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

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Critical ApparatusACT I. SCENE III.

[To him] Sharper.


SHARPER. I'm sorry to see this, Ned: Once a Man comes to his Editor’s NoteCritical Apparatus2Soliloquys I give him for gone.


BELLMOUR. Sharper, I'm glad to see thee.


SHARPER. What, is Belinda cruel, that you are so thoughtful?


BELLMOUR. No faith, not for that—But there's a Business of Critical Apparatus6Consequence fall'n out to Day, that requires some 7Consideration.

Critical Apparatus8

SHARPER. Prithee what mighty Business of Consequence canst thou 9have?


BELLMOUR. Why you must know, 'tis a piece of Work toward the Editor’s Note11finishing of an Alderman; it seems I must put the last12pg 22hand to it, and dub him Cuckold, that he may be of equal Critical Apparatus13Dignity with the rest of his Brethren: So I must beg Critical Apparatus14Belinda's Pardon—

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SHARPER. Faith e'en give her over for good-and-all; you can have no Critical Apparatus16hopes of getting her for a Mistress; and she is too proud, Critical Apparatus17too inconstant, too affected and too witty, and too handsome 18for a Wife.

Critical Apparatus19

BELLMOUR. But she can't have too much Mony—There's twelve Critical Apparatus20thousand Pound, Tom—'Tis true she is excessively foppish Editor’s Note21and affected, but in my Conscience I believe the Baggage Critical Apparatus22loves me: For she never speaks well of me her self, nor Critical Apparatus23suffers any Body else to rail at me. Then, as I told you, Editor’s Note24there's twelve thousand Pound—Hum—Why faith upon 25second Thoughts, she does not appear to be so very Editor’s NoteCritical Apparatus26affected neither—Give her her due, I think the Womans 27a Woman, and that's all. As such I'm sure I shall like her; 28for the Devil take me if I don't love all the Sex.


SHARPER. And here comes one who swears as heartily he hates all 30the Sex.

Notes Settings


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0.1 SCENE III. | [To him]] Enter Qq.
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2 Soliloquys] Soliloques Q1–5; Soliloquies Q7, W2.
Editor’s Note
2 Soliloquys] The convention, accepted uncritically for centuries, had come to be questioned; for a defence by Congreve, see DD, epistle dedicatory, ll. 47–77.
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6 Day,] ⁓‸ Qq.
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8 canst] can'st W2.
Editor’s Note
11 finishing of an Alderman] so Wycherley, The Country-Wife (1675), iii. ii. 527, where 'City-patience' is a city man's tolerance, out of commercial interest, of being cuckolded; and Love in a Wood (1672), iv. iii. 193. In Spectator 446 (1 August 1712), iv. 66–7, Addison notes that 'Cuckoldom is the Basis of most of our Modern Plays. If an Alderman appears upon the Stage, you may be sure it is in order to be Cuckolded. An Husband that is a little grave or elderly, generally meets with the same Fate. Knights and Baronets, Country-Squires, and Justices of the Quorum, come up to Town for no other Purpose. I have seen Poor Dogget Cuckolded in all these Capacities' (iv. 68). See also DD, epilogue, l. 28, and LL, prologue 'Sent from an unknown Hand', ll. 5–10.
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13 Brethren:] ⁓. Q1–4; ⁓, Q5–6.
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14 * Pardon‸ ] Q1; ⁓. Ww.
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15 good-and-all] ⁓‸⁓‸⁓ Q7.
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16 Mistress;] ⁓, Q1–4, 7; Mistriss, Q5–6.
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17 handsome] handsom W2.
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19 Mony] Money Q6, W2.
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20 Pound,] ⁓‸ Q1, 5–6.
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20 * Tom ] Q1; ⁓. Q6–7, Ww.
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20 true‸ ] ⁓, Q2–4.
Editor’s Note
21 Baggage] OED cites this instance of the word for the sense, 'Used familiarly or playfully of any young woman'.
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22 me:] ⁓, Qq.
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23 Then, … you, ] ⁓‸ … ⁓‸ Q1, 5–6.
Editor’s Note
24 twelve thousand Pound] Compare Angelica's fortune of £30,000 (LL v. iii. 44) and Millamant's of £12,000 (WW v. vi. 31). Generally the men, not the women, marry for money and an estate. See Etherege, The Man of Mode (1676), iv. ii. 193: 'You wed a Woman, I a good Estate.' Although Cynthia's exact fortune is not given in DD, it is she who gives access to the Touchwood estate.
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26 Womans] Woman's Q1–5, 7, W2.
Editor’s Note
26–7 the Womans a Woman] Dent W637.1.
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