Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 1

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Critical ApparatusEnter Lucius with an Armie of Gothes with Drums and Souldiers.
1

Lucius. Approued warriours, and my faithfull friends,

2I haue receaued letters from great Rome,

3Which signifies what hate they beare their Emperour,

Critical Apparatus4And how [desirous] of our sight they are.

5Therefore great Lords bee as your titles witnes,

6Imperious, and impatient of your wrongs,

7And wherein Rome hath done you any skath,

8Let him make treable satisfaction.

9

Goth. Braue slip sprong from the great Andronicus,

10Whose name was once our terrour, now our comfort,

11Whose high exployts and honourable deeds,

12Ingratefull Rome requites with foule contempt,

Critical Apparatus13Be bold in vs weele follow where thou leadst,

H4v Link 14Like stinging Bees in hottest summers day,

15Led by their Master to the flowred fields,

16And be aduengde on cursed Tamora:

Critical Apparatus17

[Gothes.] And as he saith, so say we all with him.

18

Lucius. I humblie thanke him and I thanke you all,

19But who comes here led by a lustie Gothe?

Enter a Goth leading of Aron with his child in his Armes.
pg 199 20

Goth. Renowmed Lucius from our troupes I straid,

21To gaze vpon a ruinous Monasterie,

22And as I earnestly did fixe mine eye,

Critical Apparatus23Vpon the wasted building, suddainely

24I heard a child crie vnderneath a wall,

25I made vnto the noise, when soone I heard,

26The crying babe controld with this discourse:

Critical Apparatus27Peace tawnie slaue, halfe me, and halfe thy Dame,

28Did not thy hue bewray whose brat thou art,

29Had nature lent thee but thy mothers looke,

30Villaine thou mightst haue bin an Emperour.

31But where the bull and Cow are both milke white,

32They neuer doe beget a coleblacke Calfe:

33Peace Villaine peace, euen thus he rates the babe,

34For I must beare thee to a trustie Goth,

35Who when he knowes thou art the Empresse babe,

36Will hold thee dearely for thy mothers sake.

37With this my weapon drawen I rusht vpon him

38Surprisde him suddainely, and brought him hither

39To vse as you thinke needefull of the man.

40

Lucius. Oh worthie Goth this is the incarnate diuell,

41That robd Andronicus of his good hand,

42This is the Pearle that pleasd your Empresse eye,

Critical Apparatus43And her's the base fruit of her burning lust,

44Say wall-eyd slaue whither wouldst thou conuay,

I1r Link 45This growing image of thy fiendlike face,

Critical Apparatus46Why doost not speake? what [dumbe,] deafe, not a word?

47A halter Souldiers, hang him on this tree,

48And by his side his fruite of Bastardie.

49

Aron. Touch not the boy, he is of Roiall bloud.

50

Luc. Too like the sier for euer being good,

51First hang the child that he may see it sprall,

52A sight to vex the fathers soule withall.

Critical Apparatus53[Get] me a ladder.

[Aron.] Lucius saue the child,

pg 20054And beare it from me to the Empresse:

55If thou do this, ile shew thee wondrous things,

56That highly may aduantage thee to heare,

57If thou wilt not, befall what may befall,

58Ile speake no more, but vengeance rotte you all.

59

Lucius. Say on, and if it please me which thou speakst,

60Thy child shall liue, and I will see it nourisht.

61

Aron. And if it please thee? why assure thee Lucius,

62Twill vexe thy soule to heare what I shall speake:

63For I must talke of murthers, rapes, and massakers,

64Acts of black night, abhominable deeds,

Critical Apparatus65Complots of mischiefe, treason, villanies,

66Ruthfull to heare, yet pitteously performde,

67And this shall all be buried in my death,

68Vnlesse thou sweare to me my child shall liue.

69

Lucius. Tell on thy minde, I say thy child shall liue.

70

Aron. Sweare that he shall, and then I will begin.

71

Luci. Who should I sweare by, thou beleeuest no God,

72That graunted, how canst thou beleeue an oath.

73

Aron. What if I doe not, as indeed I do not,

74Yet for I know thou art religious,

75And hast a thing within thee called conscience,

76With twenty popish tricks and ceremonies,

77Which I haue seene thee carefull to obserue,

78Therefore I vrge thy oath, for that I know,

79An ideot holds his bauble for a God,

I1v Link 80And keepes the oath which by that God he sweares,

81To that ile vrge him, therefore thou shalt vow,

82By that same God, what God so ere it be

83That thou adorest, and hast in reuerence,

Critical Apparatus84To saue my boy, to nourish and bring him vp,

85Or else I will discouer nought to thee.

86

Lucius. Euen by my God I sweare to thee I will.

87

Aron. First know thou, I begot him on the Empresse.

88

Lucius. Oh most insatiate and luxurious woman.

89

Aron. Tut Lucius, this was but a deed of charitie,

90To that which thou shalt heare of me anon,

91Twas her two sonnes that murdered Bassianus,

92They cut thy Sisters tongue, and rauisht her,

Critical Apparatus93And cut her hands, and trimd her as thou sawest.

94

Luc. Oh detestable villaine, callst thou that trimming.

Critical Apparatus95

Aron. Why she was washt, and cut, and trimd, and twas

96Trim sport for them which had the doing of it.

97

Luc. Oh barberous beastlie villaines like thy selfe.

pg 201 98

Aron. Indeed I was their tutor to instruct them,

99That codding spirit had they from their mother,

100As sure a card as euer wonne the set:

101That bloodie minde I thinke they learnd of me,

102As true a Dog as euer fought at head:

103Well let my deeds be witnes of my worth,

104I traind thy brethren to that guilefull hole,

105Where the dead corpes of Bassianus laie:

106I wrote the letter that thy Father found,

107And hid the gold within that letter mentioned,

108Confederate with the Queene and her two sonnes.

109And what not done, that thou hast cause to rue,

110Wherein I had no stroke of mischiefe in it,

111I plaid the cheater for thy fathers hand,

112And when I had it drew my selfe a part,

113And almost broke my hart with extreame laughter,

114I pried me through the creuice of a wall,

I2r Link 115When for his hand he had his two sonnes heads,

116Beheld his teares and laught so hartelie,

117That both mine eyes were raynie like to his:

118And when I tolde the Empresse of this sport,

119Shee sounded almost at my pleasing tale,

120And for my tidings gaue me twentie kisses.

121

Goth. What canst thou say all this and neuer blush.

Critical Apparatus122

Aron. I like a blacke Dog as the saying is.

123

Lucius. Art thou not sorrie for these hainous deeds.

124

Aron. I that I had not done a thousand more,

125Euen now I curse the day and yet I thinke

126Fewe come within the compasse of my curse,

127wherein I did not some notorious ill.

128As kill a man, or els deuise his death,

129Rauish a maide, or plot the waie to doe it,

130Accuse some innocent, and forsweare my selfe,

131Set deadly enmitie betweene two friends,

Critical Apparatus132Make poore mens cattle breake their necks,

Critical Apparatus133Set fire on barnes and [haystakes] in the night,

Critical Apparatus134And bid the owners quench them with their teares:

135Oft haue I digd vp dead men from their graues,

136And set them vpright at their deare friends dore,

137Euen when their sorrowes almost was forgot,

138And on their skinnes as on the barke of trees,

pg 202139Haue with my knife carued in Romaine letters,

140Let not your sorrow die though I am dead.

I2vCritical Apparatus Link 141But I haue done a thousand dreadfull things,

142As willingly as one would kill a flie,

143And nothing grieues me hartelie indeede,

144But that I cannot doe ten thousand more.

145

Lucius. Bring downe the Diuell for he must not die,

146So sweet a death as hanging presently.

147

Aron. If there be Diuels would I were a Diuel,

148To liue and burne in euerlasting fire,

149So I might haue your companie in hell,

150But to torment you with my bitter tongue.

151

Luci. Sirs stop his mouth and let him speake no more.

Enter Emillius.
152

Goth. My Lord there is a messenger from Rome,

Critical Apparatus153Desiers to be admitted to your [presence].

154

Lucius. Let him come nere.

155Welcome Emillius, what's the newes from Rome?

156

Emil. Lord Lucius, and you Princes of the Gothes,

157The Romaine Emperour greets you all by me,

158And for he vnderstands you are in Armes,

159He craues a Parley at your fathers house,

160Willing you to demaund your hostages,

161And they shall be immediatly deliuered.

162

Goth. What saies our Generall.

163

Luci. Emillius, let the Emperour giue his pledges,

Critical Apparatus164Vnto my Father and my Vnkle Marcus,

Critical Apparatus165And we will come, march away.

Notes Settings

Notes

Critical Apparatus
10.0.1 Drums 2white; Drum s 1danter; Drum 3white. Type shift.
Critical Apparatus
10.0.1 Enter jaggard adds 'Flourish.' before Enter.'
Critical Apparatus
10.4 desirous 2white; desirons 1danter. Inverted type, or foul case.
Critical Apparatus
10.13 Be bold→Behold
Critical Apparatus
10.17 Gothes. this edition; not in 1danter; Om. allot. The speech prefix is necessary because neither the sentence nor Lucius' response makes sense as the concluding line to the Goth's speech. Editors have generally adopted allot's 'Om.', for 'Omnes', regularizing it to 'Goths' or 'All [the] Goths'. It is possible that the printers' copy read 'Got.' or 'Gothes' as a speech prefix, but the compositor omitted it, whether due to eyeskip error or suspected dittography. Neither 'Omnes' nor 'All' appear as a speech prefix in the play; the speech prefix 'Got.' may indicate multiple speakers at 12.3; the only other scene that may indicate multiple simultaneous speakers is 1.360.1 (a Peele scene), where 'Titus two sonnes speakes'.
Critical Apparatus
10.23 building, suddainely 3white; ~ ~, 1danter. In 1danter 'suddainely' modifies 'did fixe mine eye' rather than 'I heard a childe crie'. 3white's emendation suggests that early readers had difficulty with the line as originally printed.
Critical Apparatus
10.27 Dame = dam. 'Dame' is an acceptable form of dam (meaning 'mother'), and the spelling appears in Lucrece 1477.
Critical Apparatus
10.43 her's = here's. See note to 7.1.
Critical Apparatus
10.43 her 1danter; his jaggard. The gender switch in jaggard, which may be read as making Aaron, rather than the Empress, the lustful party, is fascinating if it is intentional. However, it is more likely an erroneous substitution, perhaps influenced by the misunderstanding of 'her's' as 'here's' earlier in the line; see previous note.
Critical Apparatus
10.46 dumbe, deafe, not this edition (Taylor); deafe, not 1danter; deafe? no! Not allot; deaf, what not keightley; deaf, dumb? not clark–wright (conj.) The line is short by one syllable, and the correction in allot may indicate that early readers found it metrically deficient. keightley's emendation was adopted by wells (following a personal communication from T. W. Craik). For 'what, not a word' compare Taming of the Shrew 4.3.42 and Romeo and Juliet 21.32. A compositor or scribe might theoretically omit any word, but 'what' in this case is not an especially plausible candidate. Taylor instead conjectures that 'dumbe' has been omitted—not, as conjectured in the nineteenth century, after 'deafe', but before it. The omission could then easily be explained by eyeskip from initial 'd' of one monosyllable to initial 'd' of the following monosyllable. Compare 'dumb, deaf' at 2 Henry VI 11.130 (an indisputably Shakespearian scene); 'face' occurs there in the preceding line, and earlier in the scene the juxtaposition 'was dumb and could not speak a word' (2 Henry VI 11.18). Shakespeare never elsewhere uses the alternative order ('deaf, dumb'), as conjectured in the nineteenth century.
Critical Apparatus
10.53 Get me a ladder.| Aron. Lucius pope2 (Theobald); Aron. Get me a ladder,| Lucius 1danter. As Theobald observed in his 1726 Shakespeare Restored, 'why should Aaron, the Moor, here ask for a Ladder, who earnestly wanted to have his Child sav'd?' Most editors accept his emendation, although barnet retains 1danter, glossing Aaron's request as 'hang me rather than the child', a reading proposed and rejected by theobald, and one bate finds 'dramatically forced'. While there may be some dramatic potential in giving the line to Aaron, Theobald's argument is sensible, and it seems more likely that the speech prefix 'Aron' was slightly misaligned in a manuscript copy, or transposed by a compositor.
Critical Apparatus
10.65 treason, villanies 2white; treason, villainie s 1danter; treasons, villanies bate (Maxwell); treason, villanie conj. this edition (Connor). bate accepts J. C. Maxwell's argument that the singular 'treason', being between two plural forms, is incorrect; both cite 'treasons, stratagems, and spoils' at Merchant of Venice 5.1.84 as a parallel. It is also possible that each word is designed to be singular, and 'villanies' is in error (Shakespeare seems to use 'mischiefe' more frequently in the singular). The 's' at the end of 'villanies' in 1danter is set apart from the rest of the word, which may indicate type-shift. It is also possible that Shakespeare was, intentionally or otherwise, inconsistent with his plural forms here.
Critical Apparatus
10.84 nourish = nurse. This word is pronounced as one syllable, so indistinguishable from 'nurse'.
Critical Apparatus
10.93 hands→hands off
Critical Apparatus
10.95–6 Why . . . it. capell; trimd,| 1danter
Critical Apparatus
10.122 Dog, 1danter. A small piece of type, probably a worn comma, appears after the word, but there is no punctuation in subsequent quartos or jaggard. berger–mowat do not include it in their list of unclear readings (xvii).
Critical Apparatus
10.132 cattle breake 1danter; cattle fall and break hudson; cillie cattle breake conj. Taylor (in wells). The line is a foot short, and editors since malone have suspected error. While malone conjectured 'and die' at the end of the line, most subsequent editors have identified this mid-line phrase as the most plausible site of error. hudson's conjecture is popular because it more clearly implies that Aaron set pitfall traps for the cattle. Taylor's emendation posits eyeskip involving 'seely'/'sillie', which Shakespeare sometimes associates with other domesticated livestock, sheep (see Two Gentlemen of Verona 1.1.79; 3 Henry VI 9.44; Lucrece 167).
Critical Apparatus
10.133 haystakes 2white; haystalks 1danter. 'Haystalks' is unlikely as a spelling variant of 'haystack', and it does not appear to have been used in Shakespeare's time.
Critical Apparatus
10.134 their→the
Critical Apparatus
10.141 But 1danter; Tut 2white. Aaron uses 'tut' at 10.89 wellsobserves, as does Titus at 11.150, so some editors emend. bate suspects contamination error, with the compositor looking ahead to 10.144. However, 'But' is the catchword on I2r, strongly suggesting 'But' was the copy reading. If we accept early authorial papers as the source for 1danter, scribal error is impossible, and the reading is likely authorial. The Peacham MS reads 'Tut', which may be evidence that it was written sometime after 1600 (see bate 40–1, and Textual Introduction).
Critical Apparatus
10.153 presence 3white; presenee 1danter. Foul case.
Critical Apparatus
10.164 Marcus, jaggard adds 'Flourish.' After 'Marcus,'
Critical Apparatus
10.165 march away. 1danter; march away. Exeunt. 3white; march away. Flourish.| Exeunt. jaggard; Away. March. Exeunt. capell. The capell emendation, which presumes that a scribe or compositor conflated a stage direction (presumably 'March') with Lucius' lines, has been widely accepted. 1danter is, as wells observes, 'metrically awkward', and it uncharacteristically includes no exit direction. One may, however, read 'march away' as part of a four-foot line with a missing syllable at the caesura, and, as it calls for an exit, Shakespeare could, by accident or design, simply have not added a stage direction. While 'March' is a common stage direction (see Dessen and Thomson 140), there is no precedent for 'March Away' as a stage direction in Shakespeare, nor does it seem to appear in any contemporary printed playbooks. Shakespeare has characters speak 'march away' as an exit line at Henry V 3.6.147 and in a scene-ending couplet in Henry V 4.3.132.
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