Class ___IA1^ 
 
 Book._^ 
 
 .^, "IP < 
 
 CopyriglitE^. 
 
 COPYRIGHT DEPOSIT. 
 

 Ephesus. 
 
SHAKESPEARE'S 
 
 The Comedy of Errors 
 
 EDITED, WITH NOTES 
 BY 
 
 WILLIAM J. ROLFE, Litt.D. 
 
 FORMERLY HEAD MASTER OF THE HIGH SCHOOL 
 CAMBRIDGE, MASS. 
 
 ILLUSTRATED 
 
 NEW YORK . : • CINCINNATI • : • CHICAGO 
 
 AMERICAN BOOK COMPANY 
 
luEftAHYcf OGNGKESS 
 I Two Copies Secsived 
 
 JAN 4 1905 
 Oopynsnt entry 
 
 ©OPY 8. 
 
 i /o6 
 
 I ©OP1 
 
 1T\ ^ t 
 
 Of 
 
 
 -SJmkasfMflana 
 
 Copyright, i88i and 1898, by 
 HARPER & BROTHERS. 
 
 Copyright, 1905, by 
 WILLIAM J. ROLFE. 
 
 THE COMEDY OF ERRORS. 
 
 w. p. I 
 
PREFATORY NOTE 
 
 This play, which I first edited in 1881, has now 
 been very thoroughly revised on the same general plan 
 as the earlier volumes in the series. The Notes have 
 been materially enlarged. 
 
CONTENTS 
 
 PAGB 
 
 Introduction to The Comedy of Errors ... 9 
 
 The History of the Play 9 
 
 The Source of the Plot 14 
 
 General Comments on the Play 15 
 
 The Comedy of Errors , . 25 
 
 Act I . . 27 
 
 Act II , . . . .38 
 
 Act III 53 
 
 Act IV 68 
 
 ActV 89 
 
 Notes 109 
 
 Appendix 
 
 Meres's Mention of the Play 181 
 
 Plautus and Shakespeare 182 
 
 The Period of the Action 187 
 
 The Characters of the Twins 190 
 
 The Duration of the Action •195 
 
 List of Characters in the Play 195 
 
 Index of Words and Phrases explained . . . 197 
 
 7 
 
r 
 
 
 r*^''?<=» 
 
 
 
 -V T*" .g^'" 
 
 Syracuse. 
 
Corinth 
 
 INTRODUCTION TO THE COMEDY OF 
 ERRORS 
 
 The History of the Play 
 
 The precise order of the early comedies cannot be 
 definitely settled, but The Comedy of Errors prob- 
 ably followed The Two Gentlemen of Verona, though 
 some critics believe that it preceded that play. All 
 agree that it was one of the earliest of the plays, though 
 first printed in the folio of 1623. It is quite certainly 
 the ^^ Comedy of Errors, like to Plautus his Me7iech77iU5,^'' 
 which, according to the Gesta Grayorum, was played at 
 Gray's Inn, in December, 1594. The pun in iii. 2. 121 
 on France " making war against her heir " would seem 
 to show that the play was written between August, 1589, 
 when the civil war about the succession of Henry IV. 
 
 9 
 
lo The Comedy of Errors 
 
 began, and July, 1593, when it ended. A writer in 
 the North British Review (April, 1870) attempts to show 
 that events in French history of earlier date are alluded 
 to. Henry of Navarre, he says, became heir to the 
 throne on the death of the Duke of Anjou in 1584, and 
 remained so until he became king on the murder of 
 Henry HI., August 2, 1589. 
 
 The majority of editors date the play in 1591, though 
 some place it as early as 1589 and others as late as 
 
 1593- 
 
 The performance of the play at Gray's Inn during 
 the Christmas holidays of 1594 was notable in more 
 ways than one. The students had made preparations 
 for revels on a scale of exceptional magnificence. The 
 sports were to include burlesque performances, masques, 
 plays, and dances, as well as processions through Lon- 
 don and on the Thames. A mock court was held at 
 the Inn under the presidency of one Henry Helmes, a 
 Norfolk gentleman, who was elected Prince of Purpoole, 
 the ancient name of the manor, other students being 
 elected to serve under him in the various offices apper- 
 taining to royal government. The grand entertainment 
 of all was arranged for the evening of Innocents' Day, 
 December 28, on which occasion high scaffolds had 
 been erected in the hall for the accommodation of the 
 revellers and the principal guests. The students of 
 the Inner Temple, as an embassy credited by their 
 Emperor, arrived about nine o'clock " very gallantly 
 appointed." The ambassador was "brought in very 
 
Introduction 1 1 
 
 solemnly, with sound of trumpets, the King-at-Arms 
 and Lords of Purpoole making to his company, which 
 marched before him in order ; he was received very 
 kindly by the Prince, and placed in a chair beside his 
 Highness, to the end that he might be partaker of the 
 sports intended." Complimentary addresses were then 
 exchanged between the Prince and the ambassador, but, 
 owing to defective arrangements for a limitation of the 
 number of those entitled to admission on the stage, 
 there followed a scene of confusion which ended in the 
 students of the Temple retiring in dudgeon. " After 
 their departure, the throngs and tumults did somewhat 
 cease, although so much of them continued as was able 
 to disorder and confound any good inventions whatso- 
 ever; in regard whereof, as also for that the sports 
 intended were especially for the gracing of the Templa- 
 rians, it was thought good not to offer anything of ac- 
 count saving dancing and revelling with gentlewomen ; 
 and after such sports a Comedy of Errors . . . was 
 played by the players, so that night was begun and con- 
 tinued to the end in nothing but confusion and errors, 
 whereupon it was ever afterwards called the Night of 
 Errors." 
 
 On the next evening there was a Commission of 
 Oyer and Terminer at Gray's Inn to inquire into the 
 disturbances of the previous night, the cause of the 
 tumult being ascribed to the intervention of a sorcerer, 
 who was accused of having " foisted a company of base 
 and common fellows to make up our disorders with a 
 
12 The Comedy of Errors 
 
 play of error and confusions." It is almost certain that 
 this uncomplimentary description refers to the Lord 
 Chamberlain's company, who were the owners of the 
 play and performed it on this occasion. It was the cus- 
 tom of the Inns of Court at that time to engage pro- 
 fessional actors for their dramatic entertainments. It 
 would appear that the students endeavoured to excul- 
 pate themselves by throwing the blame of the disorder 
 upon the players. 
 
 Gray's Inn still stands in Gray's Inn Lane (leading 
 from the north side of Holborn) in London. It derives 
 its name from the family of Grey de Wilton, to whom 
 it anciently belonged. The vast court, with the steep 
 roofs and small-paned windows, encloses the elegant 
 hall (built in 1560), in which, at all festive meetings, 
 the only toast proposed is " the glorious, pious, and im- 
 mortal memory of Queen Elizabeth," who always treated 
 the members of the Inn with great distinction. 
 
 Bacon, who became a bencher of Gray's Inn in 1586, 
 wrote his Novum Organum there — but not The Comedy 
 of Errors, we may safely say. His father. Sir Nicho- 
 las Bacon, had been among the many eminent men 
 v/ho were members of the institution ; like Sir William 
 Gascoigne, the judge who condemned Prince Hal to 
 prison for contempt of court. Bishop Gardiner, Bishop 
 Hall, and Archbishop Laud. On the west side of the 
 gardens " Lord Bacon's Mount " stood until recent 
 years, corresponding to the " mount of some pretty 
 height, leaving the wall of the enclosure breast high, to 
 
Introduction 13 
 
 look abroad into the fields," which he recommends in 
 his Essay " On Gardens." 
 
 These gardens were a fashionable promenade in the 
 time of Charles II. Pepys, writing in May, 1662, says : 
 "When church was done, my wife and I walked to 
 Gray's Inn, to observe the fashions of the ladies, be- 
 cause of my wife's making some clothes." In 162 1 
 Howell had written of them as "the pleasantest place 
 about London, with the choicest society." At that time, 
 and much later, the Inn was almost in the country, for 
 we read in the Spectator (no. 269) : "I was no sooner 
 come into Gray's Inn Walks but I heard my friend 
 (Sir Roger de Coverley) upon the terrace, hemming 
 twice or thrice to himself with great vigour, for he loves 
 to clear his pipes in good air, to make use of his own 
 phrase," etc. 
 
 Gray's Inn is described by Dickens in The Uncom- 
 mercial Traveller, and by Hawthorne in his English 
 Note Books. The latter remarks : " Gray's Inn is a 
 great quiet domain, quadrangle beyond quadrangle, 
 close beside Holborn, and a large space of greensward 
 enclosed within it. It is very strange to find so much of 
 ancient quietude right in the monster city's very jaws, 
 which yet the monster shall not eat up — right in its 
 very belly, indeed, which yet, in all these ages, it shall 
 not digest and convert into the same substance as the 
 rest of its bustling streets. Nothing else in London is 
 so like the effect of a spell as to pass under one of 
 these archways and feel yourself transported from the 
 
14 The Comedy of Errors 
 
 jumble, rush, tumult, uproar, as of an age of week-days 
 condensed into the present hour, into what seems an 
 eternal Sabbath." 
 
 More than one writer has referred to the Middle 
 Temple Hall (where Twelfth Night ^2.^ played in 1602) 
 as the only building still remaining in London where 
 one of Shakespeare's plays is known to have been per- 
 formed in his lifetime ; but the hall of Gray's Inn is 
 another, though the only other. 
 
 The Comedy of Errors is the shortest of the plays, 
 having only 1778 lines (" Globe " edition), while Ham- 
 let, the longest, has 3930, Richard III. 3620, Troilus and 
 Cressida 3496, etc. The next shortest is The Tempest 
 with 2065, the next Macbeth with 2108, and the next 
 A Midsummer-nighf s Dream with 2180. The average 
 length of the entire series of plays is about 3000 lines. 
 
 The Source of the Plot 
 
 The general idea of the plot is taken from the 
 Mencechmi of Plautus, but with material changes and 
 additions. To the twin brothers of the Latin dramatist 
 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 probably be 
 disposed to cavil about the second ; and if the spectator 
 is to be entertained with mere perplexities, they cannot 
 be too much varied." 
 
Introduction 
 
 General Comments on the Play 
 
 Coleridge, commenting on this play in his Literary 
 Remains^ remarks : " The myriad-minded man, our, and 
 all men's, Shakspeare, has in this piece presented us 
 with a legitimate farce in exactest consonance with the 
 philosophical principles and character of farce, as dis- 
 tinguished from comedy and from entertainments. A 
 proper farce is mainly distinguished from comedy by 
 the license allowed, and even required, in the fable, in 
 order to produce strange and laughable situations. 
 The story need not be probable, it is enough that it is 
 possible. A comedy would scarcely allow even the two 
 Antipholuses ; because, although there have been in- 
 stances of almost indistinguishable likeness in two per- 
 sons, yet these are mere individual accidents, casus 
 ludentis naturce, and the verum will not excuse the in- 
 verisimile. But farce dares add the two Dromios, and 
 is justified in so doing by the laws of its end and con- 
 stitution. In a word, farces commence in a postulate 
 which must be granted." 
 
 But though the play is a farce rather than a comedy, 
 so far as the plot is based upon the confusion of iden- 
 tity in the adventures of the twin brothers and the twin 
 slaves, it is not a mere farce — something, indeed, which 
 NShakespeare seems to have been incapable of writing. 
 With this farcical plot he has interwoven a pathetic 
 story of domestic affection and misfortune, with which 
 the play begins and with which it ends, when the sor- 
 
1 6 The Comedy of Errors 
 
 row upon which the curtain rose is turned to gladness 
 as it falls. There is nothing of this in the old Latin 
 play, and only one or two of the commentators have 
 alluded to the manner in which the young Shakespeare 
 idealized and ennobled the story. Drake, in his Shake- 
 speare and his Times (1817), hints at it thus ; " In a play 
 of which the plot is so intricate, occupied in a great 
 measure by mere personal mistakes and their whimsical 
 results, no elaborate development of character can be 
 expected ; yet is the portrait of ^geon touched with a 
 discriminative hand^ and the pressure of age and mis- 
 fortune is so painted as to throw a solemn, dignified, 
 and impressive tone of colouring over this part of the 
 fable, contrasting well with the lighter scenes which 
 immediately follow — a mode of relief which is again 
 resorted to at the close of the drama, where the re- 
 union of ^geon and Emilia, and the recognition of 
 their children, produce an interest in the denouement 
 of a nature more affecting than the tone of the pre- 
 ceding scenes had taught us to expect." 
 
 Verplanck (whom I quote, as elsewhere, because his 
 admirable criticisms are out of print, and seldom to be 
 found in the libraries) remarks : — 
 
 " There are about ten or twelve plots of comic acci- 
 dent that have come down to our times from remote 
 antiquity — some in the narrative form and others in 
 the dramatic — which are so rich in unexpected or ludi- 
 crous situations and circumstances, so fertile in new 
 suggestions and combinations, that they have passed 
 
Introduction 17 
 
 along from generation to generation, through various 
 languages and widely differing forms of society, always 
 preserving the power of interesting and amusing, and 
 affording to one race of wits and authors after another 
 a happy groundwork for their own gayety or invention. 
 "Among these is the story of the MencBchmi of Plautus, 
 founded on the whimsical mistakes and confusion aris- 
 ing from the perfect resemblance of twin brothers. 
 Plautus is to us the original author of this amusing 
 plot ; but it is quite probable that the old Latin comic 
 writer stands in the same relation to some Greek pre- 
 decessor that the moderns do to him. There are some 
 Greek fragments preserved of a lost play of Menander's, 
 entitled Didymi, or The Twins, which, there is great 
 probability, was the original comedy here adapted by 
 Plautus, as it is known he did other Greek originals, to 
 the Latin stage. The subject became a favourite one 
 among the dramatists of the Continent at an early 
 period of our modern literature. A paraphrastic ver- 
 sion or adaptation of the Mencechmi was, it is supposed, 
 the very earliest specimen of dramatic composition in 
 the Italian language ; and, in various forms and addi- 
 tions, more or less fanciful, the subject has kept pos- 
 session of the Italian stage. There is also a Spanish 
 version of it about the date of The Comedy of Errors. 
 In France, Rotrou, the acknowledged father of the legi- 
 timate French drama, introduced a free translation or 
 imitation of Plautus 's original upon the French stage. 
 Le Noble farcified it some years after into The Two 
 
 COMEDY OF ERRORS — 2 
 
1 8 The Comedy of Errors 
 
 Harlequins ; and, finally, Regnard, in a free and spir- 
 ited imitation, transferred the scene from Asia Minor to 
 Paris, adapted to French manners and habits, clothed 
 his dialogue in gay and polished verses worthy of the 
 rival of Moli^re, and made the MencBchmi a part of the 
 classic French comedy. 
 
 " Such was the early and wide-spread popularity of this 
 plot, before and soon after Shakespeare's time, which I 
 mention rather as a curious fact of literary history, or 
 perhaps of the philosophy of our lighter literature, than 
 as directly connected with Shakespeare's choice of a 
 subject ; for, indeed, there is no clear indication that he 
 had recourse to any other original than the Latin of 
 Plautus himself. Of this there was, indeed, a bald and 
 somewhat paraphrastical translation by Warner, which 
 it is possible (though there is little probability of it) 
 that Shakespeare may have seen in manuscript. This 
 was published in 1595, which is later than the probable 
 date of The Co?nedy of Errors. There is also evidence 
 of the existence of an old play called The Historie of 
 Error, which was acted at court in 1576-77, and again 
 in 1582, and is conjectured by the critics to have been 
 founded on the same plot ; but this seems a mere gra- 
 tuitous conjecture, for which no reason but the use of 
 the word ' error ' in the title has been assigned. That 
 title would rather designate a masque or allegorical 
 pageant of Error than a comedy of laughable mistakes. 
 There is no resemblance between Warner's translation 
 and The Comedy of Errors, in any peculiarity of Ian- 
 
Introduction 19 
 
 guage, of names, or any matter, however slight, which 
 could not (like the main plot) have been drawn from 
 the original by a very humble Latinist. The accurate 
 Ritson has ascertained that there is not a single name, 
 or thought, or phrase peculiar to Warner to be traced 
 in Shakespeare's play. Steevens and others maintain 
 the opinion (to which Collier also seems to incline) that 
 the old court-drama of The Historie of Error was the 
 basis of the present play, that much of the dialogue, 
 incident, and character is retained, and that Shake- 
 speare merely remodeled the whole, and added some 
 of those scenes and portions which bear their own evi- 
 dence that they could have come from his pen alone. 
 
 "All these conjectural opinions, though made with 
 great confidence by several critics, seem to me wholly 
 unfounded. There is no external evidence whatever of 
 the existence of any such play as is alleged to have 
 been incorporated in this comedy, and the internal 
 evidence seems to me equally clear against a double 
 authorship by writers of different times and tastes. 
 The whole piece is written in the same buoyant spirit, 
 with no more pause to its gayety than was needed to 
 add to the interest by graver narrative dialogue. Broad 
 and farciful as much of it is, it has as much unity of pur- 
 pose and spirit as Macbeth itself. The dramatist used 
 the Latin comedy (whether in the original or a transla- 
 tion is immaterial on this occasion), as he afterwards 
 did Holinshed's history, using the incidents only as the 
 materials of his own invention ; and this was done in 
 
20 The Comedy of Errors 
 
 an unbroken strain of merry humour, as if the author 
 enjoyed all the while his own frolic conceptions and 
 the puzzle of his audience. Plautus had on his stage 
 a pair of resembhng brothers, to form the central action 
 of his plot. Such a resemblance, though rare, is not 
 out of the ordinary probability of life. Resemblances 
 sufficient to puzzle strangers and occasion ludicrous 
 mistakes are by no means uncommon ; while the judicial 
 annals of France (see Causes Celebres^ in the case of 
 Martin Guerre, and of New York in that of Hoag (1804), 
 exhibit a well-attested chain of perplexities arising from 
 such similarity of person, etc., even surpassing those of 
 the Menaechmi, or the Antipholuses and Dromios. Such 
 a resemblance then, however rare, is within the legiti- 
 mate range of classic comedy as a picture of ordinary 
 social life ; and Regnard has treated the subject accord- 
 ingly in a pure vein of chastised comic wit. But Shake- 
 speare, writing for a less polished audience, and himself 
 in the joyous mood of frolic youth, boldly overleaped 
 these bounds, added to the twin gentlemen of his pages 
 a pair of undistinguishable buffoon servants, and revelled 
 in the unrestrained indulgence of broad drollery. . . . 
 
 "The date of 1593, placing this among the author's 
 earlier works, corresponds with various other indications 
 of style and versification, and cast of thought, not de- 
 cisive in themselves. Thus the alternate rhymes in 
 which the courtship of the Syracusian Antipholus is 
 clothed is in the taste of Shakespeare's earlier poems, and 
 corresponds also with the versification of some of the 
 
Introduction 2i 
 
 love-scenes in the first edition of Romeo and Juliet, as 
 well as with passages in Love's Labour's Lost. The long 
 doggerel lines, in which so much of the more farcical 
 part is written, is a vestige of the older versification 
 still used on the stage at the commencement of Shake- 
 speare's dramatic career. This, in various forms of the 
 longer rhythm, had come down through English litera- 
 ture even from Saxon poetry, and had been employed 
 for the gravest subjects, as not unworthy of epic, narra- 
 tive, or devotional poetry. It had gradually given way, 
 for such purposes, to more cultivated metres, such as 
 are now in use, but was still used in dramatic composi- 
 tion by Shakespeare's immediate predecessors for all 
 purposes of dialogue, whether grave or gay. Shake- 
 speare (so far as I can trace the subject) seems to have 
 been the first who perceived the peculiar adaptation of 
 these long hobbling measures for ludicrous effect, and 
 who used them for nothing else." 
 
 I add some extracts from Charles Cowden-Clarke's 
 comments on the play : ^ — 
 
 " The reading of the play is like threading the mazes 
 of a dream, where people and things are the same and 
 not the same in the same moment. The mistakes, 
 crosses, and vexations in the plot so rapidly succeed 
 that to keep the course of events distinct in the mind 
 
 1 From the a;2/«Mj/5^fi? " Second Series" of the Shakespeare-Char- 
 acters, kindly sent to me by Mrs. Mary Cowden-Clarke for publication 
 in my former edition. Both series were originally written as popular 
 lectures, which were widely delivered in England. 
 
22 The Comedy of Errors 
 
 is almost as desperate an achievement as following all 
 the ramifications of a genealogical tree. . . . 
 
 " Hazlitt speaks of the 'formidable anachronism' com- 
 mitted by Shakespeare in introducing Pinch, the school- 
 master and conjurer, in Ephesus. It should appear, 
 however, that our poet has offered a greater violence to 
 consistency in establishing a convent and a lady abbess 
 under the nose of the goddess Diana. Nevertheless, 
 there is an admirably characteristic dialogue, and quite 
 in his own manner, between the Abbess and Adriana, 
 wife to Antipholus of Ephesus, in which the shrewd old 
 lady makes the jealous woman confess that her own 
 injudicious treatment of her husband's vagaries has 
 driven him mad [v. i. 44-86]. . . . 
 
 " Balthazar, the sober, sedate friend of Antipholus of 
 Ephesus, is like a first sketch of the staid and serious 
 Antonio in The Merchant of Venice. He commences 
 with a similar air of sadness ; and the judicious remon- 
 strance which the Ephesian merchant addresses to his 
 young friend, bidding him have patience and forbear- 
 ance with his wife's apparent caprice, is in the same 
 tone of quiet resignation of character which distinguishes 
 the Venetian merchant. 
 
 " Pinch (whom we cannot afford to part with for the 
 sake of avoiding the anachronism pointed out by Hazlitt 
 — who, by the way, was himself too good a judge of 
 excellence seriously to give up the character on that 
 score) affords a pleasant instance of Shakespeare's gay 
 exaggeration in humour ; the high spirits of an author 
 
Introduction 23 
 
 taking shape in his writing, as it were. The descrip- 
 tion of the fellow is capital : — 
 
 * Along with them 
 They brought one Pinch, a hungry, lean-fac'd villain, 
 A mere anatomy, a mountebank, 
 A threadbare juggler, and a fortune-teller, 
 A needy, hollow-eyed, sharp-looking wretch, 
 A living dead man. This pernicious slave. 
 Forsooth, took on him as a conjurer ; 
 And gazing in mine eyes, feeling my pulse, 
 And with no face, as 't were, outfacing me. 
 Cries out, I was possess'd.' 
 
 That touch of the ' no face ' sets the man, with his 
 attenuated vacant countenance and glowering eyes, 
 palpably before us. 
 
 " It forms an interesting examination to observe the 
 way in which the two greatest comic dramatic geniuses 
 that ever lived — Shakespeare and Moliere — have 
 each treated a similar subject. Both writers have taken 
 a comedy of Plautus ; a comedy curiously alike in main 
 particular — that of perfect resemblance of person in 
 the pairs of heroes. Shakespeare took the Roman's 
 comedy where the likeness between the twin brothers 
 Menaechmus forms the groundwork ; and Moliere took 
 the play where the precise doubling of the parts of 
 Amphitryon and Sosia by Jupiter and Mercury occasions 
 the dramatic intrigue. The task of adapting the Latin 
 author's humours to English apprehension of drollery, 
 and the rendering them appreciable to French taste. 
 
24 The Comedy of Errors 
 
 has been felicitously achieved in both instances ; and 
 while the fine philosophic gravity of Shakespeare has 
 thrown that intermixture of poetic feeling into the piece 
 with which his large soul could not help investing every 
 thing he touched, by the introduction of old ^geon's 
 opening story and the Lady Abbess's admonition, 
 Moliere's refined wit has retained his version through- 
 out in the enchanted region of mirth and vivacity. In 
 Shakespeare's play there is precisely that serious charm 
 added which we find in Nature herself throughout her 
 works ; while in the delightful mercurial Frenchman's 
 play every scene floats in an atmosphere of brilliancy 
 and buoyancy which suits the sportive theme he treats. 
 No dramatic writer comes so near to Shakespeare's 
 excellence as Moliere ; and even he only approaches 
 him on one ground — comic humour. But in his wit — 
 in the grace and wondrous naturalness of his wit — he 
 vies with the Prince of Dramatists. 
 
 " A main interest attaching to this play of The Comedy 
 of Errors is in the evidence it presents that Shake- 
 speare's earlier taste led him to classical ground for 
 subjects. His choice of the Venus and Adonis and of 
 the Lucrece for poems, and his selection of one of 
 Plautus's dramas for the plot of this comedy — most 
 probably one of Shakespeare's earliest plays — show his 
 student tendency for Greek and Roman themes ; a ten- 
 dency often evinced by youthful worshippers of the 
 
THE COMEDY OF ERRORS 
 
DRAMATIS PERSONM 
 
 SoLiNUS, duke of Ephesus. 
 
 iEoEON, a merchant of Syracuse. 
 
 Antipholus of Ephesus, ) twin brothers, and sons of iEgeon and 
 
 Antipholus of Syracuse, \ Emilia. 
 
 Dromio of Ephesus, / twin brothers, and attendants on the two 
 
 Dromio of Syracuse, f Antipholuses. 
 
 Balthazar, a merchant. 
 
 Angelo, a goldsmith. 
 
 First Merchant, friend to Antipholus of Syracuse. 
 
 Second Merchant, to whom Angelo is a debtor. 
 
 Pinch, a schoolmaster. 
 
 ^Emilia, wife to ^Egeon. 
 
 Adriana, wife to Antipholus of Ephesus. 
 
 LuciANA, her sister. _ 
 
 Luce, servant to Adriana. 
 
 A Courtesan. 
 
 Gaoler, Officers, and Other Attendants. 
 
 Scene: Ephesus. 
 
The Shipwreck 
 
 ACT I 
 
 Scene I. A Hall in the Duke's Palace 
 
 Enter Duke, tEgeon, Gaoler, Officers, and other 
 Attendants 
 
 yEgeon, Proceed, Solinus, to procure my fall, 
 And by the doom of death end woes and all. 
 
 Duke. Merchant of Syracusa, plead no more. 
 I am not partial to infringe our laws ; 
 The enmity and discord which of late 
 Sprung from the rancorous outrage of your duke 
 To merchants, our well-dealing countrymen, 
 Who wanting guilders to redeem their lives 
 Have seal'd his rigorous statutes with their bloods, 
 Excludes all pity from our threatening looks. 
 For, since the mortal and intestine jars 
 
 27 
 
28 The Comedy of Errors [Act 1 
 
 'Twixt thy seditious countrymen and us, 
 
 It hath in solemn synods been decreed, 
 
 Both by the Syracusians and ourselves. 
 
 To admit no traffic to our adverse towns. 
 
 Nay, more, if any born at Ephesus 
 
 Be seen at Syracusian marts and fairs, — 
 
 Again, if any Syracusian born 
 
 Come to the bay of Ephesus, he dies, 
 
 His goods confiscate to the duke's dispose, 20 
 
 Unless a thousand marks be levied, 
 
 To quit the penalty and to ransom him. 
 
 Thy substance, valued at the highest rate, 
 
 Cannot amount unto a hundred marks ; 
 
 Therefore by law thou art condemn'd to die. 
 
 u^geon. Yet this my comfort : when your words are 
 done. 
 My woes end Hkewise with the evening sun. 
 
 Duke. Well, Syracusian, say in brief the cause 
 Why thou departedst from thy native home. 
 And for what cause thou cam'st to Ephesus. 30 
 
 yEgeon. A heavier task could not have been impos'd 
 Than I to speak my griefs unspeakable ; 
 Yet, that the world may witness that my end 
 Was wrought by nature, not by vile offence, 
 I '11 utter what my sorrow gives me leave. 
 In Syracusa was I born, and wed 
 Unto a woman, happy but for me. 
 And by me too, had not our hap been bad. 
 With her I liv'd in joy ; our wealth increas'd 
 
Scene ij The Comedy of Errors 29 
 
 By prosperous voyages I often made 40 
 
 To Epidamnum, till my factor's death 
 
 And the great care of goods at random left 
 
 Drew me from kind embracements of my spouse, 
 
 From whom my absence was not six months old 
 
 Before herself, almost at fainting under 
 
 The pleasing punishment that women bear, ; 
 
 Had made provision for her following me. 
 
 And soon and safe arrived where I was. 
 
 There had she not been long but she became 
 
 A joyful mother of two goodly sons ; 50 
 
 And, which was strange, the one so like the other 
 
 As could not be distinguish 'd but by names. 
 
 That very hour and in the selfsame inn 
 
 A meaner woman was delivered 
 
 Of such a burden, male twins, both alike. 
 
 Those, for their parents were exceeding poor, 
 
 I bought and brought up to attend my sons. 
 
 My wife, not meanly proud of two such boys, 
 
 Made daily motions for our home return. 
 
 Unwilling I agreed ; alas ! too soon 60 
 
 We came aboard. 
 
 A league from Epidamnum had we sail'd 
 
 Before the always-wind-obeying deep 
 
 Gave any tragic instance of our harm ; 
 
 But longer did we not retain much hope, 
 
 For what obscured light the heavens did grant 
 
 Did but convey unto our fearful minds 
 
 A doubtful warrant of immediate death, 
 
JO The Comedy of Errors [Act i 
 
 Which though myself would gladly have embrac'd, 
 
 Yet the incessant weepings of my wife, 70 
 
 Weeping before for what she saw must come, 
 
 And piteous plainings of the pretty babes. 
 
 That mourn 'd for fashion, ignorant what to fear, 
 
 Forc'd me -to seek delays for them and me. 
 
 And this it was, for other means was none : 
 
 The sailors sought for safety by our boat. 
 
 And left the ship, then sinking-ripe, to us. 
 
 My wife, more careful for the latter-born, 
 
 Had fasten'd him unto a small spare mast, 
 
 Such as seafaring men provide for storms ; 80 
 
 To him one of the other twins was bound, 
 
 Whilst I had been like heedful of the other. 
 
 The children thus dispos'd, my wife and I, 
 
 Fixing our eyes on whom our care was fix'd, 
 
 Fasten'd ourselves at either end the mast. 
 
 And floating straight, obedient to the stream. 
 
 Was carried towards Corinth, as we thought. 
 
 At length the sun, gazing upon the earth, 
 
 Dispers'd those vapours that offended us, 
 
 And, by the benefit of his wished light, 90 
 
 The seas wax'd calm, and we discovered 
 
 Two ships from far making amain to us. 
 
 Of Corinth that, of Epidaurus this ; 
 
 But ere they came, — O, let me say no more ! 
 
 Gather the sequel by that went before. 
 
 Duke. Nay, forward, old man ; do not break off 30, 
 For we may pity, though not pardon thee. 
 
Scene I] The Comedy of Errors 31 
 
 ^geon. O, had the gods done so, I had not 
 now 
 Worthily term'd them merciless to us ! 
 For, ere the ships could meet by twice five leagues, 100 
 We were encounter'd by a mighty rock, 
 Which being violently borne upon, 
 Our helpful ship was splitted in the midst ; 
 So that, in this unjust divorce of us. 
 Fortune had left to both of us alike 
 What to delight in, what to sorrow for. 
 Her part, poor soul ! seeming as burdened 
 With lesser weight but not with lesser woe, 
 Was carried with more speed before the wind ; 
 And in our sight they three were taken up no 
 
 By fishermen of Corinth, as we thought. 
 At length, another ship had seiz'd on us. 
 And, knowing whom it was their hap to save. 
 Gave healthful welcome to their shipwrack'd guests, 
 And would have reft the fishers of their prey, 
 Had not their bark been very slow of sail ; 
 And therefore homeward did they bend their course. — 
 Thus have you heard me sever'd from my bliss, 
 That by misfortunes was my life prolong'd. 
 To tell sad stories of my own mishaps. 120 
 
 Duke. And, for the sake of them thou sorrowest 
 for, 
 Do me the favour to dilate at full 
 What hath befallen of them and thee till now. 
 
 u^geon. My youngest boy, and yet my eldest care, 
 
32 The Comedy of Errors [Act i 
 
 At eighteen years became inquisitive 
 
 After his brother, and importun'd me 
 
 That his attendant — for his case was like, 
 
 Reft of his brother, but retain 'd his name — 
 
 Might bear him company in the quest of him 
 
 Whom whilst I labour'd of a love to see, 130 
 
 I hazarded the loss of whom I lov'd. 
 
 Five summers have I spent in furthest Greece, 
 
 Roaming clean through the bounds of Asia, 
 
 And, coasting homeward, came to Ephesus ; 
 
 Hopeless to find, yet loath to leave unsought 
 
 Or that or any place that harbours men. 
 
 But here must end the story of my life ; 
 
 And happy were I in my timely death. 
 
 Could all my travels warrant me they live. 
 
 Ditke. Hapless ^Egeon, whom the fates have mark'd 
 To bear the extremity of dire mishap ! 141 
 
 Now, trust me, were it not against our laws, 
 Against my crown, my oath, my dignity, 
 Which princes, would they, may not disannul, 
 My soul should sue as advocate for thee. 
 But, though thou art adjudged to the death, 
 And passed sentence may not be recall'd 
 But to our honour's great disparagement, 
 Yet I will favour thee in what I can. 
 Therefore, merchant, I '11 limit thee this day 150 
 
 To seek thy help by beneficial help. 
 Try all the friends thou hast in Ephesus. 
 Beg thou, or borrow, to make up the sum, 
 
Scene II] The Comedy of Errors 23 
 
 And live ; if no, then thou art doom'd to die. — 
 Gaoler, take him to thy custody. 
 
 Gaoler. I will, my lord. 
 
 yEgeon. Hopeless and helpless doth ^geon wend 
 But to procrastinate his lifeless end. [Exeunt. 
 
 Scene II. The Mart 
 
 Enter Antipholus of Syracuse, Dromio of Syra- 
 cuse, and First Merchant 
 
 I Merchant. Therefore give out you are of Epi- 
 damnum, 
 Lest that your goods too soon be confiscate. 
 This very day a Syracusian merchant 
 Is apprehended for arrival here. 
 And not being able to buy out his life 
 According to the statute of the town 
 Dies ere the weary sun set in the west. 
 There is your money that I had to keep. 
 
 Antipholus of S. Go bear it to the Centaur, where we 
 host, 
 And stay there, Dromio, till I come to thee. lo 
 
 Within this hour it will be dinner-time ; 
 Till that, I '11 view the manners of the town, 
 Peruse the traders, gaze upon the buildings, 
 And then return and sleep within mine inn, 
 For with long travel I am stiff and weary. 
 Get thee away. 
 
 COMEDY OF ERRORS — 3 
 
34 The Comedy of Errors [Act i 
 
 Dro7Jiio of S. Many a man would take you at your 
 word, 
 And go indeed, having so good a mean. \Exit. 
 
 Antipholus of S. A trusty villain, sir, that very oft, 
 When I am dull with care and melancholy, 20 
 
 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 ? 
 
 I Merchant. I am invited, sir, to certain mer- 
 chants. 
 Of whom I hope to make much benefit ; 
 I crave your pardon. Soon at five o'clock. 
 Please you, I '11 meet with you upon the mart, 
 And afterward consort you till bedtime ; 
 My present business calls me from you now. 
 
 Ajitipholus of S. Farewell till then ; I will go lose 
 myself 30 
 
 And wander up and down to view the city. 
 
 I Merchant. Sir, I commend you to your own 
 content. \Exit. 
 
 Antipholus of S. He that commends me to mine own 
 content 
 Commends me to the thing I cannot get 
 I to the world am like a drop of water 
 That in the ocean seeks another drop, 
 Who, falling there to find his fellow forth, 
 Unseen, inquisitive, confounds himself ; 
 So I, to find a mother and a brother, 
 In quest of them, unhappy, lose myself. 4° 
 
Scene II] The Comedy of Errors 35 
 
 Enter Dromio of Ephesus 
 
 Here comes the almanac of my true date. — 
 What now ? how chance thou art return 'd so soon ? 
 
 Dromio of E. Return 'd so soon ! rather approach 'd 
 too late. 
 The capon burns, the pig falls from the spit, 
 The clock hath strucken twelve upon the bell ; 
 My mistress made it one upon my cheek. 
 She is so hot because the meat is cold ; 
 The meat is cold because you come not home ; 
 You come not home because you have no stomach ; 
 You have no stomach having broke your fast ; 50 
 
 But we that know what 't is to fast and pray 
 Are penitent for your default to-day. 
 
 Antipholus of S. Stop in your wind, sir. Tell me 
 this, I pray : 
 Where have you left the money that I gave you ? 
 
 Dromio of E. O ! — sixpence, that I had o' Wednes- 
 day last 
 To pay the saddler for my mistress' crupper ? 
 The saddler had it, sir ; I kept it not. 
 
 Antipholus of S. I am not in a sportive humour now ; 
 Tell me, and dally not, where is the money ? 
 We being strangers here, how dar'st thou trust 60 
 
 So great a charge from thine own custody ? 
 
 Dromio of E. 1 pray you, jest, sir, as you sit at 
 dinner. 
 I from my mistress come to you in post ; 
 
^6 The Comedy of Errors [Act I 
 
 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. 
 
 Antipholus of S. Come, Dromio, come, these jests are 
 out of season ; 
 Reserve them till a merrier hour than this. 
 Where is the gold I gave in charge to thee ? 70 
 
 Dromio of E. To me, sir? why, you gave no gold to 
 
 me. 
 Antipholus of S. Come on, sir knave, have done your 
 foolishness, 
 And tell me how thou hast dispos'd thy charge. 
 
 Dromio of E. My charge was but to fetch you from 
 the mart 
 Home to your house, the Phoenix, sir, to dinner ; 
 My mistress and her sister stays for you. 
 
 Antipholus of 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. 80 
 
 Where is the thousand marks thou hadst of me ? 
 
 Dromio of 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. 
 
Scene II] The Comedy of Errors 37 
 
 Antipholus of S. Thy mistress' marks ? what mistress, 
 slave, hast thou ? 
 
 Dromio of 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. 90 
 
 Antipholus of S. What, wilt thou flout me thus unto 
 my face. 
 Being forbid ? There, take you that, sir knave. 
 
 Dromio of E. What mean you, sir? for God's sake, 
 hold your hands ! 
 
 Nay, an you will not, sir, I '11 take my heels. \_Exit. 
 
 Antipholus of S. Upon life, by some device or other 
 The villain is o'er-raught of all my money. 
 They say this town is full of cozenage, 
 As, nimble jugglers that deceive the eye. 
 Dark- working sorcerers that change the mind, 
 Soul-killing witches that deform the body, 100 
 
 Disguised cheaters, prating mountebanks, 
 And many such-like liberties of sin ; 
 If it prove so, I will be gone the sooner. 
 I '11 to the Centaur, to go seek this slave ; 
 I greatly fear my money is not safe. [Exit. 
 
■-^-^-cf^?-^ 
 
 
 Remains of Gate at Ephesus 
 
 ACT II 
 
 Scene I. The House of Antipholus of Ephesus 
 Enter Adriana und Luciana 
 
 Adriana. Neither my husband nor the slave return'd, 
 That in such haste I sent to seek his master ! 
 Sure, Luciana, it is two o'clock. 
 
 Luciana. Perhaps some merchant hath invited him, 
 And from the mart he 's somewhere gone to dinner. 
 Good sister, let us dine and never fret. 
 A man is master of his liberty ; 
 Time is their master, and when they see time 
 They '11 go or come. If so, be patient, sister. 
 
 38 
 
Scene I] The Comedy of Errors 39 
 
 Adriana. Why should their Hberty than ours be 
 
 more ? 10 
 
 Luciana. Because their business still lies out o' 
 
 door. 
 Adriana. Look, when I serve him so, he takes it ill. 
 Luciana. O, know he is the bridle of your will. 
 Adriana. There 's none but asses will be bridled so. 
 Luciana. Why, headstrong liberty is lash'd with woe. 
 There 's nothing situate under heaven's eye 
 But hath his bound, in earth, in sea, in sky. 
 The beasts, the fishes, and the winged fowls 
 Are their males' subjects and at their controls ; 
 Men, more divine, the masters of all these, 20 
 
 Lords of the wide world and wild watery seas. 
 Indued with intellectual sense and souls, 
 Of more pre-eminence than fish and fowls, 
 Are masters to their females, and their lords. 
 Then let your will attend on their accords. 
 
 Adriana. This servitude makes you to keep unwed. 
 Luciana. Not this, but troubles of the marriage-bed. 
 Adriana. But, were you wedded, you would bear 
 
 some sway. 
 Luciana. Ere I learn love, I '11 practise to obey. 
 Adriana. How if your husband start some other 
 
 where ? 
 Luciana. Till he come home again, I would for- 
 bear. 31 
 Adriana. Patience unmov'd ! no marvel though she 
 pause ; 
 
40 The Comedy of Errors [Act ii 
 
 They can be meek that have no other cause. 
 
 A wretched soul, bruis'd with adversity, 
 
 We bid be quiet when we hear it cry ; 
 
 But were we burden 'd with hke weight of pain, 
 
 As much or more we should ourselves complain. 
 
 So thou, that hast no unkind mate to grieve thee, 
 
 With urging helpless patience wouldst reUeve me ; 
 
 But, if thou live to see hke right bereft, 40 
 
 This fool-begg'd patience in thee will be left. 
 
 Luciana, Well, I will marry one day but to try. 
 Here comes your man ; now is your husband nigh. 
 
 Enter Dromio of Ephesus 
 
 Adriana. Say, is your tardy master now at hand ? 
 
 Dromio of E. Nay, he 's at two hands with me, 
 and that my two ears can witness. 
 
 Adriana. Say, didst thou speak with him ? know'st 
 thou his mind ? 
 
 Dromio of E. Ay, ay, he told his mind upon mine ear. 
 Beshrew his hand, I scarce could understand it. 
 
 Luciana. Spake he so doubtfully thou couldst not 
 feel his meaning ? 5^ 
 
 Dromio of E. Nay, he struck so plainly, I could 
 too well feel his blows ; and withal so doubtfully that 
 I could scarce understand them. 
 
 Adriana. But say, I prithee, is he coming home ? 
 It seems he hath great care to please his wife. 
 
 Dromio of E. Why, mistress, sure my master is 
 horn-mad. 
 
Scene I] The Comedy of Errors 41 
 
 Adriana. Horn-mad, thou villain ! 
 
 Dromio of E. I mean not cuckold-mad ; 
 
 But, sure, he is stark mad. 
 
 When I desir'd him to come home to dinner, 60 
 
 He ask'd me for a thousand marks in gold. 
 ' 'T is dinner-time,' quoth I ; ' My gold ! ' quoth he. 
 ' Your meat doth burn,' quoth I ; ' My gold ! ' quoth he. 
 ' Will you come home ? ' quoth I ; ' My gold ! ' quoth he, 
 ' Where is the thousand marks I gave thee, villain ? ' 
 ' The pig,' quoth I, ' is burn'd ; ' ' My gold ! ' quoth he. 
 ' My mistress, sir,' quoth I; ' Hang up thy mistress ! 
 I know not thy mistress ; out on thy mistress ! ' 
 
 Luciana. Quoth who ? 
 
 Dromio of E, Quoth my master. 70 
 
 ' I know,' quoth he, ' no house, no wife, no mistress.' 
 So that my errand, due unto my tongue, 
 I thank him, I bare home upon my shoulders ; 
 For, in conclusion, he did beat me there. 
 
 Adriana. Go back again, thou slave, and fetch him 
 home. 
 
 Dromio of E. Go back again, and be new beaten 
 home? 
 For God's sake, send some other messenger. 
 
 Adriana. Back, slave, or I will break thy pate across. 
 
 Dromio of E. And he will bless that cross with other 
 beating. 
 Between you I shall have a holy head. 80 
 
 Adriana. Hence, prating peasant ! fetch thy master 
 home. 
 
42 The Comedy of Errors [Act li 
 
 Dromio of E. Am I so round with you as you with me, 
 
 That Uke a football you do spurn me thus ? 
 
 You spurn me hence, and he will spurn me hither ; 
 
 If I last in this service, you must case me in leather. 
 
 {Exit 
 Luciana. Fie, how impatience lowereth in your face 1 
 Adriana. His company must do his minions grace, 
 
 Whilst I at home starve for a merry look. 
 
 Hath homely age the alluring beauty took 
 
 From my poor cheek ? then he hath wasted it. 90 
 
 Are my discourses dull ? barren my wit ? 
 
 If voluble and sharp discourse be marr'd, 
 
 Unkindness blunts it more than marble hard. 
 
 Do their gay vestments his affections bait ? 
 
 That 's not my fault ; he 's master of my state. 
 
 What ruins are in me that can be found, 
 
 By him not ruin'd ? then is he the ground 
 
 Of my defeatures. My decayed fair 
 
 A sunny look of his would soon repair, 
 
 But, too unruly deer, he breaks the pale 100 
 
 And feeds from home ; poor I am but his stale. 
 
 Luciana. Self-harming jealousy ! fie, beat it hence 1 
 Adriana. Unfeeling fools can with such wrongs dis- 
 pense. 
 
 I know his eye doth homage other where, 
 
 Or else what lets it but he would be here ? 
 
 Sister, you know he promis'd me a chain ; 
 
 Would that alone, alone he would detain, 
 
 So he would keep fair quarter with his bed I 
 
Scene iij The Comedy of Errors 43 
 
 I see the jewel best enamelled 
 
 Will lose his beauty, and though gold bides still no 
 
 That others touch, yet often touching will 
 
 Wear gold ; and so a man that hath a name 
 
 By falsehood and corruption doth it shame. 
 
 Since that my beauty cannot please his eye, 
 
 I '11 weep what 's left away, and weeping die. 
 
 Luciana. How many fond fools serve mad jealousy ! 
 
 \_Exeunt. 
 
 Scene II. A Public Place 
 
 Enter Antipholus of Syracuse 
 
 Antipholus of S. The gold I gave to Dromio is laid up 
 Safe at the Centaur ; and the heedful slave 
 Is wander'd forth, in care to seek me out. 
 By computation and mine host's report, 
 I could not speak with Dromio since at first 
 I sent him from the mart. See, here he comes. — 
 
 Enler Dromio of Syracuse 
 
 How now, sir ! is your merry humour alter'd ? 
 
 As you love strokes, so jest with me again. 
 
 You know no Centaur ? you receiv'd no gold ? 
 
 Your mistress sent to have me home to dinner ? 10 
 
 My house was at the Phoenix ? Wast thou mad 
 
 That thus so madly thou didst answer me ? 
 
 Dromio of S. What answer, sir ? when spake I such 
 a word ? 
 
44 The Comedy of Errors [Act ii 
 
 Antipholus of S. Even now, even here, not half an 
 
 hour since. 
 Drofnio of S. I did not see you since you sent me 
 hence, 
 Home to the Centaur, with the gold you gave me. 
 Antipholus of 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. 
 
 Dromio of S. I am glad to see you in this merry 
 vein ; 20 
 
 What means this jest ? I pray you, master, tell me. 
 Antipholus of S, Yea, dost thou jeer and flout me in 
 the teeth ? 
 Think'st thou I jest ? Hold, take thou that, and that. 
 
 [Beating him. 
 Dromio of S. Hold, sir, for God's sake! now your 
 jest is earnest. 
 Upon what bargain do you give it me ? 
 
 Antipholus of S. Because that I familiarly some- 
 times 
 Do use you for my fool and chat with you, 
 Your sauciness will jest upon my love 
 And make a common of my serious hours. 
 When the sun shines let foolish gnats make sport, 30 
 But creep in crannies when he hides his beams. 
 If you will jest with me, know my aspect 
 And fashion your demeanour to my looks, 
 Or I will beat this method in your sconce. 
 
Scene II] The Comedy of Errors 45 
 
 Dromio of 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 in my shoulders. But, I pray, sir, why am I 
 beaten ? 40 
 
 Afitipholus of S. Dost thou not know ? 
 
 Dromio of S. Nothing, sir, but that I am beaten. 
 
 Antipholus of S. Shall I tell you why ? 
 
 Dromio of S. Ay, sir, and wherefore ; for they say 
 every why hath a wherefore. 
 
 Antipholus of S. Why, first, — for flouting me; and 
 then, wherefore, — 
 For urging it the second time to me. 
 
 Dromio of S. Was there ever any man thus beaten 
 out of season, 
 When in the why and the wherefore is neither rhyme 
 
 nor reason ? 
 Well, sir, I thank you. 50 
 
 Antipholus of S. Thank me, sir ! for what ? 
 
 Dromio of S. Marry, sir, for this something that 
 you gave me for nothing. 
 
 Antipholus of S. I '11 make you amends next, to 
 give you nothing for something. But say, sir, is it 
 dinner-time ? 
 
 Dromio of S. No, sir ; I think the meat wants that 
 I have. 
 
 Antipholus of S. In good time, sir ; what 's that ? 
 
 Dromio of S. Basting. 60 
 
46 The Comedy of Errors [Act 11 
 
 Antipholus of S. Well, sir, then 't will be dry. 
 
 Dromio of S. If it be, sir, I pray you, eat none 
 of it. 
 
 Antipholus of S. Your reason ? 
 
 Dromio of S. Lest it make you choleric, and pur- 
 chase me another dry basting. 
 
 Antipholus of S. Well, sir, learn to jest in good 
 time ; there 's a time for all things. 
 
 Drotnio of S. I durst have denied that, before you 
 were so choleric. 70 
 
 Antipholus of S. By what rule, sir ? 
 
 Dromio of S. Marry, sir, by a rule as plain as the 
 plain bald pate of father Time himself. 
 
 Antipholus of S. Let 's hear it. 
 
 Dromio of S. There 's no time for a man to recover 
 his hair that grows bald by nature. 
 
 Antipholus of S. May he not do it by fine and 
 recovery ? 
 
 Dromio of S. Yes, to pay a fine for a periwig, and 
 recover the lost hair of another man. 80 
 
 Afitipholus of S. Why is Time such a niggard of 
 hair, being, as it is, so plentiful an excrement ? 
 
 Dromio of S. Because it is a blessing that he be- 
 stows on beasts ; and what he hath scanted men in 
 hair he hath given them in wit. 
 
 Antipholus of S. Why, but there 's many a man 
 hath more hair than wit. 
 
 Dromio of S. Not a man of those but he hath the 
 wit to lose his hair. 
 
Scene II] The Comedy of Errors 47 
 
 Antipholus of S. Why, thou didst conclude hairy 
 men plain dealers without wit. 91 
 
 Dromio of S. The plainer dealer, the sooner lost ; 
 yet he loseth it in a kind of jollity. 
 
 Antipholus of S. For what reason ? 
 
 Dromio of S. For two ; and sound ones too. 
 
 Antipholus of S. Nay, not sound, I pray you. 
 
 Dromio of S. Sure ones then. 
 
 Antipholus of S. Nay, not sure, in a thing falsing. 
 
 Dromio of S. Certain ones then. 
 
 Antipholus of S. Name them. 100 
 
 Dromio of S. The one, to save the money that he 
 spends in trimming ; the other, that at dinner they 
 should not drop in his porridge. 
 
 Antipholus of S. You would all this time have 
 proved there is no time for all things. 
 
 Dromio of S. Marry, and did, sir ; namely, no 
 time to recover hair lost by nature. 
 
 Antipholus of S. But your reason was not substan- 
 tial why there is no time to recover. 
 
 Dromio of S. Thus I mend it : Time himself is 
 bald, and therefore to the world's end will have bald 
 followers. 112 
 
 Antipholus of S. 1 knew 'twould be a bald conclu- 
 sion. — But, soft I Who wafts us yonder ? 
 
 Enter Adriana and Luciana 
 
 Adriana. Ay, ay, Antipholus, look strange and frown. 
 Some other mistress hath thy sweet aspects ; 
 
48 The Comedy of Errors [Act 11 
 
 I am not Adriana nor thy wife. 
 
 The time was once when thou unurg'd wouldst vow 
 
 That never words were music to thine ear, 
 
 That never object pleasing in thine eye, 120 
 
 That never touch well welcome to thy hand, 
 
 That never meat sweet savour 'd in thy taste, 
 
 Unless I spake, or look'd, or touch'd, or carv'd to thee. 
 
 How comes it now, my husband, O, how comes it, 
 
 That thou art thus estranged from thyself ? 
 
 Thyself I call it, being strange to me, 
 
 That, undividable, incorporate. 
 
 Am better than thy dear self's better part. 
 
 Ah, do not tear away thyself from me ! 
 
 For know, my love, as easy mayst thou fall 130 
 
 A drop of water in the breaking gulf. 
 
 And take unmingled thence that drop again, 
 
 Without addition or diminishing, 
 
 As take from me thyself and not me too. 
 
 How dearly would it touch thee to the quick, 
 
 Shouldst thou but hear I were licentious, 
 
 And that this body, consecrate to thee. 
 
 By ruffian lust should be contaminate ! 
 
 Wouldst thou not spit at me and spurn at me, 
 
 And hurl the name of husband in my face, 140 
 
 And tear the stain 'd skin off my harlot-brow. 
 
 And from my false hand cut the wedding-ring. 
 
 And break it with a deep-divorcing vow ? 
 
 I know thou canst ; and therefore see thou do it. 
 
 I am possess 'd with an adulterate blot, 
 
Scene II] The Comedy of Errors 49 
 
 My blood is mingled with the crime of lust ; 
 
 For if we two be one and thou play false, 
 
 I do digest the poison of thy flesh, 
 
 Being strumpeted by thy contagion. 
 
 Keep then fair league and truce with thy true bed, 150 
 
 I live unstain'd, thou undishonoured. 
 
 Antipholus of S. Plead you to me, fair dame? I 
 know you not. 
 In Ephesus I am but two hours old. 
 As strange unto your town as to your talk. 
 Who, every word by all my wit being scann'd, 
 Want wit in all one word to understand. 
 
 Luciana. Fie, brother I how the world is chang'd 
 with you! 
 When were you wont to use my sister thus ? 
 She sent for you by Dromio home to dinner. 
 
 Antipholus of S. By Dromio ? 160 
 
 Dromio of S. By me ? 
 
 Adriana. By thee ; and this thou didst return from 
 him, — 
 That he did buffet thee, and in his blows 
 Denied my house for his, me for his wife. 
 
 Antipholus of S. Did you converse, sir, with this 
 gentlewoman ? 
 What is the course and drift of your compact ? 
 
 Dromio of S. I, sir ? I never saw her till this time. 
 
 Antipholus of S, Villain, thou liest; for even her very 
 words 
 Didst thou deliver to me on the mart. 
 
 COMEDY OF ERRORS — 4 
 
50 The Comedy of Errors [Act il 
 
 Droniio of S. I never spake with her in all my life. 
 
 Antipholus of S. How can she thus then call us by 
 our names, 171 
 
 Unless it be by inspiration ? 
 
 Adn'ana. How ill agrees it with your gravity 
 To counterfeit thus grossly with your slave, 
 Abetting him to thwart me in my mood ! 
 Be it my wrong you are from me exempt. 
 But wrong not that wrong with a more contempt. 
 Come, I will fasten on this sleeve of thine ; 
 Thou art an elm, my husband, I a vine. 
 Whose weakness married to thy stronger state 180 
 
 Makes me with thy strength to communicate. 
 If aught possess thee from me, it is dross, 
 Usurping ivy, brier, or idle moss. 
 Who, all for want of pruning, with intrusion 
 Infect thy sap and live on thy confusion. 
 
 Antipholus of S. To me she speaks ; she moves me 
 for her theme ! 
 What, was I married to her in my dream ? 
 Or sleep I now, and think I hear all this ? 
 What error drives our eyes and ears amiss ? 
 Until I know this sure uncertainty 190 
 
 I '11 entertain the offer'd fallacy. 
 
 Luciana. Dromio, go bid the servants spread for 
 dinner. 
 
 Dromio of S. O, for my beads ! I cross me for a 
 sinner. 
 This is the fairy land ; O spite of spites ! 
 
Scene II] The Comedy of Errors 51 
 
 We talk with goblins, owls, and sprites. 
 If we obey them not, this will ensue, — 
 They '11 suck our breath or pinch us black and blue. 
 
 Luciana, Why prat'st thou to thyself and answer'st 
 not? 
 Dromio, thou drone, thou snail, thou slug, thou sot ! 199 
 
 Dromio of S. 1 am transformed, master, am I not ? 
 
 Antipholus of S. 1 think thou art in mind, and so 
 am I. 
 
 Dromio of S. Nay, master, both in mind and in my 
 shape. 
 
 Antipholus of S. Thou hast thine own form. 
 
 Dromio of S. No, I am an ape. 
 
 Luciana. If thou art chang'd to aught, 't is to an ass. 
 
 Dromio of S. 'T is true ; she rides me and I long 
 for grass. 
 'T is so, I am an ass ; else it could never be 
 But I should know her as well as she knov/s me. 
 
 Adriana. Come, come, no longer will I be a fool, 
 To put the finger in the eye and weep, 
 Whilst man and master laughs my woes to scorn. 210 
 Come, sir, to dinner. — Dromio, keep the gate. — 
 Husband, I '11 dine above with you to-day. 
 And shrive you of a thousand idle pranks. — 
 Sirrah, if any ask you for your master, 
 Say he dines forth and let no creature enter. — 
 Come, sister. — Dromio, play the porter well. 
 
 Antipholus of S. Am I in earth, in heaven, or in 
 hell? 
 
^2 The Comedy of Errors [Act ii 
 
 K. ^ing or waking ? mad or well-ad vis 'd ? 
 
 Kr ^n unto these, and to myself disguis'd ! 
 
 I 'li say as they say and persever so, 220 
 
 And in this mist at all adventures go. 
 
 Dromio of S. Master, shall I be porter at the gate ? 
 Adriana. Ay ; and let none enter, lest I break your 
 
 pate. 
 Luciana, Come, come, Antipholus, we dine too late. 
 
 \Exeunt. 
 
ACT III 
 
 Scene I. Before the House of Antipholus of Ephesus 
 
 Enter Antipholus of Ephesus, Dromio of Ephesus, 
 Angelo, a/z^ Balthazar 
 
 Antipholus of E. Good Signior Angelo, you must ex- 
 cuse us all ; 
 My wife is shrewish when I keep not hours. 
 Say that I linger'd with you at your shop 
 To see the making of her carcanet, 
 And that to-morrow you will bring it home. 
 But here 's a villain that would face me down 
 He met me on the mart, and that I beat him 
 And charg'd him with a thousand marks in gold. 
 And that I did deny my wife and house. — 
 Thou drunkard, thou, what didst thou mean by this ? lo 
 
 53 
 
54 The Comedy of Errors [Act m 
 
 Dromio of E. Say what you will, sir, but I know 
 what I know ; 
 That you beat me at the mart, I have your hand to show. 
 If the skin were parchment and the blows you gave 
 
 were ink. 
 Your own handwriting would tell you what I think. 
 Antipholus of E. I think thou art an ass. 
 Dromio of E. Marry, so it doth appear 
 
 By the wrongs I suffer and the blows I bear. 
 I should kick, being kick'd ; and, being at that pass, 
 You would keep from my heels and beware of an ass. 
 Antipholus of E. You 're sad, Siguier Balthazar; pray 
 God our cheer 19 
 
 May answer my good will and your good welcome here. 
 Balthazar. I hold your dainties cheap, sir, and your 
 
 welcome dear. 
 Antipholus of E. O, Signior Balthazar, either at flesh 
 or fish, 
 A table full of welcome makes scarce one dainty dish. 
 Balthazar. Good meat, sir, is common; that every 
 
 churl affords. 
 Antipholus of E. And welcome more common, for 
 
 that 's nothing but words. 
 Balthazar. Small cheer and great welcome makes a 
 
 merry feast. 
 Antipholus of E. Ay, to a niggardly host and more 
 sparing guest. 
 But though my cates be mean, take them in good part ; 
 Better cheer may you have, but not with better heart. 
 
Scene I] The Comedy of Errors SS 
 
 But, soft! my door is lock'd. — Go bid them let us in. 
 Dromio of E. Maud, Bridget, Marian, Cicely, Gillian, 
 Ginn ! 31 
 
 Dromio of S. \_Within\ Mome, malt-horse, capon, cox- 
 comb, idiot, patch ! 
 Either get thee from the door or sit down at the hatch. 
 Dost thou conjure for wenches, that thou call'st for 
 
 such store, 
 When one is one too many ? Go get thee from the door. 
 Dromio of E. What patch is made our porter ? My 
 
 master stays in the street. 
 Dromio of S.\_ Within'\ Let him walk from whence he 
 
 came, lest he catch cold on 's feet. 
 Antipholus of E. Who talks within there ? ho, open 
 
 the door ! 
 Dromio of S. \_Within\ Right, sir; I '11 tell you when, 
 
 an you '11 tell me wherefore. 
 Antipholus of E. Wherefore ? for my dinner ; I have 
 not din 'd to-day. 40 
 
 Dromio of S. [ Within\ Nor to-day here you must 
 
 not ; come again when you may. 
 Antipholus of E. What art thou that keep'st me out 
 
 from the house I owe ? 
 Dromio of S.\_ Within'] The porter for this time, sir, 
 
 and my name is Dromio. 
 Dromio of E. O villain ! thou hast stolen both mine 
 office and my name. 
 The one ne'er got me credit, the other mickle blame. 
 If thou hadst been Dromio to-day in my place, 
 
^6 The Comedy of Errors [Act iii 
 
 Thou wouldst have chang'd thy face for a name or thy 
 
 name for an ass. 
 Luce. [ Within'\ What a coil is there, Dromio ? who are 
 
 those at the gate ? 
 Dromio of E. Let my master in, Luce. 
 Luce. [ Within\ Faith, no ! he comes too late ; 
 
 And so tell your master. 
 
 Dromio of E. O Lord, I must laugh ! 50 
 
 Have at you with a proverb — Shall I set in my staff ? 
 Luce. [ Within] Have at you with another ; that 's — 
 
 When ? can you tell ? 
 Dromio of S. \Withiii\ If thy name be call'd Luce, — 
 
 Luce, thou hast answer'd him well. 
 Antipholus of E. Do you hear, you minion ? you '11 let 
 
 us in, I hope ? 
 Luce. [ Within'] I thought to have ask'd you. 
 Dromio of S. [ Within] And you said no. 
 
 Dromio of E. So, come, help ! well struck ! there was 
 
 blow for blow. 
 Antipholus of E, Thou baggage, let me in. 
 Luce. [ Within] Can you tell for whose sake ? 
 
 Dromio of E. Master, knock the door hard. 
 Luce. [ Within] Let him knock till it ache. 
 
 Antipholus of E. You '11 cry for this, minion, if I 
 
 beat the door down. 
 Luce. \_Within] What needs all that, and a pair of 
 
 stocks in the town ? 60 
 
 Adriana. [ Within] Who is that at the door that keeps 
 
 all this noise ? 
 
Scene I] The Comedy of Errors 57 
 
 Dromio of S. \_Within] By my troth, your town is 
 
 troubled with unruly boys. 
 Antipholus of E. Are you there, wife ? you might have 
 
 come before. 
 Adriana. [ Within] Your wife, sir knave ! go get you 
 
 from the door. 
 Dromio of E. If you went in pain, master, this knave 
 
 would go sore. 
 Angelo. Here is neither cheer, sir, nor welcome ; we 
 
 would fain have either. 
 Balthazar. In debating which was best, we shall part 
 
 with neither. 
 Dromio of E. They stand at the door, master ; bid 
 
 them welcome hither. 
 Antipholus of E. There is something in the wind, that 
 
 we cannot get in. 
 Dromio of E. You would say so, master, if your gar- 
 ments were thin. 70 
 Your cake is warm within, you stand here in the cold ; 
 It would make a man mad as a buck to be so bought 
 
 and sold. 
 Antipholus of E. Go fetch me something ; I '11 break 
 
 ' ope the gate. 
 Dromio of S. [ Within"] Break any breaking here, and 
 
 I '11 break your knave's pate. 
 Dromio of E. A man may break a word with you, sir, 
 
 and words are but wind. 
 Dromio of S. [ Within] It seems thou want'st break- 
 ing ; out upon thee, hind 1 
 
58 The Comedy of Errors [Act III 
 
 Dromioof E. Here's too much out upon thee! I 
 pray thee, let me in. 
 
 Droniio of S, \_Withi7i\ Ay, when fowls have no 
 feathers and fish have no fin. 
 
 Antipholus of E. Well, I '11 break in ; go borrow me a 
 crow. 
 
 Droniio of E. K crow without feather? Master, 
 
 mean you so? 80 
 
 For a fish without a fin, there 's a fowl without a feather; 
 
 If a crow help us in, sirrah, we '11 pluck a crow together. 
 
 Antiphohcs of E. Go get thee gone ; fetch me an iron 
 crow. 
 
 Balthazar. Have patience, sir ; O, let it not be so ! 
 Herein you war against your reputation. 
 And draw within the compass of suspect 
 The unviolated honour of your wife. 
 Once this, — your long experience of her wisdom, 
 Her sober virtue, years, and modesty. 
 Plead on her part some cause to you unknown ; 90 
 
 And doubt not, sir, but she will well excuse 
 Why at this time the doors are made against you. 
 Be rul'd by me : depart in patience. 
 And let us to the Tiger all to dinner ; 
 And about evening come yourself alone, 
 To know the reason of this strange restraint. 
 If by strong hand you offer to break in 
 Now in the stirring passage of .the day, 
 A vulgar comment will be made of it, 
 And that supposed by the common rout 100 
 
^cene II] The Comedy of Errors 59 
 
 Against your yet ungalled estimation 
 
 That may with foul intrusion enter in, 
 
 And dwell upon your grave when you are dead ; 
 
 For slander lives upon succession, I 
 
 For ever hous'd where it gets possession. j 
 
 Antipholus of E. You have prevail'd ; I will depart 
 in quiet, 
 And, in despite of mirth, mean to be merry. 
 I know a wench of excellent discourse. 
 Pretty and witty, wild and yet, too, gentle ; 
 There will we dine. This woman that I mean, no 
 
 My wife — but, I protest, without desert — 
 Hath oftentimes upbraided me withal ; 
 To her will we to dinner. — \To Angelo\ Get you home 
 And fetch the chain ; by this I know 't is made. 
 Bring it, I pray you, to the Porpentine ; 
 For there 's the house. That chain will I bestow — 
 Be it for nothing but to spite my wife — 
 Upon mine hostess there. Good sir, make haste. 
 Since mine own doors refuse to entertain me, 
 I '11 knock elsewhere, to see if they '11 disdain me. 120 
 
 Angela. I '11 meet you at that place some hour hence. 
 
 Antipholus of E. Do so. This jest shall cost me 
 some expense. \Exeunt. 
 
 Scene II. The Same 
 Enter Luciana and Antipholus of Syracuse 
 Luciana. And may it be that you have quite forgot 
 A husband's office ? shall, Antipholus, 
 
6o The Comedy of Errors [Act in 
 
 Even in the spring of love, thy love-springs rot ? 
 
 Shall love, in building, grow so ruinous ? 
 If you did wed my sister for her wealth, 
 
 Then for her wealth's sake use her with more kindness. 
 Or if you like elsewhere, do it by stealth ; 
 
 Muffle your false love with some show of blindness. 
 Let not my sister read it in your eye ; 
 
 Be not thy tongue thy own shame's orator ; lo 
 
 Look sweet, speak fair, become disloyalty ; 
 
 Apparel vice like virtue's harbinger ; 
 Bear a fair presence, though your heart be tainted ; 
 
 Teach sin the carriage of a holy saint ; 
 Be secret-false ; what need she be acquainted ? 
 
 What simple thief brags of his own attaint ? 
 'T is double wrong, to truant with your bed, 
 
 And let her read it in thy looks at board. 
 Shame hath a bastard fame, well managed ; 
 
 111 deeds are doubled with an evil word. 20 
 
 Alas, poor women ! make us but believe. 
 
 Being compact of credit, that you love us ; 
 Though others have the arm, show us the sleeve ; 
 
 We in your motion turn, and you may move us. 
 Then, gentle brother, get you in again, 
 
 Comfort my sister, cheer her, call her wife ; 
 'T is holy sport to be a little vain 
 
 When the sweet breath of flattery conquers strife. 
 
 Antipholus of S. Sweet mistress, — what your name 
 is else, I know not. 
 
 Nor by what wonder you do hit of mine, — 30 
 
Scene II] The Comedy of Errors 6i 
 
 Less in your knowledge and your grace you show not 
 
 Than our earth's wonder, more than earth divine. 
 Teach me, dear creature, how to think and speak ; 
 
 Lay open to my earthly-gross conceit, 
 Smother'd in errors, feeble, shallow, weak, 
 
 The folded meaning of your words' deceit. 
 Against my soul's pure truth why labour you 
 
 To make it wander in an unknown field ? 
 Are you a god ? would you create me new ? 
 
 Transform me then, and to your power I '11 yield. 40 
 But if that I am I, then well I know 
 
 Your weeping sister is no wife of mine, 
 Nor to her bed no homage do I owe ; 
 
 Far more, far more to you do I decline. 
 O, train me not, sweet mermaid, with thy note, 
 
 To drown me in thy sister's flood of tears. 
 Sing, siren, for thyself and I will dote ; 
 
 Spread o'er the silver weaves thy golden hairs, 
 And as a bed I '11 take them and there lie. 
 
 And in that glorious supposition think 50 
 
 He gains by death that hath such means to die. 
 
 Let love, being light, be drowned if she sink ! 
 
 Luciana. What, are you mad, that you do reason 
 so? 
 
 AnUpholus of S. Not mad, but mated ; how, I do not 
 know. 
 
 Luciana. It is a fault that springeth from your eye. 
 
 Antipholus of S. For gazing on your beams, fair sun, 
 being by. 
 
62 The Comedy of Errors [Act ill 
 
 Luciana. Gaze where you should, and that will clear 
 your sight. 
 
 Antipholus of S. As good to wink, sweet love, as 
 look on night. 
 
 Luciana. Why call you me love ? call my sister 
 so. 
 
 Antipholus of S. Thy sister's sister. 
 
 Luciana. That 's my sister. 
 
 Antipholus of S. No; 
 
 It is thyself, mine own self's better part, 6i 
 
 Mine eye's clear eye, my dear heart's dearer heart, 
 My food, my fortune, and my sweet hope's aim, 
 My sole earth's heaven, and my heaven's claim. 
 
 Luciana. All this my sister is, or else should be. 
 
 Antipholus of S. Call thyself sister, sweet, for I aim 
 thee. 
 Thee will I love and with thee lead my life ; 
 Thou hast no husband yet, nor I no wife. 
 Give me thy hand. 
 
 Luciana. O, soft, sir ! hold you still ; 
 
 I '11 fetch my sister, to get her good will. \^Exit. 
 
 Enter Dromio of Syracuse 
 
 Antipholus of S. Why, how now, Dromio ! where 
 runn'st thou so fast ? 72 
 
 Dromio of S. Do you know me, sir ? am I Dromio? 
 am I your man ? am I myself ? 
 
 Antipholus of S. Thou art Dromio, thou art my 
 man, thou art thyself. 
 
Scene II] The Comedy of Errors 6;^ 
 
 Dromio of S. 1 am an ass, I am a woman's man, 
 and besides myself. 
 
 Antipholus of S, What woman's man ? and how 
 besides thyself ? 80 
 
 Dromio of S, Marry, sir, besides myself, I am due 
 to a woman ; one that claims me, one that haunts 
 me, one that will have me. 
 
 Antipholus of S. What claim lays she to thee? 
 
 Drojnio of S. Marry, sir, such a claim as you would 
 lay to your horse, and she would have me as a beast ; 
 not that I, being a beast, she would have me, but that 
 she, being a very beastly creature, lays claim to me. 
 
 Antipholus of S. What is she ? 
 
 Dromio of S. A very reverent body ; ay, such a 90 
 one as a man may not speak of without he say 
 sir-reverence. I have but lean luck in the match, 
 and yet is she a wondrous fat marriage. 
 
 Antipholus of S. How dost thou mean a fat mar- 
 riage ? 
 
 Dromio of S. Marry, sir, she 's the kitchen wench 
 and all grease ; and I know not what use to put her to 
 but to make a lamp of her and run from her by her 
 own light. I warrant, her rags and the tallow in them 
 will burn a Poland winter ; if she lives till dooms- / 
 day, she '11 burn a week longer than the whole world. 
 
 Antipholus of S. What complexion is she of ? 
 
 Dromio of S. Swart, like my shoe, but her face 
 nothing Hke so clean kept : for why, she sweats ; a 
 man may go over shoes in the grime of it. 
 
64 The Comedy of Errors [Act ill 
 
 Antipholus ofS. That 's a fault that water will mend. 
 
 Dromio of S. No, sir, 't is in grain ; Noah's flood 
 could not do it. 
 
 Antipholus of S. What 's her name ? 
 
 Dromio of S. Nell, sir ; but her name and three 
 quarters, that 's an ell and three quarters, will not 
 measure her from hip to hip. 112 
 
 Antipholus of S. Then she bears some breadth ? 
 
 Dromio of S. No longer from head to foot than 
 from hip to hip. She is spherical, like a globe ; I 
 could find out countries in her. 
 
 Antipholus of S. In what part of her body stands 
 Scotland ? 
 
 Dromio of S. I found it by the barrenness ; hard 
 in the palm of the hand. 120 
 
 Antipholus of S. Where France ? 
 
 Dromio of S. In her forehead; armed and re- 
 verted, making war against her heir. 
 
 Antipholus of S. Where England ? 
 
 Dromio of S. I looked for the chalky cliffs, but 
 I could find no whiteness in them ; but I guess it 
 stood in her chin, by the salt rheum that ran be- 
 tween France and it. 
 
 Antipholus of S. Where Spain? 
 
 Dromio of S. Faith, I saw it not ; but I felt it hot 
 in her breath. 131 
 
 Antipholus of S. Where America, the Indies ? 
 
 Dromio of S. O, sir, upon her nose, all o'er em- 
 bellished with rubies, carbuncles, sapphires, declining 
 
Scene II] The Comedy of Errors 6^ 
 
 their rich aspect to the hot breath of Spain, who sent 
 whole armadoes of caracks to be ballast at her nose. 
 
 Antipholus of S. Where stood Belgia, the Nether- 
 lands ? 138 
 
 Dromio of S. O, sir, I did not look so low. To 
 conclude, this drudge, or diviner, laid claim to me, 
 called me Dromio, swore I was assured to her, told 
 me what privy marks I had about me, as, the mark 
 of my shoulder, the mole in my neck, the great wart 
 on my left arm, that I amazed ran from her as a 
 witch ; 
 And, I think, if my breast had not been made of faith 
 
 and my heart of steel, 
 She had transform'd me to a curtal dog and made me 
 turn i' the wheel. 
 
 Antipholus of S. Go hie thee presently post to the road. 
 An if the wind blow any way from shore, 
 I will not harbour in this town to-night. 150 
 
 If any bark put forth, come to the mart, 
 Where I will walk till thou return to me. 
 If every one knows us and we know none, 
 ' Tis time, I think, to trudge, pack, and be gone. 
 
 Dromio of S. As from a bear a man would run for life, i 
 So fly I from her that would be my wife. \Exit, 
 
 Antipholus of S. There 's none but witches do inhabit 
 here ; 
 And therefore 'tis high time that I were hence. 
 She that doth call me husband, even my soul 
 Doth for a wife abhor. But her fair sister, 160 
 
 COMEDY OF ERRORS — 5 
 
66 The Comedy of Errors [Act in 
 
 Possess 'd with such a gentle sovereign grace, 
 Of such enchanting presence and discourse, 
 Hath almost made me traitor to myself ; 
 But, lest myself be guilty to self-wrong, 
 I '11 stop mine ears against the mermaid's song. 
 
 Enter Angelo with the chain 
 
 Angela. Master Antipholus, — 
 
 Antipholiis of S. Ay, that 's my name. 
 
 Angelo. I know it well, sir. Lo, here is the chain. 
 I thought to have ta'en you at the Porpentine ; 
 The chain unfinish'd made me stay thus long. 
 
 Antipholus of S. What is your will that I shall do 
 with this? 170 
 
 Angelo. What please yourself, sir ; I have made it 
 for you. 
 
 Antipholus of S. Made it for me, sir ! I bespoke it not. 
 
 Angelo. Not once, nor twice, but twenty times you have. 
 Go home with it and please your wife withal ; 
 And soon at supper-time I '11 visit you, 
 And then receive my money for the chain. 
 
 Antipholus of S. 1 pray you, sir, receive the money 
 now, 
 For fear you ne'er see chain nor money more. 
 
 Angelo. You are a merry man, sir ; fare you well. \_Exit. 
 
 Antipholus of S. What I should think of this, I can- 
 not tell; 180 
 But this I think, there 's no man is so vain 
 That would refuse so fair an offer 'd chain. 
 
Scene II] The Comedy of Errors 67 
 
 I see a man here needs not live by shifts 
 
 When in the streets he meets such golden gifts. 
 
 I '11 to the mart and there for Dromio stay ; 
 
 If any ship put out, then straight away. [Exit. 
 

 Remains of Gymnasium at Ephesus 
 
 ACT IV 
 
 Scene I. A Public Place 
 Enter Second Merchant, Angelo, and aji Officer 
 
 2 Merchant. You know since Pentecost the sum is due, 
 And since I have not much importun'd you ; 
 Nor now I had not but that I am bound 
 To Persia and want guilders for my voyage^ 
 Therefore make present satisfaction. 
 Or I '11 attach you by this officer. 
 
 Angelo. Even just the sum that I do owe to you 
 Is growing to me by Antipholus, 
 And in the instant that I met with you 
 He had of me a chain ; at five o'clock lo 
 
 I shall receive the money for the same. 
 
 68 
 
Scene I] The Comedy of Errors 69 
 
 Pleaseth you walk with me down to his house, 
 I will discharge my bond and thank you too. 
 
 Enter Antipholus of Ephesus and Dromio of 
 Ephesus, frojn the Courtesan'' s 
 
 Officer. That labour may you save ; see where he 
 
 comes. 
 Antipholus of E. While I go to the goldsmith's house, 
 go thou 
 And buy a rope's end ; that will I bestow 
 Among my wife and her confederates 
 For locking me out of my doors by day. 
 But, soft ! I see the goldsmith. Get thee gone ; 
 Buy thou a rope and bring it home to me. 20 
 
 Dromio of E. 1 buy a thousand pound a year ! I 
 buy a rope ! \_Exit. 
 
 Antipholus of E. A man is well holp up that trusts to 
 you! 
 I promised your presence and the chain, 
 But neither chain nor goldsmith came to me. 
 Belike you thought our love would last too long 
 If it were chain 'd together, and therefore came not. 
 
 Angela. Saving your merry humour, here 's the note 
 How much your chain weighs to the utmost carat. 
 The fineness of the gold, and chargeful fashion, 
 Which doth amount to three odd ducats more 30 
 
 Than I stand debted to this gentleman. 
 I pray you, see him presently discharg'd. 
 For he is bound to sea and stays but for it. 
 
70 The Comedy of Errors [Act IV 
 
 Antipholus of E. I am not furnish 'd with the present 
 money ; 
 Besides, I have some business in the town. 
 Good signior, take the stranger to my house, 
 And with you take the chain and bid my wife 
 Disburse the sum on the receipt thereof ; 
 Perchance I will be there as soon as you. 
 
 Angelo. Then you will bring the chain to her your- 
 self ? 40 
 Antipholus of E. No ; bear it with you, lest I come 
 
 not time enough. 
 Angelo. Well, sir, I will. Have you the chain about 
 
 you? 
 Antipholus of E. An if I have not, sir, I hope you 
 have ; 
 Or else you may return without your money. 
 
 Angelo. Nay, come, I pray you, sir, give me the 
 chain ; 
 Both wind and tide stays for this gentleman, 
 And I, to blame, have held him here too long. 
 
 A7itipholus of E. Good Lord ! you use this dalliance 
 to excuse 
 Your breach of promise to the Porpentine. 
 I should have chid you for not bringing it, 50 
 
 But, like a shrew, you first begin to brawl. 
 
 2 Merchant The hour steals on ; I pray you, sir, 
 
 dispatch. 
 Angelo. You hear how he importunes me; — the 
 chain ! 
 
Scene I] The Comedy of Errors 71 
 
 Antipholus of E. Why, give it to my wife, and fetch 
 
 your money. 
 Angela. Come, come, you know I gave it you even 
 now. 
 Either send the chain or send me by some token. 
 
 Antipholus of E. Fie, now you run this humour out 
 of breath. 
 Come, where 's the chain ? I pray you, let me see it. 
 
 2 Mercha7it My business cannot brook this dalliance. 
 Good sir, say whether you '11 answer me or no ; 60 
 
 If not, I '11 leave him to the officer. 
 
 Antipholus of E. I answer you ! what should I answer 
 
 you? 
 Angelo. The money that you owe me for the chain. 
 Atitipholus of E. 1 owe you none till I receive the 
 
 chain. 
 Angelo. You know I gave it you half an hour since. 
 Antipholus of E. You gave me none ; you wrong me 
 
 much to say so. 
 Angelo. You vv^rong me more, sir, in denying it ; 
 Consider how it stands upon my credit. 
 
 2 Merchant. Well, officer, arrest him at my suit. 
 Officer. I do, and charge you in the duke's name to 
 obey me. 7° 
 
 Angelo. This touches me in reputation. 
 Either consent to pay this sum for me, 
 Or I attach you by this officer. 
 
 Antipholus of E. Consent to pay thee that I never had ! 
 Arrest me, foolish fellow, if thou dar'st. 
 
72 The Comedy of Errors [Act iv 
 
 Angelo. Here is thy fee ; arrest him, officer. — 
 I would not spare my brother in this case, 
 If he should scorn me so apparently. 
 
 Officer. I do arrest you, sir ; you hear the suit. 
 
 Antipholus of E. I do obey thee till I give thee 
 bail. — 80 
 
 But, sirrah, you shall buy this sport as dear 
 As all the metal in your shop will answer. 
 
 Angelo. Sir, sir, I shall have law in Ephesus, 
 To your notorious shame ; I doubt it not. 
 
 Enter Dromio of Syracuse, /;v;;2 the bay 
 
 Dromio of S. Master, there is a bark of Epidamnum 
 That stays but till her owner comes aboard. 
 And then she bears away. Our fraughtage, sir, 
 I have convey 'd aboard, and I have bought 
 The oil, the balsamum, and aqua-vitae. 
 The ship is in her trim, the merry wind 90 
 
 Blows fair from land ; they stay for nought at all 
 But for their owner, master, and yourself. 
 
 Antipholus of E. How now ! a madman ! Why, thou 
 peevish sheep. 
 What ship of Epidamnum stays for me ? 
 
 Dromio of S. A ship you sent me to, to hire waftage. 
 
 Antipholus of E. Thou drunken slave, I sent thee for 
 a rope. 
 And told thee to what purpose and what end. 
 
 Dromio of S. You sent me for a rope's end as soon ; 
 You sent me to the bay, sir, for a bark. 
 
Scene II] The Comedy of Errors 73 
 
 Antipholus of E. I will debate this matter at more 
 leisure, 100 
 
 And teach your ears to list me with more heed. 
 To Adriana, villain, hie thee straight. 
 Give her this key, and tell her, in the desk 
 That 's cover'd o'er with Turkish tapestry 
 There is a purse of ducats ; let her send it. 
 Tell her I am arrested in the street. 
 And that shall bail me. Hie thee, slave, be gone ! — 
 On, officer, to prison till it come. 
 [Exeunt 2 Merchant, Angela, Officer, and Antipholus of E . 
 
 Dromio of S. To Adriana! that is where we din'd, 
 Where Dowsabel did claim me for her husband ; no 
 She is too big, I hope, for me to compass. 
 Thither I must, although against my will, 
 For servants must their masters' minds fulfil. [^Exit. 
 
 Scene II. The House of Antipholus of Ephesus 
 Enter Adriana and Luciana 
 
 Adriana. Ah, Luciana, did he tempt thee so ? 
 
 Mightst thou percei^ve austerely in his eye 
 That he did plead in earnest ? yea or no ? 
 
 Look'd he or red or pale, or sad or merrily ? 
 What observation mad'st thou in this case 
 Of his heart's meteors tilting in his face ? 
 
 Luciana. First he denied you had in him no right. 
 
 Adriana. He meant he did me none, the more my 
 spite. 
 
74 The Comedy of Errors [Act iv 
 
 Luciana. Then swore he that he was a stranger here. 
 
 Adriana. And true he swore, though yet forsworn 
 he were. lo 
 
 Luciana. Then pleaded I for you. 
 
 Adriana. And what said he ? 
 
 Luciana. That love I begg'd for you he begg'd of me. 
 
 Adriana. With what persuasion did he tempt thy 
 love ? 
 
 Luciana. With words that in an honest suit might 
 move. 
 First he did praise my beauty, then my speech. 
 
 Adriana. Didst speak him fair ? 
 
 Luciana. Have patience, I beseech. 
 
 Adriana. I cannot, nor I will not, hold me still ; 
 My tongue, though not my heart, shall have his will. 
 He is deformed, crooked, old and sere, 
 Ill-fac'd, worse bodied, shapeless everywhere ; 20 
 
 Vicious, ungentle, foolish, blunt, unkind, 
 Stigmatical in making, worse in mind. 
 
 Luciana. Who would be jealous then of such a one ? 
 No evil lost is wail'd when it is gone. 
 
 Adriana. Ah, but I think him better than I say, 
 
 And yet would herein others' eyes were worse. 
 Far from her nest the lapwing cries away ; 
 
 My heart prays for him, though my tongue do curse. 
 
 Enter Dromio of Syracuse 
 
 Dromio of S. Here ! go ; the desk, the purse ! sweet 
 now, make haste. 
 
Scene II] The Comedy of Errors 75 
 
 Luciana. How hast thou lost thy breath ? 
 Drofnio of S. By running fast. 30 
 
 Adriana. Where is thy master, Dromio ? is he well ? 
 Dromio of S. No, he 's in Tartar limbo, worse than 
 hell. 
 x\ devil in an everlasting garment hath him"; 
 One whose hard heart is button'd up with steel ; 
 A fiend, a fairy, pitiless and rough ; 
 A wolf, nay, worse, a fellow all in buff ; 
 A back-friend, a shoulder-clapper, one that counter- 
 mands 
 The passages of alleys, creeks, and narrow lands ; 
 A hound that runs counter and yet draws dry-foot 
 
 well ; 
 One that before the judgment carries poor souls to 
 hell. 40 
 
 Adriana. Why, man, what is the matter ? 
 Dromio of S. I do not know the matter ; he is 'rested 
 
 on the case. 
 Adriana. What, is he arrested? Tell me at whose 
 
 suit. 
 Dro7nio of S. I know not at whose suit he is arrested 
 well ; 
 But he 's in a suit of buff which 'rested him, that can I 
 
 tell. 
 Will you send him, mistress, redemption, the money in 
 his desk? 
 Adriana. Go fetch it, sister. — [^Exit Luciana7\ This 
 I wonder at, 
 
76 The Comedy of Errors [Act iv 
 
 That he, unknown to me, should be in debt. — 
 Tell me, was he arrested on a band ? 
 
 Dromio of S. Not on a band, but on a stronger 
 thing, 50 
 
 A chain, a chain ! Do you not hear it ring? 
 Adriana. What, the chain ? 
 
 Dromio of S. No, no, the bell. 'T is time that I were 
 gone ; 
 It was two ere I left him, and now the clock strikes 
 one. 
 Adriana, The hours come back! that did I never 
 
 hear. 
 Dromio of S. O, yes ; if any hour meet a sergeant, a' 
 
 turns back for very fear. 
 Adriana. As if Time were in debt ! how fondly dost 
 
 thou reason ! 
 Dromio of S. Time is a very bankrupt, and owes 
 more than he 's worth to season. 
 Nay, he 's a thief too ; have you not heard men say 
 That Time comes stealing on by night and day ? 60 
 
 If Time be in debt and theft, and a sergeant in the way. 
 Hath he not reason to turn back an hour in a day ? 
 
 Re-enter Luciana with a purse 
 
 Adriana. Go, Dromio ; there 's the money, bear it 
 
 straight. 
 And bring thy master home immediately. — 
 Come, sister ; I am press'd down with conceit — 
 
 Conceit, my comfort and my injury. \_Exeunt. 
 
Scene III] The Comedy of Errors 77 
 
 Scene III. A Public Place 
 
 Enter Antipholus of Syracuse 
 
 Antipholus of S. There 's not a man I meet but doth 
 salute me 
 As if I were their well-acquainted friend ; j 
 
 And every one doth call me by my name. 
 Some tender money to me, some invite me ; 
 Some other give me thanks for kindnesses ; 
 Some offer me commodities to buy. 
 Even now a tailor call'd me in his shop 
 And show'd me silks that he had bought for me, 
 And therewithal took measure of my body. 
 Sure, these are but imaginary wiles, 10 
 
 And Lapland sorcerers inhabit here. 
 
 Enter Dromio of Syracuse 
 
 Droniio of S, Master, here 's the gold you sent me 
 for. 
 What, have you got the picture of old Adam new- 
 apparelled ? 
 Antipholus of S. What gold is this ? what Adam 
 
 dost thou mean ? 
 Dromio of S. Not that Adam that kept the Para- 
 dise, but that Adam that keeps the prison ; he that 
 goes in the calf's skin that was killed for the Prodi- 
 gal; he that came behind you, sir, like an evil 
 angel, and bid you forsake your liberty. 
 
 Antipholics of S. I understand thee not. 20 
 
7 8 The Comedy of Errors [Act iv 
 
 Dromio of S. No ? why, 'tis a plain case : he that 
 went, hke a bass-viol, in a case of leather ; the man, 
 sir, that, when gentlemen are tired, gives them a 
 bob and 'rests them ; he, sir, that takes pity on de- 
 cayed men and gives them suits of durance ; he that 
 sets up his rest to do more exploits with his mace 
 than a morris-pike. 
 
 Antipholus of S. What, thou meanest an officer? 
 
 Dromio of S. Ay, sir, the sergeant of the band ; 
 he that brings any man to answer it that breaks his 
 band ; one that thinks a man always going to bed, 
 and says, ' God give you good rest ! ' 32 
 
 Antipholus of S. Well, sir, there rest in your fool- 
 ery. Is there any ship puts forth to-night ? may we 
 be gone ? 
 
 Dromio of S. Why, sir, I brought you word an 
 hour since that the bark Expedition put forth to- 
 night ; and then were you hindered by the sergeant 
 to tarry for the hoy Delay. Here are the angels 
 that you sent for to dehver you. 40 
 
 Antipholus of S. The fellow is distract, and so 
 am I ; 
 And here we wander in illusions. 
 Some blessed power deliver us from hence ! 
 
 Enter a Courtesan 
 
 Courtesan. Well met, well met, Master Antipholus. 
 I see, sir, you have found the goldsmith now ; 
 Is that the chain you promis'd me to-day ? 
 
Scene III] The Comedy of Errors 79 
 
 Antipholus of S. Satan, avoid ! I charge thee, tempt 
 me not. 
 
 Dromio of S. Master, is this Mistress Satan? 
 
 Antiphohcs of S. It is the devil. 49 
 
 Dfvmio of S. Nay, she is worse, she is the devil's 
 dam, and here she comes in the habit of a light 
 wench ; and thereof comes that the wenches say 
 ' God damn me ; ' that 's as much as to say ' God 
 make me a light wench.' It is written, they appear 
 to men like angels of light ; light is an effect of fire, 
 and fire will burn ; ergo, light wenches will burn. 
 Come not near her. 
 
 Courtesan. Your man and you are marvellous 
 merry, sir. Will you go with me ? We '11 mend our 
 dinner here. 60 
 
 Dromio of S. Master, if you do, expect spoon- 
 meat, and bespeak a long spoon. 
 
 Antipholus of S. Why, Dromio ? 
 
 Dromio of S. Marry, he must have a long spoon 
 that must eat with the devil. 
 
 Antipholus of S. Avoid, thou fiend ! what tell'st thou 
 me of supping ? 
 Thou art, as you are all, a sorceress ; 
 I conjure thee to leave me and be gone. 
 
 Courtesan. Give me the ring of mine you had at dinner, 
 Or, for my diamond, the chain you promis'd, 70 
 
 And I '11 be gone, sir, and not trouble you. 
 
 Drontio of S. Some devils ask but the parings of 
 one's nail, 
 
8o The Comedy of Errors [Act iv 
 
 A rush, a hair, a drop of blood, a pin, 
 
 A nut, a cherry-stone ; 
 
 But she, more covetous, would have a chain. 
 
 Master, be wise ; an if you give it her. 
 
 The devil will shake her chain and fright us with it. 
 
 Courtesan. I pray you, sir, my ring, or else the 
 chain ; 
 I hope you do not mean to cheat me so. 
 
 Antiphohis of S. Avaunt, thou witch ! — Come, Dro- 
 mio, let us go. 80 
 
 Dromio of S. Fly pride, says the peacock ; mistress, 
 that you know. 
 
 \_Exeunt Antipholus and Dromio of S. 
 
 Courtesan. Now, out of doubt, Antipholus is mad, 
 Else would he never so demean himself. 
 A ring he hath of mine worth forty ducats, 
 And for the same he promis'd me a chain ; 
 Both one and other he denies me now. 
 The reason that I gather he is mad, 
 Besides this present instance of his rage. 
 Is a mad tale he told to-day at dinner, 
 Of his own doors being shut against his entrance. 90 
 Belike his wife, acquainted with his fits, 
 On purpose shut the doors against his way. 
 My way is now to hie home to his house, 
 And tell his wife that, being lunatic. 
 He rush'd into my house and took perforce 
 My ring away. This course I fittest choose, 
 For forty ducats is too much to lose. [Exit. 
 
Scene IV] The Comedy of Errors 8i 
 
 Scene IV. A Street 
 E^iter Antipholus of Ephesus a7id the Officer 
 Antipholus of E. Fear me not, man ; I will not break 
 away. 
 I'll give thee, ere I leave thee, so much money, 
 To warrant thee, as I am 'rested for. 
 My wife is in a wayward mood to-day. 
 And will not lightly trust the messenger. 
 That I should be attach'd in Ephesus, 
 I tell you, 't will sound harshly in her ears. 
 
 Enter Dromio of Ephesus with a rope's-end 
 Here comes my man ; I think he brings the money. — 
 How now, sir ! have you that I sent you for ? 
 
 Dromio of E. Here 's that, I warrant you, will pay 
 them all. lo 
 
 Antipholus of E. But where 's the money ? 
 Dromio of E. Why, sir, I gave the money for the 
 
 rope. 
 Antipholus of E. Five hundred ducats, villain, for a 
 
 rope? 
 Dromio of E. I '11 serve you, sir, five hundred at the 
 
 rate. 
 Antipholus of E, To what end did I bid thee hie 
 
 thee home ? 
 Dromio of E. To a rope's-end, sir ; and to that 
 end am I returned, 
 
 Antipholus of E. And to that end, sir, I will welcome 
 you. \_B eating him. 
 
 COMEDY OF ERRORS — 6 
 
82 The Comedy of Errors [Act iv 
 
 Officer. Good sir, be patient. 
 
 Dromio of E, Nay, 't is for me to be patient ; I 
 am in adversity. 21 
 
 Officer. Good now, hold thy tongue. 
 
 Dromio of E. Nay, rather persuade him to hold 
 his hands. 
 
 Antipholus of E. Thou whoreson, senseless villain ! ■ 
 
 Dromio of E. 1 would I were senseless, sir, that I ; 
 might not feel your blows. 
 
 Antipholus of E. Thou art sensible in nothing but 
 blows, and so is an ass. 29 
 
 Dromio of E. I am an ass, indeed ; you may prove 
 it by my long ears, I have served him from the hour 
 of my nativity to this instant, and have nothing at his 
 hands for my service but blows. When I am cold, 
 he heats me with beating ; when I am warm, he cools 
 me with beating. I am waked with it when I sleep, 
 raised with it when I sit, driven out of doors with it 
 when I go from home, welcomed home with it when 
 I return ; nay, I bear it on my shoulders, as a beggar 
 wont her brat, and, I think, when he hath lamed me, 
 I shall beg with it from door to door. 40 
 
 Antipholus of E. Come, go along ; my wife is coming 
 yonder. 
 
 Enter Adriana, Luciana, the Courtesan, and Pinch 
 
 Dromio of E. Mistress, respice finem, respect 
 your end ; or rather, the prophecy like the parrot, 
 beware the rope's-end. 
 
Scene IV] The Comedy of Errors 83 
 
 Antipholiis of E. Wilt thou still talk? \_Beating him. 
 Courtesan. How say you now ? is not your husband 
 
 mad ? 
 Adriana. His incivility confirms no less. — 
 Good Doctor Pinch, you are a conjurer; 
 Establish him in his true sense again, 
 And I will please you what you will demand. 50 
 
 Luciana. Alas, how fiery and how sharp he looks ! 
 Courtesan. Mark how he trembles in his ecstasy ! 
 Pinch. Give me your hand, and let me feel your 
 
 pulse. 
 Antipholus of E. There is my hand, and let it feel 
 your ear. [^Striking him. 
 
 Pinch. I charge thee, Satan, hous'd within this man. 
 To yield possession to my holy prayers. 
 And to thy state of darkness hie thee straight ; 
 I conjure thee by all the saints in heaven ! 
 
 Antipholus of E. Peace, doting wizard, peace ! I am 
 
 not mad. 
 Adriana. O, that thou wert not, poor distressed 
 soul ! 60 
 
 Antipholus of E. You minion, you, are these your 
 customers ? 
 Did this companion with the saffron face 
 Revel and feast it at my house to-day. 
 Whilst upon me the guilty doors were shut 
 And I denied to enter in my house ? 
 
 Adriana. O husband, God doth know you din'd at 
 home, 
 
84 The Comedy of Errors [Act iv 
 
 Where would you had remain 'd until this time, 
 Free from these slanders and this open shame ! 
 
 Antipholus of E. Din'd at home! — Thou villain, 
 
 what say'st thou ? 
 Dromio of E. Sir, sooth to say, you did not dine at 
 
 home. 70 
 
 Antipholus of E. Were not my doors lock'd up and I 
 
 shut out ? 
 Dromio of E. Perdy, your doors were lock'd and you 
 
 shut out. 
 Antipholus of E. And did not she herself revile me 
 
 there ? 
 Dromio of E. Sans fable, she herself revil'd you 
 
 there. 
 Antipholus of E. Did not her kitchen-maid rail, taunt, 
 
 and scorn me ? 
 Dromio of E. Certes, she did ; the kitchen-vestal 
 
 scorn'd you. 
 Antipholus of E. And did not I in rage depart from 
 
 thence ? 
 Dromio of E. In verity you did ; my bones bear 
 
 witness. 
 That since have felt the vigour of his rage. 
 
 Adriiifia. Is 't good to soothe him in these con- 
 traries ? 80 
 Finch. It is no shame ; the fellow finds his vein. 
 And yielding to him humours well his frenzy. 
 
 Antipholus of E. Thou hast suborn 'd the goldsmith 
 
 to arrest me. 
 
Scene IV] The Comedy of Errors 85 
 
 Adriana. Alas, I sent you money to redeem you, 
 By Dromio here, who came in haste for it. 
 
 Dromio of E. Money by me! heart and good-will you 
 might ; — 
 But surely, master, not a rag of money. 
 
 Antipholus of E. Went'st not thou to her for a purse 
 
 of ducats ? 
 Adriana. He came to me and I deliver'd it. 
 Luciana. And I am witness with her that she did. 
 Dromio of E. God and the rope-maker bear me 
 witness 91 
 
 That I was sent for nothing but a rope ! 
 
 Pinch. Mistress, both man and master is possess'd ; 
 I know it by their pale and deadly looks. 
 They must be bound and laid in some dark room. 
 Antipholus of E. Say, wherefore didst thou lock me 
 forth to-day ? — 
 And why dost thou deny the bag of gold ? 
 
 Adriana. I did not, gentle husband, lock thee forth. 
 Dromio of E. And, gentle master, I receiv'd no gold ; 
 But I confess, sir, that we were lock'd out. 100 
 
 Adriana. Dissembling villain, thou speak'st false in 
 
 both. 
 Antipholus of E. Dissembling harlot, thou art false 
 in all. 
 And art confederate with a damned pack 
 To make a loathsome abject scorn of me ; 
 But with these nails I '11 pluck out these false eyes 
 That would behold in me this shameful sport. 
 
86 The Comedy of Errors [Act iV 
 
 Enter three or four and offer to bind him. He strives 
 
 Adriana. O, bind him, bind him ! let him not come 
 near me. 
 
 Pinch. More company ! The fiend is strong within 
 him. 
 
 Luciana. Ay me, poor man, how pale and wan he 
 looks ! 
 
 Antipholus of E. What, will you murther me ? — Thou 
 gaoler, thou, no 
 
 I am thy prisoner ; wilt thou suffer them 
 To make a rescue ? 
 
 Officer. Masters, let him go ; 
 
 He is my prisoner, and you shall not have him. 
 
 Pinch. Go bind this man, for he is frantic too. 
 
 \They offer to bind Droinio of E. 
 
 Adriana. What wilt thou do, thou peevish officer ? 
 Hast thou delight to see a wretched man 
 Do outrage and displeasure to himself ? 
 
 Officer. He is my prisoner ; if I let him go, 
 The debt he owes will be requir'd of me. 
 
 Adriana. I will discharge thee ere I go from thee. 
 Bear me forthwith unto his creditor, 121 
 
 And, knowing how the debt grows, I will pay it. — 
 Good master doctor, see him safe convey 'd 
 Home to my house. — O most unhappy day ! 
 
 Antipholus of E. O most unhappy strumpet! 
 
 Dromio of E, Master, I am here enter'd in bond for 
 you. 
 
Scene IV] The Comedy of Errors 87 
 
 Antipholus of E. Out on thee, villain ! wherefore dost 
 thou mad me ? 
 
 Dromio of E. Will you be bound for nothing ? be 
 mad, good master ; cry ' The devil ! ' 130 
 
 Luciana. God help, poor souls, how idly do they 
 talk! 
 
 Adriana. Go bear him hence. — Sister, go you with 
 me. — 
 \Exeunt all but Adriana^ Luciana^ Officer, and Courtesan. 
 Say now, whose suit is he arrested at ? 
 
 Officer. One Angelo, a goldsmith ; do you know him ? 
 
 Adriana. I know the man. What is the sum he owes ? 
 
 Officer. Two hundred ducats. 
 
 Adriana. Say, how grows it due ? 
 
 Officer. Due for a chain your husband had of him. 
 
 Adriana. He did bespeak a chain for me, but had it 
 not. 
 
 Courtesan. Whenas your husband all in rage to-day 
 Came to my house and took away my ring — 140 
 
 The ring I saw upon his finger now — 
 Straight after did I meet him with a chain. 
 
 Adriana. It may be so, but I did never see it. — 
 Come, gaoler, bring me where the goldsmith is ; 
 I long to know the truth hereof at large. 
 
 Enter Antipholus of Syracuse with his rapier drawn, 
 and Dromio of Syracuse 
 
 Luciana. God, for thy mercy ! they are loose again. 
 Adriana. And come with naked swords. 
 
88 The Comedy of Errors [Act iv 
 
 Let 's call more help to have them bound again. 
 Officer. Away ! they '11 kill us. 
 
 \Exeitnt all but Antipholus of S. and Dt^omio of S. 
 
 Antipholus of S. 1 see these witches are afraid of 
 
 swords. 150 
 
 Droinio of S. She that would be your wife now ran 
 
 from you. 
 Antipholus of S. Come to the Centaur ; fetch our stuff 
 from thence. 
 I long that we were safe and sound aboard. 
 
 Droniio of S. Faith, stay here this night, they will 
 surely do us no harm ; you saw they speak us fair, give 
 us gold. Methinks they are such a gentle nation that, 
 but for the mountain of mad flesh that claims marriage 
 of me, I could find in my heart to stay here still and 
 turn witch. 
 
 Antipholus of S. 1 will not stay to-night for all the 
 
 town ; 160 
 
 Therefore away, to get our stuff aboard. [Exeunt. 
 
Remains of Amphitheatre at Ephesus 
 
 ACT V 
 
 Scene I. A Street before a Priory 
 
 Enter Second Merchant and Angelo 
 
 Angelo. I am sorry, sir, that I have hinder'd you ; 
 But, I protest, he had the chain of me. 
 Though most dishonestly he doth deny it. 
 
 2 Merchant. How is the man esteem'd here in the 
 
 city ? 
 Angelo. Of very reverend reputation, sir, 
 Of credit infinite, highly belov'd. 
 Second to none that lives here in the city ; 
 His word might bear my wealth at any time. 
 
 2 Merchant. Speak softly; yonder, as I think, he 
 walks. 
 
 89 
 
90 The Comedy of Errors [Act v 
 
 Enter Antipholus of Syracuse and Dromio of 
 Syracuse 
 
 Angelo. 'T is so ; and that self chain about his neck 
 Which he forswore most monstrously to have. n 
 
 Good sir, draw near to me, I '11 speak to him. — 
 Signior Antipholus, I wonder much 
 That you would put me to this shame and trouble, 
 And, not without some scandal to yourself, 
 With circumstance and oaths so to deny 
 This chain which now you wear so openly. 
 Beside the charge, the shame, imprisonment, 
 You have done wrong to this my honest friend, 
 Who, but for staying on our controversy, 20 
 
 Had hoisted sail and put to sea to~day. 
 This chain you had of me ; can you deny it ? 
 
 Antipholus of S. 1 think I had ; I never did deny it. 
 
 2 Merchant. Yes, that you did, sir, and forswore it 
 too. 
 
 Antipholus of S. Who heard me to deny it or for- 
 swear it ? 
 
 2 Merchant. These ears of mine, thou know'st, did 
 hear thee. 
 Fie on thee, wretch ! 't is pity that thou liv'st 
 To walk where any honest men resort. 
 
 Antipholus of' S. Thou art a villain to impeach me 
 thus ; 
 I '11 prove mine honour and mine honesty 30 
 
 Against thee presently, if thou dar'st stand. 
 
Scene I] The Comedy of Errors 91 
 
 2 Merchant. I dare, and do defy thee for a villain. 
 
 \They draw. 
 
 Enter Adriana, Luciana, the Courtesan, and others 
 
 Adriana, Hold, hurt him not, for God's sake ! he is 
 mad. — 
 Some get within him, take his sword away. 
 Bind Dromio too, and bear them to my house. 
 
 Droj7iio of S. Run, master, run ; for God's sake, take 
 a house ! 
 This is some priory. In, or we are spoil'd ! 
 [Exeunt Antipholus of S. and Dromio of S. to the Priory. 
 
 Enter the Lady Abbess 
 
 Abbess. Be quiet, people. Wherefore throng you 
 
 hither ? 
 Adriana. To fetch my poor distracted husband 
 hence. 
 Let us come in that we may bind him fast 40 
 
 And bear him home for his recovery. 
 
 Angela. I knew he was not in his perfect wits. 
 
 2 Merchant. I am sorry now that I did draw on 
 
 him. 
 Abbess. How long hath this possession held the 
 
 man? 
 Adriana. This week he hath been heavy, sour, sad. 
 And much different from the man he was ; 
 But till this afternoon his passion 
 Ne'er brake into extremity of rage. 
 
92 The Comedy of Errors [Act v 
 
 Abbess. Hath he not lost much wealth by wrack of 
 sea? 
 Buried some dear friend ? Hath not else his eye 50 
 Stray'd his affection in unlawful love ? 
 A sin prevailing much in youthful men 
 Who give their eyes the liberty of gazing. 
 Which of these sorrows is he subject to ? 
 
 Adriana. To none of these, except it be the last ; 
 Namely, some love that drew him oft from home. 
 
 Abbess. You should for that have reprehended him. 
 
 Adria7ia. Why, so I did. 
 
 Abbess. Ay, but not rough enough. 
 
 Adriajta. As roughly as my modesty would let me. 
 
 Abbess. Haply, in private. 
 
 Adriana. And in assemblies too. 
 
 Abbess. Ay, but not enough. 61 
 
 Adriana. It was the copy of our conference : 
 In bed he slept not for my urging it ; 
 At board he fed not for my urging it ; 
 Alone, it was the subject of my theme ; 
 In company I often glanced it ; 
 Still did I tell him it was vile and bad. 
 
 Abbess. And thereof came it that the man was mad. 
 The venom clamours of a jealous woman | 
 
 Poisons more deadly than a mad dog's tooth. | 70 
 It seems his sleeps were hinder'd by thy railing, 
 And thereof comes it that his head is light. 
 Thou say'st his meat was sauc'd with thy upbraidings. 
 Unquiet meals make ill digestions ; 
 
Scene I] The Comedy of Errors 93 
 
 Thereof the raging fire of fever bred, 
 
 And what 's a fever but a fit of madness ? 
 
 Thou say'st his sports were hinder'd by thy brawls. 
 
 Sweet recreation barr'd, what doth ensue 
 
 But moody and dull melancholy, 
 
 Kinsman to grim and comfortless despair, 80 
 
 And at her heels a huge infectious troop 
 
 Of pale distemperatures and foes to life ? 
 
 In food, in sport, and life-preserving rest 
 
 To be disturb 'd would mad or man or beast. 
 
 The consequence is then thy jealous fits 
 
 Have scar'd thy husband from the use of wits. 
 
 Lticiana. She never reprehended him but mildly, 
 When he demean'd himself rough, rude, and Vvdldly. — 
 Why bear you these rebukes and answer not ? 
 
 Adriana. She did betray me to my own reproof. — 
 Good people, enter and lay hold on him. 91 
 
 Abbess. No, not a creature enters in my house. 
 
 Adriana. Then let your servants bring my husband 
 forth. 
 
 Abbess. Neither ; he took this place for sanctuary, 
 And it shall privilege him from your hands 
 Till I have brought him to his wits again, 
 Or lose my labour in assaying it. 
 
 Adriana. I will attend my husband, be his nurse, 
 Diet his sickness, for it is my office. 
 And will have no attorney but myself; 100 
 
 And therefore let me have him home with me. 
 
 Abbess. Be patient ; for I will not let him stir 
 
94 The Comedy of Errors [Act v 
 
 Till I have us'd the approved means I have, 
 
 With wholesome syrups, drugs, and holy prayers, 
 
 To make of him a formal man again. 
 
 It is a branch and parcel of mine oath, 
 
 A charitable duty of my order. 
 
 Therefore depart and leave him here with me. 
 
 Adriana. I will not hence and leave my husband here ; 
 And ill it doth beseem your holiness no 
 
 To separate the husband and the wife. 
 
 Abbess. Be quiet and depart ; thou shalt not have 
 him. \^Exit. 
 
 Luciana. Complain unto the duke of this indignity. 
 
 Adriana. Come, go ; I will fall prostrate at his feet. 
 And never rise until my tears and prayers 
 Have won his grace to come in person hither 
 And take perforce my husband from the abbess. 
 
 2 Mefrhant. By this, I think, the dial points at five. 
 Anon, I 'm sure, the duke himself in person 
 Comes this way to the melancholy vale, 120 
 
 The place of death and sorry execution, 
 Behind the ditches of the abbey here. 
 
 Aftgelo. Upon what cause ? 
 
 2 Mefrhant. To see a reverend Syracusian merchant, 
 Who put unluckily into this bay 
 Against the laws and statutes of this town. 
 Beheaded publicly for his offence. 
 
 Angela. See where they come ; we will behold his 
 death. 
 
 Luciana. Kneel to the duke before he pass the abbey. 
 
Scene I] The Comedy of Errors 95 
 
 Enter Duke, attended ; ^geon bareheaded ; with the 
 Headsman and other Officers 
 
 Duke. Yet once again proclaim it publicly, 130 
 
 If any friend will pay the sum for him, 
 He shall not die; so much we tender him. 
 
 Adriana. Justice, most sacred duke, against the 
 abbess ! 
 
 Duke. She is a virtuous and a reverend lady ; 
 It cannot be that she hath done thee wrong. 
 
 Adriana. May it please your grace, Antipholus my 
 husband. 
 Who I made lord of me and all I had 
 At your important letters, — this ill day 
 A most outrageous fit of madness took him ; 
 That desperately he hurried through the street, — 140 
 With him his bondman, all as mad as he, — 
 Doing displeasure to the citizens 
 By rushing in their houses, bearing thence 
 Rings, jewels, any thing his rage did like. 
 Once did I get him bound and sent him home. 
 Whilst to take order for the wrongs I went 
 That here and there his fury had committed. 
 Anon, I wot not by what strong escape. 
 He broke from those that had the guard of him. 
 And with his mad attendant and himself, 150 
 
 Each one with ireful passion, with drawn swords. 
 Met us again, and madly bent on us 
 Chas'd us away, till raising of more aid 
 
96 The Comedy of Errors [Act V 
 
 We came again to bind them. Then they fled 
 Into this abbey, whither we pursued them ; 
 And here the abbess shuts the gates on us, 
 And will not suffer us to fetch him out. 
 Nor send him forth that we may bear him hence. 
 Therefore, most gracious duke, with thy command 
 Let him be brought forth and borne hence for help. 160 
 Duke. Long since thy husband serv'd me in my wars, 
 And I to thee engag'd a prince's word. 
 When thou didst make him master of thy bed, 
 To do him all the grace and good I could. — 
 Go, some of you, knock at the abbey-gate 
 And bid the lady abbess come to me. — 
 I will determine this before I stir. 
 
 Enter a Servant 
 
 Servant. O mistress, mistress, shift and save yourself ! 
 My master and his man are both broke loose. 
 Beaten the maids a-row, and bound the doctor, 170 
 
 Whose beard they have sing'd off with brands of fire ; 
 And ever, as it blaz'd, they threw on him 
 Great pails of puddled mire to quench the hair. 
 My master preaches patience to him, and the while 
 His man witii scissors nicks him like a fool ; 
 And sure, unless you send some present help. 
 Between them they will kill the conjurer. 
 
 Adriana. Peace, fool ! thy master and his man are 
 here, 
 And that is false thou dost report to us. 
 
Scene I] The Comedy of Errors 97 
 
 Servant. Mistress, upon my life, I tell you true ; 180 
 I have not breath 'd almost since I did see it. 
 He cries for you and vows, if he can take you, 
 To scorch your face and to disfigure you. — 
 
 [Cry within. 
 Hark, hark ! I hear him, mistress ; fly, be gone ! 
 
 Duke. Come, stand by me ; fear nothing. — Guard 
 with halberds ! 
 
 Adriana. Ay me, it is my husband ! — Witness you, 
 That he is borne about invisible. 
 Even now we hous'd him in the abbey here ; 
 And now he 's there, past thought of hum.an reason. 
 
 Enter Antipholus of Ephesus and Dromio of 
 Ephesus 
 
 Antipholus of E. Justice, most gracious duke, O, 
 grant me justice ! 190 
 
 Even for the service that long since I did thee, 
 When I bestrid thee in the wars and took 
 Deep scars to save thy life ; even for the blood 
 That then I lost for thee, now grant me justice. 
 
 JSgeon. Unless the fear of death doth make me 
 dote, 
 I see my son Antipholus and Dromio. 
 
 Antipholus of E. Justice, sweet prince, against that 
 woman there ! 
 She whom thou gav'st to me to be my wife, 
 That hath abused and dishonour'd me 
 Even in the strength and height of injury ! 200 
 
 COMEDY OF ERRORS — 7 
 
98 The Comedy of Errors [Act V 
 
 Beyond imagination is the wrong 
 
 That she this day hath shameless thrown on me. 
 
 Ditke. Discover how, and thou shalt find me just. 
 
 Antipholus of E. This day, great duke, she shut the 
 doors upon me, 
 While she with harlots feasted in my house. 
 
 Duke. A grievous fault I Say, woman, didst thou 
 so ? 
 
 Adriana. No, my good lord ; myself, he, and my 
 sister 
 To-day did dine together. So befall my soul 
 As this is false he burdens me withal ! 
 
 Luciana. Ne'er may I look on day nor sleep on 
 night 210 
 
 But she tells to your highness simple truth ! 
 
 Angela. O perjur'd woman ! They are both forsworn ; 
 In this the madman justly chargeth them. 
 
 Antipholus of E. My liege, I am advised what I say, 
 Neither disturb'd with the effect of wine, 
 Nor heady-rash, provok'd with raging ire. 
 Albeit my wrongs might make one wiser mad. 
 This woman lock'd me out this day from dinner. 
 That goldsmith there, were he not pack'd with her. 
 Could witness it, for he was with me then, 220 
 
 Who parted with me to go fetch a chain. 
 Promising to bring it to the Porpentine, 
 Where Balthazar and I did dine together. 
 Our dinner done, and he not coming thither, 
 I went to seek him ; in the street I met him 
 
Scene I] The Comedy of Errors 99 
 
 And in his company that gentleman. 
 
 There did this perjur'd goldsmith swear me down 
 
 That I this day of him receiv'd the chain, 
 
 Which, God he knows, I saw not ; for the which 
 
 He did arrest me with an officer. 230 
 
 I did obey, and sent my peasant home 
 
 For certain ducats ; he with none return'd. 
 
 Then fairly I bespoke the officer 
 
 To go in person with me to my house. 
 
 By the way we met 
 
 My wife, her sister, and a rabble more 
 
 Of vile confederates. Along with them 
 
 They brought one Pinch, a hungry lean-fac'd villain, 
 
 A mere anatomy, a mountebank, 
 
 A threadbare juggler, and a fortune-teller, 240 
 
 A needy, hollow-eyed, sharp-looking wretch, 
 
 A living dead man ; this pernicious slave, 
 
 Forsooth, took on him as a conjurer. 
 
 And, gazing in mine eyes, feeling my pulse, 
 
 And with no face, as 't were, outfacing me, 
 
 Cries out I was possess'd. Then all together 
 
 They fell upon me, bound me, bore me thence, 
 
 And in a dark and dankish vault at home 
 
 There left me and my man, both bound together ; 
 
 Till, gnawing with my teeth my bonds in sunder, 250 
 
 I gain'd my freedom and immediately 
 
 Ran hither to your grace, whom I beseech 
 
 To give me ample satisfaction 
 
 For these deep shames and great indignities. 
 
 LofC. 
 
lOO The Comedy of Errors [Act v 
 
 Ange/o. My lord, in truth, thus far I witness with him, 
 That he din'd not at home, but was lock'd out. 
 
 Duke, But had he such a chain of thee or no ? 
 
 Angela. He had, my lord ; and when he ran in here, 
 These people saw the chain about his neck. 
 
 2 Merchant. Besides, I will be sworn these ears of 
 mine 260 
 
 Heard you confess you had the chain of him 
 After you first forswore it on the mart. 
 And thereupon I drew my sword on you ; 
 And then you fled into this abbey here. 
 From whence, I think, you are come by miracle. 
 
 Antipholus of E. 1 never came within these abbey- 
 walls. 
 Nor ever didst thou draw thy sword on me ; 
 I never saw the chain, so help me Heaven ! 
 And this is false you burden me withal. 
 
 Duke. Why, what an intricate impeach is this ! 270 
 I think you all have drunk of Circe's cup. — 
 If here you hous'd him, here he would have been ; 
 If he were mad, he would not plead so coldly. — 
 You say he din'd at home ; the goldsmith here 
 Denies that saying. — Sirrah, what say you ? 
 
 Droniio of E. Sir, he din'd with her there, at the 
 Porpentine. 
 
 Courtesan. He did, and from my finger snatch'd that 
 ring. 
 
 Antipholus of E. 'T is true, my liege ; this ring I had 
 of her. 
 
Scene I] The Comedy of Errors loi 
 
 Duke. Saw'st thou him enter at the abbey here ? 
 Courtesan. As sure, my liege, as I do see your 
 grace. 280 
 
 Duke. Why, this is strange. — Go call the abbess 
 hither. — 
 I think you are all mated or stark mad. 
 
 \Exit one to the Abbess, 
 j^geon. Most mighty duke, vouchsafe me speak a 
 word. 
 Haply I see a friend will save my life 
 And pay the sum that may deliver me. 
 
 Duke. Speak freely, Syracusian, what thou wilt. 
 ^geon. Is not your name, sir, call'd Antipholus ? 
 And is not that your bondman, Dromio ? 
 
 Dromio of E. Within this hour I was his bondman, 
 sir, 
 But he, I thank him, gnaw'd in two my cords ; 290 
 
 Now am I Dromio and his man unbound. 
 
 yEgeoit. I am sure you both of you remember me. 
 Dromio of E. Ourselves we do remember, sir, by 
 you; 
 For lately we were bound, as you are now. 
 You are not Pinch's patient, are you, sir ? 
 ^geon. Why look you strange on me ? you know me 
 
 well. 
 Antipholus of E. I never saw you in my life till now. 
 yEgeon. O, grief hath chang'd me sinceyou saw me 
 last. 
 And careful hours with time's deformed hand 
 
I02 The Comedy of Errors [Act v 
 
 Have written strange defeatures in my face ; 300 
 
 But tell me yet, dost thou not know my voice ? 
 
 Antipholus of E. Neither. 
 
 jEgeon. Dromio, nor thou ? 
 
 Dromio of E. No, trust me, sir, nor I. 
 
 yEgeon. I am sure thou dost. 
 
 Dromio of E. Ay, sir, but I am sure I do not ; and 
 whatsoever a man denies, you are now bound to be- 
 lieve him. 
 
 j^geon. Not know my voice ! O time's extremity, 
 Hast thou so crack'd and splitted my poor tongue 
 In seven short years, that here my only son 310 
 
 Knows not my feeble key of untun'd cares ? 
 Though now this grained face of mine be hid 
 In sap-consuming winter's drizzled snow 
 And all the conduits of my blood froze up. 
 Yet hath my night of life some memory, 
 My wasting lamps some fading glimmer left, 
 My dull deaf ears a little use to hear. 
 All these old witnesses — I cannot err — 
 Tell me thou art my son Antipholus. 319 
 
 Antipholus of E. I never saw my father in my life. 
 
 yEgeon. But seven years since, in Syracusa, boy. 
 Thou know'st we parted ; but perhaps, my son. 
 Thou sham'st to acknowledge me in misery. 
 
 Antipholus of E. The duke and all that know me in 
 the city 
 Can witness with me that it is not so ; 
 I ne'er saw Syracusa in my life. 
 
Scene I] The Comedy of Errors 103 
 
 Duke. I tell thee, Syracusian, twenty years 
 Have I been patron to Antipholus, 
 During which time he ne'er saw Syracusa. 
 I see thy age and dangers make thee dote. 330 
 
 Re-enter Abbess, with Antipholus of Syracuse and 
 Dromio of Syracuse 
 
 Abbess, Most mighty duke, behold a man much 
 
 wrong'd. \All gather to see them. 
 
 Adriana. I see two husbands, or mine eyes deceive 
 
 me. 
 Duke. One of these men is Genius to the other ; 
 And so of these. Which is the natural man, 
 And which the spirit ? who deciphers them ? 
 
 Dromio of S. I, sir, am Dromio ; command him 
 
 away. 
 Dromio of E. I, sir, am Dromio ; pray, let me stay. 
 Antipholus of S. ^Egeon art thou not ? or else his 
 
 ghost ? 
 Dromio of S. O, my old master! who hath bound 
 
 him here ? 
 Abbess. Whoever bound him, I will loose his bonds 
 And gain a husband by his liberty. — 341 
 
 Speak, old ^geon, if thou be'st the man * 
 That hadst a wife once call'd Emilia 
 That bore thee at a burden two fair sons, — 
 O, if thou be'st the same .^geon, speak, 
 And speak unto the same Emilia ! 
 
 ^geon. If I dream not, thou art ^meha ; 
 
I04 The Comedy of Errors [Act v 
 
 If thou art she, tell me where is that son 
 That floated with thee on the fatal raft ? 
 
 Abbess. By men of Epidamnum he and I 350 
 
 And the twin Dromio all were taken up ; 
 But by and by rude fishermen of Corinth 
 By force took Dromio and my son from them, 
 And me they left with those of Epidamnum. 
 What then became of them I cannot tell ; 
 I to this fortune that you see me in. 
 
 Duke. Why, here begins his morning story right : 
 These two Antipholuses, these two so Hke, 
 And these two Dromios, one in semblance, — 
 Besides her urging of her wrack at sea, — 360 
 
 These are the parents to these children, 
 Which accidentally are met together. — • 
 Antipholus, thou cam'st from Corinth first ? 
 
 Antipholus of S. No, sir, not I ; I came from Syracuse. 
 
 Duke. Stay, stand apart ; I know not which is which. 
 
 Antipholus of E. I came from Corinth, my most 
 gracious lord, — 
 
 Drojnio of E. And I with him. 
 
 Antipholus of E. Brought to this town by that most 
 famous warrior, 
 Duke Menaphon, your most renowned uncle. 
 
 Adriana. Which of you two did dine with me 
 to-day ? 370 
 
 Antipholus of S. I, gentle mistress. 
 
 Adriana. And are not you my husband ? 
 
 Antipholus of E. No ; I say nay to that. 
 
Scene I] The Comedy of Errors 105 
 
 Antipholus of S. And so do I ; yet did she call me so, 
 And this fair gentlewoman, her sister here. 
 Did call me brother. — \To Luciand\ What I told you 
 
 then, 
 I hope I shall have leisure to make good. 
 If this be not a dream I see and hear. 
 
 Angelo. That is the chain, sir, which you had of me. 
 
 Antipholus of S. I think it be, sir ; I deny it not. 
 
 Antipholus of E. And you, sir, for this chain arrested 
 me. 380 
 
 A7igelo. I think I did, sir ; I deny it not. 
 
 Adiiana. I sent you money, sir, to be your bail. 
 By Dromio ; but I think he brought it not. 
 
 Dromio of E. No, none by me. 
 
 Antipholus of S. This purse of ducats I receiv'd 
 from you 
 And Dromio my man did bring them me. 
 I see we still did meet each other's man. 
 And I was ta'en for him, and he for me. 
 And thereupon these errors all arose. 
 
 Antipholus of E. These ducats pawn I for my father 
 here. 390 
 
 Duke. It shall not need ; thy father hath his life. 
 
 Courtesan. Sir, I must have that diamond from you. 
 
 Antipholus of E. There, take it; and much thanks 
 for my good cheer. 
 
 Abbess. Renowned duke, vouchsafe to take the pains 
 To go with us into the abbey here 
 And hear at large discoursed all our fortunes ; — 
 
io6 The Comedy of Errors [Act v 
 
 And all that are assembled in this place, 
 
 That by this sympathized one day's error 
 
 Have suffered wrong, go keep us company, 
 
 And we shall make full satisfaction. — 400 
 
 Thirty-three years have I but gone in travail 
 
 Of you, my sons, and till this present hour 
 
 My heavy burthen ne'er delivered. — 
 
 The duke, my husband, and my children both, 
 
 And you the calendars of their nativity, 
 
 Go to a gossips' feast, and go with me ; 
 
 After so long grief, such nativity ! 
 
 Duke. With all my heart, I '11 gossip at this feast. 
 \_Exeunt all but Antipholus of S., Anfipholus of E., 
 Dromio of S., and Dromio of E. 
 Dromio of S. Master, shall I fetch your stuff from 
 
 shipboard ? 
 Antipholus of E. Dromio, what stuff of mine hast 
 thou embark'd ? 410 
 
 Dromio of S. Your goods that lay at host, sir, in the 
 
 Centaur. 
 Anfipholus of S. He speaks to me. — I am your 
 master, Dromio. 
 Come, go with us ; we '11 look to that anon. 
 Embrace thy brother there ; rejoice with him. 
 
 \_Exeunt Antipholus of S. and Antipholus of E, 
 Dromio of S. There is a fat friend at your master's 
 house 
 That kitchen'd me for you to-day at dinner ; 
 She now shall be my sister, not my wife. 
 
Scene I] The Comedy of Errors 107 
 
 Dromio of E. Methinks you are my glass, and not 
 my brother ; 
 I see by you I am a sweet-fac'd youth. 
 Will you walk in to see their gossiping ? 420 
 
 Dromio of S. Not I, sir ; you are my elder. 
 Dromio of E. That 's a question ; hov/ shall we try 
 
 it? 
 Dromio of S. We '11 draw cuts for the senior ; till 
 
 then lead thou first. 
 Dromio of E. Nay, then, thus : 
 We came into the world hke brother and brother ; 
 And now let 's go hand in hand, not one before another. 
 
 \Exetint, 
 
NOTES 
 
Medal of Ephesus 
 
 NOTES 
 
 Introduction 
 
 The Metre of the Play. — It should be understood at the 
 outset that metre, or the mechanism of verse, is something alto- 
 gether distinct from the music of verse. The one is matter of rule, 
 the other of taste and feeling. Music is not an absolute necessity 
 of verse ; the metrical form is a necessity, being that which con- 
 stitutes the verse. 
 
 The plays of Shakespeare (with the exception of rhymed pas- 
 sages, and of occasional songs and interludes) are all in unrhymed 
 or blank verse ; and the normal form of this blank verse is illus- 
 trated by i. 1 . 34 of the present play : " Was wrought by nature, 
 not by vile offence." 
 
 This line, it will be seen, consists of ten syllables, with the even 
 syllables (2d, 4th, 6th, 8th, and loth) accented, the odd syllables 
 (ist, 3d, etc.) being unaccented. Theoretically, it is made up of 
 five y^^/ of two syllables each, with the accent on the second sylla- 
 ble. Such a foot is called an iambus (plural, iambuses, or the Latin 
 iambi), and the form of verse is called iambic. 
 
 This fundamental law of Shakespeare's verse is subject to certain 
 modifications, the most important of which are as follows : — 
 
 I. After the tenth syllable an unaccented syllable (or even two 
 such syllables) may be added, forming what is sometimes called a 
 
 III 
 
112 Notes 
 
 female line ; as in i. i. 51 : "And, which was strange, the one so 
 like the other." The rhythm is complete with the first syllable of 
 other, the second being an extra eleventh syllable. In v. i. 196 
 (" I see my son Antipholus and Dromio ") we have two extra 
 syllables, the rhythm being complete with the first syllable of 
 Dromio. 
 
 2. The accent in any part of the verse may be shifted from an 
 even to an odd syllable; as in i. I. 3: "Merchant of Syracusa, 
 plead no more; " and 6: " Sprung from the rancorous outrage of 
 your duke." In both lines the accent is shifted from the second 
 to the first syllable. This change occurs very rarely in the tenth 
 syllable, and seldom in the fourth ; and it is not allowable in two 
 successive accented syllables. 
 
 3. An extra unaccented syllable may occur in any part of the 
 line; as in i. I. 6, 9, and 15. In 6 the second syllable of rancorous 
 is superfluous ; in 9 that of rigorous ; and in 15 the word To. 
 
 4. Any unaccented syllable, occurring in an even place immedi- 
 ately before or after an even syllable which is properly accented, is 
 reckoned as accented for the purposes of the verse ; as, for instance, 
 in lines 3 and 32. In 3 the first syllable of Syracusa, and in 32 
 the last of unspeakable, are metrically equivalent to accented sylla- 
 bles ; and so with the last syllable of countrymen in 7, of Ephesus 
 in 16 and 30, oi punishment in 46, and of delivered (quadrisyllable) 
 in 54. 
 
 5. In many instances in Shakespeare words must be lengthened 
 in order to fill out the rhythm : — 
 
 («) In a large class of words in which e or i is followed by an- 
 other vowel, the e or i is made a separate syllable ; as ocean, opin- 
 ion, soldier, patience (see on iii. I. g'^) , partial, marriage, etc. For 
 instance, in this play, i. I. 21 (" Unless a thousand marks be levied ") 
 appears to have only nine syllables, but levied is a trisyllable ; and 
 the same is true oi passion in v. I. 47 : " But till this afternoon his 
 passion." This lengthening occurs most frequently at the end of 
 the line, and is common in this and other early plays. See, for in- 
 
Notes 
 
 113 
 
 stance, on licentious (ii. 2. 136), contagion (ii. 2. 149), successio?i 
 and possession (iii. 2. 104, 105), illusions (iv. 3. 42), satisjaction 
 (iv. I. 5, V. I. 400), digestions (v. i.'74), etc. 
 
 (<^) Many monosyllables ending in r, re, rs, res, preceded by a 
 long vowel or diphthong, are often made dissyllables ; as fare, fear, 
 dear, fire, hair, hour (see on iii. I. 121), hire (see on iv. I. 95), 
 your, etc. In v. i. 45 ("This week he hath been heavy, sour, 
 sad ") sour is a dissyllable. If the word is repeated in a verse it is 
 often both monosyllable and dissyllable ; as in M. of V. iii. 2. 20 : 
 " And so, though yours, not yours. Prove it so," where either yours 
 (preferably the first) is a dissyllable, the other being a monosylla- 
 ble. In y. C. iii. I. 172: "As fire drives out fire, so pity, pity," the 
 first fire is a dissyllable. 
 
 {c) Words containing / or r, preceded by another consonant, are 
 often pronounced as if a vowel came between or after the con- 
 sonants ; as in this play, v. i. 359 : "And these two Dromios, one 
 in semblance " [sembl(e)ance] and v. i. 361 : "These are the 
 parents of these children " (childeren, the original form of the 
 word). See also AWs Well, iii. 5. 43: "If you will tarry, holy 
 pilgrim" [pilg(e)rim]; W. T. iv. 4. 76: "Grace and remem- 
 brance [rememb(e) ranee] be to you both!" etc. 
 
 (^) Monosyllabic exclamations {ay, O, yea, nay, hail, etc.) and 
 monosyllables otherwise emphasized are similarly lengthened ; also 
 certain longer words; as comniandement in M. of V. iv. i. 451; 
 safety (trisyllable) in Ha?n. i. 3. 21; business (trisyllable, as origi- 
 nally pronounced) in /. C. iv. i. 22: "To groan and sweat under 
 the business " (so in several other passages) ; and other words 
 mentioned in the notes to the plays in which they occur. 
 
 6. Words are also contracted for metrical reasons, like plurals 
 and possessives ending in a sibilant, as balance, horse (for horses 
 and horse's), princess, sense, marriage (plural and possessive), 
 image, etc. So with many adjectives in the superlative (like coldest, 
 stern' St, kindest, secret' st, etc.), and certain other words. See, for 
 instance, note on zvhether, iv. i. 60, and on towards, i. i. 87. 
 
 COMEDY OF ERRORS — 8 
 
114 Notes 
 
 7. The accent of words is also varied in many instances for met- 
 rical reasons. Thus we find both revenue and revenue in the first 
 scene of the M. N. D. (lines 6 and 158), cSnjure (see on iv. 3. 68) 
 and conjure, pursue and pursue, distinct and distinct, etc. 
 
 These instances of variable accent must not be confounded with 
 those in which words were uniformly accented differently in the 
 time of Shakespeare ; like aspect (see on ii. 2. 32), impdrtune (see 
 on i. I. 126, iv. I. 2, 53), sepulchre (verb), per sever (see on ii. 2, 
 220), perseverance, rheumatic, etc. 
 
 8. Alexandrines, or verses of twelve syllables, with six accents, 
 occur here and there in the plays. They must not be confounded 
 with female lines with two extra syllables (see on i above) or with 
 other lines in which two extra unaccented syllables may occur. 
 Examples in this play are ii.'2. 223, iii. i. i, iv. i. 41, v. i. 174, 208, 
 etc. 
 
 9. Incomplete verses, of one or more syllables, are scattered 
 through the plays. See i. i. 61, 156, i. 2. 16, etc. 
 
 10. Doggerel measure is used in the very earliest comedies 
 (Z. L. L. and the present play in particular) in the mouths of 
 comic characters, but never anywhere in plays written after 1598. 
 There are about a hundred lines of it in this play. 
 
 11. Rhyme ozQ.y\x^ frequently in the early plays, but diminishes 
 with comparative regularity from that period until the latest. Thus, 
 in Z. Z. Z. there are about 1 100 rhyming verses (about one-third 
 of the whole number), in M. N. D. about 900, in Rich. II. and 
 R. and J. about 500 each, while in Cor. and A. and C. there are only 
 about 40 each, in Temp, only two, and in W. T. none at all, ex- 
 cept in the chorus introducing act iv. Songs, interludes, and other 
 matter not in ten-syllable measure are not included in this enu- 
 meration. In the present play, out of some 1400 ten-syllable 
 verses, nearly 300 are in rhyme. 
 
 Alternate rhymes are found only in the plays written before 
 1599 or 1600. In the present play there are 64 lines; but in M. 
 of V. there are only four lines at the end of iii. 2. In Much Ado 
 
Notes 115 
 
 and A. Y. L. we also find a few lines, but none at all in subse- 
 quent plays. 
 
 Rkyjued couplets, or " rhyme-tags " are often found at the end of 
 scenes; as in 9 of the ii scenes of the present play. In Ham. 
 14 out of 20 scenes, and in Macb. 21 out of 28, have such "tags ; " 
 but in the latest plays they are not so frequent. In Temp., for 
 instance, there is but one, and in W. T. none. 
 
 12. In this edition of Shakespeare, the final -ed of past tenses 
 and participles in verse is printed -d when the word is to be pro- 
 nounced in the ordinary way ; as in condemn^ d, line 25, and imposed, 
 line 31, of the first scene. But when the metre requires that the 
 -ed be made a separate syllable, the e is retained ; as in wished 
 (dissyllable), line 90, and discovered (quadrisyllable), line 91. The 
 only variation from this rule is in verbs like cry, die, sue, etc., the 
 -ed of which is very rarely, if ever, made a separate syllable. 
 
 Shakespeare's Use of Verse and Prose in the Plays. — 
 This is a subject to v/hich the critics have given very little attention, 
 but it is an interesting study. In the present play we find scenes 
 entirely in verse (none entirely in prose), and others in which the 
 two are mixed. In general, we may say that verse is used for what 
 is distinctly poetical, and prose for what is not poetical. The dis- 
 tinction, however, is not so clearly marked in the earlier as in the 
 later plays. The second scene oi M. of V., for instance, is in prose, 
 because Portia and Nerissa are talking about the suitors in a famil- 
 iar and playful way ; but in T. G. of V., where Julia and Lucetta 
 are discussing the suitors of the former in much the same fashion, 
 the scene is in verse. Dowden, commenting on Rich. II., remarks : 
 " Had Shakespeare written the play a few years later, we may be 
 certain that the gardener and his servants (iii. 4) would not have 
 uttered stately speeches in verse, but would have spoken homely 
 prose, and that humour would have mingled with the pathos of the 
 scene. The same remark may be made with reference to the sub- 
 sequent scene (v. 5) in which his groom visits the dethroned king 
 in the Tower." Comic characters and those in low life generally 
 
ii6 Notes 
 
 speak in prose in the later plays, as Dowden intimates, but in the very 
 earliest ones doggerel is much used instead. See on lo above. 
 
 The change from prose to verse is well illustrated in the third 
 scene of M. of V. It begins with plain prosaic talk about a busi- 
 ness matter ; but when Antonio enters, it rises at once to the 
 higher level of poetry. The sight of Antonio reminds Shylock of 
 his hatred of the Merchant, and the passion expresses itself in verse, 
 the vernacular tongue of poetry. We have a similar change in 
 the first scene ofy. C, where, after the quibbling " chaff " of the 
 mechanics about their trades, the mention of Pompey reminds 
 the Tribune of their plebeian fickleness, and his scorn and indig- 
 nation flame out in most eloquent verse. 
 
 The reasons for the choice of prose or verse are not always so 
 clear as in these instances. We are seldom puzzled to explain the 
 prose, but not unfrequently we meet with verse where we might 
 expect prose. As Professor Corson remarks {Introduction to Shake- 
 speare, 1889), " Shakespeare adopted verse as the general tenor of 
 his language, and therefore expressed much in verse that is within 
 the capabilities of prose ; in other words, his verse constantly en- 
 croaches upon the domain of prose, but his prose can never be said 
 to encroach upon the domain of verse." If in rare instances we 
 think we find exceptions to this latter statement, and prose actually 
 seems to usurp the place of verse, I believe that careful study 
 of the passage will prove the supposed exception to be apparent 
 rather than real. 
 
 Some Books for Teachers and Students. — A few out of 
 the many books that might be commended to the teacher and the 
 critical student are the following : Halliwell-Phillipps's Outlines of 
 the Life of Shakespeare (7th ed. 1887) ; Sidney Lee's Life of Shake- 
 speare (1898; for ordinary students the abridged ed. of 1899 is 
 preferable); Rolfe's Life of Shakespeare (1904); Schmidt's Shake- 
 speare Lexicon (3d ed. 1902); Littledale's ed. of Dyce's Glossary 
 (1902); Bartlett's Concordance to Shakespeare (1895) ; Abbott's 
 Shakespearian Grammar (1873); Furness's "New Variorum" 
 
Notes 117 
 
 ed. of the plays (encyclopaedic and exhaustive) ; Dowden's Shak- 
 spere : His Mind and Art (American ed. 1881) ; Hudson's Life, 
 Art, and Characters of Shakespeare (revised ed. 1882) ; Mrs. Jame- 
 son's Characteristics of Wo7nen (several eds.; some with the title, 
 Shakespeare Heroines^ ; Ten Brink's Five Lectures on Shakespeare 
 (1895); 'Qoz.'si'?, Shakespeare and His Predecessors (1895); Dyer's 
 Folk-lore of Shakespeare (American ed. 1884); Gervinus's Shake- 
 speare Commentaries (Bunnett's translation, 1875); Wordsworth's 
 Shakespeare^ s Knowledge of the Bible (3d ed. 1880); Elson's Shake- 
 speare in Music (1901). 
 
 Some of the above books will be useful to all readers who are 
 interested in special subjects or in general criticism of Shakespeare. 
 Among those which are better suited to the needs of ordinary 
 readers and students, the following may be mentioned : Mabie's 
 William Shakespeare, Poet, Dramatist, and Man (1900); Dow- 
 den's Shakspere Primer (1877; small but invaluable); Rolfe's 
 Shakespeare the Boy (1896 ; not a mere juvenile book, but treating 
 of the home and school life, the games and sports, the manners, 
 customs, and folk-lore of the poet's time) ; Guerber's Myths of 
 Greece and Rome (for young students who may need information 
 on mythological allusions not explained in the notes). 
 
 Black's Judith Shakespeare (1884; a novel, but a careful study 
 of the scene and the time) is a book that I always commend to 
 young people, and their elders will also enjoy it. The Lambs' 
 Tales from Shakespeare is a classic for beginners in the study of the 
 dramatist ; and in Rolfe's ed. the plan of the authors is carried out 
 in the Notes by copious illustrative quotations from the plays. 
 Mrs. Cowden-Clarke's Girlhood of Shakespeare^ s Heroines (Ameri- 
 can ed. 1904) will particularly interest girls ; and both girls and 
 boys will find Bennett's Master Skylark (1897) ^^^ Imogen Clark's 
 Will Shakespeare's Little Lad (1897) equally entertaining and 
 instructive. 
 
 H. Snowden Ward's Shakespeare's Town and Times (2d ed. 
 1902) and John Leyland's Shakespeare Country (2d ed. 1903) are 
 
1 1 8 Notes [Act I 
 
 copiously illustrated books (yet inexpensive) which may be particu- 
 larly commended for school libraries. 
 
 Abbreviations in the Notes. — The abbreviations of the names 
 of Shakespeare's plays vv^ill be readily understood ; as T. N. for 
 Twelfth Night, Cor. for Coriolanus, 3 Hen. VI. for The Third 
 Part of Ki?tg Henry the Sixths etc. P. P. refers to The Passionate 
 Pilgri7n ; V. and A. to Venus and Adonis ; L. C. to Lover'' s Com- 
 plaint ; and Sonn. to the Sonnets. 
 
 Other abbreviations that hardly need explanation are Cf {confer, 
 compare), Fol. (following), Id. {idem, the same), and Prol. (pro- 
 logue). The numbers of the lines in the references (except for the 
 present play) are those of the "Globe " edition (the cheapest and 
 best edition of Shakespeare in one compact volume), which is now 
 generally accepted as the standard for line-numbers in works of ref- 
 erence (Schmidt's Lexicon, Abbott's Grammar, Dowden's Primer. 
 the publications of the New Shakspere Society, etc.). 
 
 ACT I 
 
 Scene I. — i. Solinus. The spelling of the name in the ist 
 folio ; altered in the second, probably by an accident, to " Salinus." 
 The name occurs nowhere else in the play. The folios have in- 
 differently ^/z/z^/^^/z/jr and Antipholis ; but that the former is the 
 correct form is shown by the rhyme in iii. 2. 2, 4. It is, of course, 
 a corruption of the old Antiphilus. In the stage-directions of the 
 folios the brothers are called Antipholus Erotes and Antipholus 
 Sereptus. The surnames are doubtless errors for Errans (or 
 Ej'ratictis^ and Surreptus, the latter being evidently derived from 
 the Mencechjnus Surrepttis of Plautus, a character well known in 
 the time of S. The Cambridge ed. quotes Brian Melbancke's 
 Philotimus, 1582: "Thou art like Menechmus Subreptus his 
 wife." 
 
Scene I] Notes 1 1 9 
 
 2. Doom, Sentence ; as very often. Cf. Hen. V. iii. 6. 46, etc. 
 4. / am not partial to infringe, etc. I have not the partiality, 
 or leaning to one side, that would lead me to infringe, etc. 
 
 8. Guilders. Dutch coin, here put for money in general. S. 
 uses the word only here and in iv. i. 4 below. 
 
 9. Bloods. The plural used, as often, because more than one 
 person is referred to. 
 
 11. Mortal. Deadly; as often. Cf. W. T. iii. 2. 149: "This 
 news is mortal to the queen," etc. Intestine = "striking each 
 combatant home. There is no question here of conflicts be- 
 tween members of the same state" (Herford). 
 
 12. Seditious. I'actious. S. uses the word only here and in 
 2 Hen. VI. V. i. 37 (if that be his). 
 
 13. Synods. In every other instance of the word in S. it is 
 applied to an assembly of the gods. See A. Y. L. iii. 2. 158, Cor. 
 V. 2. 74, Ham. ii. 2. 516, etc. 
 
 Knight remarks here : " The offence which ^geon had com- 
 mitted, and the penalty which he had incurred, are pointed out 
 with a minuteness by which the poet doubtless intended to convey 
 his sense of the gross injustice of such enactments. In The Taming 
 of the Shrew, written most probably about the same period as The 
 Comedy of Errors, the jealousies of commercial states, exhibiting 
 themselves in violent decrees and impracticable regulations, are 
 also depicted by the same powerful hand : — 
 
 *' ' Tranio. What countryman, I pray? 
 
 Pedant. Of Mantua. 
 
 Tranio. Of Mantua, sir? — marry, God forbid ! 
 And come to Padua, careless of your life? 
 
 Pedant. My life, sir? how, I pray? for that goes hard. 
 
 Tranio, 'Tis death for any one in Mantua 
 To come to Padua ; know you not the cause ? 
 Your ships are staid at Venice ; and the duke 
 For private quarrel 'twixt your duke and him, 
 Hath publish'd and proclaim'd it openly.' 
 
1 20 Notes [Act I 
 
 At the commencement of the reign of Elizabeth, the just principles 
 of foreign commerce were asserted in a very remarkable manner in 
 the preamble to a statute (i Eliz. c. 13) : 'Other foreign princes, 
 finding themselves aggrieved with the said several acts ' — (statutes 
 prohibiting the export or import of merchandise by English subjects 
 in any but English ships) — ' as thinking that the same were made 
 to the hurt and prejudice of their country and navy, have made 
 like penal laws against such as should ship out of their countries in 
 any other vessels than of their several countries and dominions ; 
 by reason whereof there hath not only grown great displeasure 
 between the foreign princes and the kings of this realm, but also 
 the merchants have been sore grieved and endamaged.' The in- 
 evitable consequences of commercial jealousies between rival states 
 — the retaliations that invariably attend these ' narrow and malig- 
 nant politics,' as Hume forcibly expresses it — are here clearly set 
 forth. But in five or six years afterwards we had acts * for setting 
 her Majesty's people on work,' forbidding the importation of foreign 
 wares ready wrought, *to the intent that her Highness's subjects 
 might be employed in making thereof.' These laws were directed 
 against the productions of the Netherlands; and they were immedi- 
 ately followed by counter-proclamations, forbidding the carrying 
 into England of any matter or thing out of which the same wares 
 might be made ; and prohibiting the importation in the Low 
 Countries of all English manufactures, under pain of confiscation. 
 Under these laws, the English merchants were driven from town to 
 town — from Antwerp to Embden, from Embden to Hamburg ; 
 their ships seized, their goods confiscated. Retaliation, of course, 
 followed, with all the complicated injuries of violence begetting 
 violence. The instinctive wisdom of our poet must have seen the 
 folly and wickedness of such proceedings ; and we believe that 
 these passages are intended to mark his sense of them. The same 
 brute force which would confiscate the goods and burn the ships 
 of the merchant would put the merchant himself to death, under 
 another state of society. He has stigmatized the principle of com- 
 
Scene I] Notes 121 
 
 mercial jealousy by carrying out its consequences under an uncon- 
 strained despotism." 
 
 14. Syracusians. The folios all have " Siracusians " or " Syra- 
 cusians ; " and Boswell says the form " has the sanction of Bentley, 
 in his Dissertation on Phalaris.^^ Burton also has it in his Anat. of 
 Melancholy : "Or as that Syracusian in a tempest," etc. 
 
 17. At Syracusian, etc. The folios have "any" before Syracu- 
 sian; probably an accidental repetition of the word. The Cam- 
 bridge ed. follows Malone in retaining it, making Nay niore a 
 separate line, and joining be seen to the next. 
 
 20. Confiscate. Confiscated. Cf. M. of V. iv. i. 332, Cyjnb. v. 
 5. 323, etc. See also i. 2. 2 belov/. S. accents the word on either 
 the first or the second syllable, as suits the measure. 
 
 For dispose = disposal, cf. J^. John, i. I. 263 : "Needs must you 
 lay your heart at his dispose." For another sense (disposition, 
 temper), see 0th. i. 3. 403: "a smooth dispose." 
 
 21. Levied. A trisyllable here. 
 
 22. Quit. Remit, release from; as in M. of V. iv. i. 381 : "To 
 quit the fine for one half of his goods," etc. 
 
 26. This. Perhaps a contraction for This is ; as when printed 
 "this' " in the folio sometimes. Done = carried into effect ; refer- 
 ring to the sentence of death. 
 
 32. Speak my griefs unspeakable. Perhaps a reminiscence of 
 Virgil, yEneid, ii. 3 : " Infandum, regina, jubes renovare dolorem." 
 
 34. By nature, etc. " Not by any criminal act, but by natural 
 affection, which prompted me to seek my son at Ephesus " (Malone). 
 Cf. Temp. V. i. 76 : " Expell'd remorse and nature ; " Ham. i. 5. 81 : 
 " If thou hast nature in thee, bear it not," etc. 
 
 38. By me. The 2d folio adds the too (not in the ist), for the 
 sake of the metre. Possibly our is a dissyllable, as Abbott makes it. 
 
 41. Epidamnum. The folios have " Epidamium." Epidamnum 
 is found in the English translation of the Mencechmi, 1595. The 
 correct form is Epidamnus. 
 
 42. At random. Without proper supervision. 
 
122 Notes [Act I 
 
 43. Emhracements. Used by S. oftener than embraces. 
 
 44. My absence was not six months old. Cf. ii. 2. 153 below: 
 "In Ephesus I am but two hours old." See also Ham. iv. 6, 15. 
 
 45. Herself. Reflexive personal pronouns are occasionally used 
 in this way ; as in T. G. of V.\\. i. 174 : " Herself hath taught her 
 love," etc. Cf. myself in 69 below. 
 
 52. As could not. That they could not. By names = by sur- 
 names, which were dropped when the brothers became separated. 
 Clarke suggests that the twins at first had different names, and that 
 afterwards one of each pair, in remembrance of his brother, took 
 his name. Cf. 128 below. 
 
 54. Meaner. The ist folio has "meane," the 2d "poor meane." 
 Some modern eds. read " poor mean," but the poor two lines 
 below is against the insertion of the adjective here. Meaner is 
 adopted by most editors. 
 
 56. For. For that, because ; as often. 
 
 59. Motions. Proposals. Cf. M. W. i. i. 55, 121, iii. 4. 67, etc, 
 
 64. Instance. Sign, indication ; as in iv. 3. 88 below. Cf. R. of 
 Z. 1511 : "That blushing red no guilty instance gave ; " that is, no 
 sign of guilt. See also T. G. of V. ii. 7. 70. 
 
 72. Plainings. Complainings, wailing. Cf. R. of L. 559 : — 
 
 " but his heart granteth 
 No penetrable entrance to her plaining." 
 
 See also Rich. II. i. 3. 175, etc. 
 
 77. Sinking-ripe. Ripe for sinking, about to sink. Cf. "weep- 
 ing-ripe" in Z. L. L. V. 2. 274 and 3 Hen. VI. i. 4. 172; and 
 "reeling-ripe" in Temp. vi. i. 279. 
 
 78. The latter-born. Changed by Rowe to " the elder-born," on 
 account of 124 below. Clarke explains the text thus: "It seems, 
 though the mother, ' more careful for the latter-born, had fastened 
 him ' to the mast, yet that she had herself become fastened to the 
 other end where her elder twin-son was secured." The somewhat 
 confused description, it is suggested, may have been intended " to 
 
Scene I] Notes 1 23 
 
 give the effect of the confusion of the wreck." I suspect, how- 
 ever, that the poet, like Little Buttercup, " got those babies mixed." 
 It has been suggested " that the children became exchanged in the 
 confusion during the breaking-up of the ship." 
 
 84. On who7n, etc. In relative sentences the preposition is often 
 not repeated. Cf. W. T. iv. 4. 466 : " To die upon the bed my 
 father died," etc. 
 
 85. Either end the mast. Such omission of the preposition is 
 not unusual. Cf. A. Y. L. i. 3. 118: "suit me all points like a 
 man," etc. 
 
 ^i"]. Towards. Usually monosyllabic in S., but sometimes dis- 
 syllabic, as here. In the latter case, the accent is variable. 
 
 92. Amain. With main or force (as in "might and main"), 
 vigorously, swiftly. Cf. V. and A. 5: "Venus makes amain unto 
 him ; " Temp. iv. i. 74: "her peacocks fly amain," etc. 
 
 93. Epidaurus. A town in Argolis on the Saronic Gulf. There 
 was another Epidaurus in Laconia. A ship bound to Cenchreas, 
 the port of Corinth on the Saronic Gulf, would take the same 
 course as one sailing to or from Epidaurus. 
 
 103. Splitted. Cf. 2 Hen. VI. iii. 2. 411 : "Even as a splitted 
 bark." See also A. and C.w.i. 24 and v. i. 309 below. Elsewhere 
 (as in Temp. v. i. 223) the participle is split. Helpful ship prob- 
 ably refers to the mast, as Mr. F. A. Marshall suggests. 
 
 114. Healthful. Salutary, advantageous. The later folios have 
 " helpful." For shipwrack^d, see on v. i. 49 below. 
 
 122. Dilate. Relate, narrate. Cf. 0th. i. 3. 153: "That I 
 would all my pilgrimage dilate." 
 
 123. Befallen. Not elsewhere followed by of in S. We find it 
 with to in M. for M. iii. i. 227 and 2 Hen. VI. v. 3. t^t,. 
 
 124. My youngest boy, etc. See on 78 above. 
 
 126. Importuned. Accented on the second syllable, as regularly 
 in S. Cf. iv. I. 2, 53 below. 
 
 128. Reft. Cf. 115 above. For the present r^«?7f, see V. and A. 
 766 : " reaves his son of life." The ellipsis of the nominative, as 
 
124 Notes [Act I 
 
 in but retained, is not uncommon when it can be easily supplied. 
 Cf. W. T, iv. 4. 168 : "They call him Doricles ; and boasts him- 
 self," etc. 
 
 129. In the quest. Cf. i. 2. 40 below. 
 
 1 30. Of. Out of, from. The meaning of the passage is : " Whom 
 (my lost son) while I was lovingly anxious to see, yet (in letting 
 my other son go to seek him) / hazarded the loss of whom I loved 
 (that other son himself) " (Marshall). 
 
 133. Clean. Quite, entirely. Cf. Sonn. 75. 10: "Clean 
 starved; " 2 Hen. IV. i. 2. no: "not clean past your youth," etc. 
 See 2X^0 Joshua, iii. 17, Psalms, Ixxvii. 8, Isaiah, xxiv. 19, etc. 
 
 138. Timely. Early, speedy. Cf. Macb. iii. 3. 7: "To gain 
 the timely inn." S. uses the adjective only twice. 
 
 144. Disannul. Annul; as in 3 Hen. VI. iii. 3. 81 : "Then 
 Warwick disannuls great John of Gaunt." See also Job, xl, 8, 
 Galatians, iii. 15, 17, and Hebrews, vii. 18. The prefix is not 
 negative, but intensive, as in dissever. 
 
 146. The death. Death by judicial sentence j as often. Cf. M. 
 N. D. i. I. 65, Rich. II. iii. i. 29, i Hen. IV. v. 5. 14, etc. 
 
 150. Therefore, merchant, etc. A lame line, unless we accent 
 merchant on the last syllable, which Abbott {^Gratmnar, 453) 
 thinks doubtful. It does not help it much to accent therefdre, as 
 he suggests. The trochee is always awkward as the second foot of a 
 line. Limit thee this day = allow thee this day, limit thee to this day. 
 
 151. To seek thy help by beneficial help. Pope changed the first 
 help to " life ; " but to seek a person's life meant then, as now, to 
 seek to destroy it. Cf. M. for M. i. 4. 72 : " Doth he so seek his 
 life ? " See also M. of V. iii. 3. 21, iv. i. 351, Lear, iii. 4. 172, Per. 
 iv. I. 90, etc. The repetition is quite in Shakespeare's manner, and 
 the meaning is, " I '11 give you the extent of this day to seek for aid 
 by charitable assistance " (Clarke). Dr. Ingleby {Shakes. Herme- 
 neutics, p. 26) remarks that a better example than this cannot be 
 found of Shakespeare's " custom of using a word in different senses 
 twice in one Hne." 
 
Scene iij Notes 125 
 
 154. If no. The reading of all the early eds., changed by Rowe 
 to "if not"; but the use of ito is not unlike that in Teinp. i. 2. 
 427 : " If you be maid or no," etc. Cf. v. i. 157 below. 
 
 158. Lifeless. Spelt "liveless"in the early eds., as elsewhere. 
 Schmidt suggests that lifeless e7td is " perhaps not the end brought 
 on by death, but the end of his lifeless state, the end of his death- 
 like life." Procrastinate occurs nowhere else in S. 
 
 Scene II. — 2. Lest that. This use of that as a " conjunctional 
 affix " is very common. 
 
 7. The weary sun. Cf. K. John, v. 4. 35 : " Of the old, feeble, 
 and day-wearied sun ;" and Rich. ILL v. 3. 19: "The weary sun 
 hath made a golden set." 
 
 9. Host. Lodge; as in ^. ^. iii. 5. 97: — 
 
 " Come, pilgrim, I will bring you 
 Where you shall host." 
 
 S. uses the verb only twice. 
 
 13. Peruse the traders. "In other words, look into the shop- 
 windows" (Clarke). Cf. 2 Hen. IV. iv. 2. 94: — 
 
 " And, good my lord, so please you, let our trains 
 March by us, that we may peruse the men 
 We should have cop'd withal." 
 
 See also Ham. iv. 7. 137: "peruse the foils; " Cytnb. i. 4. 7: "to 
 peruse him by items," etc. 
 
 18. Mean. For the singular, cf. W. T. iv. 4. 89 : — 
 
 " Yet nature is made better by no mean 
 But nature makes that mean ; " 
 
 S. also uses means in the same sense, both as singular and plural. 
 Cf. "these means" in R. of L. 1140, and " that means" in M. of V. 
 ii. I. 19, etc. 
 
 19. Villain. Vassal, slave, ^geon had bought the Dromios 
 (see i. I. 57 above). Malone cites R. of L. 1338: "The homely 
 villain curtsies to her low ; " where a Roman slave is referred to. 
 
126 Notes [Act I 
 
 26. Soon at Jive o'clock. Sometimes pointed " soon, at ; " but it 
 is now before *' dinner-time " (see ii above), which was at noon in 
 the time of S. Soon at five o'clock is explained by Malone as = 
 " nearly at five o'clock ; either a little before or soon after that 
 hour." Cf. iii. 2. 175 below. 
 
 28. Consort you. Keep you company. Malone wanted to read 
 "consort with you " (cf. R. and J. iii. i. 48), but in the same scene 
 of R. and J. (135) we find" that didst consort him here." See also 
 L. L. L. ii. I. 178: "Sweet health and fair desires consort your 
 grace! " andy. C v. i. %'^\ "Who to Philippi here consorted us." 
 
 37. Find his fellow forth. That is, find him out, as we now say. 
 CL M. of V.\. I. 143: "To find the other forth." '^o forth of 
 = out of (as in Temp. v. i. 160), from forth = from out (as in 
 J^. John, iv. 2. 148), etc. 
 
 38. Confounds himself. Is lost. Confound is often = destroy, 
 ruin, and some see that sense here. On the passage, cf. ii. 2. 130 
 fol. below. 
 
 40. Unhappy. The ist folio has " (vnhappie a)," and the Cam- 
 bridge editors conjecture " unhappier." 
 
 41. The almanac of my true date. " Because they were both 
 born in the same hour" (Malone). 
 
 42. How chance. Cf. M. N. D. i. i. 129: "How chance the 
 roses there do fade so fast ?" 2 Hen. IV. iv. 4. 20: " How chance 
 thou art not with the prince thy brother ? " etc. 
 
 45. Strucken. S. uses for the participle struck (or sirook^, 
 striicken (or stroken'), and stricken. 
 
 49. Stomach. Appetite. Cf. the play upon the word in M. 
 of V. iii. 5. 92. 
 
 50. Having broke. S. uses broke and broken interchangeably 
 for the participle. 
 
 52. Are penitent. That is, are doing penance. Cf. the noun in 
 A. W. iii. 5. 97: "enjoin'd penitents." 
 
 63. In post. That is, post-haste. Cf. R. and J. v. 3. 273 : 
 "And then in post he came from Mantua," etc. In Rich. II. ii. 
 
 I 
 
Scene II] Notes 127 
 
 I. 296, the 1st and 2d folios have "in post," the 3d and 4th "in 
 haste." We find "in all post" in Rich. III. iii. 5. 73, and "all in 
 post" in R. of L. i. 
 
 64. / shall be post indeed. That is, like a post in a shop, on 
 which accounts were scored, or marked with chalk or notches. Cf. 
 I Hen. IV. V. 3. 31: "here 's no scoring but upon the pate." 
 Halliwell-Phillipps quotes The Letting of Humors Blood, etc., 
 1611 : — 
 
 " He scornes to walke in Paules without his bootes, 
 And scores his diet on the vitlers post ; " 
 
 and Lord Cromwell: " Would thou would'st pay me : a good four 
 pound is it ; I hav 't o' the post at home." 
 
 66. Clock. Halliwell-Phillipps cites Overbury, Characters: 
 " onely the clocke of his stomacke is set to goe an houre after his " 
 [that is, his master's] ; The Wandering few, etc. : " but, sir, the 
 clocke of my belly bids me tell you 't is noone ; " and The Passen- 
 ger of Benvenuto : " the clocke of my stomacke strikes inwardly, 
 and importunately craves his due." 
 
 72. Sir knave. Cf. 92 and iii. I. 64 below; also A. W. i. 3. 94. 
 Elsewhere we find " sir boy," " sir page," etc. 
 
 73. Disposed. Disposed of. Cf. T. A. iv. 2. 173 : "There to 
 dispose this treasure," etc. 
 
 75. The Phoenix. Private houses, as well as inns, often had dis- 
 tinctive names. 
 
 76. Stays. This use of the singular verb with two singular nouns 
 as subject occurs not unfrequently. Cf. Cymb. ii. 4. 57 : "my hand 
 And ring is yours," etc. See also ii. 2. 210 below. 
 
 78. Bestow'' d. Stowed, deposited; as in Temp. v. i. 299: 
 " Hence, and bestow your luggage where you found it," etc. 
 
 79. Sconce. For the contemptuous use of the word (= head), 
 cf. ii. 2. 34, 35 below. See also Cor. iii. 2. 99 and Ham. v. i. no. 
 
 80. Undispos' d. Used by S. only here ; and indisposed (in the 
 modern sense) only in Lear, ii. 4. 112. 
 
 82. Marks. The play upon the word is obvious. 
 
128 Notes [Act 11 
 
 86. Will. For the use after should, cf. Hen. VIII. i. 2. 134 : — 
 " that if the king 
 Should without issue die, he '11 carry it so 
 To make the sceptre his." 
 
 89. Fast. There is an obvious play on " fasting and prayer." 
 92. Forbid? Used by S. oftener than forbidden. See on 50 
 above. 
 
 96. C er-r aught. Overreached, cheated. Cf. Ham. iii. i. 17 : — 
 
 " Madam, it so fell out that certain players 
 We o'er-raught on the way." 
 
 See also Spenser, F, Q. vi. 3. 50 : — 
 
 " Having by chaunce a close advantage vew'd, 
 He over raught him," etc. 
 
 97. This town is full of cozenage. This, as Warburton notes, 
 was the ancient reputation of Ephesus. See p. 185 below. 
 
 99. Dark-working. Working in the night. Cf. 2 Hen, VI. i. 
 
 4.18: — 
 
 " wizards know their times : 
 Deep night, dark night, the silent of the night," etc. 
 
 It may mean working in secret, or by infernal agencies. 
 
 102. Liberties of sin. " Sinful liberties" (Malone) ; or " licensed 
 offenders " (Steevens). Marshall suggests that it may mean " lib- 
 erties /c?^ sin." 
 
 ACT II 
 
 Scene I. — 15. Lashed. Scourged; with perhaps, as Clarke 
 thinks, a quibbling reference to the other sense (fastened, bound). 
 " A learned lady," according to Steevens, conjectured " leash'd," 
 that is, " coupled like a headstrong hound." 
 
 10-15. Why should, etc. Here, as in 26-33 below (so in iii. I. 
 59 fol., iii. 2. 53 fol., etc.), we have an example of stichomythia 
 (o-TixoAiu^^a), or dialogue in alternate lines (sometimes pairs or 
 
Scene I] Notes 129 
 
 groups of lines), common in Greek tragedy and often imitated by 
 the early English dramatists. S. uses it only in his earliest plays. 
 Cf. T. G. of V. i. 2. 24-32, Rich. III. iv. 4. 213-219, 345-369, etc. 
 
 16. Situate. Cf. confiscate in i. I. 20 above. 
 
 17. His. Its; as very often before its came into general use. 
 Cf. 1 10 below. 
 
 26. To keep. In S. we often find to omitted or inserted where 
 now it would not be so. 
 
 30. Some other where ? That is, in some other direction, or after 
 some other woman. Cf. Hen. VIII. ii. 2. 60 : " The king has sent 
 me other where; " and R. and J. i. i. 204: "he's some other 
 where." See also 104 below. Johnson conjectured " other hare," 
 and compared A. Y. I. iv. 3. 18 : " Her love is not the hare that I 
 do hunt ; " but there is no reason for any change. Clarke remarks 
 that " other where gives the effect of ' other woman,' as in the next 
 line home gives the effect of * his own wife.' " Other where is gen- 
 erally printed as one word in the early eds. 
 
 32. Pause. To rest, to be quiet. Dodd paraphrases the passage 
 thus : " No wonder, says he, patience, unaffected by any calamity, 
 untouched by any grief, can pause for consideration, can have lei- 
 sure to recollect herself, and in imagination exert her virtues." 
 
 33. No other cause. No cause to be otherwise. 
 
 34. A wretched soul, etc. Cf. Much Ado, v. i. 20 : — 
 
 " for, brother, men 
 Can counsel and speak comfort to that grief 
 Which they themselves not feel ; . . . 
 ... 't is all men's office to speak patience 
 To those that wring under the load of sorrow." 
 
 39. Helpless. Affording no help, unavailing ; the most common 
 meaning in S. Cf. V. and A. 604: "As those poor birds that help- 
 less berries saw" (that is, painted berries); R. of L. 1027: "This 
 helpless smoke of words doth me no right;" Id. 1056: "Poor 
 helpless help ; " and Rich. III. i. 2. 13: "the helpless balm of my 
 
 COMEDY OF ERRORS — 9 
 
130 Notes [Act II 
 
 poor eyes." The only other instances of the word in S. are i. i. 
 157 above and R. of L. 756. 
 
 41. Fool-begg' d. Probably = foolishly begged or demanded. 
 Johnson says : " She seems to mean that patience which is so near 
 to idiotical simplicity that your next relation would take advantage 
 from it to represent you as z.fool, and beg\\it guardianship of your 
 fortune." This seems far-fetched, but some endorse it as a possible 
 play upon the phrase to beg a fool. Cf. Z. L. L. v. 2. 490 : " You 
 cannot beg us ; " that is, cannot prove us to be idiots, and there- 
 fore liable to be put under guardianship. Clarke paraphrases the 
 passage thus : " This patience, so foolishly begged that I will prac- 
 tise, will by you be left unpractised." 
 
 49. Beshrew. A mild form of imprecation. 
 
 Understand it. For the play upon the word {^ stand under) , 
 Steevens compares T. G. of V. ii. 5. 28 : " My staff understands 
 me" (cf. the context). He might have added T. N. iii. i. 89: 
 " My legs better understand me, sir, than I understand what you 
 mean by bidding me taste my legs." 
 
 53. Doubtfully. Capell remarks : " Some readers may not be 
 aware that doubtfully squints at, — redoubtedly, manfully ; " and 
 Clarke says : " Dromio uses this word punningly in reference to 
 two that it sounds something like — dotightily and redoubtably; 
 meaning valorously, formidably ; " but this seems rather doubtful. 
 
 57. Horn-mad, " Mad like a wicked bull ; mostly used with a 
 reference to cuckoldom" (Schmidt). Cf. M. W. i. 4. 51, iii. 5. 
 155, and Much Ado, i. i. 272. 
 
 82. So round with you. " He plays upon the word round, 
 which signified spherical applied to himself, and unrestrained, or 
 free in speech or action, spoken of his mistress" (Johnson). For 
 round = plain-spoken, cf. Ham. iii. i. 191 : "let her be round with 
 him" (see Id. iii. 4. 5); 0th. i. 3. 90: "a round, unvarnish'd 
 tale," etc. 
 
 85. Case me in leather, "Still alluding to a foot-ball" 
 (Steevens). 
 
Scene I] Notes 131 
 
 87. Minions, Favourites ; here used with a touch of contempt. 
 Cf. Temp. iv. i. 98: " Mars's hot minion," For the other sense 
 (without contempt), cf. Macb. i. 2. 19, K.John, ii. i. 392, etc. 
 
 88. Starve for a merry look. Cf. Sonn. 47. 3 : " When that 
 mine eye is famish'd for a look; " and Sonn. 75. 10: "And by 
 and by clean starved for a look." 
 
 89. Took. The participle in S. is took, taken, or to* en. Cf. 1. i. 
 no above and iii. 2. 168 below. 
 
 94. Bait. Entice, allure. For the literal use, cf. M. of V. iii. 
 1.5: "to bait fish withal." 
 
 98. Defeatures. Disfigurement. Cf. v. i. 300 below. See also 
 V. and A. ']2,(i : — 
 
 " To mingle beauty with infirmities, 
 And pure perfection with impure defeature." 
 
 For /izzV = fairness, beauty, cf. V. and A. 1083: "Having no 
 fair to lose ; " Id. 1086 : " to rob him of his fair," etc. See also 
 M. N. D.'\.\. 182, A. Y. L. iii. 2. 99, etc. 
 
 100. Deer, There is a play on deer and dear ; as in V. and A. 
 231, M. W. V. 5. 18, 123, L. L. L. iv. I. 115, T. of S. v. 2. 56, 
 I Hen. IV. v. 4. 107, Macb. iv. 3. 206, etc. Johnson quotes Waller's 
 poem On a Lady's Girdle: — 
 
 " This was my heaven's extremest sphere, 
 The pale that held my lovely deer." 
 
 loi. Stale. This also is played upon, "as carrying out the 
 metaphor of the pursuit of game by a stale, or pretence, and as 
 referring to that which has become stale, flavourless, unpalatable " 
 (Clarke). For stale = decoy, bait, cf. Tepip. iv. i. 187 : " For stale 
 to catch these thieves." In the present passage, the reference may 
 be to the stalking-horse (see A. V. L. v. 4. in), behind which the 
 sportsman approached his game. Stale is used in this sense by 
 Greene and Jonson. Schmidt makes the word here = dupe, laugh- 
 ing-stock ; for which cf, T. of S. i J. 58, etc. It has that sense 
 
132 Notes [Act II 
 
 in the old translation of the MencBchmi : " He makes me a stale 
 and a laughing-stock." 
 
 103. Can with such wj'ongs dispense. That is, can excuse or 
 put up with them. Cf. R. of L. 1070: "And with my trespass 
 never will dispense;" Id. 1279: "Yet with the fault I thus far 
 can dispense; " Id. 1704: "May my pure mind with the foul act 
 dispense?" Son?t. 112. 12: "Mark how with my neglect I do dis- 
 pense ; " and M. for M. iii. i. 135 : — 
 
 " What sin you do to save a brother's life, 
 Nature dispenses with the deed so far 
 That it becomes a virtue." 
 
 104. Other where. See on 30 above. 
 
 105. Lets. Hinders ; as in Hmji. i. 4. 85 : " By heaven, I '11 
 make a ghost of him that lets me ! " So the noun = hindrance ; 
 as in Hen. V. v. 2. 65, etc. 
 
 107. Alone, alone. For the repetition, cf. R. of L. 795 : " But 
 I alone, alone, must sit and pine; " K. John, iii. i. 170: "Yet I 
 alone, alone, do me oppose," etc. 
 
 109. Jewel. "Any personal ornament of gold or precious 
 stones" (Schmidt); a piece of jewelry. Cf. T. N. iii. 4. 228: 
 " Here, wear this jewel for me, 't is my picture." In M. of V. \. i. 
 224, it is = a ring ; in Cymb. ii. 3. 146, a bracelet, etc. The word 
 was sometimes applied to mere curiosities, that would not be in- 
 cluded in any list of jewelry nowadays. Thus we read in Purchas 
 his Pilgrinies, 1625 (quoted by Halliwell-Phillipps) : "They found 
 a great dead fish, round Hke a porcpis, twelve feet long. ... It 
 was reserved as a jewell by the Queenes commandement, in her 
 Wardrobe of Robes, and is still at Windsore to be scene." ' 
 
 no. His. Its; as in 17 above. 
 
 And though gold, etc. The passage is evidently corrupt in the 
 folio, where it reads thus : — 
 
 " yet the gold bides still 
 That others touch, and often touching will, 
 
Scene II] Notes 133 
 
 Where gold and no man that hath a name 
 By falsehood and corruption doth it shame : " 
 
 And though (or " and the'," as he printed it) is Hanmer's reading. 
 Theobald transposed yei to the next line, and changed " Where " 
 to Wear, and Heath suggested and so a man. This combination 
 of slight emendations, as adopted by Clarke and others, makes the 
 passage intelligible, though I am by no means certain that it restores 
 it to its original form. Many other changes have been suggested. 
 Warburton paraphrases the passage thus : " Gold, indeed, will 
 long bear the handling ; however, often touching will wear even 
 gold : just so the greatest character, though as pure as gold itself, 
 may in time be injured by the repeated attacks of falsehood and 
 corruption. " For the allusion to the touchstone as a means of test- 
 ing the purity of gold, cf. K.John, iii. i. 100: — 
 
 " You have beguil'd me with a counterfeit 
 Resembling majesty, which, being touch'd and tried, 
 Proves valueless ; " 
 
 and Rich. III. iv. 2. 8 : — 
 
 " Ah, Buckingham, now do I play the touch, 
 To try if thou be current gold indeed ! " 
 
 1 14. Since that. See on i. 2. 2 above. 
 
 116. Fond. Doting. When the word does not mean simply 
 
 foolish, it often blends that meaning with the other. Y ox fondly — 
 foolishly, see iv. 2. 57 below. 
 
 Scene II. — 3. Is wandered. Has wandered. The auxiliary 
 be is often thus used with verbs of motion. Cf. " is walked " 
 (2 Hen. IV. i. i. 3), "is rode" {^Hen. V. iv. 3. i), "is ascended" 
 (/. C. iii. 2. 11), etc. . 
 
 9. You know no Centaur? "Dromio of Ephesus did not say 
 that he knew no Centaur ; the question was not put to him by 
 Antipholus of Syracuse " (Collier). 
 
134 Notes [Act II 
 
 15. Did not see you since. Cf. Hen. V. iv. 7. 58: "I was not 
 angry since I came to France," etc. 
 
 24. Earnest. A play upon the word as applied to a partial 
 payment made to bind a bargain. We have the same quibble in 
 T. G. of V. ii. I. 163: — 
 
 *' Speed. No believing you, indeed, sir. But did you perceive her earnest? 
 Valentine. She gave me none, except an angry word." 
 
 26. Because that. See on i. 2. 2 above. 
 
 28. Jest upon. Trifle with. The reading of the early eds., 
 needlessly changed by some to "jet upon." For the latter, cf. 
 T. A.\\. I. 64 etc. For jest upon, cf. T. N. iii. i. 69: "He must 
 observe their moods on whom he jests; " and T. of S. iv. 5. 72 : — 
 
 " or is it else your pleasure, 
 Like pleasant travellers, to break a jest 
 Upon the company you overtake? " 
 
 29. Make a common of my serious hours. " That is, intrude on 
 them when you please. The allusion is to those tracts of ground 
 destined to common use, which are called commons'''' (Steevens). 
 There is a play upon this sense of comt?ion in L. L. L. ii. i. 223: 
 " My lips are no common, though several they be." 
 
 32. Know my aspect. " Study my countenance " (Steevens) ; 
 note whether I seem in the mood for it. Aspect is always accented 
 on the last syllable in S. Cf. 116 below. 
 
 34. In your sconce. Into your skull. In is often = into. We 
 still say " fall in love." In his reply, Dromio plays upon the origi- 
 nal meaning of sconce (a round fortification). 
 
 49. Neither rhyme nor reason. The expression was an old 
 one. Halliwell-Phillipps quotes, among other instances of it, 
 Elyot's Dictionaries 1559: " Absurdus, inconvenient, foolysshe, 
 agaynst all rime and reason." 
 
 65. Lest it make you choleric. Cf. T. of S. iv. I. 173, where 
 Petruchio, after throwing away the meat, says : — 
 
Scene II] Notes 135 
 
 "I tell thee, Kate, 'twas burnt and dried away, 
 And I expressly am forbid to touch it, 
 For it engenders choler, planteth anger ; 
 And better 't were that both of us did fast, 
 Since, of ourselves, ourselves are choleric, 
 Than feed it with such over-roasted flesh." 
 
 In the Glass of Humours, a choleric man is advised " to abstain 
 from all salt, scorched, dry meats, from mustard, and such like 
 things as will aggravate his malignant humours," etc. 
 
 66. Dry basting. This is said to mean " a beating with a stick, 
 or other weapon not designed to shed blood." Cf. L. L. L. v. 2. 
 263 : " all dry-beaten with pure scoff ; " R. and J. iii. i. 82 : " dry- 
 beat the rest of the eight; " and Id. iv. 5. 126: "I will dry-beat 
 you with an iron wit." Schmidt defines dry-beat as " thrash, cudgel 
 soundly." 
 
 77. By fine and recovery. A quibbling reference to the old legal 
 process so called. Steevens remarks : " This attempt at pleasantry 
 must have originated from our author's clerkship to an attorney. 
 He has other jokes of the same school." Cf. M. IV. iv. 2. 225. 
 
 82. Excrement. In its etymological sense of outgrowth^ like 
 excrescence from the same Latin verb. Cf. M. of V. iii. 2. 87, 
 L. L. L. V. I. 109, W, T. iv. 4. 734, and Ham. iii. 4. 119. The 
 word is applied to the hair or beard in five out of the six instances 
 in which S. uses it. In T. of A. iv. 3. 445 it is used in the modern 
 sense. Fuller, in his Worthies of England, speaks of the hair as 
 " the last of our excrements that perish." 
 
 87. More hair than wit. This expression was proverbial. Ma- 
 lone quotes Parnassus Biceps, 1656: — 
 
 " To be Hke one who hath more haire than head; 
 More excrement than body." 
 
 Halliwell-Phillipps quotes the Banquet of Jests, 1657 : " One that was 
 a great practitioner of physiognomie, reading late at night, hap- 
 pened upon a place which said hayrie men for the most part are 
 
136 Notes [Act II 
 
 dull, and a thick long beard betokened a fool. He took down his 
 looking-glasse in one hand, and held the candle in the other, to 
 observe the growth and fashion of his own, holding it so long, till 
 at length by accident he fired it : whereupon he wrote on the mar- 
 gent, Probatum est" (that is, it is proved!). 
 
 88. Not a man of those, etc. " That is, those who have more 
 hair than wit are easily entrapped by loose women, and suffer the 
 consequences of lewdness, one of which, in the first appearance of 
 the disease in Europe, was the loss of hair" (Johnson). 
 
 93. Jollity. Changed by some editors to " policy." Marshall 
 asks " Where is the jollity ? " The allusion is to the loss of hair 
 from what is called the " French disease." See the preceding 
 note. Hence a bald head was called a French crown; as in 
 M. N. D. i. 2. 99, M. for M. i, 2. 52, and A. W. ii. 2. 23. 
 
 98. Falsing. Delusive. Cf. Cymb. ii. 3. 74 : " yea, and makes 
 Diana's rangers false themselves ; " where Schmidt thinks it may be 
 an adjective. See also Spenser, F. Q. i. 2. 30: "hisfalsed fancy ; " 
 Id. iii. I. 47: "her falsed fancy," etc. In the Shep. Kal. May, we 
 ^Vi.^ falser = liar : " That of such falsers freendship bene fayne." 
 
 102. Trimming. The folios have "trying," which Pope took 
 to be a misprint of tyring or tiring, as perhaps it may be. Trim- 
 ming is Rowe's emendation, and is generally adopted. 
 
 106. No time. The reading of the 2d folio ; the ist has "in no 
 time," which has been defended thus: "Antipholus had said, 
 * There 's a time for all things.' This Dromio denies : * There 's no 
 time for a man to recover his hair that grows bald by nature.' 
 Antipholus asks him to prove this ; and Dromio does it * by fine and 
 recovery.' The bald man 'pays a fine for a periwig,' and so 're- 
 covers' his lost hair ijt no time. He quibbles on no time to do 
 a thing and the idiom * in no time ' = in an instant." The read- 
 ing of the text is generally adopted. 
 
 114. Wafts. Beckons. Cf. M. of V. y. i. 11 '.— 
 " In such a night, 
 Stood Dido with a willow in her hand 
 
Scene II] Notes 137 
 
 Upon the wild sea banks, and waft her love 
 To come again to Carthage ; " 
 
 where waft = wafted. See also T. of A. i. i. 70 : " Whom Fortune 
 with her ivory hand wafts to her." In Ham. i. 4. 78 the folio has 
 "wafts," the quarto "waves." In J. C. ii. i. 246 we find wafture 
 (" wafter " in the folio) = waving of the hand. 
 
 119. That never words were music, etc. Malone remarks that 
 this is imitated by Pope in his Epistle from Sappho to Phaon : — 
 
 " My music then you could for ever hear, 
 And all my words were music to your ear," 
 
 The "chiastic" arrangement in 1 19-123 is a favourite one with S. 
 Cf. Macb. i. 3. 60 : 
 
 " Speak thou to me, who neither beg nor fear 
 Your favours nor your hate." 
 
 123. To thee. Omitted by Pope to avoid the Alexandrine. To 
 caj've to (or for) a person was considered a mark of affection. 
 Halliwell-Phillipps cites Palsgrave, 1530: "Kerve this swanne, 
 whyle I kerve to these ladyes; " Heywood, Workes, 1577: "Now 
 carved he to al but her; " and Powell, Art of Thriving, 1635: 
 "to be carved unto by Mistris Dorothy." 
 
 127. Incorporate. Cf. M. N. D. iii. 2. 208 : — 
 
 " As if our hands, our sides, voices, and minds 
 Had been incorporate." 
 
 For the form, cf. consecrate, contaminate, and adulterate below. 
 See also on i. i. 20 above. 
 
 130. Fall. Transitive; as often. Cf. Temp. v. i. 64,/. Civ. 2. 
 26, etc. 
 
 136. Licentious. A quadrisyllable ; like contagion in 149 and 
 inspiration in 172 below. 
 
 137. Consecrate to thee. Cf. Sonn. 74. 6. "The very part was 
 consecrate to thee," etc. See also on i. i. 20 above. 
 
 139. Spurn at. Cf. Ham. iv. 5. 6 : " Spurns enviously at straws." 
 
138 Notes [Act II 
 
 We find spurn against in K. John, iii. i. 142, and spurn upon in 
 Rich. III. i. 2. 42. 
 
 141. The stained skin, etc. Cf. R. of L. 806: — • 
 
 " Make me not object to the telltale day ! 
 The light will show, character'd in my brow, 
 The story of sweet chastity's decay, 
 The impious breach of holy wedlock vow." 
 
 There is an allusion to the old custom of branding criminals in the 
 forehead. Cf. Ham. iv. 5. 118: — 
 
 " brands the harlot 
 Even here, between the chaste unsmirched brow 
 Of my true mother." 
 
 143. Deep-divorcing vow. The hyphen is not in the early eds., 
 and Schmidt compares "deep vow" in R. of L. 1847 and "deep 
 oaths" in Sonn. 152. 9, etc. But S. is fond of compounds with 
 deep, and this is probably one of them. Cf. deep- contemplative 
 {A. Y. L. ii. 7. 31), deep-premeditated (i Hen. VI. iii. I. l), deep- 
 revolving {Rich. III. iv. 2. 42), deep-searched {I. I. I. i. I. 85), 
 deep-sweet ( F. and A. 432), deep-sworn {K.John, iii. i. 231), etc. 
 
 149. Strumpeted, The word occurs again in Sonn. 66. 6: "And 
 maiden virtue rudely strumpeted." Steevens quotes Heywood, 
 Iron Age, 1632 : " By this adultress basely strumpeted." Contagion 
 is a quadrisyllable here. 
 
 151. I live unstain' d, etc. The folio reads: "I Hue distain'd, 
 thou vndishonoured." Theobald printed " dis-stain'd," giving the 
 dis- "a privative force; " but elsewhere in S. (see R. of I. 786, 
 Rich. III. v. 3. 322, etc.) distain = stain. The real question is 
 whether the line is closely connected with the preceding or not. 
 If it is, we want unstained and undishoitotired : Be true to your 
 marriage vows, and we shall both be free from stain. On the other 
 hand, if the line is not directly dependent on the preceding, we 
 should adopt the reading of Heath (" I live distained, thou dis- 
 honoured ") : Be true to your vows, for now that you are untrue 
 
Scene II] Notes 139 
 
 we both are dishonoured. I have no doubt that the former is the 
 correct interpretation. The other makes the appeal in 150 a rather 
 weak parenthesis, and the following line an equally feeble repeti- 
 tion of what has gone before. Heath's reading will bear the mean- 
 ing " I live distained, thou being dishonoured," or, as he puts it, 
 " As long as thou continuest to dishonour thyself, I also live dis- 
 tained." The fact, however, that this arrangement of the clauses 
 is more forcible than that in his proposed text, is, to my think- 
 ing, proof positive that his text is not Shakespeare's. Halliwell- 
 Phillipps remarks that "very likely the n of unstain^ d wzs only half 
 written with one stroke, this mistake often occurring with the n 
 and the u in manuscripts of the period." 
 
 153. Two hours old. Cf. i. i. 44 above. 
 
 166. Compact Accented on the last syllable, as regularly in S. 
 except in i Hen. VI. v. 4. 163, which may not be his. 
 
 172. Inspiration. Metrically five syllables. See on 136 above. 
 
 175 In my mood. In my anger ; as in T. G. of V. iv. i. 51, 
 A. W. V. 2. 5, 0th. ii. 3. 274, etc. 
 
 176. Exempt, "Separated, parted. The sense is, If I am 
 doomed to suffer the wrong of separation, yet injure not with con- 
 tempt me who am already injured" (Johnson). " Adriana means 
 to say. Add not another wrong to that which I suffer already ; do 
 not both desert and despise me" (Malone). In the old play of 
 King Johfi, 1591, we find " Goe, cursed tooles, your office is ex- 
 empt " (that is, taken away) ; and Collier quotes Greene, Maiden's 
 Dream : — 
 
 " I saw a silent spring, rail'd in with jeat, 
 From sunnie shade or murmur quite exempt." 
 
 177. Wrong not that wrong. Ci. R. of L. g^2)' "To wrong the 
 wronger till he render right." For the use of jnore, cf. V. and A. 
 78: " with a more delight ; " K. John,\\. i. 34: "a more requital 
 to your love," etc. 
 
 179. Thou art an elm^ etc. Suggested by the ancient practice 
 
140 Notes [Act 11 
 
 of training the vine on the elm, so often alluded to by the classic 
 writers. Cf. Virgil, Eclogues, ii. 70: *' Semiputata tibi frondosa 
 vitis in ulmo est ; " and see also Georgics, i. 2 and ii. 221. For the 
 figure, cf. Catullus, 62. 54 : " (vitis) conjuncta ulmo marito ; " Colu- 
 mella, II. 2. 79: " ulmi vitibus maritantur," etc. Malone quotes 
 
 Milton, Z'. Z. V. 215: — 
 
 " or they led the vine 
 To wed her elm ; she, spous'd, about him twines 
 Her marriageable arms, and with her brings 
 Her dower, the adopted clusters, to adorn 
 His barren leaves." 
 
 182. If aught possess thee from me. That is, so as to deprive me 
 of thee, or to dispossess me. 
 
 183. Idle. "That produces no fruit" (Steevens). Cf. 0th. i. 
 3. 140: "deserts idle" (that is, barren). See also idleness in 
 Hen. V. V. 2. 51 and 0th. i. 3. 328. 
 
 185. Conftision. Ruin; as often, Cf. ^. ^V. Z>. i. i. 149: "So 
 quick bright things come to confusion," etc. Note also the use of 
 confound =r\nn (see on i. 2. 38 above). 
 
 186. Moves. Addresses, appeals to. Cf. ^. W.i.2.6: — 
 
 " the Florentine will move us 
 For speedy aid." 
 
 See also I?ich. III. iii. 7. 140, Hen. VII I. ii. 4. 209, 217, etc. 
 
 190. Know this sure uncertainty. That is, know this to be 
 surely a thing uncertain. 
 
 193. O, for my beads ! etc. " Dromio wishes for his rosary, to 
 tell his beads, or say his prayers by, while he makes the sign of 
 the cross against evil spirits" (Clarke). 
 
 195. We talk, etc. The line is incomplete, and something has 
 probably been lost. The 2d folio has " elves sprites ;" possibly a 
 corruption of " elvish sprites," which many editors adopt. Theo- 
 bald changed owls to "ouphs;" but owls have been associated 
 v/ith goblins of the night from the old classical times, Steevens 
 
Scene II] Notes 141 
 
 quotes Spenser, Shep. Kal. June: "Nor elfish ghosts, nor gastly 
 owles doe flee ; " and Cornucopice, 1623 : — 
 
 " Dreading no dangers of the darksome night, 
 No oules, hobgoblins, ghosts, nor water-spright." 
 
 Malone adds from The London Prodigal, 1605 : "I am sure cross'd 
 or witch'd with an owl ; " and A Fig for Fortune, 1596: " No bug, 
 no bale, nor horrid owlerie," etc. The owl referred to is the 
 screech-owl, whose cry was considered ominous. Cf. Macb. ii. 
 2. 3: — 
 
 " It was the owl that shriek'd, the fatal bellman 
 Which gives the stern 'st good-night." 
 
 199. Sot. Dolt, blockhead (the Fr. sot^; as elsewhere in S. 
 Cf. Temp. iii. 2. loi, M. W. iii. i. 119, etc. So j^/Zw/z = stupid, 
 in A. and C. iv. 15. 79. 
 
 204. ^Tisto an ass. As Dowden remarks in his Primer, this 
 " looks as if when S. wrote the passage he were already thinking 
 of his fairy world in M. N. D., of the pranks of Robin Goodfellow, 
 and of Bottom's transformation to an ass." 
 
 209. To put the finger in the eye and weep. That is, weep in a 
 childish way. Cf. T. of S.'i. i. 'jg : — 
 
 " A pretty peat ! it is best 
 Put finger in the eye, — an she knew why." 
 
 210. Laughs. For the number, see on i. 2. 76 above. 
 
 213. And shrive you, etc. "That is, I will call you to confes- 
 sion, and make you tell your tricks" (Johnson). 
 
 215. Dines forth. That is, away from home. Cf. M. of V. ii. 5. 
 37 : "I have no mind of feasting forth to-night," etc. 
 
 217. Am L, etc. Capell marks this speech as " Aside." 
 
 218. Well-advised. That is, in my right mind. Cf. v. I. 214 
 below. 
 
 220. Per sever. The only form of the word in S. We find it 
 rhyming with ever in A, W. iv. 2. 36, 37 : — 
 
142 Notes [Act III 
 
 " Say thou art mine, and ever 
 My love, as it begins, so shall persever." 
 
 So perseverance is accented on the second syllable ; as in Macb. iv. 
 3. 93 : " Bounty, perseverance, mercy, lowliness," etc. 
 
 ACT III 
 
 Scene I. — 4. Carcanet. Necklace. The word occurs again 
 in Sonn. 52. 8 : "Or captain jewels in the carcanet." Steevens 
 quotes, among instances of the word, Histriomaslix, 1610: — 
 
 " Nay, I '11 be matchless for a carkanet, 
 Whose pearls and diamonds plac'd with ruby rocks 
 Shall circle this fair neck to set it forth." 
 
 Cotgrave, in his Fr. Dict.y defines carcan as " a carkanet or collar 
 of gold, &c. worne about the neck ; " and Coles, in his Latin Diet., 
 renders carkanet by monile. Elsewhere in the play, as in 114 
 below, it is called a " chain." 
 
 8. Charged him with. Gave him in charge. 
 
 15. Doth. Theobald thought it necessary to change this to 
 " don't." " It appears," he says, " Dromio is an ass by his making 
 no resistance ; because an ass, being kicked, kicks again." John- 
 son replies to this : " He first says that his wrongs and blows prove 
 him an ass ; but immediately, with a correction of his former sen- 
 timent, he observes that, if he had been an ass, he should, when he 
 was kicked, have kicked again." 
 
 28. Gates. Dainties. Cf. the play upon the word in T. of S. 
 ii. I. 190: "For dainties are all Kates." 
 
 31. Ginn. The spelling of the folios. It is commonly explained 
 as a contraction of Jenny ; but, according to Halliwell-Philhpps, it 
 is = Joan. Gillian is given in Coles's Did. as — Juliana. 
 
 32. Mome. Buffoon, fool ; ixova. Monius. Cf. Florio: " Capar- 
 ronct a gull, a ninnie, a mome, a sot ; " Day, Blind Beggar of 
 
Scene I] Notes 143 
 
 Bednal Green, 1659: "momes and hoydons, that know not chalk 
 from cheese ; " and Mad Pranks of Tom Tram : " Old foolish 
 doating moam." For tnalt-horse as a term of reproach, cf. T. of S. 
 iv. I. 132: " you whoreson malt-horse drudge!" See also i Hen. 
 
 IV. iii. 3. 10 : "a brewer's horse." For capon, cf. Much Ado, v. i. 
 156. Patch — fool ; as in M. of V. ii. 5. 46, Temp. iii. 2. 71, Macd. 
 
 V. 3. 15, etc. 
 
 33. Hatch. A half-door ; that is, a door of which the upper 
 half can be opened while the lower half remains shut; still com- 
 mon in English cottages. See K. John, i. I. 171, v. 2. 138, etc. 
 
 42. Owe. Own ; as very often. 
 
 45. Mickle. Much; as in Hen. V. ii. i. 70, R. and J, ii. 3. 
 15, etc. 
 
 47. An ass. That is, the name of an ass. Cf. 15 above. 
 
 48. Coil. Ado, "fuss." Cf. R. and J. ii. 5. 67: "Here 's such 
 a coil ! " Cf. Temp. i. 2. 207, Much Ado, iii. 3. 100, M. N. D. iii. 
 2. 339, R. and J. ii. 5. 67, etc. 
 
 52. When ? can you tell? " A proverbial inquiry indicating a 
 jeer at the improbability that the person addressed will get what 
 he asks" (Clarke). Cf. 2 Hen. IV. ii. i. 43: "Ay, when ? canst 
 tell ? " 
 
 53. If thy na^ne be caWd luce. As the word luce meant a pike 
 (cf. M. W.'\. I. 22: "The luce is the fresh fish," etc.), it has been 
 
 !; suggested that there is a play upon pike, a spear, implying that she 
 has given him a good thrust. 
 
 54. / hope. Malone suggests that a line rhyming with this has 
 been lost, and that the rhyming word was rope, with which he 
 
 ' threatens her. This conjecture is favoured by the fact that he 
 |! afterwards sends Dromio to buy a rope's-end to use upon his " wife 
 I and her confederates." Halliwell-Phillipps remarks that " the 
 \ occurrence of a line without its corresponding rhyme, in comical 
 \ doggerel dialogues of this description, is not without precedent." 
 
 58. Ache is spelt " ake " in the folio, as it was pronounced when 
 a verb. The noun was pronounced aitch, and the plural was a 
 
144 Notes [Act III 
 
 dissyllable ; as in Temp. i. 2. 370, T. of A. i. i. 257 and v. i. 202. 
 This difference is not anomalous, as some critics have supposed. 
 Cf. speak and speech, break and breach, etc. Note that the verb 
 regularly has the /^-sound. 
 
 67. Part. Depart; as in T. N. v. i. 394: "We will not part 
 from hence," etc. 
 
 71. Your cake. Perhaps, as Clarke suggests, there is here a 
 quibbling allusion to the proverb " Your cake is dough," for which 
 see T. of S. i. i. no, v. i. 145. 
 
 72. To be so bought and sold. " The meaning of this proverbial 
 sentence is, that the person to whom it is applied is deluded and 
 overreached by foul and secret practices" (Malone). Cf. K. John, 
 v. 4. 10, Rich. III. V. 3. 305, T. and C. \\. i. 51 ; also Bacon, 
 Hen. VII. : " All the newes ran upon the Duke of Yorke, that 
 he had been entertained in Ireland, bought and sold in France." 
 
 82. We HI pluck a crow together. Marshall notes that the same 
 kind of a pun is found in The Captives of Plautus, where Tyndarus, 
 referring to the custom of giving children birds of different kinds 
 for their amusement, says that he had " tantum upupam." Uptipa 
 means both a hoopoe and a mattock. 
 
 86. Draw within the co7npass of suspect. That is, bring into 
 suspicion. S. uses suspect as a noun some dozen times. 
 
 88. Once this. " So much is certain " (Schmidt) ; " once for 
 all" (Steevens). 
 
 92. Made. Cf. A, V. L. iv. i. 162: "Make the doors upon a 
 woman's wit, and it will out at the casement." Patience in the 
 next line is a trisyllable. 
 
 95. And about evening, etc. Marshall points the line thus: 
 " And, about evening, come yourself, alone," — to show that Bal- 
 thazar speaks " quietly and gravely, to impress upon Antipholus 
 counsels of moderation, and to dissuade him from hasty action ;" 
 but this ought to be evident to any intelligent actor or reader. 
 
 98. Passage. "Going to and fro of people" (Schmidt). Cf. 
 0th. v. I. 37: "What, ho! no watch? no passage?" 
 
Scene II] Notes 145 
 
 99. Vulgar. Public, general. 
 
 100. Supposed. " Founded on supposition, made by conjec- 
 ture" (Johnson). 
 
 loi. Ungalled. Cf. Ham. iii. 2. 283 : — 
 
 " Why, let the strucken deer go weep, 
 The hart ungalled play." 
 Ungalled estimation here = unblemished reputation. 
 
 104. Sticcession. A quadrisyllable. See on ii. 2. 136 above. 
 The folios have hotis'd in the next line, making possession also a 
 quadrisyllable, for the sake of the rhyme. Lives upon succession — 
 "holds its ground securely, like an heir who has come into his 
 property" (Herford). 
 
 107. Mirth. Warburton explains the passage thus : " I will be 
 merry even out of spite to mirth, which is now of all things the 
 most unpleasing to me." Heath says : " Though mirth hath with- 
 drawn herself from me, and seems determined to avoid me, yet, in 
 despite of her, and whether she will or not, I mean to be merry." 
 Schmidt's explanation is : "I will defy mirth itself to keep pace 
 with me ; I will outjest mirth itself." No one of these interpreta- 
 tions is quite satisfactory, but that of Warburton is perhaps the 
 nearest so. I doubt whether Antipholus really means anything 
 more than that he will be merry out of spite, though he does not 
 feel like it, or despises it ; and thus he is merry in despite of mirth. 
 Cf. Much Ado, i. i. 237: "Thou wast ever an obstinate heretic in 
 the despite of beauty ; " that is, in despising or hating beauty. 
 
 115. Porpentine. Porcupine; the only name for the animal in 
 S. Cf. Ham. i. 5. 20 : " Like quills upon the fretful porpentine." 
 There, as here, the editors generally substitute " porcupine." Cf. 
 Ascham, Toxophilus : " nature gave example of shootinge first by 
 the porpentine," etc. 
 
 121. Hour. A dissyllable ; as often in S. 
 
 Scene II. — 3. Love-springs. That is, the shoots or buds of 
 love ; the metaphor being that of a plant, not springs of water. 
 COMEDY OF ERRORS — lO 
 
14-6 Notes [Act III 
 
 Cf. V. and A. 656 : " The canker that eats up love's tender spring ;" 
 and R. of L. 950 : " To dry the old oak's sap and cherish springs." 
 4. Building . . . ruinous. For the figure, cf. T. G. of V, v. 
 4. 9: — 
 
 " O thou, that dost inhabit in my breast, 
 Leave not the mansion so long tenantless, 
 Lest, growing ruinous, the building fall ; " 
 
 T. and C. iv. 2. 109: "the strong base and building of my love;" 
 and Somt. 119. 12: — 
 
 " And ruin'd love, when it is built anew, 
 Grows fairer than at first, more strong, far greater." 
 
 II. Become disloyalty. "Render disloyalty becoming by some 
 show of loyalty" (Clarke). 
 
 15. What. Equivalent to why, as often with need. 
 
 16. Attaint. Disgrace. Cf. T. and C. i. 2. 26: "There is no 
 man hath a virtue that he hath not a glimpse of, nor any man an 
 attaint but he carries some stain of it." 
 
 18. At board. At table. The omission of the article after 
 prepositions is not uncommon. Sometimes it may be " absorbed " 
 in the preposition. 
 
 19. Shame hath a bastard fame, well jnanaged. Shame, if well 
 managed, gets a spurious reputation — a respectability not legiti- 
 mately its own. 
 
 22. Compact of credit. Made up of credulity. Cf. V, and A. 
 149 : " Love is a spirit all compact of fire ; " A. Y. L, ii. 7. 5 : 
 " If he, compact of jars, grow musical ; " M. N. D. v. I. 8: "of 
 imagination all compact," etc. 
 
 27. Vain. "Light of tongue, not veracious" (Johnson). 
 
 30. Hit of. Hit on, guess at. Cf. M. W. iii. 2. 24 : "I can 
 never hit on 's name," 
 
 34. Conceit. Conception, comprehension ; as ofteno Cf. R. of 
 L. 701 : — 
 
Scene II] Notes 147 
 
 " O, deeper sin than bottomless conceit 
 Can comprehend in still imagination ? " 
 
 See also iv. 2. 65 below. 
 
 36. Folded. Wrapped up, concealed. Qi. R. of L. \o*]y. "Nor 
 fold my fault in cleanly-coin'd excuses." See also Id. 675. 
 
 43. Nor . . . no. For the double negative, cf. iv. 2. 7 below: 
 "First, he denied you had in him no right," etc. 
 
 44. Decline. Apparently = incline. Dyce aptly quotes Greene, 
 Penelope^ s Web, 1601 : "That the loue of a father, as it was royall, 
 so it ought to be impartiall, neither declining to the one nor to the 
 other, but as deeds doe merite." Malone explained it " fall off, or 
 decline from her to you ; " but he has just denied any tie or 
 attachment to Adriana. Marshall remarks that '■^decline is more 
 forcible than incline, as it implies the act of turning away from 
 his supposed wife to her sister." 
 
 45. Train. Draw, entice ; as in Z. Z. Z. i. i. 71 : — 
 
 " These be the stops that hinder study quite, 
 And train our intellects to vain delight." 
 
 Mermaid ■= siren (see 47 just below) ; the only sense in which 
 S. uses the word. Cf. V. and A. 429 : " Thy mermaid's voice hath 
 done me double wrong ; " Id. 777 : " Bewitching like the wanton 
 mermaid's song ; " R. of L. 141 1 : "As if some mermaid did their 
 ears entice," etc. See also 165 below. Halliwell-Phillipps cites 
 Bartholomceus de Prop. Reru7n, 1535: "The mermayden hyghte 
 sirena is a see beaste wonderly shape, and draweth shypmen to 
 peryll by swetenes of songe." 
 
 48. Hairs. For the plural, cf. M. of V. iii. 2. 120 : — 
 
 " here in her hairs 
 The painter plays the spider," etc. 
 
 We find golden hairs again in V. and A. 51. Cf. Z. Z. Z. iv. 3. 
 142 : " her hairs were gold," etc. 
 
 49. Bed. The reading of the 2d folio ; the 1st has " bud," which 
 Steevens thought possibly right ; but bed is generally adopted. 
 
148 Notes [Act III 
 
 52. Let Love, being light, be drowned if she sink! The line has 
 troubled some of the critics. Love (that is, Venus) is assumed to 
 be light ; as in V. and A. 149 : — 
 
 " Love is a spirit, all compact of fire, 
 Not gross to sink, but light, and will aspire ; " 
 
 and the line, as I understand it, is simply an emphatic, though 
 indirect, way of saying that she is in no danger of sinking : Let 
 her be drowned if she sink, but being light, she cannot sink. For 
 Love = Venus, or love personified, Malone compares the passage 
 just quoted from V. and A. and A. and C i. i. 44 : "Now, for the 
 love of Love, and her soft hours." See also J?, and J. ii. 5. 7 : 
 " Therefore do nimble-pinion'd doves draw Love " (cf. Temp. iv. 
 I. 94 and V. and A. 1 190) ; Z. L. L. iv. 3. 380 : "Forerun fair 
 Love, strewing her ways with flowers," etc. Possibly there is a 
 sportive play on light (= wanton), as in M. ofV. v. i. 129 : — 
 
 " Let me give light, but let me not be light, 
 For a light wife doth make a heavy husband." 
 
 See also Ld. ii. 6. 42, iii. 2. 91, Z. Z. Z. v. 2. 26, etc. 
 
 54. Mated. Confused, bewildered ; with a play upon the idea 
 of being mated, or given as a mate to Adriana, though he does 
 not know how. Cf. v. i. 282 below. See also Macb. v. i. 86 > 
 " My mind she has mated, and amaz'd my sight." 
 
 58. Wink. Shut the eyes ; as often. Cf. Sonn. 43. i : — 
 
 " When most I wink, then do mine eyes best see : 
 For all the day they view things unrespected ; 
 But when I sleep, in dreams they look on thee 
 And darkly bright are bright in dark directed ; " 
 
 Temp. ii. i. 216 : — 
 
 " Thou let'st thy fortune sleep — die, rather ; wink'st \ 
 
 Whiles thou art waking," etc. 
 
 64. My sole earth^s heaven, etc. "All the happiness that I wish; 
 on earth, and all that I claim from heaven hereafter " (Malone) . 
 
Scene II] Notes 149 
 
 66. Aim. The folios have " am." Ahn is Capell's emendation, 
 and is almost unanimously adopted by the editors, though no other 
 example of this transitive use (= aim at) occurs in S. Steevens 
 cites Orlando Furioso, 1594 : — 
 
 " like Cassius, 
 Sits sadly dumping, aiming Caesar's death ; " 
 
 and Drayton, Robert Duke of Normandy : " I make my changes 
 aim one certain end." Marshall retains " am," assuming that the 
 meaning may be " I am (inseparable from) thee." He compares 
 what Antipholus says in 61. 
 
 78. Besides. For the prepositional use, cf. T. N. iv. 2. 92 : 
 " Alas, sir, how fell you besides your five wits ? " 
 
 92. Sir-reverence. A corruption of " save reverence " {salva 
 reverentid)^ used as an apology for referring to any thing unseemly. 
 Giff ord quotes an old tract on the origin of tobacco : " The time 
 hath been, when, if we did speak of this loathsome stuff, tobacco, 
 we used to put a ' sir-reverence ' before ; but we forget our good 
 manners." Halliwell-Phillipps quotes Taylor, the Water-Poet, 
 Workes, 1630 : — 
 
 " There *s nothing vile that can be done or spoke, 
 But must be covered with Sir Reverence cloake." 
 
 loi. Week. It is barely possible that there is a play on wick, 
 which was pronounced like week. Halliwell-Phillipps quotes Cot- 
 grave, Wifs Interpreter : — 
 
 " Here lies a tallow-chandler, I need not tell it, 
 If your nose be not stopt, you may easily smell it , 
 Then, gentle reader, herein learn you may. 
 He that made many weeks, cann't make one day." 
 
 103. Swart. Swarthy, dark. Cf. K.John, iii. 1. 46 and 2 Hen. VI. 
 i. 2. 84. We have " swart-complexion'd " in Sonn. 28. 1 1. 
 
 104. For why. The foHo points " for why ? " but the combina- 
 tion is here, as in sundry other places, practically = because, or, as 
 
150 Notes [Act m 
 
 Abbott puts it (^Grammar, 75), "wherefore ? (because). " I have 
 no doubt that this usage grew directly out of the ordinary inter- 
 rogative one. Abbott compares the similar change in the Latin 
 quid enim ? 
 
 107. In grain. Ingrained, fast-dyed. Cf. T. N. i. 5. 255 : 
 "'T is in grain, sir; 't will endure wind and weather." 
 
 122. Reverted. Turned back. Schmidt thinks there may be a 
 play upon the sense of " fallen to another proprietor." S. uses the 
 word only here and in Ham. iv. 7. 23 : "my arrows . . . would 
 have reverted to my bow again." 
 
 In making war against her heir, there is a play on heir and hair^ 
 with an allusion to the war against Henry of Navarre, the heir of 
 Henry III of France. " Mistress Nell's brazen forehead seemed to 
 push back her rough and rebellious hair, as France resisted the 
 claim of the Protestant heir to the throne " (Clarke). Cf. p. 9 
 above. For the pun, cf. Davies, Scourge of Folly : — 
 
 " Yet talks he but of heads and heires apparant, 
 Though his owne head has not one haire apparant." 
 
 Heir was formerly pronounced like hair. 
 
 125. The chalky cliffs. Those on the southern coast of England. 
 Cf. 2 Hen, VI. iii. 2. loi : — 
 
 " As far as I could ken thy chalky cliffs, 
 When from thy shore the tempest beat us back," etc. 
 
 130. Hot in her breath. Malone is doubtful whether this is an 
 allusion to " the fiery threats which Spain had recently used towards 
 England when she sent out her Invincible Armada," or merely to 
 the heat of her climate. The latter seems more probable, though 
 the former is possible. 
 
 132. America. Of course the anachronism is very palpable, 
 whatever may have been the intended epoch of the play ; but it 
 was enough for S. that his audience would understand the allusion. 
 The word Ainerica occurs nowhere else in S. 
 
Scene II] Notes 151 
 
 136. Armadoes of caracks. Fleets of large ships. For armado, 
 cf. K. John, iii. 4. 2 : "A whole armado of convicted sail; " and 
 for carack, 0th. i. 2. 50 : " he to-night hath boarded a land carack." 
 See also Beaumont and Fletcher, Coxcomb: "They're made like 
 caracks, all for strength and stowage ; " Florio : " Caracca, a kinde 
 of great ship, in Spaine called a carricke ; " and Elyot, Did. : 
 " Bucentaurus, a great shyppe or carrike." 
 
 Ballast. Ballasted, or loaded. It would appear to be a con- 
 tracted form, like heat {K.John, iv. i. 61), etc.; but Malone may 
 be right in deriving it from the obsolete balace or balass. So hoist 
 may be from hoise {Ham. iii. 4. 207), and graft is certainly from 
 graff (cf. A. Y. L. iii. 2. 124), though Abbott {Grammar, 342) 
 gives both among contracted participles. Halliwell-Phillipps cites 
 Greene, Orlando Furioso, 1594 : " and sent them home, ballast with 
 little wealth ; " and Taylor the Water-Poet, Workes : " well rigg'd 
 and ballac'd both with beere and wine." We find " disbalased " 
 (= unloaded) in 'Nash^s Have with You., etc.; and "unballaced" 
 in Hall's Satires and Powell's Love's Leprosie, 1598. 
 
 137. Belgia. Cf. 3 Hen. VI. iv. 8. i : "Edward from Belgia," 
 etc. 
 
 139. Low. For the play on Low Countries, cf. Ar Ghee's jests 
 (quoted by Halliwell-Phillipps) : " Two Dutchmen, the one very 
 tall, and the other of exceeding low stature, walking together in 
 the street, a pleasant gentleman, seeing them, said to his friend, — 
 See, yonder goe together High Germany and the Low Countries," 
 
 140. Diviner. Sorcerer. " Dromio, like his master, thinks he 
 has got among witches ; women capable of working spells, and 
 transforming him to a turnspit dog" (Clarke). 
 
 141. Assured. Affianced; as in K. John, ii. i. 535 : "when I 
 was first assur'd." 
 
 144. That. So that; as in v. i. 140 below, and often. 
 
 146. Faith. " Alluding to the superstition of the common peo- 
 ple, that nothing could resist a witch's power of transforming men 
 into animals but a great share oi faith : however, the Oxford editor 
 
152 Notes [Act III 
 
 [Hanmer] thinks a breast oi flint better security; and he there- 
 fore puts it in" (Warburton). 
 
 147. Czirtal. Having a docked tail. Cf. M. W. ii. i. 114: 
 " Hope is a curtal dog in some affairs " (such a dog being consid- 
 ered unfit for the chase). 
 
 Turn z' the wheel alludes of course to the use of dogs as turn- 
 spits. Halliwell-Phillipps devotes three pages of his folio ed. to 
 the illustration of this subject. Machines or jacks for turning the 
 spit, moved by weights like a clock, had been invented in the time 
 of S. We find them mentioned as early as 1585 in the Nomenclator 
 of Adrianus Junius : " automatarius faber^ a maker of devises and 
 motions that goe and turne of themselves, as clocks, jacks to turne 
 spits," etc. In the preface to the folio of 1623, we read : "Cen- 
 sure will not driue a Trade, or make the lacke go." In Brome's 
 Antipodes, 1640, mention is made of a project "for putting downe 
 the infinite use of jacks, whereby the education of young children, 
 in turning spits, is greatly hindered." Dogs were early used for 
 this purpose. Topsell, in his Hist, of Four-Footed Beasts, 1607, 
 says : "There is comprehended, under the curres of the coursest 
 kinde, a certaine dogge in kitchen service excellent ; for when any 
 meat is to be roasted, they go into a wheel, which they turning 
 round about with the waight of their bodies, so diligently looke to 
 their businesse, that no drudge nor scullion can do the feate more 
 cunningly." 
 
 148. Presently. Immediately ; as in iv. i. 32 and v. i. 31 below. 
 Koad= port, haven ; as in M. of V. i. i. 9, v. i. 288, etc. 
 
 164. To self-wrong. Cf. W. T. iv. 4. 549 : — 
 
 " But as the unthought-on accident is guilty 
 To what we wildly do ; " 
 
 Dekker, Guls Hornbooke : " by being guilty to their abbominable 
 shaving ; " and Birch, Reign of Elizabeth : " and am not guilty to 
 myself of any bad dealing in this information." 
 
 165. Mermaid's song. See on 45 above. 
 
Scene I] Notes 153 
 
 171. What please. What may please. 
 
 181. Vain. Foolish, silly ; as in 2 Hen. IV. v. 5, 48, etc. 
 
 182. So fair an offer' d chain. For the transposition of the arti- 
 cle, cf. K. John, iv. 2. 27 : " So new a fashion'd robe ; " Temp. iv. 
 I. 123 : "So rare a wonder'd father," etc. 
 
 ACT IV 
 
 Scene i. — 2. Importun'd. See on i. i. 126 above, and cf. 53 
 below. 
 
 4. Guilders. See on i. i. 8 above. 
 
 5. Satisfaction. Metrically five syllables. See on ii. 2. 136 and 
 149 above. 
 
 6. Attach. Arrest ; as in 73 and iv. 4. 6 below. It was a legal 
 term. 
 
 8. Growing. Accruing, becoming due. Cf. iv. 4. 119, 132 
 below. 
 
 12. Pleaseth you. If it please you. Cf. 2 Hen. IV. iv. i. 225, 
 iv. 2. 52, Hen. V. v. 2. 78, etc. 
 
 16. Bestow. Employ, use. Cf. T. and C ii. 2. 159: "Whose 
 life were ill bestow'd," etc. 
 
 21. / buy a thousand pound a year! On the face of it, there 
 seems to be nothing in this but an exclamation of surprise at being 
 sent to buy so strange a thing ; but, as Clarke remarks, " there may 
 have been some point of allusion obvious at the time when the 
 play was first acted, though now lost." He adds that perhaps 
 Dromio " means to hint that in purchasing a rope's end he may be 
 providing for himself a heavy revenue of future thwacks ; " but this 
 is very doubtful. Possibly Halliwell-Phillipps is right in taking 
 it to mean "a rope worth a thousand a year for your purpose." 
 He compares 3 Hen. VI. ii. 2. 144: — 
 
 "A wisp of straw were worth a thousand crowns, 
 To make this shameless callet know herself," 
 
154 Notes [Act IV 
 
 It has also been suggested that the connecting link in the slave's 
 mind between a rope's end and a thousand pound a year is in 
 "the abihty of each for payment in its quibbling sense of pun- 
 ishnientr Cf. iv. 4. 10 below. For pound as a plural (used only 
 with numbers), cf. Rich. II. ii. 2. 91, etc. S. also uses pounds 
 with numbers; as in M. W. i. i. 52, i. 3. 8, Hen. V. i. I. 19, 
 etc. 
 
 22. Holp. The form of the past tense regularly used by S. ex- 
 cept in Rich. III. v. 3. 167 and 0th. ii. i. 138, where we find 
 helped. As the participle it occurs ten times, helped Qnly four times. 
 We find holpen in Psalms, Ixxxiii. 8, Daniel, xi. 34, Luke, i. 54, etc. 
 It is said that holp up is still provincial, especially in an ironical 
 sense, as here. 
 
 25. Belike. It is likely, probably ; as in iv. 3. 91 below. 
 
 28. Carat. Spelt "charect" in the ist folio (misprinted "Rac- 
 cat " in the later folios), and " charract" in 2 Hen. IV. iv. 5. 162, 
 the only other instance of the word in S. 
 
 29. Chargeful. Expensive ; used by S. only here. The same 
 is true of debted (= indebted) in 31. 
 
 32. Discharg'd. Paid. For its application to the creditor, cf. 
 iv. 4. 117 below. See also M. of V. iii. 2. 276: "The present 
 money to discharge the Jew," etc. In 13 above it is used in the 
 modern way. 
 
 39. I will, etc. ^^ I will, instead of I shall, is a Scotticism, says 
 Douce (an Englishman); it is an Irishism, says Reed (a Scots- 
 man); and an ancient Anglicism, says Malone (an Irishman)" 
 (Knight). 
 
 46. Stays for. Cf. i. 2. 76 and iii. 2. 185 above. 
 
 53. Importunes. See on 2 above. 
 
 56. Send me by some token. The reading of the folios, retained 
 by most of the editors. The form appears to have been an idiom 
 of the time, used in cases like this as well as in those which some 
 of the editors confound with it ; as, for instance, the following 
 from Marston, Dutch Courtesan, iii. i : — 
 
Scene I] Notes 155 
 
 " Mrs. Mulligrub. By what token are you sent ? —by no token ? Nay, 
 
 I have wit. 
 Cockledemoy . He sent me by the same token that he was dry shaved 
 
 this morning." 
 
 57. You run this humour out of breath. A proverbial expres- 
 sion. John Day wrote a comedy under the title of Humour out of 
 Breath, which was printed in 1609. 
 
 60. Whether. Printed " wh'er " in the early eds., as in some 
 ten other instances ; but it is often monosyllabic when printed 
 whether {M. N. D. iii. i. 156, iii. 2. 81, M. of V. v. i. 302, Ham. 
 ii. 2. 17, etc.). 
 
 62. What should I, etc. The later folios substitute " why " for 
 what. The latter is often equivalent to the former ; as in 2 Hen. 
 
 IV. i. 2. 129: "What tell you me of it?" etc. See also on iii. 2. 
 15 above. In the present passage, however, what has its ordinary 
 sense. 
 
 68. Stands upon. Concerns ; as in Lear, v. i. 69: — 
 
 " for my state 
 Stands on me to defend, not to debate." 
 
 We often find such inversions as " it stands me now upon " {Ham. 
 
 V. 2. 63), "it stands your grace upon" (^Rich. II. ii. 3, 138), "it 
 only stands our lives upon " (^A. and C. ii. i. 50), etc. 
 
 73. Attach. See on 6 above. 
 
 78. Apparently. Evidently. This is the only instance of the 
 adverb in S., but apparently often = evident, obvious. 
 
 81. Buy this sport as dear. Cf. M. N. D. iii. 2. 426: "Thou 
 shalt buy this dear," etc. The expression is not to be confounded 
 with that in M. N. D. iii. 2. 175 : "Lest, to thy peril, thou aby it 
 dear." 
 
 85. From the bay. This is the reading of the stage-direction 
 in the folio. Cf. 99 below. 
 
 87. Fraughtage. Freight, cargo ; used again in T. and C, 
 prol. 13 : — 
 
156 Notes [Act IV 
 
 " And the deep-drawing barks do there disgorge 
 Their warhke fraughtage." 
 
 For fraught in the same sense, see T. N. v. i. 64 ; and for the 
 verb, Temp. i. 2. 13, M. of V. ii. 8. 30, etc. Freight does not 
 occur in S. 
 
 89. Balsa?ntim. Used by S. only here, as balsam only in T. of 
 A. iii. 5. no. 
 
 90. In her trim. Cf. 7>;///. v. i . 236 ; — 
 
 " When we in all her trim freshly beheld 
 Our royal, good, and gallant ship." 
 
 93. Peevish. Foolish, silly ; the only sense that Schmidt recog*| 
 nizes in S. Cf. iv. 4. 115 below. For the play upon ship anc 
 sheep, cf. T. G. ^/ F. i. i. 73 : — 
 
 " Twenty to one then he is shipp'd already, 
 And I have play'd the sheep in losing him ; " 
 
 and L. L. L. ii. i. 219 : — 
 
 " Maria. Two hot sheeps, marry. 
 Boyet. And wherefore not ships ? " 
 
 The words are still pronounced alike in Warwickshire and some 
 other parts of England. Dyce quotes Dekker, Satiromastix, 1602: 
 " this shipskin cap shall be put off." Dryden rhymes ship and 
 deep in ^neid, i. 64 : — 
 
 " With whirlwinds from beneath she toss'd the ship, 
 And bare expos'd the bosom of the deep." 
 
 95. Waftage. Passage ; as in T. and C. iii. 2. Ii : — 
 
 " Like a strange soul upon the Stygian banks, 
 Staying for waftage." 
 
 Hire is here a dissyllable ; as in Hen. VIII. ii. 3. 36, A. and C. 
 V. I. 21 J etc. Cf. hour in iii. i. 121 above. 
 
 loi. List me. Elsewhere " list to me ; " as in T. of S. ii. i. 365, 
 
Scene II] Notes 157 
 
 W. T. iv. 4. 552, etc. List is often transitive, however, with the 
 thing heard as object ; as in ^^^. F. i. i. 43: " List his discourse." 
 
 no. Dowsabel. Her name, as we have learned, is Nell (iii. 2. 
 no above), and the poetic Dowsabel (the Fr. dotue et belief, a 
 favourite name in pastoral poetry, is applied to her ironically. 
 Malone quotes The London Prodigal : " as pretty a Dowsabell as 
 we should chance to see in a summer's day." Clarke sees " a fleer 
 at the assault she made upon him; to dowse, in old English parlance, 
 signifying to give a blow on the face, to strike; " but this is too 
 far-fetched. 
 
 Scene II. — 2. Mightst thou perceive austerely, etc. Could you 
 see by the serious expression of his eye that he was in earnest? 
 
 6. His hearfs meteors, etc. " Alluding to those meteors in the sky 
 [the aurora borealis~\ which have the appearance of lines of armies 
 meeting in the shock" (Warburton). Cf. i Hen. IV. i. i. 10: — 
 
 "Which, like the meteors of a troubled heaven, 
 All of one nature, of one substance bred, 
 Did lately meet in the intestine shock 
 And furious close of civil butchery." 
 
 Steevens quotes Milton, P. L. ii. 533: — 
 
 " As when, to warn proud cities, war appears 
 Wag'd in the troubled sky, and armies rush 
 To battle in the clouds, before each van 
 Prick forth the aery knights, and couch their spears. 
 Till thickest legions close ; with feats of arms 
 From either end of heaven the welkin burns." 
 
 7. Denied. Followed by a negative ; as in Rich. III. i. 3. 90 : 
 " You may deny that you were not the cause," etc. In like man- 
 ner, it is followed by but ; as in Much Ado, i. 3. 33, A. IV. v. 3. 
 166, Cor. iv. 5. 243, etc. 
 
 8. Spite. Vexation, mortification. Cf. ii. 2. 194 above. 
 
 16. Speak him fair ? That is, say anything to encourage his 
 suit. Cf. M. N. D.'ii. I. 199 : — 
 
158 Notes [Act IV 
 
 " Do I entice you ? do I speak you fair ? 
 Or, rather, do I not in plainest truth 
 Tell you I do not nor I cannot love you ? " 
 
 See also iv. 4. 155 below. 
 
 1 7. Nor I will not. Cf. the " double negative " in 7 and iii. 2. 
 43 above, and in the passage just quoted from M, N, D. 
 
 18. His. Its. See on ii. i. 17 above, 
 
 19. Sere. "That is, dry, withered" (Johnson), Steevens and 
 Malone take the trouble to add examples of the word, which would 
 seem to have been less familiar in their day than now. Shake- 
 speare's "the sere [or sear'\, the yellow leaf" {^Macb. v. 5. 23), 
 which has become one of the most familiar of quotations, may pos- 
 sibly account for this. That, by the way, is the only other instance 
 of the adjective in S, Schmidt strangely makes it a noun, but the 
 dictionaries do not recognize it as ever so used. The sere in Ham. 
 ii. 2. 337 (" tickle o' the sere ") is a wholly different word. 
 
 20. Shapeless. Unshapely, misshapen. So sightless = unsightly 
 {K.John, iii. i. 45), 2Si6. featureless = ugly {Softn. ii. 10). 
 
 22. Stigmatical in making. " That is, marked or stigmatized by 
 nature with deformity, as a token of his vicious disposition " (John- 
 son) . S. uses the word only here ; but cf. the noun stigmatic in 
 3 Hen. VI. ii. 2. 136 : — 
 
 " like a foul, misshapen stigmatic, 
 Mark'd by the destinies to be avoided." 
 
 See also 2 Hen. F7. v. i. 215. 
 
 25, Ah, but I think him better than I say. There is a good deal 
 of human nature ■ — or woman nature — in this. 
 
 27. Far fro7Ji her nest the lapwing cries away. This trick of the 
 bird to divert attention from its nest had become proverbial. 
 Steevens and other editors give many examples of it from contem- 
 poraneous writers ; as from Greene, Second Part of Coney-catching^ 
 1592: "But again to our priggers, who, as before I said — cry with 
 
 i 
 
Scene II] Notes 159 
 
 the lapwing farthest from her nest, and from their place of residence 
 where their most abode is," etc. See also M.for M. i. 4. 32: — 
 
 " though 't is my familiar sin 
 With maids to play the lapwing and to jest, 
 Tongue far from heart," etc. 
 
 29. Sweet now. This, like good now (cf. iv. 4. 22 below), was a 
 common phrase of appeal or supplication, not necessarily implying 
 any special familiarity. Cf. Te^np. iv. i. 124: "Sweet now, si- 
 lence ! " Sweet did much conventional service in the Elizabethan 
 age, as dear does now. 
 
 32. Tartar. Tartarus ; as in T.N. ii. 5. 225 : "To the gates of 
 Tartar, thou most excellent devil of wit ? " zxv^ Hen. F. ii. 2, 123: 
 "vasty Tartar." On Limbo (still used as a cant term for a 
 prison), cf. Hen. VIII. v. 4. 67. For its original sense (= hell, or 
 a place on the borders of hell), see A. W. v. 3. 261. 
 
 33. An everlasting garment. A play upon the durability of the 
 sergeant's buff (leather made from buffalo skin). Cf. iv. 3. 25 be- 
 low: "gives them suits of durance; " and i Hen. IV. i. 2. 49: 
 " Is not a buff jerkin a most sweet robe of durance? " 
 
 35. Fairy. The folios all have " Fairie." Theobald took this 
 to be a misprint for " Fury," which most editors since have 
 adopted. But as White notes, " all fairies were not supposed to be 
 like Oberon and Titania or their attendants ; there were fairies 
 pitiless and roughH^ He might have added that we have distinct 
 reference to these malignant fairies in more than one passage in 
 S. Cf. Ham. i. i. 163: "No fairy takes" (that is, bewitches 
 or blasts) ; and Cymb. ii. 2. 9 : — 
 
 " To your protection I commend me, gods ! 
 From fairies and the tempters of the night 
 Guard me, beseech ye." 
 
 Perhaps we should add ii. 2. 194 above. 
 
 37. Back-friend. So called here " because he comes from be- 
 
i6o Notes [Act IV 
 
 hind to arrest one" (Schmidt), as shoulder-clapper also implies. 
 Cf. A. Y. L. iv. r. 48 : " Cupid hath clapp'd him o' the shoulder ; " 
 
 and Cymb. v. 3. 78 : — 
 
 " fight will I no more, 
 But yield me to the veriest hind that shall 
 Once touch my shoulder." 
 
 Back-friend, aside from the quibble, is = secret enemy. Halliwell- 
 Phillipps cites Florio, 1598: ^^ Inimico, an enimie, a foe, an ad- 
 versarie, a back-friend." Hall, in his Henry VII., speaks of 
 " adversaries and backe friends." 
 
 Countermands = stops one in going through ; used by S. only 
 here and in E. of L. 276, where it is = contradict, oppose. 
 
 39. Runs counter. That is, follows the scent backward instead 
 of forward. Cf. 2 Hen. IV. i. 2. 102: "you hunt counter ; " and 
 Ham. iv. 5. no: "O, this is counter, you false Danish dogs!" 
 There is a play on counter, there being two prisons in London 
 called the Counter. 
 
 Draws dry foot = traces the scent of the game. For draw as a 
 hunting term (— trace, track), cf. I Hen. IV. iii. 3. 129; "a drawn 
 fox." Nares quotes Gent. Recr. : " When we beat the bushes, etc. 
 after the fox, we call it drawing." The origin of dry foot is doubt- 
 ful. Johnson thought that to draiv dry-foot meant to trace the 
 marks of the dry foot without scent ; but others are doubtless cor- 
 rect in making it refer to hunting by scent. Schmidt suggests that 
 it was " perhaps so called because, according to sportsmen, in water 
 the scent is lost." Dry foot hunting is often mentioned in the old 
 writers ; as in The Dumb Knight, 1633 (quoted by Steevens) : "I 
 care not for dry-foot hunting ; " and The Miser, 1672: "Thou art 
 like a dry-foot-dog, that (out of a whole heard of deer) singles out 
 one, whose scent he only followes, and tires himself to catch that." 
 
 40. Before the judgment, etc. There is a play on arresting a 
 man before judgment, *' that is, on what is called mesne process " 
 (Malone) ; and also on hell, which, as Steevens tells us, was *' the 
 cant term for an obscure dungeon " in a prison. He cites The 
 
Scene III] Notes l6l 
 
 Counter-Rat, 1658: "In Wood-street's hole, or Poultry's hell." 
 There was likewise a place so called under the Exchequer Cham- 
 ber, where the king's debtors were confined. Halliwell-Phillipps 
 quotes The Merry Discourse of Meum and Tumn, 1639 : "a little 
 darke roome . . . hard by Hell, neare to the upper end of West- 
 minster Hall." Cf. the use of Li??ibo above. 
 
 42. On the case. "An action upon the case is a general action 
 for the redress of a wrong done any man without force, and not 
 especially provided for by law" (Grey). Perhaps we should omit 
 the apostrophe in '' rested. Palsgrave has " I reste, as a sergente 
 dothe a prisoner, or his goodes,7> arrested 
 
 46. Mistress, redemption. There is no comma after mistress in 
 the early eds., and the 4th folio prints " Mistris Redemption," 
 which Rowe follows, apparently supposing that Dromio means to 
 call Luciana " Mistress Redemption." The Cambridge editors re- 
 mark that the comma is often omitted after vocatives in the old 
 editions ; as in iv. 3. 76 and iv. 4. 42 below. 
 
 49. Band. Bond; as in Rich. II. i. i. 2 : "according to thy 
 oath and band." The play on the word in Dromio's reply is 
 repeated in a different form in iv. 3. 29 below. 
 
 57. Fondly. Foolishly. See on ii. I. 116 above. 
 
 58. Season. Opportunity. Schmidt paraphrases the sentence 
 thus : " Time is seldom so convenient and opportune as one would 
 wish." 
 
 65. Conceit. Conception, imagination. See on iii. 2. 34 above. 
 
 Scene HI. — 5. Some other. Cf. V. and A. 1102: — 
 
 "That some would sing, some other in their bills 
 Would bring him mulberries and ripe-red cherries," 
 
 So a// other (Sonn. 62. 8), etc. 
 
 7. In. Into ; as in ii. 2. 34 above. 
 
 II. Lapland sorcerers. Lapland was supposed to abound in 
 
 COMEDY OF ERRORS — II 
 
1 62 Notes [Act IV 
 
 sorcerers and witches. This is Shakespeare's only allusion to the 
 region. Cf. Milton's one reference to it in P. L. ii. 665 : — 
 
 " Nor uglier follow the night-hag, when, call'd 
 In secret, riding through the air she comes, 
 Lur'd with the smell of infant blood, to dance 
 With Lapland witches, while the labouring moon 
 Eclipses at their charms." 
 
 13. Have you got the picture of old Adam new-apparelled ? The 
 picture of old Adam is the sergeant, there being a play upon his 
 buff and the slang use of the word as applied to the bare skin. 
 What is meant by getting him new-apparelled is not so clear ; but, 
 perhaps, as Singer suggests, the idea is " got him a new suit, in 
 other words, got rid oi him." 
 
 18. He that came behind you. See on iv. 2. 37 above. 
 
 24. Bob. That is, a rap, or a clap on the shoulder. Cf. A. V. L. 
 
 ii-7-55 : — 
 
 " He that a fool doth very wisely hit 
 Doth very foolishly, although he smart, 
 But to seem senseless of the bob ; " 
 
 that is, seem insensible of the stroke. The folio has " sob " (with 
 long j) and some editors read "fob," which is not readily explicable 
 here. 
 
 25. Suits of durance. See on iv. 2. 33 above. That durance 
 (cf. the modern lasting) was the name of a very durable fabric is 
 evident from various passages cited by Nares and Steevens ; as, for 
 instance, Three Ladies of London : " the taylor that out of seven 
 yards stole one and a half of durance." 
 
 26. Sets Mp his rest. Makes up his mind, is fully resolved ; a 
 phrase taken from gaming. See M. ofV. ii. 2. no, R. and J. iv. 5. 
 6, etc. 
 
 Mace. The club carried by a bailiff or sergeant as a badge of 
 authority. Cf. J. C. iv. 3. 268 : " O murderous slumber, layest 
 thou thy leaden mace upon my boy ? " The morris-pike was a 
 
Scene III] 
 
 Notes 
 
 163 
 
 formidable weapon, supposed to be of Moorish origin, whence its 
 name (Douce) ; mentioned by S. only here. 
 
 39. Hoy. A small vessel, usually sloop-rigged ; a word more 
 familiar in England than in this country. S. uses it only here. 
 
 Angels. The angel was an English gold coin, worth about ten 
 shillings. It had on one side a figure of Michael piercing the 
 dragon, whence its name. The device is said to have originated in 
 Pope Gregory's pun on Angli and Angeli, and it gave rise to a good 
 many puns. See M. W. i. 3. 60, Much Ado, ii. 3. 35, M. of V. ii. 
 7. 56, and 2 Hen. IV, i. 2. 187. 
 
 Golden Angel of Queen Elizabeth 
 
 41. Distract. Distracted. Cf. /. C. iv. 3. 155 : "she fell dis- 
 tract," etc. 
 
 42. Illusions. A quadrisyllable. See on ii. 2. 136 above. 
 
 47. Avoid! Avaunt! Away! Cf. Temp, iv I. 142: "Well 
 done ! avoid ! no more ! " See also 66 below. 
 
 50. The deviVs dam. This mythical personage is mentioned 
 several times in S. See M. /^r. i. i. 151, iv. 5. 108, T. of S. i. i. 106, 
 iii. 2. 158, K.fohn, ii. i. 128, etc. 
 
 51. light. Wanton ; a word much played upon by S. See on 
 iii. 2. 52 above. 
 
 53. As much as to say. The early eds. omit the second as, which 
 was supplied by Pope. We find the expression in Much Ado. ii, 3. 
 
164 Notes [Act IV 
 
 270 and 2 Hen. IV. ii. 2. 142 ; and as much to say as in T. N. i. 
 5. 62. The old reading may possibly be an idiom of the time, but 
 no other example of it has been pointed out. 
 
 59. We '// mend our dinner here. " That is, by purchasing 
 something additional in the adjoining market" (Malone); or, 
 better, "a proposal that the dinner, which had been marred by 
 Angelo's failing in his appointment with Antipholus at the Por- 
 cupine, shall now be tjiended by a supper" (Clarke). Cf. 66 just 
 below. 
 
 62. And bespeak a long spoon. Alluding to the familiar proverb 
 about the need of a long spoon in feeding with the devil. Cf. 
 Temp. ii. 2. 103 : " This is a devil, and no monster. I will leave 
 him ; I have no long spoon." 
 
 68. Conjure. Accented by S. on either syllable, without refer- 
 ence to the meaning. 
 
 73. A drop of blood. Steevens compares Middleton's Witch, 
 where a spirit descends and Hecate exclaims : — 
 
 " There 's one come downe to fetch his dues, 
 A kisse, a coll, a sip of blood," etc. 
 
 According to the old superstition, some little token of affiance was 
 always required in compacts made with the devil. 
 
 81. Fly pride, says the peacock. "A proverbial phrase, by which 
 Dromio rebukes the woman, whom he thinks a cheat, for accusing 
 his master of cheating" (Clarke). 
 
 '^■^. Demean. Conduct, behave ; the original and correct sense 
 of the word (cf. demeanour) and the only one in S. Cf. v. i. %% 
 below. 
 
 86. Both one and other. For the omission of the article, cf. 
 T. and C. prol. 21 : "On one and other side, Trojan and Greek," 
 etc. 
 
 88. histance. Indication. See on i. i. 64 above. 
 
 91. Belike. It is likely. vSee on iv. i. 25 above. 
 
 95. Perforce. By force ; as in v. i . 1 1 7 below. 
 
Scene IV] Notes 1 65 
 
 Scene IV. — 6. Attached. Arrested ; as in iv. i. 6 above. 
 
 22. Good now. Good, with or without the now, is sometimes 
 used vocatively in S. (= good friend, good fellow, etc.), as here. 
 Hudson says : " S. has good now repeatedly with the exact mean- 
 ing of well nowT That explanation will not fit some instances of 
 the expression ; as W. T.y. \. \<^ : — 
 
 " Now, good now, 
 Say so but seldom. 
 
 Cleomenes. Not at all, good lady," etc. 
 
 Here the good now seems as clearly a vocative as the good lady 
 that follows. Cf. Temp. i. 3. 16, 20, T. and C. iii. i. 122, A. and 
 C. i. 2. 25, etc. 
 
 28. Sensible. For the sense played upon, cf. Cor. i. 3. 95 : "I 
 would your cambric were sensible as your finger," etc. 
 
 31. My long ears. " He means that his master had lengthened 
 his ears by frequently pulling them " (Steevens). 
 
 39. Wont. Is wont to bear. Cf. P. P. 273 : *' My curtal dog, 
 that wont to have play'd." See also i Hen. VI. i. 2. 14 and i. 4. 
 10. In all these passages it is the past tense of the obsolete won 
 or wone (= dwell). The participle worit (not yet wholly gone out 
 of use) is more common in S. Cf. ii. 2. 158 above. We find the 
 present of won in Milton, P. L. vii. 457 : — 
 
 " As from his lair the wild beast, where he wons 
 In forest wild, in thicket, brake, or den." 
 
 Cf. Spenser, VirgiVs Gnat : — 
 
 " Of Poets Prince, whether he woon beside 
 Faire Xanthus sprincled with Chimseras blood, 
 Or in the woods of Astery abide." 
 
 The same writer has the past tense in its old literal sense in Colin 
 Clouts Come Home Againe, 774 : — 
 
 " I weened sure he was our God alone. 
 And only woon'd in fields and forests here." 
 
1 66 Notes [Act IV 
 
 42. Enter . . . PiNCH. The ist folio reads " a schoolemaster, 
 calPd Pinch." Steevens remarks that in many country villages in 
 his day the pedagogue was still a reputed conjurer. Cf. Jonson, 
 Staple of News : " I would have ne'er a cunning school-master 
 in England, I mean a cunning man as a school-master ; that is, a 
 conjurer," etc. Learning and witchcraft were naturally associated 
 in the popular mind. Latin was the language of exorcisms. Cf. 
 Ham. i. i. 42: "Thou art a scholar ; speak to it, Horatio" (that 
 is, to the ghost), and Much Ado, ii. i. 264 : " I would to God some 
 scholar would conjure her ! " See also Beaumont and Fletcher, 
 Night Walker, ii. i : — 
 
 " Let 's call the butler up, for he speaks Latin, 
 And that will daunt the devil." 
 
 In like manner the honest butler in Addison's Drummer recom- 
 mends the steward to speak Latin to the ghost. 
 
 Respice finei7i. There seems to be here, as Warburton notes, an 
 allusion to a pamphlet by Buchanan against the lord of Lidding- 
 ton, which ends with the words Respice finem, respice fune^n. 
 
 43. Like the parrot. Warburton remarks : *' This alludes to 
 people's teaching that bird unlucky words ; with which, when any 
 passenger M^as offended, it was the standing joke of the wise 
 owner to say. Take heed, sir, my parrot prophesies. To this Butler 
 [in Hudibras'] hints, where, speaking of Ralpho's skill in augury, 
 
 he says : — 
 
 ' Could tell what subtlest parrots mean, 
 That speak, and think contrary clean ; 
 What member 't is of whom they talk, 
 When they cry rope, and walk, knave, walk.' " 
 
 These particular phrases must have been commonly taught to 
 parrots, for Halliwell-Phillipps cites many references to them. 
 In Lyly's Midas, for instance, one of the characters says of the 
 bird, " for every houre she will cry, walke, knave, walke ; " and 
 another replies, " Then will I mutter, a rope for parrat, a rope." 
 Cf. Taylor the Water-Poet, Workes : — 
 
Scene IV] Notes 1 67 
 
 " Why doth the parrat cry, a rope, a rope ? 
 Because he 's caged in prison out of hope. 
 ****** 
 Since I so idly heard the parrat talke, 
 In his owne language I say, Walke, knave, walke." 
 
 The Cambridge editors conjecture that we should read : — 
 
 " or, rather, ' prospice finem,' beware the rope's end. 
 Antipholus of E. Wilt thou still talk like the parrot ? " 
 
 50. Please you. " Give you as a gratuity " (Clarke). Cf. the 
 use oi gratify in M. of V. iv. i. 406 and T. of S. i. 2. 273. 
 
 52. Mark how he trembles in his ecstasy ! Those who were be- 
 witched or possessed by an evil spirit were supposed to show it by 
 trembling. Cf. Temp. ii. 2. %2,: "Thou dost me yet but little 
 hurt ; thou wilt anon, I know it by thy trembling ; now Prosper 
 works upon thee." For ecstasy — xaz.^\\.Q.%%y cf. Ham. iii. i. 168: 
 "Blasted with ecstasy." See also Id. ii. i. 102, iii. 4. 74, 138, etc. 
 
 61. Customers ? " Contemptuously =: visitors, guests "(Schmidt). 
 For its use = harlot, see A. W. v. 3. 287 and 0th. iv. i. 123. 
 Malone says : " Here it seems to signify one who visits such 
 women." 
 
 62. Companion. Used contemptuously, as we now use fellow, 
 Cf. M. W. iii. I. 23, 2 Hen. IV. ii. 4. 102, 132,/. C. iv. 3. 138, etc. 
 
 72. Perdy. A corruption of /ar Z?z>z^ Cf. ^^;/. F. ii. i. 52, etc. 
 
 74. Sans. Much used in the time of S., and apparently viewed 
 as an English word, being used in French and Italian dictionaries 
 to define sans and senza. 
 
 76. Certes. Certainly ; nearly obsolete in the time of S., who 
 uses it only five times. It is a pet archaism with Spenser. Kitchen- 
 vestal; " her charge being," says good Dr. Johnson, " like that of 
 the vestal virgins, to keep the fire burning." 
 
 80. Soothe. Humour; as the answer shows. Cf. Lear, Hi. 4. 1S2 : 
 " Good my lord, soothe him ; let him take the fellow," etc. 
 
1 68 Notes [Act IV 
 
 93. Is. The singular verb is common with two singular sub- 
 jects. 
 
 94. Deadly. Deathly, deathlike. CL V.and A.io/^^'. "a deadly 
 groan ;" T. N. i. 5. 284 : " such a deadly life," etc. 
 
 95. Bound and laid in some dark room. Cf. v. I. 248 below. 
 This was the common treatment of the insane in the time of S. 
 Cf. A. V. L. iii. 2. 421 : " Love is merely a madness, and, I tell you, 
 deserves as well a dark house and a whip as madmen do." 
 
 96. Lock me forth. Cf. the use oi forth in ii. 2. 215 above. 
 
 109. Ay me. The folio reading, for which some editors sub- 
 stitute "Ah me!" The latter occurs only in R. and J. v. i. 10 
 (perhaps by accident), while the former is found some thirty times 
 in the early eds. Cf. Milton, Lycidas, 56, 154, Comus, 511, P.L. iv. 
 86, X. 813, etc. See also v. i. 186 below. 
 
 115. Peevish. Foolish. See on iv. i. 93 above. 
 
 117. Do . . . displeasure. Cf. v. I. 142 below. 
 
 120. Discharge. Pay. See on iv. i. 32 above. 
 
 122. The debt grows. See on iv. 1.8 above, and cf. 136 below. 
 
 125. Ujthappy. "Here used in one of the senses of unlucky^ 
 that is, mischievous" (Steevens). Cf. the Latin infelix, the Fr. 
 malheureux, and the German unselig. 
 
 126. Bond. There is an obvious play upon the word. 
 
 139. Whenas. When ; as in V. and A. 999, Sonn. 49. 3, 
 3 Hen. VI. i. 2. 75, ii. i. 46, v. 7. 34, etc. It is printed as two 
 words in the folio. 
 
 146. God, for thy mercy ! Cf. Rich. II. ii. 2. 98 : " God, for his 
 mercy ! " etc. 
 
 152. Stuff. "An old word for baggage or luggage. It was 
 formerly used with the same widely comprehensive meaning for 
 goods and chattels generally, as women nowadays use the word 
 things, or as the Italians use their word roba " (Clarke). The word 
 is still current in New England in this sense. Cf. Genesis, xxxi. 37, 
 xlv. 20, I Samuel, x. 22, xxv. 13, etc. 
 
 153. Long. Not often used with a subordinate clause; but 
 
Scene I] Notes 169 
 
 cf. 3 Hen, VI. iii. 3. 254 : " I long till Edward fall by war's mis- 
 chance." 
 
 155. Speak us fair. See on iv. 2. 16 above, and cf. iii. 2. 11. 
 
 ACT V 
 
 Scene I. — 8. His word might bear my wealth. I would risk 
 all that I am worth on his word, or honesty. For bear (= carry 
 off, win), cf. T. of A. i. i. 131 : — 
 
 " His honesty rewards him in itself ; 
 It must not bear my daughter." 
 
 10. That self chain. Cf. M. of V. i. i. 148 : "that self way ; » 
 Hen. r. i. I. I : "that self bill," etc. 
 
 11. Forswore . . . to have. That is, swore that he did not have. 
 16. Circumstance. Detail. Cf. K.John, ii. i. 77 : — 
 
 " The interruption of their churlish drums 
 Cuts off more circumstance." 
 
 25. Heard me to deny. For the to after heard, cf. 2 Hen. VI. ii. 
 I. 94: "Myself have heard a voice to call him so." Cf. 283 and 
 394 below, and see on ii. i. 26 above. 
 
 26. These ears, etc. To fill out the measure, Pope gave 
 "knowest ; " but hear is probably a dissyllable. Cf. hire in iv. i. 
 95 above, and sour in 45 below. 
 
 30. / '// prove mine honour, etc. The duello was regarded as 
 an appeal to Providence, and its issue as determining the side of 
 honour. 
 
 31. Presently. At once, immediately ; as very often, ^o present 
 is often = instant, immediate. 
 
 34. Get zvithin hi?n. Close with him, grapple with him. 
 
 36. Take a house. That is, take refuge in a house. 
 
 37. This is some priory. This has been criticised as an anach- 
 ronism; but see p. 187 below. 
 
lyo Notes [Act v 
 
 45. Sour. Spelt " sower " in the folios to indicate the dissyllabic 
 pronunciation. See on 26 above. 
 
 46. Much different. The 2d folio repeats much for the sake of 
 the measure ; but the rhythm may be satisfied by what is called 
 the " hovering accent " on different. It is not absolutely necessary 
 to accent the second syllable, as some have suggested. 
 
 49. Wrack of sea. Destruction wrought at sea. Wrack is uni- 
 formly so spelt in the early eds., and the pronunciation is shown by 
 the rhymes, alack in Per. iv. prol. 12, and back in V. and A. 558, 
 R. of L. 841, 965, Sotm. 126. 5, and Macb. v. 5. 51. Cf. shipwrack'd 
 in i. I. 114 above. 
 
 51. Strayed. Caused to stray; the only instance of the transi- 
 tive use in S. 
 
 62. Copy. Probably = " theme," as Steevens explains it. Qarke 
 (who, as former quotations will show, is fond of tracing double 
 meanings in a word or phrase) suggests that it is = " copious sub- 
 ject," combining the sense of the Latin copia, abundance, with that 
 of theme, or subject. Schmidt thinks it may be = " a law to be 
 followed, a rule to be observed." Conference = conversation ; the 
 usual meaning in S. 
 
 66. Glanced it. Hinted it ; not elsewhere used transitively by S. 
 
 69. Venom. For the adjective use, cf. Rich. III. i. 3. 291 : 
 " venom tooth." 
 
 70. Poisons. Changed by Pope to " poison ; " but the construc- 
 tion, however we may explain it, is very common in the folio. It 
 is sometimes necessary to the rhyme ; as in V. and A. 11 28, Sonn. 
 41. 3, Macb. ii. i. 61, Ha77t. iii. 2. 214, etc. 
 
 71. Sleeps. For the plural, cf. Ham. iv. 7. 30 : " Break not your 
 sleeps for that," etc. Malone quotes Sidney, Arcadia : " My 
 sleeps were inquired after, and my wakings never unsaluted." 
 
 74. Digestions. A quadrisyllable. See on ii. 2. 136 above. 
 
 79. But moody, etc. An incomplete line, which editors have 
 filled out in sundry ways. 
 
 80. Kinsman. Simply = " akin," which Hanmer substituted. 
 
Scene I] Notes 171 
 
 Capell changed it to " kins-woman," putting the "kins-" at the end 
 of 79 ; but, as Steevens remarks, this is inadmissible in English 
 verse, unless it be of the comic kind. He compares the Homer 
 
 Travesty: — 
 
 " On this Agam- 
 memnon began to curse and damn." 
 
 For the change of gender in her heels, Ritson compares M. of V. 
 
 iii. 2. 169 : — 
 
 " but now I was the lord 
 Of this fair mansion, master of my servants, 
 Queen o'er myself." 
 
 82. Distemperatures. Distempers. Cf. i Hen. IV. iii. i. 34 : 
 "Our grandam earth, having this distemperature," etc. 
 
 84. Would mad. Cf. iv. 4. 128 above. S. does not use madden. 
 
 86. Have. The reading of the 2d folio. The ist has " Hath," 
 which may be what S. wrote. Cf. Doth (often changed to Do) in 
 R. and J. prol. 8 and in Cor. iii. 3. 99, etc. 
 
 92. In. Into. See on ii. 2. 34 above, and cf. 143 below. 
 
 94. Neither. Cf. 302 below. See also T. G. of V. iii. i. 196, v. 
 2. ZZ^ etc. 
 
 100. Attorney. Agent, substitute. Cf. A. K Z. iv. 1.94: "die 
 by attorney," etc. 
 
 105. Formal. Normal ; here = rational. Cf. A. and C. ii. 5. 
 41 : — 
 
 " Thou shouldst come like a Fury crown'd with snakes, 
 Not like a formal man ; " 
 
 where it means an ordinary man as opposed to a supernatural 
 being. See also T. N. ii. 5. 128, where " any formal capacity" = 
 any ordinary intellect. Similarly, informal, in the only instance of 
 the word in S. {M. for M. v. i. 236) = out of one's senses. 
 
 106. Parcel. Part; as in Cor. iv. 5. 231 : "a parcel of their 
 feast," etc. 
 
 117. Perforce. See on iv. 3. 95 above. 
 
 121. Sorry. Sorrowful; as often. Cf. J/<2r<5. ii. 2. 21 : "This is 
 
172 Notes [Act V 
 
 a sorry sight." As Steevens remarks, sorry had a stronger mean- 
 ing in Shakespeare's time than at present. Cf. Chaucer, C. T, 
 1 1 743 (Tyrwhitt, 7283) : "the tormentz of this sory place" (that 
 is, hell), etc. 
 
 124. Reverend. Here the ist and 2d folios have "reverent," 
 but " reverend " in 134 below. The two forms are used indiscrimi- 
 nately in the early eds. 
 
 137. Who. The reading of ist folio, for which the 2d (followed 
 by most modern editors) has "whom." Cf. Macb. iii. i. 123 : 
 " Who I myself struck down ; " Cor. ii. I. 8 : " Who does the wolf 
 love ?" etc. We find wJio sometimes even after prepositions; as 
 "To who ?" (^Oih. i. 2. 52, Cynib. iv. 2. 75) ; " With who ?" {^Oth. 
 iv. 2. 99); "for who" {Macb. iv. 3. 171), etc. 
 
 138. Important. Importunate ; as in Much Ado, ii. i. 174 : "If 
 the prince be too important, tell him there is measure in every 
 thing." See also A. IV. iii. 7. 21. In Lear, iv. 4, 26, the quartos 
 have " important," the folios " importun'd." So importance ~ 
 importunity, in T. N.y. I. 371 and IC. John, ii. I. 7. 
 
 140. That. So that ; as often. Cf. iii. 2. 144 above. 
 
 142. Doing displeasure. Cf. iv. 4. 1 17 above. 
 
 143. In. Into ; as in 92 above. 
 
 144. Jewels. See on ii. I. 109 above. 
 
 146. Take order. Take measures ; as very often. Cf. Rich. II. 
 V. I. 53, 0th. V. 2. 72, etc. 
 
 148. Wot. Know ; used only in the present tense and parti- 
 ciple. For the latter, see W. T. iii. 2. 77 : " wotting no more than 
 I." Strong escape — escape effected by strength, or violence. 
 
 153. Raising of. Cf. A. V. L. ii. 4. 44 : "searching of thy 
 wound ; " Id. iv. 3. 10 : " as she was writing of it," etc. 
 
 169. Are both broke loose, etc. Malone notes that though, accord- 
 ing to the usage of the time, are broke loose was correct enough, are 
 beaten the maids would not be admissible. He was right, how- 
 ever, in considering it one of the " confusions of construction " so 
 common in S. 
 
Scene I] Notes 173 
 
 170. A-row. In a row, one after another. Cf. Spenser, F. Q. v. 
 12. 29 : "all her teeth arew." Steevens quotes Chaucer, C. T. 
 1 1 296 (Tyrwhitt, 6836) : " A thousand tyme arewe he gan hire 
 kisse ; " and Turbervile, Penelope to Ulysses : " The Trojan tentes 
 arowe." Douce adds from Hormanni Vulgaria : " I shall tell 
 thee arowe all that I sawe : Ordine tibi visa omnia exponam." 
 
 171. Whose beard they have sing'd, etc. It has been conjectured 
 that S. may have got the hint of this from North's Plutarch, where, 
 in the Life of Dion, it is stated that " Dionysius was so fearful and 
 mistrustful of everybody that he would suffer no man with a pair 
 of barber's scissors to poll the hair of his head, but caused an 
 image-maker of earth to come unto him, and with a hot burning 
 coal to burn his goodly bush of hair round about." 
 
 174. To him. Omitted by Capell ; but the line is one of the 
 occasional Alexandrines in the play. Cf. 208 below. 
 
 175. Nicks him like a fool. Malone notes that professional fools 
 were shaved and had their hair nicked or notched in a particular 
 manner. He cites The Choice of Change, 1598, in which it is said 
 of monks that "they are shaven and notched on the head, like 
 fooles." 
 
 183. Scorch. Changed by Warburton to "scotch" (= hack or 
 cut), which seems to have been another form of the word. It 
 occurs again in Macb. iii. 2. 13 (in the folio). But here scorch 
 may be used in its familiar sense. Singeing the doctor's beard 
 may have suggested scorching his wife's face. The word does not 
 necessarily imply anything more than burning the skin. 
 
 192. Bestrid thee. That is, to defend thee when fallen. Cf. 
 I Hen. IV. V. i. 122 : "Hal, if thou see me down in the battle, 
 and bestride me, so ; 't is a point of friendship." The past tense 
 and participle are both bestrid in S. 
 
 199. Abused. Deceived, been false to ; as often. 
 
 203. Discover. Disclose, explain. Cf. R. and J. ii. 2. 106, iii. 
 I. 147, etc. 
 
 205. Harlots. Base or lewd fellows. The word was applied to 
 
1 74 Notes [Act V 
 
 men as well as women. Cf. W. T. ii. 3. 4 ; " the harlot king," 
 etc. 
 
 208. So befall my soul, etc. The expression is peculiar, but the 
 meaning is clear enough. 
 
 210. On night. That is, "o' nights" (7*. N. i. 3. 5), or 
 "a-night" (^. Y. Z. ii. 4. 48). The interchange of on, of, and 
 the prefix a- is common in S. 
 
 214. I am advised, etc. "That is, I am not going to speak 
 precipitately or rashly, but on reflection and consideration" 
 (Steevens). Cf. M. of V. i. i. 142: "with more advised watch ; " 
 
 Rich. III. ii. I. 107: — 
 
 " who, in my wrath, 
 Kneel'd at my feet, and bade me be advis'd," etc. 
 
 217. Albeit. Several times interchanged with although in the 
 early eds. In M. of V. i. 3. 62, the folios have albeit, the ist quarto 
 although; in I Hen. IV. i. 3. 128 the folios have although, the 
 quartos albeit ; and in Rich. III. iv. 3. 6 the folios have albeit, the 
 quartos although. 
 
 219. Pack'd. Leagued, in conspiracy; as in Much Ado, v. i. 308 : 
 " Who, I believe, was pack'd in all this wrong." Cf. the uo\ys\ pack 
 in M. W. iv. 2. 123: "there's a knot, a ging, a pack, a conspiracy 
 against me," etc. Schmidt gives /«<ri that sense in iv. 4. 103 above. 
 
 229. God he knows. Cf. Rich. III. iii. I. 10: "On what occa- 
 sion, God he knows, not I," etc. 
 
 231. My peasant. Cf. ii. i. 81 above. 
 
 233. Fairly I bespoke. Cf. T. N.v. i. 192: " But I bespake you 
 fair, and hurt you not." See also iv. 2. 16 and iv. 4. 155 above. 
 
 239. Anatomy. Skeleton. In K. John, iii. 4. 40, Death is 
 called " that fell anatomy." For its use = body, cf. T. N. iii. 2. 
 67 and R. and J. iii. 3. 106. 
 
 242. Living dead juan. Usually printed " living-dead man ; " 
 but it is as well without the hyphen, which is not in the folios. 
 
 243. Took on him as a conjurer. Pretended to be a conjurer. 
 Cf. 2 Hen. IV. iv. i. 60: "I take not on me here as a physician." 
 
Scene I] Notes 175 
 
 According to Minsheu, " the difference betweene conjuration and 
 witchcraft is that the conjurer seemeth by praiers and invocations 
 of God's powerfull names, to compell the devill to say or doe what 
 he commandeth ; the witch dealeth rather by a friendlie and vol- 
 untarie conference or agreement betweene him or her and the 
 devill or familiar, to have his or her turne served in lieu or stead 
 of bloud, or other gift offered unto him, especially of his or her 
 soule." 
 
 245. With no face, etc. Cf. the play upon half-faced in K. 
 fohn, i. I. 94. 
 
 248. Dankish. Damp ; used by S. only here. Dank he has 
 five times. Cf. M. N. D. ii. 2. 75, R. and J. ii. 3. 6, etc. 
 
 250. In sunder. The reading of the 1st folio. The phrase was 
 apparently going out of use, as the 2d folio substitutes asunder. In 
 Rich. III. iv. I. 34, the quartos have in sunder, the folios asunder. 
 The only other instance of in sunder in S. is in R. of L. 2^^^. 
 
 253. Satisfaction. Metrically five syllables ; as in 400 below 
 and iv. i. 5 above. 
 
 269. And this is false, etc. Nearly a repetition (and doubtless 
 unintentional) of 209 above. 
 
 270. Impeach. Impeachment, accusation. The noun occurs 
 again in 3 Hen. VI. i. 4. 60 : " no impeach of valour." 
 
 271. Have drunk of Circe's cup. Have become as irrational as 
 beasts. The only other allusion to Circe in S. (perhaps not his) is 
 in I Hen. VI. v. 3. 35. 
 
 273. Coldly. Coolly, calmly. Cf. R. and f. iii. i. 55 : — 
 
 " Either withdraw into some private place, 
 Or reason coldly of your grievances." 
 
 276. With her there. With that woman there (explained by a 
 gesture) ; referring to the Courtesan. 
 
 282. Mated. See on iii. 2. 54 above. 
 
 283. Vouchsafe me speak. We find the to inserted in 394 below. 
 Cf. 25 above. 
 
176 Notes [Actv 
 
 291. Unbound. Dromio plays on the word, as on bound m 306 
 below. 
 
 . 299. Careful. Full of care, anxious. Cf. Rich. II. ii. 2. 75 : 
 " O, full of careful business are his looks ! " 
 
 Deformed = deforming. This active use of passive participles is 
 common in S. Cf. disdained = disdainful in I Hen. IV. i. 3. 183, 
 grim-look'' d va. M. N. D. v. I. I'ji, etc. We still use well-behaved. 
 
 300. Defeatures. See on ii. I. 98 above. Cf. also the use of 
 defeat — disfigure, in 0th. i. 3. 346. Halliwell-Phillipps quotes 
 Florio : " Disfare, to undoe, to spoile, to waste, to marre, to un- 
 make, to defeate." 
 
 302. Neither. See on 94 above. 
 
 309. Splitted. See on i. i. 103 above. 
 
 311. My feeble key of zmtun'd cares. " The weak and discordant 
 tone of my voice, that is changed by grief" (Douce). 
 
 312. Grained. "That is, furrowed, like the grain of wood" 
 (Steevens). Cf. Cor. iv. 5. 114: "My grained ash," etc. 
 
 317. A little use to hear. Still some hearing left, some use of 
 my ears. 
 
 321. Syracusa, boy. There is no comma in the folios, which led 
 Rowe to read "Syracusa bay" and Hanmer "Syracusa's bay." 
 
 323. Sham'' St. For the intransitive use, cf. A. Y. I. iv. 3. 136: 
 " I do not shame to tell you what I was," etc. 
 
 333. Genius. Attendant spirit. Cf. A. and C. ii. 3. 19:- 
 
 " Thy demon, that 's thy spirit which keeps thee, is 
 Noble, courageous, high, unmatchable, 
 Where Caesar's is not ; but near him thy angel 
 Becomes a fear, as being overpower'd ; " 
 
 and Macb. iii. i. 56: — 
 
 " There is none but he 
 Whose being I do fear ; and under him 
 My Genius is rebuk'd as it is saia 
 Mark Antony's was by Caesar." 
 
 I 
 
Scene I] Notes 177 
 
 335. Deciphers. Distinguishes. Cf. M. W. v. 2. 10 : " the 
 white will decipher her well enough." 
 
 357-362. Why, here begins . . . met together. In the folio these 
 lines follow 346. The re-arrangement is due to Capell and is 
 adopted by all the editors. His morning story refers to that which 
 he has told the Duke in i. i. 
 
 358. Antipholuses. The folio has " Antipholus," which was, 
 however, intended as a plural. For similar contractions of plurals 
 and possessives ending in a sibilant, see p. 113 above. 
 
 359. Semblance. A trisyllable, like children in 361. See 
 p. 113 above. 
 
 360. Her urging of her wrack. Some change her in both places 
 to " his ; " but the Duke may refer to what Emilia has just said. 
 
 362. Which. Who ; as often. 
 
 379. I think it be. Cf. Ham. i. i. 108: "I think it be no other 
 but even so," etc. The subjunctive be is often used after verbs of 
 thinking, etc., and sometimes expresses more doubt than is. 
 
 389. Errors all arose. The folios have " are arose," which the 
 Cambridge ed. retains. If it be what S. wrote it is = have arose, 
 or arisen ; but it is more likely a misprint, to be corrected as in the 
 text. "Are" is an easy misprint for all. "Moreover," as Clarke 
 remarks, " all here is quite in Shakespeare's style, and is his way 
 of drawing attention to the many errors that have occurred and 
 given the play its name." 
 
 391. It shall not need. Cf. 3 Hen. VI. i. 4. 125: "It needs 
 not ; " and Milton, F. I. iii. 340 : " For regal sceptre then no 
 more shall need." 
 
 398. Sympathized. Mutually shared or suffered. For other 
 peculiar uses of the word, see R. of L. 1113, Sonn. 82. 11, and 
 R. of L. iii. I. 52. 
 
 400. Satisfaction. Metrically five syllables. See on 253 above. 
 
 401. Thirty-three years. The folio reading, changed by Theo- 
 bald to "twenty-five " and by Capell to " twenty-three." The mod- 
 ern editors generally follow Theobald, who got his " twenty-five " 
 
 COMEDY OF ERRORS — 12 
 
lyS Notes [Act v 
 
 by putting together what ^Egeon has said of his son's leaving him at 
 the age of "eighteen" (i. i. 125) and of the "seven short years" 
 (310 above) since he saw him. Capell's " twenty-three " is derived 
 from i. I. 125 and i. i. 132. But, as the Cambridge editors (who 
 retain the folio reading) remark, the Duke says (327 above) that he 
 has been patron to Antipholus for "twenty years," and either three 
 or five seems too early an age to assign for the beginning of the 
 patronage. Moreover, Antipholus saved the Duke's life in the wars 
 "long since" (161, 191 above) ; and his "long experience" of his 
 wife's "wisdom" and her "years" are mentioned in iii. i. 88, 89. 
 I am inclined to think it is only one of several instances of the 
 poet's carelessness in these little arithmetical matters. 
 
 405. The calendars. That is, the two Dromios. Cf. i. 2. 41 
 above. 
 
 406. A gossips' feast. That is, a sponsors' feast. Gossip in this 
 sense is both masculine and feminine. Cf. W. T. ii. 3. 41 and 
 Hen. VIII. V. 5. 13. 
 
 Go with me. Various changes have been made here on account 
 of the repetition of go ; but, as Clarke remarks, ^^ go with me is the 
 burden of the Abbess's speech throughout." The Cambridge edi- 
 tors conjecture, " So to a gossips' feast all go with me." 
 
 407. Such nativity ! Some editors change nativity to " felicity," 
 and others to "festivity;" but Clarke well says: "There is some- 
 thing in the repetition of nativity which harmonizes with Emilia's 
 dwelling on the fact that this present hour is the birth-hour 
 of her sons. Such reiterations in speeches at the close of a play 
 are not unfrequent with S., who often, as it appears to us, gives 
 this kind of confusedly repeated construction, partly to indicate 
 the tumult of feeling in the speaker, partly to impress upon the 
 audience any special point towards which he desires to draw their 
 attention." 
 
 408. Gossip. Make merry. Cf. K. John, v. 2. 59 : — 
 
 " at feasts, 
 Full of warm blood, of mirth, of gossiping." 
 
Scene I] Notes 179 
 
 411. Lay at host in. That is, were put up at. Cf. i. 2. 9 above, 
 416. Kitchen' d me. Entertained me in the kitchen; the only 
 instance of the verb in S. 
 
 418. My glass. My reflection in a mirror. In T. N. v. i. 272 
 f " If this be so, as yet the glass seems true ") the metaphor simi- 
 larly refers to a case of mistaken identity. 
 
 419. Sweet-fac' d. Cf. M. N. D. i. 2. 88: " Pyramus is a sweet- 
 fac'd man." 
 
 423. Draw cuts. Draw lots ; the only instance of the phrase 
 in S. " Draw lots " occurs only in A. and C. ii. 3. 35 and ii. 6. 62 
 {^Per. i. 4. 46 is not Shakespeare's). 
 
APPENDIX 
 
 Meres's Mention of the Play 
 
 The passages in Meres's Palladis Tamia (1598) referring to 
 Shakespeare read as follows : — 
 
 " As the Greeke tongue is made famous and eloquent by Homer, 
 Hesiod, Euripedes, Aeschihis, Sophocles, Findarus, Phocylides and 
 Aristophanes ; and the Latine tongue by Virgill, Quid, Horace, 
 Silius Italicus, Lucanus, Lucretius, Ausonius and Claudianus : so 
 the English tongue is mightily enriched, and gorgeouslie inuested 
 in rare ornaments and resplendent abiliments by sir Philip Sidney, 
 Spencer, Daniel, Drayton, Warner, Shakespeare, Marlow and 
 Chapma^t. 
 
 " As the soule of Euphorhus was thought to liue in Pythagoras : 
 so the sweete wittie soule of Oziid Hues in mellifluous & hony- 
 tongued Shakespeare, witnes his Venus and Adonis, his Lucrece, 
 his sugred Sonnets among his priuate friends, &c. 
 
 " As Plautus and Seneca are accounted the best for Comedy and 
 Tragedy among the Latines : so Shakespeare among y^ English is 
 the most excellent in both kinds for the stage ; for Comedy, wit- 
 nes his Gentlemen of Verona, his Errors, his Loue labors lost, 
 his Loue labours ivonne, his Midswnmers night drea^ne, and his 
 Merchant of Venice : for Tragedy his Richard the 2. Richard the 
 3. Henry the 4. King Lohn, Titus Andronicus and his Romeo and 
 Luliet. 
 
 "As Epius Stolo said, that the Muses would speake with Plautus 
 tongue, if they would speak Latin : so I say that the Muses would 
 speak with Shakespeares fine filed phrase, if they would speake 
 English. 
 
 181 
 
1 82 Appendix 
 
 "And as Horace saith of his: Exegi monumentum cere peren- 
 nius ; Regaliq ; situ pyramidutn altius ; Quod non imber edax ; 
 Non Aquilo impotens possit diruere ; aut innu?uerabilis anno- 
 rum series ^ fuga temporum : so say I seuerally of sir Philip 
 Sidneys, Spencers, Daniels, Draytons, Shakespeares, and Warners 
 Workes ; . . . 
 
 "As Pindarus, Anacreon and Callimachus among the Greekes; 
 and Horace and Catullus among the Latines are the best Lyrick 
 Poets ; so in this faculty the best among our Poets are Spencer 
 (who excelleth in all kinds), Daniel, Drayton, Shakespeare, 
 Bretton. . . . 
 
 "As these Tragicke Poets flourished in Greece, Aeschylus, 
 Euripedes, Sophocles, Alexander Aetolus, Achceus Erithriceus, Asty- 
 damas Atheniensis, Apollodorus Tarsensis, Nicomachus Phrygius, 
 Thespis Atticus, and Timon Apolloniates ; and these among the 
 Latines, Accius, M. Attilius, Pomponius Secundus and Seneca: 
 so these are our best for Tragedie, the Lorde Buckhurst, Doctor 
 Leg of Cambridge, Doctor Edes of Oxforde, maister Edward Fer- 
 ris, the Authour of the Mirrour for Magistrates, Marlow, Peele, 
 Watson, Kid, Shakespeare, Drayton, Chapjnan, Decker, and 
 Beniamin lohnson.^^ 
 
 Plautus and Shakespeare 
 
 The original argument of the Mencechmi is thus translated by 
 Warner (see p. i8 above): — 
 
 " Two twinborn sons, a Sicill merchant had, 
 Menechmus one, and Sosicles the other: 
 The first his father lost a little lad. 
 The grandsire named the latter like his brother. 
 This (grown a man) long travel took to seek 
 His brother, and to Epidamnum came, 
 Where th' other dwelt enrich'd, and him so Uke, 
 That citizens there take him for the same : 
 
 \ 
 
Appendix 1 83 
 
 Father, wife, neighbours, each mistaking either, 
 Much pleasant error, ere they meet together." 
 
 Knight, after quoting it, remarks: "This argument is almost suffi- 
 cient to point out the difference between the plots of Plautus and 
 of Shakspere. It stands in the place of the beautiful narrative of 
 ^geon, in the first scene of the Comedy of Errors. In Plautus we 
 have no broken-hearted father bereft of both his sons; he is dead, 
 and the grandfather changes the name of the one child who re- 
 mains to him. Shakspere does not stop to tell us how the twin- 
 brothers bear the same name ; nor does he explain the matter any 
 more in the case of the Dromios, whose introduction upon the 
 scene is his own creation. In Plautus, the brother, Menaechmus 
 Sosicies, who remained with the grandsire, comes to Epidamnum, 
 in search of his twin-brother who was stolen, and he is accom- 
 panied by his servant Messenio ; but all the perplexities that are 
 so naturally occasioned by the confusion of the two twin-servants 
 are entirely wanting. The mistakes are carried on by the ' mere- 
 trix, uxor, et socer ' (softened by Warner into * father, wife, neigh- 
 bours '). We have *Medicus,' the prototype of Doctor Pinch; 
 but the mother of the twins is not found in Plautus. We scarcely 
 need say that the Parasite and the Father-in-law have no place in 
 Shakspere's comedy. The scene in the Comedy of Errors is 
 changed from Epidamnum to Ephesus ; but we have mention of 
 Epidamnum once or twice in the play. 
 
 "The Mencechmi opens with the favourite character of the 
 Roman comedy — the Parasite ; the scene is at Epidamnum. The 
 Parasite is going to dine with Mensechmus, who comes out from 
 his house, upbraiding his jealous wife. But his wife is not jealous 
 without provocation. . . . The Antipholus of Shakspere does not 
 propose to dine with one * pretty and wild,' and to bestow ' the 
 chain ' upon his hostess, till he has been provoked by having his 
 own doors shut upon him. Our poet has thus preserved some 
 sympathy for his Antipholus, which the Mensechmus of Plautus 
 forfeits upon his first entrance. Menaechmus and the Parasite go 
 
1 84 Appendix " 
 
 to dine with Erotium (meretrix). Those who talk of Shakspere's 
 anachronisms have never pointed out to us what formidable liber- 
 ties the translators of Shakspere's time did not scruple to take with 
 their originals. Mensechmus gives very precise directions for his 
 dinner, after the most approved Roman fashion : — 
 
 ' Jube igitur nobis tribus apud te prandium accurarier, 
 Atque aliquid scitamentorum de foro obsonarier, 
 Glandionidem suillam, laridum pernonidem, aut 
 Sinciput, aut polimenta porcina, aut aliquid ad eum modum.' 
 This passage Warner thus interprets : * Let a good dinner be made 
 for us three. Hark ye, some oysters, a mary-bone pie or two, some 
 artichokes, and potato roots ; let our other dishes be as you please.' 
 In reading this bald attempt to transfuse the Roman luxuries into 
 words accommodated to English ideas, we are forcibly reminded 
 how ' rare Ben ' dealt with the spirit of antiquity in such matters 
 (^Alchemistf ii. l) : — 
 
 * The tongues of carps, dormice, and camels' heels, 
 Boil'd in the spirit of sol, and dissolv'd pearl, 
 Apicius* diet, 'gainst the epilepsy : 
 And I will eat these broths with spoons ofamber 
 Headed with diamond and carbuncle. 
 My foot-boy shall eat pheasants, calver'd salmons, 
 Knots, godwits, lampreys : I myself will have 
 The beards of barbels serv'd, instead of sallads ; 
 Oil'd mushrooms,' etc. 
 " The second act in Plautus opens with the landing of Mensech- 
 mus Sosicles and Messenio at Epidamnum. The following is 
 Warner's translation of the scene : — 
 
 ' Menceckmus. Surely, Messenio, I think seafarers never take so com- 
 fortable a joy in any thing as, when they have been long tost and tur- 
 moiled in the wide seas, they hap at last to ken land. 
 
 Messenio. I '11 be sworn, I should not be gladder to see a whole coun- 
 try of mine own, than I have been at such a sight. But I pray, where- 
 fore are we now come to Epidamnum ? must we needs go to see every 
 town that we hear of ? 
 
Appendix 185 
 
 Afenceckmus. Till I find my brother, all towns are alike to me: I 
 must try in all places. 
 
 Messenio. Why then, let 's even as long as we live seek your brother : 
 six years now have we roamed about thus, Istria, Hispania, Massilia, 
 Illyria, all the upper sea, all high Greece, all haven towns in Italy. I 
 think if we had sought a needle all this time we must needs have found 
 it, had it been above ground. It cannot be that he is alive ; and to seek 
 a dead man thus among the living, what folly is it ? 
 
 MencBch-imis . Yea, could I but once find any man that could certainly 
 inform me of his death, I were satisfied; otherwise I can never desist 
 seeking : little knowest thou, Messenio, how near my heart it goes. 
 
 Messenio. This is washing of a blackamoor. Faith, let 's go home, 
 unless ye mean we should write a story of our travail. 
 
 MencBchmus . Sirrah, no more of these saucy speeches. I perceive I 
 must teach you how to serve me, not to rule me. 
 
 Messenio. Ay, so, now it appears what it is to be a servant. Well, I 
 must speak my conscience. Do ye hear, sir ? Faith, I must tell you 
 one thing, when I look into the lean estate of your purse, and consider 
 advisedly of your decaying stock, I hold it very needful to be drawing 
 homeward, lest in looking your brother, we quite lose ourselves. For 
 this assure yourself, this town, Epidamnum, is a place of outrageous 
 expenses, exceeding in all riot and lasciviousness : and (I hear) as full 
 of ribalds, parasites, drunkards, catchpoles, coney-catchers, and syco- 
 phants, as it can hold. Then for courtesans, why here 's the currentest 
 stamp of them in the world. You must not think here to scape with as 
 light cost as in other places. The very name shows the nature, no man 
 comes hither sine danino. 
 
 MencBchvzus. You say very well indeed : give me my purse into mine 
 own keeping, because I will so be the safer, sine damno.' 
 
 " Steevens considered that the description of Ephesus in the 
 Comedy of Errors ('They say, this town is full of cozenage,' etc.) 
 was derived from Warner's translation, where ' ribalds, parasites, 
 drunkards, catchpoles, coney-catchers, sycophants, and courtesans,' 
 are found ; the voluptarii, potatores, sycophanta, palpatores, and 
 meretrices of Plautus. But surely the 'jugglers,' 'sorcerers,' 
 ' witches,' of Shakspere are not these. With his exquisite judg- 
 
1 86 Appendix 
 
 ment, he gave Ephesus more characteristic * liberties of sin.' The 
 cook of the courtesan, in Plautus, first mistakes the wandering 
 brother for the profligate of Epidamnum. Erotium next encounters 
 him, and with her he dines ; and, leaving her, takes charge of a 
 cloak which the Mensechmus of Epidamnum had given her. In 
 the Comedy of Errors the stranger brother dines with the wife of 
 him of Ephesus. The Parasite next meets with the wanderer, and 
 being enraged that the dinner is finished in his absence, resolves to 
 disclose the infidelities of Mensechmus to his jealous wife. The 
 'errors' proceed, in the maid of Erotium bringing him a chain 
 which she says he had stolen from his wife : he is to cause it 
 to be made heavier and of a newer fashion. The traveller goes his 
 way with the cloak and the chain. The jealous wife and the Para- 
 site lie in wait for the faithless husband, who the Parasite reports is 
 carrying the cloak to the dyer's ; and they fall with their reproaches 
 upon the Mensechmus of Epidamnum, who left the courtesan to 
 attend to his business. A scene of violence ensues ; and the 
 bewildered man repairs to Erotium for his dinner. He meets with 
 reproaches only ; for he knows nothing of the cloak and the chain. 
 The stranger Mensechmus, who has the cloak and chain, encounters 
 the wife of his brother, and of course he utterly denies any know- 
 ledge of her. Her father comes to her assistance, upon her hastily 
 sending for him. He first reproaches his daughter for her sus- 
 picions of her husband, and her shrewish temper : Luciana reasons 
 in a somewhat similar way with Adriana, in the Comedy of Errors, 
 and the Abbess is more earnest in her condemnation of the com- 
 plaining wife. The scene in Plautus wants all the elevation that 
 we find in Shakspere ; and the old man seems to think that the 
 wife has little to grieve for, as long as she has food, clothes, and 
 servants. Mensechmus, the traveller, of course cannot comprehend 
 all this ; the father and daughter agree that he is mad and send 
 for a doctor. He escapes from the discipline which is preparing 
 for him ; and the doctor's assistants lay hold of Mensechmus, the 
 citizen. He is rescued by Messenio, the servant of the traveller, 
 
Appendix 187 
 
 who mistakes him for his master, and begs his freedom. The ser- 
 vant going to his inn meets with his real master ; and, while dis- 
 puting with him, the Mensechmus of Epidamnum joins them. Of 
 course, the eclair cissenient is the natural consequence of the 
 presence of both upon the same scene. The brothers resolve to 
 leave Epidamnum together ; the citizen making proclamation that 
 he will sell all his goods, and adding, with his accustomed loose 
 notions of conjugal duty, *Venibit uxor quoque etiam, si quis emp- 
 tor venerit.' 
 
 " Hazlitt has said, ' This comedy is taken very much from the 
 MencEchmi of Plautus, and is not an improvement on it.' We think 
 he is wrong in both assertions." 
 
 The Period of the Action 
 
 I believe that Hazlitt, Clarke, and others are wrong in assum- 
 ing that the action of the play is laid in the old classical times. 
 Knight's remarks on this subject also are so good that I cannot 
 forbear quoting them : — 
 
 " We have noticed some of the anachronisms which the trans- 
 lator of Plautus, in Shakspere's time, did not hesitate to introduce 
 into his performance. Warner did not do this ignorantly ; for he 
 was a learned person, and, we are told in an address of 'The 
 Printer to his Readers,' had divers of this poet's comedies Eng- 
 lished, for the use and delight of his private friends, who in Plautus' 
 own words ' are not able to understand them.' There was, no doubt, 
 a complete agreement as to the principle of such anachronisms in 
 the writers of Shakspere's day. They employed the conventional 
 ideas of their own time instead of those which properly belonged to 
 the date of their story ; they translated images as well as words ; 
 they were addressing uncritical readers and spectators, and they 
 thought it necessary to make themselves intelligible by speaking 
 
1 88 Appendix 
 
 of familiar instead of recondite things. Thus Warner not only 
 gives us marybone pies and potatoes, instead of the complicated 
 messes of the Roman sensualist, but he talks of constables and toll- 
 gatherers, Bedlam fools, and claret. In Douce's Essay *0n the 
 Anachronisms and some other Incongruities of Shakspere,' the 
 offences of our poet in the Comedy of Errors are thus summed up : 
 * In the ancient city of Ephesus we have ducats, marks, and guilders, 
 and the Abbess of a Nunnery. Mention is also made of several 
 modern European kingdoms, and of America ; of Henry the Fourth 
 of France [iii. 2. 121], of Turkish tapestry, a rapier, and a striking- 
 clock ; of Lapland sorcerers, Satan, and even of Adam and Noah. 
 In one place Antipholus calls himself a Christian. As vi'e are 
 unacquainted with the immediate source whence this play was 
 derived, it is impossible to ascertain whether Shakspere is responsi- 
 ble for these anachronisms.' The ducats, marks, guilders, tapestry, 
 rapier, striking-clock, and Lapland sorcerers, belong precisely to 
 the same class of anachronisms as those we have already exhibited 
 from the pen of the translator of Plautus. Had Shakspere used 
 the names of Grecian or Roman coins, his audience would not have 
 understood him. Such matters have nothing whatever to do with 
 the period of a dramatic action. But we think Douce was some- 
 what hasty in proclaiming that the Abbess of a Ntmnery^ Satan, 
 Adam and Noah, and Christian^ were anachronisms, in connection 
 with the ' ancient city of Ephesus.' 
 
 "Douce, seeing that the Comedy of Errors was suggested by the 
 Mencechmi of Plautus, considers, no doubt, that Shakspere intended 
 to place his action at the same period as the Roman play. It is 
 manifest to us that he intended precisely the contrary. The 3fe- 
 ncechmi contains invocations in great number to the ancient divin- 
 ities; — Jupiter and Apollo are here familiar words. From the 
 first line of the Comedy of Errors to the last we have not the slight- 
 est allusion to the classical mythology. Was there not a time, then, 
 even in the ancient city of Ephesus, when there might be an Abbess, 
 — men might call themselves Christians, — and Satan, Adam, and 
 
Appendix 189 
 
 Noah might be names of common use ? We do not mean to affirm 
 that Shakspere intended to select the Ephesus of Christianity — the 
 great city of churches and councils — for the dwelling-place of 
 Antipholus, any more than we think that Duke Solinus was a real 
 personage — that ' Duke Menaphon, his most renowned uncle,' ever 
 had any existence — or that even his name could be found in any 
 story more trustworthy than that of Greene's Arcadia. The truth 
 is, that in the same way that A7'demies was a sort of terra incognita 
 of chivalry, the poets of Shakspere's time had no hesitation in 
 placing the fables of the romantic ages in classical localities, leav- 
 ing the periods and the names perfectly undefined and unap- 
 preciable. . . . 
 
 " Warton has prettily said, speaking of Spenser, ' exactness in his 
 poem would have been like the cornice which a painter introduced 
 in the grotto of Calypso.' Those who would define every thing in 
 poetry are the makers of corniced grottos. As we are not desirous 
 of belonging to this somewhat obsolete fraternity, to which even 
 Warton himself affected to belong when he wrote what is truly an 
 apology for the Faerie Queene, we will leave our readers to de- 
 cide whether Duke Solinus reigned at Ephesus before ' the great 
 temple, after having risen with increasing splendour from seven 
 repeated misfortunes, was finally burnt by the Goths in their third 
 naval invasion ; ' ^ or whether he presided over the decaying city, 
 somewhat nearer to the period when Justinian 'filled Constantinople 
 with its statues, and raised his church of St. Sophia on its columns ; ' 
 or, lastly, whether he approached the period of its final desolation, 
 when the ' candlestick was removed out of its place,' and the Chris- 
 tian Ephesus became the Mohammedan Aiasaluck. . . . 
 
 " The exceeding beauty and accuracy of scenery and dress in our 
 daj's are destructive, in some degree, to the poetical truth of Shak- 
 spere's dramas. It takes them out of the region of the broad and 
 universal, to impair their freedom and narrow their range by a typo- 
 
 1 Gibbon, chap. x. 
 
190 Appendix 
 
 graphical and chronological minuteness. When the word * Thebes ' 1 
 was exhibited upon a painted board to Shakspere's audience, their 
 thoughts of that city were in subjection to the descriptions of the 
 poet ; but if a pencil as magical as that of Stanfield had shown 
 them a Thebes that the child might believe to be a reality, the 
 words to which they listened would have been comparatively unin- 
 teresting, in the easier gratification of the senses instead of the 
 intellect. Poetry must always have something of the vague and 
 indistinct in its character. The exact has its own province. Let 
 Science explore the wilds of Africa, and map out for us where there 
 are mighty rivers and verdant plains in the places where the old 
 geographers gave us pictures of lions and elephants to designate 
 undiscovered desolation. But let Poetry still have its undefined 
 countries ; let Arcadia remain unsurveyed ; let us not be too curi- 
 ous to inquire whether Dromio was an ancient heathen or a Chris- 
 tian, nor whether Bottom the weaver lived precisely at the time 
 when Theseus did battle with the Centaurs." 
 
 The Characters of the Twins 
 
 The critics have given little attention to Shakespeare's skill in 
 characterization as illustrated in this play, and least of all as shown 
 in the two pairs of twins. Hazlitt remarks that, " in reading the 
 play it is difficult, without a painful effort of attention, to keep these 
 characters distinct in the minds ; " but, as with all his personages, 
 Shakespeare has given them individual characteristics by which we 
 can distinguish them. Some one has said that if his dramas were 
 
 1 See Sidney's Defence of Poesy : " What child is there that, coming to 
 a play, and seeing Thebes written in great letters upon an old door, doth 
 believe that it is Thebes ? " This rude device was probably employed 
 in the representation of the Thebais of Seneca translated by Newton, 
 1581. 
 
Appendix 191 
 
 printed without the names of the persons represented being attached 
 to the speeches, we should know who is speaking by " his wonder- 
 ful discrimination in assigning to every character appropriate modes 
 of thought and expression." Knight, who, so far as I am aware, is 
 the only editor or critic, who has illustrated this at any length in 
 the case of the twin brothers in the present play, remarks : — 
 " The Dromio of Syracuse is described by his master as 
 
 'A trusty villain, sir; that very oft, 
 When I am dull with care and melancholy, 
 Lightens my humour with his merry jests.' 
 
 But the wandering Antipholus herein describes himself; he is a 
 prey to * care and melancholy.' He has a holy purpose to execute, 
 which he has for years pursued without success : 
 
 'He that commends me to mine own content 
 Commends me to the thing I cannot get. 
 I to the world am like a drop of water 
 That in the ocean seeks another drop.' 
 
 Sedate, gentle, loving, the Antipholus of Syracuse is one of Shak- 
 spere'3 amiable creations. He beats his slave according to the 
 custom of slave-beating ; but he laughs with him and is kind to him 
 almost at the same moment. He is an enthusiast, for he falls in 
 love with Luciana in the midst of his perplexities, and his lips utter 
 some of the most exquisite poetry : 
 
 ' O, train me not, sweet mermaid, with thy note, 
 To drown me in thy sister's flood of tears. 
 Sing, siren, for thyself, and I will dote; 
 Spread o'er the silver waves thy golden hairs.' 
 
 But he is accustomed to habits of self-command, and he resolves to 
 tear himself away even from the siren : 
 
 ' But, lest myself be guilty to self-wrong, 
 I '11 stop mine ears against the mermaid's song.' 
 
192 Appendix 
 
 As his perplexities increase, he ceases to be angry with his slave: 
 
 ' The fellow is distract and so am I, 
 And here we wander in illusions : 
 Some blessed power deliver us from hence ! ' 
 
 Unlike the Mensechmus Sosicles of Plautus, he refuses to dine with 
 the courtesan. He is firm yet courageous when assaulted by the 
 Merchant. When the errors are clearing up, he modestly adverts 
 to his love for Luciana ; and we feel that he will be happy. 
 
 " Antipholus of Ephesus is decidedly inferior to his brother, in the 
 quality of his intellect and the tone of his morals. He is scarcely 
 justified in calling his wife 'shrewish.' Her fault is a too sensitive 
 affection for him. Her feelings are most beautifully described in 
 that address to her supposed husband : 
 
 ' Come, I will fasten on this sleeve of thine ; 
 Thou art an elm, my husband, I a vine, 
 Whose weakness, married to thy stronger state, - 
 Makes me with thy strength to communicate. 
 If aught possess thee from me, it is dross. 
 Usurping ivy, brier, or idle moss.' 
 
 The classical image of the elm and the vine would have been suffi- 
 cient to express the feelings of a fond and confiding woman ; the 
 exquisite addition of the 'Usurping ivy, brier, or idle moss,' con- 
 veys the prevailing uneasiness of a loving and doubting wife. 
 Antipholus of Ephesus has somewhat hard measure dealt to him 
 throughout the progress of the errors ; but he deserves it. His 
 doors are shut against him, it is true ; in his impatience he would 
 force his way into his house, against the remonstrances of the good 
 
 Balthazar : 
 
 ' Your long experience of her wisdom, 
 Her sober virtue, years, and modesty. 
 Plead on her part some cause to you unknown.' 
 
 He departs, but not ' in patience ; ' he is content to dine from home, 
 but not at * the Tiger.' His resolve — 
 
Appendix 193 
 
 • That chain will I bestow — 
 Be it for nothing but to spite my wife — 
 Upon mine hostess ' — 
 
 would not have been made by his brother, in a similar situation. 
 He has spited his wife ; he has dined with the courtesan. But he 
 
 is not satisfied : 
 
 ' Go thou 
 And buy a rope's end ; that will I bestow 
 Among my wife and her confederates." 
 
 We pity him not when he is arrested, nor when he receives the 
 rope's end instead of his ducats. His furious passion with his wife, 
 and the foul names he bestows on her, are quite in character ; 
 and when he has * Beaten the maids a-row, and bound the doctor,' 
 we cannot have a suspicion that the doctor was practising on the 
 right patient. In a word, we cannot doubt that, although the 
 Antipholus of Ephesus may be a brave soldier, who took ' deep 
 scars ' to save his prince's life, and that he really has a right to con- 
 sider himself much injured, he is strikingly opposed to the Antiph- 
 olus of Syracuse ; that he is neither sedate, nor gentle, nor truly 
 loving ; that he has no habits of self-command ; that his tempera- 
 ment is sensual ; and that, although the riddle of his perplexity is 
 solved, he will still find causes of unhappiness, and entertain 
 
 ' a huge infectious troop 
 Of pale distemperatures.* 
 
 "The characters of the two Dromios are not so distinctly marked 
 in their points of difference, at the first aspect. They each have 
 their ' merry jests ; ' they each bear a beating with wonderful good 
 temper ; they each cling faithfully to their master's interests. But 
 there is certainly a marked difference in the quality of their mirth. 
 The Dromio of Ephesus is precise and antithetical, striving to utter 
 his jests with infinite gravity and discretion, and approaching a pun 
 with a sly solemnity that is prodigiously diverting : 
 
 COMEDY OF ERRORS — 1 3 
 
94 Appendix 
 
 Again : 
 
 ' The capon burns, the pig falls from the spit, 
 The clock hath strucken twelve upon the bell ; 
 My mistress made it one upon my cheek. 
 She is so hot because the meat is cold.' 
 
 ' 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.' 
 
 He is a formal humourist, and, we have no doubt, spoke with a 
 drawling and monotonous accent, fit for his part in such a dialogue 
 as this : 
 
 ' Antipholus of E. Were not my doors lock'd up and I shut out ? 
 Droniio of E. Perdy, your doors were lock'd and you shut out. 
 Antipholus of E. And did not she herself revile me there ? 
 Dromio of E. Sans fable, she herself revil'd you there. 
 Antipholus of E. Did not her kitchen-maid rail, taunt, and scorn me ? 
 Dromio of E. Certes, she did ; the kitchen-vestal scorn'd you.' 
 
 On the contrary, the * merry jests ' of Dromio of Syracuse all come 
 from the outpouring of his gladsome heart. He is a creature of 
 prodigious animal spirits, running over with fun and queer simili- 
 tudes. He makes not the slightest attempt at arranging a joke, 
 but utters what comes uppermost with irrepressible volubility. He 
 is an untutored wit, and, we have no doubt, gave his tongue as 
 active exercise by hurried pronunciation and variable emphasis as 
 could alone make his long descriptions endurable by his sensitive 
 master. Look at the dialogue in the second scene of act ii., where 
 Antipholus, after having repressed his jests, is drawn into a tilting- 
 match of words with him, in which the merry slave has clearly the 
 victory. Look, again, at his description of the ' kitchen-wench ' — 
 coarse, indeed, in parts, but altogether irresistibly droll. The twin- 
 brother was quite incapable of such a flood of fun. Again, what a 
 prodigality of wit is displayed in his description of the bailiff ! His 
 epithets are inexhaustible. Each of the Dromios is admirable in 
 his way ; but we think that he of Syracuse is as superior to the 
 
Appendix 195 
 
 twin-slave of Ephesus as our old friend Launce is to Speed, in 
 the Two Gentlemen of Verona. These distinctions between the 
 Antipholuses and Dromios have not, as far as we know, been before 
 pointed out ; but they certainly do exist, and appear to us to be 
 defined by the great master of character with singular force as well 
 as delicacy. Of course the characters of the twins could not be 
 violently contrasted, for that would have destroyed the illusion. 
 They must still * Go hand in hand, not one before another.' " 
 
 The Duration of the Action 
 
 The action of the drama is all included in a single day, beginning 
 with the " morning story " of ^geon and ending in the afternoon 
 soon after "the dial points at five" (v. i. ii8). Its progress is 
 marked by many little references to the time of day which it is 
 unnecessary to point out here. This play and The Tempest are the 
 only plays of Shakespeare in which the " unities " of time and place 
 are observed. 
 
 List of Characters in the Play 
 
 The numbers in parentheses indicate the lines the characters 
 have in each scene. 
 
 Duke : i. 1(48) ; v. 1(43). Whole no. 91. 
 
 ^geon : i. 1(1 10); v. 1(33). Whole no. 143. 
 
 Antipholus of Ephesus : m. 1(47); iv. 1(48), 4 (44); v. 1(73). 
 Whole no. 212. 
 
 Antipholus of Syracuse : i. 2(55); ii. 2(84); iii. 2(86); iv. 3 
 (27), 4(5); V. 1(22). Whole no. 279. 
 
 Dromio of Ephesus : i. 2(33); ii. 1(32); iii. 1(30); iv. i(i), 
 4(44); V. 1(21). Whole no. 161. 
 
 Dromio of Syracuse : i. 2(2); ii. 2(67); iii. 1(14), 2(62); iv. 
 i(i6), 2(25), 3(44), 4(7); V. i(ii). Whole no. 248. 
 
196 Appendix 
 
 Balthazar : iii. 1(26). Whole no. 26. 
 
 Angela : iii. 1(2), 2(10); iv. 1(34); v. 1(31). Whole no. 77, 
 
 1st Merchant : i. 2(15). Whole no. 15. 
 
 2d Merchant : iv. i(ii); v. 1(23). Whole no. 34. 
 
 Officer : iv. I (3), 4(10). Whole no. 13. 
 
 Gaoler : i. i(i). Whole no. i. 
 
 Servant: v. 1(15). Whole no. 15. 
 
 Pinch: iv. 4(12). Whole no. 12. 
 
 Emilia: iv. 1(73). Whole no. 73. 
 
 Adriana: ii. 1(55), 2(63); iii. 1(2); iv. 2(34), 4(31); v. 1(75). 
 Whole no. 260. 
 
 Luciana : ii. 1(30), 2(8); iii. 2(36); iv. 2(10), 4(5); v. 1(7). 
 Whole no. 96. 
 
 Luce : iii. 1(8). Whole no. 8. 
 
 Courtesan: iv. 3(26), 4(6) ; v. 1(3). Whole no. 35. 
 
 In the above enumeration parts of lines are counted as whole 
 lines, making the total in the play greater than it is. The actual 
 number of lines in each scene (Globe edition numbering) is as fol- 
 lows: i. 1(159), 2(105); ii. 1(116), 2(221); iii. 1(123), 2(190); 
 iv. 1(113), 2(66), 3(97), 4(162); V. 1(426). Whole no. in the 
 play, 1778. 
 
 The play is the shortest of Shakespeare's dramas, being less 
 than half the length of Hamlet (the longest), which has 3930 
 lines. The next shortest is The Tetttpest (^2065 lines), and the 
 next Macbeth (2109). 
 
INDEX OF WORDS AND PHRASES 
 EXPLAINED 
 
 absence six months old, 
 
 122 
 
 abused (= deceived), 173 
 ache (spelling), 143 
 advised, I am, 174 
 aim (transitive), 149 
 albeit, 174 
 almanac of my true date, 
 
 126 
 alone, alone, 132 
 amain, 123 
 America, 150 
 anatomy, 174 
 angel (coin), 163 
 Antipholus, 177, 188 
 apparently, 155 
 armadoes, 151 
 a-row, 173 
 as (=that), 122 
 aspect (accent), 134 
 assured (= affianced), 151 
 at board, 147 
 at random, 121 
 attach (= arrest), 153, 155, 
 
 165 
 attaint, 146 
 attorney, 171 
 avoid ! 162 
 ay me ! 168 
 
 back-friend, 159 
 
 bait (= entice), 131 
 
 ballast, 151 
 
 balsamum, 156 
 
 band (=bond), 161 
 
 bastard fame, 146 
 
 bear (= win) , 169 
 
 become disloyalty, 146 
 
 befallen of, 123 
 
 before judgment, 160 
 
 Belgia, 151 
 
 belike, 154, 164 
 
 beshrew, 130 
 
 besides (preposition), 149 
 
 bespeak a long spoon, 164 
 
 bestow (= employ), 153 
 bestowed, 127 
 bestrid, 173 
 bloods, 118 
 bob (= rap), 162 
 bond (play upon), 168 
 both one and other, 164 
 bought and sold, 144 
 bound (play upon), 176 
 broke (= broken) , 126 
 buff, 159 
 
 building (figurative), 146 
 buy sport dear, 155 
 
 calendars (figurative), 178 
 
 capon, 143 
 
 caracks, 151 
 
 carat, 154 
 
 carcanet, 142 
 
 careful (= anxious), 176 
 
 carve to, 137 
 
 cates, 142 
 
 certes, 167 
 
 chalky cliffs, 150 
 
 changeful, 154 
 
 charged him with, 142 
 
 choleric (from burnt 
 
 meat), 134 
 Circe's cup, 175 
 circumstance, 169 
 clean (= quite), 124 
 clock (figurative), 127 
 coil (= ado) , 143 
 coldly (= calmly), 175 
 common (noun), 134 
 compact (accent), 139 
 compact of credit, 146 
 companion, 167 
 compass of suspect, 144 
 conceit (= conception), 
 
 146, 161 
 conference, 170 
 confiscate, 121 
 confounds himself, 126 
 confusion (=ruin), 140 
 
 197 
 
 conjure (accent), 164 
 consecrate, 137 
 consort (= keep com- 
 pany), 126 
 copy (= theme), 170 
 counter (play upon), 160 
 countermands, 160 
 curtal, 152 
 customers, 167 
 
 dankish, 175 
 dark-working, 128 
 deadly (= deathly), 168 
 death, the, 124 
 debted, 154 
 deciphers, 176 
 decline (= incline), 140 
 deep-divorcing, 138 
 deer (play upon), 131 
 defeatures, 131, 176 
 deformed (= deforming) , 
 
 176 
 demean, 164 
 denied (with negative), 
 
 despite of mirth, 145 
 devil's dam, the, 163 
 different (metre), 170 
 digestions (metre), 170 
 dilate (= relate), 123 
 disannul, 124 
 discharge (— pay) , 168 
 discharged (= paid) , 154 
 discover (= disclose), 173 
 dispense with, 132 
 dispose (noun), 121 
 disposed (= disposed oO» 
 
 127 
 distain, 138 
 distemperatures, 171 
 distract (= distracted), 
 
 divmer, 151 
 
 do displeasure, i68, 172 
 
 doom, 118 
 
198 
 
 Index of Words and Phrases 
 
 doubtfully (play upon ?) , 
 
 130 
 Dowsabel, 157 
 draw cuts, 179 
 draws dry-foot, 160 
 dry basting, 135 
 durance, 162 
 
 earnest (play upon), 134 
 ecstasy (= madness), 167 
 elm (figurative), 139 
 embracements, 122 
 Epidamnum, 121 
 Epidaurus, 123 
 everlasting garment, 159 
 excrement, 135 
 exempt (= separated), 139 
 
 fair (= fairness), 131 
 fairly I bespoke, 174 
 fairy (malignant), 159 
 faith, 151 
 
 fall (transitive), 137 
 falsing, 136 
 
 far from her nest the lap- 
 wing cries, 158 
 fast (play upon), 128 
 feeble key of untuned 
 
 cares, 176 
 fine and recovery, 135 
 fly pride, says the pea- 
 cock, 164 
 folded (= concealed), 147 
 fond (= doting), 133 
 fondly (= foolishly), 133, 
 
 161 
 fool-begged, 130 
 for (= because), 122 
 for why, 149 
 
 forbid (= forbidden) , 128 
 formal (= ordinary), 171 
 forswore to have, 169 
 forth (=away from home) , 
 
 141 
 forth (=out), 126, 168 
 fraughtage, 155 
 
 genius, 176 
 
 get within him, 169 
 
 Gillian, 142 
 
 Ginn, 142 
 
 glanced it, 170 
 
 glass (metaphor), 179 
 
 God, for thy mercy ! 168 
 
 God he knows, 174 
 
 good now, 165 
 
 gossip (=make merry), 178 
 gossips' feast, 178 
 grained, 176 
 growing (=accruing),i53, 
 
 168 
 guilders, 119, 153 
 guilty to, 152 
 
 hairs, 147 
 
 harlots (masculine), 173 
 
 hatch (noun), 143 
 
 healthful, 123 
 
 hear (dissyllable), 169 
 
 heart's meteors, 157 
 
 heir (play upon), 150 
 
 hell (play upon), 160 
 
 help (repeated), 124 
 
 helpless, 129 
 
 hire (dissyllable), 156 
 
 his (= its), 129, 132, 158 
 
 hit of, 146 
 
 holp, 154 
 
 horn-mad, 130 
 
 host (verb), 125 
 
 hot in her breath, 150 
 
 hour (dissyllable), 145 
 
 how chance, 126 
 
 hoy, 163 
 
 I buy a thousand pound a 
 
 year ! 153 
 I think it be, 177 
 idle (= barren), 140 
 illusions (metre), 163 
 impeach (noun), 175 
 important (= importu- 
 nate), 172 
 importune (accent), 123, 
 
 153, 154 
 in (=into), 161, 171, 172 
 in post, 126 
 in sunder, 175 
 in trim, 156 
 incorporate, 137 
 inspiration (metre), 139 
 instance (=sign), 122 
 intestine, 119 
 is wandered, 13: 
 it shall not nee 
 
 d, 177 
 
 jest upon, 134 
 jewel, 132, 172 
 jollity, 136 
 
 kinsman (= akin), 170 
 kitchened me, 179 
 
 kitchen-vestal, 167 
 know my aspect, 134 
 
 Lapland sorcerers, 161 
 
 lashed, 128 
 
 latter-born, 122 
 
 lay at host in, 179 
 
 lets (= hinders), 132 
 
 levied (trisyllable), 121 
 
 liberties of sin, 128 
 
 licentious (metre), 137 
 
 lifeless end, 125 
 
 light (= wanton), 148, 163 
 
 light (play upon ?), 148 
 
 Limbo, 159 
 
 list me, 156 
 
 liveless, 125 
 
 lives upon succession, 145 
 
 living dead man, 174 
 
 lock me forth, 168 
 
 long (with subordinate 
 
 clause), 168 
 long spoon, bespeak a, 
 
 164 
 Love (= Venus) , 148 
 love-springs, 145 
 Low Countries (play 
 
 upon), 151 
 Luce (play upon), 143 
 
 mace, 162 
 mad (verb), 171 
 make the doors, to, 144 
 malt-horse, 143 
 marks (play upon), 127 
 mated (= mad), 175 
 mated (play upon) , 148 
 mean (= means), 125 
 merchant (metre), 124 
 mermaid (= siren), 147, 
 
 152 
 mickle, 143 
 minions (= favourites), 
 
 131 
 mome, 142 
 mood (= anger), 139 
 more hair than wit, 135 
 morris-pike, 162 
 mortal (= deadly), 119 
 motions (= proposals), 
 
 122 
 moves (= appeals to), 140 
 
 nativity, 178 
 
 nature (= natural feel- 
 ing), 121 
 
Index of Words and Phrases 
 
 99 
 
 need (impersonal), 177 
 neither, 171, 176 
 new-apparelled, 162 
 nicks him like a fool, 
 
 173 
 no lace, 175 
 no (=not), 125, 172 
 nor , . . no, 147 
 nor . . . not, 158 
 
 o'er-raught, 128 
 of (omitted), 123 
 of (=out of), 124 
 on night, 174 
 on the case, 161 
 once this, 144 
 other where, 129, 132 
 our (dissyllable ?), 121 
 owe (= own) , 143 
 owls, 140 
 
 packed, 174 
 
 parcel (= part), 171 
 
 parrot, like the, 166 
 
 part (= depart) , 144 
 
 partial to infringe, etc., 
 119 
 
 passage, 144 
 
 patch (=fool), 143 
 
 patience (metre), 144 
 
 pause (= rest), 129 
 
 peasant, 174 
 
 peevish (= silly) , 156, 168 
 
 penitent (= doing pen- 
 ance), 126 
 
 perceive austerely, 157 
 
 perdy, 167 
 
 perforce (= by force) , 164, 
 171 
 
 persever, 141 
 
 peruse the traders, 125 
 
 Phoenix, the, 127 
 
 picture of old Adam, 162 
 
 Pinch, 166 
 
 plainings, 122 
 
 please (= give a gratuity) , 
 167 
 
 pleaseth you, 153 
 
 pluck a crow together, 
 144 
 
 porpentine, 145 
 
 possess from, 140 
 
 possession (metre), 145 
 
 post (play upon), 127 
 
 pound (plural), 154 
 
 presently, 152^ 169 
 
 procrastmate, 125 
 
 put finger in the eye, 141 
 
 quit (= remit), 121 
 
 raising of, 172 
 reave, 123 
 respice finem, 166 
 reverend, 172 
 reverted, 150 
 rhyme nor reason, 134 
 road (= haven), 152 
 round (play upon), 130 
 run humour out of breath, 
 
 155 
 runs counter, 160 
 
 sans, 167 
 
 satisfaction (metre), 153, 
 
 175, 177 
 sconce, 127, 134 
 scorch, 173 
 season (= opportunity;, 
 
 161 
 seditious, 119 
 self (adjective), 169 
 semblance (trisyllable), 
 
 177 
 send me by some token, 
 
 154 
 sensible (play upon), 165 
 sere, 158 
 
 sets up his rest, 162 
 shamest (intransitive), 
 
 176 
 shapeless (= misshapen) , 
 
 158 
 sheep (play upon) , 15 
 ship (play upon), 156 
 shrive you, 141 
 sinking-ripe, 122 
 sir knave, 127 
 sir-reverence, 149 
 situate, 129 
 sleeps (noun), 170 
 so (omitted), 151, 172 
 so fair an offered chain, 
 
 153 
 Solinus (spelling), 118 
 some other, 161 
 soon at five o'clock, 126 
 soothe (= humour), 167 
 sorry, 171 
 sot (= dolt), 141 
 sour (dissyllable), 170 
 speak hitn fair^ 157, 168 
 
 spite (= vexation), 157 
 splitted, 123, 176 
 spurn at, 137 
 stale (play upon), 131 
 stands upon, 155 
 starve (for a look), 131 
 stay for, 154 
 stigmatical in making, 
 
 158 
 stomach (= appetite), 126 
 strayed (transitive), 170 
 strong escape, 172 
 strucken, 126 
 strumpeted, 138 
 stuff (= luggage), 168 
 succession (metre), 145 
 suits of durance, 162 
 supposed, 145 
 sure uncertainty, 140 
 suspect (noun), 144 
 swart, 149 
 sweet-faced, 179 
 sweet now, 159 
 sympathized, 177 
 synod, 119 
 Syracusians, 121 
 
 take a house, 169 
 
 take order, 172 
 
 Tartar (= Tartarus), 159 
 
 that (affix), 125, 133, 134 
 
 thirty-three years, 177 
 
 this (= this is), 121 
 
 timely (= early), 124 
 
 to (infinitive), 129, 169 
 
 took (= taken), 131 
 
 took on him as a conjurer, 
 
 174 
 touching (— testmg), 133 
 towards (accent), 123 
 train (= entice), 147 
 tremble in his ecstasy, 
 
 167 
 turn i' the wheel, 152 
 two hours old, 139 
 
 unbound (play upon), 176 
 understand (play upon), 
 
 130 
 undisposed, 127 
 ungalled, 145 
 unhappy, 168 
 
 vain (= foolish) , 153 
 vain (= light of tongue) , 
 146 
 
200 Index of Words and Phrases 
 
 venom (adjective), 170 
 villain (= vassal), 125 
 vulgar, 145 
 
 waftage, 157 
 wafts (= beckons), 136 
 weary (sun), 125 
 week (play upon?), 149 
 well-advised, 141 
 
 what (= why) , 146 
 what please, 153 
 whenas, 168 
 when ? can you tell ? 
 
 143 
 whether (monosyllable) , 
 
 1.55 
 which (=who), 177 
 who (= whom), 172 
 
 will (= shall), 154 
 will (= would), 128 
 wink (= shut the eyes) , 
 
 148 
 won (= dwell) , 165 
 wont (= is wont) , 165 
 wot, 172 
 wrack, 170 
 wrong not that wrong, 139 
 
ROLFE'S ENGLISH CLASSICS 
 
 Desig;ned for Use in High Schools and 
 Other Secondary Schools 
 
 Edited by WILLIAM J. ROLFE, LittD. 
 
 Formerly Head Master, High School, Cambridge, Mass. 
 Uniform Flexible Cloth, IZmo. Illustrated. Each, 56 Cents 
 
 Browning's Select Poems 
 
 Twenty Poems (including "Pippa Passes"), with Introduction, Life 
 of Browning, Chronological Table of His Works, List of Books useful 
 in studying them. Critical Comments, and Notes. 
 
 Browning's Select Dramas 
 
 Containing " A Blot in the 'Scutcheon," " Colombe's Birthday," 
 and "A Soul's Tragedy " — with Introduction, Critical Comments, and 
 Notes. 
 
 Goldsmith's Select Poems 
 
 " The Traveller," " The Deserted Village," and " Retaliation," 
 with Life of Goldsmith, Recollections and Criticisms by Thackeray, 
 Coleman the Younger, Campbell, Forster, and Irving, and Notes. 
 
 Gray's Select Poems 
 
 The "Elegy," "The Bard," "The Progress of Poesy," and other 
 Poems, with Life of Gray, William Howitt's Description of Stoke- 
 Pogis, and historical, critical, and explanatory Notes. 
 
 Macaulay's Lays of Ancient Rome 
 
 With the Author's Preface and Introductions, Criticisms by John 
 Stuart Mill, Henry Morley, "Christopher North," and others, 
 historical and explanatory Notes, and copious Illustrations. 
 
 Milton's Minor Poems 
 
 Containing all of Milton's Minor Poems except the Translations, 
 with biographical and critical Introductions, and historical and ex- 
 planatory Notes. 
 
 "Wordsworth's Select Poems 
 
 Seventy-one Poems, with Life, Criticisms from Matthew Arnold, 
 R. H. Hutton, Principal Shairp, J. R. Lowell, and Papers of the 
 Wordsworth Society, and very full Notes. Illustrated by Abbey, 
 Parsons, and other eminent artists. 
 
 Copies will be sent, prepaid, on receipt of the price. 
 
 AMERICAN BOOK COMPANY 
 
 NEW YORK CINCINNATI CHICAGO 
 
 (8.96)' 
 
An Introduction to the 
 
 Study of American Literature 
 
 By BRANDER MATTHEWS 
 
 Professor of Literature in Columbia University 
 
 Cloth, 12mo, 256 pages .... Price $1.00 
 
 A text-book of literature on an original plan, and conform- 
 ing with the best methods of teaching. 
 
 Admirably designed to guide, to supplement, and to stimu- 
 late the student's reading of American authors. 
 
 Illustrated with a fine collection of facsimile manuscripts, 
 portraits of authors, and views of their homes and birthplaces. 
 
 Bright, clear, and fascinating, it is itself a literary work of 
 high rank. 
 
 The book consists mostly of delightfully readable and yet 
 comprehensive little biographies of the fifteen greatest and 
 most representative American writers. Each of the sketches 
 contains a critical estimate of the author and his works, which 
 is the more valuable coming, as it does, from one who is 
 himself a master. The work is rounded out by four general 
 chapters which take up other prominent authors and discuss 
 the history and conditions of our literature as a whole. The 
 book also contains a complete chronology of the best American 
 literature from the beginning down to the present period. 
 
 Each of the fifteen biographical sketches is illustrated by 
 a fine portrait of its subject and views of his birthplace or 
 residence and in some cases of both. They are also accom- 
 panied by each author's facsimile manuscript covering one or 
 two pages. The book contains excellent portraits of many 
 other authors famous in American literature. 
 
 Copies sent, prepaid, on receipt of the price. 
 
 American Book Company 
 
 NEW YORK ♦ CINCINNATI ♦ CHICAGO 
 
 (S- 91) 
 
A HISTORY OF 
 ENGLISH LITERATURE 
 
 BY 
 
 REUBEN POST HALLECK, M.A. (Yale) 
 Price, $1.25 
 
 HALLECK'S History of English Literature 
 is a concise and interesting text-book of 
 the history and development of English 
 literature from the earliest times to the present. 
 While the work is sufficiently simple to be readily 
 comprehended by high school students, the treat- 
 ment is not only philosophic, but also stimulating 
 and suggestive, and will naturally lead to original 
 thinking. 
 
 The book is a history of literature and not a 
 mere collection of biographical sketches. Only 
 enough of the facts of an author's life are given 
 to make students interested in him as a personality, 
 and to show how his environment affected his 
 work. The author's productions, their relation 
 to the age, and the reasons why they hold a posi- 
 tion in literature, receive treatment commensurate 
 with their importance. 
 
 At the end of each chapter a carefully pre- 
 pared list of books is given to direct the student 
 in studying the original works of the authors 
 treated. He is told not only what to read, but 
 also where to find it at the least cost. 
 
 AMERICAN BOOK COMPANY 
 
 NEW YORK CINCINNATI CHICAGO 
 
 (S. 90) 
 
Important Text=Books in Rhetoric 
 
 BY ADAMS SHBRMAN HILL 
 
 Boylston Professor of Rhetoric and Oratory in Harvard University 
 
 BEGINNINGS OF RHETORIC AND COM- 
 POSITION $1.25 
 
 This book is designed primarily to meet the needs of pupils 
 in secondary schools who are learning to express themselves 
 with the pen ; at the same time it contains so much infor- 
 mation that is new in presentation and permanent in value 
 that it is well adapted to more mature minds. It shows 
 the young writer how to present what he has to say in the 
 best English within his reach and in the form best adapted 
 to his purpose. No supplement with exercises is required 
 in connection with this work, as the book is complete in 
 itself. Nearly two hundred exercises are introduced to aid 
 the pupil in the most practical way. 
 
 FOUNDATIONS OF RHETORIC . . $1.00 
 
 The object of this book is to train boys and girls to say 
 in written language, correctly, clearly, and effectively, what 
 they have to say. It gives a minimum of space to tech- 
 nicalities and a maximum of space to essentials. In language 
 singularly direct and simple it sets forth fundamental prin- 
 ciples of correct speaking, and accompanies each rule with 
 abundant illustrations and examples, 
 
 PRINCIPLES OF RHETORIC . . . $1.20 
 
 This popular work has been almost wholly rewritten, and is 
 enlarged by much new material. The treatment is based 
 on the principle that the function of rhetoric is not to pro- 
 vide the student of composition with materials for thought, 
 nor yet to lead him to cultivate style for style's sake, but 
 to stimulate and train his powers of expression — to enable 
 him to say what he has to say in appropriate language. 
 
 AMERICAN BOOK COMPANY 
 
 (S. 87) 
 
ENGLISH COMPOSITION 
 
 BUEHLER'S Practical Exercises in English 50 cents 
 
 A DRILL-BOOK for grammar schools and high 
 schools, containing a large number of exercises to 
 be worked out by the student. He is made to 
 choose between the correct and incorrect forms of 
 expression, and to explain why he has done so. By 
 this means he acquires the habit of avoiding mistakes 
 rather than that of correcting them. 
 
 BUTLER'S School English - - - 75 cents 
 
 A BRIEF, concise, and thoroughly practical manual. 
 The book is based on the following plan for 
 teaching English: (1) The study and discussion 
 of selections from standard English authors ; (2) 
 constant practice in composition; (3) the study of 
 rhetoric for the purpose of cultivating the pupil's 
 power of criticising and improving his own writing. 
 
 MAXWELL and SMITH'S Writing in English - 75 cents 
 
 A BOOK for upper grammar classes and high schools, 
 which aims to teach the correct writing of Eng- 
 lish. It is based on the established principle of 
 teaching from the whole to the parts. Entire compo- 
 sitions are taken up first, followed by paragraphs, then 
 sentence construction, and, finally, words. Models of 
 good composition form a prominent feature, and give 
 interest and value to the work. 
 
 AMERICAN BOOK COMPANY 
 
 [S.86] 
 
HISTORIES FOR SECONDARY SCHOOLS 
 
 ESSENTIALS IN ANCIENT 
 HISTORY 
 
 Half Leather, 528 Pages, Price, $1.50 
 By ARTHUR MAYER WOLFSON, Ph.D. 
 
 Assistant in History, De Witt Clinton High School, New York City 
 
 In Consultation with 
 
 ALBERT BUSHNELL HART. LL^D* 
 
 Professor of History^ Harvard University 
 
 THIS convenient manual presents the essentials in ancient 
 history as a unit in a manner both comprehensible and 
 interesting to first-year students in secondary schools. It is 
 prepared on the plan recommended by the Committee of 
 Seven, and at the same time meets every requirement of the 
 Regents of the State of New York. It combines in one 
 volume Greek and Roman history with that of the Eastern 
 nations, and pays more attention to civilization than to mere 
 constitutional development. 
 
 The paragraph headings are given in the margins, thus 
 making the text continuous and easy to read. At the end of 
 each chapter are lists of topics for further research, bibli- 
 ographies of parallel reading, and references to both ancient 
 and modern authorities. A special feature is the giving of a 
 brief list of selected books, not exceeding $25 in cost, and 
 suitable for a school library. The numerous maps show only 
 the places mentioned in the text, thus avoiding confusion from 
 too much detail. The illustrations, although attractive, have 
 been chosen primarily with the purpose of accurately explain- 
 ing the text. 
 
 AMERICAN BOOK COMPANY, Publishers 
 
 (S. 137) 
 
OVTLINES or BOTANY 
 
 For the High School Laboratory and Classroom 
 By ROBERT GREENLEAF LEAVITT, A.M. 
 
 Of the Ames Botanical Laboratory 
 
 Prepared at the request of the Botanical Department of Harvard 
 University. 
 
 LEAVITT'S OUTLINES OF BOTANY, Cloth. 8vo. 272 pages. $1.00 
 The same, with Gray's Field, Forest, and Garden Flora. 791 
 
 pages 1.80 
 
 The same, with Gray's Manual. 1,087 pages . . . 2.25 
 
 This book has been prepared to meet a specific demand. 
 Many schools, having outgrown the method of teaching botany 
 hitherto prevalent, find the more recent text-books too difficult 
 and comprehensive for practical use in an elementary course. 
 In order, therefore, to adapt this text-book to present require- 
 ments, the author has combined with great simplicity and 
 definiteness in presentation, a careful selection and a judicious 
 arrangement of matter. It offers 
 
 1. A series of laboratory exercises in the morphology and 
 
 physiology of phanerogams. 
 
 2. Directions for a practical study of typical cryptogams, 
 
 representing the chief groups from the lowest to the 
 highest. 
 
 3. A substantial body of information regarding the forms, 
 
 activities, and relationships of plants, and supple- 
 menting the laboratory studies. 
 
 The laboratory work is adapted to any equipment, and the 
 instructions for it are placed in divisions by themselves, pre- 
 ceding the related chapters of descriptive text, which follows 
 in the main the order of topics in Gray's Lessons in Botany. 
 Special attention is paid to the ecological aspects of plant life, 
 while at the same time morphology and physiology are fully 
 treated. 
 
 _ There are 384 carefully drawn illustrations, many of them 
 entirely new. The appendix contains full descriptions of the 
 necessary laboratory materials, with directions for their use. 
 It also gives helpful suggestions for the exercises, addressed 
 primarily to the teacher, and indicating clearly the most 
 effective pedagogical methods. 
 
 AMERICAN BOOK COMPANY. Publishers 
 
 (S. .74) 
 
A Descriptive Catalogue 
 of High School and 
 College Text-Books 
 
 WE issue a complete descriptive catalogue 
 of our text-books for secondary schools and 
 higher institutions, illustrated with authors* 
 portraits. For the convenience of teachers, sep- 
 arate sections are published, devoted to the 
 newest and best books in the following branches 
 of study : 
 
 ENGLISH 
 
 MATHEMATICS 
 
 HISTORY and POLITICAL SCIENCE 
 
 SCIENCE 
 
 MODERN LANGUAGES 
 
 ANCIENT LANGUAGES 
 
 PHILOSOPHY and EDUCATION 
 
 If you are interested in any of these branches, 
 we shall be very glad to send you on request the 
 catalogue sections which you may wish to see. 
 Address the nearest office of the Company. 
 
 AMERICAN BOOK COMPANY 
 
 Publishers of School and College Text-Books 
 NEW YORK CINCINNATI CHICAGO 
 
 Boston Atlanta Dallas San Francisco 
 
 (S. 312)