The Works of William Shakespeare Cambridge Edition Volume 2 Edited by William George Clark and William Aldis Wright

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Title: The Works of William Shakespeare [Cambridge Edition] [9 vols.]
Volume 2.

Author: William Shakespeare

Editor: William George Clark
William Aldis Wright

Release Date: March 13, 2014 [EBook #45128]

Language: English

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TRANSCRIBER'S NOTE
This is Volume 2 (1863) of the nine-volume Cambridge edition of Shakespeare. Volume 1
is available from Project Gutenberg as EBook #23041. Transcriber's Endnote.

THE WORKS

OF

WILLIAM SHAKESPEARE.

THE WORKS

OF

WILLIAM SHAKESPEARE

EDITED BY

WILLIAM GEORGE CLARK, M.A.

FELLOW AND TUTOR OF TRINITY COLLEGE, AND PUBLIC ORATOR IN THE UNIVERSITY OF CAMBRIDGE;

and WILLIAM ALDIS WRIGHT, M.A.

LIBRARIAN OF TRINITY COLLEGE, CAMBRIDGE.

VOLUME II.

Cambridge and London:

MACMILLAN AND CO.

1863.

CAMBRIDGE:

PRINTED BY C. J. CLAY, M.A.
AT THE UNIVERSITY PRESS.

CONTENTS.

PAGE

The Preface
vii

Much Ado About Nothing
3

Notes to Much Ado About Nothing
89

Love’s Labour’s Lost
97

Notes to Love’s Labour’s Lost
191

A Midsummer-Night’s Dream
199

Notes to A Midsummer-Night’s Dream 273
The Merchant of Venice
279

Notes to The Merchant of Venice
369

As You Like It
375

Notes to As You Like It
462

TOC
PREFACE.

The five plays contained in this volume are here printed in the order in which they occur in the Folios.

1. Much Ado About Nothing. The first edition of this play is a Quarto, of which the title is as follows:

Much adoe about | Nothing. | As it hath been sundrie times publikely | acted by the right honourable, the Lord | Chamberlaine his seruants. | Written

by William Shakespeare. | London | Printed by V. S. for Andrew Wise, and | William Aspley. | 1600.

The First Folio edition of this play was obviously printed from a copy of the Quarto belonging to the library of the theatre, and

corrected for the purposes of the stage. Some stage directions of interest occur first in the Folio, but as regards the text, where the
Folio differs from the Quarto it differs almost always for the worse. The alterations are due however to accident not design.

‘Davenant’s version,’ to which reference is made in the notes, is his play ‘The Law against Lovers.’

2. Love’s Labour’s Lost was published for the first time in Quarto, with the following title:

A | Pleasant | Conceited Comedie | called, | Loues labors lost. | As it was presented before her Highnes | this last Christmas. | Newly corrected and

augmented | By W. Shakespere. | Imprinted at London by W. W. | for Cutbert Burby. | 1598.

The Folio edition is a reprint of this Quarto, differing only in its being divided into Acts, and, as usual, inferior in accuracy. The

second Quarto (Q2) is reprinted from the First Folio.

It bears the following title:

Loues Labours lost. | A wittie and | pleasant | comedie, | As it was Acted by his Maiesties Seruants at | the Blacke-Friers and the Globe. | Written | By

William Shakespeare. | London, | Printed by W. S. for John Smethwicke, and are to be | sold at his Shop in Saint Dunstones Church-yard vnder the Diall.
| 1631.

3. A Midsummer-Night’s Dream. Of this play also the first edition is a Quarto, bearing the following title:

A | Midsommer nights | dreame. | As it hath beene sundry times pub|lickcly acted, by the Right honoura|ble, the Lord Chamberlaine his | seruants. |

Written by William Shakespeare. | Imprinted at London, for Thomas Fisher, and are to | be soulde at his shoppe, at the Signe of the White Hart, | in
Fleetestreete. 1600.

The copy of this Quarto in the Capell collection was formerly in the possession of Theobald, and bears this note in his handwriting:

“Collated with the other Old Quarto with the same Title, printed by James Roberts in 1600, L. T.” The results of the collation are
recorded in the margin. We have called this Q1.

In the same year another edition appeared, also in Quarto, with this title:

A | Midsommer nights | dreame. | As it hath beene sundry times pub|likely acted, by the Right Honoura|ble, the Lord Chamberlaine his | seruants. |

Written by William Shakespeare. | Printed by Iames Roberts, 1600.

On comparing these two Quartos we find that they correspond page for page, though not line for line, except in the first five pages

of sheet G. The printer’s errors in Fisher’s edition are corrected in that issued by Roberts, and from this circumstance, coupled with
the facts that in the Roberts Quarto the ‘Exits’ are more frequently marked, and that it was not entered at Stationers’ Hall, as Fisher’s
edition was, we infer that the Roberts Quarto was a pirated reprint of Fisher’s, probably for the use of the players. This may account
for its having been followed by the First Folio. Fisher’s edition, though carelessly printed, contains on the whole the best readings, and
may have been taken from the author’s manuscript.

The First Folio edition was printed from Roberts’s Quarto, which we have quoted as Q2.

4. The Merchant of Venice. Two Quarto editions of this play were published in the same year; (1) that generally known as the

‘Roberts Quarto,’ our Q1, bearing the following title-page:

The | excellent [History of the Mer|chant of Venice.| With the extreme cruelty of Shylocke | the Iew towards the saide Merchant, in cut|ting a iust

pound of his flesh. And the obtaining | of Portia, by the choyse of | three Caskets.| Written by W. Shakespeare. | Printed by J. Roberts, 1600.

and (2) that known as the ‘Heyes Quarto,’ which we have called Q2, whose title-page is
as follows:

The most excellent | Historie of the Merchant | of Venice. | With the extreame crueltie of Shylocke the Iewe | towards the sayd Merchant, in cutting a

iust pound | of his flesh: and the obtayning of Portia| by the choyse of three | chests. | As it hath beene diuers times acted by the Lord | Chamberlaine
his Servants.| Written by William Shakespeare. At London, | Printed by I. R. for Thomas Heyes, | and are to be sold in Paules Church-yard, at the | signe
of the Greene Dragon. | 1600. |

Different opinions have been entertained as to the respective priority of these two editions. Johnson and Capell both speak of the

Heyes Quarto as the first. On the other hand, in the title-page of the Roberts Quarto, now at Devonshire House, J. P. Kemble, to
whom the whole collection of Dramas belonged, has written ‘First edition.’ ‘Collated and perfect, J. P. K. 1798.’ And on the
opposite page he has copied the following ‘entry on the Stationers’ Registers.’ ‘July 22, 1598. (James Roberts) A booke of the
Merchaunt of Venyse, otherwise called the Jewe of Venyse. Provided that it be not printed by the said James Roberts or any other
whatsoever without leave first had from the ryght honourable, the Lord Chamberlen—39. b.’ This shows that he had examined the
question. He possessed moreover a copy of the Heyes Quarto, also collated by him and found perfect.

Mr Bolton Corney in Notes and Queries (2nd ser. Vol. x. p. 21), has shown that there is at least a strong probability in favour of

the precedence of the Roberts Quarto. We have therefore decided to call the Roberts Quarto Q1, and the Heyes Q2.

In a critical point of view the question is of little or no consequence. After a minute comparison of the two, we have come to the

conclusion that neither was printed from the other. We are indebted sometimes to one and sometimes to the other for the true reading,
where it is very improbable that the printer should have hit upon the correction. For example, Act ii. Sc. 8, line 39, the Roberts
Quarto, sig. E. 1. recto, has ‘Slubber not business...’ while the Heyes Quarto, sig. D. 4. recto, has ‘Slumber....’ On the other hand,

Act iii. Sc. 1, line 6, the Heyes Quarto, sig. F. 2. recto, has ‘gossip report,’ the true reading, while the Roberts Quarto, sig. F. 2.
verso, has ‘gossips report.’ Other instances might be brought to prove that neither edition is printed from the other. But there is reason
to think that they were printed from the same MS. Their agreement in spelling and punctuation and in manifest errors is too close to
admit of any other hypothesis. We incline to believe that this common MS. was a transcript made from the author’s. It is certain, for
instance, that the MS. had ‘veiling an Indian beauty’ (Act iii. Sc. 2, line 99), and it is equally certain that ‘beauty’ was not the word
Shakespeare meant. Other examples of common errors derived from the MS. will be found in our footnotes, and our readers may
investigate the question for themselves.

Q1 seems to have been printed by a more accurate printer or ‘overseen’ by a more accurate corrector than Q2, and therefore

cœteris paribus we have preferred the authority of Q1.

The First Folio text is a reprint of the Heyes Quarto, which had doubtless belonged to the theatre library, and, as in other cases,

had had some stage directions inserted.

The third Quarto, Q3, is also reprinted from Q2. It was published with the following title-page:

The most excellent | Historie of the Merchant | of Venice. | With the extreame crueltie of Shylocke | the Iewe towards the said Merchant, in | cutting a

just pound of his flesh: and the obtaining of Portia by the choice | of three Chests. | As it hath beene divers times acted by the | Lord Chamberlaine
his Servants. | Written by William Shakespeare. | London, | Printed by M.P. for Laurence Hayes, and are to be sold | at his Shop on Fleetbridge. 1637.

The so-called Fourth Quarto differs from Q3 only in having a new title-page. We might have suppressed ‘Q4’ altogether, but

having made the collation we allow the record to stand. The title-page of Q4 is as follows:

The most excellent | Historie | of the | Merchant of Venice: | With the extreame cruelty of Shylocke | the Jew towards the said Merchant, in cutting a |

just pound of his flesh; and the obtaining | of Portia by the choyce of three Chests. | As it hath beene diverse times acted by the | Lord Chamberlaine
his Servants. | Written by William Shakespeare. | London: | Printed for William Leake, and are to be solde at his shop at the | signe of the Crown in
Fleetstreet, between the two | Temple Gates. 1652.

The ‘Lansdowne version,’ which we have quoted in the notes, is the adaptation of The Merchant of Venice, published by Lord

Lansdowne in 1701 under the title of The Jew of Venice.

5. As You Like It was printed for the first time in the First Folio; at least if any previous edition was ever published, no copy of it

is known to be extant. This alone, of all the plays contained in the present volume, is divided into scenes in the Folio. In this play an
unusual number of certain and probable emendations are due to the Second Folio.

The ‘De Quincey (or ‘Quincy’) MS.’ is an annotated copy of the Fourth Folio, quoted by Mr Grant White and Mr Halliwell.
In addition to those mentioned in the preface to the first volume, to whom we beg here to repeat our acknowledgments, we have to

thank the Countess of Ellesmere and the Duke of Devonshire for the liberality with which they have thrown open to us the treasures of
their libraries. We have to thank the Duke of Devonshire also for the interest which he has taken in our work and the help he has been
kind enough to render in person. And on the same score we owe a debt of gratitude to Dr Kingsley, Mr Howard Staunton, Mr H. J.
Roby, and Professor Craik, whose excellent volume The English of Shakespeare is too well known to need any commendation from
us.

One act of kindness deserves an especial record. Dr Leo of Berlin, who had himself prepared an edition of Coriolanus, was

meditating a complete edition of Shakespeare on the plan we have adopted, but gave up the scheme when he found we had
anticipated him. Reading in the preface to our first volume an expression of regret that there was no index to Mr Sidney Walker’s
Shakespeare Criticisms, Dr Leo copied out and sent us an index which he had made for his own use. It has been of the greatest
service to us, and we here beg to thank him most cordially for his generous aid.

W. G. C.
W. A. W.

Mr Glover’s removal from Cambridge having compelled him to relinquish his part as Editor, Mr Wright, who was already engaged

on the Glossary, has taken his place. This arrangement will, it is hoped, continue to the end.

W. G. C.

TOC
MUCH ADO ABOUT NOTHING.

DRAMATIS PERSONÆ1.

Don Pedro, prince of Arragon.
Don John, his bastard brother.
Claudio, a young lord of Florence.
Benedick, a young lord of Padua.
Leonato, governor of Messina.
Antonio, his brother.
Balthasar, attendant on Don Pedro.
Conrade, follower of Don John.
Borachio, ” ” ”
Friar Francis.
Dogberry, a constable.
Verges, a headborough.
A Sexton.
A Boy.

Hero, daughter to Leonato2.
Beatrice, niece to Leonato.
Margaret, gentlewoman attending on Hero.
Ursula, ” ” ”

Messengers, Watch, Attendants, &c.

Scene—Messina.

FOOTNOTES:
1: Dramatis Personæ.] First given by Rowe.
2: See note (i).

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MAAN

I. 1

MUCH ADO ABOUT NOTHING.

ACT I.

Scene I. Before Leonato’s house.

Enter Leonato, Hero, and Beatrice, with a Messenger.

Leon. I learn in this letter that Don Peter of Arragon comes this night to Messina.
Mess. He is very near by this: he was not three leagues off when I left him.
Leon. How many gentlemen have you lost in this action?
Mess. But few of any sort, and none of name.
Leon. A victory is twice itself when the achiever brings home full numbers. I find here

that Don Peter hath bestowed much honour on a young Florentine called Claudio.

Mess. Much deserved on his part, and equally remembered by Don Pedro: he hath

borne himself beyond the promise of his age; doing, in the figure of a lamb, the feats of a
lion: he hath indeed better bettered expectation than you must expect of me to tell you
how.

Leon. He hath an uncle here in Messina will be very much glad of it.
Mess. I have already delivered him letters, and there appears much joy in him; even so

much, that joy could not show itself modest enough without a badge of bitterness.

Leon. Did he break out into tears?
Mess. In great measure.
Leon. A kind overflow of kindness: there are no faces truer than those that are so

washed. How much better is it to weep at joy than to joy at weeping!

Beat. I pray you, is Signior Mountanto returned from the wars or no?
Mess. I know none of that name, lady: there was none such in the army of any sort.
Leon. What is he that you ask for, niece?
Hero. My cousin means Signior Benedick of Padua.
Mess. O, he’s returned; and as pleasant as ever he was.
Beat. He set up his bills here in Messina and challenged Cupid at the flight; and my

uncle’s fool, reading the challenge, subscribed for Cupid, and challenged him at the bird-
bolt. I pray you, how many hath he killed and eaten in these wars? But how many hath he
killed? for, indeed, I promised to eat all of his killing.

Leon. Faith, niece, you tax Signior Benedick too much; but he’ll be meet with you, I

doubt it not.

Mess. He hath done good service, lady, in these wars.
Beat. You had musty victual, and he hath help to eat it: he is a very valiant trencher-

man; he hath an excellent stomach.

Mess. And a good soldier too, lady.
Beat. And a good soldier to a lady: but what is he to a lord?
Mess. A lord to a lord, a man to a man; stuffed with all honourable virtues.
Beat. It is so, indeed; he is no less than a stuffed man: but for the stuffing,—well, we

are all mortal.

Leon. You must not, sir, mistake my niece. There is a kind of merry war betwixt

Signior Benedick and her: they never meet but there’s a skirmish of wit between them.

Beat. Alas, he gets nothing by that! In our last conflict four of his five wits went halting

off, and now is the whole man governed with one: so that if he have wit enough to keep
himself warm, let him bear it for a difference between himself and his horse; for it is all the
wealth that he hath left, to be known a reasonable creature. Who is his companion now?
He hath every month a new sworn brother.

Mess. Is’t possible?
Beat. Very easily possible: he wears his faith but as the fashion of his hat; it ever

changes with the next block.

Mess. I see, lady, the gentleman is not in your books.
Beat. No; an he were, I would burn my study. But, pray you, who is his companion? Is

there no young squarer now that will make a voyage with him to the devil?

Mess. He is most in the company of the right noble Claudio.
Beat. O Lord, he will hang upon him like a disease: he is sooner caught than the

pestilence, and the taker runs presently mad. God help the noble Claudio! if he have caught
the Benedick, it will cost him a thousand pound ere a’ be cured.

Mess. I will hold friends with you, lady.
Beat. Do, good friend.
Leon. You will never run mad, niece.
Beat. No, not till a hot January.
Mess. Don Pedro is approached.

Enter Don Pedro, Don John, Claudio, Benedick, and Balthasar.

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[Exeunt all except Benedick and Claudio.

D. Pedro. Good Signior Leonato, you are come to meet your trouble: the fashion of

the world is to avoid cost, and you encounter it.

Leon. Never came trouble to my house in the likeness of your Grace: for trouble being

gone, comfort should remain; but when you depart from me, sorrow abides, and happiness
takes his leave.

D. Pedro. You embrace your charge too willingly. I think this is your daughter.
Leon. Her mother hath many times told me so.
Bene. Were you in doubt, sir, that you asked her?
Leon. Signior Benedick, no; for then were you a child.
D. Pedro. You have it full, Benedick: we may guess by this what you are, being a man.

Truly, the lady fathers herself. Be happy, lady; for you are like an honourable father.

Bene. If Signior Leonato be her father, she would not have his head on her shoulders

for all Messina, as like him as she is.

Beat. I wonder that you will still be talking, Signior Benedick: nobody marks you.
Bene. What, my dear Lady Disdain! are you yet living?
Beat. Is it possible disdain should die while she hath such meet food to feed it, as

Signior Benedick? Courtesy itself must convert to disdain, if you come in her presence.

Bene. Then is courtesy a turncoat. But it is certain I am loved of all ladies, only you

excepted: and I would I could find in my heart that I had not a hard heart; for, truly, I love
none.

Beat. A dear happiness to women: they would else have been troubled with a

pernicious suitor. I thank God and my cold blood, I am of your humour for that: I had
rather hear my dog bark at a crow than a man swear he loves me.

Bene. God keep your ladyship still in that mind! so some gentleman or other shall

’scape a predestinate scratched face.

Beat. Scratching could not make it worse, an ’twere such a face as yours were.
Bene. Well, you are a rare parrot-teacher.
Beat. A bird of my tongue is better than a beast of yours.
Bene. I would my horse had the speed of your tongue, and so good a continuer. But

keep your way, i’ God’s name; I have done.

Beat. You always end with a jade’s trick: I know you of old.
D. Pedro. That is the sum of all, Leonato. Signior Claudio and Signior Benedick, my

dear friend Leonato hath invited you all. I tell him we shall stay here at the least a month;
and he heartily prays some occasion may detain us longer. I dare swear he is no hypocrite,
but prays from his heart.

Leon. If you swear, my lord, you shall not be forsworn. [To Don John] Let me bid

you welcome, my lord: being reconciled to the prince your brother, I owe you all duty.

D. John. I thank you: I am not of many words, but I thank you.
Leon. Please it your Grace lead on?
D. Pedro. Your hand, Leonato; we will go together.

Claud. Benedick, didst thou note the daughter of Signior Leonato?
Bene. I noted her not; but I looked on her.
Claud. Is she not a modest young lady?
Bene. Do you question me, as an honest man should do, for my simple true judgement;

or would you have me speak after my custom, as being a professed tyrant to their sex?

Claud. No; I pray thee speak in sober judgement.
Bene. Why, i’faith, methinks she’s too low for a high praise, too brown for a fair praise,

and too little for a great praise: only this commendation I can afford her, that were she
other than she is, she were unhandsome; and being no other but as she is, I do not like her.

Claud. Thou thinkest I am in sport: I pray thee tell me truly how thou likest her.
Bene. Would you buy her, that you inquire after her?
Claud. Can the world buy such a jewel?
Bene. Yea, and a case to put it into. But speak you this with a sad brow? or do you

play the flouting Jack, to tell us Cupid is a good hare-finder, and Vulcan a rare carpenter?
Come, in what key shall a man take you, to go in the song?

Claud. In mine eye she is the sweetest lady that ever I looked on.
Bene. I can see yet without spectacles, and I see no such matter: there’s her cousin, an

she were not possessed with a fury, exceeds her as much in beauty as the first of May doth
the last of December. But I hope you have no intent to turn husband, have you?

Claud. I would scarce trust myself, though I had sworn the contrary, if Hero would be

my wife.

Bene. Is’t come to this? In faith, hath not the world one man but he will wear his cap

with suspicion? Shall I never see a bachelor of threescore again? Go to, i’faith; an thou wilt
needs thrust thy neck into a yoke, wear the print of it, and sigh away Sundays. Look; Don
Pedro is returned to seek you.

Re-enter Don Pedro.

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[Exit.

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Claud.

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D. Pedro. What secret hath held you here, that you followed not to Leonato’s?
Bene. I would your Grace would constrain me to tell.
D. Pedro. I charge thee on thy allegiance.
Bene. You hear, Count Claudio: I can be secret as a dumb man; I would have you

think so; but, on my allegiance, mark you this, on my allegiance. He is in love. With who?
now that is your Grace’s part. Mark how short his answer is;—With Hero, Leonato’s short
daughter.

Claud. If this were so, so were it uttered.
Bene. Like the old tale, my lord: ‘it is not so, nor ’twas not so, but, indeed, God forbid

it should be so.’

Claud. If my passion change not shortly, God forbid it should be otherwise.
D. Pedro. Amen, if you love her; for the lady is very well worthy.
Claud. You speak this to fetch me in, my lord.
D. Pedro. By my troth, I speak my thought.
Claud. And, in faith, my lord, I spoke mine.
Bene. And, by my two faiths and troths, my lord, I spoke mine.
Claud. That I love her, I feel.
D. Pedro. That she is worthy, I know.
Bene. That I neither feel how she should be loved, nor know how she should be

worthy, is the opinion that fire cannot melt out of me: I will die in it at the stake.

D. Pedro. Thou wast ever an obstinate heretic in the despite of beauty.
Claud. And never could maintain his part but in the force of his will.
Bene. That a woman conceived me, I thank her; that she brought me up, I likewise

give her most humble thanks: but that I will have a recheat winded in my forehead, or hang
my bugle in an invisible baldrick, all women shall pardon me. Because I will not do them
the wrong to mistrust any, I will do myself the right to trust none; and the fine is, for the
which I may go the finer, I will live a bachelor.

D. Pedro. I shall see thee, ere I die, look pale with love.
Bene. With anger, with sickness, or with hunger, my lord; not with love: prove that

ever I lose more blood with love than I will get again with drinking, pick out mine eyes with
a ballad-maker’s pen, and hang me up at the door of a brothel-house for the sign of blind
Cupid.

D. Pedro. Well, if ever thou dost fall from this faith, thou wilt prove a notable

argument.

Bene. If I do, hang me in a bottle like a cat, and shoot at me; and he that hits me, let

him be clapped on the shoulder, and called Adam.

D. Pedro. Well, as time shall try: ‘In time the savage bull doth bear the yoke.’
Bene. The savage bull may; but if ever the sensible Benedick bear it, pluck off the

bull’s horns, and set them in my forehead: and let me be vilely painted; and in such great
letters as they write ‘Here is good horse to hire,’ let them signify under my sign ‘Here you
may see Benedick the married man.’

Claud. If this should ever happen, thou wouldst be horn-mad.
D. Pedro. Nay, if Cupid have not spent all his quiver in Venice, thou wilt quake for

this shortly.

Bene. I look for an earthquake too, then.
D. Pedro. Well, you will temporize with the hours. In the meantime, good Signior

Benedick, repair to Leonato’s: commend me to him, and tell him I will not fail him at
supper; for indeed he hath made great preparation.

Bene. I have almost matter enough in me for such an embassage; and so I commit you

—

Claud. To the tuition of God: From my house, if I had it,—
D. Pedro. The sixth of July: Your loving friend, Benedick.
Bene. Nay, mock not, mock not. The body of your discourse is sometime guarded with

fragments, and the guards are but slightly basted on neither: ere you flout old ends any
further, examine your conscience: and so I leave you.

Claud. My liege, your highness now may do me good.
D. Pedro. My love is thine to teach: teach it but how,

And thou shalt see how apt it is to learn
Any hard lesson that may do thee good.

Claud. Hath Leonato any son, my lord?
D. Pedro. No child but Hero; she’s his only heir.

Dost thou affect her, Claudio?

O, my lord,

When you went onward on this ended action,
I look’d upon her with a soldier’s eye,
That liked, but had a rougher task in hand
Than to drive liking to the name of love: