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

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pg 3497Sc. 73.1

Critical ApparatusMusicke sounds within. Enter Pandarus and a Seruant.
Critical Apparatus1

Pan. Friend, you, pray you a word: Doe not you follow the yong 2Lord Paris?

3

Ser. I sir, when he goes before me.

4

Pan. You depend vpon him I meane?

5

Ser. Sir, I doe depend vpon the Lord.

Critical Apparatus6

Pan. You depend vpon a noble Gentleman: I must needes praise 7him.

8

Ser. The Lord be praised.

9

Pa. You know me, doe you not?

10

Ser. Faith sir, superficially.

11

Pa. Friend know me better, I am the Lord Pandarus.

12

Ser. I hope I shall know your honour better.

13

Pa. I doe desire it.

14

Ser. You are in the state of Grace?

Critical Apparatus15

Pa. Grace, not so friend, honor and Lordship are my title: 16What Musique is this?

17

Ser. I doe but partly know sir: it is Musicke in parts.

18

Pa. Know you the Musitians.

19

Ser. Wholly sir.

20

Pa. Who play they to?

21

Ser. To the hearers sir.

22

Pa. At whose pleasure friend?

23

Ser. At mine sir, and theirs that loue Musicke.

Critical Apparatus24

Pa. Command, I meane friend.

25

Ser. Who shall I command sir?

26

Pa. Friend, we vnderstand not one another: I am too courtly, Critical Apparatus27and thou art too cunning. At whose request doe these men play?

28

Ser. That's too't indeede sir: marry sir, at the request of Paris my 29L. who's there in person; with him the mortall Venus, the heart bloud Critical Apparatus30of beauty, loues [on visible] soule.

31

Pa. Who? my Cosin Cressida.

Critical Apparatus32

Ser. No sir, Helen, could you not finde out that by her attributes?

Critical Apparatus33

Pa. It should seeme fellow, that thou hast not seen the Lady Critical Apparatus34Cressida. I come to speake with Paris from the Prince Troylus: I will 35make a complementall assault vpon him, for my businesse seethes.

36

Ser. Sodden businesse, there's a stewed phrase indeede.

Critical ApparatusEnter Paris and Helena.
pg 3498 37

Pan. Faire be to you my Lord, and to all this faire 38company: faire desires in all faire measure fairely guide them, especially 39to you faire Queene, faire thoughts be your faire pillow.

40

Hel. Deere L. you are full of faire words.

41

Pan. You speake your faire pleasure sweete Queene: faire Prince, 42here is good broken Musicke.

43

Par. You haue broke it cozen: and by my life you shall make it whole 44againe, you shall peece it out with a peece of your performance. Nel, he 45is full of harmony.

46

Pan. Truely Lady no.

47

Hel. O sir.

48

Pan. Rude in sooth, in good sooth very rude.

Critical Apparatus49

Paris. Well said my Lord: well, you say so in fits.

50

Pan. I haue businesse to my Lord, deere Queene: my Lord will you 51vouchsafe me a word.

52

Hel. Nay, this shall not hedge vs out, weele heare you sing certainely.

53

Pan. Well sweete Queene you are pleasant with me, but, marry 54thus my Lord, my deere Lord, and most esteemed friend your brother 55Troylus.

56

Hel. My Lord Pandarus, hony sweete Lord.

Critical Apparatus57

Pan. Go too sweete Queene, goe to. Commends himselfe most 58affectionately to you.

Critical Apparatus59

Hel. You shall not bob vs out of our melody: If you doe, our melancholly 60vpon your head.

61

Pan. Sweete Queene, sweete Queene, that's a sweete Queene Ifaith———

62

Hel. And to make a sweet Lady sad, is a sower offence.

63

Pan. Nay, that shall not serue your turne, that shall it not in truth 64la. Nay, I care not for such words, no, no. And my Lord he desires you, 65that if the King call for him at Supper, you will make his excuse.

66

Hel. My Lord Pandarus?

67

Pan. What saies my sweete Queene, my very, very sweete Queene?

68

Par. What exploit's in hand, where sups he to night?

69

Hel. Nay but my Lord?

Critical Apparatus70

Pan. What saies my [sweete] Queene? my cozen will fall out with you.

71

Hel. You must not know where he sups.

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Par. With my disposer Cressida.

73

Pan. No, no; no such matter, you are wide, come your disposer 74is sicke.

Critical Apparatus75

Par. Well, Ile make excuse.

76

Pan. I good my Lord: why should you say Cressida? no, your Critical Apparatus77poore disposer's sicke.

78

Par. I spie.

¶5v Link 79

Pan. You spie, what doe you spie: come, giue me 80an Instrument now sweete Queene.

81

Hel. Why this is kindely done?

pg 3499 Critical Apparatus82

Pan. My Neece is horrible in loue with a thing you haue sweete 83Queene.

84

Hel. She shall haue it my Lord, if it be not my Lord Paris.

85

Pand. Hee? no, sheele none of him, they two are twaine.

86

Hel. Falling in after falling out, may make them three.

87

Pan. Come, come, Ile heare no more of this, Ile sing you a song now.

Critical Apparatus88

Hel. I, I, prethee now: by my troth sweet Lord thou hast a fine 89fore-head.

90

Pan. I you may, you may.

91

Hel. Let thy song be loue: this loue will vndoe vs al. Oh Cupid, Cupid, 92Cupid.

93

Pan. Loue? I that it shall yfaith.

94

Par. I, good now loue, loue, no thing but loue.

Critical Apparatus95

Pan. In good troth it begins so.

Critical Apparatus96        Loue, loue, nothing but loue, still more:

97        For O loues Bow,

98        Shootes Bucke and Doe:

Critical Apparatus99        The Shaft confounds

100        Not that it wounds,

101        But tickles still the sore:

Critical Apparatus102        These Louers cry, oh ho they dye;

103        Yet that which seemes the wound to kill,

104        Doth turne oh ho, to ha ha he:

105        So dying loue liues still,

Critical Apparatus106        O ho a while, but ha ha ha,

107        O ho grones out for ha ha ha———

Critical Apparatus108[Hey ho.]

109

Hel. In loue yfaith to the very tip of the nose.

110

Par. He eates nothing but doues loue, and that breeds hot bloud, and 111hot bloud begets hot thoughts, and hot thoughts beget hot deedes, and 112hot deedes is loue.

113

Pan. Is this the generation of loue? Hot bloud, hot thoughts, and Critical Apparatus114hot deedes, why they are Vipers, is Loue a generation of Vipers? Sweete 115Lord whose a field to day?

116

Par. Hector, Deiphœbus, Helenus, Anthenor, and all the gallantry of 117Troy. I would faine haue arm'd to day, but my Nell would not haue it so. Critical Apparatus118How chance my brother Troylus went not?

119

Hel. He hangs the lippe at something; you know all Lord Pandarus?

120

Pan. Not I hony sweete Queene: I long to heare how they sped Critical Apparatus121to day: Youle remember your brothers excuse?

122

Par. To a hayre.

123

Pan. Farewell sweete Queene.

124

Hel. Commend me to your Neece.

pg 3500 125

Pan. I will sweete Queene.

Sound a retreat.
126

Par. They're come from fielde: let vs to Priams Hall

Critical Apparatus127To greete the Warriers. Sweet Hellen, I must woe you,

128To helpe vnarme our Hector: his stubborne Buckles,

129With these your white enchanting fingers toucht,

130Shall more obey then to the edge of Steele,

131Or force of Greekish sinewes: you shall doe more

Critical Apparatus132Then all the Iland Kings, disarme great Hector.

133

Hel. 'Twill make vs proud to be his seruant Paris:

134Yea what he shall receiue of vs in duetie,

135Giues vs more palme in beautie then we haue:

Critical Apparatus136Yea ouershines our selfe.

[Par.] Sweete aboue thought I loue thee.

Exeunt.

Notes Settings

Notes

Critical Apparatus
7.0.1 Musicke … within As elewhere, there is no act–scene division in jaggard. It here sets 'Musicke sounds within.' on the same type-line as 'deepe.' and 'Exeunt' (6.238), followed by a blank line and then the entry. But the music belongs to Scene 7: see 7.16ff. The music direction is not in eld.
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7.1 not you jaggard; you not eld
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7.6 noble jaggard; notable eld
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7.15 title jaggard; titles eld
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7.24 friend jaggard; not in eld
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7.27 thou art jaggard; thou eld
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7.30 on visible this edition; inuisible eld, jaggard; visible hanmer; indivisible walker–wilson (Daniel); invincible becket conj. Even allowing for hyperbole, 'invisible soule' seems unlikely: Helen is not invisible, and is about to be seen; she is love's soul embodied. The reading in the text as emended here is especially apt because the Servant is referring to one woman but Pandarus understands another. This is true also of 'indivisible'. But the error would be less easy with that reading; Shakespeare nowhere uses either 'indivisible' or 'divisible'; moreover, the Platonic connotations probably lie beyond Shakespeare's intellectual framework, Plato's works being unknown to him.
Critical Apparatus
7.30 on = one. A spelling found in the Shakespearian section of Sir Thomas More.
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7.32 you not jaggard; not you eld
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7.33 that thou jaggard; thou eld
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7.34 Cressida jaggard; Cressid eld
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7.36.1 Helena jaggard; Hellen eld
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7.49 well, Taylor emends 'will^', making a question out of 'will … fits', but it is acceptable to understand Paris as commenting on the spoken quality and repetition of Pandarus' previous speech.
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7.57–8 Go … you. capell; verse eld, jaggard: goe to.|
Critical Apparatus
7.59–60 You … head. hanmer; verse eld, jaggard: melody:|
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7.70 sweete eld (sweet); sweere jaggard
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7.72 With jaggard; Ile lay my life with eld
Critical Apparatus
7.72, 73 disposer eld, jaggard; dispenser taylor. A triple error (see 7.77) in both texts is unlikely, especially as jaggard is variant on eld hereabouts. OED accepts the word in the sense 'One who disposes with something' (5) without query; 'One who regulates or governs' is also relevant. Paris jokingly suggests that Cressid both controls him and rejects him, as she is disposed.
Critical Apparatus
7.75 make jaggard; makes eld
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7.77 disposer's eld, jaggard; dispenser's taylor
Critical Apparatus
7.82 horrible jaggard; horribly eld
Critical Apparatus
7.88 Lord jaggard; lad eld
Critical Apparatus
7.95–6 Pan. In … Loue jaggard(B); In … Pan. Loue jaggard(A); Pand: Loue eld (omitting In … so.)
Critical Apparatus
7.95 Some copies read 'In good' instead of 'Pan. In good'
Critical Apparatus
7.96 more jaggard; loue still more eld
Critical Apparatus
7.96 Some copies read 'Pan. Loue,' instead of 'Loue,'
Critical Apparatus
7.99 Shaft confounds jaggard; shafts confound eld
Critical Apparatus
7.99 The … wounds, pope; 1 line eld, jaggard
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7.102, 119 oh ho eld, jaggard; Oh, Oh pope
Critical Apparatus
7.106, 122 Oh ho eld, jaggard; Oh, Oh capell
Critical Apparatus
7.108 Hey ho. eld and jaggard both print 'hey ho' after a dash on the same type-line as 7.107 in italics, which suggests that the words are part of the song. A whimsically resigned spoken exclamation is more likely. rann first set as a separate prose exclamation.
Critical Apparatus
7.108 Hey ho. See Textual Notes.
Critical Apparatus
7.114 Sweete … to day? pope; verse-line eld, jaggard
Critical Apparatus
7.118–9 How … not? pope; verse-line eld, jaggard
Critical Apparatus
7.121–2 Youle … excuse? pope; verse-line eld, jaggard
Critical Apparatus
7.127 woe = woo
Critical Apparatus
7.132 disarme eld, jaggard; t'disarm dawson. Abbott 349 provides various examples of 'to' omitted from an infinitive.
Critical Apparatus
7.136 Par. eld (~:); not in jaggard. In jaggard the line that eld attributes to Paris is set as a separate type-line but without the speech prefix. In this it does no more than take over the quarto layout. But the line is much more plausibly spoken, as in eld, by the besotted Paris, as a response to Helen agreeing to disarm Hector.
Critical Apparatus
7.136 thee jaggard(B); her eld; the jaggard(A)
Critical Apparatus
7.136 Some copies read 'the' instead of 'thee'
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