Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 2

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Sc. 84.2

Enter Adriana and Luciana.
1

Adr. Ah Luciana, did he tempt thee so?

2Might'st thou perceiue austeerely in his eie,

3That he did plead in earnest, yea or no:

4Look'd he or red or pale, or sad or merrily?

Critical Apparatus5What obseruation mad'st thou in this case

6Of his hearts Meteors tilting in his face?

7

Luc. First he deni'de you had in him no right.

Critical Apparatus8

Adr. He meant he did me none: the more my spight.

9

Luc. Then swore he that he was a stranger heere.

Critical Apparatus10

Adr. And true he swore, though yet forsworne hee were.

11

Luc. Then pleaded I for you.

Adr. And what said he?

12

Luc. That loue I begg'd for you, he begg'd of me.

13

Adr. With what perswasion did he tempt thy loue?

14

Luc. With words, that in an honest suit might moue.

15First, he did praise my beautie, then my speech.

16

Adr. Did'st speake him faire?

Luc. Haue patience I beseech.

17

Adr. I cannot, nor I will not hold me still.

18My tongue, though not my heart, shall haue his will.

19He is deformed, crooked, old, and sere,

20Ill-fac'd, worse bodied, shapelesse euery where:

21Vicious, vngentle, foolish, blunt, vnkinde,

H5v Link 22Stigmaticall in making worse in minde.

23

Luc. Who would be iealous then of such a one?

24No euill lost is wail'd, when it is gone.

25

Adr. Ah but I thinke him better then I say:

26And yet would herein others eies were worse:

27Farre from her nest the Lapwing cries away;

28My heart praies for him, though my tongue doe curse.

Enter S. Dromio.
Critical Apparatus29

Dro. Here goe: the deske, the purse, sweet now make haste.

Critical Apparatus30

Luc. How hast thou lost thy breath?

S. Dro. By running fast.

pg 182931

Adr. Where is thy Master Dromio? Is he well?

32

S. Dro. No, he's in Tartar limbo, worse then hell:

33A diuell in an euerlasting garment hath him;

Critical Apparatus34On whose hard heart is button'd vp with steele:

Critical Apparatus35A Feind, a Fairie, pittilesse and ruffe:

36A Wolfe, nay worse, a fellow all in buffe:

37A back friend, a shoulder-clapper, one that countermāds

Critical Apparatus38The passages of allies, creekes, and narrow lands:

39A hound that runs Counter, and yet draws drifoot well,

40One that before the Iudgmēt carries poore soules to hel.

41

Adr. Why man, what is the matter?

Critical Apparatus42

S. Dro. I doe not know the matter, hee is rested on the case.

43

Adr. What is he arrested? tell me at whose suite?

Critical Apparatus44

S. Dro. I know not at whose suite he is arested well;

45But is in a suite of buffe which rested him, that can I tell,

46Will you send him Mistris redemption, the monie in his deske.

Critical Apparatus47

Adr. Go fetch it Sister: this I wonder at. Exit Luciana.

Critical Apparatus48That he vnknowne to me should be in debt:

49Tell me, was he arested on a band?

50

S. Dro. Not on a band, but on a stronger thing:

51A chaine, a chaine, doe you not here it ring.

52

Adria. What, the chaine?

53

S. Dro. No, no, the bell, 'tis time that I were gone:

54It was two ere I left him, and now the clocke strikes one.

55

Adr. The houres come backe, that did I neuer here.

Critical Apparatus56

S. Dro. Oh yes, if any houre meete a Serieant, a turnes backe for verie feare.

Critical Apparatus57

Adri. As if time were in debt: how fondly do'st thou reason?

Critical Apparatus58

S. Dro. Time is a verie bankerout, and owes more then he's worth to season.

59Nay, he's a theefe too: haue you not heard men say,

60That time comes stealing on by night and day?

Critical Apparatus61If [a] be in debt and theft, and a Serieant in the way,

62Hath he not reason to turne backe an houre in a day?

Enter Luciana.
63

Adr. Go Dromio, there's the monie, beare it straight,

64And bring thy Master home imediately.

65Come sister, I am prest downe with conceit:

Critical Apparatus66Conceit, my comfort and my iniurie.

Exit.

Notes Settings

Notes

Critical Apparatus
4.2.5–6 case| Of … face? herringman (subs.); case? Oh, … face. jaggard; case? Of … face? allot. The emendation in allot has long been defended by editors, who posit that the compositor erroneously construed Adriana's final line as an apostrophe; however, the question mark at the end of line 5 seems misplaced, and may have been intended to be interpreted as an exclamation mark.
Critical Apparatus
4.2.8 spight. allot; ~^ jaggard
Critical Apparatus
4.2.10 And … were. rowe; prose jaggard
Critical Apparatus
4.2.29 sweet now jaggard = sweet—now (whitworth); sweat now wilson. In his edition, wilson emends on the grounds that it is inappropriate for a menial like Dromio to call Adriana 'sweet', but wells points out that it is equally inappropriate for him to issue her a command to 'sweat'. whitworth's modernization posits a performance option: either an interrupted oath or Dromio's recognition of his inappropriate address to his mistress.
Critical Apparatus
4.2.29 Here … haste. pope; prose jaggard
Critical Apparatus
4.2.30 How jaggard; ~? taylor (McKerrow). Taylor's emendation turns Luciana's speech into an exclamation.
Critical Apparatus
4.2.34 On = One (allot)
Critical Apparatus
4.2.35 Fairie jaggard; Fury pope2 (Theobald)
Critical Apparatus
4.2.38 allies = alleys
Critical Apparatus
4.2.38 lands: jaggard(b); lans: jaggard(a). Presumably recalling 3 Henry VI, (3.1.2), taylor modernizes as 'launds', a distinct word meaning 'an open space among woods'. However, 'lands' is defensible, and the rhyme with 'countermāds' argues against emendation.
Critical Apparatus
4.2.38 Some copies read 'lans:' instead of 'lands'
Critical Apparatus
4.2.42 I … case. rowe; prose jaggard
Critical Apparatus
4.2.44–6 I know … deske. capell; prose jaggard
Critical Apparatus
4.2.47 Exit Luciana jaggard. Luciana's exit comes at the end of the line in jaggard, as presumably in the copy. From a theatrical point of view, its required position is after 'Sister', as in Modern.
Critical Apparatus
4.2.48 That allot; Thus jaggard. Tannenbaum conjectures that 'u' for 'a' and 's' for 't' would be easy misreadings in Elizabethan hand (106); taylor points out that the placing of Luciana's exit mid-speech may have contributed to a misunderstanding of the sense.
Critical Apparatus
4.2.56 Oh … feare. rowe3; prose jaggard
Critical Apparatus
4.2.57 As … reason? rowe3; prose jaggard
Critical Apparatus
4.2.58 Time … season. rowe3; prose jaggard
Critical Apparatus
4.2.61 a be staunton; I be jaggard
Critical Apparatus
4.2.66 Exit. = Exeunt (rowe). See note to 2.1.114.
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