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SCENE IV.

A Room in Leonato's House.

Enter LEONATO, ANTONIO, BENEDICK, BEATRICE, URSULA, Friar, and HERO.

FRIAR. Did I not tell you she was innocent? LEON. So are the prince and Claudio, who accus'd her,

Upon the error that you heard debated:
But Margaret was in some fault for this;
Although against her will, as it appears
In the true course of all the question.

ANT. Well, I am glad that all things sort so well. BENE. And so am I, being else by faith enforc'd To call young Claudio to a reckoning for it.

LEON. Well, daughter, and you gentlewomen all, Withdraw into a chamber by yourselves; And, when I send for you, come hither mask'd: The prince and Claudio promis'd by this hour

7 And, Hymen, now with luckier issue speed's,

Than this, for whom we render'd up this woe!] The old copy has speeds. STEEVENS.

Claudio could not know, without being a prophet, that this new proposed match should have any luckier event than that designed with Hero. Certainly, therefore, this should be a wish in Claudio; and, to this end, the poet might have wrote, speed's; i.e. speed us and so it becomes a prayer to Hymen.

THIRLBY.

The contraction introduced is so extremely harsh, that I doubt whether it was intended by the author. However I have followed former editors in adopting it. MALONE.

To visit me :-You know your office, brother; You must be father to your brother's daughter, And give her to young Claudio. [Exeunt Ladies. ANT. Which I will do with confirm'd counte

nance.

BENE. Friar, I must entreat your pains, I think.. FRIAR. To do what, signior?

BENE. To bind me, or undo me, one of them.Signior Leonato, truth it is, good signior, Your niece regards me with an eye of favour. LEON. That eye my daughter lent her; 'Tis most

true.

BENE. And I do with an eye of love requite her. LEON. The sight whereof, I think, you had from

me,

From Claudio, and the prince; But what's

will?

BENE. Your answer, sir, is enigmatical:
But, for my will, my will is, your good will
May stand with ours, this day to be conjoin'd
In the estate of honourable marriage ;-
In which, good friar, I shall desire your help.
LEON. My heart is with your liking.

FRIAR.

Here comes the prince, and Claudio.

your

And

my help.

* In the estate of honourable marriage;] Marriage, in this instance, is used as a trisyllable. So, in The Taming of the Shrew, Act III. sc. ii:

""Twere good, methinks, to steal our marriage."

STEEVENS.

Enter Don PEDRO and CLAUDIO, with Attendants.

D. PEDRO. Good morrow to this fair assembly. LEON. Good morrow, prince; good morrow, Claudio;

We here attend you; Are you yet determin'd To-day to marry with my brother's daughter? CLAUD. I'll hold my mind, were she an Ethiope. LEON. Call her forth, brother, here's the friar ready. [Exit ANTONIO.

D. PEDRO. Good morrow, Benedick: Why, what's the matter,

That you have such a February face,

So full of frost, of storm, and cloudiness?

CLAUD. I think, he thinks upon the savage bull: 9

Tush, fear not, man, we'll tip thy horns with gold, And all Europa shall rejoice at thee;'

As once Europa did at lusty Jove,

When he would play the noble beast in love.

BENE. Bull Jove, sir, had an amiable low;

And some such strange bull leap'd your father's

cow,

And got a calf in that same noble feat,
Much like to you, for you have just his bleat.

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the savage bull:] Still alluding to the passage quoted in a former scene from Kyd's Hieronymo. STEEVENS.

1 And all Europa shall &c.] I have no doubt but that our author wrote

And all our Europe, &c.

So, in King Richard II:

"As were our England in reversion his." STEEVENS.

Re-enter ANTONIO, with the Ladies masked.

CLAUD. For this I owe you here come other reckonings.

Which is the lady I must seize upon?

ANT. This same is she, and I do give you her. CLAUD. Why, then she's mine: Sweet, let me see your face.

LEON. No, that you

hand

shall not, till you take her

Before this friar, and swear to marry her.

CLAUD. Give me your hand before this holy friar

I am your husband, if you like of me.

HERO. And when I lived, I was your other wife:

[Unmasking. And when you loved, you were my other husband. CLAUD. Another Hero?

HERO.

Nothing certainer:

One Hero died defil'd; but I do live,

And, surely as I live, I am a maid.

D. PEDRO. The former Hero! Hero that is dead! LEON. She died, my lord, but whiles her slander

lived.

FRIAR. All this amazement can I qualify; When, after that the holy rites are ended, I'll tell you largely of fair Hero's death:

Ant. This same &c.] This speech is in the old copies given to Leonato. Mr. Theobald first assigned it to the right owner. Leonato has in a former part of this scene told Antonio, that he “must be father to his brother's daughter, and give her to young Claudio." MALONE.

Mean time, let wonder seem familiar,
And to the chapel let us presently.

BENE. Soft and fair, friar.-Which is Beatrice? BEAT. I answer to that name; [Unmasking] What is your will?

BENE. Do not you love me?

BEAT.

No, no more than reason."

BENE. Why, then your uncle, and the prince, and Claudio,

Have been deceived; for they swore you did.*
BEAT. Do not you love me?

BENE.

No, no more than reason."

BEAT. Why, then my cousin, Margaret, and

Ursula,

Are much deceiv'd; for they did swear, you did.

BENE. They swore that you were almost sick for

me.

BEAT. They swore that you were well-nigh dead for me.

BENE. 'Tis no such matter:-Then, you do not love me?

3 No, no more than reason.] The old copies, injuriously to metre, read-Why, no, &c. It should seem that the compositor's eye had caught here the unnecessary adverb from the following speech. STEEVENS.

for they swore you did.] For, which both the sense and metre require, was inserted by Sir Thomas Hanmer. So,

below:

5

"Are much deceiv'd; for they did swear you did."

MALONE.

No, no more than reason.] Here again the metre, in the old copies, is overloaded by reading-Troth, no, no more, &c.

STEEVENS.

VOL. VI.

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