Valerie Wayne. The Arden Shakespeare, 3rd series. Dawson and Gretchen E. Craig and R. Woudhuysen All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author.
Her work on Shakespeare, Renaissance women and textual editing has also appeared in over a dozen other collections as well as Shakespeare Quarterly and Shakespeare Studies. Music 3. E1r, which precedes five drawings of Picts at the end of the book. I, History of England, p. The name appears twice in this image and three times on the page used by permission of the Folger Shakespeare Library under a Creative Commons Attribution- ShareAlike 4. Each volume necessarily has its own particular emphasis which reflects the unique possibilities and problems posed by the work in question, and the series as a whole seeks to maintain the highest standards of scholarship, combined with attractive and accessible presentation.
Newly edited from the original documents, texts are pre- sented in fully modernized form, with a textual apparatus that records all substantial divergences from those early printings. The notes and introductions focus on the conditions and possibilities of meaning that editors, critics and performers on stage and screen have discovered in the play. Editorial indications of location of the action have been removed to the textual notes or commentary. In the text itself, elided forms in the early texts are spelt out in full in verse lines wherever they indicate a usual late twentieth-century pronunciation that requires no special indication and wherever they occur in prose except where they indicate non-standard pronunciation.
In verse speeches, marks of elision are retained where they are necessary guides to the scansion and pronunciation of the line. Where the final -ed should be given syllabic value contrary to modern usage, e. Doth Silvia know that I am banished? Except for the familiar Exit and Exeunt, Latin forms in stage directions and speech prefixes have been translated into English and the original Latin forms recorded in the textual notes. Attention, however, will be drawn to places where more than one likely interpretation can be proposed and to significant verbal and syntactic complexity.
These may include comment on plausible patterns of casting with the resources of an Elizabethan or Jacobean acting company and also on any variation in the description of roles in their speech prefixes in the early editions. The textual notes are designed to let readers know when the edited text diverges from the early edition s or manuscript sources on which it is based.
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Wherever this happens, the note will record the rejected reading of the early edition s or manuscript, in original spelling, and the source of the reading adopted in this edition. Other forms from the early edition s or manuscript recorded in these notes will include some spellings of particular interest or significance and original forms of translated stage directions.
Where two or more early editions are involved, for instance with Othello, the notes also record all important differences between them.
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The textual notes take a form that has been in use since the nineteenth century. This comprises, first: line reference, reading adopted in the text and closing bracket; then: abbreviated reference, in italic, to the earliest edition to adopt the accepted reading, italic semicolon and noteworthy alternative reading s , each with abbreviated italic reference to its source.
Distinctive spellings of the base text follow the square bracket without indication of source and are enclosed in italic brackets. Names enclosed in italic brackets indicate originators of conjectural emendations when these did not originate in an edition of the text, or when the named edition records a conjecture not accepted into its text. Stage directions SDs are referred to by the number of the line within or immediately after which they are placed. Line numbers with a decimal point relate to centred entry SDs not falling within a verse line and to SDs more than one line long, with the number after the point indicating the line within the SD: e.
Lines of SDs at the start of a scene are numbered 0. It can't be his eyes that are bad, because even monkeys looking at two women like this would pick one by making noises at her and make faces at the other one. It can't be his common sense, because idiots would definitely know the right answer when deciding which was better. Or desire, because messiness contrasted with such neat superiority would make anyone throw up rather than desire the messy one. What is the matter, trow?
The cloyed will, That satiate yet unsatisfied desire, that tub Both fill'd and running, ravening first the lamb Longs after for the garbage.
Celts: c. from BCE - c. - Oxford Reference
He's stuffed himself, he's satisfied his desire but is not satisfied, he's a tub that's filled but still emptying out, he's devoured the lamb and now is hungry for garbage. What, dear sir, Thus raps you? Are you well? Thanks, madam; well.
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Beseech you, sir, desire My man's abode where I did leave him: he Is strange and peevish. I was going, sir, To give him welcome. Continues well my lord? His health, beseech you? Well, madam. Is he disposed to mirth? I hope he is. Exceeding pleasant; none a stranger there So merry and so gamesome: he is call'd The Briton reveller.
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He's very good company. There's no other stranger there so happy and eager to play games. He's called the British partier. When he was here, He did incline to sadness, and oft-times Not knowing why. I never saw him sad. There is a Frenchman his companion, one An eminent monsieur, that, it seems, much loves A Gallian girl at home; he furnaces The thick sighs from him, whiles the jolly Briton— Your lord, I mean—laughs from's free lungs, cries 'O, Can my sides hold, to think that man, who knows By history, report, or his own proof, What woman is, yea, what she cannot choose But must be, will his free hours languish for Assured bondage?
I never saw him be sad.
He has a companion, a Frenchman, a well-known man, who is in love with a French girl back home. He's always sighing like a furnace for her, while the cheerful Briton—your husband, I mean—laughs deeply, and cries out: "Oh, I think I'll split my sides laughing, just thinking that any man who knows by history, other people's stories, or his own experience, what women are like, no —what they can't help being like, would spend his free time pining for a woman who would make him her slave!
Will my lord say so?
Eighteenth-Century Poetry: An Annotated Anthology, 3rd Edition
Ay, madam, with his eyes in flood with laughter: It is a recreation to be by And hear him mock the Frenchman. But, heavens know, Some men are much to blame. Yes, ma'am, crying with laughter. It's such fun to be near him and hear him make fun of the Frenchman.
Heaven knows, some men do terrible things. Not he, I hope. Not he: but yet heaven's bounty towards him might Be used more thankfully. In himself, 'tis much; In you, which I account his beyond all talents, Whilst I am bound to wonder, I am bound To pity too. Not him. But the gifts the gods gave him could be used better. It's terrible for him.