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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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4.1Actus Quartus.Scæna 1.

Enter Iailor, and his friend.
Critical Apparatus1

Iailor. Heare you no more, was nothing saide of me

2Concerning the escape of Palamon?

3Good Sir remember.

1. Fr. Nothing that I heard,

4For I came home before the busines

5Was fully ended: Yet I might perceive

6Ere I departed, a great likelihood

7Of both their pardons: For Hipolita,

8And faire-eyd Emilie, upon their knees

9Begd with such hansom pitty, that the Duke

10Me thought stood staggering, whether he should follow

Critical Apparatus11His rash [oth], or the sweet compassion

12Of those two Ladies; and to second them,

13That truely noble Prince Perithous

14Halfe his owne heart, set in too, that I hope

15All shall be well: Neither heard I one question

I1v/p.58 Link 16Of your name, or his scape.

Enter 2. Friend.

Iay. Pray heaven it hold so.


2. Fr: Be of good comfort man; I bring you newes,

18Good newes.

Iay. They are welcome,

2. Fr. Palamon has cleerd you,

Critical Apparatus19And got your pardon, and discoverd how,

pg 3609Critical Apparatus20And by whose meanes [hee scapt], which was your Daughters,

21Whose pardon is procurd too, and the Prisoner

22Not to be held ungratefull to her goodnes,

23Has given a summe of money to her Marriage,

Critical Apparatus24A large one ile assure you.

Iay. Ye are a good man

25And ever bring good newes.

1. Fr. How was it ended?


2. Fr. Why, as it should be; they that nev'r begd

27But they prevaild, had their suites fairely granted,

28The prisoners have their lives.

1. Fr. I knew t'would be so.


2. Fr. But there be new conditions, which you'l heare of

30At better time.

Iay. I hope they are good.

2. Fr. They are honourable,

31How good they'l prove, I know not.

Enter Wooer.

1. Fr. T'will be knowne.


Woo. Alas Sir, wher's your Daughter?

Iay. Why doe you aske?


Woo. O Sir when did you see her?

2. Fr. How he lookes?

Critical Apparatus34

Iay. This morning.

Woo. Was she well? was she in health?

35Sir, when did she sleepe?

1. Fr. These are strange Questions.


Iay, I doe not thinke she was very well, for now

37You make me minde her, but this very day

38I ask'd her questions, and she answered me

39So farre from what she was, so childishly.

40So sillily, as if she were a foole,

I2r/p.59 Link 41An Inocent, and I was very angry.

Critical Apparatus42But what of her Sir?

Woo. Nothing but my pitty;

43But you must know it, and as good by me

44As by an other that lesse loves her:

Critical Apparatus45

Iay. Well Sir.

1. Fr. Not right?

[Wooer, No Sir not well.] ––––––

2. Fr. Not well?


Woo. Tis too true, she is mad.

1. Fr. It cannot be.

pg 3610 47

Woo. Beleeve you'l finde it so.

Iay. I halfe suspected

Critical Apparatus48What you told me: the gods comfort her:

49Either this was her love to Palamon,

50Or feare of my miscarrying on his scape,

51Or both.

Woo. Tis likely.

Iay. But why all this haste Sir?


Woo. Ile tell you quickly. As I late was angling

53In the great Lake that lies behind the Pallace,

54From the far shore, thicke set with reedes, and Sedges,

55As patiently I was attending sport,

56I heard a voyce, a shrill one, and attentive

57I gave my eare, when I might well perceive

58T'was one that sung, and by the smallnesse of it

59A boy or woman. I then left my angle

60To his owne skill, came neere, but yet perceivd not

61Who made the sound; the rushes, and the Reeds

62Had so encompast it: I laide me downe

Critical Apparatus63And listned to the words she song, for then

64Through a small glade cut by the Fisher men,

65I saw it was your Daughter.

Iay. Pray goe on Sir?


Woo. She sung much, but no sence; onely I heard her

67Repeat this often. Palamon is gone,

68Is gone to'th wood to gather Mulberies,

69Ile finde him out to morrow.

1. Fr. Pretty soule.


Woo. His shackles will betray him, hee'l be taken,

I2v/p.60 Link 71And what shall I doe then? Ile bring a beavy,

72A hundred blacke eyd Maides, that love as I doe

73With Chaplets on their heads of Daffadillies,

74With cherry-lips, and cheekes of Damaske Roses,

75And all wee'l daunce an Antique fore the Duke,

76And beg his pardon; Then she talk'd of you Sir;

77That you must loose your head to morrow morning,

78And she must gather flowers to bury you,

Critical Apparatus79And see the house made handsome, then she [sung]

80Nothing but Willow, willow, willow, and betweene

81Ever was, Palamon, faire Palamon,

82And Palamon, was a tall yong man. The place

83Was knee deepe where she sat; her careles Tresses,

Critical Apparatus84A [wreathe] of bull-rush rounded; about her stucke

85Thousand fresh water flowers of severall cullors.

Critical Apparatus86That she appeard [me thought] like the faire Nimph

87That feedes the lake with waters, or as Iris

88Newly dropt downe from heaven; Rings she made

89Of rushes that grew by, and to 'em spoke

pg 361190The prettiest posies: Thus our true love's tide,

91This you may loose, not me, and many a one:

92And then she wept, and sung againe, and sigh'd,

93And with the same breath smil'd, and kist her hand.


2. Fr. Alas what pitty it is?

Wooer. I made in to her.

95She saw me, and straight sought the flood, I sav'd her,

96And set her safe to land: when presently

97She slipt away, and to the Citty made,

98With such a cry, and swiftnes, that beleeve me

99Shee left me farre behinde her; three, or foure,

100I saw from farre off crosse her, one of 'em

101I knew to be your brother, where she staid,

102And fell, scarce to be got away: I left them with her.

Enter Brother, Daughter, and others.

103And hether came to tell you: Here they are.

Critical Apparatus104

Daugh. May you never more enjoy the light, &c.

105Is not this a fine Song?

Bro. O a very fine one.

I3r/p.61 Link 106

Daugh. I can sing twenty more.

Bro. I thinke you can,


Daugh. Yes truely can I, I can sing the Broome,

108And Bony Robin. Are not you a tailour?


Bro. Yes,

Daugh. Wher's my wedding Gowne?

Bro. Ile bring it to morrow.

Critical Apparatus110

Daugh. Doe, very [early], I must be abroad else

111To call the Maides, and pay the Minstrels

112For I must loose my Maydenhead by cocklight

Critical Apparatus113Twill never thrive else.

O faire, oh sweete, &c.


Bro. You must ev'n take it patiently.

Iay. Tis true,


Daugh. Good'ev'n, good men, pray did you ever heare

116Of one yong Palamon?

Iay. Yes wench we know him.


Daugh. Is't not a fine yong Gentleman?

Iay. Tis, Love.

Critical Apparatus118

Bro. By no meane crosse her, she is then distemperd

Critical Apparatus119[Far] worse then now she showes.

1. Fr. Yes, he's a fine man.


Daugh. O, is he so? you have a Sister.

1. Fr. Yes.


Daugh. But she shall never have him, tell her so,

122For a tricke that I know, y'had best looke to her,

123For if she see him once, she's gone, she's done,

pg 3612124And undon in an howre. All the young Maydes

125Of our Towne are in love with him, but I laugh at'em

126And let 'em all alone, Is't not a wise course?

1. Fr. Yes.


Daugh. There is at least two hundred now with child by him,

128There must be fowre; yet I keepe close for all this,

129Close as a Cockle; and all these must be Boyes,

130He has the tricke on't, and at ten yeares old

131They must be all gelt for Musitians,

132And sing the wars of Theseus.

2. Fr. This is strange.

I3v/p.62Critical Apparatus Link 133

Daugh. As ever you heard, but say nothing.

1. Fr. No.


Daugh. They come from all parts of the Dukedome to him,

135Ile warrant ye, he had not so few last night

136As twenty to dispatch, hee'l tickl't up

137In two howres, if his hand be in.

Iay. She's lost

138Past all cure.

Bro. Heaven forbid man.


Daugh. Come hither, you are a wise man.

1. Fr. Do's she know him?

Critical Apparatus140

[2.] Fr. No, would she did.

Daugh. You are master of a Ship?


Iay. Yes.

Daugh. Wher's your Cömpasse?

Iay. Heere.

Daugh. Set it too'th North.

Critical Apparatus142And now direct your [course] to'th wood, wher Palamon

143Lyes longing for me; For the Tackling

Critical Apparatus144Let me alone; Come waygh my hearts, cheerely [all.]

Critical Apparatus145Owgh, owgh, owgh, tis up, the wind's faire, top the Bowling,

146Out with the maine saile, wher's your Whistle Master?


Bro. Lets get her in.


Iay. Vp to the top Boy.

Bro. Wher's the Pilot?

1. Fr. Heere,

Critical Apparatus149

Daugh. What ken'st thou?

2. Fr. A faire wood.

Daugh. Beare for it master:

Critical Apparatus150Take about:


Critical Apparatus151When Cinthia with her borrowed light, &c.


Notes Settings


Critical Apparatus
4.1.1 Heare cotes; Heard bawcutt. Though though the past tense form agrees better with the Friend's response, emendation is not required.
Critical Apparatus
4.1.11 oth herringman (oath); o'th cotes
Critical Apparatus
4.1.19–20 And … Daughters, seward; discoverd| cotes
Critical Apparatus
4.1.20 hee scapt herringman (he scap'd); he escapt cotes. The monosyllabic form 'scapt' is required metrically. The reading in cotes might be a regularization.
Critical Apparatus
4.1.24 Ye are cotes; You're potter. The caesura grants some metrical licence.
Critical Apparatus
4.1.34–5 Was … sleepe? montgomery; 1 line cotes; health, sir?| colman
Critical Apparatus
4.1.42–3 Nothing … me seward; 1 line cotes
Critical Apparatus
4.1.45 Wooer, … well? proudfoot2; 2 Fr. Not well?–––––– Wooer, No Sir not well. cotes. Without emendation the Wooer is given two consecutive speeches. The Wooer's answer 'not well' plays on the Jailer's question 'Well, sir', while the Second Friend's question 'Not well?' responds to the Wooer's answer. Another possibility (accepted by potter) is that the speech prefix on 4.1.46 is an error and the Wooer's answer reads 'No Sir not well. Tis too true, she is mad.' What is reasonably clear is that in the manuscript the Wooer's speech was written to the right of 'Not right?'. Either the connecting line was ambiguously positioned, or the compositor set it, and the speech, opposite the wrong question mark.
Critical Apparatus
4.1.48 told cotes; have told dyce
Critical Apparatus
4.1.63 song = sung
Critical Apparatus
4.1.79 sung herringman; snng cotes
Critical Apparatus
4.1.84 wreathe seward (wreath); wreake cotes
Critical Apparatus
4.1.86 she appeard me thought montgomery (Taylor); me thought she appeard cotes. Transposition errors are common, and the emendation produces a more metrically regular line.
Critical Apparatus
4.1.104 light, &c. The rest of the song is unknown. It is likely that more than one line was sung in early performances.
Critical Apparatus
4.1.110 early seward; rarely cotes; rearly seward (Sympson).
Critical Apparatus
4.1.113 O … &c. The snatch occurs in the seventh poem of Philip Sidney's Certaine Sonnets, first published in the 1598 edition of Sidney's Arcadia (STC 22541). See Performance Notes in Modern for the three lines, beginning with this snatch, that begin each of the poem's four stanzas.
Critical Apparatus
4.1.118 meane cotes; means colman
Critical Apparatus
4.1.119 Far tonson For cotes
Critical Apparatus
4.1.133 Daugh. cotes; brother proudfoot. The speech could be assigned to the brother, or it might be further example of 'mad' discourse (potter).
Critical Apparatus
4.1.140 2. herringman; 1. cotes
Critical Apparatus
4.1.142 course herringman; conrse cotes. Upturned type or foul case error.
Critical Apparatus
4.1.144–5 cheerely all. | Owgh leech; cheerely. | All. Owgh cotes
Critical Apparatus
4.1.145 Owgh, owgh, owgh = Uff, uff, uff
Critical Apparatus
4.1.145 Bowling = bowline
Critical Apparatus
4.1.145–6 Owgh … Master? proudfoot; 3 lines cotes: top the| your|
Critical Apparatus
4.1.149–50 Beare … about: dyce2 1 line cotes
Critical Apparatus
4.1.150 Take = tack. Compare Pro.26 and 3.4.10.
Critical Apparatus
4.1.151 light, &c. = light … '. It is likely that more than one line in the song was sung in early performances.
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