SCENE IV. Another ... forest.] Capell. The outlaw's cave in the

forest. Theobald. 2: _This shadowy desert,_] _These shadowy, desert,_ Collier MS. 8: _so_] _too_ Collier MS. 14: _are my_] _my rude_ Collier MS. 18: [Steps aside. Johnson. 19: _I have_] F1 F2 F3. _have I_ F4. _having_ Collier MS. 25: _I am_] _I'm_ Pope. 26, 32: [Aside] Theobald. 26: _is this I see and hear!_] Theobald. _is this? I see and hear:_ Ff. 43: _and still approved_] _for ever prov'd_ Pope. 49: _to love me_] F1. _to deceive me_ F2 F3 F4. 57: _woo_] _wooe_ F1. _move_ F2 F3 F4. 58: _ye_] Ff. _you_ Warburton. 63: _treacherous man_] F1. _Thou treacherous man_ F2. _Though treacherous man_ F3. _Tho treacherous man_ F4. 65: _now_] om. Pope. 67: _trusted now, when one's_] F2 F3 F4. _trusted, when one's_ F1. _trusted, when one's own_ Johnson. _trusted now, when the_ Pope. 69: _I am_] _I'm_ Pope. 71: _O time most accurst_] _O time accurst_ Hanmer. _O time most curst_ Johnson. _O spite accurst_ S. Verges conj. 72: _all foes that a friend_] _all my foes a friend_ Collier MS. 73: _confounds_] _confound_ Rowe. _My ... confounds me_] _My shame and desperate guilt at once confound me_ Collier MS. 82, 83: Blackstone proposes to transfer these lines to the end of Thurio's speech, line 135. 84: [Swoons.] Pope. 86-90: Printed by Capell as four verses ending _matter ... me ... Silvia ... done._ 86: _what's_] _what is_ Capell. 88: _to deliver_] _Deliver_ Steevens conj. 92: _see_] _see it_ Steevens conj. suggesting that lines 92-97 should end at _ring ... sir ... sent ... this?_ (om. _ring_) _... Julia._ 93: _Why, this is_] _This is_ Pope. _Why, 'tis_ S. Verges conj. 96: _But_] om. Pope. 102: _'em_] _them_ Capell. 103: _root_] _root on't_ Hanmer. 112: _all the sins_] _all th' sins_ Ff. _all sins_ Pope. 118: _be long_] _long be_ Pope. 120: _And I mine_] _And I have mine_ Steevens (Ritson conj.). [embracing. Capell. 121: SCENE V. Pope. 122: _Forbear, forbear, I say!_] _Forbear, I say!_ Capell. _Forbear, forbear!_ Pope. 124: _Banished_] _The banish'd_ Pope. 129: _Verona shall not hold_] _Milan shall not behold_ Theobald. _And Milan shall not hold_ Hanmer. _Milano shall not hold_ Collier MS. See note (VII). 143: _again,_] _again._ Steevens (Tyrwhitt conj.). 144: _unrival'd_] F1. _arrival'd_ F2 F3 F4. 160: _include_] _conclude_ Hanmer. 161: _rare_] F1. _all_ F2 F3 F4. 164: _page_] _stripling page_ Collier MS. 167: _saying?_] _saying, Valentine?_ Collier MS. 171: _loves discovered_] _love discovered_ Pope. _love's discoverer_ Collier MS. 172: _That done, our ... yours_] _Our day of marriage shall be yours no less_ Collier MS.

NOTES.

NOTE I.

DRAMATIS PERSONÆ. We have followed Steevens and the later editors in reading 'Proteus' for 'Protheus'; for though the latter form is invariably used in the Folios, and was, in all probability, what Shakespeare wrote, yet in choosing the name he doubtless meant to compare the fickle mind of the lover with the changeable form of the god. We have written 'Panthino,' not 'Panthion,' because the authority of the first Folio preponderates in favour of the former, in itself the more probable form of an Italian proper name. 'Panthion' occurs in F1, among 'the names of all the actors,' and in a stage direction at the beginning of Act II Sc. 2, but never in the text. 'Panthino' is found twice in the text, and once in a stage direction at the beginning of Act I. Sc. 3. The blunder 'Panthmo,' I. 3. 76, which is the reading of F1, shows that the original MS. had 'Panthino,' not 'Panthion.'

NOTE II.

I. 1. 28 sqq. Mr Sidney Walker (_Criticisms on Shakespeare_, III. p. 9) says we ought 'perhaps' to read

'No, I will not, for it boots not.'

Doubtless he meant also to re-arrange the following lines, and so get rid of the Alexandrine at 30; thus:

'_Val._ No, I will not, for it boots not.

_Pro._ What?

_Val._ To be In love, where scorn is bought with groans; coy looks With heart-sore sighs; one fading moment's mirth,' &c.

NOTE III.

I. 2. 53. _What a fool is she._ The first Folio reads 'What 'foole is she,' doubtless to indicate an ellipsis of the indefinite article, which, for the sake of the metre, was to be slurred over in pronunciation. As we have not followed the Folio in reading _th'_ or _th_ for _the_ before a consonant, so we have thought it best to insert here the omitted letter _a_, especially as the use of the apostrophe is by modern custom much more restricted than it was in the Folio. For example, we find _'Save for God save_ (_Tempest_, II. 1. 162), and _at 'nostrils for at's nostrils_ or _at the nostrils_ (_Id._ II. 2. 60).

NOTE IV.

II. 1. 68, 69. This passage is corrupt. The usual explanation, which satisfies Delius, is inadmissible, because Valentine would certainly not appear, like the Knight of La Mancha, without his hose. A rhyming couplet was probably what the author intended. Many conjectures might be made, as for example:

'For he, being in love, could not see to garter his hose; And you, being in love, cannot see to beyond your nose.'

Or, 'to put spectacles on your nose.' Or possibly, 'to put on your shoes,' the point of which remark Valentine's disordered dress might make clear to the audience. Rosalind, when enumerating the marks of a man in love, mentions the untied shoe as well as the ungartered hose, _As You Like It_, Act III. Sc. 2. The same misprint, 'hose' for 'shoes,' occurs in the first edition of Greene's _Groatsworth of Wit_. See Mr Dyce's preface to his edition of Greene's _Dramatic Works_, p. xxviii.

NOTE V.

II. 4. 7, 95, 111. As Speed after line 7 does not say a word during the whole of this long scene, we have sent him off the stage. It is not likely that the clown would be kept on as a mute bystander, especially when he had to appear in the following scene.

The Folios give line 110 to Thurio, who, if the reading be right, must have quitted the stage during the scene. The most probable time for this would be on Proteus' entrance, line 95. Mr Dyce however argues that 'Thurio, after what the Duke, in the presence of Silvia, had said to him about welcoming Proteus, would hardly run off the moment Proteus appeared.' But Thurio is not held up as a model of courtesy, and he might as well be off the stage as on it, for any welcome he gives to Proteus. Besides, in line 101 Valentine ignores Thurio altogether, who, if he had been present, would not have remained silent under the slight.

On the whole, we think that the arrangement we have given is the best, as involving no change in the original reading. The question however is a difficult and doubtful one--indeed, far more difficult and doubtful than it is important, or instructive.

NOTE VI.

II. 4. 192. Theobald's correction, 'mine eye,' or as Mr Spedding suggests, 'my eye' ('my eie' in the original spelling), is supported by a passage in the _Comedy of Errors_, III. 2. 55:

'It is a fault that springeth from your eye.'

If this were not satisfactory, another guess might be hazarded:

'Is it mine _unstaid mind_ or Valentine's praise.'

The resemblance of 'mine' and 'mind' in the printer's eye (final d and final e being perpetually mistaken for each other) might cause the omission of the two words. 'Valentine' is found as a dissyllable I. 2. 38. 'Sir Valentine's page, &c.': perhaps also III. 1. 191:

'There's not a hair on 's head but 'tis a Valentine,'

and, if Capell's arrangement be right, V. 2. 34.

NOTE VII.

II. 5. 1, III. 1. 81, and V. 4. 129. We have retained 'Padua' in the first of these passages and 'Verona' in the second and third, because it is impossible that the words can be a mere printer's, or transcriber's, error. These inaccuracies are interesting as showing that Shakespeare had written the whole of the play before he had finally determined where the scene was to be laid.

* * * * * * * * * * * * * *

Sources:

The editors' Preface (e-text 23041) discusses the 17th- and 18th-century editions in detail; the newer (19th-century) editions are simply listed by name. The following editions may appear in the Notes. All inset text is quoted from the Preface.

Folios: F1 1623; F2 (no date given); F3 1663; F4 1685. "The five plays contained in this volume occur in the first Folio in the same order, and ... were there printed for the first time."

Early editions: Rowe 1709 Pope 1715 "Pope was the first to indicate the _place_ of each new scene; as, for instance, _Tempest_, I. 1. 'On a ship at sea.' He also subdivided the scenes as given by the Folios and Rowe, making a fresh scene whenever a new character entered--an arrangement followed by Hanmer, Warburton, and Johnson. For convenience of reference to these editions, we have always recorded the commencement of Pope's scenes." Theobald 1733 Hanmer ("Oxford edition") 1744 Warburton 1747 Johnson 1765 Capell 1768; _also Capell's annotated copy of F2_ Steevens 1773 Malone 1790 Reed 1803

Later editions: Singer, Knight, Cornwall, Collier, Phelps, Halliwell, Dyce, Staunton

Errors and inconsistencies:

[Text-critical notes]

II. 3. 20: _Oh, the dog is me_] [_body text punctuates "Oh! the"_] II. 4. 58: Know] [_body text has "know", not capitalized_] II. 5. 1: Padua] [_body text has "the same", referring back to II. 4 "Milan"_] IV. 4. 95: _am I_] F1 F2. _I am_ F3 F4. [F3 F3]