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The Project Gutenberg EBook of The Works of William Shakespeare [Cambridge Edition] [9 vols.], by William Shakespeare This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 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 Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK WORKS OF WILLIAM SHAKESPEARE *** Produced by Jonathan Ingram, RichardW, and the Online Distributed Proofreading Team at http://www.pgdp.net 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). 000 001 005 008 010 015 020 025 030 035 037 039 040 041 042 045 050 055 057 058 060 065 070 073 074 075 077 079 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. 080 081 085 087 090 092 095 100 105 110 115 120 124 125 126 130 131 135 136 137 140 143 144 145 150 154 155 158 160 162 165 167 170 172 116 [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. 173 175 177 180 181 182 185 190 193 195 200 205 210 215 219 220 225 230 235 240 245 [Exit. 248 249 250 255 Claud. 174 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:

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