Narrative poem · 1594 · 1855 lines

The Rape of Lucrece.

A Roman nobleman rapes the chaste Lucrece; she kills herself; her kinsmen avenge her and overthrow a tyrant.

Tarquin, a king's son, becomes obsessed with Lucrece after hearing her husband boast of her beauty and virtue. He abandons his post, travels to her home in the night, and rapes her. The violation shatters her. Despite her innocence, Lucrece feels complicit in the crime—her body has been used as a weapon against her own honour.

After the assault, Lucrece writes to her husband and father, confessing what happened and announcing her intention to die. She makes them swear to avenge her, then kills herself. Her body becomes the catalyst for political upheaval: her kinsmen, led by Brutus, display her corpse in Rome's streets to expose Tarquin's brutality.

The people, roused by the sight of her blood, rise up and banish Tarquin and his entire family. Lucrece's death topples a dynasty. The poem treats her suicide not as weakness but as a desperate assertion of agency—the only choice she believes remains to her. It's a harrowing portrait of how violation compounds through silence and shame.

About this poem

What it is

The Rape of Lucrece is a narrative poem published in 1594, written in seven-line stanzas (rhyme royal). At 1,855 lines across 265 stanzas, it’s long, dense, and formally demanding—Shakespeare at his most elaborate. The poem is based on a legendary Roman tale that Renaissance writers returned to obsessively: a story about power, sex, and political rupture.

The story

Tarquin, son of Rome’s king, becomes entranced by reports of Lucrece’s unmatched chastity and beauty. (Her own husband carelessly brags about her while drunk.) Burning with desire and envy—why should a lesser man possess such perfection?—Tarquin abandons his military post and travels by night to her home. He forces his way into her bed. Lucrece is physically overpowered but also psychologically trapped: Tarquin threatens to murder her and destroy her reputation by claiming he found her with a slave if she resists. After he leaves, Lucrece experiences not relief but a kind of spiritual death. She sends for her husband and father, confesses the assault to them, makes them swear vengeance, and then stabs herself. Her bloodied body becomes a symbol powerful enough to ignite a revolution. The Romans rally, overthrow Tarquin’s dynasty, and establish a republic.

Why read it now

This isn’t an easy poem, but it matters. Shakespeare takes rape seriously—not as seduction, not as a plot device, but as an invasion that unmakes the victim’s sense of self. Lucrece’s long internal monologues after the assault are brutal to read. She doesn’t blame Tarquin alone; she blames her own body for being beautiful, for attracting him, for being penetrated. She sees herself as complicit in her own violation, even though she was powerless to stop it. This psychological realism—the way trauma poisons thought—is rare in Renaissance literature.

The poem also asks: whose honor is at stake? Lucrece’s husband and father treat her death as a political wrong—an insult to Rome, a crime against men. She dies not just from grief but because she needs to prove her innocence by dying. Her suicide is framed as noble, even necessary. Modern readers will find this troubling, and should. Shakespeare’s poem doesn’t endorse this logic, but it doesn’t condemn it either. It shows how a patriarchal system offers women almost no exits.

What to watch for

The poem is heavy on description and internal debate. Shakespeare lingers over Lucrece’s face, her rooms, her nightclothes—the sensory details are overwhelming, almost fetishistic. This isn’t accidental. The poem is asking whether beauty invites violation, whether describing a woman carefully is a form of respect or complicity. Pay attention to how often the language slips between admiration and hunger.

Also notice how much time Shakespeare spends on Lucrece’s mind after the rape. She doesn’t rush to her revenge. She sits with her shame, her anger, her sense of being stained. These sections are repetitive—they circle the same wound—and that’s the point. Trauma doesn’t move in a straight line. She needs to speak, and the poem gives her that space, even as it ultimately channels her death into a man’s political victory.

One warning: Lucrece is uneven. Some stanzas are brilliant; others are ornamental to the point of numbness. The poem was more admired in its own time than it is now. But the best passages—especially Lucrece’s self-recriminations—rank among Shakespeare’s finest psychological writing.

Themes

  • sexual violence and consent
  • honour and shame
  • beauty as danger
  • tyranny and justice
  • female agency and powerlessness
  • lust versus virtue

Read the poem

Original on the left, plain English on the right — stanza by stanza. Synced read-along narration is coming in v2.

Original

Plain English

From the besieged Ardea all in post,

Borne by the trustless wings of false desire,

Lust-breathed Tarquin leaves the Roman host,

And to Collatium bears the lightless fire,

Which in pale embers hid, lurks to aspire

And girdle with embracing flames the waist

Of Collatine’s fair love, Lucrece the chaste.

Tarquin, driven by lust disguised as duty, slips away from the besieged Roman camp and rides to Collatine's house, carrying a hidden fire of desire that will soon consume Lucrece the chaste.

Haply that name of “chaste” unhapp’ly set

This bateless edge on his keen appetite,

When Collatine unwisely did not let

To praise the clear unmatched red and white

Which triumphed in that sky of his delight;

Where mortal stars as bright as heaven’s beauties,

With pure aspects did him peculiar duties.

The very word 'chaste' seems to have sharpened Tarquin's appetite, especially after Collatine foolishly spent the evening before boasting about his wife's matchless beauty—her perfect complexion that outshone even the stars.

For he the night before, in Tarquin’s tent

Unlocked the treasure of his happy state,

What priceless wealth the heavens had him lent

In the possession of his beauteous mate;

Reck’ning his fortune at such high proud rate

That kings might be espoused to more fame,

But king nor peer to such a peerless dame.

Collatine had unlocked his good fortune by describing the treasure of his marriage: his beautiful wife, whom he valued so highly that no king's marriage could rival his own.

O happiness enjoyed but of a few,

And, if possessed, as soon decayed and done

As is the morning’s silver melting dew

Against the golden splendour of the sun!

An expired date, cancelled ere well begun.

Honour and beauty in the owner’s arms,

Are weakly fortressed from a world of harms.

This kind of happiness is rare and fragile—it melts away as quickly as morning dew under the sun, leaving nothing but regret. Honour and beauty, once revealed and celebrated, stand defenseless against the world's hunger to possess them.

Beauty itself doth of itself persuade

The eyes of men without an orator;

What needeth then apologies be made,

To set forth that which is so singular?

Or why is Collatine the publisher

Of that rich jewel he should keep unknown

From thievish ears, because it is his own?

Beauty doesn't need words to persuade: it speaks for itself to every eye. So why does Collatine need to publish his wife's perfection to other men, advertising a jewel that should stay locked away from thieves?

Perchance his boast of Lucrece’ sov’reignty

Suggested this proud issue of a king;

For by our ears our hearts oft tainted be.

Perchance that envy of so rich a thing,

Braving compare, disdainfully did sting

His high-pitched thoughts, that meaner men should vaunt

That golden hap which their superiors want.

Perhaps Collatine's boasting planted the seed in Tarquin's mind; the human heart is easily poisoned through the ears. Or perhaps envy stung him—the thought that a lesser man could own such wealth, while a king like himself remained without it.

But some untimely thought did instigate

His all-too-timeless speed, if none of those;

His honour, his affairs, his friends, his state,

Neglected all, with swift intent he goes

To quench the coal which in his liver glows.

O rash false heat, wrapped in repentant cold,

Thy hasty spring still blasts and ne’er grows old!

Some restless impulse drove Tarquin forward, abandoning his honour and duties in a frenzy to satisfy the burning coal of desire in his chest. That hasty, destructive heat, born from false passion, will never ripen into anything good.

When at Collatium this false lord arrived,

Well was he welcomed by the Roman dame,

Within whose face beauty and virtue strived

Which of them both should underprop her fame.

When virtue bragged, beauty would blush for shame;

When beauty boasted blushes, in despite

Virtue would stain that o’er with silver white.

When Tarquin arrived at Collatine's house, Lucrece received him with courtesy, her face a battlefield where beauty and virtue competed for dominion: when virtue claimed precedence, beauty blushed; when beauty shone, virtue's light turned fierce and white with indignation.

But beauty, in that white intituled

From Venus’ doves, doth challenge that fair field.

Then virtue claims from beauty beauty’s red,

Which virtue gave the golden age to gild

Their silver cheeks, and called it then their shield;

Teaching them thus to use it in the fight,

When shame assailed, the red should fence the white.

Beauty's whiteness comes from Venus herself and claims sovereignty in Lucrece's face; virtue answers by claiming the red of her cheeks, which comes from virtue's own ancient gift to humanity—a shield and fence against shame.

This heraldry in Lucrece’ face was seen,

Argued by beauty’s red and virtue’s white.

Of either’s colour was the other queen,

Proving from world’s minority their right.

Yet their ambition makes them still to fight;

The sovereignty of either being so great,

That oft they interchange each other’s seat.

In Lucrece's face, this silent war of white lilies and red roses plays out eternally: each colour claims the other as its subject, their contest so fierce they keep trading places for supremacy.

Their silent war of lilies and of roses,

Which Tarquin viewed in her fair face’s field,

In their pure ranks his traitor eye encloses;

Where, lest between them both it should be killed,

The coward captive vanquished doth yield

To those two armies that would let him go

Rather than triumph in so false a foe.

Tarquin watches this war of colours in her face like a captive taken prisoner by her beauty—so overwhelmed that he surrenders entirely, caught between the two armies of her opposing virtues, unable to resist or escape.

Now thinks he that her husband’s shallow tongue,

The niggard prodigal that praised her so,

In that high task hath done her beauty wrong,

Which far exceeds his barren skill to show.

Therefore that praise which Collatine doth owe

Enchanted Tarquin answers with surmise,

In silent wonder of still-gazing eyes.

Tarquin now believes that Collatine's clumsy praise has failed to do his wife justice; his shallow words couldn't capture her true worth. So Tarquin answers the debt of admiration with silent, endless wonder, his gaze locked on her.

This earthly saint, adored by this devil,

Little suspecteth the false worshipper;

For unstained thoughts do seldom dream on evil;

Birds never limed no secret bushes fear.

So guiltless she securely gives good cheer

And reverend welcome to her princely guest,

Whose inward ill no outward harm expressed.

This innocent woman, adored by this false devil, suspects nothing, because a pure mind seldom imagines evil—she is like a bird that has never been caught and fears no snare. She welcomes her royal guest with genuine warmth, unaware of the poison hidden beneath his courtly manner.

For that he coloured with his high estate,

Hiding base sin in pleats of majesty,

That nothing in him seemed inordinate,

Save sometime too much wonder of his eye,

Which, having all, all could not satisfy;

But, poorly rich, so wanteth in his store

That, cloyed with much, he pineth still for more.

Tarquin's high rank conceals his base desire beneath the robes of majesty, so nothing about him seems amiss except a certain excessive wonderment in his eyes—a hunger that feeds on abundance yet starves for more, glutted yet always wanting.

But she, that never coped with stranger eyes,

Could pick no meaning from their parling looks,

Nor read the subtle shining secrecies

Writ in the glassy margents of such books;

She touched no unknown baits, nor feared no hooks,

Nor could she moralize his wanton sight,

More than his eyes were opened to the light.

She, who has never exchanged looks with a stranger, cannot read the secret meanings written in the glass of his eyes or the hooks hidden in his gaze. Her innocence leaves her unable to interpret his wanton stare as anything more dangerous than simple curiosity.

He stories to her ears her husband’s fame,

Won in the fields of fruitful Italy;

And decks with praises Collatine’s high name,

Made glorious by his manly chivalry

With bruised arms and wreaths of victory.

Her joy with heaved-up hand she doth express,

And, wordless, so greets heaven for his success.

Tarquin flatters her with stories of her husband's glory in Italian warfare, praising Collatine's brave deeds and battle wounds. She lifts her hands in silent joy, thanking heaven for his victories.

Far from the purpose of his coming thither,

He makes excuses for his being there.

No cloudy show of stormy blust’ring weather

Doth yet in his fair welkin once appear,

Till sable Night, mother of dread and fear,

Upon the world dim darkness doth display,

And in her vaulty prison stows the day.

He invents reasons for his unexpected presence, but the sky stays clear—no storm clouds gather until night falls, and darkness swallows the day into its prison.

For then is Tarquin brought unto his bed,

Intending weariness with heavy sprite;

For after supper long he questioned

With modest Lucrece, and wore out the night.

Now leaden slumber with life’s strength doth fight,

And every one to rest themselves betake,

Save thieves and cares and troubled minds that wake.

Tarquin goes to bed claiming exhaustion, but he's already spent the evening in conversation with the modest Lucrece, wearing out the hours. Now heavy sleep fights against the strength of the wakeful, and everyone retires—except thieves, worriers, and guilty minds.

As one of which doth Tarquin lie revolving

The sundry dangers of his will’s obtaining,

Yet ever to obtain his will resolving,

Though weak-built hopes persuade him to abstaining.

Despair to gain doth traffic oft for gaining,

And when great treasure is the meed proposed,

Though death be adjunct, there’s no death supposed.

Tarquin lies awake turning over the dangers of what he wants to do, yet determined to do it anyway. Weak hope tells him to stop, but when desire is strong enough, even the fear of death disappears.

Those that much covet are with gain so fond

For what they have not, that which they possess

They scatter and unloose it from their bond;

And so, by hoping more, they have but less,

Or, gaining more, the profit of excess

Is but to surfeit, and such griefs sustain,

That they prove bankrout in this poor-rich gain.

People who crave what they lack throw away what they own in their hunger for more. So by wanting more, they end up with less; and even gaining more just leaves them gorged and miserable—bankrupted by their own excess.

The aim of all is but to nurse the life

With honour, wealth, and ease, in waning age;

And in this aim there is such thwarting strife

That one for all or all for one we gage:

As life for honour in fell battle’s rage,

Honour for wealth; and oft that wealth doth cost

The death of all, and all together lost.

The whole point of life is to survive with honour, wealth, and comfort in old age. But this goal creates so much conflict that we'll sacrifice anything for it—our lives for honour, honour for money—and often that costs everything anyway.

So that in vent’ring ill we leave to be

The things we are, for that which we expect;

And this ambitious foul infirmity,

In having much, torments us with defect

Of that we have. So then we do neglect

The thing we have, and, all for want of wit,

Make something nothing by augmenting it.

So we risk ruin chasing what we don't have and lose what we are in the process. This greedy sickness means that even with plenty, we torment ourselves with what's missing. We neglect what we own, and foolishly destroy something by trying to make it more.

Such hazard now must doting Tarquin make,

Pawning his honour to obtain his lust;

And for himself himself he must forsake.

Then where is truth, if there be no self-trust?

When shall he think to find a stranger just,

When he himself himself confounds, betrays

To sland’rous tongues and wretched hateful days?

Tarquin is gambling with exactly this sickness—wagering his honour to get what he wants—and in doing so he destroys himself. Where is his integrity then, if he can't trust himself? How can he expect honesty from strangers when he's already betrayed his own self?

Now stole upon the time the dead of night,

When heavy sleep had closed up mortal eyes.

No comfortable star did lend his light,

No noise but owls’ and wolves’ death-boding cries;

Now serves the season that they may surprise

The silly lambs. Pure thoughts are dead and still,

While lust and murder wake to stain and kill.

Now midnight arrives, deep and heavy. Sleep has shut every mortal eye; no star shines, only the death-cries of owls and wolves. The hour is perfect for hunting down the helpless lambs. Pure thoughts lie silent while lust and murder wake to stain and destroy.

And now this lustful lord leaped from his bed,

Throwing his mantle rudely o’er his arm;

Is madly tossed between desire and dread;

Th’ one sweetly flatters, th’ other feareth harm.

But honest fear, bewitched with lust’s foul charm,

Doth too too oft betake him to retire,

Beaten away by brain-sick rude desire.

The lustful lord leaps from bed, throws his cloak across his arm, and swings between craving and terror—one side sweet-talking him, the other warning him of harm. His honest fear gets seduced by lust's spell and keeps trying to hold him back, but reckless desire beats it down.

His falchion on a flint he softly smiteth,

That from the cold stone sparks of fire do fly;

Whereat a waxen torch forthwith he lighteth,

Which must be lodestar to his lustful eye,

And to the flame thus speaks advisedly:

“As from this cold flint I enforced this fire,

So Lucrece must I force to my desire.”

He strikes his sword against a stone to make sparks fly, then lights a wax torch by the fire. He speaks to the flame: 'Just as I forced fire from this cold stone, so I will force Lucrece to satisfy my desire.'

Here pale with fear he doth premeditate

The dangers of his loathsome enterprise,

And in his inward mind he doth debate

What following sorrow may on this arise.

Then looking scornfully, he doth despise

His naked armour of still-slaughtered lust,

And justly thus controls his thoughts unjust:

Pale and afraid, he thinks through the dangers of what he's about to do and imagines the suffering it might bring. Then his expression turns scornful as he despises his own naked, murderous lust and begins to scold his wicked thoughts.

“Fair torch, burn out thy light, and lend it not

To darken her whose light excelleth thine.

And die, unhallowed thoughts, before you blot

With your uncleanness that which is divine.

Offer pure incense to so pure a shrine.

Let fair humanity abhor the deed

That spots and stains love’s modest snow-white weed.

He tells the torch to stop burning and not darken Lucrece, whose light outshines it. Let base thoughts die before they soil what is sacred. Offer pure worship to such a pure shrine. Let human decency hate this deed that would stain love's pure and spotless honour.

“O shame to knighthood and to shining arms!

O foul dishonour to my household’s grave!

O impious act including all foul harms!

A martial man to be soft fancy’s slave!

True valour still a true respect should have.

Then my digression is so vile, so base,

That it will live engraven in my face.

Shame on a knight in shining armor who would do this! Dishonour to his family tomb! A cursed act that contains all wickedness! A soldier becoming slave to soft desire! True courage demands true self-respect. My betrayal is so vile and base that it will be branded forever on my face.

“Yea, though I die, the scandal will survive

And be an eye-sore in my golden coat;

Some loathsome dash the herald will contrive,

To cipher me how fondly I did dote,

That my posterity, shamed with the note,

Shall curse my bones, and hold it for no sin

To wish that I their father had not been.

Yes, even if I die, this scandal will outlive me and scar my good name. Some ugly mark will be carved into my coat of arms to show how foolishly I was besotted. My descendants will curse my bones and wish I had never fathered them.

“What win I if I gain the thing I seek?

A dream, a breath, a froth of fleeting joy.

Who buys a minute’s mirth to wail a week,

Or sells eternity to get a toy?

For one sweet grape who will the vine destroy?

Or what fond beggar, but to touch the crown,

Would with the sceptre straight be strucken down?

If I get what I want, what have I actually won? A fleeting pleasure, nothing solid—the kind of joy you pay for with a week of misery. Would anyone trade eternal happiness for a moment's fun? Would anyone destroy an entire vineyard for one grape? It's madness, like a beggar who'd rather be struck dead by the scepter than simply touch the crown.

“If Collatinus dream of my intent,

Will he not wake, and in a desp’rate rage

Post hither, this vile purpose to prevent?—

This siege that hath engirt his marriage,

This blur to youth, this sorrow to the sage,

This dying virtue, this surviving shame,

Whose crime will bear an ever-during blame?

What if Collatinus finds out what I'm planning? He'll come rushing here in a rage to stop me—this assault on his marriage, this stain on youth, this wound to wisdom. Once it's done, the shame lasts forever; there's no way to scrub clean from a crime this dark.

“O, what excuse can my invention make

When thou shalt charge me with so black a deed?

Will not my tongue be mute, my frail joints shake,

Mine eyes forgo their light, my false heart bleed?

The guilt being great, the fear doth still exceed;

And extreme fear can neither fight nor fly,

But coward-like with trembling terror die.

When she accuses me of such a terrible act, what defense could I possibly offer? My tongue would freeze, my hands would shake, my eyes would go blind, my heart would betray me. The crime is enormous, but the fear is even worse—and someone paralyzed by fear can't fight or flee, only tremble and collapse like a coward.

“Had Collatinus killed my son or sire,

Or lain in ambush to betray my life,

Or were he not my dear friend, this desire

Might have excuse to work upon his wife,

As in revenge or quittal of such strife;

But as he is my kinsman, my dear friend,

The shame and fault finds no excuse nor end.

If he'd killed my son or father, or set a trap to murder me, or wasn't my blood relative and close friend, I might have some excuse to seduce his wife—call it vengeance, call it payback for an injury. But he's my kinsman, my dear friend. There's no excuse here, no way to end the shame once it begins.

“Shameful it is; ay, if the fact be known.

Hateful it is, there is no hate in loving.

I’ll beg her love. But she is not her own.

The worst is but denial and reproving.

My will is strong, past reason’s weak removing.

Who fears a sentence or an old man’s saw

Shall by a painted cloth be kept in awe.”

It's shameful—assuming she ever finds out. And hateful? No, that's not the word; I love her. I'll ask for her love. She isn't free to give it, sure. Worst case, she says no and I'm embarrassed. But my will is too strong for reason to hold back. Why should I fear some proverb or an old man's wisdom? A painted cloth on the wall won't stop me.

Thus, graceless, holds he disputation

’Tween frozen conscience and hot-burning will,

And with good thoughts makes dispensation,

Urging the worser sense for vantage still;

Which in a moment doth confound and kill

All pure effects, and doth so far proceed

That what is vile shows like a virtuous deed.

So he goes back and forth, his conscience freezing while his lust burns hot, using clever arguments to justify the worse impulses, until in a moment his better nature crumbles entirely and what's vile starts looking noble.

Quoth he, “She took me kindly by the hand,

And gazed for tidings in my eager eyes,

Fearing some hard news from the warlike band

Where her beloved Collatinus lies.

O how her fear did make her colour rise!

First red as roses that on lawn we lay,

Then white as lawn, the roses took away.

He thinks to himself: she took my hand so warmly and searched my face for news from the war, terrified for her husband's safety. And oh, how her fear made her blush—red at first like roses on white fabric, then white like the fabric when the roses faded.

“And how her hand, in my hand being locked,

Forced it to tremble with her loyal fear,

Which struck her sad, and then it faster rocked,

Until her husband’s welfare she did hear;

Whereat she smiled with so sweet a cheer

That had Narcissus seen her as she stood,

Self-love had never drowned him in the flood.

And her hand trembled in mine because of her loyalty and fear, which made her sad, then she gripped my hand tighter until I told her Collatinus was fine. Then she smiled so sweetly that even Narcissus, staring at his own reflection, would have forgotten himself and drowned.

“Why hunt I then for colour or excuses?

All orators are dumb when beauty pleadeth.

Poor wretches have remorse in poor abuses;

Love thrives not in the heart that shadows dreadeth.

Affection is my captain, and he leadeth;

And when his gaudy banner is displayed,

The coward fights and will not be dismayed.

Why do I even need excuses? Beauty speaks louder than any argument. Desperate people might feel guilt for petty wrongs, but love doesn't flourish in a cowardly heart. Love is my general and I'm his soldier; when he raises his banner, even a coward becomes brave.

“Then, childish fear, avaunt! Debating, die!

Respect and reason wait on wrinkled age!

My heart shall never countermand mine eye.

Sad pause and deep regard beseems the sage;

My part is youth, and beats these from the stage.

Desire my pilot is, beauty my prize;

Then who fears sinking where such treasure lies?”

Away with childish doubt! This is no time for debate! Let the old and tired worry about respect and reason—I'm young, and youth means something else entirely. Desire will steer me; beauty is my destination. Who fears drowning when diving for treasure like that?

As corn o’ergrown by weeds, so heedful fear

Is almost choked by unresisted lust.

Away he steals with opening, list’ning ear,

Full of foul hope, and full of fond mistrust;

Both which, as servitors to the unjust,

So cross him with their opposite persuasion

That now he vows a league, and now invasion.

His fear gets choked out by lust, like good grain strangled by weeds. He creeps away with his ears open, full of hopeful fantasies and sick doubts, and these two warring feelings push him forward and backward at once—now he swears allegiance, now he charges ahead.

Within his thought her heavenly image sits,

And in the self-same seat sits Collatine.

That eye which looks on her confounds his wits;

That eye which him beholds, as more divine,

Unto a view so false will not incline,

But with a pure appeal seeks to the heart,

Which once corrupted takes the worser part;

In his mind he sees her image sitting in his heart's throne, but Collatinus sits there too. When he looks at her, his mind shatters; when he remembers her husband's claim on her, it seems almost holy. But his heart, once corrupted, chooses the worse path instead.

And therein heartens up his servile powers,

Who, flattered by their leader’s jocund show,

Stuff up his lust, as minutes fill up hours;

And as their captain, so their pride doth grow,

Paying more slavish tribute than they owe.

By reprobate desire thus madly led,

The Roman lord marcheth to Lucrece’ bed.

His base instincts rally to his cause, cheered on by his lust, filling the hours with escalating desire. Like troops who follow their captain's lead, his appetites grow prouder and more demanding, paying him back with slavish devotion. Driven mad by this reprobate desire, the Roman goes to Lucrece's bed.

The locks between her chamber and his will,

Each one by him enforced, retires his ward;

But, as they open, they all rate his ill,

Which drives the creeping thief to some regard.

The threshold grates the door to have him heard;

Night-wand’ring weasels shriek to see him there;

They fright him, yet he still pursues his fear.

Every lock between his path and her door gives way to force, and as each one opens, it seems to judge him for his evil. This makes the sneaking thief pause for a moment. The threshold creaks, warning her. Night creatures shriek at his approach. They frighten him, but he pushes on through his own terror anyway.

As each unwilling portal yields him way,

Through little vents and crannies of the place

The wind wars with his torch, to make him stay,

And blows the smoke of it into his face,

Extinguishing his conduct in this case;

But his hot heart, which fond desire doth scorch,

Puffs forth another wind that fires the torch.

As each unwilling door swings open, wind whistles through the cracks to slow him down, blowing his torch smoke back in his face and nearly snuffing out his light. But his burning heart fans a new flame—his desire reignites the torch, and he keeps moving forward.

And being lighted, by the light he spies

Lucretia’s glove, wherein her needle sticks;

He takes it from the rushes where it lies,

And griping it, the needle his finger pricks,

As who should say, “This glove to wanton tricks

Is not inured. Return again in haste;

Thou seest our mistress’ ornaments are chaste.”

He spots Lucrece's discarded glove lying in the rushes with her needle still stuck in it; he picks it up and pricks his finger on the needle, as if the glove itself is warning him away—telling him that his mistress's things are modest and he should leave at once.

But all these poor forbiddings could not stay him;

He in the worst sense construes their denial.

The doors, the wind, the glove that did delay him,

He takes for accidental things of trial;

Or as those bars which stop the hourly dial,

Who with a ling’ring stay his course doth let,

Till every minute pays the hour his debt.

None of these obstacles—not the doors, not the wind, not even the needle prick—can stop him; instead, he reads them all as mere accidents, small tests meant to delay him briefly, like the mechanisms of a clock that hold back each hour's hand before releasing it.

“So, so,” quoth he, “these lets attend the time,

Like little frosts that sometime threat the spring,

To add a more rejoicing to the prime,

And give the sneaped birds more cause to sing.

Pain pays the income of each precious thing:

Huge rocks, high winds, strong pirates, shelves and sands

The merchant fears, ere rich at home he lands.”

He convinces himself that these petty hindrances are just like spring frosts that make the bloom sweeter afterward, or rough seas that make a merchant's safe landing more precious; every worthwhile thing requires hardship to reach it.

Now is he come unto the chamber door

That shuts him from the heaven of his thought,

Which with a yielding latch, and with no more,

Hath barred him from the blessed thing he sought.

So from himself impiety hath wrought,

That for his prey to pray he doth begin,

As if the heavens should countenance his sin.

He's reached the chamber door—the only thing between him and what he desires. One simple latch holds it shut, and when he opens it, his own corrupted will has made him forget the evil of what he's about to do; he even begins to pray, as if asking heaven to bless his crime.

But in the midst of his unfruitful prayer,

Having solicited th’ eternal power

That his foul thoughts might compass his fair fair,

And they would stand auspicious to the hour,

Even there he starts. Quoth he, “I must deflower.

The powers to whom I pray abhor this fact,

How can they then assist me in the act?

In the middle of his twisted prayer, he stops short: he realizes that the gods he's asking for help abhor rape, so how could they possibly assist him in committing it?

“Then Love and Fortune be my gods, my guide!

My will is backed with resolution.

Thoughts are but dreams till their effects be tried;

The blackest sin is cleared with absolution.

Against love’s fire fear’s frost hath dissolution.

The eye of heaven is out, and misty night

Covers the shame that follows sweet delight.”

He renounces prayer and turns instead to Love and Fortune as his guides, telling himself that thoughts mean nothing until they're acted on, that sin can be washed away afterward, and that darkness hides his shame—so night will cover his deed.

This said, his guilty hand plucked up the latch,

And with his knee the door he opens wide.

The dove sleeps fast that this night-owl will catch;

Thus treason works ere traitors be espied.

Who sees the lurking serpent steps aside;

But she, sound sleeping, fearing no such thing,

Lies at the mercy of his mortal sting.

With that, he lifts the latch with guilty hands and pushes the door open with his knee; Lucrece sleeps unaware, like a dove about to be caught by a night predator, and treachery strikes before she even knows danger is near.

Into the chamber wickedly he stalks,

And gazeth on her yet unstained bed.

The curtains being close, about he walks,

Rolling his greedy eyeballs in his head.

By their high treason is his heart misled,

Which gives the watch-word to his hand full soon

To draw the cloud that hides the silver moon.

He creeps into her bedroom and stares at her untouched bed; the curtains are drawn tight around it, and he walks around, eyes bulging with greedy appetite, his heart betraying his better self and commanding his hand to pull back the drapes that hide her.

Look as the fair and fiery-pointed sun,

Rushing from forth a cloud, bereaves our sight;

Even so, the curtain drawn, his eyes begun

To wink, being blinded with a greater light.

Whether it is that she reflects so bright,

That dazzleth them, or else some shame supposed;

But blind they are, and keep themselves enclosed.

When the curtain falls away, the sudden sight of her blazes at him like the sun breaking through clouds, so blinding that he has to squeeze his eyes shut—whether from the brightness of her beauty or from shame, he cannot see for a moment.

O, had they in that darksome prison died,

Then had they seen the period of their ill!

Then Collatine again by Lucrece’ side

In his clear bed might have reposed still.

But they must ope, this blessed league to kill;

And holy-thoughted Lucrece to their sight

Must sell her joy, her life, her world’s delight.

He wishes those eyes had died in darkness then and there, before they could witness her innocence; if so, Collatine and Lucrece would still be sleeping peacefully in their marriage bed, but now those eyes must open and destroy everything she holds dear.

Her lily hand her rosy cheek lies under,

Coz’ning the pillow of a lawful kiss;

Who, therefore angry, seems to part in sunder,

Swelling on either side to want his bliss;

Between whose hills her head entombed is,

Where like a virtuous monument she lies,

To be admired of lewd unhallowed eyes.

She sleeps with her lily-white hand tucked under her rosy cheek, fooling her pillow into a lawful kiss; her hand lies on one side as if it's angry at being denied his touch, while her head rests cradled between her pillows like a precious monument.

Without the bed her other fair hand was,

On the green coverlet; whose perfect white

Showed like an April daisy on the grass,

With pearly sweat resembling dew of night.

Her eyes, like marigolds, had sheathed their light,

And canopied in darkness sweetly lay,

Till they might open to adorn the day.

Her other fair hand rests on the green coverlet, pale as an April daisy with beads of sweat like nighttime dew; her eyes, like marigolds, are closed and shadowed, resting until morning when they'll open to brighten the day.

Her hair, like golden threads, played with her breath:

O modest wantons, wanton modesty!

Showing life’s triumph in the map of death,

And death’s dim look in life’s mortality.

Each in her sleep themselves so beautify,

As if between them twain there were no strife,

But that life lived in death and death in life.

Her golden hair plays in the breeze of her breath—a paradox of modest wantonness, beauty that shows life's triumph even in the image of death, and death's shadow appearing in her living flesh, as if life and death are somehow balanced within her sleeping form.

Her breasts like ivory globes circled with blue,

A pair of maiden worlds unconquered,

Save of their lord no bearing yoke they knew,

And him by oath they truly honoured.

These worlds in Tarquin new ambition bred;

Who, like a foul usurper, went about

From this fair throne to heave the owner out.

Her breasts rise like ivory globes edged with blue veins, virgin worlds that know no master except the one she's sworn to by oath; Tarquin sees them and feels a tyrant's hunger to seize what belongs to another and cast out the rightful owner.

What could he see but mightily he noted?

What did he note but strongly he desired?

What he beheld, on that he firmly doted,

And in his will his wilful eye he tired.

With more than admiration he admired

Her azure veins, her alabaster skin,

Her coral lips, her snow-white dimpled chin.

Everything he sees, he takes note of; everything he notes, he desires; everything he beholds, he lusts after, and his greedy eyes never tire of looking—admiring her blue veins, her alabaster skin, her coral lips, her snow-white dimpled chin.

As the grim lion fawneth o’er his prey,

Sharp hunger by the conquest satisfied,

So o’er this sleeping soul doth Tarquin stay,

His rage of lust by grazing qualified—

Slaked, not suppressed; for standing by her side,

His eye, which late this mutiny restrains,

Unto a greater uproar tempts his veins.

Like a lion satisfied by its kill but still prowling, Tarquin lingers over the sleeping woman, his lust temporarily sated but not truly diminished—his eye ignites desire anew the moment he remains at her side.

And they, like straggling slaves for pillage fighting,

Obdurate vassals fell exploits effecting,

In bloody death and ravishment delighting,

Nor children’s tears nor mothers’ groans respecting,

Swell in their pride, the onset still expecting.

Anon his beating heart, alarum striking,

Gives the hot charge and bids them do their liking.

His passions are like disobedient soldiers pillaging without restraint, glorying in violence and violation, deaf to mercy; his racing heart now commands the full assault, giving his body leave to do as it wishes.

His drumming heart cheers up his burning eye,

His eye commends the leading to his hand;

His hand, as proud of such a dignity,

Smoking with pride, marched on to make his stand

On her bare breast, the heart of all her land;

Whose ranks of blue veins, as his hand did scale,

Left their round turrets destitute and pale.

His heartbeat fuels his burning gaze, his eye directs his hand forward, and his hand—proud of its terrible purpose—moves to her bare breast as if conquering territory; as he presses down, her veins pale and empty beneath him.

They, must’ring to the quiet cabinet

Where their dear governess and lady lies,

Do tell her she is dreadfully beset,

And fright her with confusion of their cries.

She, much amazed, breaks ope her locked-up eyes,

Who, peeping forth this tumult to behold,

Are by his flaming torch dimmed and controlled.

Her body's defenses cry out to consciousness: her nerves rush inward, alarming her, and she jolts awake, eyes forced open; his blazing torch blinds and paralyzes her as she wakes to the chaos.

Imagine her as one in dead of night

From forth dull sleep by dreadful fancy waking,

That thinks she hath beheld some ghastly sprite,

Whose grim aspect sets every joint a shaking.

What terror ’tis! but she, in worser taking,

From sleep disturbed, heedfully doth view

The sight which makes supposed terror true.

Imagine waking from sleep believing you've glimpsed a phantom, seized by supernatural terror—but Lucretia's horror is worse, for what confronts her on waking is hideously, devastatingly real.

Wrapped and confounded in a thousand fears,

Like to a new-killed bird she trembling lies.

She dares not look; yet, winking, there appears

Quick-shifting antics, ugly in her eyes.

Such shadows are the weak brain’s forgeries;

Who, angry that the eyes fly from their lights,

In darkness daunts them with more dreadful sights.

Paralyzed by fear, she cannot bear to look, yet her shut eyes conjure grotesque shapes; these phantoms are her frightened mind's inventions, and the harder her eyes refuse the torch-light, the more terrible the visions the darkness produces.

His hand, that yet remains upon her breast,

Rude ram, to batter such an ivory wall!

May feel her heart, poor citizen, distressed,

Wounding itself to death, rise up and fall,

Beating her bulk, that his hand shakes withal.

This moves in him more rage, and lesser pity,

To make the breach and enter this sweet city.

His hand still pressed against her breast feels her heart battering inside her chest like a bird striking its cage, desperate to escape—the force of her own heartbeat shakes his hand, and this only stokes his rage and hardens his will to violate her.

First, like a trumpet doth his tongue begin

To sound a parley to his heartless foe,

Who o’er the white sheet peers her whiter chin,

The reason of this rash alarm to know,

Which he by dumb demeanour seeks to show;

But she with vehement prayers urgeth still

Under what colour he commits this ill.

He begins to speak, demanding she surrender, while she peers over the sheets in terror, asking wordlessly why this assault has come; she responds with desperate prayers, begging him to name the justification for this outrage.

Thus he replies: “The colour in thy face,

That even for anger makes the lily pale,

And the red rose blush at her own disgrace,

Shall plead for me and tell my loving tale.

Under that colour am I come to scale

Thy never-conquered fort; the fault is thine,

For those thine eyes betray thee unto mine.

He answers that her beauty itself—the very blush in her face—shall plead his case; her eyes have betrayed her to him, and under that same beauty he claims the right to storm her unconquered fortress, for she alone is to blame.

“Thus I forestall thee, if thou mean to chide:

Thy beauty hath ensnared thee to this night,

Where thou with patience must my will abide,

My will that marks thee for my earth’s delight,

Which I to conquer sought with all my might.

But as reproof and reason beat it dead,

By thy bright beauty was it newly bred.

He continues: he forestalls her objection that his lust is wrong, for though reason and reproach once killed his desire, her brightness rekindled it, and now that desire marks her for his conquest and pleasure.

“I see what crosses my attempt will bring;

I know what thorns the growing rose defends;

I think the honey guarded with a sting;

All this beforehand counsel comprehends.

But will is deaf, and hears no heedful friends;

Only he hath an eye to gaze on beauty,

And dotes on what he looks, ’gainst law or duty.

He knows the cost—the thorns that guard a rose, the sting that guards honey—he has foreseen all beforehand, yet his will is deaf to reason and listens only to beauty; he gazes and worships what he sees, indifferent to law or duty.

“I have debated, even in my soul,

What wrong, what shame, what sorrow I shall breed;

But nothing can affection’s course control,

Or stop the headlong fury of his speed.

I know repentant tears ensue the deed,

Reproach, disdain, and deadly enmity;

Yet strike I to embrace mine infamy.”

He has weighed in his soul the wrong, shame, and sorrow he will bring, yet nothing can arrest the headlong rush of desire; he foresees repentance, reproach, enmity, and ruin, yet he chooses to embrace infamy rather than resist.

This said, he shakes aloft his Roman blade,

Which, like a falcon tow’ring in the skies,

Coucheth the fowl below with his wings’ shade,

Whose crooked beak threats, if he mount he dies.

So under his insulting falchion lies

Harmless Lucretia, marking what he tells

With trembling fear, as fowl hear falcon’s bells.

He draws his sword, which hovers above her like a falcon's shadow over prey, its curved blade threatening death if she moves; beneath that glinting weapon Lucretia trembles, as helpless as a bird terrified by the bells on a hunting falcon's legs.

“Lucrece,” quoth he, “this night I must enjoy thee.

If thou deny, then force must work my way,

For in thy bed I purpose to destroy thee;

That done, some worthless slave of thine I’ll slay.

To kill thine honour with thy life’s decay;

And in thy dead arms do I mean to place him,

Swearing I slew him, seeing thee embrace him.

He names her and declares he will have her this night; if she refuses, he will force the matter—and if she resists, he will murder a slave, place the body beside her, and swear he killed him in her arms, staining her honor with infidelity.

“So thy surviving husband shall remain

The scornful mark of every open eye;

Thy kinsmen hang their heads at this disdain,

Thy issue blurred with nameless bastardy.

And thou, the author of their obloquy,

Shalt have thy trespass cited up in rhymes

And sung by children in succeeding times.

Thus her husband will be a laughing-stock, her relatives shamed, her children branded as bastards; she herself will be the cause of their disgrace, and her transgression will be immortalized in verse and sung by children for generations to come.

“But if thou yield, I rest thy secret friend.

The fault unknown is as a thought unacted;

A little harm done to a great good end

For lawful policy remains enacted.

The poisonous simple sometimes is compacted

In a pure compound; being so applied,

His venom in effect is purified.

If you give in, I'll keep your secret safe—what nobody knows about never really happened, and a small wrong done for a greater good is just shrewd policy anyway. Even poison, when mixed into something pure and applied the right way, loses its toxicity. In the end it becomes harmless.

“Then, for thy husband and thy children’s sake,

Tender my suit. Bequeath not to their lot

The shame that from them no device can take,

The blemish that will never be forgot,

Worse than a slavish wipe, or birth-hour’s blot:

For marks descried in men’s nativity

Are nature’s faults, not their own infamy.”

Think of your husband and your children—don't condemn them to a shame that nothing can erase, a stain they'll carry forever. That kind of inherited disgrace is worse than being born a slave or marked by some natural defect. At least those are accidents of birth, not something they're responsible for.

Here with a cockatrice’ dead-killing eye

He rouseth up himself and makes a pause;

While she, the picture of pure piety,

Like a white hind under the gripe’s sharp claws,

Pleads in a wilderness where are no laws,

To the rough beast that knows no gentle right,

Nor aught obeys but his foul appetite.

Tarquin fixes her with a stare like a cockatrice that kills with a glance, steeling himself and pausing; and she, the very image of virtue, is like a white doe pinned under a vulture's talons, pleading for mercy in a place where law doesn't exist, to a beast that knows nothing of kindness and obeys only his own filthy desire.

But when a black-faced cloud the world doth threat,

In his dim mist th’ aspiring mountains hiding,

From earth’s dark womb some gentle gust doth get,

Which blows these pitchy vapours from their biding,

Hind’ring their present fall by this dividing;

So his unhallowed haste her words delays,

And moody Pluto winks while Orpheus plays.

But when a dark thundercloud blocks out the sky and hides the mountains in its murk, sometimes a soft breeze rises from deep in the earth and blows those thick vapours away, delaying the storm by scattering them—and just so, his brutal urgency is held back by her words, as if grim Pluto himself pauses while Orpheus plays his music.

Yet, foul night-waking cat, he doth but dally,

While in his hold-fast foot the weak mouse panteth.

Her sad behaviour feeds his vulture folly,

A swallowing gulf that even in plenty wanteth.

His ear her prayers admits, but his heart granteth

No penetrable entrance to her plaining;

Tears harden lust, though marble wear with raining.

Like a cat toying with a trapped mouse, he delays the moment, pretending to dally while keeping her pinned beneath him. Her pleading feeds his cruelty—he's a pit that swallows everything and still hungers. He hears her prayers but his heart won't yield to them; her tears only harden his lust, as though stone itself grows thicker under rain.

Her pity-pleading eyes are sadly fixed

In the remorseless wrinkles of his face.

Her modest eloquence with sighs is mixed,

Which to her oratory adds more grace.

She puts the period often from his place,

And midst the sentence so her accent breaks

That twice she doth begin ere once she speaks.

Her eyes, red from crying, stay fixed on his blank, pitiless face. She speaks softly between sobs, which somehow makes her words more powerful. She keeps stopping mid-sentence, stammering so badly she has to start over twice before she can finish a single thought.

She conjures him by high almighty Jove,

By knighthood, gentry, and sweet friendship’s oath,

By her untimely tears, her husband’s love,

By holy human law, and common troth,

By heaven and earth, and all the power of both,

That to his borrowed bed he make retire,

And stoop to honour, not to foul desire.

She appeals to every sacred thing she can name—Jupiter, his honor as a knight, his oath of friendship, her tears, her husband's love, God's law, human decency, heaven and earth—begging him to leave her bed and choose honor over his foul appetite.

Quoth she, “Reward not hospitality

With such black payment as thou hast pretended;

Mud not the fountain that gave drink to thee,

Mar not the thing that cannot be amended.

End thy ill aim before the shoot be ended;

He is no woodman that doth bend his bow

To strike a poor unseasonable doe.

She says: "Don't repay the kindness I showed you as a guest with this cruelty. Don't poison the spring that gave you water. Don't ruin something that can never be fixed. Stop this evil before you finish it—you're no true hunter if you shoot a helpless, exhausted doe."

“My husband is thy friend; for his sake spare me.

Thyself art mighty; for thine own sake leave me.

Myself a weakling, do not then ensnare me;

Thou look’st not like deceit; do not deceive me.

My sighs, like whirlwinds, labour hence to heave thee.

If ever man were moved with woman’s moans,

Be moved with my tears, my sighs, my groans.

You know my husband, so spare me for his sake—and you're strong enough to simply walk away for your own. I'm defenseless, so don't trap me here. You don't look like a liar, so don't prove me wrong. My desperation is tearing at you like a storm. If you've ever felt moved by a woman's suffering, let my tears and gasps reach you now.

“All which together, like a troubled ocean,

Beat at thy rocky and wrack-threat’ning heart,

To soften it with their continual motion;

For stones dissolved to water do convert.

O, if no harder than a stone thou art,

Melt at my tears and be compassionate!

Soft pity enters at an iron gate.

All of it together—like waves battering a cliff—is trying to wear down that hard heart of yours, because even stone dissolves into water given time. If you're no harder than rock, then soften and pity me. Even iron gates can let compassion slip through.

“In Tarquin’s likeness I did entertain thee.

Hast thou put on his shape to do him shame?

To all the host of heaven I complain me,

Thou wrong’st his honour, wound’st his princely name.

Thou art not what thou seem’st; and if the same,

Thou seem’st not what thou art, a god, a king;

For kings like gods should govern everything.

You look exactly like my husband when I let you in here. Did you borrow his face just to ruin him? I'm calling on heaven itself—you're shaming him, attacking his name and rank. You're not who you seem to be, and if you are, then you're nothing like what you claim to be: a god or a king. Kings should rule like gods rule, with justice over all.

“How will thy shame be seeded in thine age,

When thus thy vices bud before thy spring?

If in thy hope thou dar’st do such outrage,

What dar’st thou not when once thou art a king?

O, be remembered, no outrageous thing

From vassal actors can be wiped away;

Then kings’ misdeeds cannot be hid in clay.

Your vices are already taking root while you're still young, and you're not even king yet. What kind of king will you be if you already dare this? Remember: the wicked things done by the powerless leave a stain that never washes clean, and a king's crimes can't be buried with him. Your shame will grow with you into old age.

“This deed will make thee only loved for fear,

But happy monarchs still are feared for love.

With foul offenders thou perforce must bear,

When they in thee the like offences prove.

If but for fear of this, thy will remove,

For princes are the glass, the school, the book,

Where subjects’ eyes do learn, do read, do look.

Fear will be the only love you get from this—not the real loyalty that good rulers inspire. You'll be surrounded by criminals just like yourself, all breaking the same laws. If nothing else, do it for fear of that: rulers are mirrors and textbooks and models. Subjects learn right and wrong by watching you.

“And wilt thou be the school where Lust shall learn?

Must he in thee read lectures of such shame?

Wilt thou be glass, wherein it shall discern

Authority for sin, warrant for blame,

To privilege dishonour in thy name?

Thou back’st reproach against long-living laud,

And mak’st fair reputation but a bawd.

Will you become the classroom where lust learns? Will your example be the textbook for shamelessness? Will you be the mirror where power sees permission to sin? You'll be selling dishonor under your own name, trading your honor to become a pimp for vice.

“Hast thou command? By him that gave it thee,

From a pure heart command thy rebel will.

Draw not thy sword to guard iniquity,

For it was lent thee all that brood to kill.

Thy princely office how canst thou fulfill,

When, patterned by thy fault, foul Sin may say

He learned to sin, and thou didst teach the way?

You have authority—use it in the name of whoever gave it to you. Command yourself and shut down this rebellion inside you. Don't draw your sword to protect wickedness; that blade was given you to destroy it. How can you do your job as a prince if your own crime teaches people that sin is the way? You're the lesson now, and it's the wrong one.

“Think but how vile a spectacle it were

To view thy present trespass in another.

Men’s faults do seldom to themselves appear;

Their own transgressions partially they smother.

This guilt would seem death-worthy in thy brother.

O how are they wrapped in with infamies

That from their own misdeeds askance their eyes!

Imagine how despicable it would look if you saw someone else commit the same crime you're about to commit—we all excuse our own wrongs while condemning them in others, and those who hide from their own guilt are trapped in shame.

“To thee, to thee, my heaved-up hands appeal,

Not to seducing lust, thy rash relier.

I sue for exiled majesty’s repeal;

Let him return, and flatt’ring thoughts retire.

His true respect will prison false desire,

And wipe the dim mist from thy doting eyne,

That thou shalt see thy state, and pity mine.”

I'm begging you to let your true self return, not this false lust that's possessing you. Your real dignity will lock away this counterfeit desire and clear the fog from your eyes so you see what you're throwing away and what you're destroying in me.

“Have done,” quoth he. “My uncontrolled tide

Turns not, but swells the higher by this let.

Small lights are soon blown out, huge fires abide,

And with the wind in greater fury fret.

The petty streams that pay a daily debt

To their salt sovereign, with their fresh falls’ haste

Add to his flow, but alter not his taste.”

He cuts her off: "My desire doesn't weaken when you resist—it grows stronger. Fire burns hotter when you try to smother it, and streams flowing into the sea only make it surge, not dilute it."

“Thou art,” quoth she, “a sea, a sovereign king,

And, lo, there falls into thy boundless flood

Black lust, dishonour, shame, misgoverning,

Who seek to stain the ocean of thy blood.

If all these petty ills shall change thy good,

Thy sea within a puddle’s womb is hearsed,

And not the puddle in thy sea dispersed.

You're a vast ocean, she answers, and lust is pouring into you like poisoned rivers—but if these small corruptions can change your whole nature, then you're nothing but a puddle pretending to be the sea.

“So shall these slaves be king, and thou their slave;

Thou nobly base, they basely dignified;

Thou their fair life, and they thy fouler grave;

Thou loathed in their shame, they in thy pride.

The lesser thing should not the greater hide;

The cedar stoops not to the base shrub’s foot,

But low shrubs wither at the cedar’s root.

If you let these vices rule you, you become their slave while they wear your crown—base things wearing nobility, you becoming their garbage heap while they steal your glory. The cedar doesn't bow to the shrub; the shrub dies at the cedar's roots.

“So let thy thoughts, low vassals to thy state”—

“No more,” quoth he, “by heaven, I will not hear thee.

Yield to my love. If not, enforced hate,

Instead of love’s coy touch, shall rudely tear thee.

That done, despitefully I mean to bear thee

Unto the base bed of some rascal groom,

To be thy partner in this shameful doom.”

"Stop," he swears, cutting her off. "Give yourself to me. If you refuse, I'll tear you as violently as hate, not love—and then I'll drag you to some servant's filthy bed and make you share his shame."

This said, he sets his foot upon the light,

For light and lust are deadly enemies.

Shame folded up in blind concealing night,

When most unseen, then most doth tyrannize.

The wolf hath seized his prey, the poor lamb cries,

Till with her own white fleece her voice controlled

Entombs her outcry in her lips’ sweet fold.

He stamps out the candle, for darkness and lust are partners—shame thrives unseen in blindness. The wolf has caught the lamb; she cries out until he smothers her screams with the linen of her own nightclothes.

For with the nightly linen that she wears

He pens her piteous clamours in her head,

Cooling his hot face in the chastest tears

That ever modest eyes with sorrow shed.

O, that prone lust should stain so pure a bed!

The spots whereof could weeping purify,

Her tears should drop on them perpetually.

He wipes his burning face in her innocent tears, the cruellest irony—her pure bed stained by his animal need. Her weeping could wash away the stains if she had a lifetime of tears for each one.

But she hath lost a dearer thing than life,

And he hath won what he would lose again.

This forced league doth force a further strife;

This momentary joy breeds months of pain;

This hot desire converts to cold disdain.

Pure Chastity is rifled of her store,

And Lust, the thief, far poorer than before.

Lucrece has lost something far more valuable than her life, while Tarquin has won something he'll soon wish he'd never touched. This violent coupling breeds only deeper conflict; the momentary pleasure will spawn months of suffering. His hot lust curdles into disgust. Chastity itself has been robbed, and Lust—the thief—leaves him emptier than before.

Look as the full-fed hound or gorged hawk,

Unapt for tender smell or speedy flight,

Make slow pursuit, or altogether balk

The prey wherein by nature they delight;

So surfeit-taking Tarquin fares this night.

His taste delicious, in digestion souring,

Devours his will, that lived by foul devouring.

Like a overfed hunting dog or hawk too bloated to catch its scent or fly fast, Tarquin now moves sluggishly through the night, incapable of the appetite that once drove him. His pleasure already turns to nausea in his gut; his desire, which lived by devouring others, now devours itself.

O deeper sin than bottomless conceit

Can comprehend in still imagination!

Drunken desire must vomit his receipt,

Ere he can see his own abomination.

While lust is in his pride no exclamation

Can curb his heat or rein his rash desire,

Till, like a jade, self-will himself doth tire.

This is sin so vast that even endless imagination can't grasp it. Lust must vomit up what it's consumed before it can see how vile it is. While desire swells with pride, nothing can restrain it—not until, like a worn-out horse, it exhausts itself with its own thrashing.

And then with lank and lean discoloured cheek,

With heavy eye, knit brow, and strengthless pace,

Feeble desire, all recreant, poor, and meek,

Like to a bankrout beggar wails his case.

The flesh being proud, desire doth fight with Grace,

For there it revels; and when that decays,

The guilty rebel for remission prays.

Then, hollowed out and ashamed, with sunken cheeks and dead eyes, Tarquin's desire slinks away like a bankrupt beggar begging for mercy. The flesh, proud and rebellious, wars with his conscience; when the flesh weakens, the guilty man pleads for forgiveness.

So fares it with this faultful lord of Rome,

Who this accomplishment so hotly chased;

For now against himself he sounds this doom,

That through the length of times he stands disgraced.

Besides, his soul’s fair temple is defaced,

To whose weak ruins muster troops of cares,

To ask the spotted princess how she fares.

This is Tarquin's fate: he chased this act with burning heat, and now he pronounces his own sentence—he will be disgraced forever. His soul, a temple, is defaced; and its ruins gather an army of anxieties, all asking after the ravaged Lucrece and how she survives.

She says her subjects with foul insurrection

Have battered down her consecrated wall,

And by their mortal fault brought in subjection

Her immortality, and made her thrall

To living death and pain perpetual,

Which in her prescience she controlled still,

But her foresight could not forestall their will.

Lucrece describes it as her own people—her subjects, her very self—rising up in rebellion, breaching her sanctified walls and dragging her immortal dignity down into slavery, living death, endless pain. She always held dominion over these forces in her mind, but no amount of foresight could stop them once they moved against her will.

E’en in this thought through the dark night he stealeth,

A captive victor that hath lost in gain,

Bearing away the wound that nothing healeth,

The scar that will, despite of cure, remain;

Leaving his spoil perplexed in greater pain.

She bears the load of lust he left behind,

And he the burden of a guilty mind.

In the darkness, Tarquin steals away—a victor who's lost everything, carrying a wound that won't heal, a scar that will never fade. He leaves Lucrece in far worse torment than himself. She bears the weight of the lust he planted in her; he bears the burden of knowing what he's done.

He like a thievish dog creeps sadly thence;

She like a wearied lamb lies panting there;

He scowls, and hates himself for his offence;

She, desperate, with her nails her flesh doth tear.

He faintly flies, sweating with guilty fear;

She stays, exclaiming on the direful night;

He runs, and chides his vanished, loathed delight.

After the crime, Tarquin creeps away like a guilty dog, sweating with fear, while Lucrece lies gasping on the ground, clawing at her own flesh in despair—he running from what he now loathes, she screaming against the darkness that hid his assault.

He thence departs a heavy convertite;

She there remains a hopeless castaway.

He in his speed looks for the morning light;

She prays she never may behold the day.

“For day,” quoth she, “night’s scapes doth open lay,

And my true eyes have never practised how

To cloak offences with a cunning brow.

He leaves transformed by guilt and seeking the dawn; she remains destroyed, praying never to see daylight again, because day will expose what night concealed, and her face has no skill at hiding shame.

“They think not but that every eye can see

The same disgrace which they themselves behold;

And therefore would they still in darkness be,

To have their unseen sin remain untold.

For they their guilt with weeping will unfold,

And grave, like water that doth eat in steel,

Upon my cheeks what helpless shame I feel.”

She believes that everyone can read her disgrace as plainly as she can; they'll want to stay hidden too with their sins, but unlike them, she'll weep and confess—her shame will eat into her cheeks like rust into steel, visible and permanent.

Here she exclaims against repose and rest,

And bids her eyes hereafter still be blind.

She wakes her heart by beating on her breast,

And bids it leap from thence, where it may find

Some purer chest, to close so pure a mind.

Frantic with grief thus breathes she forth her spite

Against the unseen secrecy of night.

Wild with grief, she rejects rest and orders her eyes to go blind; she beats her own chest, wishing her heart could leap out and find a purer body to inhabit, then curses the night's silent complicity in her ruin.

“O comfort-killing night, image of hell,

Dim register and notary of shame,

Black stage for tragedies and murders fell,

Vast sin-concealing chaos, nurse of blame,

Blind muffled bawd, dark harbour for defame,

Grim cave of death, whisp’ring conspirator

With close-tongued treason and the ravisher!

She attacks night itself—calling it hell's image, the record-keeper of shame, a black stage for murder, chaos that hides sin, a blind pimp for defame, death's cavern—night is the conspirator with the rapist.

“O hateful, vaporous, and foggy night,

Since thou art guilty of my cureless crime,

Muster thy mists to meet the eastern light,

Make war against proportioned course of time;

Or if thou wilt permit the sun to climb

His wonted height, yet ere he go to bed,

Knit poisonous clouds about his golden head.

She curses night as hateful and foggy fog, blaming it as her accomplice; she demands it gather mists to fight the sunrise, or if the sun must rise, let it wear poisonous clouds like a crown.

“With rotten damps ravish the morning air;

Let their exhaled unwholesome breaths make sick

The life of purity, the supreme fair,

Ere he arrive his weary noontide prick.

And let thy misty vapours march so thick,

That in their smoky ranks his smothered light

May set at noon and make perpetual night.

Let rotting vapours sicken the morning air before the sun reaches noon; let night's mists choke its light so thick that the sun sets at midday and eternal darkness reigns.

“Were Tarquin night, as he is but night’s child,

The silver-shining queen he would distain;

Her twinkling handmaids too, by him defiled,

Through Night’s black bosom should not peep again.

So should I have co-partners in my pain;

And fellowship in woe doth woe assuage,

As palmers’ chat makes short their pilgrimage.

If Tarquin were night itself instead of just night's creature, he'd have defiled the moon and stars too—then at least she'd have companions in her pain, and shared suffering would comfort her as fellow travelers' chatter shortens a pilgrimage.

“Where now I have no one to blush with me,

To cross their arms and hang their heads with mine,

To mask their brows, and hide their infamy;

But I alone alone must sit and pine,

Seasoning the earth with showers of silver brine,

Mingling my talk with tears, my grief with groans,

Poor wasting monuments of lasting moans.

Now she has no one to blush beside her, no one to hang their head in shame with her—she sits alone, watering the earth with her tears, mixing words with weeping and groans, a wretched monument to endless sorrow.

“O night, thou furnace of foul reeking smoke,

Let not the jealous day behold that face

Which underneath thy black all-hiding cloak

Immodesty lies martyred with disgrace!

Keep still possession of thy gloomy place,

That all the faults which in thy reign are made

May likewise be sepulchred in thy shade.

She begs night not to let the jealous day see her face, which lies disgraced under night's black cloak; keep her in darkness so all the faults made during night's reign stay buried in shadow.

“Make me not object to the tell-tale day.

The light will show charactered in my brow

The story of sweet chastity’s decay,

The impious breach of holy wedlock vow.

Yea, the illiterate, that know not how

To cipher what is writ in learned books,

Will quote my loathsome trespass in my looks.

Don't make her a spectacle for daylight to read; the light will write chastity's collapse and marriage vow's violation across her brow, and even the illiterate will read her sin in her face.

“The nurse, to still her child, will tell my story

And fright her crying babe with Tarquin’s name.

The orator, to deck his oratory,

Will couple my reproach to Tarquin’s shame.

Feast-finding minstrels, tuning my defame,

Will tie the hearers to attend each line,

How Tarquin wronged me, I Collatine.

Nurses will tell her story to hush crying babies with Tarquin's name; orators will pair her shame with his for eloquence; minstrels will turn her ruin into ballads—and Collatine will be named as wronged.

“Let my good name, that senseless reputation,

For Collatine’s dear love be kept unspotted.

If that be made a theme for disputation,

The branches of another root are rotted,

And undeserved reproach to him allotted

That is as clear from this attaint of mine

As I, ere this, was pure to Collatine.

She begs that her reputation—that empty thing—be kept clean for Collatine's sake, because if it's destroyed, the blame spreads to his name too, though he's as innocent as she was before the rape.

“O unseen shame, invisible disgrace!

O unfelt sore, crest-wounding, private scar!

Reproach is stamped in Collatinus’ face,

And Tarquin’s eye may read the mot afar,

How he in peace is wounded, not in war.

Alas, how many bear such shameful blows,

Which not themselves, but he that gives them knows!

The shame is invisible but it marks Collatine's face; Tarquin can read from afar how he's been wounded in peacetime, not war—and many people carry such hidden blows, known only to the one who struck them.

“If, Collatine, thine honour lay in me,

From me by strong assault it is bereft.

My honey lost, and I, a drone-like bee,

Have no perfection of my summer left,

But robbed and ransacked by injurious theft.

In thy weak hive a wand’ring wasp hath crept,

And sucked the honey which thy chaste bee kept.

Because her honour rested in her chastity, the assault has stolen it; she's now a bee without honey, robbed of her summer's purpose, violated by a wasp that crept into her husband's hive and drank the sweetness she kept pure for him.

“Yet am I guilty of thy honour’s wrack;

Yet for thy honour did I entertain him.

Coming from thee, I could not put him back,

For it had been dishonour to disdain him.

Besides, of weariness he did complain him,

And talked of virtue. O unlooked-for evil,

When virtue is profaned in such a devil!

I'm to blame for what happened to your honor—yet I let him in for the sake of your honor. How could I turn away a guest coming from you? That would've been insulting. Besides, he complained of exhaustion and spoke of virtue. What a cruel trick: when someone corrupt hides behind talk of goodness.

“Why should the worm intrude the maiden bud?

Or hateful cuckoos hatch in sparrows’ nests?

Or toads infect fair founts with venom mud?

Or tyrant folly lurk in gentle breasts?

Or kings be breakers of their own behests?

But no perfection is so absolute

That some impurity doth not pollute.

Why do worms destroy flower buds? Why do cuckoos lay eggs in other birds' nests? Why do toads poison clean springs? Why does foolishness creep into kind hearts? Why do kings break their own laws? Nothing is so perfect that corruption can't touch it—that's just the nature of things.

“The aged man that coffers up his gold

Is plagued with cramps, and gouts and painful fits,

And scarce hath eyes his treasure to behold,

But like still-pining Tantalus he sits,

And useless barns the harvest of his wits,

Having no other pleasure of his gain

But torment that it cannot cure his pain.

Think of the old miser hoarding gold: he's wracked with cramps and gout, too sick to even enjoy looking at his treasure, like Tantalus in myth, eternally reaching for what he can't have. His wealth sits useless while his mind wastes away, and all it brings him is the torture of knowing he can't spend it to save himself.

“So then he hath it when he cannot use it,

And leaves it to be mastered by his young,

Who in their pride do presently abuse it.

Their father was too weak, and they too strong,

To hold their cursed-blessed fortune long.

The sweets we wish for turn to loathed sours

Even in the moment that we call them ours.

So he possesses the gold but can't use it, then passes it to his heirs, who squander it in their youthful arrogance. The father was too feeble and the sons too reckless to hold onto their cursed fortune. Whatever good we desire sours the moment we actually possess it.

“Unruly blasts wait on the tender spring;

Unwholesome weeds take root with precious flowers;

The adder hisses where the sweet birds sing;

What virtue breeds iniquity devours.

We have no good that we can say is ours,

But ill-annexed Opportunity

Or kills his life or else his quality.

Spring storms batter young plants; weeds choke out precious flowers; snakes hiss where songbirds sing—whatever virtue creates, sin destroys. We can't truly own any good thing, because opportunity is always there to either kill the person or strip away what made it valuable.

“O Opportunity, thy guilt is great!

’Tis thou that execut’st the traitor’s treason;

Thou sets the wolf where he the lamb may get;

Whoever plots the sin, thou ’point’st the season.

’Tis thou that spurn’st at right, at law, at reason;

And in thy shady cell, where none may spy him,

Sits Sin, to seize the souls that wander by him.

Opportunity, you're the guilty one here. You carry out the traitor's scheme; you put the wolf where it can hunt the lamb; whoever plots the crime, you provide the moment for it. You mock justice, law, and reason, and in your dark hideaway—where no one can see—Sin sits waiting to trap every wandering soul.

“Thou mak’st the vestal violate her oath;

Thou blow’st the fire when temperance is thawed;

Thou smother’st honesty, thou murder’st troth,

Thou foul abettor, thou notorious bawd!

Thou plantest scandal and displacest laud.

Thou ravisher, thou traitor, thou false thief,

Thy honey turns to gall, thy joy to grief.

You make chaste women break their vows; you fan the flames when restraint melts; you smother honesty and murder loyalty, you filthy procurer, you shameless pimp. You plant scandal and steal praise. You're a rapist, a traitor, a thief—your sweetness curdles to poison, your joy becomes grief.

“Thy secret pleasure turns to open shame,

Thy private feasting to a public fast,

Thy smoothing titles to a ragged name,

Thy sugared tongue to bitter wormwood taste.

Thy violent vanities can never last.

How comes it then, vile Opportunity,

Being so bad, such numbers seek for thee?

Your secret pleasure becomes public scandal; your private feast becomes starvation; your smooth words become ugly names; your sugared tongue tastes like bitter wormwood. Your wild excesses never last. So why, vile Opportunity, do so many people chase after you?

“When wilt thou be the humble suppliant’s friend,

And bring him where his suit may be obtained?

When wilt thou sort an hour great strifes to end,

Or free that soul which wretchedness hath chained?

Give physic to the sick, ease to the pained?

The poor, lame, blind, halt, creep, cry out for thee;

But they ne’er meet with Opportunity.

When will you help the desperate person who begs for your aid? When will you step in to end great conflicts, or free the soul crushed by misery? When will you heal the sick and ease the suffering? The poor, the lame, the blind cry out for you—yet they never actually meet with Opportunity.

“The patient dies while the physician sleeps;

The orphan pines while the oppressor feeds;

Justice is feasting while the widow weeps;

Advice is sporting while infection breeds.

Thou grant’st no time for charitable deeds.

Wrath, envy, treason, rape, and murder’s rages,

Thy heinous hours wait on them as their pages.

The doctor sleeps while the patient dies; the orphan wastes away while the oppressor gorges himself; Justice feasts while the widow weeps; good advice plays games while disease spreads. You give no time for charity. Rage, jealousy, treachery, rape, and murder—they have you as their devoted servant.

“When truth and virtue have to do with thee,

A thousand crosses keep them from thy aid;

They buy thy help; but Sin ne’er gives a fee;

He gratis comes, and thou art well appaid

As well to hear as grant what he hath said.

My Collatine would else have come to me

When Tarquin did, but he was stayed by thee.

When virtue and truth try to reach you, a thousand obstacles block their way. They have to pay for your help, but Sin never pays—he comes free, and you're just as happy to listen and grant what he asks. My husband would've been here to protect me when Tarquin came, except you delayed him.

“Guilty thou art of murder and of theft,

Guilty of perjury and subornation,

Guilty of treason, forgery, and shift,

Guilty of incest, that abomination:

An accessory by thine inclination

To all sins past and all that are to come,

From the creation to the general doom.

You're guilty of murder and theft, perjury and bribery, treason and fraud and deception, incest and every unspeakable sin. You're an accomplice by your nature to every sin ever committed and every sin yet to come, from the world's beginning to the final day of judgment.

“Misshapen Time, copesmate of ugly night,

Swift subtle post, carrier of grisly care,

Eater of youth, false slave to false delight,

Base watch of woes, sin’s pack-horse, virtue’s snare!

Thou nursest all and murd’rest all that are.

O hear me then, injurious, shifting Time!

Be guilty of my death, since of my crime.

Misshapen Time, buddy of ugly Night, swift messenger, carrier of grim suffering, devourer of youth, false servant to false pleasure, record-keeper of sorrow, pack-horse for sin, trap for virtue—you create and destroy everything. Hear me: cruel, slippery Time, if I'm guilty of my crime, be guilty of my death too.

“Why hath thy servant, Opportunity

Betrayed the hours thou gav’st me to repose,

Cancelled my fortunes, and enchained me

To endless date of never-ending woes?

Time’s office is to fine the hate of foes,

To eat up errors by opinion bred,

Not spend the dowry of a lawful bed.

Why did your servant Opportunity waste the hours you gave me for rest, destroy my fortune, and chain me to endless, never-ending misery? Time's true job is to heal the hatred between enemies, to wear away errors born of false belief—not to ruin the marriage bed of an honest couple.

“Time’s glory is to calm contending kings,

To unmask falsehood and bring truth to light,

To stamp the seal of time in aged things,

To wake the morn and sentinel the night,

To wrong the wronger till he render right,

To ruinate proud buildings with thy hours,

And smear with dust their glitt’ring golden towers;

Time's real glory is settling disputes between kings, exposing lies and bringing truth to light, marking age upon old things, waking the morning and guarding the night, punishing the wrongdoer until he makes amends, tearing down proud buildings with your passage, and covering their glittering gold towers with dust;

“To fill with worm-holes stately monuments,

To feed oblivion with decay of things,

To blot old books and alter their contents,

To pluck the quills from ancient ravens’ wings,

To dry the old oak’s sap and cherish springs,

To spoil antiquities of hammered steel,

And turn the giddy round of Fortune’s wheel;

Time destroys monuments with decay, ruins old books and records, erases the past, wears down stone, and spins Fortune's wheel—it does all this relentlessly.

“To show the beldam daughters of her daughter,

To make the child a man, the man a child,

To slay the tiger that doth live by slaughter,

To tame the unicorn and lion wild,

To mock the subtle in themselves beguiled,

To cheer the ploughman with increaseful crops,

And waste huge stones with little water-drops.

Time makes the old look young and the young look old, kills predators and tames wild beasts, exposes the clever in their own traps, rewards farmers, and grinds stone to dust with water—it reshapes everything.

“Why work’st thou mischief in thy pilgrimage,

Unless thou couldst return to make amends?

One poor retiring minute in an age

Would purchase thee a thousand thousand friends,

Lending him wit that to bad debtors lends.

O, this dread night, wouldst thou one hour come back,

I could prevent this storm and shun thy wrack!

Why do you wreak this havoc, Time, unless you could go back and fix what you've broken? One single moment of rewind in an eternity would win you countless friends. If you'd just come back for one hour tonight, I could stop this catastrophe and escape my ruin!

“Thou ceaseless lackey to eternity,

With some mischance cross Tarquin in his flight.

Devise extremes beyond extremity,

To make him curse this cursed crimeful night.

Let ghastly shadows his lewd eyes affright,

And the dire thought of his committed evil

Shape every bush a hideous shapeless devil.

Time, you endless servant to nothing, throw some disaster in Tarquin's path as he flees. Make him suffer torments beyond measure, curse this evil night he's caused. Let ghostly visions terrify him, and make every bush seem like a demon shaped from his own guilt.

“Disturb his hours of rest with restless trances,

Afflict him in his bed with bedrid groans;

Let there bechance him pitiful mischances,

To make him moan, but pity not his moans.

Stone him with hard’ned hearts harder than stones,

And let mild women to him lose their mildness,

Wilder to him than tigers in their wildness.

Rob him of sleep—give him only nightmares and groans in bed. Heap misfortunes on him until he cries, but let no one pity his tears. Harden people's hearts against him, and make even gentle women turn savage toward him like tigers.

“Let him have time to tear his curled hair,

Let him have time against himself to rave,

Let him have time of Time’s help to despair,

Let him have time to live a loathed slave,

Let him have time a beggar’s orts to crave,

And time to see one that by alms doth live

Disdain to him disdained scraps to give.

Give him time to tear out his hair in rage, to turn against himself, to despair that even Time itself won't help him. Make him live as a hated slave, begging for scraps, watching others scorn him—a beggar even other beggars won't help.

“Let him have time to see his friends his foes,

And merry fools to mock at him resort;

Let him have time to mark how slow time goes

In time of sorrow, and how swift and short

His time of folly and his time of sport;

And ever let his unrecalling crime

Have time to wail th’ abusing of his time.

Let him watch his friends become his enemies and fools mock him for sport. Let him feel how slowly time crawls when you're suffering, and how quickly it fled when he was just playing and sinning. Let him have endless time to mourn how he wasted his time.

“O Time, thou tutor both to good and bad,

Teach me to curse him that thou taught’st this ill!

At his own shadow let the thief run mad,

Himself himself seek every hour to kill.

Such wretched hands such wretched blood should spill,

For who so base would such an office have

As sland’rous deathsman to so base a slave?

Time, you teach both good and evil—teach me to curse him as you taught him to do this! Let him chase his own shadow in madness, want to kill himself every hour. What kind of wretch would want the job of executioner to such a base criminal?

“The baser is he, coming from a king,

To shame his hope with deeds degenerate.

The mightier man, the mightier is the thing

That makes him honoured or begets him hate;

For greatest scandal waits on greatest state.

The moon being clouded presently is missed,

But little stars may hide them when they list.

He's even more base because he's a king's son, shaming his bloodline with degenerate acts. The higher the rank, the more weight that rank carries—honor or shame. The greatest men draw the greatest scandal. A cloud hides the moon and we notice; little stars can vanish unobserved.

“The crow may bathe his coal-black wings in mire,

And unperceived fly with the filth away;

But if the like the snow-white swan desire,

The stain upon his silver down will stay.

Poor grooms are sightless night, kings glorious day.

Gnats are unnoted wheresoe’er they fly,

But eagles gazed upon with every eye.

A crow can bathe in mud and fly off unseen, but if a white swan gets the same stain, it won't wash out. Common laborers are invisible as night; kings are daylight. Gnats go unnoticed wherever they go, but eagles—everyone stares at eagles.

“Out, idle words, servants to shallow fools,

Unprofitable sounds, weak arbitrators!

Busy yourselves in skill-contending schools;

Debate where leisure serves with dull debaters;

To trembling clients be you mediators.

For me, I force not argument a straw,

Since that my case is past the help of law.

Stop, useless words, toy of foolish men! You're just empty noise and weak judges. Go debate in schools where people have nothing better to do, comfort nervous clients in court. I don't care about arguments anymore—my case is past any court's help.

“In vain I rail at Opportunity,

At Time, at Tarquin, and uncheerful night;

In vain I cavil with mine infamy,

In vain I spurn at my confirmed despite.

This helpless smoke of words doth me no right.

The remedy indeed to do me good

Is to let forth my foul defiled blood.

It's pointless for me to rage at Chance, Time, Tarquin, and that hateful night. It's pointless to argue with my shame or kick against my ruin. These words are just smoke that do me no good. The only real cure for me is to let my corrupted blood spill out.

“Poor hand, why quiver’st thou at this decree?

Honour thyself to rid me of this shame,

For if I die, my honour lives in thee,

But if I live, thou liv’st in my defame.

Since thou couldst not defend thy loyal dame,

And wast afeared to scratch her wicked foe,

Kill both thyself and her for yielding so.”

Poor hand, why do you shake at what you must do? Honor yourself by freeing me from this shame. If I die, my reputation lives through you; if I live, I live in your disgrace. Since you couldn't defend your loyal mistress and were too afraid to scratch her wicked attacker, you should kill both yourself and me for letting this happen.

This said, from her betumbled couch she starteth,

To find some desp’rate instrument of death;

But this no slaughterhouse no tool imparteth

To make more vent for passage of her breath,

Which, thronging through her lips, so vanisheth

As smoke from Ætna, that in air consumes,

Or that which from discharged cannon fumes.

With that, she jumps from her tangled bed searching for something deadly to kill herself with. But she can find no blade, no tool sharp enough to open a passage for her last breath. What breath she can push out through her lips just vanishes like smoke from a volcano or cannon fire into the air.

“In vain,” quoth she, “I live, and seek in vain

Some happy mean to end a hapless life.

I feared by Tarquin’s falchion to be slain,

Yet for the self-same purpose seek a knife.

But when I feared I was a loyal wife;

So am I now.—O no, that cannot be!

Of that true type hath Tarquin rifled me.

She says in despair that she can't find any decent way to end this miserable life. She was terrified Tarquin would kill her with his sword, yet now she searches for a knife for the same purpose. But then she was a faithful wife—now she's trying to be faithful still. No, that's not true anymore. Tarquin's stripped that from her.

“O that is gone for which I sought to live,

And therefore now I need not fear to die.

To clear this spot by death, at least I give

A badge of fame to slander’s livery,

A dying life to living infamy.

Poor helpless help, the treasure stol’n away,

To burn the guiltless casket where it lay!

What made my life worth living is gone—my honor—so now I have no reason to fear death. By dying, I'll at least brand myself with the mark of shame and transform myself into a cautionary tale; better a dead reputation than a living one tainted by scandal. It's cruel irony: the treasure's been stolen, and all that's left is to burn the innocent vessel that held it.

“Well, well, dear Collatine, thou shalt not know

The stained taste of violated troth;

I will not wrong thy true affection so,

To flatter thee with an infringed oath.

This bastard graff shall never come to growth;

He shall not boast who did thy stock pollute

That thou art doting father of his fruit.

Listen, Collatine—you'll never taste the bitterness of my broken oath through me. I won't betray your love by pretending innocence with false promises. This bastard child Tarquin planted in me will never grow; he can't parade around claiming he corrupted your line and fathered your heir.

“Nor shall he smile at thee in secret thought,

Nor laugh with his companions at thy state;

But thou shalt know thy int’rest was not bought

Basely with gold, but stol’n from forth thy gate.

For me, I am the mistress of my fate,

And with my trespass never will dispense,

Till life to death acquit my forced offence.

Nor will he smirk at you behind closed doors or laugh with his friends about your humiliation. You'll know your marriage was stolen, not sold cheap—it was taken from your own threshold. As for me, I control my own fate, and I'll never forgive myself or accept what was forced on me until death balances the scales.

“I will not poison thee with my attaint,

Nor fold my fault in cleanly-coined excuses;

My sable ground of sin I will not paint,

To hide the truth of this false night’s abuses.

My tongue shall utter all; mine eyes, like sluices,

As from a mountain-spring that feeds a dale,

Shall gush pure streams to purge my impure tale.”

I won't hide behind pretty excuses or paint over my sin with smooth words. I'll speak the whole truth plainly; my tears will flow like a mountain spring, washing away the filth of that night's abuse.

By this, lamenting Philomel had ended

The well-tuned warble of her nightly sorrow,

And solemn night with slow sad gait descended

To ugly hell; when, lo, the blushing morrow

Lends light to all fair eyes that light will borrow.

But cloudy Lucrece shames herself to see,

And therefore still in night would cloistered be.

By now the nightingale had finished her sorrowful song, and night itself was fading into morning's light. But Lucrece can't bear to be seen in daylight and wants to stay hidden in darkness.

Revealing day through every cranny spies,

And seems to point her out where she sits weeping,

To whom she sobbing speaks: “O eye of eyes,

Why pry’st thou through my window? Leave thy peeping,

Mock with thy tickling beams eyes that are sleeping.

Brand not my forehead with thy piercing light,

For day hath naught to do what’s done by night.”

Daylight seeps through every crack and seems to expose her sitting there in tears. She speaks angrily to the sun itself: 'Stop spying on me through my window. Go tickle the eyes of sleeping people instead. Don't burn your brand into my forehead—daylight has nothing to do with what happened in the dark.'

Thus cavils she with everything she sees.

True grief is fond and testy as a child,

Who wayward once, his mood with naught agrees.

Old woes, not infant sorrows, bear them mild.

Continuance tames the one; the other wild,

Like an unpractised swimmer plunging still

With too much labour drowns for want of skill.

She picks fights with everything around her this way. True sorrow acts like a stubborn child—once upset, it won't cooperate with anything. Old griefs people learn to bear quietly, but fresh ones stay raw and destructive, like an inexperienced swimmer thrashing and drowning from struggling too hard.

So she, deep-drenched in a sea of care,

Holds disputation with each thing she views,

And to herself all sorrow doth compare;

No object but her passion’s strength renews,

And as one shifts, another straight ensues.

Sometime her grief is dumb and hath no words;

Sometime ’tis mad and too much talk affords.

She's drowning in worry and argues with everything she sees, comparing all of it to her own pain. Each sight reignites her anguish, and one wave of grief gives way to another. Sometimes her sorrow leaves her speechless; sometimes it makes her babble uncontrollably.

The little birds that tune their morning’s joy

Make her moans mad with their sweet melody.

For mirth doth search the bottom of annoy;

Sad souls are slain in merry company.

Grief best is pleased with grief’s society;

True sorrow then is feelingly sufficed

When with like semblance it is sympathized.

The birds singing their morning joy only drive her deeper into madness, because happiness cuts right through despair. Sad people suffer when surrounded by cheerful company. Grief only finds comfort in other grief; real sorrow is only truly sated when it finds matching sorrow to sympathize with it.

’Tis double death to drown in ken of shore;

He ten times pines that pines beholding food;

To see the salve doth make the wound ache more;

Great grief grieves most at that would do it good;

Deep woes roll forward like a gentle flood,

Who, being stopped, the bounding banks o’erflows;

Grief dallied with nor law nor limit knows.

It's doubly agonizing to almost drown in sight of shore. Starving while watching food is ten times worse than starving in darkness. Seeing the cure makes the wound throb harder. Deep sorrow rolls forward like a flood, and when dammed up, it breaks through all boundaries—grief doesn't obey rules or limits.

“You mocking birds,” quoth she, “your tunes entomb

Within your hollow-swelling feathered breasts,

And in my hearing be you mute and dumb;

My restless discord loves no stops nor rests.

A woeful hostess brooks not merry guests.

Relish your nimble notes to pleasing ears;

Distress likes dumps when time is kept with tears.

She commands the birds: 'Seal your chirping melodies inside your feathered chests and be silent around me. My broken spirit needs no music or rest. A miserable host can't entertain cheerful guests. Take your songs to people who want to hear them; misery goes with sad songs and tears, not laughter.'

“Come, Philomel, that sing’st of ravishment,

Make thy sad grove in my disheveled hair.

As the dank earth weeps at thy languishment,

So I at each sad strain will strain a tear

And with deep groans the diapason bear;

For burden-wise I’ll hum on Tarquin still,

While thou on Tereus descants better skill.

Come nightingale, you who sing of violation—make your sad nest in my tangled hair. As the damp earth weeps when you lament, I'll cry to match each of your sorrowful notes, groaning in harmony. I'll sing of my Tarquin while you sing of your Tereus, and we'll both mourn our ravishments together.

“And whiles against a thorn thou bear’st thy part

To keep thy sharp woes waking, wretched I,

To imitate thee well, against my heart

Will fix a sharp knife to affright mine eye,

Who if it wink shall thereon fall and die.

These means, as frets upon an instrument,

Shall tune our heart-strings to true languishment.

You hold yourself against a thorn to keep your pain alive and waking. To match you properly, I'll hold a knife against my heart to keep my eyes open and aware; if I blink, I'll fall on it and die. These instruments of suffering will tune our grief-strings to perfect lamentation.

“And for, poor bird, thou sing’st not in the day,

As shaming any eye should thee behold,

Some dark deep desert seated from the way,

That knows not parching heat nor freezing cold,

Will we find out; and there we will unfold

To creatures stern sad tunes to change their kinds.

Since men prove beasts, let beasts bear gentle minds.”

And because you, poor bird, sing only at night, ashamed to let anyone see you, we'll find some dark desert far from any path, where there's no harsh sun or bitter cold—a place where we can sing our sad songs to wild beasts and teach them gentleness. Since men have proven themselves beasts, let beasts show us what mercy looks like.

As the poor frighted deer that stands at gaze,

Wildly determining which way to fly,

Or one encompassed with a winding maze,

That cannot tread the way out readily;

So with herself is she in mutiny,

To live or die which of the twain were better,

When life is shamed and Death reproach’s debtor.

Like a panicked deer frozen in fear, unable to decide which way to flee, or someone lost in a maze with no way out—Lucrece is equally trapped inside herself, torn between living and dying. Which is better when honor is gone and death itself becomes shameful?

“To kill myself,” quoth she, “alack, what were it,

But with my body my poor soul’s pollution?

They that lose half with greater patience bear it

Than they whose whole is swallowed in confusion.

That mother tries a merciless conclusion

Who, having two sweet babes, when death takes one,

Will slay the other, and be nurse to none.

If I kill myself, she thinks, what am I doing but destroying my soul along with my body? Those who lose half of something bear it better than those who lose everything to chaos. A mother who kills one of her two children when death takes the other is practising cruelty—she'll have no children left to nurse.

“My body or my soul, which was the dearer,

When the one pure, the other made divine?

Whose love of either to myself was nearer,

When both were kept for heaven and Collatine?

Ay me, the bark pilled from the lofty pine,

His leaves will wither and his sap decay;

So must my soul, her bark being pilled away.

Her body and soul were equally precious when one was pure and the other made noble through love—both kept intact for heaven and for Collatine. But now she's like a pine tree stripped of its bark: her leaves will wither, her sap will dry up, and her soul must wither too now that her body's covering is torn away.

“Her house is sacked, her quiet interrupted,

Her mansion battered by the enemy,

Her sacred temple spotted, spoiled, corrupted,

Grossly engirt with daring infamy.

Then let it not be called impiety,

If in this blemished fort I make some hole

Through which I may convey this troubled soul.

Her house has been invaded, her peace shattered, her sacred temple defiled and corrupted by shameful violation. So it's no sin if she cuts a hole through this damaged fortress to let her troubled soul escape.

“Yet die I will not till my Collatine

Have heard the cause of my untimely death,

That he may vow, in that sad hour of mine,

Revenge on him that made me stop my breath.

My stained blood to Tarquin I’ll bequeath,

Which by him tainted shall for him be spent,

And as his due writ in my testament.

But she won't die until Collatine hears why she's dead, so he can swear in that dark hour to avenge himself on the man who stopped her breath. She'll leave her poisoned blood as a bequest to Tarquin—blood that he corrupted will be spent in his cause, written into her will as his due payment.

“My honour I’ll bequeath unto the knife

That wounds my body so dishonoured.

’Tis honour to deprive dishonoured life;

The one will live, the other being dead.

So of shame’s ashes shall my fame be bred,

For in my death I murder shameful scorn;

My shame so dead, mine honour is new born.

Her honour goes to the knife that will wound her dishonoured body—it's honourable to end a life stained by shame. One will survive, the other will vanish, and from the ashes of her shame her true fame will be born, because in dying she murders the shame itself and gives birth to new honour.

“Dear lord of that dear jewel I have lost,

What legacy shall I bequeath to thee?

My resolution, love, shall be thy boast,

By whose example thou revenged mayst be.

How Tarquin must be used, read it in me;

Myself, thy friend, will kill myself, thy foe,

And for my sake serve thou false Tarquin so.

What gift can she leave her husband, who has lost such a precious jewel? Her firm resolve, my love, will be your boast, and through my example you can take revenge. Read in my death how Tarquin must be punished; I'll kill myself as your enemy and myself as your friend, and for my sake you must do the same to false Tarquin.

“This brief abridgement of my will I make:

My soul and body to the skies and ground;

My resolution, husband, do thou take;

Mine honour be the knife’s that makes my wound;

My shame be his that did my fame confound;

And all my fame that lives disbursed be

To those that live and think no shame of me.

Here's my brief will: my soul to heaven and my body to earth, my resolve is yours to keep, my honour belongs to the knife that wounds me, my shame belongs to the man who destroyed my fame, and all the good name I leave behind goes to those who'll remember me without shame.

“Thou, Collatine, shalt oversee this will;

How was I overseen that thou shalt see it!

My blood shall wash the slander of mine ill;

My life’s foul deed my life’s fair end shall free it.

Faint not, faint heart, but stoutly say, ‘So be it.’

Yield to my hand; my hand shall conquer thee.

Thou dead, both die, and both shall victors be.”

Collatine, you'll oversee this will—oh, how I wish I'd been overseen before you have to witness it! My blood will wash away the slander of what I've done; my death will redeem my life's foul deed. Don't fail now, my heart, but stand firm and say so be it. Give way to my hand; my hand will conquer you. When you're dead, we both die, and both of us will be victors.

This plot of death when sadly she had laid,

And wiped the brinish pearl from her bright eyes,

With untuned tongue she hoarsely called her maid,

Whose swift obedience to her mistress hies;

For fleet-winged duty with thought’s feathers flies.

Poor Lucrece’ cheeks unto her maid seem so

As winter meads when sun doth melt their snow.

Once she'd laid out this plan of death and wiped the salt tears from her bright eyes, she called her maid in a hoarse, uneven voice, and the maid came running with quick obedience—duty moves as fast as thought. Poor Lucrece's cheeks look to her maid like winter meadows when the sun melts the snow.

Her mistress she doth give demure good-morrow,

With soft slow tongue, true mark of modesty,

And sorts a sad look to her lady’s sorrow,

For why her face wore sorrow’s livery,

But durst not ask of her audaciously

Why her two suns were cloud-eclipsed so,

Nor why her fair cheeks over-washed with woe.

Her maid greets her with careful politeness, speaking softly and slowly as befits modest service, and matches her expression to her lady's sorrow—her face already wears the uniform of grief. She doesn't dare ask boldly why her mistress's two eyes are clouded over, or why her lovely cheeks are washed with tears.

But as the earth doth weep, the sun being set,

Each flower moistened like a melting eye,

Even so the maid with swelling drops ’gan wet

Her circled eyne, enforced by sympathy

Of those fair suns set in her mistress’ sky,

Who in a salt-waved ocean quench their light,

Which makes the maid weep like the dewy night.

But the maid weeps in sympathy, like the earth weeping after sunset when each flower glistens like a tear, her own eyes filling and swelling in response to those bright suns setting in her mistress's sky and drowning in a salt ocean of tears—which makes the maid weep like the dew falls at night.

A pretty while these pretty creatures stand,

Like ivory conduits coral cisterns filling.

One justly weeps; the other takes in hand

No cause, but company, of her drops spilling.

Their gentle sex to weep are often willing,

Grieving themselves to guess at others’ smarts,

And then they drown their eyes or break their hearts.

The two stand there a while, pretty creatures like marble fountains filling coral basins. One weeps justly for true cause; the other takes no real grief but only joins in the pouring of tears. Women of gentle nature often weep willingly, grieving themselves by imagining others' pain, until they either drown their eyes or break their hearts.

For men have marble, women waxen, minds,

And therefore are they formed as marble will;

The weak oppressed, th’ impression of strange kinds

Is formed in them by force, by fraud, or skill.

Then call them not the authors of their ill,

No more than wax shall be accounted evil,

Wherein is stamped the semblance of a devil.

Men have minds of marble, women of wax, and so women are shaped as wax will be shaped—the weaker sex pressed and marked by force, fraud, or cunning. Don't call women the authors of their own ruin any more than you'd call wax evil for bearing the stamp of a devil's image.

Their smoothness, like a goodly champaign plain,

Lays open all the little worms that creep;

In men, as in a rough-grown grove, remain

Cave-keeping evils that obscurely sleep.

Through crystal walls each little mote will peep.

Though men can cover crimes with bold stern looks,

Poor women’s faces are their own faults’ books.

Women's minds are smooth plains where every small worm crawling across them shows; men's are rough groves where hidden evils sleep in caves and stay obscure. Every tiny speck shows through crystal walls, but men can cover their crimes with stern, bold faces while poor women's faces betray their every fault like open books.

No man inveigh against the withered flower,

But chide rough winter that the flower hath killed;

Not that devoured, but that which doth devour,

Is worthy blame. O, let it not be hild

Poor women’s faults, that they are so fulfilled

With men’s abuses! Those proud lords, to blame,

Make weak-made women tenants to their shame.

Don't curse the withered flower, but curse the rough winter that killed it; blame not what's consumed but what consumes, the devourer not the devoured. Don't hold poor women responsible for being so filled with men's abuses—those proud lords are to blame for making weak women into servants of their own shame.

The precedent whereof in Lucrece view,

Assailed by night with circumstances strong

Of present death, and shame that might ensue

By that her death, to do her husband wrong.

Such danger to resistance did belong,

The dying fear through all her body spread;

And who cannot abuse a body dead?

Lucrece remembers what happened: attacked at night with overwhelming force, facing death and the shame of betraying her husband if she died. The threat was so absolute that she had no real choice—terror seized her entire body. And what's to stop a man from violating a corpse?

By this, mild patience bid fair Lucrece speak

To the poor counterfeit of her complaining:

“My girl,” quoth she, “on what occasion break

Those tears from thee, that down thy cheeks are raining?

If thou dost weep for grief of my sustaining,

Know, gentle wench, it small avails my mood.

If tears could help, mine own would do me good.

Lucrece, finding what patience she can muster, turns to comfort her weeping maid. She asks why the girl is crying, and tells her gently that tears won't help ease her pain—if they could, Lucrece's own would have done her good by now.

“But tell me, girl, when went”—and there she stayed

Till after a deep groan—“Tarquin from hence?”

“Madam, ere I was up,” replied the maid,

“The more to blame my sluggard negligence.

Yet with the fault I thus far can dispense:

Myself was stirring ere the break of day,

And, ere I rose, was Tarquin gone away.

The maid answers that Tarquin left before dawn, and blames herself for not waking earlier, though she admits he was already gone when she rose. Lucrece had asked when he departed.

“But, lady, if your maid may be so bold,

She would request to know your heaviness.”

“O peace!” quoth Lucrece. “If it should be told,

The repetition cannot make it less;

For more it is than I can well express,

And that deep torture may be called a hell,

When more is felt than one hath power to tell.

Lucrece refuses to say more: repeating her grief won't lessen it, only make it heavier. The pain is too vast for words—it's a kind of hell, where what you feel far exceeds what you can possibly tell anyone.

“Go, get me hither paper, ink, and pen.

Yet save that labour, for I have them here.

What should I say?—One of my husband’s men

Bid thou be ready by and by to bear

A letter to my lord, my love, my dear.

Bid him with speed prepare to carry it;

The cause craves haste, and it will soon be writ.”

She orders the maid to bring her paper, ink, and pen, then realizes she already has them. She'll write a letter to her husband demanding he come home urgently; the matter is too grave for delay.

Her maid is gone, and she prepares to write,

First hovering o’er the paper with her quill.

Conceit and grief an eager combat fight;

What wit sets down is blotted straight with will;

This is too curious-good, this blunt and ill.

Much like a press of people at a door,

Throng her inventions, which shall go before.

The maid leaves, and Lucrece sits to write, but her hand hesitates. Grief and anger fight for control—each phrase she writes gets crossed out, struck down by emotion. Her thoughts crowd and tumble like people pushing through a doorway, each one wanting to go first.

At last she thus begins: “Thou worthy lord

Of that unworthy wife that greeteth thee,

Health to thy person! Next vouchsafe t’ afford,

If ever, love, thy Lucrece thou wilt see,

Some present speed to come and visit me.

So I commend me from our house in grief.

My woes are tedious, though my words are brief.”

After struggling, she finally writes: she greets her husband as the worthy lord of an unworthy wife, asks him to come see her soon if he still loves her, and signs off with grief from their house. The message is brief but heavy.

Here folds she up the tenor of her woe,

Her certain sorrow writ uncertainly.

By this short schedule Collatine may know

Her grief, but not her grief’s true quality;

She dares not thereof make discovery,

Lest he should hold it her own gross abuse,

Ere she with blood had stained her stained excuse.

She folds the letter, having written her sorrow but not its true nature. The brief note tells Collatine she's grieving, but not why. She can't confess in writing, fearing he'll think her complicit in her own rape—before her blood proves her innocence.

Besides, the life and feeling of her passion

She hoards, to spend when he is by to hear her;

When sighs and groans and tears may grace the fashion

Of her disgrace, the better so to clear her

From that suspicion which the world might bear her.

To shun this blot, she would not blot the letter

With words, till action might become them better.

She's saving the full force of her anguish for when he's with her, so he can see her tears, hear her groans, and witness her despair firsthand. That visible suffering will convince him of her innocence better than any letter could. Words without action would only seem hollow.

To see sad sights moves more than hear them told,

For then the eye interprets to the ear

The heavy motion that it doth behold,

When every part a part of woe doth bear.

’Tis but a part of sorrow that we hear.

Deep sounds make lesser noise than shallow fords,

And sorrow ebbs, being blown with wind of words.

Seeing true sorrow moves us far more than hearing about it. The eye reads the full weight of grief that sound alone can't convey. Hearing is only part of sorrow; the deepest pain makes the quietest noise, and words alone just scatter grief like wind scattering ripples on water.

Her letter now is sealed, and on it writ

“At Ardea to my lord with more than haste.”

The post attends, and she delivers it,

Charging the sour-faced groom to hie as fast

As lagging fowls before the northern blast.

Speed more than speed but dull and slow she deems;

Extremely still urgeth such extremes.

She seals the letter, addresses it urgently to her husband at Ardea, and hands it to a messenger, ordering him to ride faster than fast. Yet no speed seems fast enough to her—when you're desperate, all haste feels too slow.

The homely villain curtsies to her low,

And, blushing on her with a steadfast eye,

Receives the scroll without or yea or no,

And forth with bashful innocence doth hie.

But they whose guilt within their bosoms lie

Imagine every eye beholds their blame,

For Lucrece thought he blushed to see her shame,

The simple servant bows and takes the letter without speaking, then rushes off with bashful earnestness. But Lucrece, guilt-stricken herself, reads his bashfulness as knowledge of her shame—she thinks his blush means he knows what Tarquin did.

When, silly groom! God wot, it was defect

Of spirit, life, and bold audacity.

Such harmless creatures have a true respect

To talk in deeds, while others saucily

Promise more speed, but do it leisurely.

Even so this pattern of the worn-out age

Pawned honest looks, but laid no words to gage.

In truth, the groom's blushing came from shyness and respect, not knowledge. Such honest men let their deeds speak louder than words, not like loudmouths who promise speed but dawdle. He gave his honest face as his only pledge.

His kindled duty kindled her mistrust,

That two red fires in both their faces blazed;

She thought he blushed, as knowing Tarquin’s lust,

And, blushing with him, wistly on him gazed.

Her earnest eye did make him more amazed.

The more she saw the blood his cheeks replenish,

The more she thought he spied in her some blemish.

His dutiful blush kindled her suspicion, and now both their faces burn red—she thinks his flush reveals he knows Tarquin's crime, and she blushes back, staring at him hard. The more his cheeks flush, the more she's convinced he's seen her shame written on her.

But long she thinks till he return again,

And yet the duteous vassal scarce is gone.

The weary time she cannot entertain,

For now ’tis stale to sigh, to weep, to groan;

So woe hath wearied woe, moan tired moan,

That she her plaints a little while doth stay,

Pausing for means to mourn some newer way.

Left alone, waiting for his return, Lucrece can't bear the time. Sighing and weeping have become stale—sorrow upon sorrow has exhausted even her grief. She stops her complaints, needing to find a newer way to mourn.

At last she calls to mind where hangs a piece

Of skilful painting, made for Priam’s Troy,

Before the which is drawn the power of Greece,

For Helen’s rape the city to destroy,

Threat’ning cloud-kissing Ilion with annoy;

Which the conceited painter drew so proud,

As heaven, it seemed, to kiss the turrets bowed.

Lucrece remembers a painting hanging in the house—a masterpiece depicting the Greek army massed to destroy Troy for Helen's sake, so skillfully rendered that the sky itself seems to bend down to kiss the painted city walls.

A thousand lamentable objects there,

In scorn of Nature, Art gave lifeless life.

Many a dry drop seemed a weeping tear,

Shed for the slaughtered husband by the wife.

The red blood reeked to show the painter’s strife,

The dying eyes gleamed forth their ashy lights,

Like dying coals burnt out in tedious nights.

The painting swarms with lifelike suffering: tears painted as drops, blood rendered in vivid red to show the artist's labor, dying eyes glinting like embers cooling through a long night—all these dead things made to seem alive by sheer technical brilliance.

There might you see the labouring pioneer

Begrimed with sweat and smeared all with dust;

And from the towers of Troy there would appear

The very eyes of men through loop-holes thrust,

Gazing upon the Greeks with little lust.

Such sweet observance in this work was had,

That one might see those far-off eyes look sad.

You can spot the exhausted soldier caked in sweat and dust, and from Troy's towers you see the actual eyes of defenders peering through the gaps, watching the Greek advance without enthusiasm; the painter captured even distant emotion so well that you read sadness in those tiny eyes.

In great commanders grace and majesty

You might behold, triumphing in their faces;

In youth, quick bearing and dexterity;

And here and there the painter interlaces

Pale cowards marching on with trembling paces,

Which heartless peasants did so well resemble,

That one would swear he saw them quake and tremble.

The great commanders radiate triumph and authority in their faces; the young men show speed and skill; scattered among them are cowards shuffling forward in terror, rendered so convincingly that you'd swear you could see them shaking.

In Ajax and Ulysses, O, what art

Of physiognomy might one behold!

The face of either ciphered either’s heart;

Their face their manners most expressly told.

In Ajax’ eyes blunt rage and rigour rolled,

But the mild glance that sly Ulysses lent

Showed deep regard and smiling government.

In Ajax and Ulysses the painter showed mastery of character through face alone—their expressions betrayed everything about them: Ajax's brutal rage blazed in his eyes, while cunning Ulysses wore a sly, controlled glance that revealed his calculating mind.

There pleading might you see grave Nestor stand,

As ’twere encouraging the Greeks to fight,

Making such sober action with his hand

That it beguiled attention, charmed the sight.

In speech, it seemed, his beard, all silver white,

Wagged up and down, and from his lips did fly

Thin winding breath, which purled up to the sky.

Nestor stands pleading with the Greeks to fight, his gestures so compelling and natural that you forget you're looking at paint; his silver beard seems to move as he speaks, and the breath from his lips appears to spiral upward.

About him were a press of gaping faces,

Which seemed to swallow up his sound advice,

All jointly list’ning, but with several graces,

As if some mermaid did their ears entice;

Some high, some low, the painter was so nice.

The scalps of many, almost hid behind,

To jump up higher seemed to mock the mind.

A crowd presses around him, all ears, each listener rendered with individual posture and attention—the painter was so precise that even the heads in back seem to be stretching upward, as if physically straining to hear him.

Here one man’s hand leaned on another’s head,

His nose being shadowed by his neighbour’s ear;

Here one being thronged bears back, all boll’n and red;

Another smothered seems to pelt and swear;

And in their rage such signs of rage they bear

As, but for loss of Nestor’s golden words,

It seemed they would debate with angry swords.

Bodies crush and tangle: one man's hand rests on another's head, a nose shadowed by a neighbor's ear, a pressed face swollen and red, another figure seeming to choke and curse; their rage shows so plainly that without Nestor's words to restrain them, they'd be drawing swords on one another.

For much imaginary work was there,

Conceit deceitful, so compact, so kind,

That for Achilles’ image stood his spear

Griped in an armed hand; himself, behind,

Was left unseen, save to the eye of mind.

A hand, a foot, a face, a leg, a head,

Stood for the whole to be imagined.

For Achilles himself, the painter showed only his spear gripped in an armed hand—the man exists only in your mind's eye; a hand, a foot, a face, a leg, a head stand in for the whole figure, trusting the viewer's imagination to complete it.

And from the walls of strong-besieged Troy,

When their brave hope, bold Hector, marched to field,

Stood many Trojan mothers, sharing joy

To see their youthful sons bright weapons wield;

And to their hope they such odd action yield

That through their light joy seemed to appear,

Like bright things stained, a kind of heavy fear.

From Troy's walls, Trojan mothers watch their sons go into battle with Hector at their head, their faces showing joy mixed with a terrible dread—bright emotion stained dark, like something beautiful corrupted by fear.

And from the strand of Dardan, where they fought,

To Simois’ reedy banks the red blood ran,

Whose waves to imitate the battle sought

With swelling ridges, and their ranks began

To break upon the galled shore, and then

Retire again till, meeting greater ranks,

They join, and shoot their foam at Simois’ banks.

From the Trojan shore where the battle rages, blood streams into the river; the painted water swells and breaks against the shore in waves that seem to echo the fighting, surge forward, then retreat and clash again like conflicting armies.

To this well-painted piece is Lucrece come,

To find a face where all distress is stelled.

Many she sees where cares have carved some,

But none where all distress and dolour dwelled,

Till she despairing Hecuba beheld,

Staring on Priam’s wounds with her old eyes,

Which bleeding under Pyrrhus’ proud foot lies.

Lucrece comes to this painting seeking a face that shows suffering to match her own despair, but she finds none—until she sees Hecuba, staring down at Priam's body broken under Pyrrhus' foot, her ancient eyes fixed on her husband's wounds.

In her the painter had anatomized

Time’s ruin, beauty’s wrack, and grim care’s reign.

Her cheeks with chops and wrinkles were disguised;

Of what she was no semblance did remain.

Her blue blood, changed to black in every vein,

Wanting the spring that those shrunk pipes had fed,

Showed life imprisoned in a body dead.

The painter has captured time's destruction on her face: her cheeks carved with wrinkles, no trace of what she once was remaining, her blood darkened to black, drained of vitality—a corpse that somehow still breathes.

On this sad shadow Lucrece spends her eyes,

And shapes her sorrow to the beldam’s woes,

Who nothing wants to answer her but cries

And bitter words to ban her cruel foes.

The painter was no god to lend her those,

And therefore Lucrece swears he did her wrong,

To give her so much grief, and not a tongue.

Lucrece fixes her eyes on this sorrowful image and measures her own grief against the old queen's; she wishes the painted figure could cry out and curse her enemies, but the painter gave her sorrow without a voice, which feels like a cruelty.

“Poor instrument,” quoth she, “without a sound,

I’ll tune thy woes with my lamenting tongue,

And drop sweet balm in Priam’s painted wound,

And rail on Pyrrhus that hath done him wrong,

And with my tears quench Troy that burns so long,

And with my knife scratch out the angry eyes

Of all the Greeks that are thine enemies.

Lucrece speaks to the voiceless painting, swearing she'll cry where Hecuba cannot, will pour balm on Priam's painted wounds, curse Pyrrhus and the Greeks, drown Troy with her tears, and scratch out the eyes of every Greek enemy in the frame.

“Show me the strumpet that began this stir,

That with my nails her beauty I may tear.

Thy heat of lust, fond Paris, did incur

This load of wrath that burning Troy doth bear;

Thy eye kindled the fire that burneth here,

And here in Troy, for trespass of thine eye,

The sire, the son, the dame, and daughter die.

She wants to find the woman who started this war—Paris's lover Helen—and claw her face to shreds. Paris's lust kindled the fire burning Troy to ash; his eyes set it all ablaze, and now fathers, sons, mothers, and daughters die because of what he saw and desired.

“Why should the private pleasure of some one

Become the public plague of many moe?

Let sin, alone committed, light alone

Upon his head that hath transgressed so;

Let guiltless souls be freed from guilty woe.

For one’s offence why should so many fall,

To plague a private sin in general?

Why should one person's private desire destroy so many innocent lives? Let the guilty person alone suffer for their own sin; the guiltless shouldn't be dragged down by someone else's transgression. It's obscene that a single man's lust should punish an entire city.

“Lo, here weeps Hecuba, here Priam dies,

Here manly Hector faints, here Troilus swounds;

Here friend by friend in bloody channel lies,

And friend to friend gives unadvised wounds,

And one man’s lust these many lives confounds.

Had doting Priam checked his son’s desire,

Troy had been bright with fame and not with fire.”

Look at Hecuba weeping, Priam dying, Hector fainting, Troilus swooning—friends killing friends in rivers of blood, all because one man wanted what he shouldn't have. If Priam had stopped his son's appetite for Helen, Troy would still shine with glory instead of burning.

Here feelingly she weeps Troy’s painted woes,

For sorrow, like a heavy-hanging bell,

Once set on ringing, with his own weight goes;

Then little strength rings out the doleful knell.

So Lucrece set a-work, sad tales doth tell

To pencilled pensiveness and coloured sorrow;

She lends them words, and she their looks doth borrow.

Lucrece weeps at the painted scenes of Troy's ruin with genuine sorrow; once grief starts its heavy toll, it rings on by its own weight, needing little push to keep sounding. She pours words into the painted figures, borrowing their painted sorrow to express her own.

She throws her eyes about the painting round,

And who she finds forlorn she doth lament.

At last she sees a wretched image bound,

That piteous looks to Phrygian shepherds lent.

His face, though full of cares, yet showed content;

Onward to Troy with the blunt swains he goes,

So mild, that patience seemed to scorn his woes.

She scans the painting and grieves for every lost figure she finds. At last she spots a bound man with a shepherd's sorrowful face, yet somehow looking peaceful—so mild and patient that he seems to welcome his own suffering as he walks toward Troy with the simple countryman.

In him the painter laboured with his skill

To hide deceit and give the harmless show

An humble gait, calm looks, eyes wailing still,

A brow unbent that seemed to welcome woe,

Cheeks neither red nor pale, but mingled so

That blushing red no guilty instance gave,

Nor ashy pale the fear that false hearts have.

The painter showed real skill hiding deceit behind this humble mask: a calm gaze, downturned eyes, an unbent brow as if ready to accept pain, cheeks mixed red and pale so he shows no guilty blush and no fearful pallor—the face of an honest man.

But, like a constant and confirmed devil,

He entertained a show so seeming just,

And therein so ensconced his secret evil,

That jealousy itself could not mistrust

False-creeping craft and perjury should thrust

Into so bright a day such black-faced storms,

Or blot with hell-born sin such saint-like forms.

But underneath that honest seeming lives a confirmed devil. He wore his false goodness so well that even suspicion couldn't spot the treachery and lies buried in such a bright facade—hell's black sin disguised in a saint's face.

The well-skilled workman this mild image drew

For perjured Sinon, whose enchanting story

The credulous Old Priam after slew;

Whose words like wildfire burnt the shining glory

Of rich-built Ilion, that the skies were sorry,

And little stars shot from their fixed places,

When their glass fell wherein they viewed their faces.

This calm figure is Sinon, the perjurer whose beautiful lies destroyed Troy. His words burned through the city like wildfire, and the stars themselves fell from heaven when their mirror—the city—shattered.

This picture she advisedly perused,

And chid the painter for his wondrous skill,

Saying some shape in Sinon’s was abused;

So fair a form lodged not a mind so ill.

And still on him she gazed, and gazing still,

Such signs of truth in his plain face she spied,

That she concludes the picture was belied.

She studies the picture and criticizes the painter for making Sinon too beautiful; such a fair face couldn't hold such an evil mind. But the more she stares, the more honest the face seems, and she decides the painting must be lying.

“It cannot be,” quoth she, “that so much guile”—

She would have said “can lurk in such a look.”

But Tarquin’s shape came in her mind the while,

And from her tongue “can lurk” from “cannot” took.

“It cannot be” she in that sense forsook,

And turned it thus: “It cannot be, I find,

But such a face should bear a wicked mind.

She starts to say "so much deceit couldn't hide in such a face," but the memory of Tarquin's own deceptive beauty cuts her off mid-thought. She reverses her judgment: "A face that looks this honest must hide a wicked mind."

“For even as subtle Sinon here is painted,

So sober-sad, so weary, and so mild,

As if with grief or travail he had fainted,

To me came Tarquin armed too, beguiled

With outward honesty, but yet defiled

With inward vice. As Priam him did cherish,

So did I Tarquin; so my Troy did perish.

Sinon looks calm, weary, mild—as if grief had broken him—and Tarquin came to her the same way, dressed up in honest courtesy but rotting inside with vice. I trusted Tarquin as Priam trusted Sinon, and so my Troy burned too.

“Look, look, how listening Priam wets his eyes,

To see those borrowed tears that Sinon sheds!

Priam, why art thou old and yet not wise?

For every tear he falls a Trojan bleeds.

His eye drops fire, no water thence proceeds;

Those round clear pearls of his that move thy pity,

Are balls of quenchless fire to burn thy city.

Look how old Priam weeps to see Sinon's tears—but those tears are lies that cost Trojan lives. Old fool, those pearls rolling down his cheeks aren't water at all; they're burning fire meant to set your city ablaze.

“Such devils steal effects from lightless hell,

For Sinon in his fire doth quake with cold,

And in that cold hot-burning fire doth dwell.

These contraries such unity do hold,

Only to flatter fools and make them bold;

So Priam’s trust false Sinon’s tears doth flatter,

That he finds means to burn his Troy with water.”

These smooth devils steal fire from the sunless pit and wear it as ice—Sinon quakes cold while inside him burns a hotter fire. The contradiction itself is their art: it flatters fools into faith. Priam's trust in Sinon's false tears gives the liar the chance to burn Troy with nothing but water.

Here, all enraged, such passion her assails,

That patience is quite beaten from her breast.

She tears the senseless Sinon with her nails,

Comparing him to that unhappy guest

Whose deed hath made herself herself detest.

At last she smilingly with this gives o’er;

“Fool, fool!” quoth she, “his wounds will not be sore.”

She tears the painted Sinon with her nails in a rage, seeing in him the destroyer of her own honor. Then she stops and laughs bitterly: "Fool, fool—it's only paint; your wounds won't even bleed."

Thus ebbs and flows the current of her sorrow,

And time doth weary time with her complaining.

She looks for night, and then she longs for morrow,

And both she thinks too long with her remaining.

Short time seems long in sorrow’s sharp sustaining.

Though woe be heavy, yet it seldom sleeps,

And they that watch see time how slow it creeps.

Her sorrow rises and falls like a tide, and time itself grows tired of her complaint. She waits for night, then longs for morning; both feel endlessly slow. Grief doesn't rest, and those who stay awake watching it crawl know how heavily the hours drag.

Which all this time hath overslipped her thought,

That she with painted images hath spent,

Being from the feeling of her own grief brought

By deep surmise of others’ detriment,

Losing her woes in shows of discontent.

It easeth some, though none it ever cured,

To think their dolour others have endured.

While she's been lost in dark thoughts all this time, she distracted herself by imagining other people's troubles instead of facing her own, finding some strange comfort in the idea that others have suffered similar wounds—it's a poor medicine that eases the pain without curing it.

But now the mindful messenger, come back,

Brings home his lord and other company;

Who finds his Lucrece clad in mourning black,

And round about her tear-distained eye

Blue circles streamed, like rainbows in the sky.

These water-galls in her dim element

Foretell new storms to those already spent.

The messenger returns with her husband and his companions, and they find Lucrece dressed in mourning clothes, her eyes swollen and ringed with the dark blue bruises of tears like storm clouds gathering in a darkening sky—signs that worse weather is still to come.

Which when her sad-beholding husband saw,

Amazedly in her sad face he stares.

Her eyes, though sod in tears, looked red and raw,

Her lively colour killed with deadly cares.

He hath no power to ask her how she fares;

Both stood like old acquaintance in a trance,

Met far from home, wond’ring each other’s chance.

When her husband sees her in this state, he freezes in shock, staring at her ruined face; her eyes are raw and bloodshot from weeping, her skin drained of all colour by her suffering, and neither of them can speak—they stand like old friends meeting by chance after years apart, each stunned to see what the other has become.

At last he takes her by the bloodless hand,

And thus begins: “What uncouth ill event

Hath thee befall’n, that thou dost trembling stand?

Sweet love, what spite hath thy fair colour spent?

Why art thou thus attired in discontent?

Unmask, dear dear, this moody heaviness,

And tell thy grief, that we may give redress.”

He finally takes her cold, bloodless hand and asks what terrible thing has happened to her, why she's trembling, why her beauty is gone, why she's dressed in this black sorrow—he begs her to tell him what's wrong so he can help.

Three times with sighs she gives her sorrow fire,

Ere once she can discharge one word of woe.

At length addressed to answer his desire,

She modestly prepares to let them know

Her honour is ta’en prisoner by the foe;

While Collatine and his consorted lords

With sad attention long to hear her words.

Three times she tries to speak through her sobs before she can force out a single word of confession; then, gathering herself, she tells him and his lords sitting with her that she has lost her honour—that her chastity is now a prisoner to her attacker.

And now this pale swan in her wat’ry nest

Begins the sad dirge of her certain ending:

“Few words,” quoth she, “shall fit the trespass best,

Where no excuse can give the fault amending.

In me more woes than words are now depending;

And my laments would be drawn out too long,

To tell them all with one poor tired tongue.

Like a dying swan in its nest, she begins to speak her own funeral oration: she says there's no point in long excuses since nothing she says will fix what's been done, and her grief is too deep for mere words anyway.

“Then be this all the task it hath to say:

Dear husband, in the interest of thy bed

A stranger came, and on that pillow lay

Where thou wast wont to rest thy weary head;

And what wrong else may be imagined

By foul enforcement might be done to me,

From that, alas, thy Lucrece is not free.

She tells him plainly that a stranger came to their bed in the night and lay where he should have lain, and whatever else a man might force upon a woman happened to her—she is not innocent of that violation.

“For in the dreadful dead of dark midnight,

With shining falchion in my chamber came

A creeping creature with a flaming light,

And softly cried ‘Awake, thou Roman dame,

And entertain my love; else lasting shame

On thee and thine this night I will inflict,

If thou my love’s desire do contradict.

In the middle of the night, a man with a sword came creeping into her chamber, shining a light on her, and commanded her to give in to him or face lasting shame upon herself and her family—this is what he threatened.

“‘For some hard-favoured groom of thine,’ quoth he,

‘Unless thou yoke thy liking to my will,

I’ll murder straight, and then I’ll slaughter thee

And swear I found you where you did fulfil

The loathsome act of lust, and so did kill

The lechers in their deed. This act will be

My fame and thy perpetual infamy.’

He told her that if she didn't obey, he'd murder one of her servants and then kill her too, and swear he'd found them together in the act of adultery, so that her name would be destroyed forever as an adulteress.

“With this, I did begin to start and cry,

And then against my heart he sets his sword,

Swearing, unless I took all patiently,

I should not live to speak another word;

So should my shame still rest upon record,

And never be forgot in mighty Rome

The adulterate death of Lucrece and her groom.

When she cried out and tried to resist, he pressed his sword against her heart and swore he'd kill her if she didn't submit silently—so her shame would be sealed into history and she'd never escape her infamy in Rome.

“Mine enemy was strong, my poor self weak,

And far the weaker with so strong a fear.

My bloody judge forbade my tongue to speak;

No rightful plea might plead for justice there.

His scarlet lust came evidence to swear

That my poor beauty had purloined his eyes;

And when the judge is robbed, the prisoner dies.

She was weak and terrified, too frightened to do anything but submit; her attacker was both judge and accuser, and his lust was the only evidence that mattered—when the judge is corrupt, the innocent lose.

“O, teach me how to make mine own excuse,

Or at the least, this refuge let me find:

Though my gross blood be stained with this abuse,

Immaculate and spotless is my mind;

That was not forced; that never was inclined

To accessary yieldings, but still pure

Doth in her poisoned closet yet endure.”

She asks him to help her understand how to defend herself, or at least to understand this: that while her body was violated, her mind remains pure and spotless, her will was never bent toward willing sin, and her spirit stays unblemished inside her ruined body.

Lo, here the hopeless merchant of this loss,

With head declined and voice dammed up with woe,

With sad set eyes and wretched arms across,

From lips new-waxen pale begins to blow

The grief away that stops his answer so.

But wretched as he is, he strives in vain;

What he breathes out his breath drinks up again.

Her husband stands there like a merchant who's lost everything, his head bowed, his voice choked with grief, his eyes fixed on nothing, unable to speak—when he tries to breathe out his sorrow, it catches in his throat and comes right back in.

As through an arch the violent roaring tide

Outruns the eye that doth behold his haste,

Yet in the eddy boundeth in his pride

Back to the strait that forced him on so fast,

In rage sent out, recalled in rage, being past:

Even so his sighs, his sorrows make a saw,

To push grief on, and back the same grief draw.

His sighs and tears work against him like the tide flowing through an arch, rushing out with force only to be driven back in again, trapped and raging in both directions—he can neither express his grief nor contain it.

Which speechless woe of his poor she attendeth,

And his untimely frenzy thus awaketh:

“Dear lord, thy sorrow to my sorrow lendeth

Another power; no flood by raining slaketh.

My woe too sensible thy passion maketh

More feeling-painful. Let it then suffice

To drown one woe, one pair of weeping eyes.

She watches his silent anguish and tries to comfort him, telling him his sorrow is adding to hers and making her pain worse; she begs him to let her grief alone be enough, to not double their weeping by joining his tears to hers.

“And for my sake, when I might charm thee so,

For she that was thy Lucrece, now attend me:

Be suddenly revenged on my foe,

Thine, mine, his own. Suppose thou dost defend me

From what is past. The help that thou shalt lend me

Comes all too late, yet let the traitor die,

For sparing justice feeds iniquity.

Lucrece begs her husband to kill her rapist—it's justice for them both and for the crime itself, which only grows worse when villains go unpunished.

“But ere I name him, you fair lords,” quoth she,

Speaking to those that came with Collatine,

“Shall plight your honourable faiths to me,

With swift pursuit to venge this wrong of mine;

For ’tis a meritorious fair design

To chase injustice with revengeful arms.

Knights, by their oaths, should right poor ladies’ harms.”

She turns to the noblemen present and makes them swear on their honour to pursue and destroy the man who wronged her, saying it's a knight's sacred duty to defend wronged women.

At this request, with noble disposition

Each present lord began to promise aid,

As bound in knighthood to her imposition,

Longing to hear the hateful foe bewrayed.

But she, that yet her sad task hath not said,

The protestation stops. “O, speak,” quoth she,

“How may this forced stain be wiped from me?

The lords eagerly promise revenge, but Lucrece hesitates before naming her attacker—she's seized with a deeper question: how can she ever be clean again when the violence wasn't her choice?

“What is the quality of my offence,

Being constrained with dreadful circumstance?

May my pure mind with the foul act dispense,

My low-declined honour to advance?

May any terms acquit me from this chance?

The poisoned fountain clears itself again,

And why not I from this compelled stain?

She argues that her mind stayed pure even though her body was forced, so why can't she be absolved like a spring that clears its own poisoned water? Can't something tainted by force be made innocent again?

With this, they all at once began to say,

Her body’s stain her mind untainted clears,

While with a joyless smile she turns away

The face, that map which deep impression bears

Of hard misfortune, carved in it with tears.

“No, no,” quoth she, “no dame, hereafter living

By my excuse shall claim excuse’s giving.”

The lords try to comfort her, saying the rape didn't stain her soul, but she smiles bitterly and turns away, her face worn with tears and hardship—she'll set a precedent that no woman in the future will excuse herself using her own excuse.

Here with a sigh, as if her heart would break,

She throws forth Tarquin’s name: “He, he,” she says,

But more than “he” her poor tongue could not speak;

Till after many accents and delays,

Untimely breathings, sick and short assays,

She utters this: “He, he, fair lords, ’tis he,

That guides this hand to give this wound to me.”

With a broken voice, Lucrece finally names Tarquin, but the name barely escapes her lips; she can barely speak between gasps and delays, finally forcing out the words: he's the one whose crime forces her hand toward her own death.

Even here she sheathed in her harmless breast

A harmful knife, that thence her soul unsheathed.

That blow did bail it from the deep unrest

Of that polluted prison where it breathed.

Her contrite sighs unto the clouds bequeathed

Her winged sprite, and through her wounds doth fly

Life’s lasting date from cancelled destiny.

She drives a knife into her own breast and dies, her soul freed from the prison of her violated body; as life leaves through her wounds, it's a kind of release from the torment of what was done to her.

Stone-still, astonished with this deadly deed,

Stood Collatine and all his lordly crew,

Till Lucrece’ father that beholds her bleed,

Himself on her self-slaughtered body threw,

And from the purple fountain Brutus drew

The murd’rous knife, and, as it left the place,

Her blood, in poor revenge, held it in chase;

Shocked into silence, Collatine and the lords stand frozen until Lucrece's father falls on her bleeding body in grief, while Brutus pulls the murder-knife free and her blood chases after it in final pursuit.

And bubbling from her breast, it doth divide

In two slow rivers, that the crimson blood

Circles her body in on every side,

Who, like a late-sacked island, vastly stood

Bare and unpeopled in this fearful flood.

Some of her blood still pure and red remained,

And some looked black, and that false Tarquin stained.

Blood pours from her breast in two streams that circle her whole body like she's an island drowned by flood; some blood stays red and pure, while some has turned black—tainted by Tarquin's crime.

About the mourning and congealed face

Of that black blood a wat’ry rigol goes,

Which seems to weep upon the tainted place;

And ever since, as pitying Lucrece’ woes,

Corrupted blood some watery token shows,

And blood untainted still doth red abide,

Blushing at that which is so putrified.

The dark blood congeals around her face with a watery halo that looks like tears shed for her suffering; ever since, blood itself shows how some remains pure red while some grows dark and corrupt.

“Daughter, dear daughter,” old Lucretius cries,

“That life was mine which thou hast here deprived.

If in the child the father’s image lies,

Where shall I live now Lucrece is unlived?

Thou wast not to this end from me derived.

If children predecease progenitors,

We are their offspring, and they none of ours.

Her father Lucretius cries out that his own life died with hers—if a child carries the father's image, where can he live now that she's gone? Children shouldn't die before their parents, or the natural order inverts itself.

“Poor broken glass, I often did behold

In thy sweet semblance my old age new born;

But now that fair fresh mirror, dim and old,

Shows me a bare-boned death by time outworn.

O, from thy cheeks my image thou hast torn,

And shivered all the beauty of my glass,

That I no more can see what once I was!

He calls her a shattered mirror in which he once saw his youth renewed, but now that mirror is dim and old and shows him only death; she's stolen his reflection by taking her beauty with her.

“O time, cease thou thy course and last no longer,

If they surcease to be that should survive!

Shall rotten death make conquest of the stronger,

And leave the falt’ring feeble souls alive?

The old bees die, the young possess their hive.

Then live, sweet Lucrece, live again and see

Thy father die, and not thy father thee!”

He pleads with time itself to stop if the young must die before the old; it's against nature for death to claim the strong while weak old age lingers, yet he begs her to live and let him be the one to die first.

By this starts Collatine as from a dream,

And bids Lucretius give his sorrow place;

And then in key-cold Lucrece’ bleeding stream

He falls, and bathes the pale fear in his face,

And counterfeits to die with her a space;

Till manly shame bids him possess his breath,

And live to be revenged on her death.

Collatine wakes as if from a nightmare and claims his turn to grieve, then falls into her blood and lies there pretending to die with her—until shame stirs him to breathe again and stay alive for revenge.

The deep vexation of his inward soul

Hath served a dumb arrest upon his tongue;

Who, mad that sorrow should his use control

Or keep him from heart-easing words so long,

Begins to talk; but through his lips do throng

Weak words, so thick come in his poor heart’s aid

That no man could distinguish what he said.

Collatine's grief has locked his tongue in silence; rage at being silenced by sorrow finally forces him to speak, but his words come thick and broken, so garbled that no one can make sense of what he's saying.

Yet sometime “Tarquin” was pronounced plain,

But through his teeth, as if the name he tore.

This windy tempest, till it blow up rain,

Held back his sorrow’s tide, to make it more.

At last it rains, and busy winds give o’er.

Then son and father weep with equal strife

Who should weep most, for daughter or for wife.

He could barely say Tarquin's name without choking on it, each word torn from his mouth. His grief built like wind before a storm, held back and intensifying. When it finally breaks, it pours out—and now both father and husband weep, competing to mourn her most deeply, each claiming the right to grieve her loss alone.

The one doth call her his, the other his,

Yet neither may possess the claim they lay,

The father says “She’s mine.” “O, mine she is,”

Replies her husband. “Do not take away

My sorrow’s interest; let no mourner say

He weeps for her, for she was only mine,

And only must be wailed by Collatine.”

The father claims her as his daughter, the husband as his wife, yet neither can truly possess what they've lost. Collatine insists his sorrow belongs to him alone—she was his wife, not the old man's. They shout their rival claims into the air, and the air itself seems to echo back 'my daughter' and 'my wife'.

“O,” quoth Lucretius, “I did give that life

Which she too early and too late hath spilled.”

“Woe, woe,” quoth Collatine, “she was my wife,

I owed her, and ’tis mine that she hath killed.”

“My daughter” and “my wife” with clamours filled

The dispersed air, who, holding Lucrece’ life,

Answered their cries, “my daughter” and “my wife”.

Lucretius cries that he gave her life and she's thrown it away too soon. Collatine wails that she was his wife, his property, and by killing herself she's robbed him of something that was his. Their rival grief fills the empty space around Lucrece's corpse, each man demanding sole right to mourn her.

Brutus, who plucked the knife from Lucrece’ side,

Seeing such emulation in their woe,

Began to clothe his wit in state and pride,

Burying in Lucrece’ wound his folly’s show.

He with the Romans was esteemed so

As silly jeering idiots are with kings,

For sportive words and utt’ring foolish things.

Brutus, holding the knife he pulled from Lucrece's side, watches the two men compete in their sorrow. He suddenly drops the foolish mask he's always worn—the joking idiot persona that made Romans laugh at him like they'd laugh at a court fool. He steps forward, serious and commanding.

But now he throws that shallow habit by,

Wherein deep policy did him disguise,

And armed his long-hid wits advisedly,

To check the tears in Collatinus’ eyes.

“Thou wronged lord of Rome,” quoth he, “arise!

Let my unsounded self, supposed a fool,

Now set thy long-experienced wit to school.

Brutus sheds his fake simpleton's disguise, revealing the sharp mind he's hidden beneath it all along. He moves to stop Collatine's tears with reason instead of sympathy. 'You wronged lord of Rome,' he says, 'stand up. Let me—the man you thought a fool—teach you, experienced as you are, what real wisdom looks like.'

“Why, Collatine, is woe the cure for woe?

Do wounds help wounds, or grief help grievous deeds?

Is it revenge to give thyself a blow

For his foul act by whom thy fair wife bleeds?

Such childish humour from weak minds proceeds.

Thy wretched wife mistook the matter so,

To slay herself, that should have slain her foe.

He challenges Collatine's grief: does crying cure grief, or does one wound heal another? Is it revenge to harm yourself because Tarquin harmed your wife? That's childish weakness. Your wife made a mistake—she killed herself when she should have killed her rapist.

“Courageous Roman, do not steep thy heart

In such relenting dew of lamentations,

But kneel with me, and help to bear thy part

To rouse our Roman gods with invocations,

That they will suffer these abominations,—

Since Rome herself in them doth stand disgraced,—

By our strong arms from forth her fair streets chased.

Stop drowning yourself in tears, Brutus urges. Instead, kneel with us and call on Rome's gods. Beg them not to tolerate this disgrace to Rome itself. We'll drive this foul stain from our city with our own hands and strength.

“Now, by the Capitol that we adore,

And by this chaste blood so unjustly stained,

By heaven’s fair sun that breeds the fat earth’s store,

By all our country rights in Rome maintained,

And by chaste Lucrece’ soul that late complained

Her wrongs to us, and by this bloody knife,

We will revenge the death of this true wife.”

He swears a sacred oath—by the Capitol, by Lucrece's spilled blood, by the sun that feeds the earth, by all Roman law, by Lucrece's wronged soul, and by this bloody knife. They will avenge her death.

This said, he struck his hand upon his breast,

And kissed the fatal knife, to end his vow;

And to his protestation urged the rest,

Who, wond’ring at him, did his words allow.

Then jointly to the ground their knees they bow,

And that deep vow which Brutus made before,

He doth again repeat, and that they swore.

He strikes his chest to seal the oath, then kisses the knife to bind his vow. The others, moved and amazed, nod their agreement. Together they kneel and swear the same oath Brutus has made—a solemn, binding compact.

When they had sworn to this advised doom,

They did conclude to bear dead Lucrece thence,

To show her bleeding body thorough Rome,

And so to publish Tarquin’s foul offence;

Which being done with speedy diligence,

The Romans plausibly did give consent

To Tarquin’s everlasting banishment.

Once they've sworn this binding vow, they decide to carry Lucrece's corpse through Rome's streets so everyone can see her bleeding body and learn what Tarquin has done. This public display stirs the Romans to act—they unanimously vote to banish Tarquin from Rome forever.

Lines that stick

  • Beauty itself doth of itself persuade / The eyes of men without an orator
  • Honour and beauty in the owner's arms, / Are weakly fortressed from a world of harms
  • And by chaste Lucrece' soul that late complained / Her wrongs to us, and by this bloody knife
In the app

Tap any word to see it explained.

The Fluid Shakespeare app surfaces the glossary inline as you read — no popup, no flow break.