336 COMEDY OF ERRORS. That e'er I put between your holy looks throughout is written in the very spirit of its author. "Our sweetest Shakspeare, Fancy's child, This was necessary to observe in mere justice to the ADDITIONAL NOTE. I will just take occasion to observe here, that at page 316, Sc. 3, of this play, Paulina says of Hermione, coma gracious innocent soul; trasting her with Leontes, that she is More free than he is jealous.' Where the epithet free evidently means chaste, pure. I regret that this instance did not occur to me when I wrote the note on Twelfth Night, p. 108, note 6. COMEDY OF ERRORS. PRELIMINARY REMARKS. was swayed by custom in introducing it into his early plays there can be no doubt; for it should be remembered that this kind of versification is to be found in Love's Labour's Lost, and in The Taming of the Shrew. His better judgment made him subsequently abandon IL as a model has not come down to us. There was a transThe particular translation from Plautus which served THE general idea of this play is taken from the Menæchmi of Plautus, but the plot is entirely recast, and rendered much more diverting by the variety and quick succession of the incidents. To the twin brothers of Plautus are added twin servants, and though this increases the improbability, yet, as Schlegel observes, 'when once we have lent ourselves to the first, which certainly borders on the incredible, we should not pro-lation of the Menæchmi, by W. W. (Warner), published bably be disposed to cavil about the second; and if the spectator is to be entertained with mere perplexities, they cannot be too much varied.' The clumsy and inartificial mode of informing the spectator by a prologue of events, which it was necessary for him to be acquainted with in order to enter into the spirit of the piece, is well avoided, and shows the superior skill of the modern dramatist over his ancient prototype. With how much more propriety is it placed in the mouth of Egeon, the father of the twin brothers, whose character is sketched with such skill as deeply to interest the reader in his griefs and misfortunes. Developement of character, however, was not to be expected in a piece which consists of an uninterrupted series of mistakes and laughter-moving situations. Steevens most resolutely maintained his opinion that this was a play only retouched by the hand of Shakspeare, but he has not given the grounds upon which his opinion was formed. We may suppose the doggerel verses of the dramas, and the want of distinct characterization in the dramatis personæ, together with the farcelike nature of some of the incidents, made him draw this conclusion. Malone has given a satisfactory answer to the first objection, by adducing numerous examples of the same kind of long verse from the dramas of several of his contemporaries; and that Shakspeare in 1695, which it is possible Shakspeare may have seen in manuscript; but from the circumstance of the brothers lus Erotes or Errotis, and Antipholus Sereptus, perbeing, in the folio of 1623, occasionally styled Antiphohaps for Surreptus and Erraticus, while in Warner's translation the brothers are named Menæchmus Sosicles was not the poet's authority. It is difficult to pronounce and Menæchmus the traveller, it is concluded that he decidedly between the contending opinions of the critics, but the general impression upon my mind is that the whole of the play is from the hand of Shakspeare. Dr. well in the broad exuberance of its mirth as in the cast Drake thinks it is visible throughout the entire play, as of its more chastised parts, a combination of which may be found in the character of Pinch, who is sketched in his strongest and most marked style. We may conclude with Schlegel's dictum, that this is the best of all written or possible Menæchmi; and if the piece is inferior in worth to other pieces of Shakspeare, it is merely because nothing more could be made of the materials." Malone first placed the date of this piece in 1503, or 1596, but lastly in 1592. Chalmers plainly showed that it should be ascribed to the early date of 1591. It was neither printed nor entered on the Stationers' books until it appeared in the folio of 1623. ACT I. SCENE I. A Hall in the Duke's Palace. Enter tendants. PROCEED, Solinus, to procure my fall, If any, born at Ephesus, be seen My woes end likewise with the evening sun. Duke. Well, Syracusan, say, in brief, the cause Than I to speak my griefs unspeakable: And, which was strange, the one so like the other, A league from Epidamnum had we sail'd, 1 A gilder was a coin valued from one shilling and *xpence to two shillings. 21. e. natural affection. 3 The old copy reads he: the emendation is Malone's. It is a happy restoration; for the manner in which Steevens pointed this passage gave to it a confused if not an absurd meaning. 4 The word poor was supplied by the editor of the second folio. 5 Instance appears to be used here for symptom or prognostic. Shakspeare uses this word with very great Saturde. Before the always wind-obeying deep Duke. Nay, forward, old man, do not break off so; Ege. O, had the gods done so, I had not now guests; And would have reft the fishers of their prey, course. Thus you have heard me sever'd from my bliss; Duke. And, for the sake of them thou sorrowest 8 Do me the favour to dilate at full 6 The first folio reads borne up.' care, 7 The second folio altered this to helpful welcome;' but change was unnecessary. A healthful welcome is a kind welcome, wishing health to their guests. It was not a helpful welcome, for the slowness of their bark prevented them from rendering assistance. 8 It appears, from what goes before, that it was the eldest, and not the youngest. He says, 'My wife, more careful of the latter born,' &c. 9 The first folio reads so; the second for. 10 The personal pronoun he is suppressed: such phraseology is not unfrequent in the writings of that age. 43 1333 I hazarded the loss of whom I lov'd. I to the world am like a drop of water, Here comes the almanack of my true date, Duke. Hapless Egeon, whom the fates have What now? How chance, thou art return'd so soon! mark'd can: To bear the extremity of dire mishap! geon wend, [Exeunt. SCENE II. A public Place. Enter ANTIPHOLUS And, not being able to buy out his life, Dies ere the weary sun set in the west. There is your money that I had to keep. Dro. E. Return'd so soon! rather approach'd too The capon burns, the pig falls from the spit: Ant. S. Stop in your wind, sir; tell me this, 1 To last, pay the saddler for my mistress' crupper ;The saddler had it, sir, I kept it not. Ant. S. I am not in a sportive humour now: Tell me and dally not, where is the money? So great a charge from thine own custody? We being strangers here, how dar'st thou trust Dro. E. I pray you, jest, sir, as you sit at dinner: I from my mistress come to you in post; If I return, I shall be post indeed; For she will score your fault upon my pate. Methinks, your maw, like mine, should be your clock," And strike you home without a messenger. Ant. S. Čome, Dromio, come, these jests are out of season; Ant. S. Go bear it to the Centaur, where we host, Reserve them till a merrier hour than this: And stay there, Dromio, till I come to thee. Dro. S. Many a man would take you at your Home to your house, the Phoenix, sir, to dinner; word, And go indeed, having so good a mean. [Exit DRO. S. Ant. S. A trusty villain, sir; that very oft, When I am dull with care and melancholy, Lightens my humour with his merry jests. What, will you walk with me about the town, And then go to my inn, and dine with me? Mer. I am invited, sir, to certain merchants, Of whom I hope to make much benefit; I crave your pardon, Soon, at five o'clock, Please you, I'll meet with you upon the mart: And afterwards consort you till bed-time; My resent business calls me from you now. Ant S. Farewell till then: I will go lose myself, And wander up and down, to view the city. Mer. Sir, I commend you to your own content. [Exit Merchant. Ant. S. He that commends me to my own content, Commends me to the thing I cannot get. 1 No, which is the reading of the first folio, was anciently often used for not. The second folio reads not. 2 Go. 3 That is, a faithful slave. It is the French sense of t'e word. ་ 41. e. accompany you. In this line the emphasis must be laid on time, at the end of the line, to preserve the metre. My mistress, and her sister, stay for you. Ant. S. Now, as I am a christian, answer me, In what safe place you have bestow'd my money Or I shall break that merry sconce of yours, That stands on tricks when I am undispos'd: Where is the thousand marks thou hadst of me? Dro. E. I have some marks of yours upon my pate, Some of my mistress' marks upon my shoulders, But not a thousand marks between you both.If I should pay your worship those again, Perchance you will not bear them patiently. Ant S. Thy mistress' marks! what mistress, slave, hast thou? Dro. E. Your worship's wife, my mistress at the Phoenix; She that doth fast, till you come home to dinner, And prays, that you will hie you home to dinner. Ant. S. What, wilt thou flout me thus unte my 7 The old copy reads cook. The emendation is Pope's 8 Sconce is head. So in Hamlet, Act v. Sc. Why does he suffer this rude knave to knock h about the sconce,' A sconce signified a blockhouse, strong fortification, for the most part round, in fashion 5 Confounded, here, does not signify destroyed, as of a head,' says Blount. I suppose that it was abrient Malone asserts; but overwhelmed, mixed confusedly ly used for a lantern also, on account of the round together, lost. form of that implement. Dro. E. What mean you, sir? for God's sake, hold your hands; Nay, an you will not, sir, I'll take my heels. If it prove so, I will be gone the sooner. ACT II. [Exit. Adr. Neither my husband, nor the slave return'd, Luc. Well, I will marry one day, but to try ;Here comes your man, now is your husband nigh. Enter DROMIO of Ephesus. Adr. Say, is your tardy master now at hand? Dro. E. Nay, he is at two hands with me, and that my two ears can witness. Adr. Say, didst you speak with him? know'st thou his mind? Dro. E. Ay, ay, he told his mind upon mine ear: Beshrew his hand, I scarce could understand it. Luc. Spake he so doubtfully, thou could'st not feel his meaning? Dro. E. Nay, he struck so plainly, I could too well feel his blows; and withal so doubtfully, that I could scarce understand them.10 Adr. But say, I pr'ythee, is he coming home? Adr. Horn-mad, thou villain? Dro. E. I mean not cuckold-mad; but, sure, he's stark mad: When I desir'd him to come home to dinner, Luc. Perhaps, some merchant hath invited him, He ask'd me for a thousand marks in gold: A man is master of his liberty: Time is their master; and when they see time, Adr. This servitude makes you to keep unwed. some sway. Luc. Ere I learn love, I'll practise to obey. where ?5 Luc. Till he come home again, I would forbear. pause; They can be meek, that have no other cause." 1 i. e. overreached. : Your meat doth burn, quoth I; My gold, quoth he: Dro. E. Quoth my master: I know, quoth he, no house, no wife, no mistress ;— Adr. Go back again, thou slave, and fetch him home. You spurn me hence, and he will spurn me hither: [Exit. Luc. Fie, how impatience loureth in your face! 2 This was the character which the ancients gave of Of my defeatures:15 My decayed fair1 3 That is, licentious actions, sinful liberties. 4 The meaning of this passage may be, that those who refuse the bridle must bear the lash, and that woe is the punishment of headstrong liberty.• 5 Elsewhere, other where; in another place, alibi, says Baret. The sense is, 'How if your husband fly off in pursuit of some other woman?' 6 To pause is to rest, to be quiet. 7 i. e. no cause to be otherwise. 8 That is, by urging me to patience which affords no help. 9Fool-begged patience' is that patience which is so near to idiotical simplicity, that you might be represented to be a fool, and your guardianship begg'd accordingly. 10 i. e. scarce stand under them. Act:- 'Therefore, merchant, I'll liinit thee this day.' spherical, as applied to himself; and unrestrained, or 13 He plays upon the word round, which signifies free in speech or action, as regards his mistress. The King in Hamlet desires the Queen to be round with her sen. seventy-fifth:- "When that mine eye is famish'd for a look.' 15 Defeat and defeature were used for disfigurement or alteration of features. Cotgrave has 'Un visage desfaict: Growne very leane, pale, wan, or decayed in 11 Home is not in the old copy: it was supplied to feature and colour.' complete the verse by Capell. 16 Fair, strictly speaking, is not used here for fair. A sunny look of his would soon repair: pense. I know his eye doth homage otherwhere; Or else, what lets it but he would be here? Will lose his beauty; and though gold 'bides still, Syracuse. Ant. S. The gold, I gave to Dromio, is laid up How now, sir? is your merry humour alter'd? Ant. S. Even now, even here, not half an hour since. Dro. S. I did not see you since you sent me hence, Home to the Centaur, with the gold you gave me. Ant. S. Villain, thou didst deny the gold's receipt; And told'st me of a mistress, and a dinner; For which, I hope, thou felt'st I was displeas'd. Dro. S. I am glad to see you in this merry vein: What means this jest? I pray you, master, tell me. Ant. S. Yea, dost thou jeer, and flout me in the teeth? Think'st thou, I jest? Hold, take thou that, and that. [Beating him. Dro. S. Hold, sir, for God's sake: now your jest is earnest: ness, as Steevens supposed; but for beauty. Shaks. peare has often employed it in this sense, without any relation to whiteness of skin or complexion. The use of the substantive instead of the adjective, in this instance, is not peculiar to him; but the common practice of his contemporaries. I Though Shakspeare sometimes uses stale for a de. coy or bait, I do not think that he meant it here; or that Adriana can mean to call herself his stalking-horse. Probably she means she is thrown aside, forgotten, cast off, become stale to him. The dictionaries, in voce Eroletus, countenance this explanation. 2 Hinders. 3 i. e. intrude on them when you please. 4 Study my countenance. Dro. S. Sconce, call you it? so you would leave battering, I had rather have it a head: an you use these blows long, I must get a sconce for my head, and insconce it too; or else I shall seek my wit a my shoulders. But, I pray, sir, why am I beaten Ant. S. Dost thou not know? Dro. S. Nothing, sir; but that I am beaten. Dro. S. Ay, sir, and wherefore; for, they say, every why hath a wherefore. Ant. S. Why, first,-for flouting me; and then, wherefore, For urging it the second time to me. Dro. S. Was there ever any man thus beaten out of season? Ant. S. In good time, sir, what's that? Ant. S. Well, sir, then 'twill be dry. Dro. S. Lest it make you choleric, and purchase me another dry basting. Ant. S. Well, sir, learn to jest in good time; There's a time for all things. Dro. S. I durst have denied that, before you were so choleric. Ant. S. By what rule, sir? Dro. S. Marry, sir, by a rule as plain as the plain bald pate of father Time himself. Ant. S. Let's hear it. Dro. S. There's no time for a man to recover his hair, that grows bald by nature. Ant. S. May he not do it by fine and recovery Dro. S. Yes, to pay a fine for a periwig, and recover the lost hair of another man. Ant. S. Why is time such a niggard of hair, being, as it is, so plentiful an excrement? Dro. S. Because it is a blessing that he beston's on beasts: and what he hath scanted men in hair, he hath given them in wit. Ant. S. Why, but there's many a man hath more hair than wit." Dro. S. Not a man of those, but he hath the wit to lose his hair.10 Ant. S. Why, thou didst conclude hairy men plain dealers without wit. Dro. S. The plainer dealer, the sooner lost: Yet he loseth it in a kind of jollity. Ant. S. For what reason? Dro. S. For two; and sound ones too. Ant. S. Nay, not sound, I pray you. Dro. S. Sure ones, then. Ant. S. Nay, not sure, in a thing falsing.11 And I expressly am forbid to touch it, 7 This is another instance of Shakspeare's acquaintance with technical law terms. 8 The old copy reads them: the emendation is Theobald's. 9 The following lines Upon [Suckling's] Aglaura, printed in folio,' may serve to illustrate this proverbial sentence:- This great voluminous pamphlet may be said To be like one that hath more hair than head; More excrement than body :-trees which sprout With broadest leaves have still the smallest fruit' Parnassus Bierps, 1656 10 Shakspeare too frequently alludes to this loss of 5 A sconce was a fortification; to insconce was to hair by a certain disease. It seems to have been a joke hide, to protect as with a fort. 6 So in The Taming of the Shrew: 'I tell thee, Kate, 'twas burnt and dried away, that pleased him, and probably tickled his auditors. 11 To false, as a verb, has been long obsolete; but i was current in Shakspeare's time. |