ADDITIONAL CORRECTIONS AND EMENDATIONS.
For the following corrections and emendations I am indebted to Mr. P. A. Daniel. I am sorry that I did not have them earlier.
First I will correct the actual mistakes for which I must bear the responsibility (in whole or part).
Vol. i., [page xxxviii., line 11], for “Sir James Graham” read “Sir James Murray.”
Vol. i., [page 26, line 205], for “The first thing he spake” read “The first word that he spake.”
Vol. i., [page 60, line 263], for “in time to come” the old eds. read “time to come.” (I prefer "in time,” but should not have added "in” silently.)
Vol. i., [page 89, line 296], “His father’s” [fathers] is the reading of ed. 1602; but ed. 1633 gives “His father”—a better reading.
Vol. i., [page 121, line 318], for “aspish” read “apish.”
Vol. i., [page 175, line 78], for “scorn’d” read “scorn’t.”
Vol. ii., page 17, the stage-direction “Enter Cocledemoy” is superfluous.
Vol. ii., page 28, line 160, for “feast o’ grace” (where old eds. give fiest) read “fist o’ grace,” and compare page 42, line 58, &c.
Vol. ii., page 32, line 33, for “not swaggering” read “not of swaggering.”
Vol. ii., page 109. The address should be headed “To my Equal Reader.”
Vol. ii., page 197, line 417, for “show” read “sue” (the reading of ed. 1633).
Vol. ii., page 213, line 92, delete “not.”
Vol. ii., page 222, line 308, in “thy vice from apparent here” delete “from.” (But query “thy vice from apparent heir”?)
Vol. ii., page 277, line 117, “All but Zanthia and Vangue depart.” Unquestionably these words are a stage-direction. They are printed as part of the text in ed. 1633; but in ed. 1606 they are italicised, and (though printed in the same line as “Withdraw, withdraw”) evidently form part of the previous stage-direction.
Vol. ii., page 328, for “For many debts” read “For many many debts.”
Vol. ii., page 341, line 227, for “For” read “Fore.”
Vol. ii., page 346, line 51, for “hoary eld” ed. 1607 reads “hoard,” and ed. 1633 “hoar’d.” Probably the true reading is “hoar.”
Vol. ii., page 369, lines 37-38. These lines have been transposed by my printers; line 38 ("And those that rank,” &c.) should stand before line 37 (“Study a faint salute,” &c.).
In the foregoing instances it is I who am chiefly to blame, and not the old copies. I now come to Mr. Daniel’s valuable emendations.
Vol. i., [page 8, line 35], for “great” read “create” (an excellent emendation).
Vol. i., [page 32, line 56]. Does not this speech belong to Feliche?
Vol. i., [page 53, line 107]. The prefix should be “Cat.”
Vol. i., [page 60, line 247]. Add the stage-direction “Exit Antonio.”
Vol. i., [page 70, line 182]. Mr. Daniel suggests that for “Spavento” (an awkward word here) we should read “Speranza.”
Vol. i., [page 110]. “Enter Antonio,” &c.—Strike out the names of Feliche and Forobosco.
Vol. i., [page 128, line 107], for “How could he come on?” Mr. Daniel proposes “How coldly he comes on!”
[Vol. i., [page 142, line 2]. In old eds. the line stands thus:—“Bout heauens brow. (12) Tis now starke dead night.” The bracketed “(12)” I expanded into a stage-direction; but Mr. Swinburne suggests to me that “the word ‘twelve’—ejaculated by Antonio on hearing the clock strike—is wanted for the metre.” If we are to insert the word “twelve” I should place it at the end of the line.]
Vol. i., [page 145, line 54], for “The neat gay mists of the light’s not up” Mr. Daniel suggests “The neat gay mistress,” &c. (i.e., Aurora)—an admirable emendation.
[Vol. i., [page 150, line 190], for “swell thy hour out” Mr. Swinburne proposes “honour.” If any change is needed I should prefer to read “horror;” but “hour” frequently has a dissyllabic value.]
Vol. i., [page 151, line 211], for “night-ghosts and graves” Mr. Daniel would read “Night (i.e., good-night), ghosts and graves.”
Vol. i., [page 156, line 99], for “Why lags delay” Mr. Daniel would read “Why, lags, delay?” taking lags as a substantive (“the sooty coursers of the night”).
Vol. i., [page 158, line 41]. I should have mentioned in a footnote that “stirs” is an old form of “steers.”
[Vol. i., [page 172, line 22]. Mr. Swinburne doubts whether my correction “see” for “sir” is necessary, as the apostrophe “sir” or “sirs” is occasionally found in a monologue.]
Vol. ii., page 9, line 54. Here, and in line 58, the prefix should be “Tys.”; and at line 62 Tysefew’s exit should be marked.
Vol. ii., page 16. At the bottom of the page should be marked “Exit Mary,” and at line 180 “Exit Cocledemoy.”
Vol. ii., page 86. “Enter Franceschina,” &c. Among those who enter should be included “Freeville disguised.”
Vol. ii., page 93, line 46. “Ha, get you gone.” It is a question whether these words apply to Freeville’s disguise or are addressed to musicians. (In spite of line 32, “I bring some music,” it is doubtful whether there are any musicians on the stage.)
Vol. ii., page 139, line 111. “Nymphadoro, in direct phrase.” Mr. Daniel proposes (rightly) to read:— “Nym. In direct phrase,” &c.
Vol. ii., page 145, line 252. This speech should probably be given to Herod.
Vol. ii., page 153, line 460. The prefix should doubtless be “Zuc.”
Vol. ii., page 154, lines 477, 478. “And nose” should doubtless be given to Hercules, and “And brain” to Zuccone.
Vol. ii., page 157, line 569. The old. eds give “Venice duke,” but we should read “Urbin’s duke” (cf. page 226, line 444).
Vol. ii., page 171, line 299. Mr. Daniel suggests that we should place a full stop after the word “speaks” and read “His signs to me and mien of profound reach.”
Vol. ii., page 248, line 134. The words “No more: I bleed” appear to belong to the wounded Carthalon.
Vol. ii., page 261, lines 21, 22. Query “bemoan’t” and “revenge’t”?
Vol. ii., page 414, line 244, for “prolonged” Mr. Daniel ingeniously suggests “prologued.”
Vol. iii., page 214, line 78, for “faint” Mr. Daniel proposes “feigned” (a certain emendation). In line 91, for “I resisted” he proposes “if resisted.”
Vol. iii., page 240, line 166, for “stung” Mr. Daniel proposes “stone.”
Mr. Daniel sends me the following note on the plot of What You Will:—
“A somewhat similar plot is found in I Morti Vivi, Comedia, del molto excellente signore Sforza D’Oddi, nell’Academia degli Insensati detto Forsennato, 1576. Oranta, a lady of Naples, whose husband, Tersandro, is supposed drowned at sea, is about to re-marry with Ottavio. Luigi, another suitor for her hand, to hinder the marriage conspires with others to induce one Iancola to personate Tersandro. Tersandro, however, has escaped the sea, and arrives to find himself denied by his own family (who have discovered Luigi’s plot), and to be mistaken by the conspirators themselves for Iancola. Tersandro’s adventures till his identity is established are somewhat similar to those of Albano in What You Will.
“D’Oddi apparently derived many incidents of his plot from the Greek romance of Clitophon and Leucippe, by Achilles Tatius; as also did Anibal Caro for his comedy of Gli Straccioni, 1582.”
FIRST PART
OF