ACT V.
[000] Scene I. Before Leonato’s house.
MAAN V. 1 Enter Leonato and Antonio.
Ant. If you go on thus, you will kill yourself;
And ’tis not wisdom thus to second grief
Against yourself.
Leon.
I pray thee, cease thy counsel,
Which falls into mine ears as profitless
005 As water in a sieve: give not me counsel;
[006] Nor let no comforter delight mine ear
[007] But such a one whose wrongs do suit with mine.
Bring me a father that so loved his child,
Whose joy of her is overwhelm’d like mine,
[010] And bid him speak of patience;
Measure his woe the length and breadth of mine,
And let it answer every strain for strain,
As thus for thus, and such a grief for such,
In every lineament, branch, shape, and form:
015 If such a one will smile, and stroke his beard,
[016] Bid sorrow wag, cry ‘hem!’ when he should groan,
Patch grief with proverbs, make misfortune drunk
[018] With candle-wasters; bring him yet to me,
And I of him will gather patience.
020 But there is no such man: for, brother, men
[021] Can counsel and speak comfort to that grief
Which they themselves not feel; but, tasting it,
Their counsel turns to passion, which before
Would give preceptial medicine to rage,
025 Fetter strong madness in a silken thread,
Charm ache with air, and agony with words:
No, no; ’tis all men’s office to speak patience
To those that wring under the load of sorrow,
But no man’s virtue nor sufficiency,
030 To be so moral when he shall endure
The like himself. Therefore give me no counsel:
My griefs cry louder than advertisement.
Ant. Therein do men from children nothing differ.
Leon. I pray thee, peace. I will be flesh and blood;
035 For there was never yet philosopher
That could endure the toothache patiently,
However they have writ the style of gods,
[038] And made a push at chance and sufferance.
Ant. Yet bend not all the harm upon yourself;
040 Make those that do offend you suffer too.
Leon. There thou speak’st reason: nay, I will do so.
My soul doth tell me Hero is belied;
And that shall Claudio know; so shall the prince,
And all of them that thus dishonour her.
[045] Ant. Here comes the prince and Claudio hastily.
Enter Don Pedro and Claudio.
D. Pedro. Good den, good den.
Claud.
Good day to both of you.
Leon. Hear you, my lords,—
D. Pedro.
We have some haste, Leonato.
Leon. Some haste, my lord! well, fare you well, my lord:
Are you so hasty now? well, all is one.
050 D. Pedro. Nay, do not quarrel with us, good old man.
Ant. If he could right himself with quarrelling,
Some of us would lie low.
Claud.
[052] Who wrongs him?
[053] Leon. Marry, thou dost wrong me; thou dissembler, thou:—
Nay, never lay thy hand upon thy sword:
I fear thee not.
Claud.
055 Marry, beshrew my hand,
If it should give your age such cause of fear:
In faith, my hand meant nothing to my sword.
Leon. Tush, tush, man; never fleer and jest at me:
I speak not like a dotard nor a fool,
060 As, under privilege of age, to brag
What I have done being young, or what would do,
Were I not old. Know, Claudio, to thy head,
[063] Thou hast so wrong’d mine innocent child and me,
That I am forced to lay my reverence by,
065 And, with grey hairs and bruise of many days,
Do challenge thee to trial of a man.
[067] I say thou hast belied mine innocent child;
Thy slander hath gone through and through her heart,
And she lies buried with her ancestors;
070 O, in a tomb where never scandal slept,
Save this of hers, framed by thy villany!
Claud. My villany?
Leon.
Thine, Claudio; thine, I say.
D. Pedro. You say not right, old man.
Leon.
My lord, my lord,
I’ll prove it on his body, if he dare,
075 Despite his nice fence and his active practice,
His May of youth and bloom of lustihood.
Claud. Away! I will not have to do with you.
[078] Leon. Canst thou so daff me? Thou hast kill’d my child:
If thou kill’st me, boy, thou shalt kill a man.
080 Ant. He shall kill two of us, and men indeed:
But that’s no matter; let him kill one first;
Win me and wear me; let him answer me.
[083] Come, follow me, boy; come, sir boy, come, follow me:
Sir boy, I’ll whip you from your foining fence;
085 Nay, as I am a gentleman, I will.
Leon. Brother,—
Ant. Content yourself. God knows I loved my niece;
And she is dead, slander’d to death by villains,
That dare as well answer a man indeed
090 As I dare take a serpent by the tongue:
[091] Boys, apes, braggarts, Jacks, milksops!
Leon.
Brother Antony,—
Ant. Hold you content. What, man! I know them, yea,
And what they weigh, even to the utmost scruple,—
[094] Scambling, out-facing, fashion-monging boys,
095 That lie, and cog, and flout, deprave, and slander,
[096] Go antiquely, and show outward hideousness,
[097] And speak off half a dozen dangerous words,
How they might hurt their enemies, if they durst;
And this is all.
Leon. But, brother Antony,—
Ant.
100 Come, ’tis no matter:
Do not you meddle; let me deal in this.
[102] D. Pedro. Gentlemen both, we will not wake your patience.
My heart is sorry for your daughter’s death:
But, on my honour, she was charged with nothing
[105] But what was true, and very full of proof.
[106] Leon. My lord, my lord,—
[107] D. Pedro. I will not hear you.
[108] Leon. No? Come, brother; away! I will be heard.
[109] Ant. And shall, or some of us will smart for it. [Exeunt Leonato and Antonio.
[110] D. Pedro. See, see; here comes the man we went to seek.
Enter Benedick.
Claud. Now, signior, what news?
Bene. Good day, my lord.
D. Pedro. Welcome, signior: you are almost come to [114] part almost a fray.
[115] Claud. We had like to have had our two noses snapped off with two old men without teeth.
D. Pedro. Leonato and his brother. What thinkest thou? Had we fought, I doubt we should have been too young for them.
[120] Bene. In a false quarrel there is no true valour. I came to seek you both.
Claud. We have been up and down to seek thee; for we are high-proof melancholy, and would fain have it beaten away. Wilt thou use thy wit?
125 Bene. It is in my scabbard: shall I draw it?
D. Pedro. Dost thou wear thy wit by thy side?
Claud. Never any did so, though very many have been beside their wit. I will bid thee draw, as we do the minstrels; draw, to pleasure us.
130 D. Pedro. As I am an honest man, he looks pale. Art thou sick, or angry?
Claud. What, courage, man! What though care killed a cat, thou hast mettle enough in thee to kill care.
Bene. Sir, I shall meet your wit in the career, an you 135 charge it against me. I pray you choose another subject.
Claud. Nay, then, give him another staff: this last was broke cross.
D. Pedro. By this light, he changes more and more: I think he be angry indeed.
140 Claud. If he be, he knows how to turn his girdle.
Bene. Shall I speak a word in your ear?
Claud. God bless me from a challenge!
Bene. [Aside to Claudio] [143] You are a villain; I jest not: I will make it good how you dare, with what you dare, and 145 when you dare. Do me right, or I will protest your cowardice. You have killed a sweet lady, and her death shall fall heavy on you. Let me hear from you.
Claud. Well, I will meet you, so I may have good cheer.
[149] D. Pedro. What, a feast, a feast?
[150] Claud. I’ faith, I thank him; he hath bid me to a calf’s-head [151] and a capon; the which if I do not carve most curiously, say my knife’s naught. Shall I not find a woodcock too?
Bene. Sir, your wit ambles well; it goes easily.
155 D. Pedro. I’ll tell thee how Beatrice praised thy wit [156] the other day. I said, thou hadst a fine wit: ‘True,’ said [157] she, ‘a fine little one.’ ‘No,’ said I, ‘a great wit:’ ‘Right,’ [158] says she, ‘a great gross one.’ ‘Nay,’ said I, ‘a good wit:’ [159] ‘Just,’ said she, ‘it hurts nobody.’ ‘Nay,’ said I, ‘the [160] gentleman is wise:’ ‘Certain,’ said she, ‘a wise gentleman.’ ‘Nay,’ said I, ‘he hath the tongues:’ ‘That I believe,’ said she, ‘for he swore a thing to me on Monday night, which he forswore on Tuesday morning; there’s a [164] double tongue; there’s two tongues.’ Thus did she, an hour 165 together, trans-shape thy particular virtues: yet at last she concluded with a sigh, thou wast the properest man in Italy.
Claud. For the which she wept heartily, and said she cared not.
[169] D. Pedro. Yea, that she did; but yet, for all that, an 170 if she did not hate him deadly, she would love him dearly: the old man’s daughter told us all.
[172] Claud. All, all; and, moreover, God saw him when he was hid in the garden.
[174] D. Pedro. But when shall we set the savage bull’s [175] horns on the sensible Benedick’s head?
Claud. Yea, and text underneath, ‘Here dwells Benedick the married man’?
Bene. Fare you well, boy: you know my mind. I will leave you now to your gossip-like humour: you break 180 jests as braggarts do their blades, which, God be thanked, hurt not. My lord, for your many courtesies I thank you: I must discontinue your company: your brother the bastard is fled from Messina: you have among you killed a sweet [184] and innocent lady. For my Lord Lackbeard there, he and [185] I shall meet: and till then peace be with him. [Exit.
D. Pedro. He is in earnest.
Claud. In most profound earnest; and, I’ll warrant you, for the love of Beatrice.
[189] D. Pedro. And hath challenged thee.
190 Claud. Most sincerely.
D. Pedro. What a pretty thing man is when he goes in his doublet and hose, and leaves off his wit!
[193] Claud. He is then a giant to an ape: but then is an ape a doctor to such a man.
[195] D. Pedro. But, soft you, let me be: pluck up, my heart, and be sad. Did he not say, my brother was fled?
Enter Dogberry, Verges, and the Watch, with Conrade and Borachio.
[197] Dog. Come, you, sir: if justice cannot tame you, she [198] shall ne’er weigh more reasons in her balance: nay, an you be a cursing hypocrite once, you must be looked to.
200 D. Pedro. How now? two of my brother’s men bound! Borachio one!
Claud. Hearken after their offence, my lord.
D. Pedro. Officers, what offence have these men done?
Dog. Marry, sir, they have committed false report; 205 moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.
D. Pedro. First, I ask thee what they have done; thirdly, 210 I ask thee what’s their offence; sixth and lastly, why [211] they are committed; and, to conclude, what you lay to their charge.
Claud. Rightly reasoned, and in his own division; and, by my troth, there’s one meaning well suited.
[215] D. Pedro. Who have you offended, masters, that you are thus bound to your answer? this learned constable is too cunning to be understood: what’s your offence?
Bora. Sweet prince, let me go no farther to mine answer: do you hear me, and let this count kill me. I have 220 deceived even your very eyes: what your wisdoms could not discover, these shallow fools have brought to light; [222] who, in the night, overheard me confessing to this man, how Don John your brother incensed me to slander the Lady Hero; how you were brought into the orchard, and 225 saw me court Margaret in Hero’s garments: how you disgraced her, when you should marry her: my villany they have upon record; which I had rather seal with my death than repeat over to my shame. The lady is dead upon mine and my master’s false accusation; and, briefly, I desire 230 nothing but the reward of a villain.
D. Pedro. Runs not this speech like iron through your blood?
[232] Claud. I have drunk poison whiles he utter’d it.
D. Pedro. But did my brother set thee on to this?
[234] Bora. Yea, and paid me richly for the practice of it.
[235] D. Pedro. He is composed and framed of treachery: And fled he is upon this villany.
Claud. Sweet Hero! now thy image doth appear In the rare semblance that I loved it first.
Dog. Come, bring away the plaintiffs: by this time our [240] sexton hath reformed Signior Leonato of the matter: and, masters, do not forget to specify, when time and place shall serve, that I am an ass.
Verg. Here, here comes master Signior Leonato, and the sexton too.
Re-enter Leonato and Antonio, with the Sexton.
[245] Leon. Which is the villain? let me see his eyes,
That, when I note another man like him,
I may avoid him: which of these is he?
Bora. If you would know your wronger, look on me.
[249] Leon. Art thou the slave that with thy breath hast kill’d
Mine innocent child?
Bora.
250 Yea, even I alone.
Leon. No, not so, villain; thou beliest thyself:
Here stand a pair of honourable men;
A third is fled, that had a hand in it.
I thank you, princes, for my daughter’s death:
255 Record it with your high and worthy deeds:
’Twas bravely done, if you bethink you of it.
Claud. I know not how to pray your patience;
Yet I must speak. Choose your revenge yourself;
[259] Impose me to what penance your invention
260 Can lay upon my sin: yet sinn’d I not
But in mistaking.
D. Pedro. By my soul, nor I:
And yet, to satisfy this good old man,
I would bend under any heavy weight
[264] That he’ll enjoin me to.
[265] Leon. I cannot bid you bid my daughter live;
That were impossible: but, I pray you both,
Possess the people in Messina here
How innocent she died; and if your love
Can labour ought in sad invention,
270 Hang her an epitaph upon her tomb,
And sing it to her bones, sing it to-night:
To-morrow morning come you to my house;
And since you could not be my son-in-law,
Be yet my nephew: my brother hath a daughter,
275 Almost the copy of my child that’s dead,
And she alone is heir to both of us:
Give her the right you should have given her cousin,
And so dies my revenge.
Claud.
O noble sir,
Your over-kindness doth wring tears from me!
280 I do embrace your offer; and dispose
For henceforth of poor Claudio.
Leon. To-morrow, then, I will expect your coming;
To-night I take my leave. This naughty man
Shall face to face be brought to Margaret,
[285] Who I believe was pack’d in all this wrong,
Hired to it by your brother.
Bora.
No, by my soul, she was not;
Nor knew not what she did when she spoke to me;
But always hath been just and virtuous
In any thing that I do know by her.
290 Dog. Moreover, sir, which indeed is not under white and black, this plaintiff here, the offender, did call me ass: I beseech you, let it be remembered in his punishment. And also, the watch heard them talk of one Deformed: they say he wears a key in his ear, and a lock 295 hanging by it; and borrows money in God’s name, the which he hath used so long and never paid, that now men grow hard-hearted, and will lend nothing for God’s sake: pray you, examine him upon that point.
Leon. I thank thee for thy care and honest pains.
300 Dog. Your worship speaks like a most thankful and reverend youth; and I praise God for you.
Leon. There’s for thy pains.
Dog. God save the foundation!
Leon. Go, I discharge thee of thy prisoner, and I thank 305 thee.
[306] Dog. I leave an arrant knave with your worship; which I beseech your worship to correct yourself, for the example of others. God keep your worship! I wish your worship well; God restore you to health! I humbly give you leave 310 to depart; and if a merry meeting may be wished, God [311] prohibit it! Come, neighbour. [Exeunt Dogberry and Verges.
Leon. Until to-morrow morning, lords, farewell.
Ant. Farewell, my lords: we look for you to-morrow.
D. Pedro. We will not fail.
Claud.
To-night I’ll mourn with Hero.
Leon. [To the Watch] Bring you these fellows on.
[315] We’ll talk with Margaret,
How her acquaintance grew with this lewd fellow. [Exeunt, severally.
[000] Scene II. Leonato’s garden.
MAAN V. 2 Enter Benedick and Margaret, meeting.
Bene. Pray thee, sweet Mistress Margaret, deserve well at my hands by helping me to the speech of Beatrice.
Marg. Will you, then, write me a sonnet in praise of my beauty?
005 Bene. In so high a style, Margaret, that no man living shall come over it; for, in most comely truth, thou deservest it.
[008] Marg. To have no man come over me! why, shall I [009] always keep below stairs?
010 Bene. Thy wit is as quick as the greyhound’s mouth; it catches.
Marg. And yours as blunt as the fencer’s foils, which hit, but hurt not.
Bene. A most manly wit, Margaret; it will not hurt a 015 woman: and so, I pray thee, call Beatrice: I give thee the bucklers.
Marg. Give us the swords; we have bucklers of our own.
Bene. If you use them, Margaret, you must put in the pikes with a vice; and they are dangerous weapons for maids.
020 Marg. Well, I will call Beatrice to you, who I think hath legs.
Bene. And therefore will come. [Exit Margaret.
[Sings]
[023] The god of love,
That sits above,
025 And knows me, and knows me,
How pitiful I deserve,—
I mean in singing; but in loving, Leander the good swimmer, Troilus the first employer of panders, and a whole [029] bookful of these quondam carpet-mongers, whose names 030 yet run smoothly in the even road of a blank verse, why, [031] they were never so truly turned over and over as my poor [032] self in love. Marry, I cannot show it in rhyme; I have [033] tried: I can find out no rhyme to ‘lady’ but ‘baby,’ an [034] innocent rhyme; for ‘scorn,’ ‘horn,’ a hard rhyme; for 035 ‘school,’ ‘fool,’ a babbling rhyme; very ominous endings: [036] no, I was not born under a rhyming planet, nor I cannot [037] woo in festival terms.
Enter Beatrice.
[038] Sweet Beatrice, wouldst thou come when I called thee?
Beat. Yea, signior, and depart when you bid me.
040 Bene. O, stay but till then!
Beat. ‘Then’ is spoken; fare you well now: and yet, [042] ere I go, let me go with that I came; which is, with knowing what hath passed between you and Claudio.
Bene. Only foul words; and thereupon I will kiss thee.
045 Beat. Foul words is but foul wind, and foul wind is but foul breath, and foul breath is noisome; therefore I will depart unkissed.
[048] Bene. Thou hast frighted the word out of his right sense, so forcible is thy wit. But I must tell thee plainly, 050 Claudio undergoes my challenge; and either I must shortly hear from him, or I will subscribe him a coward. And, I pray thee now, tell me for which of my bad parts didst thou first fall in love with me?
[054] Beat. For them all together; which maintained so politic 055 a state of evil, that they will not admit any good part to intermingle with them. But for which of my good parts [057] did you first suffer love for me?
Bene. Suffer love,—a good epithet! I do suffer love indeed, for I love thee against my will.
060 Beat. In spite of your heart, I think; alas, poor heart! If you spite it for my sake, I will spite it for yours; for I will never love that which my friend hates.
Bene. Thou and I are too wise to woo peaceably.
[064] Beat. It appears not in this confession: there’s not one 065 wise man among twenty that will praise himself.
Bene. An old, an old instance, Beatrice, that lived in the time of good neighbours. If a man do not erect in this age his own tomb ere he dies, he shall live no longer in [069] monument than the bell rings and the widow weeps.
070 Beat. And how long is that, think you?
[071] Bene. Question: why, an hour in clamour, and a quarter [072] in rheum: therefore is it most expedient for the wise, if Don Worm, his conscience, find no impediment to the contrary, [074] to be the trumpet of his own virtues, as I am to myself. So 075 much for praising myself, who, I myself will bear witness, is praiseworthy: and now tell me, how doth your cousin?
Beat. Very ill.
Bene. And how do you?
Beat. Very ill too.
080 Bene. Serve God, love me, and mend. There will I [081] leave you too, for here comes one in haste.
Enter Ursula.
Urs. Madam, you must come to your uncle. Yonder’s old coil at home: it is proved my Lady Hero hath been falsely accused, the prince and Claudio mightily abused; 085 and Don John is the author of all, who is fled and gone. Will you come presently?
Beat. Will you go hear this news, signior?
[088] Bene. I will live in thy heart, die in thy lap, and be buried in thy eyes; and moreover I will go with thee to [090] thy uncle’s. [Exeunt.
[000] Scene III. A church.
MAAN V. 3 Enter Don Pedro, Claudio, and three or four with tapers.
Claud. Is this the monument of Leonato?
[002] A Lord. It is, my lord.
Claud.[Reading out of a scroll]
[003] Done to death by slanderous tongues
Was the Hero that here lies:
005 Death, in guerdon of her wrongs,
Gives her fame which never dies.
So the life that died with shame
Lives in death with glorious fame.
[009] Hang thou there upon the tomb,
[010] Praising her when I am dumb.
Now, music, sound, and sing your solemn hymn.
Song.
Pardon, goddess of the night,
[013] Those that slew thy virgin knight;
For the which, with songs of woe,
[015] Round about her tomb they go.
Midnight, assist our moan;
Help us to sigh and groan,
Heavily, heavily:
Graves, yawn, and yield your dead,
[020] Till death be uttered,
[021] Heavily, heavily.
[022] Claud. Now, unto thy bones good night!
[023] Yearly will I do this rite.
D. Pedro. Good morrow, masters; put your torches out:
025 The wolves have prey’d; and look, the gentle day,
Before the wheels of Phœbus, round about
Dapples the drowsy east with spots of grey.
Thanks to you all, and leave us: fare you well.
[029] Claud. Good morrow, masters: each his several way.
030 D. Pedro. Come, let us hence, and put on other weeds;
And then to Leonato’s we will go.
[032] Claud. And Hymen now with luckier issue speed’s
[033] Than this for whom we render’d up this woe. [Exeunt.
[000] Scene IV. A room in Leonato’s house.
MAAN V. 4 Enter Leonato, Antonio, Benedick, Beatrice, Margaret, Ursula, Friar Francis, and Hero.
Friar. Did I not tell you she was innocent?
Leon. So are the prince and Claudio, who accused her
Upon the error that you heard debated:
But Margaret was in some fault for this,
005 Although against her will, as it appears
In the true course of all the question.
[007] Ant. Well, I am glad that all things sort so well.
Bene. And so am I, being else by faith enforced
To call young Claudio to a reckoning for it.
[010] Leon. Well, daughter, and you gentlewomen all,
Withdraw into a chamber by yourselves,
[012] And when I send for you, come hither mask’d. [Exeunt Ladies.
The prince and Claudio promised by this hour
To visit me. You know your office, brother:
015 You must be father to your brother’s daughter,
And give her to young Claudio.
Ant. Which I will do with confirm’d countenance.
Bene. Friar, I must entreat your pains, I think.
Friar. To do what, signior?
020 Bene. To bind me, or undo me; one of them.
Signior Leonato, truth it is, good signior,
Your niece regards me with an eye of favour.
[023] Leon. That eye my daughter lent her: ’tis most true.
Bene. And I do with an eye of love requite her.
025 Leon. The sight whereof I think you had from me,
From Claudio, and the prince: but what’s your will?
Bene. Your answer, sir, is enigmatical:
But, for my will, my will is, your good will
May stand with ours, this day to be conjoin’d
[030] In the state of honourable marriage:
[031] In which, good friar, I shall desire your help.
Leon. My heart is with your liking.
Friar.
And my help.
[033] Here comes the prince and Claudio.
Enter Don Pedro and Claudio, and two or three others.
[034] D. Pedro. Good morrow to this fair assembly.
035 Leon. Good morrow, prince; good morrow, Claudio:
We here attend you. Are you yet determin’d
To-day to marry with my brother’s daughter?
Claud. I’ll hold my mind, were she an Ethiope.
Leon. Call her forth, brother; here’s the friar ready. [Exit Antonio.
D. Pedro. Good morrow, Benedick. Why, what’s the 040 matter,
That you have such a February face,
So full of frost, of storm, and cloudiness?
Claud. I think he thinks upon the savage bull.
Tush, fear not, man; we’ll tip thy horns with gold,
[045] And all Europa shall rejoice at thee;
As once Europa did at lusty Jove,
When he would play the noble beast in love.
Bene. Bull Jove, sir, had an amiable low;
And some such strange bull leap’d your father’s cow,
[050] And got a calf in that same noble feat
Much like to you, for you have just his bleat.
[052] Claud. For this I owe you: here comes other reckonings.
Re-enter Antonio, with the Ladies masked.
Which is the lady I must seize upon?
[054] Ant. This same is she, and I do give you her.
Claud. Why, then she’s mine. Sweet, let me see your 055 face.
Leon. No, that you shall not, till you take her hand
Before this friar, and swear to marry her.
[058] Claud. Give me your hand: before this holy friar,
I am your husband, if you like of me.
[060] Hero. And when I lived, I was your other wife: [Unmasking.
And when you loved, you were my other husband.
Claud. Another Hero!
Hero.
Nothing certainer:
[063] One Hero died defiled; but I do live,
And surely as I live, I am a maid.
065 D. Pedro. The former Hero! Hero that is dead!
Leon. She died, my lord, but whiles her slander lived.
Friar. All this amazement can I qualify;
When after that the holy rites are ended,
[069] I’ll tell you largely of fair Hero’s death:
070 Meantime let wonder seem familiar,
And to the chapel let us presently.
Bene. Soft and fair, friar. Which is Beatrice?
Beat. [Unmasking] I answer to that name. What is your will?
Bene. Do not you love me?
Beat.
[074] Why, no; no more than reason.
[075] Bene. Why, then your uncle, and the prince, and Claudio
[076] Have been deceived; they swore you did.
Beat. Do not you love me?
Bene.
[077] Troth, no; no more than reason.
Beat. Why, then my cousin, Margaret, and Ursula
[079] Are much deceived; for they did swear you did.
[080] Bene. They swore that you were almost sick for me.
[081] Beat. They swore that you were well-nigh dead for me.
[082] Bene. ’Tis no such matter. Then you do not love me?
Beat. No, truly, but in friendly recompense.
Leon. Come, cousin, I am sure you love the gentleman.
085 Claud. And I’ll be sworn upon’t that he loves her;
For here’s a paper, written in his hand,
A halting sonnet of his own pure brain,
Fashion’d to Beatrice.
Hero.
And here’s another,
Writ in my cousin’s hand, stolen from her pocket,
090 Containing her affection unto Benedick.
Bene. A miracle! here’s our own hands against our hearts. Come, I will have thee; but, by this light, I take thee for pity.
[094] Beat. I would not deny you; but, by this good day, I 095 yield upon great persuasion; and partly to save your life, [096] for I was told you were in a consumption.
[097] Bene. Peace! I will stop your mouth. [Kissing her.
D. Pedro. How dost thou, Benedick, the married man?
[099] Bene. I’ll tell thee what, prince; a college of wit-crackers 100 cannot flout me out of my humour. Dost thou think I care for a satire or an epigram? No: if a man will be beaten [102] with brains, a’ shall wear nothing handsome about him. In [103] brief, since I do purpose to marry, I will think nothing to any purpose that the world can say against it; and therefore [105] never flout at me for what I have said against it; for man is a giddy thing, and this is my conclusion. For thy part, Claudio, I did think to have beaten thee; but in that thou art like to be my kinsman, live unbruised, and love my cousin.
Claud. I had well hoped thou wouldst have denied Beatrice, 110 that I might have cudgelled thee out of thy single life, to make thee a double-dealer; which, out of question, thou [112] wilt be, if my cousin do not look exceeding narrowly to thee.
Bene. Come, come, we are friends: let’s have a dance ere we are married, that we may lighten our own hearts, 115 and our wives’ heels.
[116] Leon. We’ll have dancing afterward.
[117] Bene. First, of my word; therefore play, music. Prince, [118] thou art sad; get thee a wife, get thee a wife: there is no staff more reverend than one tipped with horn.
Enter a Messenger.
120 Mess. My lord, your brother John is ta’en in flight,
And brought with armed men back to Messina.
[122] Bene. Think not on him till to-morrow: I’ll devise thee brave punishments for him. Strike up, pipers. [Dance. [Exeunt.
NOTES.
MAAN [TOC]
Note I.
[Dramatis Personæ.] Rowe and Pope included in the list of Dramatis Personæ, ‘Innogen, wife to Leonato.’ At the beginning of the first scene the Quarto and the Folios have, ‘Enter Leonato Governour of Messina, Innogen his wife, &c.’ and at the beginning of Act ii. Sc. i, ‘Enter Leonato, his brother, his wife, &c.’ But as no reference is made to such a character throughout the play, Theobald was doubtless right in striking the name out. The author probably, as Theobald observed, had designed such a character in his first sketch, and afterwards saw reason to omit it. It is impossible to conceive that Hero’s mother should have been present during the scenes in which the happiness and honour of her daughter were at issue, without taking a part, or being once referred to.
Note II.
[i. 1. 124.] The punctuation which we have adopted seems to be the only one which will make sense of this passage without altering the text. We must suppose that, during the ‘skirmish of wit’ between Benedick and Beatrice, from line 96 to 123, Don Pedro and Leonato have been talking apart and making arrangements for the visit of the Prince and his friends, the one pressing his hospitable offers and the other, according to the manners of the time, making a show of reluctance to accept them.
Note III.
[i. 1. 182, 183.] Johnson was not satisfied with his own conjecture, and supposed something to be omitted relating to Hero’s consent or to Claudio’s marriage; ‘something which Claudio and Pedro concur in wishing.’
Note IV.
[i. 2. 1.] We take this opportunity of reminding the reader that when no authority is given for the place of the scene, we generally follow the words of Capell. He, however, more frequently expands than alters the directions given by Pope. At the beginning of the next scene he puts, unnecessarily, ‘Another room in Leonato’s house.’ The stage was left vacant for an instant, but there is nothing to indicate a change of place.
Note V.
[ii. 1. 1.] Mr Spedding, in The Gentleman’s Magazine, June 1850, proposed to rearrange the Acts thus:
| Act ii. | to begin at what is now | Act i. Sc. 2, |
| Act iii. | . . . . . . . . . . . . | Act ii. Sc. 3, |
| Act iv. | . . . . . . . . . . . . | Act iii. Sc. 4, |
Act v. remaining as it is.
We have not felt ourselves at liberty in such cases as this to desert the authority of the Folio.
Note VI.
[ii. 1.] Scene, a hall in Leonato’s house. It may be doubted whether the author did not intend this scene to take place in the garden rather than within doors. The banquet, of which Don John speaks, line 150, would naturally occupy the hall or great chamber. Don Pedro at the close of the scene says, ‘Go in with me, &c.’ If the dance, at line 135, were intended to be performed before the spectators, the stage might be supposed to represent a smooth lawn as well as the floor of a hall. On the other hand, the word ‘entering,’ at line 70, rather points to the scene as being within doors.
Note VII.
[ii. 1. 67.] The conjecture of the MS. corrector of Mr Collier’s Folio, which seems to have suggested itself independently to Capell (Notes, Vol. ii. p. 121), is supported by a passage in Marston’s Insatiate Countesse, Act ii. (Vol. iii. p. 125, ed. Halliwell):
‘Thinke of me as of the man
Whose dancing dayes you see are not yet done.
Len. Yet you sinke a pace, sir.’
Note VIII.
[ii. 1. 87.] Mr Halliwell mentions that Mar. is altered to Mask. in the third Folio. This is not the case in Capell’s copy of it.
Note IX.
[ii. 1. 218.] In the copy before us of Theobald’s first edition, which belonged to Warburton, the latter has written ‘Mr Warburton’ after the note in which the reading ‘impassable,’ adopted by Theobald, is suggested and recommended, thus claiming it as his own. We have accepted his authority in this and other instances.
Note X.
[ii. 1. 237.] bring you the length of Prester John’s foot: fetch you a hair off the great Cham’s beard. Though ‘of’ and ‘off’ are frequently interchanged in the old copies, yet, as in this place both Quarto and Folios are consistent in reading ‘of’ in the first clause and ‘off’ in the second, we follow them.
Note XI.
[ii. 1. 284.] The old copies here give us no help in determining whether Beatrice is meant to cry, ‘Heigh-ho for a husband,’ or merely, ‘Heigh-ho,’ and wish for a husband. Most editors seem by their punctuation to adopt the latter view. We follow Staunton in taking the former. It probably was the burden of a song. At all events it was so well-known as to be almost proverbial. It is again alluded to iii. 4. 48.
Note XII.
[ii. 2. 39.] The substitution of ‘Borachio’ for ‘Claudio’ does not relieve the difficulty here. Hero’s supposed offence would not be enhanced by calling one lover by the name of the other. The word ‘term,’ moreover, is not the one which would be used to signify the calling a person by his own proper name. It is not clearly explained how Margaret could, consistently with the ‘just and virtuous’ character which Borachio claims for her in the fifth act, lend herself to the villain’s plot. Perhaps the author meant that Borachio should persuade her to play, as children say, at being Hero and Claudio.
Note XIII.
[ii. 3. 27–30.] wise, or I’ll none; virtuous, or I’ll never cheapen her; fair, or I’ll never look on her. Pope erroneously remarks, ‘these words added out of the edition of 1623.’ They are found in the Quarto, all the Folios, and Rowe. Warburton enhances the blunder by including the next clause also, ‘mild, or come not near me.’
Note XIV.
[ii. 3. 81.] We have adhered to the old stage direction in this place, because it is not certain that any musicians accompanied Balthasar. The direction of the Quarto at line 38, ‘Enter Balthasar with musicke,’ may only mean that the singer had a lute with him. In the direction of the Folios, at line 33, only ‘Jacke Wilson’ is mentioned.
Note XV.
[ii. 3. 225.] Mr Halliwell says that we ought to change ‘dinner’ to ‘supper’ here and at line 235, in order to make the action consistent, as we find from line 34 that it is evening: ‘How still the evening is, &c.’ Such inaccuracies are characteristic of Shakespeare, and this cannot well have been due to the printer or copier.
Note XVI.
[iii. 3. 10.] George Seacole. For ‘George’ Mr Halliwell reads ‘Francis.’ But ‘Francis Seacole,’ mentioned iii. 5. 52, is the sexton, and, as it would appear, town-clerk also, too high a functionary to be employed as a common watchman. If the same person had been intended, the error would have been analogous to that in the Merry Wives of Windsor, where Master Page is christened ‘Thomas’ in one place and ‘George’ in another.
Note XVII.
[iii. 3. 115, 116.] Here Rowe, contrary to his custom, does not alter ‘a’ into ‘he.’ We do not in all cases notice these perpetually recurring variations.
Note XVIII.
[iii. 3. 119.] Mr Halliwell says that he has found ‘raine’ for ‘vaine’ in one copy of the first Folio.
Note XIX.
[iii. 4. 8, 17.] The recurrence of this phrase makes it almost certain that the omission of ‘it’ is not a printer’s error, but an authentic instance of the omission of the third personal pronoun. So the first, or second, is omitted in iii. 4. 51; ‘What means the fool, trow?’ For other instances, see Sidney Walker’s Criticisms, Vol. i. p. 77 sqq. And compare note xi, Measure for Measure.
Note XX.
[iii. 4. 29.] say, ‘saving your reverence, a husband.’ The Quarto and Folios punctuate thus: say, saving your reverence a husband. Modern editions have say, saving your reverence, ‘a husband.’ But surely Margaret means that Hero was so prudish as to think that the mere mention of the word ‘husband’ required an apology.
Note XXI.
[iv. 1. 154–157.] Hear me...mark’d. This commencement of the Friar’s speech comes at the bottom of page, sig. G. i. (r) of the Quarto. The type appears to have been accidentally dislocated, and the passage was then set up as prose. The Folio follows the Quarto except that it puts a full stop instead of a comma after ‘markt.’ Some words were probably lost in the operation, giving the Friar’s reason for remaining silent, viz. that he might find out the truth. The whole passage would therefore stand as follows:
Hear me a little; for I have only been
Silent so long and given way unto
This course of fortune . . . . .
By noting of the lady I have mark’d, &c.
The usual punctuation:
And given way unto this course of fortune,
By noting of the lady: I have mark’d, &c.
makes but indifferent sense.
‘I have only been silent’ may mean ‘I alone have been silent.’
Note XXII.
[iv. 2. 1.] The Quarto and Folios agree, with slight differences of spelling, in the stage direction given in the note. The Town Clerk is clearly the same functionary as the Sexton mentioned in the second line.
The first speech is given in the Quarto and Folios to ‘Keeper’—a misprint for ‘Kemp’—the name of the famous actor who played Dogberry. All the other speeches of Dogberry throughout the scene, except two, are given to ‘Kemp,’ those of Verges to ‘Cowley’ or ‘Couley.’ Both Willam Kempt (i. e. Kempe or Kemp) and Richard Cowley are mentioned in the list of the ‘Principall Actors’ prefixed to the first Folio. The speech of Dogberry, line 4, is assigned to ‘Andrew,’ which is supposed to be a nickname of Kemp, who so often played the part of ‘Merry Andrew.’ That in lines 14, 15, is given in the Quarto to ‘Ke.’ and in the Folios to ‘Kee.’ or Keep.,’ a repetition of the error in line 1. The retention of these names in the successive printed copies, as well as that of ‘Jack Wilson’ in a former scene, shows the extreme carelessness with which the original MS. had been revised for the press in the first instance, and supplies a measure of the editorial care to which the several Folios were submitted. All that is known about these actors is collected in a volume edited by Mr Collier for the Shakespeare Society.
Note XXIII.
[iv. 2. 63, 64.] Verg. Let them be in the hands. Con. Off coxcomb! The reading of the Quarto is ‘Couley. Let them be in the hands of coxcombe.’ In the Folio, ‘Sex.’ is substituted for ‘Couley,’ without materially improving the sense. The first words may be a corruption of a stage direction [Let them bind them] or [Let them bind their hands].
Note XXIV.
[v. 1. 143.] We have introduced the words ‘[Aside to Claudio]’, because it appears from what Don Pedro says, line 149, ‘What, a feast, a feast?’ and, from the tone of his banter through the rest of the dialogue, that he had not overheard more than Claudio’s reply about ‘good cheer.’
Note XXV.
[v. 2. 1.] Scene, Leonato’s garden. It is clear from line 83, where Ursula says, ‘Yonder’s old coil at home,’ that the scene is not supposed to take place in Leonato’s house, but out of doors. We have therefore, in this case, deserted our usual authorities, Pope and Capell.
Note XXVI.
[v. 2. 42.] The same construction, i.e. the non-repetition of the preposition, is found in Marston’s Fawne, Act i. Sc. 2: (Vol. ii. p. 24, ed. Halliwell), “With the same stratagem we still are caught.”
Linenotes-Much Ado About Nothing
Much Ado About Nothing, I, 1.
[ Scene i.] Before L.’s house] Capell. A court before L.’s house. Pope.
Enter...] See [note (i)].
[ 1], 8: Peter] Q Ff. Pedro Rowe.
[ 8:] numbers] number F4.
[ 35:] bird-bolt] Theobald. but-bolt Id. conj. burbolt Q Ff.
[ 37]: promised] promise F4.
[ 39]: be] om. F3 F4.
meet] met Capell.
[ 40]: these] Q F1. those F2 F3 F4.
[ 41]: Beat.] Mes. F2.
victual] Capell. vittaile Q. victuall F1 F2 F3. victuals F4.
eat] F3 F4. eate Q F2. ease F1.
[ 42]: he is] Q. he’s Ff.
[ 50]: stuffing,—well,] Theobald (Davenant’s version). stuffing well, Q Ff.
[ 57]: warm] from harm Warburton.
[ 58]: wealth] wearth Hanmer.
[ 65], 161, 170 and passim. an] Theobald. and Q Ff. if Pope.
[ 73]: Benedick] Benedict Q F1.
[ 74]: a’] a Q1. he F1. it F2 F3 F4.
[ 77]: never] Q. ne’re Ff.
[ 79]: Enter ... Don John] Enter ... John the Bastard. Q Ff.
[ 80]: Scene ii. Pope.
[ 80, 81]: you are...trouble:] Ff. are you...trouble: Q. are you...trouble? Collier.
[ 87]: too] Q F1. more F2 F3 F4. most Rowe.
[ 90]: sir] Q. om. Ff.
[ 92]: we] you Rowe (ed. 2).
[ 110]: pernicious] pertinacious Grey conj.
[ 116]: were] om. Collier MS.
[ 120]: i’] Capell. a Q Ff. o’ Warburton.
[ 124]: That...all, Leonato.] That...all: Leonato, Q. This...all: Leonato, Ff. This...all: Don John, Hanmer. See [note (ii)].
[ 126]: tell him] Q F1 F2. tell you F3 F4.
[ 131], 132: Q Ff place a comma after lord and a colon or semicolon after brother.
[ 136]: [Exeunt...] Exeunt. Manent ... Q. [Exeunt. Manet... Ff.
[ 137]: Scene iii. Pope.
[ 143]: their] her Capell conj.
[ 144]: pray thee] Q F1 prethee F2 F3 F4.
[ 145]: a high] a hie Q F1 F2. an high F3 F4.
[ 154]: into] in too Hanmer.
[ 158], 159: ever I] I ever Pope.
[ 162]: with a] with such a Rowe (ed. 2).
[ 167]: this? In faith] Q Ff. this, in faith? Pope.
[ 172]: Re-enter Don Pedro.] Hanmer. Enter Don Pedro, John the bastard. Q Ff.
[ 173]: Scene iv. Pope.
[ 174]: Leonato’s] Rowe (ed. 2). Leonatoes Q F1 F2. Leonato F3 F4. Leonato’s house Pope.
[ 177]: can] cannot F4.
[ 180]: With who?] Q F1. With whom? F2 F3 F4.
[ 181]: his] the Collier MS.
[ 182], 183: Claud. If ... were it. Bene. Uttered like the old tale ... Johnson conj. See [note (iii)].
[ 193]: spoke] Q. speake F1 F2. speak F3 F4.
[ 205]: recheat] rechate Q Ff.
[ 219]: hits] first hits Collier MS.
[ 248]: Scene v. Pope.
[ 249]: to teach] to use S. Walker conj.
[ 267]: I will] I’ll Pope.
[ 267, 268]: and with her father, And thou shalt have her] Q. Omitted in Ff. restored by Theobald.
[ 269]: story] string Lettsom conj.
[ 270]: you do] Q. do you Ff.
[ 275]: grant] plea Hanmer. ground Collier MS.
grant is] garant’s Anon. conj.
is] Q F1 F2. in F3 F4.
the] to Hayley conj.
[ 282]: the] a F4.
[ 286]: presently] instantly Capell conj. MS.
Much Ado About Nothing, I, 2.
[ Scene ii.] Capell.
A room in L.’s house] Capell. See [note (iv)].
Enter...] Enter L. and an old man brother to L. Q Ff. Re-enter A. and L. Pope.
[ 4]: strange] Q. om. Ff.
[ 6]: event] F2 F3 F4 events Q F1.
[ 8]: mine orchard] Q. my orchard Ff.
[ 9]: thus much] Q. thus Ff.
[ 12]: he meant] Q F1 F2 F3. meant F4.
[ 18]: withal] Theobald. withall Q F1 F2. with all F3 F4.
[ 19]: an]Q F1. om. F2 F3 F4.
[ 20]: Enter attendants] Edd. Several cross the stage here. Theobald. Enter several persons, bearing things for the Banquet. Capell.
[ 23]: cousin] cousins Steevens.
Much Ado About Nothing, I. 3.
[ Scene iii.] Capell. Scene vi. Pope.
[ 1]: good-year] good-yeere Q. good yeere F1 F2. good year F3 F4. good-jer Theobald. goujeres Hanmer. goujere Steevens.
[ 4]: breeds] breeds it. Theobald.
[ 7]: brings] Q. bringeth Ff.
[ 8]: at least] Q. yet Ff.
[ 10]: moral] morall Q F1. mortall F2 F3 F4.
[ 16]: the full] full S. Walker conj. who would print lines 16–21 as verses, ending this...controlement ... brother...grace...root...yourself...season...harvest.
[ 17]: of late] till of late Collier MS.
[ 19]: true] Q. om. Ff.
[ 23]: in his grace] by his grace Johnson conj. in his garden Id. conj. (withdrawn).
[ 27]: muzzle] mussell Q F1 F2 F3. muzzel F4.
[ 33]: I make] Q. I will make Ff.
[ 36]: came] come Capell conj.
[ 47]: on] Ff. one Q.
[ 48]: came] Q F1. come F2 F3 F4.
[ 49]: to this?] to know this? Johnson.
[ 52]: whipt me] Q. whipt Ff.
[ 59]: me?] Ff. me. Q.
Much Ado About Nothing, II. 1.
[ Act ii.] See [note (v)].
Scene i. A hall...] Theobald. L.’s House. Pope. See [note (vi)].
Enter...] Enter L., his brother, his wife, Hero his daughter and Beatrice his niece and a kinsman. Q Ff. (and kinsman F3 F4). See [note (i)].
[ 15]: a’] Collier. a Q. he Ff.
[ 26]: the woollen] woollen Rowe (ed. 2).
[ 27]: on] Q. upon Ff.
[ 34]: bear-ward] Collier. Berrord Q F1 F2. Bearherd F3 F4.
[ 35]: hell?] Hanmer. hell. Q Ff. hell,—Theobald.
35–41: Put in the margin as spurious by Warburton.
[ 37]: horns] his horns F4.
[ 40]: Peter for the heavens;] Pope. Peter: for the heavens, Q Ff. Peter. for the heavens! Staunton.
[ 44], 47: courtesy] cursie Q. curtsie Ff.
[ 45]: Father] Q. om. Ff.
[ 47]: please] Q F1. pleases F2 F3 F4.
[ 52]: an account] Q. account Ff.
[ 53]: wayward] cold wayward F3 F4.
[ 54]: my] om. F3 F4.
[ 59]: important] importunate Rowe (ed. 2).
[ 61]: hear] here Q.
[ 62]: as] om. Rowe.
[ 65]: ancientry] aunchentry Q F1 F2. anchentry F3 F4.
[ 67]: sink] sincke Q. sinkes F1 F2. sinks F3 F4. sink apace Collier MS. See [note (v)].
[ 72]: All...masks] L. and his company mask. Capell.
[ 73]: Scene ii. Pope.
Enter...masked.] Enter Prince, Pedro, Claudio, and Benedicke, and Balthasar, or dumb John. Q. Enter...John, Maskers with a drum. Ff.
[ 82]–85: Printed as two verses by Grant White.
[ 83]: Jove] Q. Love F1. love F2 F3 F4.
[ 84], 85: Hero...thatch’d. D. Pedro...love] Hero...thatch’d. Speak...speak, Jove. Anon. conj.
[ 85]: D. Pedro] Marg. Heath conj. [Drawing her aside] Capell.
[ 86], 89, 91: These lines are given to Benedick in Q Ff. Theobald gives them to Balthasar.
[ 87]: Marg.] Mas. F4. See [note (viii].)
[ 90]: Marg.] Mask. F4.
[ 91]: [Turning off in quest of another. Capell.
[ 96]: [Parting different ways. Capell.
[ 101]: ill-well] Theobald. ill well Q Ff. ill Will Rowe. ill, well Pope.
[ 106]: mum,] mumme, Q Ff. mummer, Anon. conj.
[ 107]: [Mixing with the company. Capell.
[ 110]: not tell] Q F1. tell F2 F3 F4.
[ 116]: Beat.] om. F2.
[ 121]: impossible] impassible Warburton.
[ 123]: pleases] Q. pleaseth Ff.
[ 131]: [Music] Musick within. Theobald. [Musick begins: Dance forming. Capell.
[ 135]: [Dance......Claudio] Dance. Exeunt. Q. [Exeunt. Musicke for the dance. Ff. [Exeunt. Manent Don. J., B. and C. Warburton. [Dance: and exeunt D. Ped. and Leo. conversing...Capell.
[ 136]: Scene iii. Pope.
[ 146]: you] ye Theobald.
[ 152]: these] this F3 F4.
[ 156]: their] your Hanmer.
[ 158]: for] om. Pope.
[ 161]: therefore] then Pope.
[ 167]: county] Q. Count Ff.
of] Q F4. off F1 F2 F3.
[ 168]: an] a F4.
[ 172]: drovier] Q Ff. drover Rowe (ed. 2)
[ 176]: Ho! now] Ho now Q F1. Ho no! F2 F3. No no! F4.
[ 179]: fowl] foule Q. fowle F1. soule F2. soul F3 F4.
[ 181]: Ha?] F2 F3 F4. hah, Q. Hah? F1.
[ 182]: Yea] Q F1. you F2. yet F3 F4.
182, 3: so...wrong;] so; (but...wrong) Capell.
[ 183]: base,] bare Anon. conj.
[ 184]: though bitter] the bitter Steevens (Johnson conj.). tough, bitter Jackson conj. through-bitter Anon. conj.
world] word F3 F4.
[ 187]: Scene iv. Pope.
Re-enter Don Pedro.] Enter the Prince. Ff. Enter the Prince, Hero, Leonato, John and Borachio, and Conrade. Q.
[ 191]: I told] Q. told Ff.
[ 192]: good] Q. om. Ff.
this] his S. Walker conj.
[ 194]: up] Q. om. Ff.
[ 198], 205: birds’] birds Q Ff. bird’s Rowe (ed. 2).
[ 214]: but with] with but Capell conj.
[ 217]: that] Q. and that Ff.
[ 218]: impossible] impassable Theobald (Warburton). See [note (ix)]. impetuous Hanmer. importable Johnson conj. imposeable Becket conj. unportable Collier MS. impitiable Jackson.
[ 222]: her terminations] Q. terminations Ff. her minations S. Walker conj.
[ 223]: to the north] the north Warburton conj.
[ 225]: left] lent Collier MS.
[ 228]: the infernal] in the infernal F3 F4.
[ 233]: follows] follow Pope.
[ 235]: Scene v. Pope.
[ 240]: off] of Collier. See [note (x)].
[ 242]: You have] Have you Collier MS.
[ 245]: my Lady Tongue.] Q. this Lady Tongue F1. this lady’s tongue F2 F3 F4.
[ 249]: his] Q. a Ff.
[ 263]: civil count] civil, count Theobald.
[ 264]: that jealous] Q. a jealous Ff. as jealous a Collier MS.
[ 266]: I’ll] Q F1. I F2 F3 F4.
[ 268], 269: and his...obtained:] Pope. and his...obtained, Q Ff. and, his...obtained, Collier.
[ 284]: her] Q. my Ff.
[ 287]: to] through Jackson conj.
world] wood Johnson conj.
[ 288]: heigh-ho for a husband!] See [note (xi)].
[ 299]: of] Ff. a Q. o’ Edd. conj.
[ 302]: was I] Q F1 F2. I was F3 F4.
[ 308]: Scene vi. Pope.
pleasant-spirited] Theobald. pleasant spirited Q Ff.
[ 311]: ever] even Anon. conj.
[ 312]: unhappiness] an happiness Theobald.
[ 320]: County] Countie Q. Counte F1. Count F2 F3 F4.
[ 326]: my] Q. om. Ff. our Collier MS.
[ 331]: mountain] mooting Johnson conj.
mountain of affection] mounting affection of Becket conj.
331, 332: the...the] th’...th’ Q Ff.
[ 333]: but] om. Pope.
[ 350]: in] om. F3 F4.
Much Ado About Nothing, II. 2.
[ Scene ii.] Scene vii. Pope.
The same] Edd. Scene changes. Pope. Scene changes to another apartment in L.’s house. Theobald.
[ 30]: Don] Q. on Ff.
[ 33]: in love] Q. in a love Ff.
33–35: as,—in...maid,—that] Capell, (as in...match)...maid, that Q Ff.
[ 36]: scarcely] hardly Rowe.
[ 39]: Claudio] Borachio Pope, ed. 2 (Theobald). See [note (xii)].
[ 41]: so] om. F3 F4.
[ 43]: truth] Q. truths Ff. proofs Collier MS.
Hero’s] her Capell.
[ 48]: you] Q, Capell. thou Ff.
Much Ado About Nothing, II. 3.
[ Scene iii.] Scene viii. Pope.
Enter Benedick.] Collier. Enter Benedick alone. Q Ff. Enter B. and a Boy. Rowe. Enter B. and a Boy following. Staunton.
[ 1]: Enter Boy.] Collier, om. Q Ff.
[ 7]: [Exit Boy.] Exit. Q. Ff (after line 5).
[ 18]: orthography] Ff. ortography Q. orthographer Rowe (ed. 2). orthographist Capell conj.
[ 22]: an] and Q.
[ 27]–30: See [note (xiii)].
[ 29]: I] Q. om. Ff.
[ 33]: Scene ix. Pope.
Enter......Leonato] Capell. Enter prince, Leonato, Claudio, Musicke. Q. Enter Prince, L., C. and Jacke Wilson. Ff.
[ 38]: kid-fox] cade fox Hanmer. hid fox Warburton.
Enter...Music] Q. om. Ff.
[ 40]: tax] task Capell conj.
[ 41], 42: F1 repeats these lines in the turn of the page.
[ 45]–56: Put into the margin as spurious by Pope.
[ 53]: nothing] Q Ff. noting Theobald.
[ 65]: moe] Q F1. more F2 F3 F4.
[ 66]: Of] Or Collier MS.
[ 67]: fraud...was] Q. fraud...were Ff. frauds...were Pope.
[ 68]: leavy] leafy Pope.
[ 72]: no, no] ne no F4.
no, faith;] no; faith, Collier.
[ 74]: An] Capell. And Q Ff. If Pope.
[ 76]: lief] live Q.
[ 79]: us] om. Rowe.
night] om. Pope.
[ 82]: [Exit B.] Exeunt Bal. and Musick. Capell. See [note (xiv)].
[ 93], 94: it,...affection;] it,...affection, Q Ff. it;...affection, Pope. it;...affection,— Capell.
[ 94]: infinite] definite Warburton.
[ 100]: this] Q F1. the F2 F3 F4.
[ 102]: tell you] tell Capell.
[ 124]: paper] paper full Collier MS.
[ 126]: us of] of us Q.
[ 127]: was] om. F3 F4.
[ 128]: over] ever F2.
sheet?] Capell. sheet. Q Ff. sheets. Collier MS.
[ 133]: for] om. Rowe.
[ 136]: prays, curses] prays, cries Collier MS. curses, prays Halliwell.
[ 140]: afeard] Q Ff. afraid Rowe.
[ 144]: make but] Q. but make Ff.
[ 146]: alms] alms-deed Collier MS.
[ 156]: daffed] Johnson. daft Q Ff. dofft Pope. dafft Theobald.
[ 158]: a’] a Q. he Ff.
[ 166]: contemptible] contemptuous Hanmer.
[ 169]: Before] Q. ’Fore Ff.
[ 172]: Claud.] Q. Leon. Ff.
[ 174]: say] Q. see Ff.
[ 175]: most] Q. om. Ff.
[ 177]–182: Leon. If he...make.] Put into the margin as spurious by Pope.
177: a’ must] a must Q Ff. he must Rowe.
[ 183]: seek] Q. see Ff.
[ 184]: wear] wait Rowe (ed. i).
[ 190]: see] shew Rowe (ed. i).
[ 191]: unworthy] Q. unworthy to have Ff.
[ 196]: gentlewomen] Q. gentlewoman Ff.
[ 197]: one an opinion of another’s] an opinion of one another’s Pope.
[ 200]: in to] Q F4. into F1 F2 F3. to Rowe (ed. i).
[ 201]: Scene x. Pope.
[ 204]: their] Q. the Ff.
[ 214]: have] to have Rowe.
[ 215]: remnants] Q F1. remains F2 F3 F4.
[ 217]: youth...age] age...youth Collier MS.
[ 224]: in to] into F3.
[ 225]: dinner] See [note (xv)].
[ 232]: knife’s] Pope. knives Q Ff.
choke] not choke Collier MS.
[ 235]: in to] into F1.
[ 238]: is] are Hanmer.
Much Ado About Nothing, III. 1.
[ Scene i. Enter... Ursula.] Enter H. and two Gentlewomen, M. and Ursley. Q.
[ 1]: to] into Pope.
[ 4]: Ursula] Ursley Q.
[ 9]: like] like to Pope.
[ 12]: listen our propose] Q. listen our purpose F1. listen to our purpose F2 F3 F4.
[ 14]: warrant you] Q F1. warrant F2 F3 F4.
[ 23]: Enter B. behind.] Steevens (after line 23). Enter B. Q (after line 25) Ff. Enter B. running towards the arbour. Theobald. Enter B. stealing in behind. Collier MS.
[ 29]: even] e’en Pope.
[ 33]: false sweet] false-sweet S. Walker conj.
[ 34]: she is] she’s Pope.
[ 42]: wrestle] wrastle Q Ff.
[ 45]: as full as] Q F1 F2. as full, as F3 F4.
[ 51]: eyes] Q F1. eye F2 F3 F4.
[ 58]: she] sheele Q.
[ 62]: She would] She’d Pope.
[ 63]: antique] Q. anticke F1.
[ 65]: agate] agot Q Ff. aglet Theobald (Warburton).
[ 72]: not] for Rowe. nor Capell.
[ 75]: She would] she’d Pope.
air] an air Rowe (ed. i).
[ 79]: better death than] better death, then Q. better death, to F1. better death, to F2 F3 F4.
[ 80]: as die] as ’tis to die Pope.
[ 89]: swift] sweet Rowe.
[ 91]: Signior] om. Pope.
[ 96]: bearing, argument] F4. bearing argument Q F1 F2 F3.
for bearing, argument] forbearing argument Jackson conj.
[ 101]: every day] in a day Collier MS.
[ 103]: me to-morrow] me,—to-morrow! Anon. conj.
[ 104]: limed] Q. tane Ff. ta’en Rowe.
[ 106]: Cupid kills] Q F1 F2. Cupids kills F3. Cupid kill F4.
[ 107]: mine] my F4.
[ 110]: behind the back] but in the lack Collier MS.
Much Ado About Nothing, III. 2.
[ Scene ii. A room...] Capell.
[ 2]: go I] I go F3 F4.
[ 10]: hangman] henchman Upton conj. twangman Becket conj.
[ 15]: be] is Pope.
[ 21], 22: Omitted by Tieck.
21: Bene.] Leon. Anon. conj.
[ 24]: Where] Which Rowe.
[ 25]: can] Pope. cannot Q Ff.
[ 30]–33: or in the...doublet] Q. omitted in Ff, restored by Pope (ed. 2).
[ 33]: no doublet] all doublet Mason conj.
[ 35]: appear] Q. to appear Ff.
[ 37]: a’] a Q Ff. he Rowe.
o’ mornings] Pope (ed. i). a mornings Q Ff. a-mornings Pope (ed. 2).
[ 45]: a’] a Q Ff. he Rowe.
[ 48]: D. Pedro.] Prin. Ff. Bene. Q.
[ 53]: now governed] governed Anon. conj. new-governed S. Walker conj.
[ 54]: conclude, conclude] Q. conclude Ff.
[ 61]: face] heels Theobald. feet Mason conj.
upwards] downwards Grey conj.
[ 70]: Scene iii. Pope.
[ 76]: D. Pedro.] Claudio. Capell conj.
[ 85], 86: brother,...heart hath] Rowe. brother (I think...heart) hath Q Ff.
[ 90]: has] Q. hath Ff.
[ 99]: to-night,] Q omits the comma.
[ 101]: her then,] Hanmer. her, then Q Ff.
[ 110]: her to-morrow,] Rowe. Q Ff. omit the comma. her; to-morrow, Capell.
[ 115]: midnight] Q. night Ff.
[ 119], 120: so...sequel.] Printed as a verse by Rowe.
[ 120]: when you have] when have F2.
Much Ado About Nothing, III. 3.
[ Scene iii.] Capell. Scene iv. Pope. om. Q Ff.
Enter D. and Verges...] Enter D. and his compartner... Q Ff.
[ 8]: desartless] disartless F4.
[ 10]: George] Francis Halliwell. See [note (xvi)].
[ 19]: no] more Warburton.
[ 21]: lantern] lantherne Q F1 F2. lanthorn F3 F4.
[ 24]: a’] he Rowe.
[ 32]: to talk] Q. talk Ff.
[ 34], 41, 50, 62, 81: Watch.] Watch 2. Rowe.
[ 39]: those] Q. them Ff.
[ 55]: your] Q F1 F2. his F3 F4.
[ 66]: he bleats] Q F1 F2. it bleats F3 F4.
[ 71]: a’] a Q F1 F2 F3. I F4. he Pope.
[ 73]: statues] F1. statutes Q F2 F3 F4.
[ 79]: fellows’] Hanmer. fellowes Q F1 F2. fellows F3 F4. fellow’s Rowe.
counsels] counsel F4.
[ 87]: vigitant] Q F1. vigilant F2 F3 F4.
[ 88]: Scene v. Pope.
[ 89]: [Aside.] Rowe.
[ 95]: with] om. Rowe (ed. 1).
[ 100]: Don] Dun Q.
[ 104]: villany] villain Warburton.
rich] cheap Theobald conj.
[ 115], 116: a’...a’] a...a Q Ff. he...he Pope. See [note (xvii)].
[ 116]: this seven year] Q. this seven years Ff. these seven years Warburton. these seven year Steevens.
[ 119]: vane] Q F2 F3 F4. vaine F1. rain S. Walker conj. See [note (xviii)].
[ 122]: sometimes] Q Ff. sometime Steevens.
[ 123]: reeky] rechie Q Ff.
123, 124: sometime] Q F1 F2. sometimes F3 F4.
[ 124]: god] the god Pope.
124, 125: sometime] Q F1 F3 F4. somtime F2. sometimes Rowe.
[ 127]: and I see] Q. and see Ff.
[ 129]: too] om. Rowe.
[ 137]: afar] far Pope.
[ 139]: they] Q. thy Ff.
[ 147]: saw] had seen Capell.
[ 149]: [Starting out upon them. Capell.
[ 153]: the] Q F1 F2. a F3 F4.
[ 159]–161: Con. Masters,—First Watch. Never...us.] Theobald. Con. Masters, never...us. Q Ff.
Much Ado About Nothing, III. 4.
[ Scene iv.] Capell. Scene vi. Pope.
Hero’s apartment.] Theobald.
[ 6]: rabato] Hanmer. rebato Q Ff.
[ 8]: troth’s] troth it’s Rowe (ed. 2).
[ 17]: troth’s] troth it’s Pope. See [note (xix)].
[ 18]: o’ gold] Capell. a gold Q Ff. of gold Pope.
[ 19]: pearls, down sleeves] pearls down the sleeves Steevens conj.
skirts, round] Q F1 F2. skirts, round, F3 F4. skirts round, Hanmer. skirts round Dyce.
[ 29]: say, ‘saving...husband:’] See [note (xx)].
an] and Ff. & Q. if Pope.
[ 34]: Scene vii. Pope.
[ 38]: Clap’s] Q. Claps Ff. Clap us Rowe (ed. 2).
38, 40: o’ love] Rowe (ed. 2). a love Q Ff.
[ 40]: Ye] Q Ff. Yes, Rowe. Yea, Steevens (Capell conj.).
[ 41]: see] Q. look Ff.
[ 57]: goodly] Q F1 F2. a goodly F3 F4.
[ 65]: this] the Capell conj.
[ 76]: of thinking] with thinking Pope. o’ thinking Capell.
[ 79]: eats] eats not Johnson conj.
[ 83]: that] om. F4.
Much Ado About Nothing, III. 5.
[ Scene v.] Scene viii. Pope.
Enter...] Enter Leonato, and the Constable, and the Headborough. Q Ff.
[ 4]: it is] ’tis F4.
[ 9]: off] Steevens (Capell conj.). of Q Ff.
[ 11]: honest] as honest Rowe (ed. 2).
[ 23]: an ’twere a thousand pound] Capell. and ’t twere a thousand pound Q. and ’twere a thousand times Ff. and twice a thousand times Pope.
[ 30]: ha’] ha Q. have Ff. hath Pope.
[ 35]: God’s] he’s Pope.
an] Pope. and Q Ff.
ride of a horse] Q F1. ride of horse F2. rides an horse F3 F4. ride an horse Rowe (ed 2).
[ 42]: our watch, sir,] om. sir F4.
[ 43]: aspicious] auspicious Rowe (ed. 2).
[ 46]: it] Q. om. Ff.
[ 47]: [Exit Q Ff.
[ 48]: Enter...] Rowe.
[ 51]: [Exeunt L. and M.] Capell. [Ex. Leon. Pope.
[ 54]: examination] Q. examine Ff.
these] Q. those Ff.
[ 56]: you] om. Pope.
[ 57]: that] that [touching his forehead. Johnson.
57: to a noncome] Q Ff. to non-come Pope. to a non-com Capell.
Much Ado About Nothing, IV. 1.
[ Scene i. and attendants.] om. Q Ff. Guests and attendants. Grant White.
[ 4]: lady.] lady? Rowe (ed. 2).
[ 6]: her: friar,] Q F1. her, friar, F2 F3 F4. her, friar; Rowe (ed. 2).
[ 9]: count.] count? Rowe (ed. 2).
[ 19]: not knowing what they do!] Q. omitted in Ff.
[ 42]–44: S. Walker proposes to make four lines ending lord?...soul...lord,...proof.
[ 43]: Not to knit] Q F1. Not knit F2 F3 F4. Nor knit Steevens conj. Not to be...soul as one line, Steevens (Tyrwhitt conj.).
[ 44]: Dear] Dear, dear Capell.
proof] approof Theobald.
[ 48]: You will] You’ll Pope.
[ 55]: thee! Seeming] Grant White. thee seeming Q Ff. thy seeming Pope. the seeming Knight.
write] rate Warburton conj.
[ 56]: You...orb] Becket would put in inverted commas.
seem] seem’d Hanmer.
Dian] Diane Q F1 F2. Diana F3 F4.
[ 60]: rage] range Collier MS.
[ 61]: wide] wild Collier MS.
[ 62]: Leon.] Claud. Tieck.
[ 75]: do so] Q F2. doe F1. to do F3 F4.
[ 78]: F2 F3 F4 give this line to Leonato; Theobald restored it to Claudio.
[ 81]: itself] herself Rowe.
[ 86]: are you] Q. you are Ff.
[ 91]: most like a liberal] like an illiberal Hanmer. like a most liberal Anon. conj.
[ 94]: Fie, fie] Fie Hanmer, dividing the lines, A thousand...are Not...spoke of.
[ 95]: spoke] Q. spoken Ff.
[ 97]: Thus] Thou Collier MS.
[ 101]: thy thoughts] Q Ff. the thoughts Rowe.
[ 108]: [Hero swoons] Hanmer.
[ 111]: [Exeunt...] Rowe. om. Q Ff.
[ 112]: Scene ii. Pope.
[ 118]: look up] still look up Steevens conj.
[ 120]: Why, doth not] Theobald. Why doth not Q Ff.
[ 125]: shames] shame’s F3 F4.
[ 126]: rearward] F3 F4. rereward Q. reward F1. reareward F2. hazard Collier MS. re-word Brae conj.
[ 128]: frame] ’fraine Warburton. hand Hanmer. frown Collier MS.
[ 129]: O,] Q F1. om. F2 F3 F4. I’ve Rowe.
[ 131]: I not] not I Rowe.
[ 133]: smirched] Q. smeered F1 F2 F3. smeer’d F4.
[ 136], 137: and...and...And] as...as...As Warburton.
[ 140]: ink,] ink! Capell.
[ 143]: foul-tainted] foule tainted Q Ff. soul-tainted Collier MS.
143–145: Sir, sir...to say] Printed as prose in Q Ff, as verse by Pope.
[ 152]: Would the two princes lie, and Claudio lie] Q. Would the princes lie and Claudio lie F1. Would the prince lie and Claudio would he lie F2 F3 F4.
[ 155]–158: Hear me......mark’d] See [note (xxi)].
[ 156]: been silent] silent been Grant White.
[ 157]: course] cross Collier MS.
[ 159], 160: apparitions To start into] Q F1 F2 F3. apparitions To start in F4. apparitions start Into Reed.
[ 161]: beat] beate Q. beare F1 F2. bear F3 F4.
[ 165]: observations] observation Hanmer.
[ 167]: tenour] Theobald. tenure Q Ff.
book] books Heath conj.
[ 168]: reverence, calling] reverend calling Collier MS.
[ 170]: biting] blighting Collier MS.
Friar] om. Hanmer.
[ 185]: princes] Q F1. prince F2 F3 F4.
[ 186]: bent] bend Becket conj.
[ 188]: lives] lies S. Walker conj.
[ 189]: frame of] fraud and Collier MS.
[ 192]: of it] it F3 F4.
[ 197]: kind] cause Capell conj. MS.
[ 200]: throughly] thoroughly F4.
[ 202]: princes left for dead] Theobald. princesse (left for dead) Q Ff.
[ 217]: it so] so it F4.
[ 219]: Whiles] Whilst Pope.
lack’d and lost] lost and lack’d Collier MS.
[ 220]: rack] reck Johnson (ed. 1).
[ 222]: Whiles] Whilst Rowe. Whist Warburton.
[ 224]: life] love Pope.
[ 228]: moving-delicate] Capell. moving delicate, Q F1. moving, delicate, F2 F3 F4.
[ 249]: I flow in grief] I flow In grief, alas, Hanmer. alas, I flow in grief Capell.
[ 254]: [Exeunt...] Exit. Q Ff.
[ 255]: Scene iii. Pope.
[ 273]: swear] Q. swear by it Ff.
[ 289]: it] Q. om. Ff.
[ 290]: [He seizes her. Halliwell.
[ 299]: he] Rowe. a Q Ff.
[ 311]: Beat—] Theolbald Beat? Q F1. Bett? F2 F3. But? F4. But— Rowe. But, Beatrice— Steevens conj.
[ 312]: counties] counts Rowe (ed. 2).
[ 313]: count, Count Comfect] counte, counte comfect Q. count, comfect F1. count-comfect F2 F3 F4. Count—confect Grant White.
[ 316]: courtesies] cursies Q F1. curtsies F2. curtesies F3 F4. courtesy Collier MS. curses Grant White conj.
[ 317]: tongue] tongues Hanmer.
[ 328]: I leave] Q. leave Ff.
[ 329]: a dear] Q F1. dear F2 F3 F4.
Much Ado About Nothing, IV. 2.
[ Scene ii.] Capell. Scene iv. Pope.
A prison] Theobald.
Enter...] Enter the Constables, Borachio, and the Towne Clearke in gownes. Q Ff. See [note (xxi)].
[ 1]: Dog.] Capell. Keeper Q Ff. Town-Clerk. Rowe. See [note (xxi)].
[ 2]: Verg.] Capell. Cowley. Q F1 F2 F3. Cowly. F4. Dog. Rowe. See [note (xxi)].
a cushion] Q F1. cushion F2 F3 F4.
[ 4]: Dog.] Capell. Andrew. Q Ff. Verg. Rowe. See [note (xxi)].
[ 16]–19: Yea, sir...villains] Omitted in Ff, restored by Theobald.
[ 20]: go] grow Rowe (ed. 2).
[ 25]: ear: sir,] ear sir, Q F1 F2 F3. ear sir; F4.
[ 30]: constable] Town Clerk Rowe.
[ 31]: forth] Q Ff. om. Rowe.
[ 32]: eftest] easiest Rowe. deftest Theobald.
[ 39]: constable] Town Clerk Rowe.
[ 44]: for accusing] for the accusing Rowe (ed. 2).
[ 47]: by mass] Q. by th’ masse Ff.
[ 60]: Leonato’s] Leonatoes Q. Leonato Ff.
[ 63], 64: Verg. Let them be in the hands— Con. Off, coxcomb!] Malone. Couley. Let them be in the hands of Coxcombe Q. Sex. Let...coxcombe Ff. Conr. Let...coxcomb Theobald. Con. Let us...Coxcomb Hanmer. Sexton. Let them be in hand. Conr. Off, Coxcomb! Warburton. Ver. Let them be in bands. Con. Off, coxcomb! Capell. Let them be in band— Steevens. Let them bind their hands Tyrwhitt conj. (withdrawn). Ver. Let them be in the hands of— Con. Coxcomb! Malone conj. Ver. Let them be bound. Con. Hands off, Coxcomb! Collier MS. See [note (xxii)].
[ 66], 67: bind them. Thou] bind them; thou F3 F4. bind them thou Q F1 F2.
[ 68]: Con.] Rowe. Couley. Q F1 F2 F3. Cowley. F4.
[ 76]: is] Q. om. Ff.
[ 78]: losses] leases Collier MS. lawsuits Anon. (N. and Q.) conj.
[ 80]: [Exeunt.] Pope. [Exit. Q Ff.
Much Ado About Nothing, V. 1.
[ Scene i.] Before L.’s house] Pope.
[ 6]: comforter] Q. comfort F1. comfort els F2. comfort else F3 F4.
[ 7]: do] doe Q. doth Ff.
[ 10]: speak] speak to me Hanmer.
[ 16]: Bid sorrow wag, cry ‘hem!’] Capell. And sorrow, wagge, crie hem Q F1 F2. And hallow, wag, cry hem F3. And hollow, wag, cry hem F4. And sorrow wage; cry, hem Theobald. And sorrow waive, cry hem Hanmer. And, sorrow wag! cry; hem Johnson. And sorrow gagge; cry hem Tyrwhitt conj. And sorrowing, cry hem Heath conj. Cry, sorrow, wag! and hem Steevens (Johnson conj.). In sorrow wag; cry hem Malone. And sorry wag, cry hem Steevens conj. And, sorrow waggery, hem Ritson conj. And sorrow-wagg’d cry hem Becket conj. And—sorrow wag!—cry hem Dyce. Call sorrow joy, cry hem Collier MS. Say, sorrow, wag; cry hem S. Walker conj. And sorrow’s wag, cry hem Grant White. And sorrow away! cry hem Halliwell conj. At sorrow wink, cry hem Anon. conj.
[ 18]: candle-wasters] caudle-waters Jackson conj.
yet] you Collier MS.
[ 21]: speak] Q F1 F2. give F3 F4.
[ 38]: push] Q Ff. pish Rowe (ed. 2).
[ 45]: Scene ii. Pope.
[ 52]: wrongs him] wrongeth him Hanmer. wrongs him, sir? Capell.
[ 53]: Marry, thou] marry, Thou, thou Steevens. who? Marry thou S. Walker conj.
[ 63]: mine] Q. my Ff.
[ 67]: mine] my Pope.
[ 78]: daff] doffe Warburton.
[ 83]: come, sir boy, come, follow me] Q Ff. come boy, follow me Pope. come sir boy, follow me Capell.
[ 91]: braggarts, Jacks] Jacks, braggarts Hanmer.
[ 94]: monging] Q F1. mongring F2 F3 F4.
[ 96]: and] om. Spedding conj.
outward] an outward Rowe.
[ 97]: off] Theobald, of Q Ff.
[ 102]: wake] rack Hanmer. wrack Warburton. waste Talbot conj.
patience] passions Anon. conj.
[ 105]: what] om. F2 F3 F4.
[ 106]–109: Printed as three lines ending No!...shall,...it. by Hanmer.
[ 107]: Enter Benedick. Ff.
[ 108]: No?] Capell. No Q F1. No! F2 F3 F4.
Come] om. Steevens.
[ 109]: Enter Ben. Q.
[Exeunt...] Exeunt ambo. Q Ff (after the preceding line).
[ 110]: we] he F3 F4.
[ 114]: almost] om. Rowe (ed. 2).
[ 115]: like] likt Q F1.
[ 120]: a] om. F3 F4.
[ 143]: [Aside to Claudio] Edd. See [note (xxiii)].
[ 149]: a feast, a feast?] Q F1. a feast? F2 F3 F4.
[ 150]: I’ faith] Ay, faith, Capell conj.
a calf’s-head] Malone. a calves head Q F1 F2. calves heads F3 F4.
[ 151]: a capon] a cap-on Capell. capers Collier MS.
[ 156]: True] Right Rowe (ed. 2).
said] Q. saies F1 F2 F3 says F4.
[ 157]: Right] Just Rowe (ed. 2).
[ 158]: says she] said she Pope.
[ 159]: said she] says she Steevens.
[ 160], 161: a wise gentleman] a wise gentle man Johnson conj.
[ 164]: there’s] theirs Q.
[ 169]: an] Hanmer. and Q Ff.
[ 172]: God] who Collier MS.
[ 174]: savage] Q F1 F2. salvage F3 F4.
[ 175]: on] one Q.
[ 184]: lady. For] lady: for Q F1 F2 F3. lady, for F4. lady for Rowe.
[ 185]: [Exit.] Rowe.
[ 189]: thee.] thee? Pope.
[ 193]: Scene iv. Pope.
[ 195]: let me be] Q F1. let me see F2 F3 F4. let be Capell.
let me be: pluck] let me pluck Malone conj.
[ 197]: Scene iv. Hanmer.
Enter...] Hanmer. Enter Constables, C. and B. Q (after 192). Enter Constable, C. and B. Ff (after 192).
[ 198]: weigh more] more weigh S. Walker conj.
an] if Pope.
[ 211]: you lay] lay you F4.
[ 215]: Who] Q F1. Whom F2 F3 F4.
[ 222]: overheard] heard F4.
[ 232]: whiles] while Rowe.
[ 234]: Yea, and...of it] Yea; And...on’t S. Walker conj.
and] om. Pope.
richly] rich F2 F3 F4.
[ 235]: and framed] om. F3 F4.
[ 240]: reformed] informed F3 F4.
[ 245]: Scene v. Pope.
Re-enter...] Capell. Enter Leonato. Q Ff. Enter L. and Sexton. Theobald.
[ 249]: Art thou] Q. Art thou thou F1. Art thou, art thou F2 F3 F4.
[ 259]: Impose] Expose Hanmer.
me to] to me Capell conj.
[ 264]: to] too F3 F4.
[ 265]: I cannot bid you bid my daughter live] Q F1. I cannot bid you daughter live F2. I cannot bid your daughter live F3. You cannot bid my daughter live F4. You cannot bid my daughter live again Rowe. I cannot bid you cause my daughter live Collier MS.
[ 285]: pack’d] packt Q Ff. pact Collier.
[ 306]: arrant] errant F4.
[ 311]: [Exeunt D. and V.] Edd. Exeunt D., V. and Watch. Capell. Exeunt. Ff (after line 312). om. Q.
[ 315]: [To the Watch.] Edd.
Much Ado About Nothing, V. 2.
[ Scene ii.] Capell. Scene vi. Pope.
Leonato’s garden.] Reed. L.’s house. Pope. See [note (xxiv)].
[ 8], 9: me! why, shall...stairs?] me, why shal...staires. Q. me, why, shall...staires? Ff.
[ 9]: keep below] keep above Theobald. keep men below Steevens conj. keep them below Singer conj.
[ 23]: [Sings.] Pope.
23–26: Printed as prose in Q Ff, as verse by Capell.
[ 29]: names] Q F3 F4. name F1 F2.
[ 31]: over and over] Q F1. over F2 F3 F4.
[ 32]: it in] Q F3 F4. it F1 F2.
[ 33]: baby] babie Q F1. badie F2 F3. bady F4. baudy Rowe.
[ 34]: innocent] Q F1. innocents F2 F3 F4. innocent’s Rowe.
[ 36]: nor] Q. for Ff.
[ 37]: Enter Beatrice] Ff. Enter B. Q (after line 38).
[ 38]: Scene vii. Pope.
called] call Rowe.
[ 42]: came] came for Pope. See [note (xxvi)].
[ 48]: his] its Rowe.
[ 54]: all together] altogether Hanmer.
maintained] maintain Capell conj.
[ 57]: first] om. Rowe.
[ 64]: this] that Hanmer.
[ 69]: monument] Q. monuments Ff.
bell rings] Q. bells ring Ff.
[ 71]: Question:] Question, Q Ff. Question? Pope. om. Hanmer.
[ 72]: rheum] thewme F3. thewm F4.
is it] it is F4.
[ 74]: myself. So] myself so Q Ff.
[ 81]: Enter U.] Q. Enter U. Ff (after line 79).
[ 88]: in thy lap] on thy lip Brae conj.
[ 90]: uncle’s] uncle Rowe.
Much Ado About Nothing, V. 3.
[ Scene iii.] Capell. Scene viii. Pope.
[ 2]: A Lord.] Lord. Q Ff. Atten. Rowe.
[ 3]: Claud. [Reading...] Capell. Epitaph. Q Ff.
3: by] with Capell (corrected in MS.).
[ 9]: [Affixing it. Capell.
[ 10]: dumb] Ff. dead Q.
[ 13]: thy] the Rowe.
knight] bright Collier MS.
[ 15]: they] we Collier MS.
[ 20]: Till] Until Hanmer.
[ 21]: Heavily, heavily] Q. Heavenly, heavenly Ff.
[ 22]: Claud.] Rowe. Lo. Q Ff.
[ 23]: rite] Pope. right Q Ff.
[ 29]: his several way] his way can tell Collier MS.
[ 32]: speed’s] Theobald (Thirlby conj.). speeds Q F1 speed F2 F3 F4.
[ 33]: whom] which Hanmer.
Much Ado About Nothing, V. 4.
[ Scene iv.] Scene ix. Pope.
...Margaret] om. Reed (1793).
[ 7]: sort] sorts Q.
[ 10]: you] Q F1. yong F2. young F3 F4.
[ 12]: [Exeunt Ladies.] Q Ff (after line 16). Capell (after line 17). Dyce (after line 14).
[ 23]: Leon.] Q F1. Old. F2 F3 F4. Ant. Rowe.
[ 30]: In the] Q F1. I’th F2 F3 F4.
state] estate Johnson.
[ 31]: friar,] om. F3 F4.
[ 33]: Here...Claudio] Q. omitted in Ff.
[ 34]: Scene x. Pope.
and...others] and...other. Q. with attendants. Ff.
[ 45]: all Europa] Q F1 F2. so all Europe F3 F4. all our Europe Steevens conj.
[ 50]: And got] Q F3 F4. A got F1 F2.
[ 52]: Scene xi. Pope.
comes] Q Ff. come Rowe.
Re-enter...] Enter brother, Hero, Beatrice, Margaret, Ursula. Q Ff.
[ 54]: This line is given to Leonato in Q Ff, to Antonio first by Theobald.
[ 58]: hand: before......friar,] Pope. hand before...friar, Q Ff.
[ 60]: [Unmasking.] Rowe.
[ 63]: defiled] Q. om. Ff. belied Collier MS.
[ 69]: you] thee F3 F4.
[ 74]: Why, no] Why F3 F4. No Steevens.
[ 75], 76: Printed as Prose in Ff.
[ 76]: they swore] Q Ff. for they did swear Hanmer. for they swore Capell.
[ 77]: Troth] om. Steevens.
[ 79]: did swear] swore Collier MS.
[ 80]: that] Q. om. Ff.
[ 81]: that] Q. om. Ff.
[ 82]: such] Q. om. Ff.
[ 94]: not] yet Theobald, now Hanmer.
[ 96]: I was told] Q F1 F2 as I told F3 F4 as I was told Rowe.
[ 97]: Given to Leonato in Q Ff, corrected by Theobald.
[Kissing her.] Theobald.
[ 99]: wit-crackers] witte-crackers Q F1 F2. witty-crackers F3 F4.
[ 102]: a’] a Q Ff, Collier. he Rowe.
[ 103]: purpose] propose Reed (1803).
[ 105]: what] Q F3 F4. om. F1 F2.
[ 112]: do] no F4.
[ 116]: afterward] Q F2. afterwards F2 F3 F4.
[ 117]: play,] Pope. play Q Ff.
[ 118]: there is no] No S. Walker conj., making a verse.
[ 122]: thee] the, F4.
LOVE’S LABOUR’S LOST.
DRAMATIS PERSONÆ[1].
Ferdinand, king of Navarre.
Biron, lord attending on the King.
Longaville, ” ” ”
Dumain, ” ” ”
Boyet, lord attending on the Princess of France.
Mercade, ” ” ”
Don Adriano de Armado, a fantastical Spaniard.
Sir Nathaniel, a curate.
Holofernes, a schoolmaster.
Dull, a constable.
Costard, a clown.
Moth[2], page to Armado.
A Forester.
The Princess of France.
Rosaline, lady attending on the Princess.
Maria, ” ” ”
Katharine, ” ” ”
Jaquenetta, a country wench.
Lords, Attendants, &c.
Scene—Navarre.
FOOTNOTES:
1: Dramatis Personæ] first given by Rowe. See [note (i)]
2: Moth] Mote. Grant White conj.
3: See [note (ii)].
LOVE’S LABOUR’S LOST[3].