Original: Good friend, thou hast no cause to say so yet,
Modern: Good friend, you have no reason to say that yet,

Original: But thou shalt have; and creep time ne’er so slow,
Modern: But you will have reason; and no matter how slowly time passes,

Original: Yet it shall come from me to do thee good.
Modern: I will eventually do something to help you.

Original: I had a thing to say, but let it go:
Modern: I had something to say, but forget it:

Original: The sun is in the heaven, and the proud day,
Modern: The sun is in the sky, and this bright day,

Original: Attended with the pleasures of the world,
Modern: Filled with all the world’s distractions,

Original: Is all too wanton and too full of gawds
Modern: Is too carefree and too full of showy ornaments

Original: To give me audience: if the midnight bell
Modern: For me to speak freely: if it were midnight when the bell

Original: Did, with his iron tongue and brazen mouth,
Modern: With its iron clapper and brass mouth,

Original: Sound on into the drowsy race of night;
Modern: Rang out into the sleepy hours of night;

Original: If this same were a churchyard where we stand,
Modern: If this place where we’re standing were a graveyard,

Original: And thou possessed with a thousand wrongs,
Modern: And you were burdened with a thousand grievances,

Original: Or if that surly spirit, melancholy,
Modern: Or if that gloomy emotion, sadness,

Original: Had baked thy blood and made it heavy-thick,
Modern: Had thickened your blood and made it sluggish,

Original: Which else runs tickling up and down the veins,
Modern: Which normally flows lightly through your veins,

Original: Making that idiot, laughter, keep men’s eyes
Modern: Making that foolish thing, laughter, control men’s eyes

Original: And strain their cheeks to idle merriment,
Modern: And stretch their faces into pointless smiling,

Original: A passion hateful to my purposes,
Modern: An emotion I hate because it goes against my plans,

Original: Or if that thou couldst see me without eyes,
Modern: Or if you could see me without using your eyes,

Original: Hear me without thine ears, and make reply
Modern: Hear me without using your ears, and answer me

Original: Without a tongue, using conceit alone,
Modern: Without speaking, using only your mind,

Original: Without eyes, ears and harmful sound of words;
Modern: Without eyes, ears, or the dangerous sound of spoken words;

Original: Then, in despite of brooded watchful day,
Modern: Then, even though it’s broad daylight when everyone can see,

Original: I would into thy bosom pour my thoughts:
Modern: I would reveal my deepest thoughts to you:

Original: But, ah, I will not! yet I love thee well;
Modern: But, no, I won’t! Still, I do care deeply for you;

Original: And, by my troth, I think thou lovest me well.
Modern: And, I swear, I believe you care deeply for me too.

Act III, Scene iii of King John - Summary

In this brief scene, King John speaks privately with Hubert de Burgh about the young Prince Arthur, who is currently in custody. John expresses his anxieties about Arthur’s continued existence, suggesting that the boy’s presence threatens his reign. Through subtle language and hints rather than direct commands, John implies that he wishes Arthur to be killed. Hubert understands the king’s veiled instructions and agrees to carry out the deed, though John never explicitly states what he wants done. John gives Hubert a warrant and emphasizes the need for secrecy and speed in this matter.

The scene concludes with John expressing relief that Hubert has understood his wishes without requiring explicit direction. Hubert departs to fulfill the dark task, while John remains satisfied that his political problem will soon be resolved. The scene demonstrates John’s willingness to resort to murder to secure his throne, while also showing his reluctance to voice such orders openly. The entire exchange is characterized by indirect language and unspoken understanding between the two men regarding Arthur’s fate.

King John opens with King Philip of France supporting Arthur, the young son of John’s deceased brother Geoffrey, as the rightful heir to the English throne. John’s mother, Queen Eleanor, and the French court engage in heated disputes over legitimacy. Meanwhile, the Bastard (Philip Faulconbridge), illegitimate son of Richard the Lionheart, joins John’s cause after being legitimized. War breaks out between England and France, with the strategic town of Angiers caught between the two armies.

The conflict temporarily resolves when John’s niece Blanche marries the French Dauphin Lewis, uniting the two kingdoms. However, Cardinal Pandulph arrives from Rome and excommunicates John for refusing to accept Stephen Langton as Archbishop of Canterbury. The Cardinal persuades France to break the peace and resume war against the excommunicated English king. In the ensuing battle, Arthur is captured by John’s forces.

John orders Hubert to kill the young Arthur, but Hubert cannot bring himself to murder the child and instead hides him. When Arthur later dies attempting to escape from his prison tower, the English nobles believe John has murdered him and defect to join the invading French forces led by the Dauphin. As John faces rebellion from within and invasion from without, he submits to the Pope’s authority to regain legitimacy. However, he falls ill and is poisoned by a monk at Swinstead Abbey.

The Bastard rallies the remaining English forces and discovers that the French nobles plan to kill their English allies after victory. This intelligence helps reconcile the English lords to their king. John dies, and his young son Henry is crowned King Henry III. The Dauphin withdraws his forces, and Cardinal Pandulph negotiates peace. The play concludes with the Bastard delivering a patriotic speech about England’s strength when united against foreign threats.