Footnotes: Preface and Introduction

Footnotes: Preface and Introduction1Fleay (Chron. Eng. Dra., I, 208) thinks that the otherwise lost Massinger play,The Judge, licensed by Herbert in 1627, and included in the list of Warburton’s collection, may have beenThe Fatal Dowry. He declares, moreover, that “the decree in favor of creditors in I, iiawas a statute made in 1623,” and suggests that Massinger after this date made over an independent play of Field’s, now lost. But I think that any one who surveys inThe Fatal Dowrythe respective hands of its authors will incline strongly to the conviction that this drama is the offspring of joint effort rather than the re-handling of one man’s work by another. The decree to which Fleay has reference appears to be that to be found inStatutes of the Realm, IV, ii, 1227–9, recorded as 21º Jac I, 19. This is an act passed by the parliament of 1623–4; it somewhat increases the stringency of the already-existing severe laws in regard to bankrupts, but contains nothing which even faintly suggests the decree in our play, by which the creditors are empowered to withhold the corpse of their debtor from burial; and, indeed, it is obviously impossible that a statute permitting any such practice could have been passed in Christian England of the seventeenth century. The fact is that this feature of the plot is taken direct from a classical author (see underSources), and it would be gratuitous to assume in it a reference to contemporaneous legislation. As for the hypothesis thatThe Fatal DowryandThe Judgeare the same play, in the utter absence of any supporting evidence it must be thrown out of court. This sort of identification is a confirmed vice with Fleay.The Judgeis, moreover, listed as a comedy (see reprint of Warburton’s list in Fleay’sThe Life and Work of Shakespeare, p. 358).[↩]2Two other arguments—both fallacious—have been advanced for a more assured dating.Formal prologues and epilogues came into fashion about 1620, and the absence of such appendages in the case ofThe Fatal Dowryhas been generally taken as evidence for its appearance before that year; but for a Massinger production no such inference can be drawn—there is no formal prologue or epilogue in any of his extant plays beforeThe Emperor of the EastandBelieve as You List, which were licensed for acting in 1631.The suggestion (Fleay:Chron. Eng. Dra., I, p. 208) that Field took the part of Florimel, and that the mention of her age as thirty-two years (II, ii, 17) has reference to his own age at the time the play was produced (thus fixing the date: 1619), is an idea so far-fetched and fantastic that it is amazing to find it quoted with perfect gravity by Ward (Hist. Eng. Dra. Lit., III, 39). That Field, second only to Burbage among the actors of his time, should have played the petty role of Florimel is a ridiculous supposition. It is strange that anyone who considered references of this sort a legitimate clue did not build rather upon the statement (II, i, 13) that Charalois was twenty-eight. But such grounds for theorizing are utterly unsubstantial; there is no earthly warrant for identifying the age of an author’s creation with the age of the author himself.[↩]3I would not, however, think it very improbable that Field might have engaged in the composition ofThe Fatal Dowryimmediately after his retirement, when the ties with his old profession were, perhaps, not yet altogether broken.[↩]4On a careful inspection of the entire dramatic output of Massinger, both unaided work and plays done in collaboration, I have found worthy of record parallels to passages inThe Fatal Dowryto the number of: 24, inThe Unnatural Combat, 14 in the Massinger share (about ⅗) ofThe Virgin Martyr, 18 inThe Renegado, 11 inThe Duke of Milan, 10 inThe Guardian, and in none of the rest as many as 8.—But Massinger’s undoubted share (⅓) ofThe Little French Lawyeryields 6; ⅖ ofThe Double Marriage, 6; ⅖ ofThe Spanish Curate, 6; ⅖ ofSir John van Olden Barnavelt, 4.[↩]5E. g., I, i (Massinger) with its grave rhetoric uniformly sustained, and, in immediate succession, II, i (Decker), a medley of coarse buffoonery and tender and beautiful verse.[↩]6As witnessThe False One. Here Massinger seems to have projected a stately historical drama of war and factional intrigue, with a conception of Cleopatra as the Great Queen, more a Semiramis or a Zenobia than “the serpent of old Nile,” and so treats his subject in the first and last Acts; while Fletcher “assists” him by filling the middle section of the play with scenes theatrically effective but leading nowhere, and in them makes the heroine the traditional “gipsy” Cleopatra.[↩]7The only other modern attempt to apportion the play is that of C. Beck (The Fatal Dowry, Friedrich-Alexander Univ. thesis, 1906, pp. 89–94). He assigns Massinger everything except the prose passages ofII, iiandIV, i, and perhapsII, i, 93–109. Hisa prioritheory of distribution seems to be that all portions of the play which he deems of worth must be Massinger’s. It is difficult to speak of Beck’s monograph with sufficiently scant respect.[↩]8References to the plays of Massinger are either by page and column of the Cunningham-Gifford edition of his works (designated C-G.), or, in the case of plays in the Beaumont & Fletchercorpusin which he or Field collaborated, by volume and page of the Dyce edition (designatedD.). Field’s two independent comedies are referred to by page of the Mermaid Series volume which contains them:Nero and Other Plays(designatedM.).[↩]9The figures for the speech-ending test for each scene will be found in the table at the end of this section, and are not given in the course of the detailed examination of the play, save in the case of one passage, where the ambiguity of their testimony is noted. In all other Scenes they merely corroborate the evidence of the other tests.[↩]10This is all the more rampant in that it is suddenly called back into activity after its period of obscuration while she yielded herself to a cynical, immoral opportunism, and is now brought, by a fearful shock, to confront higher ethical values and real manhood. For this time she is given not a Novall but a Charalois to idealize.[↩]11See the figure of Captain Pouts inWoman is a Weathercock. He might easily have been made a meremiles gloriosus; instead he is a real man,—coarse, revengeful, dissolute, quarrelsome, hectoring—no doubt at heart a coward, but not more absurdly so in the face of his pretensions than many of his type in actual life. For characters clearly visualized in a few simple strokes, may be noted in the same play Lady Ninny, Lucida, and, apart from one speech (M. 356–7) out of character obviously for comic effect, Kate; inAmends for Ladies, Ingen. Examples of Field’s power in more idealistic work may be found inThe Knight of Maltain the delineation of Montferrat’s passion (I, i) and in the scene between Miranda and Oriana (V, i).[↩]12ApparentlyThe Fatal Dowrywas not performed every day.[↩]13During the run of this play one Warren, who was Powell’s dresser, claimed a right of lying for his master and performing the dead part of Lothario—about the middle of the scene Powell called for Warren; who as loudly replied from the stage, “Here Sir”—Powell (who was ignorant of the part his man was doing) repeated without loss of time, “Come here this moment you Son of a Whore or I’ll break all the bones in your skin”—Warren knew his hasty temper, and therefore without any reply jumped up with all his sables about him, which unfortunately were tied to the handles of the bier and dragged after him—but this was not all—the laugh and roar began in the audience and frightened poor Warren so much that with the bier at his tail he threw down Calista and overwhelmed her, with the table, lamp, books, bones, &c.—he tugged till he broke off his trammels and made his escape, and the play at once ended with immoderate fits of laughter—Betterton would not suffer The Fair Penitent to be played again, till poor Warren’s misconduct was somewhat forgotten—this story was told to Chetwood by Bowman [Sciolto]—(Genest, II, 281–2).[↩]14This, of course, may require the substitution of a capital for a small letter, as when a mid-line word of the Quarto becomes in the re-alignment the first word of the verse.[↩]

1Fleay (Chron. Eng. Dra., I, 208) thinks that the otherwise lost Massinger play,The Judge, licensed by Herbert in 1627, and included in the list of Warburton’s collection, may have beenThe Fatal Dowry. He declares, moreover, that “the decree in favor of creditors in I, iiawas a statute made in 1623,” and suggests that Massinger after this date made over an independent play of Field’s, now lost. But I think that any one who surveys inThe Fatal Dowrythe respective hands of its authors will incline strongly to the conviction that this drama is the offspring of joint effort rather than the re-handling of one man’s work by another. The decree to which Fleay has reference appears to be that to be found inStatutes of the Realm, IV, ii, 1227–9, recorded as 21º Jac I, 19. This is an act passed by the parliament of 1623–4; it somewhat increases the stringency of the already-existing severe laws in regard to bankrupts, but contains nothing which even faintly suggests the decree in our play, by which the creditors are empowered to withhold the corpse of their debtor from burial; and, indeed, it is obviously impossible that a statute permitting any such practice could have been passed in Christian England of the seventeenth century. The fact is that this feature of the plot is taken direct from a classical author (see underSources), and it would be gratuitous to assume in it a reference to contemporaneous legislation. As for the hypothesis thatThe Fatal DowryandThe Judgeare the same play, in the utter absence of any supporting evidence it must be thrown out of court. This sort of identification is a confirmed vice with Fleay.The Judgeis, moreover, listed as a comedy (see reprint of Warburton’s list in Fleay’sThe Life and Work of Shakespeare, p. 358).[↩]

2Two other arguments—both fallacious—have been advanced for a more assured dating.Formal prologues and epilogues came into fashion about 1620, and the absence of such appendages in the case ofThe Fatal Dowryhas been generally taken as evidence for its appearance before that year; but for a Massinger production no such inference can be drawn—there is no formal prologue or epilogue in any of his extant plays beforeThe Emperor of the EastandBelieve as You List, which were licensed for acting in 1631.The suggestion (Fleay:Chron. Eng. Dra., I, p. 208) that Field took the part of Florimel, and that the mention of her age as thirty-two years (II, ii, 17) has reference to his own age at the time the play was produced (thus fixing the date: 1619), is an idea so far-fetched and fantastic that it is amazing to find it quoted with perfect gravity by Ward (Hist. Eng. Dra. Lit., III, 39). That Field, second only to Burbage among the actors of his time, should have played the petty role of Florimel is a ridiculous supposition. It is strange that anyone who considered references of this sort a legitimate clue did not build rather upon the statement (II, i, 13) that Charalois was twenty-eight. But such grounds for theorizing are utterly unsubstantial; there is no earthly warrant for identifying the age of an author’s creation with the age of the author himself.[↩]

2Two other arguments—both fallacious—have been advanced for a more assured dating.

Formal prologues and epilogues came into fashion about 1620, and the absence of such appendages in the case ofThe Fatal Dowryhas been generally taken as evidence for its appearance before that year; but for a Massinger production no such inference can be drawn—there is no formal prologue or epilogue in any of his extant plays beforeThe Emperor of the EastandBelieve as You List, which were licensed for acting in 1631.

The suggestion (Fleay:Chron. Eng. Dra., I, p. 208) that Field took the part of Florimel, and that the mention of her age as thirty-two years (II, ii, 17) has reference to his own age at the time the play was produced (thus fixing the date: 1619), is an idea so far-fetched and fantastic that it is amazing to find it quoted with perfect gravity by Ward (Hist. Eng. Dra. Lit., III, 39). That Field, second only to Burbage among the actors of his time, should have played the petty role of Florimel is a ridiculous supposition. It is strange that anyone who considered references of this sort a legitimate clue did not build rather upon the statement (II, i, 13) that Charalois was twenty-eight. But such grounds for theorizing are utterly unsubstantial; there is no earthly warrant for identifying the age of an author’s creation with the age of the author himself.[↩]

3I would not, however, think it very improbable that Field might have engaged in the composition ofThe Fatal Dowryimmediately after his retirement, when the ties with his old profession were, perhaps, not yet altogether broken.[↩]

4On a careful inspection of the entire dramatic output of Massinger, both unaided work and plays done in collaboration, I have found worthy of record parallels to passages inThe Fatal Dowryto the number of: 24, inThe Unnatural Combat, 14 in the Massinger share (about ⅗) ofThe Virgin Martyr, 18 inThe Renegado, 11 inThe Duke of Milan, 10 inThe Guardian, and in none of the rest as many as 8.—But Massinger’s undoubted share (⅓) ofThe Little French Lawyeryields 6; ⅖ ofThe Double Marriage, 6; ⅖ ofThe Spanish Curate, 6; ⅖ ofSir John van Olden Barnavelt, 4.[↩]

5E. g., I, i (Massinger) with its grave rhetoric uniformly sustained, and, in immediate succession, II, i (Decker), a medley of coarse buffoonery and tender and beautiful verse.[↩]

6As witnessThe False One. Here Massinger seems to have projected a stately historical drama of war and factional intrigue, with a conception of Cleopatra as the Great Queen, more a Semiramis or a Zenobia than “the serpent of old Nile,” and so treats his subject in the first and last Acts; while Fletcher “assists” him by filling the middle section of the play with scenes theatrically effective but leading nowhere, and in them makes the heroine the traditional “gipsy” Cleopatra.[↩]

7The only other modern attempt to apportion the play is that of C. Beck (The Fatal Dowry, Friedrich-Alexander Univ. thesis, 1906, pp. 89–94). He assigns Massinger everything except the prose passages ofII, iiandIV, i, and perhapsII, i, 93–109. Hisa prioritheory of distribution seems to be that all portions of the play which he deems of worth must be Massinger’s. It is difficult to speak of Beck’s monograph with sufficiently scant respect.[↩]

8References to the plays of Massinger are either by page and column of the Cunningham-Gifford edition of his works (designated C-G.), or, in the case of plays in the Beaumont & Fletchercorpusin which he or Field collaborated, by volume and page of the Dyce edition (designatedD.). Field’s two independent comedies are referred to by page of the Mermaid Series volume which contains them:Nero and Other Plays(designatedM.).[↩]

9The figures for the speech-ending test for each scene will be found in the table at the end of this section, and are not given in the course of the detailed examination of the play, save in the case of one passage, where the ambiguity of their testimony is noted. In all other Scenes they merely corroborate the evidence of the other tests.[↩]

10This is all the more rampant in that it is suddenly called back into activity after its period of obscuration while she yielded herself to a cynical, immoral opportunism, and is now brought, by a fearful shock, to confront higher ethical values and real manhood. For this time she is given not a Novall but a Charalois to idealize.[↩]

11See the figure of Captain Pouts inWoman is a Weathercock. He might easily have been made a meremiles gloriosus; instead he is a real man,—coarse, revengeful, dissolute, quarrelsome, hectoring—no doubt at heart a coward, but not more absurdly so in the face of his pretensions than many of his type in actual life. For characters clearly visualized in a few simple strokes, may be noted in the same play Lady Ninny, Lucida, and, apart from one speech (M. 356–7) out of character obviously for comic effect, Kate; inAmends for Ladies, Ingen. Examples of Field’s power in more idealistic work may be found inThe Knight of Maltain the delineation of Montferrat’s passion (I, i) and in the scene between Miranda and Oriana (V, i).[↩]

12ApparentlyThe Fatal Dowrywas not performed every day.[↩]

13During the run of this play one Warren, who was Powell’s dresser, claimed a right of lying for his master and performing the dead part of Lothario—about the middle of the scene Powell called for Warren; who as loudly replied from the stage, “Here Sir”—Powell (who was ignorant of the part his man was doing) repeated without loss of time, “Come here this moment you Son of a Whore or I’ll break all the bones in your skin”—Warren knew his hasty temper, and therefore without any reply jumped up with all his sables about him, which unfortunately were tied to the handles of the bier and dragged after him—but this was not all—the laugh and roar began in the audience and frightened poor Warren so much that with the bier at his tail he threw down Calista and overwhelmed her, with the table, lamp, books, bones, &c.—he tugged till he broke off his trammels and made his escape, and the play at once ended with immoderate fits of laughter—Betterton would not suffer The Fair Penitent to be played again, till poor Warren’s misconduct was somewhat forgotten—this story was told to Chetwood by Bowman [Sciolto]—(Genest, II, 281–2).[↩]

14This, of course, may require the substitution of a capital for a small letter, as when a mid-line word of the Quarto becomes in the re-alignment the first word of the verse.[↩]

Footnotes: the Play[Dramatis Personae]G. and S. omitOfficers, and add those roles which are enclosed in brackets.They add explanations of each character, also changing the order. ForGaoler, S. readsGaolers.Baumont—M., f spellBeaumont.C. & M. add after the list ofDramatis Personae: The Scene, DijoninBurgundy.[Act I, Scene i]10As—That(C., M.12, 16, etc.then—modernized tothanthroughout by all later eds.13, end s. d.Gives him his purse(G., S.19your—him(G., S.33This such—This is such(S.34 .—? (C., f.45summes—sum(C., M.46 and 47Dare ... oportunity?—printed as one line in Q.47, end s. d.:They salute him as they pass by(G., S.56, afterNo—, (C., f.56’em—them(G., S.70and in that—and, in that,(C., f.71where—whereas(C, M.90great men—men great(C., f.92 and 93And ... suytor?—printed as one line in Q.[I.i.100]103’Tis well.—G. & S. assign toChar.and follow with s. d.:Tenders his petition.The change is uncalled for.103 s. d., after Nouall—G. & S. insertAdvocates.103 and 104You ... againe.—printed as one line in Q.104Offer’t—Offer it(M., f.110 end s. d.Aside to Cred.(G., S.114I pray heare em.—Pray hear them.(G.—I pray hear them.(S.114Tis—It is(G.116 ;—M., f. omit.123Armors—Armour(C., M., G.127banquerout—here and elsewhere by later eds. alwaysbankrupt.133Sir—assigned toChar.by G., who adds s. d.:Tenders his petition.136 and 137Yes ... hereby—printed as one line in Q.137hereby—whereby(M., G.139You are—You’re(C., M.139, afterso.—? (C., M.—! (G., S.139 s. d.—The exit of Novall is placed earlier, at l. 136, by G. & S.145 G. & S. omit s. d.149, afterthis,—s. d.;Beats him(G.—Kicks him(S.154 and 155Are ... then—printed as one line in Q.155, afterthen.—s. d.:Kicks them(C., f.157haue—hear(M.159from—omitted by C., f.162, afterCuckolds—, (C., M—; (G., S.162ne’er—never(M.162prayd—pray (G.166To—T’(M.168forhead—foreheads(G.171then—this form retained in C.171 s. d.Creditor—Creditors(G., S.195you are—you’re(C., M.[Act I, Scene ii]first s. d.,3 Presidents—Presidents,... three Creditors(G., S.1Lordship’s seated. May—lordships seated, may(G., S.2 and 3prosperous ... Burgundy.—printed as a line in Q.7, afterresigne—; (M., f.13President—precedent(C., f.13President they—precedent that they(C., M.15we are—we’re(C., M.35the—th’(C., M.50And—I(G., S.51, end —s. d.:To Nov. sen.(G., S.60With—Which(C., M., G.64taske—tax(M.66become—became(M., f.76find—finds(G., S.82 and 83How ... Court?—printed as one line in Q.85 and 86I hope ... Lord——printed as one line in Q.91, afteryou—G. & S. insert,sir,93, afterWhy—, (C., f.[I.ii.100]106tell you—tell thee(G.107I am—I’m(C., M.115ere—ever(C., M., G.125purpose—purposes(G., S.145, end —s. d.:Aside toCharalois (G., S.146 C., f. insert , aftercounsayleand omit , afterit.180proud—S. omits.185enemies—enemy’s (C., f.186–’8 Lines in Q. are:In ... prison.|Twas ... prodigall.|He ... Army.187frô—from(C., f.189Sufficent? My Lord,—Sufficient, my Lord?(C., f. G. & S. havelords.194They are—They’re(M., f.195’Tis—It is(G., S.[I.ii.200]201right—SeeNotes; afteror—G. insertswishin brackets, which S. accepts in text.217th’ incounter—the incounter(C., f.217, aftercold—, (G., S.—a plausible but unnecessary emendation.223not be—be or not(G.—or not be(S.234Lords—cords(C., f.234a—in(G., S.234’em—them(G., S.243nintongueinverted in Q.244uinreuengeinverted in Q.246never—ever(C., M.247ninanswerinverted in Q.After 255, s. d.: C. & M. substituteCharaloisforCharmi; G. & S. insertCharaloisbeforeCharmi.264 and 265You ... fit—printed as one line in Q.266’tas—’t has(C., M., S.;’t’as(G.279 and 280Am ... request?—printed as one line in Q.288 and 289I follow you—Baumont—printed as one line in Q.290th’—the (G., S.295 and 296Fie ... I?—printed as one line in Q.296There is—There’s(G., S.[Act II, Scene i]2miniudgementinverted in Q.13sits—sit(C., f.13 and 14Twenty eight ... old—printed as one line in Q.18then’s—than his (M.25he—they(C., M., G.28their—the(G., S.28was—were(G., S.40 G. & S. insertTheat beginning of line.43, afterfunerall.—?(G., S.44 and 45 G. & S. punctuate with . at end of 44 and , at end of 45. The emendation is plausible, even probable, but not warranted by necessity.45 and 46 G. & S. omit s. d.,Recorders Musique,46interd—interr’d(M.—enter’d(G., S. SeeNotes.After 47, s. d.—G. & S. render:Solemn music. Enter the Funeral Procession. The Coffin borne by four, preceeded by a Priest.Captains, Lieutenants, Ensigns,andSoldiers; Mourners, Scutcheons&c., and very good order. RomontandCharalois,followed by theGaolersandOfficers,withCreditors,meet it.After 53 G. & S. insert s. d.:To the Bearers, who set down the Coffin.After 64 G. & S. insert s. d.:To the Soldiers.75, afterWhat—! (C., f.93Would they not so?—Would they so?(C., M., G.—Would they? Not so.(S. SeeNotes.94, 95, and 96 Lines in Q.:Wee’ll ... then: |No ... Rogues.|Till ... damn’d.|Damn’d ... ha.94’em—them(G., S.95Rogues—rogue(S.97weel’d—we would(M., f.98Y’are—Ye’re(C., M.—You are(G., S.[II.i.100]100shee—ye(M., f. The emendation is probably correct.100, after rogues.—? (G., S.104yee, ye’are—you, you’re(C., M., G.1052 Cred.—1 Cred.(M., probably misprint.106They have—They’ve(C., M.106We have—We’ve(C., f.108We haue—we’ve(M.111rights—right(M.132both heere—here both(M.134 s. d.:Song. Musicke.—i. e. theFirst Song, on page 145.—introduced here in text by all editors save Gifford and Coleridge.135’em—them(G., S.137, afterwere —atinserted by C., f.137Saylor—misprint forIaylor,—emended by C., f.143Turnes—Turn(M., f.[Act II, Scene ii]6eene—even(G., S.12eene—even(G., S.17serue—served(G., S. SeeNotes.18Peepe—pip(M., f.20ith’—in the(G., S.22em—themG., S.37Vd’d—Uds—(M., f.40can’t—can it(M., f.48ith’—in the(G., S.49please—pleases(C., M., G.55Ile—I will(G., S.55i’th—in the(M., f.59your—you(M. (in corrigenda at end of vol. 4), f. A correct emendation.60loue? the lesse neare you.—love the less near you?(M., f.63Humpe—Hum(C., M.;Humph(G., S.64, aftershoulder, —C. & M. insertand.67 Nou.—C., f. affix Junior throughout.71turn’d—trimm’d(G., S. Emend. sug. by M.78discipline falne)out—discipline, fallen out(C., f.81Lord:Per se,Lord—lordper se,lord! (G., S.94’em—them(G., S.95taught—caught(M., f.98’em—them(G., S.99i’th—in the(G., S.[II.ii.100]100Quirpo—thus C. & G.; M. & S. readQuerpo.104skip—SeeNotes.105liue to eate—forliue, G. readsflatters; S readslie, which is probably right.112Mrs.—Must(C., M.122i’th—in the (G., S.125 end—s. d.:Nov. jun. kisses her hand.(G., S.128 afterrecant,—s. d.:Kisses her(G,. S.131Cant.—i. e. theSecond Song, on page 145.—introduced here in text by all editors save Gifford and Coleridge.144Th’ art—Thou art(G., S.153teares—thus C. & M.;—G. & S. readfears, which seems a fitter word here.153 s. d.—G. & S. read,Aside and exit.159affected—affectedly (S.159, afteryou—C., M., & G. insertwill.161yee—you(C., f.164opportunity—opportunely(M., f. The emendation is probably correct.165Hum hum—omitted by C., M., & G.172, afterme—C. & M. insertto.174bile—boil(C., f. SeeNotes.179breath—breath’d(M., f.193graue—brave(M., f.194 and 195My Lord ... see,—printed as one line in Q.198, afterissues—M., f. omit ,. A correct emendation.[II.ii.200]205lsoule-esse—misprint forsoul-less—corrected by C., f.211’em—them(G., S.215friends—friend(M., f.219is—it(C., f.219 s. d.,Seruant—Beaumont(G., S.228man—Men(C., M.242ha’—have(C., f.250 s. d.:Drawes a Curtayne.—G. & S. add,and discovers a table with money and jewels upon it.266not—no(G.269 s. d.—G. & S. omitloaden with mony.270Enfranchist—Enfranchise(C.270, afterhim—G. & S. insertto.277 and 278 Lines in Q.:That ... for.|One ... pleaders.|Honord Rochfort.279bushes, cal’d—blushes, scald(C., G., S.—blushes scald(M.281, end . —, (G., S.282, beforeassure—C., M., & G. insertI.284 s. d. placed by G. & S.beforeinstead ofafterline.285, aftersee—: (M., f.285her education,—her education. Beaumelle(C.; &for education Beaumelle(M., these editors takingBeau.in Q. s. d. to be in text!286 FirstlinFollowesalmost invisible in Q.289take her—take her, take(G.296participate—precipitate(C., f.[II.ii.300]301I—me(C., f.303know—itsnis broken in the Q.308, end—G. & S. s. d.:Aside.309met—meet(G., S.310. Beau. This might be either Beaumelle or Beaumont. The Q. generally spells the latterBaumont, but the present speech, none the less, probably belongs to him, and is so assigned by C., f.315yet these eares—yet these tears(C.—let these tears(M., f. The latter emendation is correct.319 —M., f. punctuate:Breath marry breath, and kisses mingle souls.330Mistresse—G. & S. insert s. d.:As Beaumelle is going out.336 1st.Ile—I will(G., S.346you haue—you’ve(C., M.349’em—them(G., S.350 G. & S. omit the thirdha.After 354 G. omits s. d.,Hoboyes.[Act III, Scene i]3spoke—spoken(G., S.3 and 4Good ... onely.—printed as one line in Q.9, end —; (C., f.13, end . —omitted by M., f.19, end —. (C., M.—, (G., S. The latter emendation seems preferable.22, end —: (C., f.24old—M. omits.37 and 38But ... Bellapert.—printed as one line in Q.49, afteronely——(C., f.53 and 54Hows ... woman?—printed as one line in Q.56, afterqu—C., f. insert s. d.:Going.61know—now(C., f. A correct emendation.66, aftercouch—G. suggests to inserttherein brackets,—accepted by S.74reuerence to this likening—reference to his liking(M., f. The emendation appears necessary.88, afterto—G. inserts s. d.:They court.88Enter Romont and Florimell—Enter Romont and Florimell behind(G., S88tis—it is(G., S.91but due—but the due(G., S.99, afteropportunity.—? (G., S.99 and 100 The three speeches composing these two lines are printed in Q. severally in three lines.[III.i.100]101, after Rom.—G. & S. insert s. d.:Comes forward.111makes—make(G., S.116 [thee]—so all later editors. The word in the Q. is illegible,—possiblyyee.117Thou wouldst—Thou’dst(C., f.123on—i. e.,one; c. f. line 118. But C. keepson.124 and 125Vse ... other.—printed as one line in Q.127for—as(M. in Corrigenda, vol. 4, p. 379, where are suppliedll. 126–130,which are omitted in his text.139is—G. & S. omit. SeeNotes.150 and 151They ... otherwise.—printed as one line in Q.159pointed—painted(C., f. SeeNotes.172, afterAnd—G. suggests to insertthenin brackets; accepted by S.175League—Leaguer(M., f.180Deceyued—Delivered(C., f.184thy—this(C., f. SeeNotes.185twill—it will(G., S.186You are—You’re(C., M.[III.i.200]203that—this(G., S.204You haue—You’ve(C., M.221so indeed—C. & M. omitso; so—indeed, (G., S.—The Q. reading is preferable.222 and 223Women ... world.—printed as one line in Q.223, afterworld.—G. & S. s. d.:Aside.231, afterinclin’d—, (C., f.235 s. d.—in G. & S.:EnterRochfort,speaking to a servant within.241 and 242Your ... me?—printed as one line in Q.250 s. d.—in G. & S.:EnterBeaumelleandBellapert,behind.254turne—turn’d(M.259, end .—?(S., probably misprint for!260This in my daughter?—S. reads:This is my daughter!260 and 261. Lines in Q.:This ... her.|Now begin.|The ... distance.262 Before Beaumelle’s speech G. & S. insert s. d.:Comes forward.267 Rom.A weak excuse.—G. & S. assign to Beau. with the lines which follow. The change is without warrant and makes no improvement on Q reading.272, aftersport—C. & M. insert s. d.:Aside.272Reproue—Reproved (M., f.278 and 279Does ... this?—printed as one line in Q.[III.i.300]300the—his(S.316you are—you’re(C., M.318 s. d.—G. & S. read:Aside to them, and exit.322Now the fashion—The fashion now(G., S.324Roguesin Q. begins the succeeding line.328shall—should(G., S.334grown—grow(G., S.334 and 335Take ... you.—printed as one line in Q.335Gods—Gads(C., M., G.339 and 340Will ... disgrace?—printed as one line in Q.342I am—I’m(C., f.350reflects—reflect(G., S.352’em—them(C., f.352beate—bait(M.354 ,—omitted by C., f.,—a probably correct emendation.356detect—defect(C., f.,—a correct emendation.356right—rightly(M., f.,—an unnecessary emendation for the sense, but probably correct, as it improves the metre.357 and 358 —the ( )’s are omitted by M., f.372a—C. & M. omit.373They are—They’re(C., M.395, end—. (C., f.396Ile—I will(G.398Hump—Hum(C., f.[III.i.400]403you—C., f. make obvious correction toyour.405whatsoeuer—whatsoe’er(M., f.409, afterwith. —?(G., S.410heare—G. & S. readheard. The finaleis blurred in Q., but certainlye, notd.412 and 413Why ... possibility—printed as one line in Q.416uinyourinverted in Q.417my—G. & S. omit.419Tye—tied(G.432’em—him(M., f. SeeNotes.434yee—you(C., f.434eene—even(G., S.436ha—have(M., f.460my—thy(C., f.—The emendation is probably correct.461I administer—I did administer(M., f. The Ms. reading may have been:administer’d.464Praecipuce—precipice(C., f.467liue—lived(G., S. SeeNotes.471Puffe—Phoh(C., M., G.473Bleed—Blood(C., M.482this: sir,—this, sir!(C., G., S.—this, sir?(M.483Thou art—Thou’rt(C., M.484thou art—thou’rt(C., M.[Act IV, Scene i]Enter Nouall, etc.—G. & S. introduce the scene with the following variant s. d., also omitting s. d. of lines 5–8 of Q.: Novaljunior discovered seated before a looking-glass, with a Barber andPerfumerdressing his hair, while a Tailor adjusts a new suit which he wears.Liladam, Aymer,anda Pageattending.13Cell—SeeNotes.14will—wit(C., f. The emendation is probably correct.19, end—G. & S. insert s. d.:Aside, as also after the speeches ofPageending lines, 25, 36, 40, 62, 66, and 70.26haire breadth’s—hair’s breadth’s(C., M., G.—hair’s breadth(S.29’em—them(G., S.30, afterLordship—;(C., f.34t’ee—t’ye(C., f.36’em—them(G., S.39I—Ay(G., S.41misters—mistress’s(C., M.—mistress’(G., S.48a—O(C., M.—o’(G., S.59 afterthen—ainserted by C., f.66a—the(G.67a—o(G., S.71, afterFlatters,—!(G., S.72should—shouldst(G., S.74forme—form(C., f.76shouldst—should(C., f. See Note on l. 72.77oth’—o’ the(G., S.80i’th—in the(G., S.84pown’d—pounded(M.86w’ee—with you(C., M.—wi’ ye(G., S.86not take it well—take it not well(C., M.88d’ee—d’ye(C., f.90ne’re—never(M., f.91 and 92Art ... Surgeon?—printed as one line in Q.94Humph—Hum(G., S.95’em—them(G., S.96ouer throwne—overflown (M., f. SeeNotes.[IV.i.100]100Thou’ idst—Thou’ldst(C., f.102,end.—omitted by C., f.103 G. makesTrimlast word of line 102, and lengthens’tweretoIt were.110towne talkes—Town-Talk(C., M.110, afterbeleeue—G. & S. insertit.111you are—you’reC., M.116Sent—i. e.Scent; so all later editors.123ha’—have(G., S.125I am—I’m(C., M.131 and 132Farewell ... you.—printed as one line in Q.133louing—living(G., S.137d’ee—d’ye(C., f.138D’ee—D’ye(C., M.—Do you(G., S.139 In Q.,Foris last word of line 138.139ya’re—you’re(G., S.145of—o’(C., f.147arme—aim(M., f.150, end—G. & S. insert s. d.:Going.158’em—them(G., S.161And doore’s—And your door’s(G., S.162–164 —printed as two lines in Q.:But ... do|Beseach ... circumstance.163 —this line is omitted in M.168Tell you why sir—Tell you? why sir?(C., M.—Tell you! why, sir.G., S.171. s. d.dag.—dagger(C., M.174I am—I’m(C., M.178wrongs—wooing(M., f. Perhaps the Ms. reading waswooings.180 and 181But ... assurance?—printed as one line in Q.188, aftersee,—omitted by G. & S.189, end G. & S. insert s. d.:Reading.194, afterSo—, (C., M.—!(G., S.198blabbers, ruine—blabber’s ruin(M., f. The emendation is plausible, but not absolutely required.[IV.i.200]202, s. d.Exit—C., f. place at end of line 200, its obviously correct position, as would undoubtedly Q., but for insufficient margin in the page at this point.203 G. & S. give s. d.:EnterBellapert,hastily.204Coach—caroch(G., S.205D’ee—D’ye(C., M.—Do you(G., S.211loue—Jove(C., f.[Act IV, Scene ii]6on—omitted by C., M.9 , followingsomethingtransferred to followelseby C., f.31of it—of’t(G., S.32 and 33He ... him.—printed as one line in Q.33, s. d.—G. & S. read:EnterAymer,speaking to one within.45, afterayre.—G. & S. insert s. d.:To theMusicianswithin.48consent—content(C., f—a correct emendation.48Y’are—You are(G., S.48, end—G. & S. insert s. d.:To theMusicians.Before 49 —S. inserts s. d.:Aside.After 50, s. d.:Song—i. e. theCittizens Song of the Courtier, on page 146.—introduced here in text by Cunningham and S.52, end—C. & M. punctuate with—; G. & S. with ..54, afterthanks—G. & S. insert s. d.:Aside.58, end—G. & S. insert s. d.:Aside.62Pray sing—Pray you sing(G.s. d. after 62,Song below—Song by Aymer(G., S.; it is theCourtiers Song of the Citizen, page 146.—introduced here in text by Cunningham and S.63 and 64Doe ... doubtfull?—printed as one line in Q.66they are—they’re(C., f.67, s. d.—Enter Nouall Iu. Charaloys,—EnterCharalois,with his sword drawn, pursuingNovalljunior, etc. (G., S.68Vndone foreuer—Undone, undone, forever!(G.—C. & M. give this speech toBellapert.74th’—the(G., S.82 M., f. omit,’s afterhonestandvaliant.86daring looke—daring.Look(C., f.89 and 90No ... flesh—printed as one line in Q.93of—itsfis almost invisible in Q.95haue—itseis almost invisible in Q.96:—?(G.96, aftershallG. & S. insert s. d.:ExeuntBeaumontandBellapert,with the body of Nouall;followed by Beaumelle.97Y’are—you are(G., S.97, end G. & S. insert s. d.:Re-enter Beaumont.[Act IV, Scene iii]3not—nor(C.8 .—?(C., f.[Act IV, Scene iv]4 and 5Nor ... but——printed as one line in Q.6, end—C., f. insert s. d.:ExitBeaumont.7, end—C., f. insert s. d.: Beaumellekneels.8worthy—worth(G., S.30th’—the(G., S.33 variously emended for defective metre:That you have done but what’s warranted,(C., M.;That you have done but what is warranted,(G.;You have done merely but what’s warranted,(S.36of me in—in me of(C., M., S. The emendation is unnecessary.38now they—they now(G.50thou wert—you were(G., S.60, afterwas—; (C., f.61Within—Which in(M., f.77,post—The three s. d.’s are made by C., f. to follow respectively lines 76, 77, and 78.89be for—before(C., M.90destruction—induction(G., S., following the suggestion of M.91, s. d.—G. & S. omit phrasewith Nouals body. and affix to s. d.with Servants bearing the Body ofNovalljunior.92, afterseate,—G. & S. insert s. d.:Exeunt Servants.93me—theeis obliterated in Q.93?—,(C., f.96, end—C. & M. insert s. d.:He hoodwinksRochfort. G. & S. place a similar s. d. at the end of the following line.[IV.iv.100]101 and 102It ... iustice—printed as one line in Q.121, end—G. & S. insert s. d.: Charaloisunbinds his eyes.131With—Which(M., f.131, afterthy—G. says a monosyllable has been lost here. S. insertsfoul. But an acceptable rhythm is secured by the natural stress of the voice, which emphasizes and dwells uponthy, and again stresseskept.133owne—one(M., f.140, afterher.—? (C., f.141liue no—liue. No(C., M.—liue:no(G., S.143on—one(C., f.147, end—G. & S. insertout, changing first word of l. 148 toOf. C. & M. makeOffof l. 148 conclude 147, and insertFromto begin l. 148. It is preferable to let the line stand as it is, letting the voice, in reading, dwell and pause uponare.148 s. d.,He kils her. transferred to end of line by C., f.149I am. Sure—I am sure(M.—I’m sure(G., S.154, afternourished. —C., f. inserts s. d.:Dies.156 and 157True ... doome—printed as one line in Q.158and friend—and a friend(C., f.175Flinty- — Flint-(G., S.175 and 176Nature ... vertue.—printed as one line in Q.177, afterof—C., f. insertyour. But the change is not required by the sense; nor by the metre, if the voice be allowed to dwell onheart.184 s. d.:Enter Nouall, etc.—G. & S. place afterdoorsin next line.185, beforeForce—G. & S. insert s. d.:Within.190 and 191Call ... blood.—printed as one line in Q.[Act V, Scene i]Enter, etc.Officers—twoBailiffs. (G., S.2T’arrest—To arrest(G., S.4for me—for form(M., f.16you haue—you’ve(C., M.22them—him(C., f. The Q. reading is preferable in every way.24so—M. omits.26You are—You’re(C., M.32, afterand—G. & S. insertthe.33are these—or thief(M.—and thief(G., S., which seems slightly the more probable correction.34Synonima—synonymous(C., M.36, end s. d.—C., f. place s. d. afterselfe.39I will—I’ll(C., m.47reueng’d—un-revenged(C., f.,—an obviously correct emendation.57, end .—, (C., f.61’Tas—It has(M., f.68obiect—abject(C., f.70 and 71Away ... deadly:—printed as one line in Q.71, afterknow—G. & S. insertthee, which secures a smoother metre, but is not warranted.79I am—I’m(C., f.84sits—M. readsfits, the first letter in Q. not being certainly distinguishable assorf.85cape—cap(C., f.86sate.—sat,(C., f.93 Offi.—1 Bail. (G., S.97Hath—Have(M., G.105ones—one(C., f.106Additions—Addition(C., f.[Act V, Scene ii]2thou thinkst—you think(G., S.7new—now(M.15, afterNouall.—?(G., S.18grieue—grieved(M., f., a correct emendation.23, afterhaue—C., f. insert , .23promis’d—promise(C., f.26heires—i. e., of course,hairs;—so modernized by C., f.33worrhy—Q. misprint forworthy;—corrected by C., f.39, afterpeople—C., f. insert ,.42, afterknowing—M., f. inserttoo.55, aftercause—.—(C., M.—?—(G., S., which is right.67I am—I’m(C., M.68, afterman—M. inserts , , and G. & S. ;—.76, end G. & S. omit , .77, afterBut—G. & S. insert , .80 and 81You ... cause.—printed as one line in Q.88chalenge—challenged(G., S.—a correct emendation.91Tygre—tigress(C., M.104breed—bread(C., f. The Q. reading is perfectly satisfactory.117You haue—You’ve(C., M.[Act V, Scene iii]Scaena 3—omitted by G. & S.,—and correctly so, for there is no change in place from the preceding, and the action is uninterrupted.18, afterthat—M., f. insertwhen. SeeNotes.30fain’d— -famed(M., f.32 —, afterneyghbour-hoodin Q. is placed afterillby C., f.35by—my(C., f.44, afterpray—G. & S. insertyou.47dis-become—mis-become(C., M.50 —uinaccuseris inverted in Q.51or—nor(C., f.59motion—motion’s(C., f.60 —ninconfesseis inverted in Q.68freed—feed(M., f.68, end—?(C., f.73courtesie—courtesies(C., f. Q. reading is preferable. SeeGlossary.77that—they(S.88dowry—dower(G., S.91could preserue—could not preserve(C., f. The emendation is clearly required.[V.iii.100]137, aftertruth,—. (M., f.138, afterbegin.—, (G., S.—C. & M. incloseFor ... beginin ( )’s.139ninFrenchis inverted in Q.150appou’d—i. e.,approu’d; in Q. theris wanting as above. Later editors correct.166more—mere(C., f. SeeNotes.168fall—fail(M.169like—omitted by G. & S.170signe—signs(S.180against—’gainst(G., S.184had—omitted by G.190bands—bawds(C., f.190 s. d.Enter Aymer, etc.—Enter Officers withAymer, etc. (G., S.190,tooke—ta’en(G.[V.iii.200]201iniurie:—C., f. readinjuries, the colon in the Q. being blurred to appear like a brokens.205, end. —C., f. insert s. d.:Stabs him.206I am—I’m(C., M.207, end—C., f. insert s. d.:Stabs Pontalier.SeeNotes.215 aftermee.—C., f. insert s. d.:Dies.215–217 —lines in Q. are:I ... loue|Not ... of.217worthy, worthy of—worthy of(C., M.217, afterof.—C., f. insert s. d.:Dies.217We are—We’re(C., M.220We are—We’re(C., M.227As—A(M., misprint.228Be set—Or be set(C., M., G.—Be or set(S.[Songs]These songs are printed thus in an Appendix at the end of the play in Q., G., and the edition of Hartley Coleridge. TheFirst Songis inserted at its proper point in the text—II, i, after line 134—by C., M., Cunningham, and S.;—so, too, theSecond Song, after line131 of II, ii. The other two songs were omitted in C., and appear in an appendix of vol. 4 of M.,—there wrongly assigned (by D.) to the “passage over the stage” which closes Act II. Gifford correctly assigns them to follow respectivelyIV, ii, 50; andIV, ii, 62;—where they are printed in the text of Cunningham and S.First Song—A DIRGE (G., S.Second Song—A SONG BY AYMER (G., S.A... Nouall,andBeaumelle.—A ... a Man and a Woman.(C., f.2–4 —lines in Q.:From ... begat’st.|I dare ... line,|Each word ... hooke,.7doest—dost(C., f.8Come strangled—Come, strangle(M., f.(Citizens Song) 3 and 4:If ... state,—printed as one line in Q.7seruants—itsuis inverted in Q.(Courtiers Song) 16:Tradesmen—tradesman(M.

[Dramatis Personae]

G. and S. omitOfficers, and add those roles which are enclosed in brackets.

They add explanations of each character, also changing the order. ForGaoler, S. readsGaolers.

Baumont—M., f spellBeaumont.

C. & M. add after the list ofDramatis Personae: The Scene, DijoninBurgundy.

[Act I, Scene i]

10As—That(C., M.

12, 16, etc.then—modernized tothanthroughout by all later eds.

13, end s. d.Gives him his purse(G., S.

19your—him(G., S.

33This such—This is such(S.

34 .—? (C., f.

45summes—sum(C., M.

46 and 47Dare ... oportunity?—printed as one line in Q.

47, end s. d.:They salute him as they pass by(G., S.

56, afterNo—, (C., f.

56’em—them(G., S.

70and in that—and, in that,(C., f.

71where—whereas(C, M.

90great men—men great(C., f.

92 and 93And ... suytor?—printed as one line in Q.

[I.i.100]

103’Tis well.—G. & S. assign toChar.and follow with s. d.:Tenders his petition.The change is uncalled for.

103 s. d., after Nouall—G. & S. insertAdvocates.

103 and 104You ... againe.—printed as one line in Q.

104Offer’t—Offer it(M., f.

110 end s. d.Aside to Cred.(G., S.

114I pray heare em.—Pray hear them.(G.—I pray hear them.(S.

114Tis—It is(G.

116 ;—M., f. omit.

123Armors—Armour(C., M., G.

127banquerout—here and elsewhere by later eds. alwaysbankrupt.

133Sir—assigned toChar.by G., who adds s. d.:Tenders his petition.

136 and 137Yes ... hereby—printed as one line in Q.

137hereby—whereby(M., G.

139You are—You’re(C., M.

139, afterso.—? (C., M.—! (G., S.

139 s. d.—The exit of Novall is placed earlier, at l. 136, by G. & S.

145 G. & S. omit s. d.

149, afterthis,—s. d.;Beats him(G.—Kicks him(S.

154 and 155Are ... then—printed as one line in Q.

155, afterthen.—s. d.:Kicks them(C., f.

157haue—hear(M.

159from—omitted by C., f.

162, afterCuckolds—, (C., M—; (G., S.

162ne’er—never(M.

162prayd—pray (G.

166To—T’(M.

168forhead—foreheads(G.

171then—this form retained in C.

171 s. d.Creditor—Creditors(G., S.

195you are—you’re(C., M.

[Act I, Scene ii]

first s. d.,3 Presidents—Presidents,... three Creditors(G., S.

1Lordship’s seated. May—lordships seated, may(G., S.

2 and 3prosperous ... Burgundy.—printed as a line in Q.

7, afterresigne—; (M., f.

13President—precedent(C., f.

13President they—precedent that they(C., M.

15we are—we’re(C., M.

35the—th’(C., M.

50And—I(G., S.

51, end —s. d.:To Nov. sen.(G., S.

60With—Which(C., M., G.

64taske—tax(M.

66become—became(M., f.

76find—finds(G., S.

82 and 83How ... Court?—printed as one line in Q.

85 and 86I hope ... Lord——printed as one line in Q.

91, afteryou—G. & S. insert,sir,

93, afterWhy—, (C., f.

[I.ii.100]

106tell you—tell thee(G.

107I am—I’m(C., M.

115ere—ever(C., M., G.

125purpose—purposes(G., S.

145, end —s. d.:Aside toCharalois (G., S.

146 C., f. insert , aftercounsayleand omit , afterit.

180proud—S. omits.

185enemies—enemy’s (C., f.

186–’8 Lines in Q. are:In ... prison.|Twas ... prodigall.|He ... Army.

187frô—from(C., f.

189Sufficent? My Lord,—Sufficient, my Lord?(C., f. G. & S. havelords.

194They are—They’re(M., f.

195’Tis—It is(G., S.

[I.ii.200]

201right—SeeNotes; afteror—G. insertswishin brackets, which S. accepts in text.

217th’ incounter—the incounter(C., f.

217, aftercold—, (G., S.—a plausible but unnecessary emendation.

223not be—be or not(G.—or not be(S.

234Lords—cords(C., f.

234a—in(G., S.

234’em—them(G., S.

243nintongueinverted in Q.

244uinreuengeinverted in Q.

246never—ever(C., M.

247ninanswerinverted in Q.

After 255, s. d.: C. & M. substituteCharaloisforCharmi; G. & S. insertCharaloisbeforeCharmi.

264 and 265You ... fit—printed as one line in Q.

266’tas—’t has(C., M., S.;’t’as(G.

279 and 280Am ... request?—printed as one line in Q.

288 and 289I follow you—Baumont—printed as one line in Q.

290th’—the (G., S.

295 and 296Fie ... I?—printed as one line in Q.

296There is—There’s(G., S.

[Act II, Scene i]

2miniudgementinverted in Q.

13sits—sit(C., f.

13 and 14Twenty eight ... old—printed as one line in Q.

18then’s—than his (M.

25he—they(C., M., G.

28their—the(G., S.

28was—were(G., S.

40 G. & S. insertTheat beginning of line.

43, afterfunerall.—?(G., S.

44 and 45 G. & S. punctuate with . at end of 44 and , at end of 45. The emendation is plausible, even probable, but not warranted by necessity.

45 and 46 G. & S. omit s. d.,Recorders Musique,

46interd—interr’d(M.—enter’d(G., S. SeeNotes.

After 47, s. d.—G. & S. render:Solemn music. Enter the Funeral Procession. The Coffin borne by four, preceeded by a Priest.Captains, Lieutenants, Ensigns,andSoldiers; Mourners, Scutcheons&c., and very good order. RomontandCharalois,followed by theGaolersandOfficers,withCreditors,meet it.

After 53 G. & S. insert s. d.:To the Bearers, who set down the Coffin.

After 64 G. & S. insert s. d.:To the Soldiers.

75, afterWhat—! (C., f.

93Would they not so?—Would they so?(C., M., G.—Would they? Not so.(S. SeeNotes.

94, 95, and 96 Lines in Q.:Wee’ll ... then: |No ... Rogues.|Till ... damn’d.|Damn’d ... ha.

94’em—them(G., S.

95Rogues—rogue(S.

97weel’d—we would(M., f.

98Y’are—Ye’re(C., M.—You are(G., S.

[II.i.100]

100shee—ye(M., f. The emendation is probably correct.

100, after rogues.—? (G., S.

104yee, ye’are—you, you’re(C., M., G.

1052 Cred.—1 Cred.(M., probably misprint.

106They have—They’ve(C., M.

106We have—We’ve(C., f.

108We haue—we’ve(M.

111rights—right(M.

132both heere—here both(M.

134 s. d.:Song. Musicke.—i. e. theFirst Song, on page 145.—introduced here in text by all editors save Gifford and Coleridge.

135’em—them(G., S.

137, afterwere —atinserted by C., f.

137Saylor—misprint forIaylor,—emended by C., f.

143Turnes—Turn(M., f.

[Act II, Scene ii]

6eene—even(G., S.

12eene—even(G., S.

17serue—served(G., S. SeeNotes.

18Peepe—pip(M., f.

20ith’—in the(G., S.

22em—themG., S.

37Vd’d—Uds—(M., f.

40can’t—can it(M., f.

48ith’—in the(G., S.

49please—pleases(C., M., G.

55Ile—I will(G., S.

55i’th—in the(M., f.

59your—you(M. (in corrigenda at end of vol. 4), f. A correct emendation.

60loue? the lesse neare you.—love the less near you?(M., f.

63Humpe—Hum(C., M.;Humph(G., S.

64, aftershoulder, —C. & M. insertand.

67 Nou.—C., f. affix Junior throughout.

71turn’d—trimm’d(G., S. Emend. sug. by M.

78discipline falne)out—discipline, fallen out(C., f.

81Lord:Per se,Lord—lordper se,lord! (G., S.

94’em—them(G., S.

95taught—caught(M., f.

98’em—them(G., S.

99i’th—in the(G., S.

[II.ii.100]

100Quirpo—thus C. & G.; M. & S. readQuerpo.

104skip—SeeNotes.

105liue to eate—forliue, G. readsflatters; S readslie, which is probably right.

112Mrs.—Must(C., M.

122i’th—in the (G., S.

125 end—s. d.:Nov. jun. kisses her hand.(G., S.

128 afterrecant,—s. d.:Kisses her(G,. S.

131Cant.—i. e. theSecond Song, on page 145.—introduced here in text by all editors save Gifford and Coleridge.

144Th’ art—Thou art(G., S.

153teares—thus C. & M.;—G. & S. readfears, which seems a fitter word here.

153 s. d.—G. & S. read,Aside and exit.

159affected—affectedly (S.

159, afteryou—C., M., & G. insertwill.

161yee—you(C., f.

164opportunity—opportunely(M., f. The emendation is probably correct.

165Hum hum—omitted by C., M., & G.

172, afterme—C. & M. insertto.

174bile—boil(C., f. SeeNotes.

179breath—breath’d(M., f.

193graue—brave(M., f.

194 and 195My Lord ... see,—printed as one line in Q.

198, afterissues—M., f. omit ,. A correct emendation.

[II.ii.200]

205lsoule-esse—misprint forsoul-less—corrected by C., f.

211’em—them(G., S.

215friends—friend(M., f.

219is—it(C., f.

219 s. d.,Seruant—Beaumont(G., S.

228man—Men(C., M.

242ha’—have(C., f.

250 s. d.:Drawes a Curtayne.—G. & S. add,and discovers a table with money and jewels upon it.

266not—no(G.

269 s. d.—G. & S. omitloaden with mony.

270Enfranchist—Enfranchise(C.

270, afterhim—G. & S. insertto.

277 and 278 Lines in Q.:That ... for.|One ... pleaders.|Honord Rochfort.

279bushes, cal’d—blushes, scald(C., G., S.—blushes scald(M.

281, end . —, (G., S.

282, beforeassure—C., M., & G. insertI.

284 s. d. placed by G. & S.beforeinstead ofafterline.

285, aftersee—: (M., f.

285her education,—her education. Beaumelle(C.; &for education Beaumelle(M., these editors takingBeau.in Q. s. d. to be in text!

286 FirstlinFollowesalmost invisible in Q.

289take her—take her, take(G.

296participate—precipitate(C., f.

[II.ii.300]

301I—me(C., f.

303know—itsnis broken in the Q.

308, end—G. & S. s. d.:Aside.

309met—meet(G., S.

310. Beau. This might be either Beaumelle or Beaumont. The Q. generally spells the latterBaumont, but the present speech, none the less, probably belongs to him, and is so assigned by C., f.

315yet these eares—yet these tears(C.—let these tears(M., f. The latter emendation is correct.

319 —M., f. punctuate:Breath marry breath, and kisses mingle souls.

330Mistresse—G. & S. insert s. d.:As Beaumelle is going out.

336 1st.Ile—I will(G., S.

346you haue—you’ve(C., M.

349’em—them(G., S.

350 G. & S. omit the thirdha.

After 354 G. omits s. d.,Hoboyes.

[Act III, Scene i]

3spoke—spoken(G., S.

3 and 4Good ... onely.—printed as one line in Q.

9, end —; (C., f.

13, end . —omitted by M., f.

19, end —. (C., M.—, (G., S. The latter emendation seems preferable.

22, end —: (C., f.

24old—M. omits.

37 and 38But ... Bellapert.—printed as one line in Q.

49, afteronely——(C., f.

53 and 54Hows ... woman?—printed as one line in Q.

56, afterqu—C., f. insert s. d.:Going.

61know—now(C., f. A correct emendation.

66, aftercouch—G. suggests to inserttherein brackets,—accepted by S.

74reuerence to this likening—reference to his liking(M., f. The emendation appears necessary.

88, afterto—G. inserts s. d.:They court.

88Enter Romont and Florimell—Enter Romont and Florimell behind(G., S

88tis—it is(G., S.

91but due—but the due(G., S.

99, afteropportunity.—? (G., S.

99 and 100 The three speeches composing these two lines are printed in Q. severally in three lines.

[III.i.100]

101, after Rom.—G. & S. insert s. d.:Comes forward.

111makes—make(G., S.

116 [thee]—so all later editors. The word in the Q. is illegible,—possiblyyee.

117Thou wouldst—Thou’dst(C., f.

123on—i. e.,one; c. f. line 118. But C. keepson.

124 and 125Vse ... other.—printed as one line in Q.

127for—as(M. in Corrigenda, vol. 4, p. 379, where are suppliedll. 126–130,which are omitted in his text.

139is—G. & S. omit. SeeNotes.

150 and 151They ... otherwise.—printed as one line in Q.

159pointed—painted(C., f. SeeNotes.

172, afterAnd—G. suggests to insertthenin brackets; accepted by S.

175League—Leaguer(M., f.

180Deceyued—Delivered(C., f.

184thy—this(C., f. SeeNotes.

185twill—it will(G., S.

186You are—You’re(C., M.

[III.i.200]

203that—this(G., S.

204You haue—You’ve(C., M.

221so indeed—C. & M. omitso; so—indeed, (G., S.—The Q. reading is preferable.

222 and 223Women ... world.—printed as one line in Q.

223, afterworld.—G. & S. s. d.:Aside.

231, afterinclin’d—, (C., f.

235 s. d.—in G. & S.:EnterRochfort,speaking to a servant within.

241 and 242Your ... me?—printed as one line in Q.

250 s. d.—in G. & S.:EnterBeaumelleandBellapert,behind.

254turne—turn’d(M.

259, end .—?(S., probably misprint for!

260This in my daughter?—S. reads:This is my daughter!

260 and 261. Lines in Q.:This ... her.|Now begin.|The ... distance.

262 Before Beaumelle’s speech G. & S. insert s. d.:Comes forward.

267 Rom.A weak excuse.—G. & S. assign to Beau. with the lines which follow. The change is without warrant and makes no improvement on Q reading.

272, aftersport—C. & M. insert s. d.:Aside.

272Reproue—Reproved (M., f.

278 and 279Does ... this?—printed as one line in Q.

[III.i.300]

300the—his(S.

316you are—you’re(C., M.

318 s. d.—G. & S. read:Aside to them, and exit.

322Now the fashion—The fashion now(G., S.

324Roguesin Q. begins the succeeding line.

328shall—should(G., S.

334grown—grow(G., S.

334 and 335Take ... you.—printed as one line in Q.

335Gods—Gads(C., M., G.

339 and 340Will ... disgrace?—printed as one line in Q.

342I am—I’m(C., f.

350reflects—reflect(G., S.

352’em—them(C., f.

352beate—bait(M.

354 ,—omitted by C., f.,—a probably correct emendation.

356detect—defect(C., f.,—a correct emendation.

356right—rightly(M., f.,—an unnecessary emendation for the sense, but probably correct, as it improves the metre.

357 and 358 —the ( )’s are omitted by M., f.

372a—C. & M. omit.

373They are—They’re(C., M.

395, end—. (C., f.

396Ile—I will(G.

398Hump—Hum(C., f.

[III.i.400]

403you—C., f. make obvious correction toyour.

405whatsoeuer—whatsoe’er(M., f.

409, afterwith. —?(G., S.

410heare—G. & S. readheard. The finaleis blurred in Q., but certainlye, notd.

412 and 413Why ... possibility—printed as one line in Q.

416uinyourinverted in Q.

417my—G. & S. omit.

419Tye—tied(G.

432’em—him(M., f. SeeNotes.

434yee—you(C., f.

434eene—even(G., S.

436ha—have(M., f.

460my—thy(C., f.—The emendation is probably correct.

461I administer—I did administer(M., f. The Ms. reading may have been:administer’d.

464Praecipuce—precipice(C., f.

467liue—lived(G., S. SeeNotes.

471Puffe—Phoh(C., M., G.

473Bleed—Blood(C., M.

482this: sir,—this, sir!(C., G., S.—this, sir?(M.

483Thou art—Thou’rt(C., M.

484thou art—thou’rt(C., M.

[Act IV, Scene i]

Enter Nouall, etc.—G. & S. introduce the scene with the following variant s. d., also omitting s. d. of lines 5–8 of Q.: Novaljunior discovered seated before a looking-glass, with a Barber andPerfumerdressing his hair, while a Tailor adjusts a new suit which he wears.Liladam, Aymer,anda Pageattending.

13Cell—SeeNotes.

14will—wit(C., f. The emendation is probably correct.

19, end—G. & S. insert s. d.:Aside, as also after the speeches ofPageending lines, 25, 36, 40, 62, 66, and 70.

26haire breadth’s—hair’s breadth’s(C., M., G.—hair’s breadth(S.

29’em—them(G., S.

30, afterLordship—;(C., f.

34t’ee—t’ye(C., f.

36’em—them(G., S.

39I—Ay(G., S.

41misters—mistress’s(C., M.—mistress’(G., S.

48a—O(C., M.—o’(G., S.

59 afterthen—ainserted by C., f.

66a—the(G.

67a—o(G., S.

71, afterFlatters,—!(G., S.

72should—shouldst(G., S.

74forme—form(C., f.

76shouldst—should(C., f. See Note on l. 72.

77oth’—o’ the(G., S.

80i’th—in the(G., S.

84pown’d—pounded(M.

86w’ee—with you(C., M.—wi’ ye(G., S.

86not take it well—take it not well(C., M.

88d’ee—d’ye(C., f.

90ne’re—never(M., f.

91 and 92Art ... Surgeon?—printed as one line in Q.

94Humph—Hum(G., S.

95’em—them(G., S.

96ouer throwne—overflown (M., f. SeeNotes.

[IV.i.100]

100Thou’ idst—Thou’ldst(C., f.

102,end.—omitted by C., f.

103 G. makesTrimlast word of line 102, and lengthens’tweretoIt were.

110towne talkes—Town-Talk(C., M.

110, afterbeleeue—G. & S. insertit.

111you are—you’reC., M.

116Sent—i. e.Scent; so all later editors.

123ha’—have(G., S.

125I am—I’m(C., M.

131 and 132Farewell ... you.—printed as one line in Q.

133louing—living(G., S.

137d’ee—d’ye(C., f.

138D’ee—D’ye(C., M.—Do you(G., S.

139 In Q.,Foris last word of line 138.

139ya’re—you’re(G., S.

145of—o’(C., f.

147arme—aim(M., f.

150, end—G. & S. insert s. d.:Going.

158’em—them(G., S.

161And doore’s—And your door’s(G., S.

162–164 —printed as two lines in Q.:But ... do|Beseach ... circumstance.

163 —this line is omitted in M.

168Tell you why sir—Tell you? why sir?(C., M.—Tell you! why, sir.G., S.

171. s. d.dag.—dagger(C., M.

174I am—I’m(C., M.

178wrongs—wooing(M., f. Perhaps the Ms. reading waswooings.

180 and 181But ... assurance?—printed as one line in Q.

188, aftersee,—omitted by G. & S.

189, end G. & S. insert s. d.:Reading.

194, afterSo—, (C., M.—!(G., S.

198blabbers, ruine—blabber’s ruin(M., f. The emendation is plausible, but not absolutely required.

[IV.i.200]

202, s. d.Exit—C., f. place at end of line 200, its obviously correct position, as would undoubtedly Q., but for insufficient margin in the page at this point.

203 G. & S. give s. d.:EnterBellapert,hastily.

204Coach—caroch(G., S.

205D’ee—D’ye(C., M.—Do you(G., S.

211loue—Jove(C., f.

[Act IV, Scene ii]

6on—omitted by C., M.

9 , followingsomethingtransferred to followelseby C., f.

31of it—of’t(G., S.

32 and 33He ... him.—printed as one line in Q.

33, s. d.—G. & S. read:EnterAymer,speaking to one within.

45, afterayre.—G. & S. insert s. d.:To theMusicianswithin.

48consent—content(C., f—a correct emendation.

48Y’are—You are(G., S.

48, end—G. & S. insert s. d.:To theMusicians.

Before 49 —S. inserts s. d.:Aside.

After 50, s. d.:Song—i. e. theCittizens Song of the Courtier, on page 146.—introduced here in text by Cunningham and S.

52, end—C. & M. punctuate with—; G. & S. with ..

54, afterthanks—G. & S. insert s. d.:Aside.

58, end—G. & S. insert s. d.:Aside.

62Pray sing—Pray you sing(G.

s. d. after 62,Song below—Song by Aymer(G., S.; it is theCourtiers Song of the Citizen, page 146.—introduced here in text by Cunningham and S.

63 and 64Doe ... doubtfull?—printed as one line in Q.

66they are—they’re(C., f.

67, s. d.—Enter Nouall Iu. Charaloys,—EnterCharalois,with his sword drawn, pursuingNovalljunior, etc. (G., S.

68Vndone foreuer—Undone, undone, forever!(G.—C. & M. give this speech toBellapert.

74th’—the(G., S.

82 M., f. omit,’s afterhonestandvaliant.

86daring looke—daring.Look(C., f.

89 and 90No ... flesh—printed as one line in Q.

93of—itsfis almost invisible in Q.

95haue—itseis almost invisible in Q.

96:—?(G.

96, aftershallG. & S. insert s. d.:ExeuntBeaumontandBellapert,with the body of Nouall;followed by Beaumelle.

97Y’are—you are(G., S.

97, end G. & S. insert s. d.:Re-enter Beaumont.

[Act IV, Scene iii]

3not—nor(C.

8 .—?(C., f.

[Act IV, Scene iv]

4 and 5Nor ... but——printed as one line in Q.

6, end—C., f. insert s. d.:ExitBeaumont.

7, end—C., f. insert s. d.: Beaumellekneels.

8worthy—worth(G., S.

30th’—the(G., S.

33 variously emended for defective metre:That you have done but what’s warranted,(C., M.;That you have done but what is warranted,(G.;You have done merely but what’s warranted,(S.

36of me in—in me of(C., M., S. The emendation is unnecessary.

38now they—they now(G.

50thou wert—you were(G., S.

60, afterwas—; (C., f.

61Within—Which in(M., f.

77,post—The three s. d.’s are made by C., f. to follow respectively lines 76, 77, and 78.

89be for—before(C., M.

90destruction—induction(G., S., following the suggestion of M.

91, s. d.—G. & S. omit phrasewith Nouals body. and affix to s. d.with Servants bearing the Body ofNovalljunior.

92, afterseate,—G. & S. insert s. d.:Exeunt Servants.

93me—theeis obliterated in Q.

93?—,(C., f.

96, end—C. & M. insert s. d.:He hoodwinksRochfort. G. & S. place a similar s. d. at the end of the following line.

[IV.iv.100]

101 and 102It ... iustice—printed as one line in Q.

121, end—G. & S. insert s. d.: Charaloisunbinds his eyes.

131With—Which(M., f.

131, afterthy—G. says a monosyllable has been lost here. S. insertsfoul. But an acceptable rhythm is secured by the natural stress of the voice, which emphasizes and dwells uponthy, and again stresseskept.

133owne—one(M., f.

140, afterher.—? (C., f.

141liue no—liue. No(C., M.—liue:no(G., S.

143on—one(C., f.

147, end—G. & S. insertout, changing first word of l. 148 toOf. C. & M. makeOffof l. 148 conclude 147, and insertFromto begin l. 148. It is preferable to let the line stand as it is, letting the voice, in reading, dwell and pause uponare.

148 s. d.,He kils her. transferred to end of line by C., f.

149I am. Sure—I am sure(M.—I’m sure(G., S.

154, afternourished. —C., f. inserts s. d.:Dies.

156 and 157True ... doome—printed as one line in Q.

158and friend—and a friend(C., f.

175Flinty- — Flint-(G., S.

175 and 176Nature ... vertue.—printed as one line in Q.

177, afterof—C., f. insertyour. But the change is not required by the sense; nor by the metre, if the voice be allowed to dwell onheart.

184 s. d.:Enter Nouall, etc.—G. & S. place afterdoorsin next line.

185, beforeForce—G. & S. insert s. d.:Within.

190 and 191Call ... blood.—printed as one line in Q.

[Act V, Scene i]

Enter, etc.Officers—twoBailiffs. (G., S.

2T’arrest—To arrest(G., S.

4for me—for form(M., f.

16you haue—you’ve(C., M.

22them—him(C., f. The Q. reading is preferable in every way.

24so—M. omits.

26You are—You’re(C., M.

32, afterand—G. & S. insertthe.

33are these—or thief(M.—and thief(G., S., which seems slightly the more probable correction.

34Synonima—synonymous(C., M.

36, end s. d.—C., f. place s. d. afterselfe.

39I will—I’ll(C., m.

47reueng’d—un-revenged(C., f.,—an obviously correct emendation.

57, end .—, (C., f.

61’Tas—It has(M., f.

68obiect—abject(C., f.

70 and 71Away ... deadly:—printed as one line in Q.

71, afterknow—G. & S. insertthee, which secures a smoother metre, but is not warranted.

79I am—I’m(C., f.

84sits—M. readsfits, the first letter in Q. not being certainly distinguishable assorf.

85cape—cap(C., f.

86sate.—sat,(C., f.

93 Offi.—1 Bail. (G., S.

97Hath—Have(M., G.

105ones—one(C., f.

106Additions—Addition(C., f.

[Act V, Scene ii]

2thou thinkst—you think(G., S.

7new—now(M.

15, afterNouall.—?(G., S.

18grieue—grieved(M., f., a correct emendation.

23, afterhaue—C., f. insert , .

23promis’d—promise(C., f.

26heires—i. e., of course,hairs;—so modernized by C., f.

33worrhy—Q. misprint forworthy;—corrected by C., f.

39, afterpeople—C., f. insert ,.

42, afterknowing—M., f. inserttoo.

55, aftercause—.—(C., M.—?—(G., S., which is right.

67I am—I’m(C., M.

68, afterman—M. inserts , , and G. & S. ;—.

76, end G. & S. omit , .

77, afterBut—G. & S. insert , .

80 and 81You ... cause.—printed as one line in Q.

88chalenge—challenged(G., S.—a correct emendation.

91Tygre—tigress(C., M.

104breed—bread(C., f. The Q. reading is perfectly satisfactory.

117You haue—You’ve(C., M.

[Act V, Scene iii]

Scaena 3—omitted by G. & S.,—and correctly so, for there is no change in place from the preceding, and the action is uninterrupted.

18, afterthat—M., f. insertwhen. SeeNotes.

30fain’d— -famed(M., f.

32 —, afterneyghbour-hoodin Q. is placed afterillby C., f.

35by—my(C., f.

44, afterpray—G. & S. insertyou.

47dis-become—mis-become(C., M.

50 —uinaccuseris inverted in Q.

51or—nor(C., f.

59motion—motion’s(C., f.

60 —ninconfesseis inverted in Q.

68freed—feed(M., f.

68, end—?(C., f.

73courtesie—courtesies(C., f. Q. reading is preferable. SeeGlossary.

77that—they(S.

88dowry—dower(G., S.

91could preserue—could not preserve(C., f. The emendation is clearly required.

[V.iii.100]

137, aftertruth,—. (M., f.

138, afterbegin.—, (G., S.—C. & M. incloseFor ... beginin ( )’s.

139ninFrenchis inverted in Q.

150appou’d—i. e.,approu’d; in Q. theris wanting as above. Later editors correct.

166more—mere(C., f. SeeNotes.

168fall—fail(M.

169like—omitted by G. & S.

170signe—signs(S.

180against—’gainst(G., S.

184had—omitted by G.

190bands—bawds(C., f.

190 s. d.Enter Aymer, etc.—Enter Officers withAymer, etc. (G., S.

190,tooke—ta’en(G.

[V.iii.200]

201iniurie:—C., f. readinjuries, the colon in the Q. being blurred to appear like a brokens.

205, end. —C., f. insert s. d.:Stabs him.

206I am—I’m(C., M.

207, end—C., f. insert s. d.:Stabs Pontalier.SeeNotes.

215 aftermee.—C., f. insert s. d.:Dies.

215–217 —lines in Q. are:I ... loue|Not ... of.

217worthy, worthy of—worthy of(C., M.

217, afterof.—C., f. insert s. d.:Dies.

217We are—We’re(C., M.

220We are—We’re(C., M.

227As—A(M., misprint.

228Be set—Or be set(C., M., G.—Be or set(S.

[Songs]

These songs are printed thus in an Appendix at the end of the play in Q., G., and the edition of Hartley Coleridge. TheFirst Songis inserted at its proper point in the text—II, i, after line 134—by C., M., Cunningham, and S.;—so, too, theSecond Song, after line131 of II, ii. The other two songs were omitted in C., and appear in an appendix of vol. 4 of M.,—there wrongly assigned (by D.) to the “passage over the stage” which closes Act II. Gifford correctly assigns them to follow respectivelyIV, ii, 50; andIV, ii, 62;—where they are printed in the text of Cunningham and S.

First Song—A DIRGE (G., S.

Second Song—A SONG BY AYMER (G., S.

A... Nouall,andBeaumelle.—A ... a Man and a Woman.(C., f.

2–4 —lines in Q.:From ... begat’st.|I dare ... line,|Each word ... hooke,.

7doest—dost(C., f.

8Come strangled—Come, strangle(M., f.

(Citizens Song) 3 and 4:If ... state,—printed as one line in Q.

7seruants—itsuis inverted in Q.

(Courtiers Song) 16:Tradesmen—tradesman(M.

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