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

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Sc. 42.1

Critical ApparatusEnter Leonato, his brother, his wife, Hero his daughter, and Critical ApparatusBeatrice his neece, and a kinsman.
1

Leonato Was not counte Iohn here at supper?

Critical Apparatus2

brother I saw him not.

3

Beatrice How tartely that gentleman lookes, I neuer can see him but I 4am heart-burn'd an hower after.

5

Hero He is of a very melancholy disposition.

6

Beatrice He were an excellent man that were made iust in the mid-way 7between him and Benedick, the one is too like an image and saies 8nothing, and the other too like my ladies eldest sonne, euermore tatling.

9

Leonato Then halfe signior Benedickes tongue in Counte Iohns mouth, 10and halfe Counte Iohns melancholy in Signior Benedickes face.

11

Beatrice With a good legge and a good foote vnckle, and money inough 12in his purse, such a man would winne any woman in the world if a could 13get her good will.

Critical Apparatus14

Leonato By my troth neece thou wilt neuer get thee a husband, if thou 15be so shrewd of thy tongue.

16

brother Infaith shees too curst.

B3v Link 17

Beatrice Too curst is more then curst, I shall lessen

Gods sending

18that way, for it is saide, God sends a curst cow short hornes, but to a cow

19too curst, he sends none.

20

Leonato So, by being too curst, God will send you no hornes.

21

Beatrice Iust, if he send me no husband, for the which blessing, I am 22at him vpon my knees euery morning and euening: Lord, I could not 23endure a husband with a beard on his face, I had rather lie in the woollen!

Critical Apparatus24

Leonato You may light on a husband that hath no beard.

pg 1028 25

Beatrice What should I do with him, dresse him in my apparell and 26make him my waiting gentlewoman? he that hath a beard, is more then 27a youth: and he that hath no beard, is lesse then a man: and he that is 28more then a youth, is not for me, and he that is lesse then a man, I am not Critical Apparatus29for him, therefore I will euen take sixpence in earnest of the Berrord, 30and leade his apes into hell.

Critical Apparatus31

[Leonato] Well then, go you into hell.

32

Beatrice No but to the gate, and there will the diuell meete me like an 33old cuckold with hornes on his head, and say, get you to heauen Beatrice, 34get you to heauen, heeres no place for you maids, so deliuer I vp my apes Critical Apparatus35and away to saint Peter: for the heauens, he shewes me where the 36Batchellers sit, and there liue we as mery as the day is long.

37

brother Well neece, I trust you will be rulde by your father.

38

Beatrice Yes faith, it is my cosens duetie to make cursie and say, 39father, as it please you: but yet for all that cosin, let him be a handsome Critical Apparatus40fellow, or else make an other cursie, and say, father, as it please me.

41

Leonato Well neece, I hope to see you one day fitted with 42a husband.

43

Beatrice Not til God make men of some other mettal then earth, 44would it not grieue a woman to be ouer-masterd with a peece of valiant Critical Apparatus45dust? to make an account of her life to a clod of waiward marle? no 46vnckle, ile none: Adams sonnes are my brethren, and truely I holde it a 47sinne to match in my kinred.

B4r Link 48

Leonato Daughter, remember what I told you, if the prince do solicite 49you in that kind, you know your answer.

50

Beatrice The fault will be in the musique cosin, if you be not wooed in 51good time: if the prince be too important, tell him there is measure in 52euery thing, and so daunce out the answer, for here me Hero, wooing, 53wedding, and repenting, is as a Scotch ijgge, a measure, and a cinquepace: 54the first suite is hot and hasty like a Scotch ijgge (and ful as fantasticall) 55the wedding manerly modest (as a measure) full of state and aunchentry, 56and then comes Repentance, and with his bad legs falls into the Critical Apparatus57cinquepace faster and faster, til he sincke into his graue.

58

Leonato Cosin you apprehend passing shrewdly.

59

Beatrice I haue a good eie vnckle, I can see a church by day-light.

60

Leonato The reuellers are entring brother, make good 61roome.

pg 1029Critical ApparatusEnter prince, Pedro, Claudio, and Benedicke, and Balthaser, [and dun] Iohn.
Critical Apparatus62

Pedro Lady will you walke about with your friend?

63

Hero So, you walke softly, and looke sweetly, and say nothing, I am yours 64for the walke, and especially when I walk away.

65

Pedro With me in your company.

66

Hero I may say so when I please.

67

Pedro And when please you to say so?

68

Hero When I like your fauour, for God defend the lute should be like 69the case.

Critical Apparatus70

Pedro My visor is Philemons roofe, within the house is Ioue.

71

Hero Why then your visor should be thatcht.

Pedro Speake low if you speake loue.

Critical Apparatus72

Bene. Well, I would you did like me.

73

Mar. So would not I for your owne sake, for I haue many ill 74qualities.

75

Bene. Which is one?

76

Mar. I say my praiers alowd.

B4v Link 77

Bene. I loue you the better, the hearers may cry Amen.

78

Marg. God match me with a good dauncer.

79

Balth. Amen.

pg 1030 80

Marg. And God keepe him out of my sight when the daunce is done: 81answer Clarke.

82

Balth. No more words, the Clarke is answered.

83

Vrsula I know you well enough, you are signior Anthonio.

Critical Apparatus84

Antho. At a word I am not.

85

Vrsula I knowe you by the wagling of your head.

86

Antho. To tell you true, I counterfeit him.

Critical Apparatus87

Vrsula You coulde neuer doe him so ill well, vnlesse you were the very 88man: heeres his drie hand vp and downe, you are he, you are he.

89

Antho. At a word, I am not.

90

Vrsula Come, come, do you thinke I do not know you by your excellent 91wit? can vertue hide it selfe? go to, mumme, you are he, graces will appeere, 92and theres an end.

93

Beat. Will you not tell me who tolde you so?

94

Bened. No, you shall pardon me.

95

Beat. Nor will you not tell me who you are?

96

Bened. Not now.

97

Beat. That I was disdainefull, and that I had my good wit out of the 98hundred mery tales: wel, this was signior Benedick that said so.

99

Bened. Whats he?

100

Beat. I am sure you know him well enough.

101

Bened. Not I, beleeue me.

102

Beat. Did he neuer make you laugh?

103

Bened. I pray you what is he?

104

Beat. Why he is the princes ieaster, a very dul fool, only his gift is, 105in deuising impossible slaunders, none but Libertines delight in him, and Critical Apparatus106the commendation is not in his wit, but in his villanie, for he both pleases 107men and angers them, and then they laugh at him, and beate him: I am 108sure he is in the Fleete, I would he had boorded me.

109

Bene. When I know the Gentleman, ile tell him what you say.

C1r Link 110

Beat. Do, do, heele but break a comparison or two on me, which 111peradueture, (not markt, or not laught at) strikes him into 112melancholy, and then theres a partrige wing saued, for the foole will Critical Apparatus113eate no supper that night:

114wee must follow the leaders.

115

Bene. In euery good thing.

116

Beat. Nay, if they leade to any ill, I will leaue them at the next 117turning.

Dance                              exeunt
118

Iohn Sure my brother is amorous on Hero, and hath 119withdrawne her father to breake with him about it: the Ladies folow her, 120and but one visor remaines.

121

Borachio And that is Claudio, I knowe him by his 122bearing.

123

Iohn Are not you signior Benedicke?

124

Clau. You know me well, I am he.

pg 1031 125

Iohn Signior, you are very neere my brother in his loue, he is enamourd 126on Hero, I pray you disswade him from her, she is no equall for his birth, 127you may doe the parte of an honest man in it.

128

Claudio How know you he loues her?

129

Iohn I heard him sweare his affection.

130

Borac. So did I too, and he swore hee would marry her to night.

131

Iohn Come let vs to the banquet.

exeunt: manet Clau.
132

Claud. Thus answer I in name of Benedicke,

133But heare these ill newes with the eares of Claudio:

134Tis certaine so, the Prince wooes for himselfe,

135Friendship is constant in all other things,

136Saue in the office and affaires of loue:

137Therefore all hearts in loue vse their owne tongues.

138Let euery eie negotiate for it selfe,

139And trust no Agent: for Beauty is a witch,

140Against whose charmes, faith melteth into blood:

141This is an accident of hourely proofe,

142Which I mistrusted not: farewel therefore Hero.

Enter Benedicke
143

Benedicke Count Claudio.

144

Claudio Yea, the same.

C1v Link 145

Bene. Come, will you go with me?

146

Claudio Whither?

Critical Apparatus147

Bene. Euen to the next willow, about your owne busines, county: Critical Apparatus148what fashion will you weare the garland of? about your necke, like an 149Vsurers chaine? or vnder your arme, like a Lieutenants scarffe? you must 150weare it one way, for the prince hath got your Hero.

151

Claudio I wish him ioy of her.

Critical Apparatus152

Bened. Why thats spoken like an honest Drouier, so they sell bullockes: 153but did you thinke the Prince would haue serued you thus?

154

Claudio I pray you leaue me.

155

Benedicke Ho now you strike like the blindman, twas the boy that 156stole your meate, and youle beate the post.

157

Claudio If it will not be, ile leaue you.

exit
158

Benedicke Alas poore hurt foule, now will hee creepe into sedges: but that 159my Ladie Beatrice should know me, and not know mee: the princes foole! 160hah, it may be I goe vnder that title because I am merry: yea but so I 161am apte to doe my selfe wrong: I am not so reputed, it is the base (though 162bitter) disposition of Beatrice, that puts the world into her person, and 163so giues me out: well, ile be reuenged as I may.

Critical ApparatusEnter the Prince, Hero, Leonato, Iohn and Borachio, and Conrade.
164

Pedro Now signior, wheres the Counte, did you see him?

165

Benedicke Troth my lord, I haue played the part of Ladie Fame, I found Critical Apparatus166him heere as melancholy as a Lodge in a Warren, I tolde him, and I thinke Critical Apparatus167I tolde him true, that your grace had got the goodwil of this yoong Lady, pg 1032168and I offred him my company to a willow tree, either to make him a Critical Apparatus169garland, as being forsaken, or to binde him vp a rod, as being worthie 170to bee whipt.

171

Pedro To be whipt, whats his fault?

Critical Apparatus172

Benedicke The flatte transgression of a Schoole-boy, who being ouer-ioyed 173with finding a birds nest, shewes it his companion, and he steales it.

C2r Link 174

Pedro Wilt thou make a trust a transgression? the transgression

is in

175the stealer.

176

Benedicke Yet it had not beene amisse the rodde had beene made, & the 177garland too, for the garland he might haue worn himselfe, and the rodde 178he might haue bestowed on you, who (as I take it) haue stolne his birds nest.

179

Pedro I wil but teach them to sing, and restore them to the owner.

180

Benedicke If their singing answer your saying, by my faith you say 181honestly.

182

Pedro The ladie Beatrice hath a quarrell to you, the Gentleman that 183daunst with her, told her shee is much wrongd by you.

184

Bened. O shee misusde me past the indurance of a blocke: an oake but 185with one greene leafe on it, would haue answered her: my very visor 186beganne to assume life, and scold with her: she tolde me, not thinking I Critical Apparatus187had beene my selfe, that I was the Princes iester, that I was duller than a 188great thawe, huddleing iest vpon iest, with such impossible conueiance 189vpon me, that I stoode like a man at a marke, with a whole army shooting 190at me: she speakes poynyards, and euery word stabbes: if her breath were Critical Apparatus191as terrible as her terminations, there were no liuing neere her, shee would 192infect to the north starre: I woulde not marry her, though shee were 193indowed with al that Adam had left him before he transgrest, she 194would haue made Hercules haue turnd spit, yea, and haue cleft his club 195to make the fire too: come, talke not of her, you shall find her the infernall 196Ate in good apparell, I would to God some scholler woulde coniure her, 197for certainely, while she is heere, a man may liue as quiet in hell, as in 198a sanctuarie, and people sinne vpon purpose, because they would goe 199thither, so indeede all disquiet, horrour, and perturbation followes her.

Critical ApparatusEnter Claudio and Beatrice.
200

Pedro Looke heere she comes.

201

Benedicke Will your grace command me any seruice to the worldes end?

202I will go on the slightest arrand now to the Antypodes that you can

203deuise to send mee on: I will fetch you a tooth-picker now from the

C2v Link 204furthest inch of Asia: bring you

the length of Prester Iohns foot: fetch

205you a haire off the great Chams beard: doe you any embassage to the

206Pigmies, rather than holde three words conference, with this harpy, you

207haue no imployment for me?

208

Pedro None, but to desire your good company.

Critical Apparatus209

Benedicke O God sir, heeres a dish I loue not, I cannot indure my Ladie 210Tongue.

exit.
211

Pedro Come Lady, come, you haue lost the heart of signior Benedicke.

pg 1033 212

Beatrice Indeed my Lord, he lent it me awhile, and I gaue him vse for Critical Apparatus213it, a double heart for his single one, mary once before he wonne it of me, 214with false dice, therefore your grace may well say I haue lost it.

215

Pedro You haue put him downe Lady, you haue put him downe.

216

Beatrice So I would not he should do me, my Lord, lest I should prooue 217the mother of fooles: I haue brought Counte Claudio, whom you sent me 218to seeke.

219

Pedro Why how now Counte, wherefore are you sad?

220

Claudio Not sad my Lord.

221

Pedro How then? sicke?

222

Claudio Neither, my Lord.

223

Beatrice The Counte is neither sad, nor sicke, nor merry, nor well: but Critical Apparatus224ciuill Counte, ciuil as an orange, and something of that iealous complexion.

225

Pedro Ifaith Lady, I think your blazon to be true, though ile be sworne, 226if he be so, his conceit is false: heere Claudio, I haue wooed in thy name, 227and faire Hero is won, I haue broke with her father, and his good will 228obtained, name the day of marriage, and God giue thee ioy.

229

Leonato Counte take of me my daughter, and with her my fortunes: 230his grace hath made the match, and all grace say Amen to it.

231

Beatrice Speake Counte, tis your Qu.

232

Claudio Silence is the perfectest Herault of ioy, I were but little happy 233if I could say, how much? Lady, as you are mine, I am yours, 234I giue away my selfe for you, and doate vpon the exchange.

C3rCritical Apparatus Link 235

Beat. Speake cosin, or (if you cannot) stop his mouth with a kisse, 236and let not him speake neither.

237

Pedro Infaith lady you haue a merry heart.

238

Beatr. Yea my lord I thanke it, poore foole it keepes on the windy side Critical Apparatus239of Care, my coosin tells him in his eare that he is in her heart

240

Clau. And so she doth coosin.

241

Beat. Good Lord for aliance: thus goes euery one to the world but 242I, and I am sun-burnt, I may sit in a corner and crie, heigh ho for a 243husband.

244

Pedro Lady Beatrice, I will get you one.

245

Beat. I would rather haue one of your fathers getting: hath your 246grace ne're a brother like you? your father got excellent husbands if a 247maide coulde come by them.

248

Prince Will you haue me? lady.

249

Beatr. No my lord, vnles I might haue another for working-daies, 250your grace is too costly to weare euery day: but I beseech your grace 251pardon me, I was born to speake all mirth, and no matter.

252

Prince Your silence most offends me, and to be merry, best becomes Critical Apparatus253you, for out a question, you were borne in a merry hower.

254

Beatr. No sure my lord, my mother cried, but then there was a starre 255daunst, and vnder that was I borne, cosins God 256giue you ioy.

257

Leonato Neece, will you looke to those things I tolde you of?

258

Beat I crie you mercy vncle, by your graces pardon.

exit Beatrice.
259

Prince By my troth a pleasant spirited lady.

260

Leon. Theres little of the melancholy element in her my lord, she is 261neuer sad, but when she sleeps, & not euer sad then: for I haue heard my pg 1034262daughter say, she hath often dreampt of vnhappines, and wakt her selfe 263with laughing.

264

Pedro She cannot indure to heare tell of a husband.

265

Leonato O by no meanes, she mockes al her wooers out of sute.

C3v Link 266

Prince She were an excellent wife for Benedick.

267

Leonato O Lord, my lord, if they were but a weeke married, they would 268talke themselues madde.

Critical Apparatus269

Prince Countie Claudio, when meane you to goe to church?

270

Clau. To morow my lord, Time goes on crutches, til Loue haue all Critical Apparatus271his rites.

272

Leonato Not til monday, my deare sonne, which is hence a iust seuennight, 273and a time too briefe too, to haue al things answer my mind.

274

Prince Come, you shake the head at so long a breathing, but I warrant 275thee Claudio, the time shall not go dully by vs, I wil in the interim, 276vndertake one of Hercules labors, which is, to bring Signior Benedick 277and the lady Beatrice into a mountaine of affection, th'one with th'other, 278I would faine haue it a match, and I doubt not but to fashion it, if you 279three will but minister such assistance as I shall giue you direction.

280

Leonato My lord, I am for you, though it cost me ten nights watchings.

281

Claud. And I my Lord.

282

Prince And you too gentle Hero?

283

Hero I wil do any modest office, my lord, to help my cosin to a good 284husband.

285

Prince And Benedicke is not the vnhopefullest husband that I know: 286thus farre can I praise him, he is of a noble strain, of approoued valour, 287and confirmde honesty, I will teach you how to humour your cosin, 288that she shall fal in loue with Benedicke, and I, with your two helpes, 289wil so practise on Benedicke, that in dispight of his quicke wit, and his 290queasie stomacke, he shall fall in loue with Beatrice: if we can do this, 291Cupid is no longer an Archer, his glory shall bee ours, for we are the onely 292loue-gods, goe in with mee, and I will tell you my drift.

exit.

Notes Settings

Notes

Critical Apparatus
2.1.0.1 Enter simmes; Actus Secundus.| Enter jaggard. The sensible act divisions in jaggard probably reflect consultation of the manuscript, and certainly result from manuscript annotation of the printed quarto used as the compositor's copy.
Critical Apparatus
2.1.0.1 his wife, simmes; Innogen rowe; not in theobald. See Textual Introduction.
Critical Apparatus
2.1.0.1 jaggard adds 'Actus Secundus.' (across one column, boxed).
Critical Apparatus
2.1.0.2 Beatrice … kinsman. simmes; Beatrice, Margaret and Ursula. rowe; Beatrice, and Others. capell. The kinsman, like Innogen, is a ghost character, who does not speak and is not specifically referred to in the text, and editors almost universally assume that the figure was written in by Shakespeare who then failed to remove the character from stage directions after it became clear that the character was no longer needed. Unlike Innogen, the figure is almost never staged. In 'Editorial Treatment', Wells suggests that the 'kinsman would be a considerable embarrassment on stage during this long scene' (4). See Textual Introduction.
Critical Apparatus
2.1.2, 18, 45 brother simmes; Antonio. rowe. Many editors follow rowe in regularizing and modernizing all mentions of Leonato's brother to 'Antonio' (as he is referred to by Ursula at 2.1.83). Modern refers to the character as 'Brother'.
Critical Apparatus
2.1.14 a → he
Critical Apparatus
2.1.24 on → vpon
Critical Apparatus
2.1.29 Berrord simmes; bearward knight; bearherd chetwinde. A search of EEBO–TCP finds no other instances of the simmes spelling. The simmes spelling is retained as potentially authorial due to the similar spelling ('Berod', 3.144) in 2 Henry IV, from the same period of Shakespeare's career. (The co-authored 2 Henry VI contains 'Berod', but it occurs in the 1594 quarto rather than the1623 Folio: the authority of the 1594 text is disputed, and so is Shakespeare's authorship of Act 5, where it occurs.) The definitions of 'bearherd' and 'bearward' are nearly identical in the OED ('the keeper of a bear, who leads him about for exhibition'; 'the keeper of a bear, who leads it about for the public exhibition of tricks' respectively), and though the OED lists the Shakespeare references under 'bearherd', EEBO–TCP returns only one hit in Shakespeare's lifetime for 'bear herd' (including variant forms and variant spellings), while 'bear ward' returns eleven hits in eleven records and 'bearward' returns fifty-two hits in twenty-five records for the same time period. The term is modernized to 'bearward' (as in knight) as it is the current accepted form of the word according to the OED, while 'bearherd' is listed as obsolete.
Critical Apparatus
2.1.31 Leonato jaggard (Leon.); Lenoato simmes
Critical Apparatus
2.1.35 Peter: for simmes; Peter^ for capell; Peter^ fore wells (Allen). The phrase 'for the heauens' may be a mild oath (including Merchant of Venice 2.2.8), but furness points out that there is no reason for Beatrice to swear in this merry line with her uncle. Allen's alternative suggests that the phrase clarifies the location of St Peter (before the gates of heaven), so that Beatrice goes from the gates of hell to the gates of heaven over the course of the speech. Modern regularizes punctuation and spelling to reflect the interpretation of the line put forth by Allen, but here we retain simmes, which is not necessarily an error by the standards of the period.
Critical Apparatus
2.1.40 fathernot in jaggard
Critical Apparatus
2.1.45 annot in jaggard
Critical Apparatus
2.1.57 sincke → sinkes
Critical Apparatus
2.1.61.1 Enter prince … Iohn. simmes; Enter Prince … Iohn, Maskers with a drum. jaggard; Enter Don Pedro … Don John, Borachio, Margaret, Ursula, and Others, mask'd capell. An example of jaggard adding a theatrical detail to the stage directions. The stage directions do not specifically call for any of the actors to wear masks, but it seems clear that at least the men are masked in the scene (see Performance Note). These are arguably the most troubled stage directions in the play; capell's directions are included in the note here as they are the basis for the stage directions for most modern editors. Notably, Margaret and Ursula are included in the stage directions in the Modern edition, but are missing from the stage directions in simmes and jaggard (although some early editors might contend that Ursula and Margaret could be included in jaggard's 'Maskers'). The absence of these two female characters, one of whom speaks twenty-one lines later, is most likely the result of Shakespeare not having decided who exactly was going to be in the scene before he started writing it.
Critical Apparatus
2.1.61.1 Balthaser simmes. Balthasar is a ghost character in that he does not speak and is not specifically referred to here, but it is not out of the realm of possibility that the character would appear in the scene (the ability to double Balthasar with another character is not changed by his presence or absence in this scene). As in the cases of other ghost characters, it is likely that this irregular addition of a non-speaking character to a scene was authorial rather than compositorial in origin.
Critical Apparatus
2.1.61.1–2 and dun this edition (Taylor) = and Don; or dumb simmes; Don John, Borachio capell. This edition builds on dyce's assertion that 'dumb' was a minim misreading. Dyce thought the compositor misinterpreted 'dom' for 'dumb' instead of 'Dom' (see The Loue of Dom Diego and Gyneura, appended to Diella, 1596) (Strictures). This edition conjectures that the compositor misread 'dun' as 'dum' (and then used his preferred spelling, 'dumb') on the basis of 'Dun' in 3.3.84 (again in reference to 'Dun Iohn') and in Love's Labour's Lost (4.3.191). We also conjecture that 'or' is a misreading of 'and'. Most editors follow capell in supplying an entrance for Borachio here: simmes does not contain any entrance for Borachio in the scene, but it is clear that he and Don John have been observing the party together by 2.1.118. However, like the absence of Ursula and Margaret from the stage directions, Borachio's absence may be another sign that Shakespeare had not planned all the movements in this scene when he began writing. We therefore do not regard the absence as an error in transmission, but we do add Borachio to this stage direction in Modern.
Critical Apparatus
2.1.61.1 jaggard adds 'Maskers with a drum' to the entrance
Critical Apparatus
2.1.62 about simmes = a bout (as in wilson). wilson heightens the sense to a modern audience that the Prince is asking Hero for a 'round' or a 'turn' or 'spell' of the dance, but the early modern definition of 'about' includes a similar meaning, 'In rotation or revolution; round in a circular course' (OED) and so original spelling is maintained here.
Critical Apparatus
2.1.70–1 My … Ioue. wells; prose simmes. The wells lineation emphasizes the continuity of the fourteen-syllable lines from Golding's Elizabethan translation of Ovid. johnson preferred to break the lines down further into four lines of alternating eight syllables and six syllables (separated by the caesura in both cases).
Critical Apparatus
2.1.70 Ioue → Loue
Critical Apparatus
2.1.72, 93, 95 Bene. simmes; Borachio wilson; Balthasar theobald. While it is possible that a compositor assumed that the 'B' speech prefix belonged to 'Benedick' alone and thus mistakenly gave Benedick three lines rightfully belonging to Borachio, it is also plausible that the speech prefixes are authorial and Benedick is simply flirting with Margaret here (which may have an impact on how the character is received by audiences). Editors sometimes give the lines to Balthasar, but compositorial confusion between Ben. and Bor. speech prefixes is much more likely, and giving the lines to Borachio helps to advance the eventual Margaret and Borachio connection, and so seems like the more likely alternative. See Performance Note for discussion of how these lines may be assigned and played.
Critical Apparatus
2.1.84, 86, 89 Antho. = brother
Critical Apparatus
2.1.87 ill well simmes; ill Will rowe; ill, well pope. Later editors sought to simplify this paradox, but it is characteristic of the playful language of these exchanges
Critical Apparatus
2.1.106 pleases → pleaseth
Critical Apparatus
2.1.113 that night: simmes; ~ ~. Musicke for the dance. jaggard (after 2.1.144); ~ ~. Musicke for the dance wells; Music within. theobald (after 2.1.141); Music begins: Dance forming. capell (after 2.1.114). wells accurately points out that it would make sense for the music to begin here in order to cue Beatrice's comments ('wee must follow the leaders') and to give the actors time to prepare for the dance. It is possible that the compositors or annotator misinterpreted the location of the stage direction during the annotation process, and mistakenly assumed that the new stage direction from jaggard was meant to replace simmes's similar stage direction at 2.1.144.1.
Critical Apparatus
2.1.147 county simmes; Count jaggard. 'County' is an accepted form of 'count' and wells observes that 'Shakespeare uses both forms; this one may be felt to add a little local colour'.
Critical Apparatus
2.1.148 of → off
Critical Apparatus
2.1.152 Drouier = drover
Critical Apparatus
2.1.163.1 Hero, Leonato, Iohn and Borachio, and Conrade simmes; not in jaggard. Many editions follow jaggard, as it seems unlikely that Don John and his henchmen would enter here since none of them have a line for the remainder of the scene, and it is probable that Hero and Leonato could enter later in the scene since neither character speaks until 2.1.229. Modern follows jaggard by having Hero and Leonato enter at 2.1.199.1 with Claudio and Beatrice and removing Don John, Borachio, and Conrad from this stage direction and from the rest of this scene. See Performance Notes.
Critical Apparatus
2.1.163.1 jaggard prints an entrance for the Prince only
Critical Apparatus
2.1.166 thinke I told → thinke, told
Critical Apparatus
2.1.167 goodwil → will
Critical Apparatus
2.1.169 vpnot in jaggard
Critical Apparatus
2.1.172 transgression transgres-|sion (sig. C1v–C2r)
Critical Apparatus
2.1.187 iester, that → Iester, and that
Critical Apparatus
2.1.191 as her → as
Critical Apparatus
2.1.199.1 Beatrice. simmes; ~, Leonato, Hero. jaggard. In jaggard, Leonato and Hero enter at this point, while simmes has them enter nearly forty lines earlier (see 2.1.163.1-2). Modern reflects the staging suggested by jaggard, which likely stems from actual early performances, while the simmes stage directions are notoriously rough. See Performance Note.
Critical Apparatus
2.1.199.1 jaggard adds Leonato and Hero to the entrance directions
Critical Apparatus
2.1.209 my Ladie Tongue → this Lady tongue
Critical Apparatus
2.1.213 his → a
Critical Apparatus
2.1.224 that → a
Critical Apparatus
2.1.235 Beat. simmes (text); Beatr. simmes (catchword)
Critical Apparatus
2.1.235 The catchword reads 'Beatr.' for 'Beat.'
Critical Apparatus
2.1.239 her → my
Critical Apparatus
2.1.253 a → of
Critical Apparatus
2.1.269 Countie → Counte
Critical Apparatus
2.1.271 mynot in jaggard
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