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

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pg 31513.2

Editor’s NoteEnter [Lucinda]
1

[lucinda] I've hoped to th' latest minute hope can [

2He will not come. He's not received my letter.

Editor’s Note3Maybe some [      ] view has from our home

Editor’s Note4Repealed his changed eye: for what business can

5Excuse a tardiness thus wilful? None.

6Well then, it is not business. [

7 

Editor’s Note8Or—O suggestion, wherefore wilt thou fright me?—

Editor’s Note9[Cardenio] to [Fernando] on mere purpose,

10On plotted purpose, [yields] me me up; he

Editor’s Note11Hath [chosen] [                          .] All presumptions

Editor’s Note12Make pow'rful to this point: his own protraction,

Editor’s Note13[Fernando] left behind — that strain lacked jealousy,

14Therefore lacked love. So sure as life shall empty

Editor’s Note15Itself in death, this new surmise of mine

16Is a bold certainty. 'Tis plain and [naked],

Editor’s Note17[Fernando] would not, durst not, thus infringe

18The law of friendship, thus provoke a man

19That bears a sword and wears his flag of youth

Editor’s Note20As fresh as he. He durst not. 'Tis contrivance,

Editor’s Note21Gross daubing 'twixt them [twain]. But I'm o'erheard.

Going Enter [Cardenio], disguised
22

[cardenio] [Lucinda! Stay!]

23

[lucinda] O my [Cardenio]!

Editor’s Note24Do you weep?

25

[cardenio] No, [no, Lucinda]. When I weep, it must be

Editor’s Note26The substance of mine eye. Would I could weep;

27For then mine eye would drop upon my heart

28And 'suage the fire there.

[lucinda] You are full possessed

29How things go here. First, welcome heartily.

30Welcome to th' ending of my [

][gaudy] summer [blisses].

31My lease in 'em's expired.

[cardenio] Not so, [Lucinda].

32

[lucinda] [E'en so, Cardenio]; an everlasting storm

33Is come upon me, [

36                    ] your absence hath giv'n breeding

37To what my letter hath [

Editor’s Note38] Hark! The music

pg 315239Is now on tuning which must celebrate

40This bus'ness so discordant.

Editor’s Note44

[cardenio] My blood stands still and all my faculties

Editor’s Note45Are by enchantment dulled.

46

[cardenio] [

49Wear I not a sword?

50Ne'er on man's thigh rode better. If I suffer

51The traitor play his part—if I not do

52Manhood and justice honour—let me be deemed

Editor’s Note53A tame, pale coward, whom the night-owl's hoot

Editor’s Note54May turn to aspen leaf; some man take this,

Editor’s Note55Give me a distaff for it.

[lucinda] Patience, [Cardenio],

Editor’s Note56And trust to me. I have forethought the means

Editor’s Note57To disappoint these nuptials.

[Music within]

Hark! Again!

58These are the bells knoll for us.

Dispute it not;

Editor’s Note60I have my reasons—you anon shall know them.

An altar [discovered, with] tapers. Enter at one door Servants with lights, [Fernando], Don Bernard and [Curate]; at another, [maid and Lucinda] [Music and a song

The music for this song was composed by Robert Johnson. It seems likely that a wedding song was deleted by Davenant or Theobald, or not included in the manuscripts they worked from.

The music for this song was composed by Robert Johnson. It seems likely that a wedding song was deleted by Davenant or Theobald, or not included in the manuscripts they worked from.

pg 3153

Editor’s NoteD1

For ever let thy heav'nly tapers

D2On the married brightly shine,

D3And never may unsacred vapours

D4Drown those glorious flames of thine.

D5O Hymen, that their hands dost join,

D6Until thy rays to darkness turn

D7With thy high praise our hearts shall burn.]

61

[fernando] [

62         ] wan displeasure to subdue that cheek

64Where love should sit enthroned [

Editor’s Note67blot the low-born [Cardenio]

68From thy fair mind.

[lucinda] So I shall make it foul.

69This counsel is corrupt.

[fernando] Come, you will change—

70

[lucinda] Why would you make a wife of such a one,

71That is so apt to change? This foul proceeding

Editor’s Note72Still speaks against itself and vilifies

73The purest of your judgement. For your birth's sake

Editor’s Note74I will not dart my hoarded curses at you

Editor’s Note75Nor give my meanings language. For the love

76Of all good things together, yet take heed

77And spurn the tempter back.

Editor’s Note78

don bernard [        ] Perverse and foolish wretch!

79

[lucinda] How may I be obedient and wise too?

80Of my obedience, sir, I cannot strip me,

81Nor can I then be wise. Grace against grace!

82Ungracious if I not obey a father,

83Most [graceless] if I do.—Yet, lord, consider,

Editor’s Note84Or ere too late, or ere that knot be tied

85Which may with violence damnable be broken,

Editor’s Note86No other way dissevered—yet consider:

87You wed my body, not my heart, my lord,

88No part of my affection. Sounds it well

89[Cardenio]'s love is Lord [Fernando's] wife?

90Have you an ear [stands armed 'gainst] this harsh sound?

91

[fernando] No shot of reason can come near the place

92Where my love's fortified. The day shall come

Editor’s Note93Wherein you'll chide this backwardness, and bless

Editor’s Note94Our fervour in this course.

[lucinda] No, no, [Fernando],

95When you shall find what prophet you are proved,

96You'll prophesy no more.

don bernard Have done this talking.

97If you will cleave to your obedience, do't;

pg 3154Editor’s Note98If not, unbolt the portal and be gone:

Editor’s Note99My blessing stay behind you.

[lucinda] Sir, your pardon.

100I will not swerve a hair's breadth from my duty;

101It shall first cost me dear.

don bernard Well then, to th' point.

102Give me your hand. [

Editor’s Note103—nay, no dragging back,

104But with my curses— [

[Enter Cardenio]
105

[cardenio] Hold, [

Editor’s Note106            ] elder claim [

don bernard What are you, sir?

107

[cardenio] A wretch that's almost lost to his own knowledge,

Editor’s Note108Struck through with injuries.—

[fernando] [Cardenio]?—

Editor’s Note112To steal away unprivileged and leave

Editor’s Note113My [doing] and your duty unaccomplished?

114

[cardenio] Ungen'rous lord! The circumstance of things

Editor’s Note115Should stop the tongue of question.—You have wronged me;

Editor’s Note116Wronged me so basely, in so dear a point

117As stains the cheek of honour with a blush,

118Cancels the bonds of service, bids allegiance

119Throw to the wind all high respects of birth,

120Title and eminence; and in their stead

121Fills up the panting heart with [hot] defiance.

122 

123Forgo this bad intent, or with your sword

124Answer me like a man, and I shall thank you.

125[Cardenio] once dead, [Lucinda] [           ]

Editor’s Note126But living, she's a [piece] too rich to part with.

127

[fernando] Vain man! The present hour is fraught with business.

128I [have no] leisure to chastise this boldness.

Editor’s Note129

[don Bernard or fernando] What, here, a brawl?

130My servants—turn this boist'rous sworder forth

[Exit Cardenio] [Lucinda swoons]
131

[fernando] She dies upon me. Help!

don bernard Throng not about her,

135But give her air.

[A paper drops from her]

[fernando] What paper's that? Let's see it.

pg 3155Editor’s Note136It is her own handwriting.

don bernard Bow her head!

Editor’s Note137What learn you by that paper, good my lord?

Editor’s Note138

[fernando] That she would do the violence to herself

Editor’s Note139Which nature hath anticipated on her.

140Search her well, I pray you.

141

don bernard Rash e'en to madness!

142

[curate or] bernard Bear her to her chamber.

Editor’s Note[Some] carry [Lucinda] off

Editor’s Note143Passions in women are as short in working;

144As strong in their effect.

Editor’s NoteExeunt

Notes Settings

Notes

Editor’s Note
3.2.0 Lucinda probably on the balcony or upper stage, perhaps wearing her wedding dress
Editor’s Note
3.2.3 view sight; presence (i.e. another woman)
Editor’s Note
3.2.4 Repealed recalled
Editor’s Note
3.2.8 suggestion temptation
Editor’s Note
3.2.9 on mere purpose intentionally
Editor’s Note
3.2.11 presumptions deductions
Editor’s Note
3.2.12 pow'rful strong
Editor’s Note
3.2.12 protraction delay
Editor’s Note
3.2.13 strain quality; effusion
Editor’s Note
3.2.15 surmise supposition
Editor’s Note
3.2.17 durst not would not dare
Editor’s Note
3.2.20 contrivance a plot
Editor’s Note
3.2.21 Gross daubing crude and dirty patchwork (as of plaster filling a gap); obvious dissembling
Editor’s Note
3.2.21 twain both
Editor’s Note
3.2.24 Do you weep? He probably does something, or makes some noise, that prompts this question. Alternatively, Cardenio might ask this question, prompted by 'O my Cardenio'; the answer ('No … fire there') would then be spoken by her.
Editor’s Note
3.2.26 substance … eye i.e. the material from which my eye is made
Editor’s Note
3.2.26–8 Would … there i.e. I wish I could weep, for then my tears could fall and extinguish the fire in my heart
Editor’s Note
3.2.38 the music (probably the wedding musicians, warming up)
Editor’s Note
3.2.44 My … still i.e. I remain motionless
Editor’s Note
3.2.45 dulled Either she responds, or he continues with'Wear … sword?'
Editor’s Note
3.2.53 night-owl's hoot (commonly regarded as a harbinger of death)
Editor’s Note
3.2.54 turn to aspen leaf i.e. causes to tremble; quiver in fear
Editor’s Note
3.2.55 distaff a stick for spinning wool or flax (an image of feminine domesticity, in contrast to make 'this' [sword])
Editor’s Note
3.2.56 forethought considered
Editor’s Note
3.2.57 disappoint interrupt; deflate
Editor’s Note
3.2.57 nuptials Don Bernard might call her from within (as at 2.4.7), creating a sense of urgency.
Editor’s Note
3.2.60 know them She probably exits from above (perhaps after a second call from Don Bernard). As in Don Quixote, Cardenio could remain behind briefly, decide to enter the house secretly, then exit. The entrance of the wedding party was probably the beginning of a new scene in the original play. The 'lights' carried on by servants would have established that this was a night wedding. The song could be played and sung by the same musicians, and the same singing boy, who serenaded Violante in 1.3; the parallel could be visually and musically emphasized to underline the irony. Alternatively, the song might be sung by a chorus. Don Bernard might enter with Lucinda, instead of Fernando.
Editor’s Note
3.2.60.D1 tapers candles
Editor’s Note
3.2.67 blot erase
Editor’s Note
3.2.72 vilifies maligns
Editor’s Note
3.2.74 hoarded curses collected imprecations; reservoir of criticism
Editor’s Note
3.2.75 meanings thoughts
Editor’s Note
3.2.78 Perverse stubborn
Editor’s Note
3.2.84 Or ere before (it is)
Editor’s Note
3.2.86 dissevered divided
Editor’s Note
3.2.93 chide reproach
Editor’s Note
3.2.94 this course i.e. marriage
Editor’s Note
3.2.98 unbolt the portal open the door
Editor’s Note
3.2.99 stay behind you will be withheld
Editor’s Note
3.2.103–4 nay … curses If Bernard enters with Lucinda (instead of Fernando), these words might accompany their entrance. The Curate (a mute 'Churchman' in Double Falsehood) might begin the wedding service. In Don Quixote, after a long pause Lucinda says 'I will', consenting to the marriage; that is what drives Cardenio mad in the novel, and in the play it might have provoked his entrance, interrupting the service, addressing Bernard or the Curate.
Editor’s Note
3.2.106 elder superior; primary
Editor’s Note
3.2.108 lost … knowledge i.e. foreign to himself; bewildered
Editor’s Note
3.2.112 unprivileged without approval
Editor’s Note
3.2.113 unaccomplished unfinished
Editor’s Note
3.2.115 tongue of question i.e. this questioning
Editor’s Note
3.2.116 basely punning on the obsolete sense 'cheaply' (in contrast to 'dear', expensive)
Editor’s Note
3.2.126 living i.e. while Cardenio (or Lucinda) is alive
Editor’s Note
3.2.129 don bernard or fernando In Don Quixote Fernando comes to the wedding alone, without attendants; only the household servants are present. If Don Bernard speaks these lines, the 'boistrous sworder' could be either Cardenio or Fernando. In Don Quixote, and in the Royal Shakespeare Company adaptation, Cardenio left on his own initiative, in despair, believing that both Lucinda and Fernando had betrayed him.
Editor’s Note
3.2.136 Bow cause to bend
Editor’s Note
3.2.137 good my lord (a common discourse marker of respect)
Editor’s Note
3.2.138 do … herself i.e. commit suicide
Editor’s Note
3.2.139 nature innate disposition (of women)
Editor’s Note
3.2.139 Search her For a weapon (or perhaps a vial of poison). In Don Quixote Fernando, enraged by her scheme to commit suicide rather than consummate the marriage, tries to kill her. 'Rash e'en to madness' might be a response to the discovery of Lucinda's planned suicide, or the attack by Fernando.
Editor’s Note
3.2.142.1 Some In early modern performances, it would probably be a man or men who carried her off; in the 2012 production it was her father. It need not be clear whether she is alive.
Editor’s Note
3.2.143–4 Passions … effect This misogynistic sentence might belong somewhere else.
Editor’s Note
3.2.144.1 Exeunt 'After the exits of Cardenio, Fernando, and Lucinda, we do not know, we should not know, what will happen to any of them next' (Bourus).
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