Lear is forced to think on the daily lives of the homeless and his ignorance of the poor's situation. He comments, "Poor naked wretches, wheresoe'er you are,/ That bide the pelting of this pitiless storm,/ How shall your houseless heads and unfed sides,/ Your looped and windowed raggedness, defend you/ From seasons such as these. O, I have ta'en/ Too little care of this. This is a climactic moment for Lear, as he stands on the threshold of madness. He will descend, it seems, as soon as he comes face to face with Edgar the reflection of madness he holds as philosophy and wisdom. And perhaps Lear comes much closer to a wisdom of humankind as a result. Madly, he attempts to strip himself naked only moments later before being stopped by the Fool, whose madness becomes simple complacency as he tries to look out for his master's safekeeping. In this, we see again how sane the Fool has been all along and how real Lear's madness is to make the Fool's speech become so practical. Lear is trying to physically strip himself of the artifice he has noticed within himself and most of mankind. He wishes to be put on par with poor Tom, a man who has lived much closer, he thinks, to the truth of nature. Edgar's character of poor Tom of Bedlam was based greatly on a text published shortly before Shakespeare's writing of King Lear. Harsnet's Declaration of Egregious Popishe Impostures, published in 1603, seems to provide much of the basis for Tom's language as well as the mention of the surreptitious "foul fiend" which plagues Tom constantly, biting at his back and instigating other evils upon him. With a feigned demonic madness, Tom's character is questioned less by the other characters allowing Edgar to provide commentary through his asides and the irony he often provides, especially in the contrast established between the disguised and acted madness he chooses and the uncontrollable, anguished madness which overtakes Lear. Tom also provides the physical character to represent the man Lear realizes he has ignored during his rule as King of Britain. Immediately after Lear cries out in recognition of his ignorance, he meets poor Tom. This allows Shakespeare to give more distinct meaning to Lear's, and later Gloucester's, wish for greater equality among the population in terms of money and favors. Lear exclaims, "Take physic, pomp;/ Expose thyself to feel what wretches feel,/ That thou mayst shake the superflux to them/ And show the heavens more just". In much the same vein as Robin Hood, Shakespeare here promotes a system where the rich would share their excess, their artifice, with the poor in order to even out the ranks a bit. Lear, in this manner, places himself at an equitable level with Tom and refuses to leave the stormy outdoors for shelter unless he can bring Tom with him. Lear has made his greatest leaps in humane awareness since his descent toward madness and his acquaintance with Tom. He states this for the audience when he remarks, "Is man no more than this. Consider him well. Thou ow'st the/ worm no silk, the beast no hide, the sheep no wool, the cat no perfumeThou art the thing itself; unaccomodated man is no/ more but such a poor, bare, forked animal as thou art". Clothing, excesses such as Lear referred to when speaking to Regan and Goneril about the need of his train, is superfluous and a great symbol of the artifice Lear has finally stripped from his body. Regan and Goneril move ever closer to their tragic ends as they progress substantially in their evil, as evidenced through their desire to kill Lear and the blinding of Gloucester. Regan, thought at first to be the tenderer of the two by Lear, leads the charge against Gloucester. Gloucester responds finally to the demands of why he sent Lear to Dover by addressing her and her sister as the basest of evils. It is her nails he mentions, not the power of Cornwall, even though the two have been joined in the punishment of Gloucester. He declares, "Because I would not see thy cruel nails/ Pluck out his poor old eyes". Ironically, this statement has greater truth for Gloucester himself. Regan taunts Gloucester after one eye is blinded and then takes the sword herself to kill a servant who stands up for Gloucester's honor. Moreover, she happily brags to Gloucester that his trusted Edmund was the one who alerted them to his treachery and then sends Gloucester out to "smell his way to Dover". In truth, we recognize this woman as more of a beast, a "bare, forked animal" than any of the characters against whom she is battling

gradesaver

all_chapterized_books/2266-chapters/14.txt

finished_summaries/gradesaver/King Lear/section_3_part_1.txt

King Lear.act 4.scene 1

act 4 scene 1

{"name": "act 4, scene i", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv", "summary": "Edgar is alone on stage soliloquizing about his fate. He seems more optimistic than earlier, hoping that he has seen the worst. This changes when Gloucester and an old man enters, displaying to Edgar the cruelty of Regan and Cornwall's punishment. Gloucester urges the old man aiding him to leave him, noting that his blindness should not affect him as \"I have no way, and therefore want no eyes;/ I stumbled when I saw\". He then laments the fool he has been toward his loyal son, Edgar. The old man tells him a mad beggarman is present to which Gloucester replies that he cannot be too mad if he knows to beg. Ironically, he notes that his introduction to a madman the night before had made him think of Edgar. This causes Edgar further pain. Gloucester again urges the old man to leave, commenting that poor Tom can lead him. He reasons that the time is such that madmen will lead the blind and tells the old man to meet them in a mile with new clothes for the beggar. The old man agrees to and leaves. Edgar wishes he did not have to deceive his father but reasons that he must. He speaks in his poor Tom manner of all of the fiends whom have plagued him. Gloucester gives him his purse, hoping to even out some of the inequality which exists between them, and asks him to lead him to the summit of the high cliff in Dover and leave him there", "analysis": ""}

Actus Quartus. Scena Prima. Enter Edgar. Edg. Yet better thus, and knowne to be contemn'd, Then still contemn'd and flatter'd, to be worst: The lowest, and most deiected thing of Fortune, Stands still in esperance, liues not in feare: The lamentable change is from the best, The worst returnes to laughter. Welcome then, Thou vnsubstantiall ayre that I embrace: The Wretch that thou hast blowne vnto the worst, Owes nothing to thy blasts. Enter Glouster, and an Oldman. But who comes heere? My Father poorely led? World, World, O world! But that thy strange mutations make vs hate thee, Life would not yeelde to age Oldm. O my good Lord, I haue bene your Tenant, And your Fathers Tenant, these fourescore yeares Glou. Away, get thee away: good Friend be gone, Thy comforts can do me no good at all, Thee, they may hurt Oldm. You cannot see your way Glou. I haue no way, and therefore want no eyes: I stumbled when I saw. Full oft 'tis seene, Our meanes secure vs, and our meere defects Proue our Commodities. Oh deere Sonne Edgar, The food of thy abused Fathers wrath: Might I but liue to see thee in my touch, I'ld say I had eyes againe Oldm. How now? who's there? Edg. O Gods! Who is't can say I am at the worst? I am worse then ere I was Old. 'Tis poore mad Tom Edg. And worse I may be yet: the worst is not, So long as we can say this is the worst Oldm. Fellow, where goest? Glou. Is it a Beggar-man? Oldm. Madman, and beggar too Glou. He has some reason, else he could not beg. I'th' last nights storme, I such a fellow saw; Which made me thinke a Man, a Worme. My Sonne Came then into my minde, and yet my minde Was then scarse Friends with him. I haue heard more since: As Flies to wanton Boyes, are we to th' Gods, They kill vs for their sport Edg. How should this be? Bad is the Trade that must play Foole to sorrow, Ang'ring it selfe, and others. Blesse thee Master Glou. Is that the naked Fellow? Oldm. I, my Lord Glou. Get thee away: If for my sake Thou wilt ore-take vs hence a mile or twaine I'th' way toward Douer, do it for ancient loue, And bring some couering for this naked Soule, Which Ile intreate to leade me Old. Alacke sir, he is mad Glou. 'Tis the times plague, When Madmen leade the blinde: Do as I bid thee, or rather do thy pleasure: Aboue the rest, be gone Oldm. Ile bring him the best Parrell that I haue Come on't what will. Exit Glou. Sirrah, naked fellow Edg. Poore Tom's a cold. I cannot daub it further Glou. Come hither fellow Edg. And yet I must: Blesse thy sweete eyes, they bleede Glou. Know'st thou the way to Douer? Edg. Both style, and gate; Horseway, and foot-path: poore Tom hath bin scarr'd out of his good wits. Blesse thee good mans sonne, from the foule Fiend Glou. Here take this purse, y whom the heau'ns plagues Haue humbled to all strokes: that I am wretched Makes thee the happier: Heauens deale so still: Let the superfluous, and Lust-dieted man, That slaues your ordinance, that will not see Because he do's not feele, feele your powre quickly: So distribution should vndoo excesse, And each man haue enough. Dost thou know Douer? Edg. I Master Glou. There is a Cliffe, whose high and bending head Lookes fearfully in the confined Deepe: Bring me but to the very brimme of it, And Ile repayre the misery thou do'st beare With something rich about me: from that place, I shall no leading neede Edg. Giue me thy arme; Poore Tom shall leade thee. Exeunt.

act 4, scene i

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv

Edgar is alone on stage soliloquizing about his fate. He seems more optimistic than earlier, hoping that he has seen the worst. This changes when Gloucester and an old man enters, displaying to Edgar the cruelty of Regan and Cornwall's punishment. Gloucester urges the old man aiding him to leave him, noting that his blindness should not affect him as "I have no way, and therefore want no eyes;/ I stumbled when I saw". He then laments the fool he has been toward his loyal son, Edgar. The old man tells him a mad beggarman is present to which Gloucester replies that he cannot be too mad if he knows to beg. Ironically, he notes that his introduction to a madman the night before had made him think of Edgar. This causes Edgar further pain. Gloucester again urges the old man to leave, commenting that poor Tom can lead him. He reasons that the time is such that madmen will lead the blind and tells the old man to meet them in a mile with new clothes for the beggar. The old man agrees to and leaves. Edgar wishes he did not have to deceive his father but reasons that he must. He speaks in his poor Tom manner of all of the fiends whom have plagued him. Gloucester gives him his purse, hoping to even out some of the inequality which exists between them, and asks him to lead him to the summit of the high cliff in Dover and leave him there

gradesaver

all_chapterized_books/2266-chapters/16.txt

finished_summaries/gradesaver/King Lear/section_3_part_3.txt

King Lear.act 4.scene 3

act 4 scene 3

{"name": "act 4, scene iii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv", "summary": "We learn from Kent's conversation with a gentleman that the King of France has had to return to France for important business and has left the Marshal of France in charge. The gentleman informs him also of Cordelia's response to Kent's letter. She was very moved, lamenting against her sisters and their treatment of her father. Kent comments that the stars must control people's characters if one man and one woman could have children of such different qualities, like Cordelia and her sisters. Kent notifies the gentleman that Lear refuses to see Cordelia as he is ashamed of his behavior toward her. The gentleman confirms that Albany and Cornwall's powers are advancing. Deciding to leave Lear with him, Kent goes off to handle confidential business", "analysis": ""}

Scena Tertia. Enter with Drum and Colours, Cordelia, Gentlemen, and Souldiours. Cor. Alacke, 'tis he: why he was met euen now As mad as the vext Sea, singing alowd. Crown'd with ranke Fenitar, and furrow weeds, With Hardokes, Hemlocke, Nettles, Cuckoo flowres, Darnell, and all the idle weedes that grow In our sustaining Corne. A Centery send forth; Search euery Acre in the high-growne field, And bring him to our eye. What can mans wisedome In the restoring his bereaued Sense; he that helpes him, Take all my outward worth Gent. There is meanes Madam: Our foster Nurse of Nature, is repose, The which he lackes: that to prouoke in him Are many Simples operatiue, whose power Will close the eye of Anguish Cord. All blest Secrets, All you vnpublish'd Vertues of the earth Spring with my teares; be aydant, and remediate In the Goodmans desires: seeke, seeke for him, Least his vngouern'd rage, dissolue the life That wants the meanes to leade it. Enter Messenger. Mes. Newes Madam, The Brittish Powres are marching hitherward Cor. 'Tis knowne before. Our preparation stands In expectation of them. O deere Father, It is thy businesse that I go about: Therfore great France My mourning, and importun'd teares hath pittied: No blowne Ambition doth our Armes incite, But loue, deere loue, and our ag'd Fathers Rite: Soone may I heare, and see him. Exeunt.

act 4, scene iii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv

We learn from Kent's conversation with a gentleman that the King of France has had to return to France for important business and has left the Marshal of France in charge. The gentleman informs him also of Cordelia's response to Kent's letter. She was very moved, lamenting against her sisters and their treatment of her father. Kent comments that the stars must control people's characters if one man and one woman could have children of such different qualities, like Cordelia and her sisters. Kent notifies the gentleman that Lear refuses to see Cordelia as he is ashamed of his behavior toward her. The gentleman confirms that Albany and Cornwall's powers are advancing. Deciding to leave Lear with him, Kent goes off to handle confidential business

gradesaver

all_chapterized_books/2266-chapters/17.txt

finished_summaries/gradesaver/King Lear/section_3_part_4.txt

King Lear.act 4.scene 4

act 4 scene 4

{"name": "act 4, scene iv", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv", "summary": "Pained, Cordelia laments the mad state of Lear and asks the doctor if there is a way to cure him. Rest might be the simple answer, the doctor replies, since Lear has been deprived of it. Cordelia prays for him and hopes that he will be revived. She must leave briefly on business for France", "analysis": ""}

Scena Quarta. Enter Regan, and Steward. Reg. But are my Brothers Powres set forth? Stew. I Madam Reg. Himselfe in person there? Stew. Madam with much ado: Your Sister is the better Souldier Reg. Lord Edmund spake not with your Lord at home? Stew. No Madam Reg. What might import my Sisters Letter to him? Stew. I know not, Lady Reg. Faith he is poasted hence on serious matter: It was great ignorance, Glousters eyes being out To let him liue. Where he arriues, he moues All hearts against vs: Edmund, I thinke is gone In pitty of his misery, to dispatch His nighted life: Moreouer to descry The strength o'th' Enemy Stew. I must needs after him, Madam, with my Letter Reg. Our troopes set forth to morrow, stay with vs: The wayes are dangerous Stew. I may not Madam: My Lady charg'd my dutie in this busines Reg. Why should she write to Edmund? Might not you transport her purposes by word? Belike, Some things, I know not what. Ile loue thee much Let me vnseale the Letter Stew. Madam, I had rather- Reg. I know your Lady do's not loue her Husband, I am sure of that: and at her late being heere, She gaue strange Eliads, and most speaking lookes To Noble Edmund. I know you are of her bosome Stew. I, Madam? Reg. I speake in vnderstanding: Y'are: I know't, Therefore I do aduise you take this note: My Lord is dead: Edmond, and I haue talk'd, And more conuenient is he for my hand Then for your Ladies: You may gather more: If you do finde him, pray you giue him this; And when your Mistris heares thus much from you, I pray desire her call her wisedome to her. So fare you well: If you do chance to heare of that blinde Traitor, Preferment fals on him, that cuts him off Stew. Would I could meet Madam, I should shew What party I do follow Reg. Fare thee well. Exeunt.

act 4, scene iv

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv

Pained, Cordelia laments the mad state of Lear and asks the doctor if there is a way to cure him. Rest might be the simple answer, the doctor replies, since Lear has been deprived of it. Cordelia prays for him and hopes that he will be revived. She must leave briefly on business for France

gradesaver

all_chapterized_books/2266-chapters/18.txt

finished_summaries/gradesaver/King Lear/section_3_part_5.txt

King Lear.act 4.scene 5

act 4 scene 5

{"name": "act 4, scene v", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv", "summary": "Regan and Oswald discuss how Albany's powers are afoot. Oswald points out that Goneril is the better soldier and informs Regan that Edmund did not have a chance to speak with Albany. Regan asks what the letter which Oswald brought from Goneril for Edmund says but Oswald knows only that it must be of great importance. Regan regrets blinding Gloucester because allowing him to live arouses sympathy which results in more parties turned against Regan and her company. Stating that Edmund has gone in search of Gloucester to put him out of his misery, she then claims that he is checking out the strength of the enemy forces. She urges Oswald to remain with her because the roads are dangerous. She is jealous of what she fears the contents of the letter may be, namely entreaties to Edmund for his love. Advising him to remind Edmund of the matters he had discussed with her considering their marriage, Regan allows Oswald to continue. Oswald agrees to halt Gloucester if he comes upon him and thus show to whom his loyalty lies", "analysis": ""}

Scena Quinta. Enter Gloucester, and Edgar. Glou. When shall I come to th' top of that same hill? Edg. You do climbe vp it now. Look how we labor Glou. Me thinkes the ground is eeuen Edg. Horrible steepe. Hearke, do you heare the Sea? Glou. No truly Edg. Why then your other Senses grow imperfect By your eyes anguish Glou. So may it be indeed. Me thinkes thy voyce is alter'd, and thou speak'st In better phrase, and matter then thou did'st Edg. Y'are much deceiu'd: In nothing am I chang'd But in my Garments Glou. Me thinkes y'are better spoken Edg. Come on Sir, Heere's the place: stand still: how fearefull And dizie 'tis, to cast ones eyes so low, The Crowes and Choughes, that wing the midway ayre Shew scarse so grosse as Beetles. Halfe way downe Hangs one that gathers Sampire: dreadfull Trade: Me thinkes he seemes no bigger then his head. The Fishermen, that walk'd vpon the beach Appeare like Mice: and yond tall Anchoring Barke, Diminish'd to her Cocke: her Cocke, a Buoy Almost too small for sight. The murmuring Surge, That on th' vnnumbred idle Pebble chafes Cannot be heard so high. Ile looke no more, Least my braine turne, and the deficient sight Topple downe headlong Glou. Set me where you stand Edg. Giue me your hand: You are now within a foote of th' extreme Verge: For all beneath the Moone would I not leape vpright Glou. Let go my hand: Heere Friend's another purse: in it, a Iewell Well worth a poore mans taking. Fayries, and Gods Prosper it with thee. Go thou further off, Bid me farewell, and let me heare thee going Edg. Now fare ye well, good Sir Glou. With all my heart Edg. Why I do trifle thus with his dispaire, Is done to cure it Glou. O you mighty Gods! This world I do renounce, and in your sights Shake patiently my great affliction off: If I could beare it longer, and not fall To quarrell with your great opposelesse willes, My snuffe, and loathed part of Nature should Burne it selfe out. If Edgar liue, O blesse him: Now Fellow, fare thee well Edg. Gone Sir, farewell: And yet I know not how conceit may rob The Treasury of life, when life it selfe Yeelds to the Theft. Had he bin where he thought, By this had thought bin past. Aliue, or dead? Hoa, you Sir: Friend, heare you Sir, speake: Thus might he passe indeed: yet he reuiues. What are you Sir? Glou. Away, and let me dye Edg. Had'st thou beene ought But Gozemore, Feathers, Ayre, (So many fathome downe precipitating) Thou'dst shiuer'd like an Egge: but thou do'st breath: Hast heauy substance, bleed'st not, speak'st, art sound, Ten Masts at each, make not the altitude Which thou hast perpendicularly fell, Thy life's a Myracle. Speake yet againe Glou. But haue I falne, or no? Edg. From the dread Somnet of this Chalkie Bourne Looke vp a height, the shrill-gorg'd Larke so farre Cannot be seene, or heard: Do but looke vp Glou. Alacke, I haue no eyes: Is wretchednesse depriu'd that benefit To end it selfe by death? 'Twas yet some comfort, When misery could beguile the Tyrants rage, And frustrate his proud will Edg. Giue me your arme. Vp, so: How is't? Feele you your Legges? You stand Glou. Too well, too well Edg. This is aboue all strangenesse, Vpon the crowne o'th' Cliffe. What thing was that Which parted from you? Glou. A poore vnfortunate Beggar Edg. As I stood heere below, me thought his eyes Were two full Moones: he had a thousand Noses, Hornes wealk'd, and waued like the enraged Sea: It was some Fiend: Therefore thou happy Father, Thinke that the cleerest Gods, who make them Honors Of mens Impossibilities, haue preserued thee Glou. I do remember now: henceforth Ile beare Affliction, till it do cry out it selfe Enough, enough, and dye. That thing you speake of, I tooke it for a man: often 'twould say The Fiend, the Fiend, he led me to that place Edgar. Beare free and patient thoughts. Enter Lear. But who comes heere? The safer sense will ne're accommodate His Master thus Lear. No, they cannot touch me for crying. I am the King himselfe Edg. O thou side-piercing sight! Lear. Nature's aboue Art, in that respect. Ther's your Presse-money. That fellow handles his bow, like a Crowkeeper: draw mee a Cloathiers yard. Looke, looke, a Mouse: peace, peace, this peece of toasted Cheese will doo't. There's my Gauntlet, Ile proue it on a Gyant. Bring vp the browne Billes. O well flowne Bird: i'th' clout, i'th' clout: Hewgh. Giue the word Edg. Sweet Mariorum Lear. Passe Glou. I know that voice Lear. Ha! Gonerill with a white beard? They flatter'd me like a Dogge, and told mee I had the white hayres in my Beard, ere the blacke ones were there. To say I, and no, to euery thing that I said: I, and no too, was no good Diuinity. When the raine came to wet me once, and the winde to make me chatter: when the Thunder would not peace at my bidding, there I found 'em, there I smelt 'em out. Go too, they are not men o'their words; they told me, I was euery thing: 'Tis a Lye, I am not Agu-proofe Glou. The tricke of that voyce, I do well remember: Is't not the King? Lear. I, euery inch a King. When I do stare, see how the Subiect quakes. I pardon that mans life. What was thy cause? Adultery? thou shalt not dye: dye for Adultery? No, the Wren goes too't, and the small gilded Fly Do's letcher in my sight. Let Copulation thriue: For Glousters bastard Son was kinder to his Father, Then my Daughters got 'tweene the lawfull sheets. Too't Luxury pell-mell, for I lacke Souldiers. Behold yond simpring Dame, whose face betweene her Forkes presages Snow; that minces Vertue, & do's shake the head to heare of pleasures name. The Fitchew, nor the soyled Horse goes too't with a more riotous appetite: Downe from the waste they are Centaures, though Women all aboue: but to the Girdle do the Gods inherit, beneath is all the Fiends. There's hell, there's darkenes, there is the sulphurous pit; burning, scalding, stench, consumption: Fye, fie, fie; pah, pah: Giue me an Ounce of Ciuet; good Apothecary sweeten my immagination: There's money for thee Glou. O let me kisse that hand Lear. Let me wipe it first, It smelles of Mortality Glou. O ruin'd peece of Nature, this great world Shall so weare out to naught. Do'st thou know me? Lear. I remember thine eyes well enough: dost thou squiny at me? No, doe thy worst blinde Cupid, Ile not loue. Reade thou this challenge, marke but the penning of it Glou. Were all thy Letters Sunnes, I could not see Edg. I would not take this from report, It is, and my heart breakes at it Lear. Read Glou. What with the Case of eyes? Lear. Oh ho, are you there with me? No eies in your head, nor no mony in your purse? Your eyes are in a heauy case, your purse in a light, yet you see how this world goes Glou. I see it feelingly Lear. What, art mad? A man may see how this world goes, with no eyes. Looke with thine eares: See how yond Iustice railes vpon yond simple theefe. Hearke in thine eare: Change places, and handy-dandy, which is the Iustice, which is the theefe: Thou hast seene a Farmers dogge barke at a Beggar? Glou. I Sir Lear. And the Creature run from the Cur: there thou might'st behold the great image of Authoritie, a Dogg's obey'd in Office. Thou, Rascall Beadle, hold thy bloody hand: why dost thou lash that Whore? Strip thy owne backe, thou hotly lusts to vse her in that kind, for which thou whip'st her. The Vsurer hangs the Cozener. Thorough tatter'd cloathes great Vices do appeare: Robes, and Furr'd gownes hide all. Place sinnes with Gold, and the strong Lance of Iustice, hurtlesse breakes: Arme it in ragges, a Pigmies straw do's pierce it. None do's offend, none, I say none, Ile able 'em; take that of me my Friend, who haue the power to seale th' accusers lips. Get thee glasse-eyes, and like a scuruy Politician, seeme to see the things thou dost not. Now, now, now, now. Pull off my Bootes: harder, harder, so Edg. O matter, and impertinency mixt, Reason in Madnesse Lear. If thou wilt weepe my Fortunes, take my eyes. I know thee well enough, thy name is Glouster: Thou must be patient; we came crying hither: Thou know'st, the first time that we smell the Ayre We wawle, and cry. I will preach to thee: Marke Glou. Alacke, alacke the day Lear. When we are borne, we cry that we are come To this great stage of Fooles. This a good blocke: It were a delicate stratagem to shoo A Troope of Horse with Felt: Ile put't in proofe, And when I haue stolne vpon these Son in Lawes, Then kill, kill, kill, kill, kill, kill. Enter a Gentleman. Gent. Oh heere he is: lay hand vpon him, Sir. Your most deere Daughter- Lear. No rescue? What, a Prisoner? I am euen The Naturall Foole of Fortune. Vse me well, You shall haue ransome. Let me haue Surgeons, I am cut to'th' Braines Gent. You shall haue any thing Lear. No Seconds? All my selfe? Why, this would make a man, a man of Salt To vse his eyes for Garden water-pots. I wil die brauely, Like a smugge Bridegroome. What? I will be Iouiall: Come, come, I am a King, Masters, know you that? Gent. You are a Royall one, and we obey you Lear. Then there's life in't. Come, and you get it, You shall get it by running: Sa, sa, sa, sa. Enter. Gent. A sight most pittifull in the meanest wretch, Past speaking of in a King. Thou hast a Daughter Who redeemes Nature from the generall curse Which twaine haue brought her to Edg. Haile gentle Sir Gent. Sir, speed you: what's your will? Edg. Do you heare ought (Sir) of a Battell toward Gent. Most sure, and vulgar: Euery one heares that, which can distinguish sound Edg. But by your fauour: How neere's the other Army? Gent. Neere, and on speedy foot: the maine descry Stands on the hourely thought Edg. I thanke you Sir, that's all Gent. Though that the Queen on special cause is here Her Army is mou'd on. Enter. Edg. I thanke you Sir Glou. You euer gentle Gods, take my breath from me, Let not my worser Spirit tempt me againe To dye before you please Edg. Well pray you Father Glou. Now good sir, what are you? Edg. A most poore man, made tame to Fortunes blows Who, by the Art of knowne, and feeling sorrowes, Am pregnant to good pitty. Giue me your hand, Ile leade you to some biding Glou. Heartie thankes: The bountie, and the benizon of Heauen To boot, and boot. Enter Steward. Stew. A proclaim'd prize: most happie That eyelesse head of thine, was first fram'd flesh To raise my fortunes. Thou old, vnhappy Traitor, Breefely thy selfe remember: the Sword is out That must destroy thee Glou. Now let thy friendly hand Put strength enough too't Stew. Wherefore, bold Pezant, Dar'st thou support a publish'd Traitor? Hence, Least that th' infection of his fortune take Like hold on thee. Let go his arme Edg. Chill not let go Zir, Without vurther 'casion Stew. Let go Slaue, or thou dy'st Edg. Good Gentleman goe your gate, and let poore volke passe: and 'chud ha' bin zwaggerd out of my life, 'twould not ha' bin zo long as 'tis, by a vortnight. Nay, come not neere th' old man: keepe out che vor' ye, or Ile try whither your Costard, or my Ballow be the harder; chill be plaine with you Stew. Out Dunghill Edg. Chill picke your teeth Zir: come, no matter vor your foynes Stew. Slaue thou hast slaine me: Villain, take my purse; If euer thou wilt thriue, bury my bodie, And giue the Letters which thou find'st about me, To Edmund Earle of Glouster: seeke him out Vpon the English party. Oh vntimely death, death Edg. I know thee well. A seruiceable Villaine, As duteous to the vices of thy Mistris, As badnesse would desire Glou. What, is he dead? Edg. Sit you downe Father: rest you. Let's see these Pockets; the Letters that he speakes of May be my Friends: hee's dead; I am onely sorry He had no other Deathsman. Let vs see: Leaue gentle waxe, and manners: blame vs not To know our enemies mindes, we rip their hearts, Their Papers is more lawfull. Reads the Letter. Let our reciprocall vowes be remembred. You haue manie opportunities to cut him off: if your will want not, time and place will be fruitfully offer'd. There is nothing done. If hee returne the Conqueror, then am I the Prisoner, and his bed, my Gaole, from the loathed warmth whereof, deliuer me, and supply the place for your Labour. Your (Wife, so I would say) affectionate Seruant. Gonerill. Oh indistinguish'd space of Womans will, A plot vpon her vertuous Husbands life, And the exchange my Brother: heere, in the sands Thee Ile rake vp, the poste vnsanctified Of murtherous Letchers: and in the mature time, With this vngracious paper strike the sight Of the death-practis'd Duke: for him 'tis well, That of thy death, and businesse, I can tell Glou. The King is mad: How stiffe is my vilde sense That I stand vp, and haue ingenious feeling Of my huge Sorrowes? Better I were distract, So should my thoughts be seuer'd from my greefes, Drum afarre off. And woes, by wrong imaginations loose The knowledge of themselues Edg. Giue me your hand: Farre off methinkes I heare the beaten Drumme. Come Father, Ile bestow you with a Friend. Exeunt.

act 4, scene v

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Regan and Oswald discuss how Albany's powers are afoot. Oswald points out that Goneril is the better soldier and informs Regan that Edmund did not have a chance to speak with Albany. Regan asks what the letter which Oswald brought from Goneril for Edmund says but Oswald knows only that it must be of great importance. Regan regrets blinding Gloucester because allowing him to live arouses sympathy which results in more parties turned against Regan and her company. Stating that Edmund has gone in search of Gloucester to put him out of his misery, she then claims that he is checking out the strength of the enemy forces. She urges Oswald to remain with her because the roads are dangerous. She is jealous of what she fears the contents of the letter may be, namely entreaties to Edmund for his love. Advising him to remind Edmund of the matters he had discussed with her considering their marriage, Regan allows Oswald to continue. Oswald agrees to halt Gloucester if he comes upon him and thus show to whom his loyalty lies

gradesaver

all_chapterized_books/2266-chapters/23.txt

finished_summaries/gradesaver/King Lear/section_3_part_7.txt

King Lear.act 4.scene 7

act 4 scene 7

{"name": "act 4, scene vii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv", "summary": "Cordelia thanks Kent for the goodness he has shown her father and the bravery he has espoused. She asks him to discard his disguise but he knows that he will be able to work better for Lear if he remains disguised. The Doctor remarks that Lear has slept for a long while so that they may try waking him. Lear is brought in, still sleeping. Hoping to resolve the horrors committed by her sisters, Cordelia kisses Lear and reflects on the vileness and ingratitude of her sisters, treating Lear worse than a dog by shutting their doors on him in the storm. Lear wakes and Cordelia addresses him. Lear feels awakened from the grave and wishes they had left him. Very drowsy at first, Lear thinks Cordelia is a spirit and then realizes he should know her and Kent but has difficulty putting his memory together. Finally he recognizes Cordelia, to her delight, but thinks he is in France. The Doctor advises them to give Lear his space so Cordelia takes him for a walk. The gentleman remains and asks Kent if the rumors of Cornwall's death and Edgar's position in Germany with the Earl of Kent are true. Kent confirms the first, but leaves the latter unanswered. The gentleman warns that the battle to come will be bloody.", "analysis": "Analysis: Act IV begins on a misleading high note as Edgar is pleased that any changes in his life will have to bring better times. Things cannot get worse, he implies. The paradox is established then with Gloucester's subsequent entrance and Edgar realizes that his life has gotten worse now that he knows the terrible treatment his father has endured. It is important to keep in mind that Edgar does not know how Edmund deceived his father into believing Edgar was the evil doer. All Edgar knows is that he had to run for his life because of the feelings Gloucester, Cornwall, and Albany held against him. Yet, even though he is incredibly saddened by Gloucester's appearance and torment, he does not once act reluctant to aid his father. Oddly however, to the audience, must have been Edgar's desire to remain disguised. He is still not sure of Gloucester's feelings toward him and leads him to Dover regardless. But he does soon learn of the events which have occurred, when Gloucester, thinking he is alone with the old man, wails, \"O dear son Edgar,/ The food of thy abused father's wrath,/ Might I but live to see thee in my touch/ I'ld say I had eyes again. Thus, though Edgar cannot know yet of the plot led by Edmund, he is aware that his father dearly wishes to see him and be reconciled to him. So why not give him this favor. The most practical answers critics provide concern the theatrical quality of leaving Edgar in his beggar/madman attire. This disguise materially is quite important to the theme of artifice which flows throughout the play. Picking up from Lear's discussion of poor Tom's \"Persian\" robes when in fact he was wearing rags, we have moved through Lear's realization that rich clothing and authority does not shield one from having to be human underneath. Need is often hugely exploited by the wealthier and more powerful, Lear learns, as he becomes more cognizant of the many poor in his kingdom whom he has ignored. This metaphor is again employed by Albany in scene ii who notes that a woman's form saves Goneril from him ripping her apart but does not excuse the monster she is underneath. Another allusion to this deceptive form is given by Lear in scene vi who compares women, especially the women his daughters have represented, to centaurs as fiends from waist down. The covering of clothing or womanly ways, in the case of evil Regan and Goneril, is a heavily significant symbolic weapon displayed by Shakespeare. Thus many critics point to the symbolic utility of having Edgar dressed as a poor beggarman leading a once authoritative and wealthy, now blind and ruined, old man. Not only can Shakespeare further emphasize the dignified position which should be afforded to elders with this move, but he can make social commentary. The essential man, the philosopher for whom Lear saw Tom as, is stripped of social pretense and is leading the once powerful Earl. Moreover, he is the mad man leading the blind. Gloucester now too has been stripped of the illusions he once entertained and thus is rather fitted for this predicament. He gives voice to this element in the text by proclaiming, \"'Tis the time's plague when madmen lead the blind\". Gloucester himself has finally developed as a character whom has learned, like Lear has in his madness, of the errors in his life and of the things he has not given enough of his attention. He admits to the audience the central paradox of the entire play, one which we have pointed out since the beginning as it was highlighted very early by Shakespeare in many of the character's lines and references. I have no way, and therefore want no eyes;/ I stumbled when I saw. Full oft 'tis seen/ Our means secure us, and our mere defects/ Prove our commodities\". The eyes are not the necessary vessels, such as the heart or mind might be, to a better understanding of humankind. He too, as Lear did, tries to equalize the financial inequalities by giving poor Tom his purse. Money provides another agent of the artifice which is becoming abhorrent to Gloucester and Lear but is desired by Goneril and Regan. Their battle for Edmund's hand stems not from love, as they eagerly wish to give up their husbands in order to take Edmund's side, but from their ambition and thirst for power. With Cornwall dead and Albany viewed as weak and overly moral, both sisters see Edmund as the proper choice for a mate. He has shown himself to be ambitious and loyal, even at the price of his own father's torture. Goneril views Edmund head and shoulders above a man who does not condone her ambition and refuses to fight for the power she wants to gain. She, as with Regan, likely hopes to rule a reunited kingdom and knows that her husband will not help her in this endeavor. Oswald, ever loyal to his mistress, retorts rightly to Regan that, \"Your sister is the better soldier \". Albany has raised himself in the standards of nobility and clearly has separated himself from the evil of the two sisters, Cornwall, Edmund, and even Oswald. Though often paired with Cornwall earlier, he here moves so far from this category that Edgar later vows to defend him. Albany's angry outburst at Goneril echoes what the audience is likely thinking of her. It deepens their hatred for her when they realize that he does not even know yet about the blinding of Gloucester and he has no idea of the adulterous plans which Goneril has just hatched. We then look at Regan in scene v through the lens of the hatred toward Goneril and find her steeped in a hypocrisy just as great. Regan tries to manipulates Oswald, Goneril's loyal steward, to work for her means and when she cannot, she warns him to threaten Edmund. By the time Cordelia enters the Act, she is already a paramount of good will and honor simply in comparison. Her complete absence in the text, excepting the few times that Kent has mentioned her and the letter from her, has created a curiosity, a void, which allows for a greater suspense and then satisfaction when she fills that void. Some critics feel that the reason she is absent for such a long period has more to do with the fact that the Fool may have been played by the same actor. They point to the Fool's entrance after Cordelia's banishment and his disappearance before her return. In any case, the last time Cordelia was present in a scene was the very first scene of Act I in which she acted rather coldly when questioned by her father. We are given good reason when she points to the nature of her sisters, quantifying love and manipulating their father, as well as by the support she receives from Kent and France and by the way her father had previously favored her. Yet, we are given no proof from her own mouth until this point in the fourth act. Similar to Edmund's caretaking of Gloucester, she immediately forgives her father for the misjudgment he has made and strives to bring him back to his comfort and sanity. Echoing an the earlier outrage of Gloucester, she bemoans the manner in which her sisters turned Lear out by crying, Was this a face To be opposed against the jarring winds. To stand against the deep dread-bolted thunder. In the most terrible and nimble stroke Of quick cross lightening to watch, poor perdu With this thin helm. Mine enemy's dog, Though he had bit me, should have stood the night Against my fire; and wast thou fain, poor father, To hovel thee with swine and rogues forlorn In short and musty straw. Alack, alack, 'Tis wonder that thy life and wits at once Had not concluded all. The audience had not heard any sort of passion from the earlier Cordelia but we hear her now, and the change is extremely welcomed by the audience. This nature of extremes allows for the conclusion many make, linking Cordelia to a Christ figure. Ironically, this idea persists although she is a character in a pagan setting. Standing above the baseness of her fellow creatures, she has arrived in order to nurse her father back to health, having them change his garments and bring him into the music. In a sense, she brings him back from the dead, as he moans, \"You do me wrong to take me out o' th' grave\". Moreover, she turns her other cheek to the abuses her father had committed and eagerly forgives him and accepts him back into her life. Truly, there are Christian overtures in this, and throughout much of the play if we look for them. At any rate, Cordelia's sense of forgiveness and the goodness she exudes sets her far above her sisters and justifies the far lengths France and Kent have gone to defend her"}

Scaena Septima. Enter Cordelia, Kent, and Gentleman. Cor. O thou good Kent, How shall I liue and worke To match thy goodnesse? My life will be too short, And euery measure faile me Kent. To be acknowledg'd Madam is ore-pai'd, All my reports go with the modest truth, Nor more, nor clipt, but so Cor. Be better suited, These weedes are memories of those worser houres: I prythee put them off Kent. Pardon deere Madam, Yet to be knowne shortens my made intent, My boone I make it, that you know me not, Till time, and I, thinke meet Cor. Then be't so my good Lord: How do's the King? Gent. Madam sleepes still Cor. O you kind Gods! Cure this great breach in his abused Nature, Th' vntun'd and iarring senses, O winde vp, Of this childe-changed Father Gent. So please your Maiesty, That we may wake the King, he hath slept long? Cor. Be gouern'd by your knowledge, and proceede I'th' sway of your owne will: is he array'd? Enter Lear in a chaire carried by Seruants] Gent. I Madam: in the heauinesse of sleepe, We put fresh garments on him. Be by good Madam when we do awake him, I doubt of his Temperance Cor. O my deere Father, restauratian hang Thy medicine on my lippes, and let this kisse Repaire those violent harmes, that my two Sisters Haue in thy Reuerence made Kent. Kind and deere Princesse Cor. Had you not bin their Father, these white flakes Did challenge pitty of them. Was this a face To be oppos'd against the iarring windes? Mine Enemies dogge, though he had bit me, Should haue stood that night against my fire, And was't thou faine (poore Father) To houell thee with Swine and Rogues forlorne, In short, and musty straw? Alacke, alacke, 'Tis wonder that thy life and wits, at once Had not concluded all. He wakes, speake to him Gen. Madam do you, 'tis fittest Cor. How does my Royall Lord? How fares your Maiesty? Lear. You do me wrong to take me out o'th' graue, Thou art a Soule in blisse, but I am bound Vpon a wheele of fire, that mine owne teares Do scal'd, like molten Lead Cor. Sir, do you know me? Lear. You are a spirit I know, where did you dye? Cor. Still, still, farre wide Gen. He's scarse awake, Let him alone a while Lear. Where haue I bin? Where am I? Faire day light? I am mightily abus'd; I should eu'n dye with pitty To see another thus. I know not what to say: I will not sweare these are my hands: let's see, I feele this pin pricke, would I were assur'd Of my condition Cor. O looke vpon me Sir, And hold your hand in benediction o're me, You must not kneele Lear. Pray do not mocke me: I am a very foolish fond old man, Fourescore and vpward, Not an houre more, nor lesse: And to deale plainely, I feare I am not in my perfect mind. Me thinkes I should know you, and know this man, Yet I am doubtfull: For I am mainely ignorant What place this is: and all the skill I haue Remembers not these garments: nor I know not Where I did lodge last night. Do not laugh at me, For (as I am a man) I thinke this Lady To be my childe Cordelia Cor. And so I am: I am Lear. Be your teares wet? Yes faith: I pray weepe not, If you haue poyson for me, I will drinke it: I know you do not loue me, for your Sisters Haue (as I do remember) done me wrong. You haue some cause, they haue not Cor. No cause, no cause Lear. Am I in France? Kent. In your owne kingdome Sir Lear. Do not abuse me Gent. Be comforted good Madam, the great rage You see is kill'd in him: desire him to go in, Trouble him no more till further setling Cor. Wilt please your Highnesse walke? Lear. You must beare with me: Pray you now forget, and forgiue, I am old and foolish. Exeunt.

act 4, scene vii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-iv

Cordelia thanks Kent for the goodness he has shown her father and the bravery he has espoused. She asks him to discard his disguise but he knows that he will be able to work better for Lear if he remains disguised. The Doctor remarks that Lear has slept for a long while so that they may try waking him. Lear is brought in, still sleeping. Hoping to resolve the horrors committed by her sisters, Cordelia kisses Lear and reflects on the vileness and ingratitude of her sisters, treating Lear worse than a dog by shutting their doors on him in the storm. Lear wakes and Cordelia addresses him. Lear feels awakened from the grave and wishes they had left him. Very drowsy at first, Lear thinks Cordelia is a spirit and then realizes he should know her and Kent but has difficulty putting his memory together. Finally he recognizes Cordelia, to her delight, but thinks he is in France. The Doctor advises them to give Lear his space so Cordelia takes him for a walk. The gentleman remains and asks Kent if the rumors of Cornwall's death and Edgar's position in Germany with the Earl of Kent are true. Kent confirms the first, but leaves the latter unanswered. The gentleman warns that the battle to come will be bloody.

Analysis: Act IV begins on a misleading high note as Edgar is pleased that any changes in his life will have to bring better times. Things cannot get worse, he implies. The paradox is established then with Gloucester's subsequent entrance and Edgar realizes that his life has gotten worse now that he knows the terrible treatment his father has endured. It is important to keep in mind that Edgar does not know how Edmund deceived his father into believing Edgar was the evil doer. All Edgar knows is that he had to run for his life because of the feelings Gloucester, Cornwall, and Albany held against him. Yet, even though he is incredibly saddened by Gloucester's appearance and torment, he does not once act reluctant to aid his father. Oddly however, to the audience, must have been Edgar's desire to remain disguised. He is still not sure of Gloucester's feelings toward him and leads him to Dover regardless. But he does soon learn of the events which have occurred, when Gloucester, thinking he is alone with the old man, wails, "O dear son Edgar,/ The food of thy abused father's wrath,/ Might I but live to see thee in my touch/ I'ld say I had eyes again. Thus, though Edgar cannot know yet of the plot led by Edmund, he is aware that his father dearly wishes to see him and be reconciled to him. So why not give him this favor. The most practical answers critics provide concern the theatrical quality of leaving Edgar in his beggar/madman attire. This disguise materially is quite important to the theme of artifice which flows throughout the play. Picking up from Lear's discussion of poor Tom's "Persian" robes when in fact he was wearing rags, we have moved through Lear's realization that rich clothing and authority does not shield one from having to be human underneath. Need is often hugely exploited by the wealthier and more powerful, Lear learns, as he becomes more cognizant of the many poor in his kingdom whom he has ignored. This metaphor is again employed by Albany in scene ii who notes that a woman's form saves Goneril from him ripping her apart but does not excuse the monster she is underneath. Another allusion to this deceptive form is given by Lear in scene vi who compares women, especially the women his daughters have represented, to centaurs as fiends from waist down. The covering of clothing or womanly ways, in the case of evil Regan and Goneril, is a heavily significant symbolic weapon displayed by Shakespeare. Thus many critics point to the symbolic utility of having Edgar dressed as a poor beggarman leading a once authoritative and wealthy, now blind and ruined, old man. Not only can Shakespeare further emphasize the dignified position which should be afforded to elders with this move, but he can make social commentary. The essential man, the philosopher for whom Lear saw Tom as, is stripped of social pretense and is leading the once powerful Earl. Moreover, he is the mad man leading the blind. Gloucester now too has been stripped of the illusions he once entertained and thus is rather fitted for this predicament. He gives voice to this element in the text by proclaiming, "'Tis the time's plague when madmen lead the blind". Gloucester himself has finally developed as a character whom has learned, like Lear has in his madness, of the errors in his life and of the things he has not given enough of his attention. He admits to the audience the central paradox of the entire play, one which we have pointed out since the beginning as it was highlighted very early by Shakespeare in many of the character's lines and references. I have no way, and therefore want no eyes;/ I stumbled when I saw. Full oft 'tis seen/ Our means secure us, and our mere defects/ Prove our commodities". The eyes are not the necessary vessels, such as the heart or mind might be, to a better understanding of humankind. He too, as Lear did, tries to equalize the financial inequalities by giving poor Tom his purse. Money provides another agent of the artifice which is becoming abhorrent to Gloucester and Lear but is desired by Goneril and Regan. Their battle for Edmund's hand stems not from love, as they eagerly wish to give up their husbands in order to take Edmund's side, but from their ambition and thirst for power. With Cornwall dead and Albany viewed as weak and overly moral, both sisters see Edmund as the proper choice for a mate. He has shown himself to be ambitious and loyal, even at the price of his own father's torture. Goneril views Edmund head and shoulders above a man who does not condone her ambition and refuses to fight for the power she wants to gain. She, as with Regan, likely hopes to rule a reunited kingdom and knows that her husband will not help her in this endeavor. Oswald, ever loyal to his mistress, retorts rightly to Regan that, "Your sister is the better soldier ". Albany has raised himself in the standards of nobility and clearly has separated himself from the evil of the two sisters, Cornwall, Edmund, and even Oswald. Though often paired with Cornwall earlier, he here moves so far from this category that Edgar later vows to defend him. Albany's angry outburst at Goneril echoes what the audience is likely thinking of her. It deepens their hatred for her when they realize that he does not even know yet about the blinding of Gloucester and he has no idea of the adulterous plans which Goneril has just hatched. We then look at Regan in scene v through the lens of the hatred toward Goneril and find her steeped in a hypocrisy just as great. Regan tries to manipulates Oswald, Goneril's loyal steward, to work for her means and when she cannot, she warns him to threaten Edmund. By the time Cordelia enters the Act, she is already a paramount of good will and honor simply in comparison. Her complete absence in the text, excepting the few times that Kent has mentioned her and the letter from her, has created a curiosity, a void, which allows for a greater suspense and then satisfaction when she fills that void. Some critics feel that the reason she is absent for such a long period has more to do with the fact that the Fool may have been played by the same actor. They point to the Fool's entrance after Cordelia's banishment and his disappearance before her return. In any case, the last time Cordelia was present in a scene was the very first scene of Act I in which she acted rather coldly when questioned by her father. We are given good reason when she points to the nature of her sisters, quantifying love and manipulating their father, as well as by the support she receives from Kent and France and by the way her father had previously favored her. Yet, we are given no proof from her own mouth until this point in the fourth act. Similar to Edmund's caretaking of Gloucester, she immediately forgives her father for the misjudgment he has made and strives to bring him back to his comfort and sanity. Echoing an the earlier outrage of Gloucester, she bemoans the manner in which her sisters turned Lear out by crying, Was this a face To be opposed against the jarring winds. To stand against the deep dread-bolted thunder. In the most terrible and nimble stroke Of quick cross lightening to watch, poor perdu With this thin helm. Mine enemy's dog, Though he had bit me, should have stood the night Against my fire; and wast thou fain, poor father, To hovel thee with swine and rogues forlorn In short and musty straw. Alack, alack, 'Tis wonder that thy life and wits at once Had not concluded all. The audience had not heard any sort of passion from the earlier Cordelia but we hear her now, and the change is extremely welcomed by the audience. This nature of extremes allows for the conclusion many make, linking Cordelia to a Christ figure. Ironically, this idea persists although she is a character in a pagan setting. Standing above the baseness of her fellow creatures, she has arrived in order to nurse her father back to health, having them change his garments and bring him into the music. In a sense, she brings him back from the dead, as he moans, "You do me wrong to take me out o' th' grave". Moreover, she turns her other cheek to the abuses her father had committed and eagerly forgives him and accepts him back into her life. Truly, there are Christian overtures in this, and throughout much of the play if we look for them. At any rate, Cordelia's sense of forgiveness and the goodness she exudes sets her far above her sisters and justifies the far lengths France and Kent have gone to defend her

gradesaver

all_chapterized_books/2266-chapters/19.txt

finished_summaries/gradesaver/King Lear/section_4_part_1.txt

King Lear.act 5.scene 1

act 5 scene 1

{"name": "act 5, scene i", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-v", "summary": "Edmund sends an officer to learn of Albany's plans since he has become so fickle. Regan approaches Edmund, sweetly asking him if he loves her sister and if he has ever found his way into her bed. He replies that though he loves in \"honored love\" he has done nothing adulterous or to break their vow. Warning him to stay away from Goneril, Regan threatens that she will not put up with her sister's entreaties to him. Goneril and Albany enter as Goneril tells the audience that her battle for Edmund is more important to her than the battle with France. Albany informs Regan of Cordelia and Lear's reunion. Regan wonders why he brings up the subject of the King and his grievances. Goneril points out that they must join together against France and ignore their personal conflicts. As the two camps separate, Regan pleads with Goneril to accompany her instead of the other camp where Edmund will be present. Goneril refuses at first but then sees Regan's purpose and agrees. Edgar finds Albany alone and asks him to read the letter to Edmund from Goneril he had intercepted. Though he cannot stay while Albany reads it, he prays him to let the herald cry when the time is right and he will appear again. Albany leaves to read it when Edmund reenters to report of the oncoming enemy. In soliloquy, Edmund wonders what he will do about pledging his love to both sisters. He could take both of them, one, or neither. He decides to use Albany while in battle and after winning, to allow Goneril to kill him. Moreover, he plans to forbid any mercy Albany may show Cordelia and Lear because his rule of the state is his highest priority", "analysis": ""}

Actus Quintus. Scena Prima. Enter with Drumme and Colours, Edmund, Regan. Gentlemen, and Souldiers. Bast. Know of the Duke if his last purpose hold, Or whether since he is aduis'd by ought To change the course, he's full of alteration, And selfereprouing, bring his constant pleasure Reg. Our Sisters man is certainely miscarried Bast. 'Tis to be doubted Madam Reg. Now sweet Lord, You know the goodnesse I intend vpon you: Tell me but truly, but then speake the truth, Do you not loue my Sister? Bast. In honour'd Loue Reg. But haue you neuer found my Brothers way, To the fore-fended place? Bast. No by mine honour, Madam Reg. I neuer shall endure her, deere my Lord Be not familiar with her Bast. Feare not, she and the Duke her husband. Enter with Drum and Colours, Albany, Gonerill, Soldiers. Alb. Our very louing Sister, well be-met: Sir, this I heard, the King is come to his Daughter With others, whom the rigour of our State Forc'd to cry out Regan. Why is this reasond? Gone. Combine together 'gainst the Enemie: For these domesticke and particular broiles, Are not the question heere Alb. Let's then determine with th' ancient of warre On our proceeding Reg. Sister you'le go with vs? Gon. No Reg. 'Tis most conuenient, pray go with vs Gon. Oh ho, I know the Riddle, I will goe. Exeunt. both the Armies. Enter Edgar. Edg. If ere your Grace had speech with man so poore, Heare me one word Alb. Ile ouertake you, speake Edg. Before you fight the Battaile, ope this Letter: If you haue victory, let the Trumpet sound For him that brought it: wretched though I seeme, I can produce a Champion, that will proue What is auouched there. If you miscarry, Your businesse of the world hath so an end, And machination ceases. Fortune loues you Alb. Stay till I haue read the Letter Edg. I was forbid it: When time shall serue, let but the Herald cry, And Ile appeare againe. Enter. Alb. Why farethee well, I will o're-looke thy paper. Enter Edmund. Bast. The Enemy's in view, draw vp your powers, Heere is the guesse of their true strength and Forces, By dilligent discouerie, but your hast Is now vrg'd on you Alb. We will greet the time. Enter. Bast. To both these Sisters haue I sworne my loue: Each iealous of the other, as the stung Are of the Adder. Which of them shall I take? Both? One? Or neither? Neither can be enioy'd If both remaine aliue: To take the Widdow, Exasperates, makes mad her Sister Gonerill, And hardly shall I carry out my side, Her husband being aliue. Now then, wee'l vse His countenance for the Battaile, which being done, Let her who would be rid of him, deuise His speedy taking off. As for the mercie Which he intends to Lear and to Cordelia, The Battaile done, and they within our power, Shall neuer see his pardon: for my state, Stands on me to defend, not to debate. Enter.

act 5, scene i

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-v

Edmund sends an officer to learn of Albany's plans since he has become so fickle. Regan approaches Edmund, sweetly asking him if he loves her sister and if he has ever found his way into her bed. He replies that though he loves in "honored love" he has done nothing adulterous or to break their vow. Warning him to stay away from Goneril, Regan threatens that she will not put up with her sister's entreaties to him. Goneril and Albany enter as Goneril tells the audience that her battle for Edmund is more important to her than the battle with France. Albany informs Regan of Cordelia and Lear's reunion. Regan wonders why he brings up the subject of the King and his grievances. Goneril points out that they must join together against France and ignore their personal conflicts. As the two camps separate, Regan pleads with Goneril to accompany her instead of the other camp where Edmund will be present. Goneril refuses at first but then sees Regan's purpose and agrees. Edgar finds Albany alone and asks him to read the letter to Edmund from Goneril he had intercepted. Though he cannot stay while Albany reads it, he prays him to let the herald cry when the time is right and he will appear again. Albany leaves to read it when Edmund reenters to report of the oncoming enemy. In soliloquy, Edmund wonders what he will do about pledging his love to both sisters. He could take both of them, one, or neither. He decides to use Albany while in battle and after winning, to allow Goneril to kill him. Moreover, he plans to forbid any mercy Albany may show Cordelia and Lear because his rule of the state is his highest priority

gradesaver

all_chapterized_books/2266-chapters/20.txt

finished_summaries/gradesaver/King Lear/section_4_part_2.txt

King Lear.act 5.scene 2

act 5 scene 2

{"name": "act 5, scene ii", "url": "https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-v", "summary": "The army of France, accompanied by Cordelia and Lear, crosses the stage with their battle colors and drums and exits. Next, Edgar and Gloucester enter. Edgar offers Gloucester rest under a nearby tree while he goes into battle. The noises of the battle begin and end, at which time Edgar reenters the stage to speak with Gloucester. He calls for Gloucester to come with him as Cordelia and Lear have lost and been taken captive. Entertaining ideas of suicide again, Gloucester tries to remain but Edgar talks him into accompanying him, noting that men must endure the ups and downs of life", "analysis": ""}

Scena Secunda. Alarum within. Enter with Drumme and Colours, Lear, Cordelia, and Souldiers, ouer the Stage, and Exeunt. Enter Edgar, and Gloster. Edg. Heere Father, take the shadow of this Tree For your good hoast: pray that the right may thriue: If euer I returne to you againe, Ile bring you comfort Glo. Grace go with you Sir. Enter. Alarum and Retreat within. Enter Edgar. Edgar. Away old man, giue me thy hand, away: King Lear hath lost, he and his Daughter tane, Giue me thy hand: Come on Glo. No further Sir, a man may rot euen heere Edg. What in ill thoughts againe? Men must endure Their going hence, euen as their comming hither, Ripenesse is all come on Glo. And that's true too. Exeunt.

act 5, scene ii

https://web.archive.org/web/20210417230554/https://www.gradesaver.com/king-lear/study-guide/summary-act-v

The army of France, accompanied by Cordelia and Lear, crosses the stage with their battle colors and drums and exits. Next, Edgar and Gloucester enter. Edgar offers Gloucester rest under a nearby tree while he goes into battle. The noises of the battle begin and end, at which time Edgar reenters the stage to speak with Gloucester. He calls for Gloucester to come with him as Cordelia and Lear have lost and been taken captive. Entertaining ideas of suicide again, Gloucester tries to remain but Edgar talks him into accompanying him, noting that men must endure the ups and downs of life

shmoop

all_chapterized_books/2266-chapters/3.txt

finished_summaries/shmoop/King Lear/section_2_part_0.txt

King Lear.act 1.scene 3

act 1, scene 3

{"name": "Act 1, Scene 3", "url": "https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-1-scene-3", "summary": "A brief recap: Lear had planned to spend his retirement with Cordelia. Obviously, that's not happening any more. So now he's spending alternate months with his remaining two daughters. Things are not going well at Goneril's castle. Lear's a lousy houseguest--he continues to act like he's in charge . Also, Oswald tells Goneril that Lear smacked one of her servants upside the head because the servant was rude to Lear's Fool . Not to mention Lear's entourage--a group of a hundred knights that the King brings everywhere--is a rowdy bunch. Goneril is fed up with all of their antics. She tells Oswald, her personal assistant, to be rude to Lear in order to spark a confrontation. This way, they can air everything out. Goneril also announces that Regan and she share the same distaste for their father, so she's safe if Lear goes to Regan for help. Goneril announces that old men are like babies again, and can therefore be manipulated easily. Goneril reiterates her plan to be rude to dad so she can have a stern talk with him.", "analysis": ""}

Scena Tertia. Enter Gonerill, and Steward. Gon. Did my Father strike my Gentleman for chiding of his Foole? Ste. I Madam Gon. By day and night, he wrongs me, euery howre He flashes into one grosse crime, or other, That sets vs all at ods: Ile not endure it; His Knights grow riotous, and himselfe vpbraides vs On euery trifle. When he returnes from hunting, I will not speake with him, say I am sicke, If you come slacke of former seruices, You shall do well, the fault of it Ile answer Ste. He's comming Madam, I heare him Gon. Put on what weary negligence you please, You and your Fellowes: I'de haue it come to question; If he distaste it, let him to my Sister, Whose mind and mine I know in that are one, Remember what I haue said Ste. Well Madam Gon. And let his Knights haue colder lookes among you: what growes of it no matter, aduise your fellowes so, Ile write straight to my Sister to hold my course; prepare for dinner. Exeunt.

Act 1, Scene 3

https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-1-scene-3

A brief recap: Lear had planned to spend his retirement with Cordelia. Obviously, that's not happening any more. So now he's spending alternate months with his remaining two daughters. Things are not going well at Goneril's castle. Lear's a lousy houseguest--he continues to act like he's in charge . Also, Oswald tells Goneril that Lear smacked one of her servants upside the head because the servant was rude to Lear's Fool . Not to mention Lear's entourage--a group of a hundred knights that the King brings everywhere--is a rowdy bunch. Goneril is fed up with all of their antics. She tells Oswald, her personal assistant, to be rude to Lear in order to spark a confrontation. This way, they can air everything out. Goneril also announces that Regan and she share the same distaste for their father, so she's safe if Lear goes to Regan for help. Goneril announces that old men are like babies again, and can therefore be manipulated easily. Goneril reiterates her plan to be rude to dad so she can have a stern talk with him.

shmoop

all_chapterized_books/2266-chapters/5.txt

finished_summaries/shmoop/King Lear/section_4_part_0.txt

King Lear.act 1.scene 5

act 1, scene 5

{"name": "Act 1, Scene 5", "url": "https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-1-scene-5", "summary": "Lear tells the disguised Kent to deliver a letter to Regan informing her that he's about to show up at her place. The Fool cracks some bizarre jokes, mostly about the wild ingratitude of Goneril and the fact that Lear's hope of escaping to Regan's loving arms is stupid, because Regan is likely as bad as Goneril. Lear half-listens to him, but he can't get his mind off his one good daughter, Cordelia, who he seems to remember all of a sudden. \"I did her wrong,\" Lear admits quietly. The Fool continues with the jokes. His most pointed wisecrack is that Lear should be beaten for being old before his time. Lear is all, \"Huh?\", and the Fool points out that men should be wise before they get old. Translation: Lear has been acting like a foolish old man, not a wise old man. Lear is afraid he's getting senile and says, \"O let me not be mad, not mad, sweet heaven! I would not be mad,\" which is a really subtle hint from Shakespeare that just maybe, Lear might be driven to madness.", "analysis": ""}

Scena Quinta. Enter Lear, Kent, Gentleman, and Foole. Lear. Go you before to Gloster with these Letters; acquaint my Daughter no further with any thing you know, then comes from her demand out of the Letter, if your Dilligence be not speedy, I shall be there afore you Kent. I will not sleepe my Lord, till I haue deliuered your Letter. Enter. Foole. If a mans braines were in's heeles, wert not in danger of kybes? Lear. I Boy Foole. Then I prythee be merry, thy wit shall not go slip-shod Lear. Ha, ha, ha Fool. Shalt see thy other Daughter will vse thee kindly, for though she's as like this, as a Crabbe's like an Apple, yet I can tell what I can tell Lear. What can'st tell Boy? Foole. She will taste as like this as, a Crabbe do's to a Crab: thou canst, tell why ones nose stands i'th' middle on's face? Lear. No Foole. Why to keepe ones eyes of either side 's nose, that what a man cannot smell out, he may spy into Lear. I did her wrong Foole. Can'st tell how an Oyster makes his shell? Lear. No Foole. Nor I neither; but I can tell why a Snaile ha's a house Lear. Why? Foole. Why to put's head in, not to giue it away to his daughters, and leaue his hornes without a case Lear. I will forget my Nature, so kind a Father? Be my Horsses ready? Foole. Thy Asses are gone about 'em; the reason why the seuen Starres are no mo then seuen, is a pretty reason Lear. Because they are not eight Foole. Yes indeed, thou would'st make a good Foole Lear. To tak't againe perforce; Monster Ingratitude! Foole. If thou wert my Foole Nunckle, Il'd haue thee beaten for being old before thy time Lear. How's that? Foole. Thou shouldst not haue bin old, till thou hadst bin wise Lear. O let me not be mad, not mad sweet Heauen: keepe me in temper, I would not be mad. How now are the Horses ready? Gent. Ready my Lord Lear. Come Boy Fool. She that's a Maid now, & laughs at my departure, Shall not be a Maid long, vnlesse things be cut shorter. Exeunt.

Act 1, Scene 5

https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-1-scene-5

Lear tells the disguised Kent to deliver a letter to Regan informing her that he's about to show up at her place. The Fool cracks some bizarre jokes, mostly about the wild ingratitude of Goneril and the fact that Lear's hope of escaping to Regan's loving arms is stupid, because Regan is likely as bad as Goneril. Lear half-listens to him, but he can't get his mind off his one good daughter, Cordelia, who he seems to remember all of a sudden. "I did her wrong," Lear admits quietly. The Fool continues with the jokes. His most pointed wisecrack is that Lear should be beaten for being old before his time. Lear is all, "Huh?", and the Fool points out that men should be wise before they get old. Translation: Lear has been acting like a foolish old man, not a wise old man. Lear is afraid he's getting senile and says, "O let me not be mad, not mad, sweet heaven! I would not be mad," which is a really subtle hint from Shakespeare that just maybe, Lear might be driven to madness.

shmoop

all_chapterized_books/2266-chapters/8.txt

finished_summaries/shmoop/King Lear/section_9_part_0.txt

King Lear.act 3.scene 1

act 3, scene 1

{"name": "Act 3, Scene 1", "url": "https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-3-scene-1", "summary": "Kent, still disguised as Caius, meets up with the Gentleman, who informs him that the King is still running about in a night so dreadful that even lions and bears have taken to their dens. The gentleman says that only the Fool accompanies the King on his mad journey, trying to stave off Lear's madness with friendly jokes. Kent then gives the gentleman a political update: tension between Regan's husband and Goneril's husband may result in a civil war, though they're keeping it hush-hush. Aside from possibly having a war, both Albany and Cornwall may be united in one activity: plotting against the life of Lear, their father-in-law. This has all been discovered by spies placed strategically in their houses as servants, and France is even now preparing to make a move against these divided houses. Kent then reveals he's actually a gentleman himself, meaning that he's of noble breeding, and not just a random guy. But he doesn't go so far as to reveal that he's Kent. Kent asks the Gentleman to be a messenger for him. He instructs him to go to Dover and report of Lear's recent ill-treatment. He then gives the Gentleman his purse so the messenger will be inspired to actually do the job at hand. He also gives the Gentleman a ring to deliver to Cordelia along with the message. The ring will let Cordelia know who the message is from, and then she can tell the Gentleman who he's been dealing with. As they part, Kent says, \"I'll go this way, and you go that way. Let me know if you find the King--I'll do the same.\"", "analysis": ""}

Actus Tertius. Scena Prima. Storme still. Enter Kent, and a Gentleman, seuerally. Kent. Who's there besides foule weather? Gen. One minded like the weather, most vnquietly Kent. I know you: Where's the King? Gent. Contending with the fretfull Elements; Bids the winde blow the Earth into the Sea, Or swell the curled Waters 'boue the Maine, That things might change, or cease Kent. But who is with him? Gent. None but the Foole, who labours to out-iest His heart-strooke iniuries Kent. Sir, I do know you, And dare vpon the warrant of my note Commend a deere thing to you. There is diuision (Although as yet the face of it is couer'd With mutuall cunning) 'twixt Albany, and Cornwall: Who haue, as who haue not, that their great Starres Thron'd and set high; Seruants, who seeme no lesse, Which are to France the Spies and Speculations Intelligent of our State. What hath bin seene, Either in snuffes, and packings of the Dukes, Or the hard Reine which both of them hath borne Against the old kinde King; or something deeper, Whereof (perchance) these are but furnishings Gent. I will talke further with you Kent. No, do not: For confirmation that I am much more Then my out-wall; open this Purse, and take What it containes. If you shall see Cordelia, (As feare not but you shall) shew her this Ring, And she will tell you who that Fellow is That yet you do not know. Fye on this Storme, I will go seeke the King Gent. Giue me your hand, Haue you no more to say? Kent. Few words, but to effect more then all yet; That when we haue found the King, in which your pain That way, Ile this: He that first lights on him, Holla the other. Exeunt.

Act 3, Scene 1

https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-3-scene-1

Kent, still disguised as Caius, meets up with the Gentleman, who informs him that the King is still running about in a night so dreadful that even lions and bears have taken to their dens. The gentleman says that only the Fool accompanies the King on his mad journey, trying to stave off Lear's madness with friendly jokes. Kent then gives the gentleman a political update: tension between Regan's husband and Goneril's husband may result in a civil war, though they're keeping it hush-hush. Aside from possibly having a war, both Albany and Cornwall may be united in one activity: plotting against the life of Lear, their father-in-law. This has all been discovered by spies placed strategically in their houses as servants, and France is even now preparing to make a move against these divided houses. Kent then reveals he's actually a gentleman himself, meaning that he's of noble breeding, and not just a random guy. But he doesn't go so far as to reveal that he's Kent. Kent asks the Gentleman to be a messenger for him. He instructs him to go to Dover and report of Lear's recent ill-treatment. He then gives the Gentleman his purse so the messenger will be inspired to actually do the job at hand. He also gives the Gentleman a ring to deliver to Cordelia along with the message. The ring will let Cordelia know who the message is from, and then she can tell the Gentleman who he's been dealing with. As they part, Kent says, "I'll go this way, and you go that way. Let me know if you find the King--I'll do the same."

shmoop

all_chapterized_books/2266-chapters/22.txt

finished_summaries/shmoop/King Lear/section_11_part_0.txt

King Lear.act 3.scene 3

act 3, scene 3

{"name": "Act 3, Scene 3", "url": "https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-3-scene-3", "summary": "Back at Gloucester's castle, Gloucester unloads his heart to his evil-genius son, Edmund. Gloucester is in a bad mood. He's upset about how unnaturally Lear's own daughters deal with the old King, and even more upset that they've taken over his house. The sisters have instructed Gloucester not to mention Lear in their presence, on pain of \"perpetual displeasure. Gloucester then tells Edmund that he has received a politically explosive letter informing him that tension is rising between Albany and Cornwall and there are even worse things happening. He doesn't say what those things are, but tells Edmund he's locked the letter in his closet. He adds that the mistreatment of Lear will be avenged--someone's already mobilized to be sure of that. In the meantime, Gloucester can't bear to obey Cornwall's orders--he's going to go find Lear and bring him relief with all this good news, even though helping Lear is grounds for serious punishment . He tells Edmund to cover for him with Cornwall and to be careful, because there is a lot of strange stuff going on. Edmund, being Edmund, intends to betray his father to Cornwall instead. He'll tell him where his father is going and he'll make sure Cornwall sees that letter, too. That will bring Edmund one step closer to taking over his father's wealth and position.Bwahahahhahaha!", "analysis": ""}

Enter Gloster, and Edmund. Glo. Alacke, alacke Edmund, I like not this vnnaturall dealing; when I desired their leaue that I might pity him, they tooke from me the vse of mine owne house, charg'd me on paine of perpetuall displeasure, neither to speake of him, entreat for him, or any way sustaine him Bast. Most sauage and vnnaturall Glo. Go too; say you nothing. There is diuision betweene the Dukes, and a worsse matter then that: I haue receiued a Letter this night, 'tis dangerous to be spoken, I haue lock'd the Letter in my Closset, these iniuries the King now beares, will be reuenged home; ther is part of a Power already footed, we must incline to the King, I will looke him, and priuily relieue him; goe you and maintaine talke with the Duke, that my charity be not of him perceiued; If he aske for me, I am ill, and gone to bed, if I die for it, (as no lesse is threatned me) the King my old Master must be relieued. There is strange things toward Edmund, pray you be carefull. Enter. Bast. This Curtesie forbid thee, shall the Duke Instantly know, and of that Letter too; This seemes a faire deseruing, and must draw me That which my Father looses: no lesse then all, The yonger rises, when the old doth fall. Enter.

Act 3, Scene 3

https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-3-scene-3

Back at Gloucester's castle, Gloucester unloads his heart to his evil-genius son, Edmund. Gloucester is in a bad mood. He's upset about how unnaturally Lear's own daughters deal with the old King, and even more upset that they've taken over his house. The sisters have instructed Gloucester not to mention Lear in their presence, on pain of "perpetual displeasure. Gloucester then tells Edmund that he has received a politically explosive letter informing him that tension is rising between Albany and Cornwall and there are even worse things happening. He doesn't say what those things are, but tells Edmund he's locked the letter in his closet. He adds that the mistreatment of Lear will be avenged--someone's already mobilized to be sure of that. In the meantime, Gloucester can't bear to obey Cornwall's orders--he's going to go find Lear and bring him relief with all this good news, even though helping Lear is grounds for serious punishment . He tells Edmund to cover for him with Cornwall and to be careful, because there is a lot of strange stuff going on. Edmund, being Edmund, intends to betray his father to Cornwall instead. He'll tell him where his father is going and he'll make sure Cornwall sees that letter, too. That will bring Edmund one step closer to taking over his father's wealth and position.Bwahahahhahaha!

shmoop

all_chapterized_books/2266-chapters/11.txt

finished_summaries/shmoop/King Lear/section_13_part_0.txt

King Lear.act 3.scene 5

act 3, scene 5

{"name": "Act 3, Scene 5", "url": "https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-3-scene-5", "summary": "Meanwhile, back at Gloucester's castle, Edmund's evil plan is progressing nicely. Cue the evil smirk and hand-rubbing gesture. He has told Cornwall about his father's forbidden allegiance to Lear and has also showed Cornwall the incriminating, anti-Cornwall letter. Edmund humbly suggests that he's made a great sacrifice by placing his loyalty to Cornwall above his filial duty . Cornwall concludes that it now seems like Edgar's \"plot\" to kill his father was kind of just, what with Gloucester being such wicked guy and all. Edmund holds up the incriminating letter and says something like: \"It's just so awful that I have to tell on my own father, who is clearly a spy and informant for France.\" Cornwall says that whether the letter is true or false doesn't matter. Edmund has shown great loyalty, so he's going to be the new Earl of Gloucester either way. Cornwall sends Edmund off to find Gloucester and bring him back for punishment. Edmund hopes that when he finds his father, the man will be comforting Lear, because then Gloucester will be doubly implicated for crimes.", "analysis": ""}

Scena Quinta. Enter Cornwall, and Edmund. Corn. I will haue my reuenge, ere I depart his house Bast. How my Lord, I may be censured, that Nature thus giues way to Loyaltie, something feares mee to thinke of Cornw. I now perceiue, it was not altogether your Brothers euill disposition made him seeke his death: but a prouoking merit set a-worke by a reprouable badnesse in himselfe Bast. How malicious is my fortune, that I must repent to be iust? This is the Letter which hee spoake of; which approues him an intelligent partie to the aduantages of France. O Heauens! that this Treason were not; or not I the detector Corn. Go with me to the Dutchesse Bast. If the matter of this Paper be certain, you haue mighty businesse in hand Corn. True or false, it hath made thee Earle of Gloucester: seeke out where thy Father is, that hee may bee ready for our apprehension Bast. If I finde him comforting the King, it will stuffe his suspition more fully. I will perseuer in my course of Loyalty, though the conflict be sore betweene that, and my blood Corn. I will lay trust vpon thee: and thou shalt finde a deere Father in my loue. Exeunt.

Act 3, Scene 5

https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-3-scene-5

Meanwhile, back at Gloucester's castle, Edmund's evil plan is progressing nicely. Cue the evil smirk and hand-rubbing gesture. He has told Cornwall about his father's forbidden allegiance to Lear and has also showed Cornwall the incriminating, anti-Cornwall letter. Edmund humbly suggests that he's made a great sacrifice by placing his loyalty to Cornwall above his filial duty . Cornwall concludes that it now seems like Edgar's "plot" to kill his father was kind of just, what with Gloucester being such wicked guy and all. Edmund holds up the incriminating letter and says something like: "It's just so awful that I have to tell on my own father, who is clearly a spy and informant for France." Cornwall says that whether the letter is true or false doesn't matter. Edmund has shown great loyalty, so he's going to be the new Earl of Gloucester either way. Cornwall sends Edmund off to find Gloucester and bring him back for punishment. Edmund hopes that when he finds his father, the man will be comforting Lear, because then Gloucester will be doubly implicated for crimes.

shmoop

all_chapterized_books/2266-chapters/12.txt

finished_summaries/shmoop/King Lear/section_14_part_0.txt

King Lear.act 3.scene 6

act 3, scene 6

{"name": "Act 3, Scene 6", "url": "https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-3-scene-6", "summary": "We're back with that rebel Gloucester, who's led Lear, the disguised Kent, the disguised Edgar, and the Fool to a little building outside of his castle to get them all out of the storm. Lear asks the philosophizing Edgar--who is still pretending to be the mad Poor Tom--a bunch of questions. The Fool interjects occasionally, revealing that things must be really bad when the only person who makes sense in the conversation is the guy whose profession dictates that his speech doesn't make any sense at all. Kent tries to get Lear to lie down, but Lear says he has to see his daughters' trial first. Yep, his sanity continues to spiral downward. He imagines his daughters are in the room, and he demands that Poor Tom , Kent, and the Fool act as judges in a mock trial where he can charge his daughters with their crimes. Lear gets so worked up--and so obviously not in his right mind--that even Edgar is jolted from his role-playing to feel pity. Kent finally convinces Lear to lie down and get some sleep when Gloucester comes back again with bad news. There's definitely a plot against Lear's life, though Gloucester notably doesn't mention who's plotting. Kent has to wake up Lear immediately and get him into a cart that can take him to safety in Dover, where Cordelia is. They have no time to waste, because if the plotters find Lear, his life and the life of anyone who helps him will be in danger. Kent, Lear, the Fool, and Gloucester exit with the intention of getting Lear to safety... if not sanity. Edgar leaves after them, filled with pity for Lear, whose pathetic situation makes Edgar feel better about his own. Edgar admits that there's no greater suffering than mental illness. Edgar also ponders that his life will be okay just as soon as the truth comes out that he's been plotted against and wrongfully condemned.", "analysis": ""}

Scena Sexta. Enter Kent, and Gloucester. Glou. Heere is better then the open ayre, take it thankfully: I will peece out the comfort with what addition I can: I will not be long from you. Exit Kent. All the powre of his wits, haue giuen way to his impatience: the Gods reward your kindnesse. Enter Lear, Edgar, and Foole. Edg. Fraterretto cals me, and tells me Nero is an Angler in the Lake of Darknesse: pray Innocent, and beware the foule Fiend Foole. Prythee Nunkle tell me, whether a madman be a Gentleman, or a Yeoman Lear. A King, a King Foole. No, he's a Yeoman, that ha's a Gentleman to his Sonne: for hee's a mad Yeoman that sees his Sonne a Gentleman before him Lear. To haue a thousand with red burning spits Come hizzing in vpon 'em Edg. Blesse thy fiue wits Kent. O pitty: Sir, where is the patience now That you so oft haue boasted to retaine? Edg. My teares begin to take his part so much, They marre my counterfetting Lear. The little dogges, and all; Trey, Blanch, and Sweet-heart: see, they barke at me Edg. Tom, will throw his head at them: Auaunt you Curres, be thy mouth or blacke or white: Tooth that poysons if it bite: Mastiffe, Grey-hound, Mongrill, Grim, Hound or Spaniell, Brache, or Hym: Or Bobtaile tight, or Troudle taile, Tom will make him weepe and waile, For with throwing thus my head; Dogs leapt the hatch, and all are fled. Do, de, de, de: sese: Come, march to Wakes and Fayres, And Market Townes: poore Tom thy horne is dry, Lear. Then let them Anatomize Regan: See what breeds about her heart. Is there any cause in Nature that make these hard-hearts. You sir, I entertaine for one of my hundred; only, I do not like the fashion of your garments. You will say they are Persian; but let them bee chang'd. Enter Gloster. Kent. Now good my Lord, lye heere, and rest awhile Lear. Make no noise, make no noise, draw the Curtaines: so, so, wee'l go to Supper i'th' morning Foole. And Ile go to bed at noone Glou. Come hither Friend: Where is the King my Master? Kent. Here Sir, but trouble him not, his wits are gon Glou. Good friend, I prythee take him in thy armes; I haue ore-heard a plot of death vpon him: There is a Litter ready, lay him in't, And driue toward Douer friend, where thou shalt meete Both welcome, and protection. Take vp thy Master, If thou should'st dally halfe an houre, his life With thine, and all that offer to defend him, Stand in assured losse. Take vp, take vp, And follow me, that will to some prouision Giue thee quicke conduct. Come, come, away. Exeunt.

Act 3, Scene 6

https://web.archive.org/web/20210115185354/https://www.shmoop.com/study-guides/literature/king-lear/summary/act-3-scene-6

We're back with that rebel Gloucester, who's led Lear, the disguised Kent, the disguised Edgar, and the Fool to a little building outside of his castle to get them all out of the storm. Lear asks the philosophizing Edgar--who is still pretending to be the mad Poor Tom--a bunch of questions. The Fool interjects occasionally, revealing that things must be really bad when the only person who makes sense in the conversation is the guy whose profession dictates that his speech doesn't make any sense at all. Kent tries to get Lear to lie down, but Lear says he has to see his daughters' trial first. Yep, his sanity continues to spiral downward. He imagines his daughters are in the room, and he demands that Poor Tom , Kent, and the Fool act as judges in a mock trial where he can charge his daughters with their crimes. Lear gets so worked up--and so obviously not in his right mind--that even Edgar is jolted from his role-playing to feel pity. Kent finally convinces Lear to lie down and get some sleep when Gloucester comes back again with bad news. There's definitely a plot against Lear's life, though Gloucester notably doesn't mention who's plotting. Kent has to wake up Lear immediately and get him into a cart that can take him to safety in Dover, where Cordelia is. They have no time to waste, because if the plotters find Lear, his life and the life of anyone who helps him will be in danger. Kent, Lear, the Fool, and Gloucester exit with the intention of getting Lear to safety... if not sanity. Edgar leaves after them, filled with pity for Lear, whose pathetic situation makes Edgar feel better about his own. Edgar admits that there's no greater suffering than mental illness. Edgar also ponders that his life will be okay just as soon as the truth comes out that he's been plotted against and wrongfully condemned.