William Congreve

D. F. McKenzie (ed.), The Works of William Congreve, Vol. 1

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Critical ApparatusACT IV. SCENE X.

Sir Sampson, Valentine, Scandal, Jeremy.

1

VALENTINE. Ha, ha, ha; you need not run so fast, Honesty will not Editor’s Note2overtake you—Ha, ha, ha, the Rogue found me out to be in 3Forma Pauperis presently.

pg 345Critical Apparatus4

Sir SAMPSON. Oons! What a Vexation is here! I know not what to do, or 5say, nor which way to go.

Critical Apparatus6

VALENTINE. Who's that, that's out of his way?—I am Truth, and can set Critical Apparatus7him right—Harkee, Friend, the strait Road is the worst Editor’s Note8way you can go—He that follows his Nose always, will very Editor’s Note9often be led into a Stink. Probatum est. But what are you 10for? Religion or Politicks? There's a couple of Topicks for Critical Apparatus11you, no more like one another than Oil and Vinegar; and 12yet those two beaten together by a State-Cook, make Sauce 13for the whole Nation.

Critical Apparatus14

Sir SAMPSON. What the Devil had I to do, ever to beget Sons? Why did I 15ever marry?

Critical Apparatus16

VALENTINE. Because thou wert a Monster, old Boy. The two greatest Critical Apparatus17Monsters in the World, are a Man and a Woman. What's 18thy Opinion?

19

Sir SAMPSON. Why, my Opinion is, that those two Monsters 20join'd together, make yet a greater, that's a Man and 21his Wife.

Editor’s NoteCritical Apparatus22

VALENTINE. A ha! Old True-penny, say'st thou so? thou hast nick'd it— Critical Apparatus23But it's wonderful strange, Jeremy.

24

JEREMY. What is, Sir?

Editor’s NoteCritical Apparatus25

VALENTINE. That gray Hairs shou'd cover a green Head—and Editor’s NoteCritical Apparatus26I make a Fool of my Father. What's here! Erra Pater: or Critical Apparatus27a bearded Sybil? If Prophecy comes Truth must give Critical Apparatus28place.

Notes Settings

Notes

Critical Apparatus
0.1 SCENE X. … Jeremy. ] om. Qq.
Editor’s Note
2–3 in Forma Pauperis] exempt from legal costs on grounds of poverty. Kelsall suggests a possible pun: 'in the image of a poor man'.
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4 Oons] Oo'ns Q1.
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6 that's] that't Q3.
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7 Harkee] Hearkee Q1–2; Hark ye Q4.
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7 strait] straight Q4.
Editor’s Note
8 He that follows his Nose] capping Tilley N230.
Editor’s Note
9 Probatum est] See note to OB iii. iii. 1.
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11 Oil] Oyl Q1–2.
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11 Vinegar;] ⁓: Q3.
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14 Why‸ ] ⁓, Q3.
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16 wert] wer't Qq.
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16 *Monster, old Boy.] ⁓; ⁓ ⁓? Qq, W1; ⁓; ⁓ ⁓: W2.
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17 World,] ⁓‸ Q1–2.
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17 *Woman.] ⁓? Q1–3, Ww; ⁓; Q4.
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22 True-penny] Truepenny Qq.
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22 *so?] Q1; ⁓: W1.
Editor’s Note
22–3 A ha! Old True-penny … strange ] See Hamlet, i. v. 153–66 (where 'old mole' equates with 'old nick'):

Hamlet Ah, ha, boy, say'st thou so? Art thou there, truepenny? …

Well said, old mole! …

Horatio O day and night, but this is wondrous strange!

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23 *it'] W2; it's W1, Qq
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23 Jeremy.] ⁓! Qq.
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25 shou'd] should W2.
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25 om.] Enter Foresight, Mrs. Foresight, and Frail. Qq.
Editor’s Note
25 green Head] OED cites the Dictionary of the Canting Crew (c.1699), 'a very raw Novice, or unexperienc'd Fellow'. See also Dent W563.1, 'To have a green Wit'.
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26 Pater:] ⁓? Qq.
Editor’s Note
26 What's here!] Valentine's allusion here to Foresight's arrival with Mrs Foresight and Frail is clearer in Qq where his speech is broken by the stage direction announcing their entry. In Ww the text still implies their arrival on stage but makes it explicit only when they fully join the group to make a new scene.
Editor’s Note
26 Erra Pater] a generic term for an astrologer; so Massinger, The City Madam (1658), ii. ii, p. 25: 'the everlasting prognosticator, old Erra Pater'; Beaumont and Fletcher, The Scornful Lady (1616), iv. i: 'a face as olde as Erra Pater'; and Butler, Hudibras (1663), i. i. 119–20, cited by Summers (ii. 266):
  •                In Mathematicks he was greater
  •                Than Tycho Brahe or Erra Pater:
Lilly's New Erra Pater was probably published a few months before the first performance of LL (see Wing L2228B).
Critical Apparatus
27 *Sybil] W2; roman in Qq, W1.
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27 comes‸ ] ⁓, Qq.
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28 place.] ⁓‸ Q2.
om.] Exit with Jere. Qq.
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