In the following references to the text the lines are numbered from the top of thepage, including titles, acts, stage directions, &c., but not, of course, theheadline or mere 'rules.' Where, as in the lists of Persons Represented,there are double columns, the right-hand column is numbered after the left.
In the following references to the text the lines are numbered from the top of thepage, including titles, acts, stage directions, &c., but not, of course, theheadline or mere 'rules.' Where, as in the lists of Persons Represented,there are double columns, the right-hand column is numbered after the left.
It has not been thought necessary to record the correction of every turned letter nor the substitution of marks of interrogation for marks of exclamation andvice-versâ. Full-stops have been silently inserted at the ends of speeches and each fresh speaker has been given the dignity of a fresh line: in the double-columned folio the speeches are frequently run on. Only misprints of interest in the Quartos and the First Folio are recorded.
None of the above add anything to the sum of variants, being merely the occurrence of trivial differences (some, undoubted misprints) already recorded in certain Quartos and found to occur in others upon making a collation of a fresh series of Quartos for the purpose of the volumes of notes. They are given here solely to make the record as complete as may be, but it should be stated that some of them are accounted for by the existence of Quartos made up of corrected and uncorrected sheets, i.e. it often happens that not all the copies of a Quarto bearing the same date possess an identical series of sheets.
The following are additions to the sum of the variants already recorded, noted in the collation above referred to.
In the Preface to the second volume of the present edition, I used the words 'First Quarto' somewhat loosely to represent indifferently two versions ofThe Elder Brotherboth dated 1637, differing very slightly from each other. The phrase has been misunderstood as implying that the editors of this edition were not aware that one of these two Quartos may possibly have been printed a few years later than the other. This is not the case: the opinion, and the evidence adduced in support of it, were known to the editors, but all questionsof date, together with all other discussions of like nature, were left to be dealt with in their proper place in the volume or volumes of notes that are to follow the publication of the text. It is a matter of very slight importance, and it is sufficient to state here that one of these two identically dated editions was called A and the other B in the Appendix to volumeIIfor purposes of reference only, just as, in volume I, the two identically dated Quartos ofPhilaster, 1652, were called F and G, respectively, without there being any intention on the part of the editors to express, in either case, any opinion, for the moment, as to which is the earlier or the better of the two. Furthermore, since the text of one of these 1637 Quartos was printed in the Appendix merely in order to show the verse arrangement that prevailed in the early Quartos and not for any other textual purpose, it was a matter of indifference which of the two 1637 Quartos was used.
As in the case ofThe Elder Brother, copies of Quartos dated the same year differ by reason of the inclusion of corrected and uncorrected sheets. This remark applies to the undated 1609/10 Quartos called here A and B and also to C and the later Quartos, e.g. some copies of C have been seen which read (p.372, l. 13):and games, and some:and merry games.
None of the above, noticed during a collation of a fresh set of Quartos for the purpose of the notes, add anything to the sum of variants. The following are additions: p.373, l. 19of text forstaightread[straight]. p.390, l. 27. A] dapple. l. 36. A] Beates against. p.401, l. 21. The Quartos print, with variations of roman and italic type, 'Exit.Amaril.Perigot!' The right reading is probably to regard the last word as Amaryllis's cry for Perigot. By being printed on the same line as the conclusion of Perigot's speech, the two names were printed in the Second Folio as though part of the stage direction. p.421, l. 36. A and B] so strange. p.423, l. 8. F] the Cradle. p.427, l. 7. A-D] women. p.430, l. 22. A-C] thee, there will bide. p.442, l. 26. F] labouring spring. p.519, l. 18. D and F] morality. Since the textual notes in Vol. II were written, the present Editor has seen copies of the undated First Quarto A which do not contain the preliminary verses and address on pp. 521 (2 items) and 522 (2 items).
Vol.III.pp. 460 and 461.
The following addenda were printed on a slip and affixed as indicated above. They are repeated here in case the slip should become detached.
A = First Folio. B = Second Folio.
The following variants are in A unless where otherwise stated.
B = Second Folio.
The title-page of the Quarto of 1639 (=A) runs as follows:
Monsieur | Thomas. A Comedy. | Acted at the Private House in | Blacke Fryers. | The Author, | John Fletcher, | Gent. | London, | Printed by Thomas Harper, for John Waterson, and are | to be sold at his shop in Pauls Church-yard,| at the signe of the Crowne: | 1639.
This Quarto is sometimes met with under the title ofFathers own Son.
The title-page is followed in the Quarto by these verses and Richard Brome's letter (see ante, p.174).
In prayse of the Authour, and his following Poeme.
'Tis both the life of Action and of wit,When Actors so the fanci'd humours hit,As if 'twixt them and th' Authour there were strifeHow each to other should give mutuall life.The last this wanted not. Invention strayesHere in full many pleasant turning wayes,That like Meanders their curld circles bend,Yet in a smooth streame runne to crowne the end.Then 'tis authoriz'd by the Authors name;Who never writ but with such sprightly flame,As if the Muses jointly did inspire,His raptures only with their sacred fire.And yet perhaps it did participateAt first presenting but of common fate;When ignorance was judge, and but a fewWhat was legitimate, what bastard, knew.The world's growne wiser now: each man can sayIfFletchermade it 'tis an exc'lent play.Thus Poemes like their Authors may be sed,Never to live 'till they have first beene dead.Rich. Brome.
'Tis both the life of Action and of wit,When Actors so the fanci'd humours hit,As if 'twixt them and th' Authour there were strifeHow each to other should give mutuall life.The last this wanted not. Invention strayesHere in full many pleasant turning wayes,That like Meanders their curld circles bend,Yet in a smooth streame runne to crowne the end.Then 'tis authoriz'd by the Authors name;Who never writ but with such sprightly flame,As if the Muses jointly did inspire,His raptures only with their sacred fire.And yet perhaps it did participateAt first presenting but of common fate;When ignorance was judge, and but a fewWhat was legitimate, what bastard, knew.The world's growne wiser now: each man can sayIfFletchermade it 'tis an exc'lent play.Thus Poemes like their Authors may be sed,Never to live 'till they have first beene dead.Rich. Brome.
'Tis both the life of Action and of wit,When Actors so the fanci'd humours hit,As if 'twixt them and th' Authour there were strifeHow each to other should give mutuall life.The last this wanted not. Invention strayesHere in full many pleasant turning wayes,That like Meanders their curld circles bend,Yet in a smooth streame runne to crowne the end.Then 'tis authoriz'd by the Authors name;Who never writ but with such sprightly flame,As if the Muses jointly did inspire,His raptures only with their sacred fire.And yet perhaps it did participateAt first presenting but of common fate;When ignorance was judge, and but a fewWhat was legitimate, what bastard, knew.The world's growne wiser now: each man can sayIfFletchermade it 'tis an exc'lent play.Thus Poemes like their Authors may be sed,Never to live 'till they have first beene dead.
Rich. Brome.
As neither the Folio nor the Quarto give the dramatis personæ, I print a list of the characters here.
DRAMATIS PERSONÆ. MONSIEUR THOMAS.
Valentine.Francesco, his son.Sebastian.Thomas, his son.Hylas.Sam.Michael.Launcelot, servant of Thomas.Fiddler.Three Physicians.Apothecary, Barber, Sailors, Officers, Servants.Alice, sister of Valentine.Mary, their niece.Cellide.Dorothea, daughter of Sebastian.Abbess of St Katherine's, aunt of Thomas and Dorothea.Nuns.Madge, Kate and Maids.
The variants below are those of A unless otherwise noted.
A = First Folio. B = Second Folio.
The variants below are those of A unless where otherwise stated.
A = The | Bloody | Brother. | A Tragedy. | By B. J. F. | London, | Printed by R. Bishop, for Thomas Allott, and John Crook, | and are to be sold in Pauls Churchyard, at the signe | of the Greyhound 1639. |
B = The Tragedy of | Rollo | Duke of Normandy. | Acted by his | Majesties Servants. | Written by | John Fletcher | Gent. | Oxford, | Printed by Leonard Lichfield | Printer to the University. | Anno 1640. |
C = The Second Folio.
Here again copies dated the same year differ in their readings. Three copies of the 1639 Quarto have been collated to supply the readings given below, and three copies also of the 1640 Quarto.
As the verse arrangements differ considerably in A and B I have given those which are of value in B.
p.246, ll. 1-6. B] The Tragoedy of Rollo Duke of Normandy. ll. 3 and 4. Aomits these two lines. l. 7. A] Drammatis Personæ. l. 22. A] L'Fisk. l. 23. A and C] Rufee. l. 35. Aomits] WomenandplacesLordstoBoyesafterEdith.
ThePersons Representedare given differently in B, wherein they read as follows on a page facing the beginning of the play.
The Names of the Actors:Rollo,Sonnes to the deceased Duke of Normandy.Otto,Aubrey,Kinsman to Rollo.Gisbert,Two Counsellors of State.Balwin,Latorch,Favorite to Rollo.Hamond,Captaine of the Guard.Allan,His brother.Granpree,Servants to Rollo.Verdon,Trevite,Servants to Otto.Du Prette,Citizens.Guard.Servants.Boyes.Cooke.Butler.Pantler.Yeoman of the Cellar.Russee.Cheaters.De Bubie.La-Fiske.Norbret.Pipeane.Sophia,The old Dutchesse.Matilda,Her daughter.Edith,Daughter to Baldwin.
'The drinking Song, to the second Act' (see p.263), is given in A on the verso of the page containing the Dramatis Personæ.
l. 42. Bomits] Sir. l. 44 etc. Breads]