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

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4.2Sc. 12Scena Secunda.

Enter Othello, and Æmilia.

Othe. You haue seene nothing then?


Æmil. Nor euer heard: nor euer did suspect.

Critical Apparatus3

Othe. Yes, you haue seene Cassio, and she together.


Æmi. But then I saw no harme: and then I heard,

5Each syllable that breath made vp betweene them.


Othe. What? Did they neuer whisper?

Æmil. Neuer my Lord.

Critical Apparatus7

Othe. Nor send you out o'th'way?

Æmil. Neuer.

Critical Apparatus8

Othe. To fetch her Fan, her Gloues, her Mask, nor nothing?


Æmil. Neuer my Lord.

Othe. That's strange.


Æmil. I durst (my Lord) to wager, she is honest:

11Lay downe my Soule at stake: If you thinke other,

pg 3226Critical Apparatus12Remoue your thought. It doth abuse your bosome:

13If any wretch haue put this in your head,

Critical Apparatus14Let [God] requit it with the Serpents curse,

15For if she be not honest, chaste, and true,

Critical Apparatus16There's no man happy. The purest of their Wiues

17Is foule as Slander.

Othe. Bid her come hither: go.

Exit Æmilia.

18She saies enough: yet she's a simple Baud

Critical Apparatus19That cannot say as much. This is a subtile Whore:

20A Closset Locke and Key of Villanous Secrets,

21And yet she'le kneele, and pray: I haue seene her do't.

Enter Desdemona, and Æmilia.
Critical Apparatus22

Des. My Lord, what is your will?

Othe. Pray you Chucke come hither.

Critical Apparatus23

Des. What is your pleasure?

Oth. Let me see your eyes: Looke in my face.


Des. What horrible Fancie's this?

Othe. Some of your Function Mistris:

25Leaue Procreants alone, and shut the doore:

26Cough, or cry hem; if any body come:

Critical Apparatus27Your Mystery, your Mystery: [Nay] dispatch.

Exit Æmi.
Critical Apparatus28

Des. Vpon my knee, what doth your speech import?

Critical Apparatus29I vnderstand a Fury in your words,

Critical Apparatus30[But not the] words.

Othe. Why? What art thou?

Des. Your wife my Lord:

Critical Apparatus31Your true and loyall wife.

Othello. Come sweare it: damne thy selfe,

Critical Apparatus32Least being like one of Heauen, the diuells themselues

33Should feare to ceaze thee. Therefore be double damn'd:

34Sweare thou art honest.

Des. Heauen doth truely know it.


Othe. Heauen truely knowes, that thou art false as hell.

Critical Apparatus36

Des. To whom my Lord? With whom? How am I false?

Critical Apparatus37

Othe. Ah Desdemon, away, away, away.


Des. Alas the heauy day: why do you weepe?

pg 3227Critical Apparatus39Am I the motiue of these teares my Lord?

40If happely you my Father do suspect,

41An Instrument of this your calling backe,

Critical Apparatus42Lay not your blame on me: if you haue lost him,

Critical Apparatus43I haue lost him too.

Othe. Had it pleas'd [God],

Critical Apparatus44To try me with Affliction, had [he] rain'd

Critical Apparatus45All kind of Sores, and Shames on my bare-head:

46Steep'd me in pouertie to the very lippes.

Critical Apparatus47Giuen to Captiuitie, me, and my vtmost hopes,

Critical Apparatus48I should haue found in some place of my Soule

49A drop of patience. But alas, to make me

Critical Apparatus50The fixed Figure for the time of Scorne,

Critical Apparatus51To point his slow, and mouing finger at.

52Yet could I beare that too, well, very well:

53But there where I haue garnerd vp my heart,

54Where either I must liue, or beare no life,

55The Fountaine from the which my currant runnes,

56Or else dries vp: to be discarded thence,

57Or keepe it as a Cesterne, for foule Toades

58To knot and gender in. Turne thy complexion there:

Critical Apparatus59Patience, thou young and Rose-lip'd Cherubin,

Critical Apparatus60I heere looke grim as hell.


Des. I hope my Noble Lord esteemes me honest.

Critical Apparatus62

Othe. Oh I, as Sommer Flyes are in the Shambles,

Critical Apparatus63That quicken euen with blowing. Oh thou weed:

Critical Apparatus64Who art so louely faire, and smell'st so sweete,

Critical Apparatus65That the Sense akes at thee, would thou had'st neuer bin borne.


Des. Alas, what ignorant sin haue I committed?


Othe. Was this faire Paper? This most goodly Booke

Critical Apparatus68Made to write Whore vpon? What commited,

vv2vCritical Apparatus Link 69Committed? Oh, thou publicke Commoner,

70I should make very Forges of my cheekes,

71That would to Cynders burne vp Modestie,

72Did I but speake thy deedes. What commited?

73Heauen stoppes the Nose at it, and the Moone winks:

74The baudy winde that kisses all it meetes,

Critical Apparatus75Is hush'd within the hollow Myne of Earth

Critical Apparatus76And will not hear't. What commited?

pg 3228 77

Des. By Heauen you do me wrong.


Othe. Are not you a Strumpet?


Des. No, as I am a Christian.

80If to preserue this vessell for my Lord,

Critical Apparatus81From any other foule vnlawfull touch

82Be not to be a Strumpet, I am none.


Othe. What, not a Whore?

Des. No, as I shall be sau'd.


Othe. Is't possible?

Critical Apparatus85

Des. Oh [God] forgiue vs.

Critical Apparatus86

Othe. I cry you mercy then.

87I tooke you for that cunning Whore of Venice,

88That married with Othello. You Mistris,

Enter Æmilia.

89That haue the office opposite to Saint Peter,

Critical Apparatus90And keepes the gate of hell. You, you: I you.

91We haue done our course: there's money for your paines:

92I pray you turne the key, and keepe our counsaile.


Æmil. Alas, what do's this Gentleman conceiue?

94How do you Madam? how do you my good Lady?


Des. Faith, halfe a sleepe.

Critical Apparatus96

Æmi. Good Madam, what's the matter with my Lord?


Des. With who?

Æmil. Why, with my Lord, Madam?

Critical Apparatus98

Des. Who is thy Lord?

Æmil. He that is yours, sweet Lady.


Des. I haue none: do not talke to me, Æmilia,

Critical Apparatus100I cannot weepe: nor answeres haue I none,

101But what should go by water. Prythee to night,

Critical Apparatus102Lay on my bed my wedding sheetes, remember,

Critical Apparatus103And call thy husband hither.

Æmil. Heere's a change indeed.

Critical Apparatus104

Des. 'Tis meete I should be vs'd so: very meete.

105How haue I bin behau'd, that he might sticke

Critical Apparatus106The small'st opinion on my least misvse?

Enter Iago, and Æmilia.
Critical Apparatus107

Iago. What is your pleasure Madam? How is't with you?


Des. I cannot tell: those that do teach yong Babes

109Do it with gentle meanes, and easie taskes.

110He might haue chid me so: for in good faith

Critical Apparatus111I am a Child to chiding.

Iago. What is the matter Lady?

Critical Apparatus112

Æmil. Alas (Iago) my Lord hath so bewhor'd her,

pg 3229113Throwne such dispight, and heauy termes vpon her

Critical Apparatus114That true hearts cannot beare it.


Des. Am I that name, Iago?


Iago. What name (faire Lady?)

Critical Apparatus117

Des. Such as she said my Lord did say I was.

Critical Apparatus118

Æmil. He call'd her whore: a Begger in his drinke:

119Could not haue laid such termes vpon his Callet.


Iago. Why did he so?


Des. I do not know: I am sure I am none such.


Iago. Do not weepe, do not weepe: alas the day.

Critical Apparatus123

Æmil. Hath she forsooke so many Noble Matches?

Critical Apparatus124Her Father? And her Country? And her Friends?

125To be call'd Whore? Would it not make one weepe?

Critical Apparatus126

Des. It is my wretched Fortune.

Iago. Beshrew him for't:

Critical Apparatus127How comes this Tricke vpon him?

Des. Nay, [God] doth know.

Critical Apparatus128

Æmi. I will be hang'd, if some eternall Villaine,

129Some busie and insinuating Rogue,

130Some cogging, cozening Slaue, to get some Office,

131Haue not deuis'd this Slander: I will be hang'd else.


Iago. Fie, there is no such man: it is impossible.

Critical Apparatus133

Des. If any such there be, [God] pardon him.

Critical Apparatus134

Æmil. A halter pardon him: and hell gnaw his bones.

135Why should he call her Whore? Who keepes her companie?

Critical Apparatus136What Place? What Time? What Forme? What liklyhood?

Critical Apparatus137The Moore's abus'd by some most villanous Knaue,

138Some base notorious Knaue, some scuruy Fellow.

Critical Apparatus139Oh [God], that such companions thou'd'st vnfold,

140And put in euery honest hand a whip

Critical Apparatus141To lash the Rascalls naked through the world,

Critical Apparatus142Euen from the East to th'West.

Iago. Speake within doore.

pg 3230 Critical Apparatus143

Æmil. Oh fie vpon them: some such Squire he was

144That turn'd your wit, the seamy-side without,

145And made you to suspect me with the Moore.

Critical Apparatus146

Iago. You are a Foole: go too.

Des. [O God] Iago,

147What shall I do to win my Lord againe?

148Good Friend, go to him: for by this light of Heauen,

Critical Apparatus149I know not how I lost him. Heere I kneele:

150If ere my will did trespasse 'gainst his Loue,

151Either in discourse of thought, or actuall deed,

152Or that mine Eyes, mine Eares, or any Sence

Critical Apparatus153Delighted them, [in] any other Forme.

154Or that I do not yet, and euer did,

155And euer will, (though he do shake me off

156To beggerly diuorcement) Loue him deerely,

157Comfort forsweare me. Vnkindnesse may do much,

158And his vnkindnesse may defeat my life,

159But neuer taynt my Loue. I cannot say Whore,

160It do's abhorre me now I speake the word,

161To do the Act, that might the addition earne,

162Not the worlds Masse of vanitie could make me.

Critical Apparatus163

Iago. I pray you be content: 'tis but his humour:

Critical Apparatus164The businesse of the State do's him offence.

Critical Apparatus165

Des. If 'twere no other.

Iago. It is but so, I warrant,

Critical Apparatus166Hearke how these Instruments summon to supper:

Critical Apparatus167The Messengers of Venice staies the meate,

168Go in, and weepe not: all things shall be well.

Exeunt Desdemona and Æmilia. Enter Rodorigo.

169How now Rodorigo?

Critical Apparatus170

Rod. I do not finde that thou deal'st iustly with me.


Iago. What in the contrarie?

Critical Apparatus172

Rodori. Euery day thou dafts me with some deuise Iago, and Critical Apparatus173rather, as it seemes to me now, keep'st from me all conueniencie, then 174suppliest me with the least aduantage of hope: I will indeed no longer 175endure it. Nor am I yet perswaded to put vp in peace, what already I haue 176foolishly suffred.

pg 3231 177

Iago. Will you heare me Rodorigo?

vv3r Critical Apparatus Link 178

Rodori. [Faith] I haue heard too much: and your words and Critical Apparatus179Performances are no kin together.


Iago. You charge me most vniustly.

Critical Apparatus181

Rodo. With naught but truth: I haue wasted my selfe out of my Critical Apparatus182meanes. The Iewels you haue had from me to deliuer Desdemona, would Critical Apparatus183halfe haue corrupted a Votarist. You haue told me she hath receiu'd them, Critical Apparatus184and return'd me expectations and comforts of sodaine respect, and Critical Apparatus185acquaintance, but I finde none.

Critical Apparatus186

Iago. Well, go too: very well.

Critical Apparatus187

Rod. Very well, go too: I cannot go too, (man) nor tis not very Critical Apparatus188well. Nay [by this hand] I [sweare] it is scuruy: and begin to finde my selfe 189fopt in it.


Iago. Very well.

Critical Apparatus191

Rodor. I tell you, 'tis not very well: I will make my selfe knowne to Critical Apparatus192Desdemona. If she will returne me my Iewels, I will giue ouer my Suit, 193and repent my vnlawfull solicitation. If not, assure your selfe, I will 194seeke satisfaction of you.


Iago. You haue said now.

Critical Apparatus196

Rodo. I: and said nothing but what I protest intendment of doing.

Critical Apparatus197

Iago. Why, now I see there's mettle in thee: and euen from this instant 198do build on thee a better opinion then euer before: giue me thy hand Critical Apparatus199Rodorigo. Thou hast taken against me a most iust exception: but yet I Critical Apparatus200protest I haue dealt most directly in thy Affaire.


Rod. It hath not appeer'd.


Iago. I grant indeed it hath not appeer'd: and your suspition is not Critical Apparatus203without wit and iudgement. But Rodorigo, if thou hast that in thee 204indeed, which I haue greater reason to beleeue now then euer (I meane 205purpose, Courage, and Valour) this night shew it. If thou the next night Critical Apparatus206following enioy not Desdemona, take me from this world with Treacherie, 207and deuise Engines for my life.

Critical Apparatus208

Rod. Well: what is it? Is it within reason and compasse?

Critical Apparatus209

Iago. Sir, there is especiall Commission come from Venice to depute 210Cassio in Othello's place.


Rod. Is that true? Why then Othello and Desdemona returne 212againe to Venice.


Iago. Oh no: he goes into Mauritania and taketh away with him the faire 214Desdemona, vnlesse his abode be lingred heere by some accident. 215Wherein none can be so determinate, as the remouing of Cassio.

pg 3232 216

Rod. How do you meane remouing him?


Iago. Why, by making him vncapable of Othello's place: knocking out 218his braines.


Rod. And that you would haue me to do.

Critical Apparatus220

Iago. I: if you dare do your selfe a profit, and a right. He sups to night Critical Apparatus221with a Harlotry: and thither will I go to him. He knowes not yet of his 222Honourable Fortune, if you will watch his going thence (which I will 223fashion to fall out betweene twelue and one) you may take him at your 224pleasure. I will be neere to second your Attempt, and he shall fall betweene 225vs. Come, stand not amaz'd at it, but go along with me: I will shew you 226such a necessitie in his death, that you shall thinke your selfe bound to 227put it on him. It is now high supper time: and the night growes to wast. 228About it.


Rod. I will heare further reason for this.


Iago. And you shalbe satisfi'd.


Notes Settings


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4.2.3 Yes, Yes, and
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4.2.7 o'th' o'the
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4.2.8 her Gloues, her Mask her mask, her gloues
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4.2.12 bosome: jaggard(b); ~, jaggard(a), 1okes
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4.2.12 Some copies have a comma instead of a colon after 'bosome'
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4.2.14 God this edition; Heauen jaggard; heauens 1okes. No play printed before 1606 contains 'heauen(s) requit(e)', but there are five examples of 'God requit(e)'. Likewise, EEBO–TCP records nine other, non-dramatic examples of 'God requit(e)' printed between 1564 and 1605, and two of 'the heavens requite', but not a single example of 'heauen(s) requite(e)'. More specifically and significantly, 'the Serpents curse' in the second half of the line clearly refers to Genesis 3:14, where the curse is spoken by 'the Lord God'; no early English translation attributes the curse to 'heaven(s)'.
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4.2.16 their Wiues her Sex
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4.2.19 cannot jaggard(b), 1okes; cannt jaggard(a)
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4.2.19 Some copies have 'cannt' instead of 'cannot'
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4.2.22 you not in 1okes
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4.2.23 What … face. this edition. The early texts produce either an iambic pentameter line with a missing first unstressed syllable (which is acceptable), preceded by a part line (which is acceptable)—or a fourteener (which eighteenth-century editors would not accept in Shakespeare).
Critical Apparatus
4.2.27 Nay allot; nay 1okes; May jaggard
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4.2.28 knee jaggard; knees 1okes. There is no reason to suppose that jaggard is wrong: Shakespeare uses 'upon my knee' and 'upon my knees' indifferently elsewhere, three times each.
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4.2.28 doth does
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4.2.29–30 words,| But not the words. 1okes; words. jaggard. This would be an easy eye-skip error from 'words' at the end of one line to 'words' at the end of the next, and (as neill notes) the four words complete the sense.
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4.2.30–1 Your wife … loyall wife. capell; 1 line jaggard, 1okes. The emendation produces two successive hexameters, instead of an unassimilated part-line.
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4.2.31–4 Come … honest. 1okes; prose jaggard
Critical Apparatus
4.2.32 Least = lest (as in 2hawkins)
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4.2.36 To … false? 1okes; 2 lines jaggard: Lord?|
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4.2.37 Desdemon Desdemona
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4.2.39 motiue of these occasion of those
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4.2.42–3 lost … lost left … left
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4.2.43 God wells (Taylor); Heauen jaggard; heauen 1okes; heavens johnson. Another example of expurgation in both texts, in which 1okes is again closer to the original than jaggard. See next note.
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4.2.43 I Why I
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4.2.44 he 1okes; they jaggard. The singular personal pronoun strongly suggests that the original text had 'God'. See preceding note. neill defends jaggard here, but only by emending 'Heauen' to 'heavens' in the preceding line (and conjecturing editorial interference here in 1okes). Moreover, editors routinely cite as sources for this passage Job 2:7 and 20:23, for which English translations use 'God' or 'the Lord' or 'he', not 'heaven' or 'heavens' or 'they'. Shared expurgation is more likely than a shared grammatical error.
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4.2.44 rain'd ram'd
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4.2.45 kind kindes
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4.2.47 vtmost not in 1okes
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4.2.48 place part
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4.2.50 The A
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4.2.51 finger fingers
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4.2.51 at. at -- oh,oh,
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4.2.59 thou thy
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4.2.60, 68 I … I = Ay … ay
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4.2.60 as jaggard(b), 1okes; as a jaggard(a)
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4.2.62 Sommer summers
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4.2.62 Some copies have 'a' after 'as'
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4.2.63 thou thou blacke
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4.2.64 Who … faire, why … faire?
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4.2.64 and Thou
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4.2.65 neuer = ne'er (1okes)
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4.2.65 That … borne. capell; 2 lines jaggard: thee,|
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4.2.68 vpon on
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4.2.69–72 Committed? … deedes. What commited? not in 1okes
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4.2.75 hollow hallow
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4.2.76 commited? committed, impudent strumpet.
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4.2.81 other hated
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4.2.85 God this edition; Heauen jaggard, 1okes. See note at 3.3.367.
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4.2.85 forgiue vs forgiuenesse 1okes
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4.2.86 then not in 1okes
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4.2.90 gate of gates in
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4.2.90 You, you: I you I, you, you, you
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4.2.96 Good … Lord? 1okes; 2 lines jaggard: Madam,|
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4.2.98 Des. Who is … Lady. not in 1okes
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4.2.100 answeres answer
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4.2.102 my our
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4.2.103 Heere's Here is
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4.2.104 very meete very well
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4.2.106 misvse jaggard(c); mise vse jaggard(a); msvse jaggard(b)
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4.2.106 small'st smallest
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4.2.106 least misvse greatest abuse
Critical Apparatus
4.2.106 Some copies have 'mise vse' and others have 'msvse'
Critical Apparatus
4.2.107 What … you? pope; 2 lines jaggard, 1okes:: Madam?|. In the quarto the line is split to make room for the entrance direction in the right margin; in jaggard the full line would not fit the Folio column.
Critical Apparatus
4.2.111 to at
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4.2.112 Some copies read 'be whor'd' for 'bewhor'd'
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4.2.114 hearts jaggard(b), 1okes; heart jaggard(a)
Critical Apparatus
4.2.114 That As
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4.2.114 beare it beare
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4.2.114 Some copies have 'heart' instead of 'hearts'
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4.2.117 said sayes
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4.2.118 whore: jaggard(b), 1okes; ~^ jaggard(a)
Critical Apparatus
4.2.118 Some copies have no colon after 'whore'
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4.2.123 Hath Has
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4.2.124 And her Friends all her friends
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4.2.126 for't for it
Critical Apparatus
4.2.127 God doth know this edition; Heauen ~ ~ jaggard, 1okes. Shakespeare did not use 'heaven doth know' elsewhere; but 'God doth know' occurs at 2 Henry IV 18.52 (expurgated to 'heauen' in jaggard), Richard III 3.7.234, Comedy of Errors 4.4.59, and Henry V 1.2.18. Clearly that was his preferred idiom, and both 1okes and jaggard here have apparently been censored. Moreover, although Shakespeare has no parallels elsewhere for either 'Nay God' or 'Nay heaven', the euphemism 'heaven' does not appear in plays printed by 1605, but 'Nay God' does appear in pre-censorship plays by Kyd, Marston, Jonson (four times), and in Dekker and Middleton's Patient Man and Honest Whore.
Critical Apparatus
4.2.128 I will I'le
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4.2.133 God pardon this edition; Heauen pardon jaggard, 1okes (heauen). There are no parallels for 'heaven pardon' elsewhere in Shakespeare; he uses 'God pardon' eight times, all in texts published before 1606. For the expurgation, compare 1 Henry IV 3.2.29, where the quarto has 'God pardon' and the censored 1623 text has 'Heauen pardon'.
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4.2.134–6 A … liklyhood? 1okes; 6 lines jaggard: him:| bones. | Whore?| companie?| Time?|. This is one of several signs of stretching of the text in column b of this page.
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4.2.136 Forme for me
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4.2.137 most villanous outragious
Critical Apparatus
4.2.139 God this edition; Heauens jaggard; heauen 1okes. The following 'thou' supports the singular. The only parallel in the Shakespeare canon for 'O heaven that' is in the censored jaggard text of King John 4.1.91 (emended by jowett to 'O God that'). By contrast, 'O God that' occurs at 1 Henry VI 4.3.24 (generally accepted as a Shakespeare scene), Richard III 1.3.270 ('O God that seest it, do not suffer it', with the irregular form 'seest' implying the subject 'thou'), Richard II 3.3.132, 2 Henry IV 9.44 (expurgated to 'Heauen' in the Folio), 16.1 ('God' omitted in the Folio), and Much Ado 4.2.297. This appears to be another example of censorship in both texts, with 1okes closer to the original than jaggard. See next note and notes at 4.2.43 and 4.2.44.
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4.2.141 Rascalls rascall
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4.2.142 th'West the West
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4.2.142 doore dores
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4.2.143 them him
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4.2.146 O God alexander; O Good 1okes; Alas jaggard. The weak variant in jaggard is consonant with censorship; in 1okes, the capital also suggests that 'God' stood in the original manuscript. honigmann notes parallels for 'Alas' as a censor's substitution in jaggard at 2.3.136 and 5.2.119. There are many other examples of 'Alas' in jaggard; any of them might theoretically represent expurgation, but it is impossible to be sure.
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4.2.149–62 Heere I kneele … make me. not in 1okes
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4.2.153 them, in 2hawkins; them: or jaggard; them on rowe. An easy misreading, assisted by contamination from the preceding 'or … or'. mcmanus emends the punctuation but retains 'or', glossing the line as 'took pleasure in anyone but him'; the gloss interpolates the word 'in' and omits the word 'or'.
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4.2.163 humour: jaggard(b); ~. jaggard(a); ~. 1okes
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4.2.163 Some copies have a full stop instead of a colon after 'humour'
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4.2.164 offence. jaggard; offence,| And he does chide with you. 1okes. Most editors restore the extrametrical half-line, but it is not necessary, and could have been deliberately added or deliberately cut in revision.
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4.2.165 It is Tis
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4.2.165 warrant warrant you
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4.2.166 summon jaggard(b), 1okes; sommon jaggard(a)
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4.2.166 summon summon you
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4.2.166 Some copies have 'sommon' instead of 'summon'
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4.2.167 The … the meate And the great Messengers of Venice stay
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4.2.170 I … me. 1okes; 2 lines jaggard: finde|
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4.2.172 dafts = 'doff'st' (1okes)
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4.2.173 me now, me, thou
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4.2.173 keep'st keepest
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4.2.178 Faith 1okes; not in jaggard
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4.2.178–9 I haue heard too much: and your words and jaggard(b); And hell gnaw his bones, jaggard(a). Walton (215–27) explains this unusual substitution by the compositor using the wrong page of his manuscript copy as he started to set a new page. Emilia said 'and hell gnaw his bones' at 4.2.134.
Critical Apparatus
4.2.178–9 much: and jaggard(b); much, for 1okes. Although editors typically prefer 1okes, the jaggard reading is perfectly idiomatic. See previous note regarding jaggard(a)'s entirely incorrect reading.
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4.2.178–9 In place of 'I haue … words and' some copies have 'And hell gnaw his bones,'
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4.2.179 Performances performance
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4.2.181 With naught but truth: not in 1okes
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4.2.181 my meanes meanes
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4.2.182 deliuer deliuer to
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4.2.183 hath has
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4.2.184 expectations expectation
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4.2.185 acquaintance acquittance
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4.2.186 well good
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4.2.187–8 nor tis it is
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4.2.188 by this hand 1okes; not in jaggard. Another expurgated oath. See next note.
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4.2.188 I sweare this edition; I think jaggard; I say 1okes. There are no parallels in the Shakespeare canon, or in any EEBO–TCP text printed before 1606, or in any LION play first performed before 1606, for 'by this hand I think' or 'by this hand I say'. By contrast, Shakespeare uses 'by this hand I swear' twice elsewhere (King John 2.1.343 and Henry V 2.1.23–4).
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4.2.188 it is tis very
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4.2.191 I tell you, 'tis I say it is
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4.2.192 I will I'le
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4.2.196 and said and I haue said
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4.2.197 instant time
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4.2.199 exception conception
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4.2.200 Affaire affaires
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4.2.203 in within
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4.2.206 enioy enioyest
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4.2.208 within allot, 1okes; ~, jaggard
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4.2.208 what is it? Is is
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4.2.209 Commission command
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4.2.220 I: if I, and if
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4.2.220 a right right
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4.2.221 Harlotry harlot
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