Shakespearean prompt-books of the seventeenth century.Shakespearean prompt-books of the seventeenth century, vol. 5 (Smock Alley Macbeth) Editor G. Blakemore Evans
Issued in portfolios. The prompt-books are reproduced in collotype facsimile.University Press of Virginia Charlottesville, VA 1970 Print copy consulted: UVa Library call number PR 2757 .E9 1960 v.5
Shakespearean prompt-books of the seventeenth century
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Library of Congress Subject Headings 1960-1970 English drama; prose LCSH 24-bit color; 400 dpi July 1997 corrector Catherine Tousignant, Electronic Text Center
Vol. V: Part i
Introduction to the Smock Alley Macbeth
Collations Edited by
G. Blakemore Evans A Publication of
The Bibliographical Society of the University of Virginia
University Press of Virginia, Charlottesville
THE UNIVERSITY PRESS OF VIRGINIA
Copyright 1970 by the Rector and Visitors of the University of Virginia
First published 1970
Standard Book Number 8139 0301 7
Library of Congress Catalog Card Number: 60 2680
Printed in the United States of America
- Introduction to the Smock Alley Macbeth . . 1
- Collations . . . . . . . 9
Smock Alley Macbeth
THE Smock Alley prompt-book of Macbeth has suffered a somewhat adventurous career. After the play was separated from the original copy of the Third Folio (1664) by Halliwell Phillipps,  four pages (pp. 711, sig. 3O4; 714 [misnumbered], sig. 3O6V; 719, sig. 3P3; 722, sig. 3P4V) were exhibited in the "Rustic Wigwam" at Hollingbury Copse, Brighton, and the last page of the play (p. 729, sig. 3Q2) was eventually bound up with the Smock Alley Hamlet, the first page of Hamlet (p. 730, sig. 3Q2V) being the verso of the last page of Macbeth.  All but the last page found their way to the Folger Shakespeare Library, where they were reassembled.  The last page has only recently come to light with the discovery of the Smock Alley Hamlet prompt book in the Halliwell Phillipps collection of the University of Edinburgh Library. All these leaves unfortunately bear the marks of their exhibition: wavy ink lines running vertically through the text on the side of the leaf not intended for exhibition. The damage to the last page of Macbeth is especially heavy (see below, pp. 6-7) and indicates that the first page of Hamlet was also exhibited at some stage in its history, probably at Hollingbury Copse.
Professor R. C. Bald's identification of 'Smyth' (Hand III), who plays Seyton in V.iii, with the Smock Alley actor Henry Smith who died in 1682 sets a definite date after which what may be considered as probably the first acted form of the Smock Alley prompt book cannot have been prepared.  The only other actors named are John Totterdale (at V.v.8, Hand III), who also played in Henry VIII and Othello, and 'farlow' (at III.i.22, 101-104, Hand ?III ). Nothing further is certainly known of Farlow, but Totterdale seems to have been acting in Dublin from about 1674 to 1688.  Totterdale's name, therefore, would seem to suggest an early limit of about 1674 for this form of the prompt book. Further possible narrowing of the two limits (1674 and 1682) will be discussed later.
It is possible, as Professor Bald points out,  to distinguish what appear to be three layers in the prompt markings and four principal hands. Hand I (which appears as Hand I in Hamlet, Lear, and Twelfth Night and as Hand II in I Henry IV) does nothing but mark the scene settings. Hand II, probably the earliest of the prompt hands, indicates the characters to be called and seems responsible for much of the cutting and occasional textual changes. It appears again as Hand II in Hamlet and Othello and is perhaps the same hand responsible for the Julius Caesar couplet.  Hand III, another prompt hand and the same as Hand I in Othello, marks a second stage in the preparation of the play and is largely associated with bringing the performance, as originally outlined by Hand II, into closer conformity with certain aspects of D'Avenant's version of Macbeth (published 1674), particularly in III.iii, IV.i, and V.viii. Hand IV, a peculiarly coarse and heavily formed hand, occasionally makes changes in Hand III's notations, cuts a few lines, supplies prompt notes on off-stage effects, and tidies up generally. It occurs also in Hamlet (Hand III), Merry Wives (Hand I), Othello (Hand VI), and the Julius Caesar acting list and is the principal prompt hand in the Smock Alley Belphegor manuscript prompt-book. It is also possible to distinguish a fifth hand (Hand V) in connection with a few textual emendations near the beginning of the play which appear to be echoes of Pope's text (1723).  What seem to be other hands occur occasionally, but I have been unable to associate them with any of the hands in the other Smock Alley prompt-books. In the collation which follows all changes and additions and most deletions are either assigned to one of the five hands listed above (sometimes with a query) or marked as by an unidentified hand. The attempt to determine the hands responsible for the deletions (by circling, crossing through, and criss-crossing) is based on a study of the various inks usually associated with a particular hand. There is, of course, considerable danger in this method, and I have tried to indicate those cases where the evidence seemed especially ambiguous.
In the collation I have compared the Smock Alley Macbeth with the following stage or stage related versions: (1) the Padua prompt-book (see Volume 1 of this series; referred to as Padua PB); (2) Sir William D'Avenant's adaptation, 1674 (edited by Christopher Spencer in Five Restoration Adaptations of Shakespeare, Urbana, 1965; referred to as D'Avenant) and the Yale manuscript of D'Avenant's adaptation (edited by Christopher Spencer, D'Avenant's "Macbeth" from the Yale Manuscript, New Haven, 1961; referred to as Yale MS, but not included in the collation unless differing significantly from the 1674 printed text). (3) The Douai manuscript, 1694 (in the Douai Public Library, MS 7.87, fols. 171-209; referred to as Douai MS). (4) The Garrick version, 1744 (in Bell's Shakespeare, 1773, Vol. I; referred to as Bell). (5) The John Lee version, Edinburgh, 1753 (referred to as Lee); (6) The Lee Edward Salmon prompt-book (in a copy of the 1753 edition, now in the Harvard Theatre Collection, marked by Edward Salmon, the prompter, and belonging to West Digges, who played the role of Macbeth in Edinburgh on 26 December 1757; referred to as Lee Salmon PB, but only where it differs from Lee).  I have also included the cuts indicated in the Collier Perkins Second Folio, 1632 (referred to as Collier MS).
Two distinct versions of Macbeth emerge from the work of Hands II and III. Hand II seems to have blocked the play out, making a few verbal changes (I.iii.120, 145-146; I.vi.9; III.i. 16-17, 28), marking certain passages or scenes (III.vi, V.ii) for cutting, a total of roughly 163 lines, and writing in the prompt calls for the characters. He regularly omits the characters of Angus and Lennox, except for one occasion each (V.i.63-64 and IV.ii. 125), when they were inadvertently, I think, included. In the General Introduction to this series (I,i,19) I suggested, following R. C. Bald,  that Hand II's version may represent the original form in which Smock Alley played Macbeth. This view I no longer consider seriously tenable. It is much more likely that Hand II's version represents a preliminary draft for prompt use and that this "prepared book" was then taken over by Hand III and further adapted for the stage with additional emphasis on D'Avenant's version. An analogous situation may be found in the Smock Alley Hamlet, where, I have suggested, possibly the same hand (Hand II) performed essentially the same kind of preliminary spadework. 
Hand III initiates less cutting than Hand II (roughly 127 lines as compared with some 163), although in a number of cases he reinforces Hand II's suggested cuts by further marks of deletion. On the other side, his individual textual revisions are much more numerous, particularly in III.iii, IV.i, and V.viii, scenes in which D'Avenant's influence is particularly marked. Hand II's few verbal changes suggest some vague knowledge of D'Avenant, and his cuts sometimes parallel those in D'Avenant's version. Hand III's changes, however, quite apart from the three scenes noted above, reflect a closer recollection of D'Avenant's wording, although almost invariably with slight verbal inaccuracies or changes. This strongly suggests that Hand III worked from memory, without having a text of D'Avenant's version to consult. Such a view might be considered one reason why the Third Folio text was employed as a prompt-book. But all the Smock Alley productions of Shakespeare used the Third Folio text as a source for the prompt-book. It is, moreover, conceivable that the company preferred Shakespeare's basic text, using D'Avenant only in those scenes (the murder of Banquo and the handling of the Apparitions) where his revision did not interfere materially with the original. A somewhat similar case occurs in the Smock Alley King Lear, in which Shakespeare's text is used until V.ii, at which point some form of Tate's happy ending appears to have been tacked on.
The suggested absence of a printed text of D'Avenant's version, first published in 1674 but performed as early as 1664, may also be advanced as an argument for placing the Smock Alley production of Macbeth at the earliest possible date--Totterdale's advent in the company in 1674. If, indeed, a printed copy of D'Avenant's text was literally not available, this would explain the apparent reliance of Hands II and III on recollections of the London performances. While an early limit (1674) must be allowed as a possibility, I still incline to the opinion I expressed in the General Introduction to this series (I,i,19): between 1674 and 1682, with some preference for a later rather than an earlier date.
Hand IV seems certainly to be the latest of the main prompt hands. Although it is principally concerned with prompt notations, particularly off-stage effects or special business, e.g., I.iii.3-4; II.iv.10-13, 21; III.ii.22-23; III.iii (opening); III.v (opening and end); V.vii (opening), it makes a few cuts (about 38 lines, limited to IV.iii, V.iii, V.iv, and V.viii), one change of scene (IV.i), and occasional verbal substitutions ( IV.iii.8, 123, 191-192; V.v.11). Hand IV also restores Folio 'Rosse' for Hand III's'Macduffe' in I.ii.45 s.d. and I.iii.88 s.d. (from D'Avenant) and Folio 'Saward' for Hand III's 'Rosse' in V.vii.4 s.d. (D'Avenant, 'Lennox'). There is, I believe, some evidence to suggest that Hand IV worked on the prompt-book at two different times. The changes made in Hand III's notations and some other notations are written in a faded black-brown ink, while those calls which seem merely to tidy up Hand III's work are generally in a light brown ink. It seems possible, therefore, that some of Hand IV's changes may reflect a somewhat later version of the play. But the evidence is tenuous, sometimes uncertain, and resists any definite conclusion.
It is difficult to give a very satisfactory account of the total number of lines cut in the Smock Alley Macbeth. But as the play finally emerged under Hand IV about 328 lines seem to have been deleted from the original and about five lines, which do not merely substitute for deletions (see III.iii.11-22; V.vii.11; V.viii.32-34), added. Also probably another twenty lines (the second (?) song from D'Avenant's version called for in II.iv.10-13, 21) must be included as an addition. All this leaves a production of about 1,781 lines, somewhat shorter than the Padua PB, D'Avenant, Douai MS, Garrick, Lee, and Lee-Salmon versions.[l6] The principal cuts are as follows: II.iii.5-23, 28 ('of three . . .')-46 (the Porter scene); III.vi (the scene of comment between Lennox and a Lord); IV.ii.30-64, 79-85 (the last part of the scene of Lady Macduff's murder); IV.ii.117-123 ('Devilish . . . detraction.'), 125-137 ('I am . . . Quarrel.'), 139 s.d.-159 (' . . . Grace. ') (parts of the Malcolm Macduff interview); and V.ii (scene of comment by Macbeth's enemies).
The final scene (V.viii) requires special comment. This scene occurs on the last page of Macbeth (p. 729, sig. 3Q2 ) and has been defaced by the nineteenth-century exhibitor. In addition to double verticle lines down each column, two of Hand II's advance calls, Hand III's added lines at the bottom of the page, the running title, and the catchword have been crossed through, each with a single pen stroke. All these deletions must, I think, be "credited" to the vandal exhibitor. They are made more neatly, if that is a virtue, than the usual run of deletions in this prompt-book. If this explanation is accepted, the general intention in the final scene is clear enough, although the cutting in lines 35-53 is somewhat confusing. Even so, however, the scene as here developed does nothing to clear up the difficulty in the Folio text as to where Macbeth dies, on- or off-stage. Here, as in the Folio, he seems to die on-stage, with a line lifted from D'Avenant's version of the scene in which he does indeed die on-stage. At this point, Macduff, with a line original to the Smock Alley prompt-book 'Soe may all tyrants fall.' exits, re-entering immediately after the entrance of Malcolm, Siward, Ross, etc. (lines 35-53 being cut) with Macbeth's head. Unless he cuts it off before exiting, where does Macduff get the head? At best this suggests an awkward bit of stage business, all the more surprising in the Smock Alley production in view of D'Avenant's handling of the matter, by more decorously substituting Macbeth's sword, which Macduff takes from the dying Macbeth just before his exit and produces triumphantly on his re-entry some lines later. Was the taste of an Irish audience more Elizabethan than Augustan?
In a number of instances the changes made in the Smock Alley prompt-book parallel those found both in the earlier Padua prompt-book and in eighteenth-century productions; all such parallels are recorded in the running notes to the collation. It should be noticed, however, that the attitude here dictating the cutting in the Porter scene differs from that at work in the Padua prompt-book. In Smock Alley "decorum" and D'Avenant are pretty clearly responsible, although I do not believe that there is otherwise much evidence of a desire to "refine" Macbeth except in the matter of language. As usual in Restoration versions (contrast the Padua prompt-book), Shakespeare's diction and syntax have been simplified, sometimes, but not always, with the aid of D'Avenant (e.g., I.iii.55-57, 120, 145-146; II.iii.131-133; II.iv.40; III.i.16-17, 110; III.iv.60, 75, 103, 105, 106; IV.i.69, 90, 92-94; IV.ii.75; IV.iii.8, 133, 191-192; V.iv.11; V.Viii.14, 32-34), or "poetic" passages simply deleted (e.g., I.iii.125-126, 137-142; I.vi.3-9; I.vii.2-12; II.iii.135-138; III.i.122-126; IV.iii.117-123, 125-137, 171-173). The desire to clarify what seemed involved, difficult, or obsolete accounts for a large number of the changes and cuts, and sometimes the poetic quality of the play suffers though considerably less so than in D'Avenant's "flattened" adaptation.
Two further points may be mentioned. Hand III's importation of Banquo into II.iv in the place of the Old Man is so far as I know unique to the Smock Alley production. His presence there may perhaps be explained by the implied inclusion of the Witches in Hand IV's call for a song and dance at lines 4-5 and 10-13, since Banquo would be a more suitable spectator for this extra effect than an anonymous Old Man. In V.iii.36, 48, and V.v.51-52, Hand IV deletes the references to Macbeth's armor (missing, however, the first one at V.iii.33-34), and Hand III cuts the reference to his shield at V.viii.32-34. Such deletions point to a costuming of Macbeth more in keeping with Restoration military dress than with Shakespeare's conception, a view borne out by several eighteenth-century theatrical paintings and engravings.
The scenes employed in the Smock Alley Macbeth are for the most part stock: Court (I.ii,iv,vi; III.i,iv; V.i), Towne (II.iv,deleted; IV.iii; V.ii), Groue (III.iii; V.iv), Castle (V.v), and Chamber (II.i; III.iv, deleted). These scenes all appear in other Smock Alley plays, but three scenes are found only in Macbeth: Rock (I.i,iii; II.iv; III.v; IV.i, deleted), Garden (I.v; IV.ii), and Caue (IV.i). The 'Rock' scene is regularly associated with the Witches and must have been specially prepared for this play. It is possible that the 'Caue' scene substituted by Hand IV in IV.i represents a refinement introduced at perhaps some later date. The only setting which raises any particular question is the use of 'Towne' for the interview between Malcolm and Macduff (IV.iii), a scene which according to Shakespeare's text is supposed to take place at the court of Edward the Confessor in England. Possibly some slight influence of the unity of place may be detected here and in D'Avenant, who, curiously enough, sets the scene in Birnam Wood.
1. See the General Introduction in the first volume of this series (I,i,16). I would like to thank Mr. C. P. Finlayson, Keeper of Manuscripts, Edinburgh University Library, for his kindness in checking various ink shades on the last page of the Smock Alley Macbeth.
2. The Smock Alley Hamlet was published as Vol. IV (1966) of this series.
3. R.C. Bald ("Shakespeare on the Stage in Restoration Dublin," PMLA, LVI , 369) was thus slightly misleading when he wrote: "The four missing leaves in Macbeth were discovered mounted in a large portfolio as item 233 of the Shakespearean Rarities preserved at Hollingbury Copse." This find did not complete the Smock Alley Macbeth.
4. Bald, pp. 371-372; W. S. Clark, The Early Irish Stage (Oxford, 1955), p. 75.
5. Clark, p. 208. Totterdale also appears in the Smock Alley cast for Fletcher's Night-Walker (see Allan Stevenson, "The Case of the Decapitated Cast," SQ, VI , 285-286). Stevenson notes that Totterdale had a son baptized at St. John's in Dublin in November, 1675. He also notes (p. 289) that Mrs. Elizabeth Farlowe or Farlee was a member of the King's company. She disappears from the London stage after April, 1678 (see The London Stage, Part I, ed. William Van Lennep [Carbondale, 1965], p. 15 et passim) . It is possible, though not, I think, very likely, that Mrs. Farlowe played the role of the Servant. If so, this would place the date of the Smock Alley production between 1678 and 1682.
6. Bald, p. 373.
7. See the General Introduction (I,i,14-15).
8. Although Hand V does not appear to be the same as the eighteenth century hand which occurs in the Smock Alley Twelfth Night, Hamlet, King Lear, Midsummer Night's Dream, and Merry Wives, I do not believe that Hand V's changes predate Pope's edition. The isolation of the readings in two scenes (I.i and ii) is extremely suspicious.
9. See my analysis of the Douai manuscript, "The Douai Manuscript--Six Shakespearean Transcripts (1694-95)," in Charles B. Woods and Curt A. Zimansky, eds., Studies in English Drama Presented to Baldwin Maxwell (Iowa City, 1962), pp. 158-172.
10. See George W. Stone, "Garrick's Handling of Macbeth," SP, XXXVIII (1941), 609-628. Professor Stone's article also contains some comments on later eighteenth-century stage versions.
11. The Lee-Salmon prompt-book is used by permission of the Harvard College Library. The 1734 Tonson edition of Macbeth is taken from Theobald's 1733 text and shows no connection with the theatre. An edition of Macbeth published in 1785 (with casts for that year at Drury Lane and Covent Garden) reproduces essentially the Garrick version as it appears in Bell (1773).
12. Bald, p. 373.
13. See the Introduction to the Smock Alley Hamlet (IV,i,4-5).
14. The figures given for the cutting by Hands II, III, and IV are necessarily tentative, since, frequently, the only clue to which hand is at work is the color of the ink used in the marks of deletion--a dangerous criterion. I have included a cut as belonging to a particular hand even when I have felt it necessary to query the attribution.
15. It may be noted that a somewhat similar situation exists in the Smock Alley Hamlet. There is, however, some slight evidence that, despite the inaccuracies of Hand II's changes when compared with the so called actors' quarto (1676), an actual copy of the printed text of that quarto was used to some degree.
16. I have used Alfred Hart's figure of 2,084 lines for Macbeth ("The Number of Lines in Shakespeare's Plays," RES, VIII , 21). D'Avenant's version runs to roughly 2,124 lines; Padua PB to 1,808; Douai MS to 1,888; Garrick (Bell) to 1,846; Lee to 1,857; Lee-Salmon to 1,826. The figure of 352 lines cut in the Smock Alley Macbeth as given in my General Introduction (I,i,27) was a careless error.
17. Compare the illustration by du Guernier to Macbeth (IV.i) in Rowe's 1709 edition (actually it represents a scene from D'Avenant's version), the famous painting by Zoffany of Garrick in the role of Macbeth (II.i), and Dawes' painting (IV.i). See W. M. Merchant, Shakespeare and the Artist (Oxford, 1959), pp. 53, 58-59.
18. See the General Introduction (I,i,23-24).
THE act, scene, and line numbering is that of the standard Globe text (1911 ed.). Angle brackets are used to indicate (1) missing words or letters; (2) illegible words or letters; (3) doubtful or conjectural readings. The following abbreviations are employed:
- Bell .......................................... Garrick's acting version of Macbeth as printed in Bell's Shakespeare (1773), Vol. I
- Collier MS .................................... the Collier Perkins Second Folio (1632), now in the Huntington Library
- D'Avenant ..................................... D'Avenant's adaptation of Macbeth (1674)
- Douai MS ...................................... manuscript copy of Macbeth contained in Douai Public Library MS 7.87 (1694), fols. 171-209
- F.............................................. here used for Third Folio (1664)
- Lee ........................................... John Lee's acting version of Macbeth, Edinburgh (1753)
- Lee-Salmon PB ................................. copy of the Edinburgh (1753) edition with the prompt markings of Edward Salmon, now in the Harvard Theatre Collection
- PB ............................................ Smock Alley Macbeth prompt-book, now in the Folger Shakespeare Library
- Padua PB ...................................... Padua Macbeth prompt-book, now in the University of Padua Library
- Yale MS ....................................... manuscript copy of D'Avenant's version of Macbeth, now in the Yale University Library
[In the lower left margin of p. 711 (sig. 3O3), running vertically, Hand ?II has written Brutus' concluding couplet as it appears in the so called Dryden D'Avenant version of Julius Caesar: 'poore slavish rome far well: Ceaser now be still / I Kild not thee wth. half so good a will Dye'. The Smock Alley PB of Julius Caesar has not survived, and the problems raised by the appearance of the couplet here may be found discussed in the General Introduction to this series, I,i,14-15.]
(opening) Rock] Hand I. This setting is regularly associated with the appearance of the Witches by Hand I, though Hand IV substitutes 'Caue' in IV.i. Bell, Lee: 'an open Place' (after Theobald); Lee adds '[Stage dark.]'.
6 King &c.] Hand II. This is the only example of such a generalized prompt call in this PB.
7 There I go to meet] Hand V interlines 'I go', with a caret, above F 'to'. So Pope, Bell; D'Avenant reads: 'There we resolve to meet'; Lee, 'There we'll go to meet'.
(opening s.d.) Donalbaine, with attendants] Hand ?II deletes F 'Lenox,' following 'Donalbaine,'. PB omits Lennox throughout. D'Avenant, Lee substitute Seyton for the F 'bleeding Captain'.
1 Court] Hand I. Part of the Julius Caesar couplet has been written over 'Court'. Bell, Lee: 'a Palace at Foris' (after Theobald, Rowe); Lee adds '[Stage light.]'.
7 Doubtful long] Hand V interlines 'long', with a caret, after F 'Doubtful'. So Pope, Bell, Lee; D'Avenant reads: 'It was doubtful ;' for F 'Doubtful . . . stood,'.
11-15 Rosse. [crossed through by Hand III] / macduffe [crossed through by Hand IV] / Rosse] Hands II, III, IV. See below, 45 s.d.
15 all too] Hand ?V crosses through 's' in F 'all's too'. So Pope, Bell, Lee; D'Avenant rewrites 14-15.
26 break] Hand ?V crosses through 'ing' in F 'breaking'. So Pope, Bell; D'Avenant, Lee rewrite the passage.
38 So they redoubled stroaks upon] Hand ?V deletes F 'doubly' and interlines 'up', with a caret, above F 'on' ('vpon' F1 ) . So Pope, Bell, Lee; D'Avenant rewrites 36-41; Douai MS reads: 'for doubly they redoubled stroakes on'.
41 I cannot tell:] Crossed through (Hand ?II).
45 s.d.] Hand II first deletes F 'and Angus.'; next Hand III deletes F 'Enter Rosse' and writes above F s.d. 'Enter Macduffe'; this in turn is deleted by Hand IV, which then restores 'Rosse', following deleted F s.d., but neglects to restore 'Enter' (compare the prompt call at 11-15, above) . In substituting Macduff for Ross, Hand III was following D'Avenant, who completely omits the characters of Ross and Angus from his version of the play. PB cuts the character of Angus throughout, though Hand II inadvertently included his name in the prompt call (later cancelled) for V.ii. Lee retains Angus, but Lee-Salmon PB deletes him here and elsewhere; both retain Ross. Gentleman (Bell) remarks that at Covent Garden the "characters of Rosse and Angus have been judicially blended . . . into those of Macduff and Lenox, to make them more worthy the attention of good performers and the audience"; Drury Lane, however, with Garrick, retained all four characters.
45 Thane of Rosse. [crossed through] Macduffe [crossed through]] Hand III first crosses through F 'Thane of Rosse.' and writes 'Macduffe', but Hand IV, after deleting 'Macduffe', fails to restore Ross. Something (perhaps 'Ma') has been written in the extreme right margin opposite Hand III's 'Macduffe', but the leaf has been shaved. D'Avenant substitutes 'Noble Macduff!'.
46-47 Lenox. Whathast . . . strange.] Circled (Hand II). This deletion of Lennox's speech follows the deletion of Lennox in the opening s.d. D'Avenant, Bell, Lee omit 47.
47, 48, 58, 66 macd] Hand III deletes F 'Rosse.' and substitutes 'macd' or (66) 'Macd'. Although Hand IV removes Macduff from the scene, the altered speech prefixes remain uncancelled. Compare V.vii.5,6,8,10.
48 worthy Thane? [crossed through] braue Mac<duffe> [crossed through]] Hand III deletes F 'worthy Thane?' and supplies 'braue Mac<duffe>' following it; Hand IV then deletes 'braue Mac<duffe>'. No attempt is made to restore the original F reading. D'Avenant retains 'worthy Thane?'; so, too, Bell, Lee.
50 Witches] Hand 11.
53 gan] 'be' of F 'began' crossed through by Hand ?V. So Pope, Bell, Lee. D'Avenant substitutes 'long maintain'd'.
(opening) <Ro>ck] Hand I. Bell, Lee: 'a Heath' (after Rowe). Lee adds '[Stage dark.]'. D'Avenant brings on the 'Witches flying'; Lee-Salmon PB, interpreting the 'Witches rise again' in Lee, precedes the scene with: ` x Ring for 3 Traps to rais Witches / Stage Dark / Thunder Lightning & Rain'; in Bell the Witches 'rise from under the stage.'.
3-4 drum / Redy] Hand IV. A warning note for F 'Drum within.' at 29. Lee-Salmon PB gives no advance call for the drum at 29, although it keeps the F s.d. in the form of ' [Drum heard within.]'. It does, however, call for 'Drum / ready' at 35 in preparation for Macbeth's and Banquo's entry to a 'Scotch Ma<rch>'.
11-13 Macbeth / Banquo.] Hand 11. For the entry at 37 D'Avenant adds 'Attendants' and Bell 'A March.... Soldiers and other Attendants' (after Rowe); Lee adds only 'A march beat.', but the Lee-Salmon PB notes in its call for Macbeth and Banquo 'men to cry / halt', and the entry is made 'PS'.
39 How far . . . Soris?] Crossed through (Hand III).
41] PB appears to read 'Earth;' for F 'Earth,' but the reading is probably the result of an ink smudge from the facing page.
44-45 By each . . . Lips:] Crossed through (Hand II).
55-57 prediction hereafter / of Royal hope,] Hand III crosses through F 'Of . . . and' and 'That . . . withal'; 'hereafter' may have been deleted; at any rate the ink is so badly smudged as to make the word almost illegible. D'Avenant keeps the substance of F but rephrases (PB's 'hereafter' is not from D'Avenant); Lee slightly rephrases but deletes 57 ('That . . . withal').
62 Rosse] Hand II.
88 s.d. macduffe [crossed through] enter here. Rosse] In the F s.d. 'Enter Rosse, and Angus.' Hand II originally deletes 'and Angus.'; Hand III then deletes the rest of the F s.d. and writes above it 'macduffe enter here.'; finally, Hand IV deletes 'macduffe' and adds 'Rosse'. It should be noted that Hand II's original call for Ross was never deleted. Hand III's 'macduffe' follows D'Avenant; Bell, Lee retain the F s.d., but Lee-Salmon PB deletes 'and Angus' and adds 'Flourish' before the entry, which is made 'LD OP'.
89 Ma:] Hand III substitutes 'Ma:' for F 'Ross.' This speech-prefix was not changed after Ross was restored by Hand IV, nor did Hand III alter Ross's speech-prefix at 104.
93-98 silenc'd with . . . post,] Circled (Hand III). D'Avenant reduces and rewrites these lines.
100-103 Ang. We are . . . thee,] Circled (Hand II). D'Avenant omits; Bell, Lee retain, but Lee-Salmon PB deletes.
109 Ross] Hand III. 'Ross' written over F 'Ang.'. D'Avenant assigns to Macduff. The speech is still given to Angus in Lee-Salmon PB despite his omission from the scene (see 88 s.d., above).
120 throughly beleiv'd] Hand 11 circles or doubly crosses through F 'trusted home,' adding 'throughly beleiv'd' after it. D'Avenant rephrases the half line as 'If all be true,'.
122 Besides the . . . Cawdor.] Circled or doubly crossed through (Hand II). D'Avenant and Lee both rephrase slightly.
125-126 Winne us . . . consequence.] Crossed through (Hand ?III). D'Avenant completely rephrases.
127 Cousin] The 's' in F 'Cousins' has been deleted (Hand ?III). This change was dictated by the omission of Angus. Although Lee-Salmon PB deletes Angus, it fails to correct to the singular form; Ross is made to retire 'OP'. D'Avenant omits the half-line.
127 King Malcolm / Donalbin] Hand II.
129 I thank you Gentlemen:] Crossed through (Hand III). Lee omits, and D'Avenant, in rephrasing Macbeth's whole speech, also omits.
135 fflourish] Hand II. Presumably an advance call for the F 'Flourish.' at the beginning of I.iv.
137-142 present fears . . . not.] Circled (Hand III). Except for 'present fears' D'Avenant completely recasts these lines; Lee keeps them through 138 and then reverts to a cut version of D'Avenant.
145-146 Like strange Garments which weare / not easy but wth help of use.] Hand II substitutes these lines, crossing through F 'our' and 'cleave . . . use.'. Compare D'Avenant: 'and resemble / New Garments, which but seldom fit men well, / Unless by help of use.'. Lee retains F essentially, but with some slight influence from D'Avenant.
152-155 Mackbeth / Banqo / Rosse] Hand IV. Hand II seems to have omitted a call for these characters at I.iv.14, though it may have come at the foot of the page (column one), which has been partly torn off.
154 The Interim . . . it,] Circled (Hand III). D'Avenant rephrases.
(opening) Cou<rt>] Hand I. Following Rowe, Bell and Lee give the setting as 'the Palace'; Lee adds '[Stage light.]'; Lee-Salmon PB notes ' Door open OP.'.
(opening s.d.)] F 'Lenox' crossed through. Note that the F 'Attendants' are, as usual, not included in Hand II's advance call for this entry at I.iii.127.
14 s.d. Banquo and Capt: Ros] Hand III crosses through F 'Ross, and Angus.' and writes above 'and Capt: R'; Hand IV then adds 'os'. D'Avenant introduces Macduff in the place of Ross and Angus; Lee-Salmon PB deletes Angus and marks the entry as 'LD PS'.
30-31 nor must . . . so:] Circled (Hand III). Lee cuts; D'Avenant rephrases; Bell retains but substitutes 'and' (Rowe) for F nor.
32 Lady.] Hand II. Lee-Salmon PB adds 'a written letter' below its call for Lady Macbeth.
44 The Rest . . . you:] Circled (Hand III). The last half of the line is missing in PB, since a tear at the bottom of p. 713 (Sig. 3O5) affects the ends of lines 36-49. D'Avenant completely rephrases.
(opening) <Gar>den] Hand I. Bell, Lee give 'Apartment in Macbeth's Castle, at Inverness' (from Pope, after Rowe).
(opening) <M>essenger] Hand II.
32 Macbeth] Hand II.
65 Lady] Hand IV.
(opening) Court] Hand I. Bell, Lee give 'before Macbeth's Castle-gate' (from Theobald, after Rowe).
(opening s.d.)] PB deletes F 'Lenox' and 'Angus'; these are presumably Hand II's deletions, since these characters are omitted in the advance call at I.v.57-62. D'Avenant omits Ross and Angus; Lee-Salmon PB deletes Angus and marks entry as 'OP'.
3-9 This Guest . . . haunt:] Circled (Hand III) and underlined (probably by Hand II), though the circling does not seem to include 'This Guest of Summer,' (underlined), which is necessary to the cut. D'Avenant slightly rephrases; Douai MS omits 3 ('This Guest . . . ')-9.
9 observ'd it &] Hand ?II adds 'it &' after F 'observ'd', probably influenced by D'Avenant's 'observ'd the Air, / 'Tis delicate.'.
12-14 Herein I . . . trouble.] Circled (Hand III). D'Avenant retains but substitutes 'us welcome' for F 'god-eyld us'; Douai MS reads 13-14: 'how you shall thank us for your present trouble.'; Bell retains but reads 'Heav'n-eyld us'; Lee retains, but Lee-Salmon PB cuts 12-14 ('Which . . . trouble.').
20 Macbeth.] Hand II.
(opening) Lady] Hand II.
(opening s.d.) ] F s.d. 'Enter a Sewer, and divers Servants with Dishes and Service over the Stage.' has been crossed through by Hand III. PB marks no new scene setting, thus continuing the 'Court' setting of scene vi. Padua PB, D'Avenant, Bell, and Lee also bring Macbeth on without the banquet preparations; Lee enters him as 'musing'; Lee-Salmon PB enters him 'PS'; Douai MS reduces F s.d. to 'Divers Servants with dishes pass over / The Stage--'. D'Avenant, Bell, and Lee omit F 'Ho boyes. Torches.'; their retention in PB is probably an oversight. Bell, Lee (subs.) change the scene to 'an Apartment in Macbeth's Castle' (from Theobald after Rowe).
2-12 if th' Assassination . . . lips.] Circled (Hand ?II). F3 makes nonsense of 10-11 by combining them. Padua PB cuts 5-12 ('Heere . . . lips.'); D'Avenant reduces to five flat lines; Bell as in PB cuts through 'Success:' (4).
45-46 Act / Banq [crossed through]] Hand II starts to write 'Banquo' but does not even complete the 'q'. Since the characters are not given advance calls for the first scene of a new act, the call for Banquo was a slip of Hand II's and probably deleted by him.
(opening) Chambe<r>] Hand I. The 'm' in 'Chambe<r>' is far from clear. Bell, Lee (subs.) give the scene as 'a Hall in Macbeth's Castle'; Lee adds '[Stage dark.]', and Lee-Salmon PB notes 'Door OP Shut'.
8-9 Merciful Powers . . . repose.] Underlined (Hand II) and circled (Hand III). D'Avenant rephrases; Bell retains but omits 'Give me my Sword ;' in 9; Lee omits 8-9 (' . . . Sword:'). There is no advance call for Macbeth's and the Servant's entry at 9 in PB.
27-28 Beell / Redy] Hand IV.
38 Lady] Hand II.
40-45 I see . . . rest:] Circled (Hand II). D'Avenant omits all but the last line-and-a-half.
53-54 Alarum'd by . . . pace,] Circled (Hand III). D'Avenant rephrases.
57 which they may walk,] Crossed through (Hand ?II). Part of a longer cut in D'Avenant; Lee substitutes 'feel not my tread,'; Douai MS omits as in PB.
58 desines] Hand III substitutes 'desines' for F 'where about,' (underlined by Hand ?III). Part of a cut in D'Avenant; Lee reads the line as: 'Thy very stones shou'd check my purpose,'.
60 Whilest] Hand ?III inserts 't' after F 'Whiles'. Part of a cut in Bell, Lee.
63-64 Bell / Rings my coronation and thy Knell.] Hand III substitutes 'Bell . . . Knell.' for F 'Knell, That . . . hell.' (F 'Knell' crossed through by Hand III; 'That . . . hell.' by Hand II). Based on D'Avenant: 'bell / That rings my Coronation, and thy Knell.'.
(opening) Macbeth] Hand II. PB marks no change of scene setting. Bell, Lee ignore F 'Scaena Secunda.'. In an advance prompt note for this scene Lee-Salmon PB calls for '2 Daggers / & Blood / ready OP'.
21 Redy / to knok] Hand IV.
52 Mackduff / Rosse] Hand IV. This replaces a later call by Hand II at the opening of scene iii. See below, II.iii.1-46.
62 multitudinous] This word appears to be crossed through, but what looks like a deletion results from an ink show through from verso (p. 716, sig. 3P1V).
63 Porter.] Hand II.
74 Macbeth] Hand IV.
(opening) Macduffe / Rosse [both crossed through by Hand IV]] Hand II. Hand ?II has also written something to the left of F 'Scena Tertia.' which may be the beginning of 'Macbeth', but only the first ?three letters were written and then crossed through. PB marks no new scene setting; Bell no new scene (after Rowe); Lee indicates 'a hall' (but this was the setting of the preceding scene); Lee-Salmon PB adds 'Door OP Shut' and below 'Time giuen.'.
1-46] The order of cutting and restoration in these lines is uncertain. In what seems to be the final form, 5 ('Here's . . . ' )-23 and 28 ('of three . . . ')-46 were cut. Judging by the inks used, Hand II first deletes, by circling, the whole of 1-46, then changes his mind and marks both circled sections with 'stet' and 'stett'. Hand III then crisscrosses 5-23 and 28-46 for deletion, adding 'to sle<ep>' at the end of 27 to complete the sense. Hand IV tidies things up by placing an advance call for Macduff and Ross at II.ii.52 (deleting Hand II's call at the beginning of scene iii) and an advance call for Macbeth at II.ii.74. Apparently Hand II neglected to mark an advance call for Macbeth; however, see above, II.iii (opening). The order of events as here described presents certain problems, but I am unable to offer any more satisfactory alternative. Padua PB cuts the whole of the Porter's soliloquy; D'Avenant also cuts the soliloquy, reduces the Porter's role to one line (he, here called Servant, and Lennox enter together and after three lines Macduff enters), and replaces 23-46 with eleven lines between Lennox and Macduff based on F lines 59-66; Douai MS reduces the Porter's soliloquy to 'P: here's a knocking indeed: who's there in the name of belzebub? anon; anon; I am coming. (Opens the doore.)' and omits 27-46 ('and drink . . . him.'); Bell cuts everything down to Macduff's entry (24), the Servant, who has opened the 'door' to Macduff and Lennox, being given F 26-27 ('Faith . . . cock:'), and then adds Lennox's speech from F (59-66). These last two speeches are in italics, and Gentleman (Bell) remarks: ". . . and the Italic lines, by transposition, judiciously introduced to give Macbeth time for change of appearance, of which, even now, he is allowed too little."; Lee cuts the Porter's soliloquy, bringing Lennox on alone (Lee-Salmon PB notes 'PS' ), 'who knocks at the chamber door several times pretty hard, then a servant opens it.' (Lee-Salmon PB adds 'OP'), follows D'Avenant's opening two speeches, inserts F 47 ('Is . . . stirring?'), and adds: 'Serv. Not yet, Sir, but he'll scarce lye late; he's of an active spirit, that never suffers his body to lye still when once his mind is up. / Len. Well, say I wait his leisure. / Serv. I will, Sir.' Collier MS shows points of resemblance to Smock Alley PB, since it cuts lines 5-22 ('Here's . . . Bonfire.'), 27-46 ( 'And Drink . . . him.').
23 s.d. Enter Macduff, and Rosse [Hand III] Rosse [Hand II, crossed through] and Ro<sse> [Hand III]] Hand II first deletes F 'and Lenox.' and writes 'Rosse' following the deletion; then Hand III deletes Hand II's 'Rosse' and writes 'and Rosse' above the deleted F 'and Lenox.'; finally, Hand III writes 'and Ro<sse>' following the deleted 'Rosse' by Hand II (the order of Hand III's changes may, of course, have been reversed).
28 to sle<ep>] Hand III substitutes 'to sle<ep>' for F 'of three things.'. See above, 1-46.
49 Lenox.] This speech-prefix has been crossed through but not reassigned. Presumably Hand II deleted it but failed to give it to Ross, who takes Lennox's place in the scene. Lennox's speech-prefixes otherwise remain untouched in this scene, though his speeches must have been spoken by Ross.
76 Macd.] Some hand has altered F 'b' in 'Macb.' to 'd', thus restoring the reading of F1.
78 Lady] Hand II.
78 s.d. Macbeth and Rosse ['Rosse' crossed through]] Hand ?III deletes F 'Lenox.' and writes 'Rosse' below (also heavily deleted). Whoever (Hand ?IV) here deleted 'Rosse' neglected to cancel the advance call for his re entry at 85. Despite this oversight, I suspect that he is not intended to exit with Macbeth at this point but remains on stage to speak Lennox's speech (106-111).
79 Banquo] Hand II.
83-85 Macbeth / <R>osse] Hand II.
88-89 <Ma>lcolme / <Don>albine] Hand II.
95 s.d.] Hand ?IV crosses through F'Lenox,'. For Ross's re-entry, see above, 78 s.d.
105 Macd.] The ink blot on this speech-prefix does not indicate deletion but is a smudge from the facing page (717, sig. 3P2).
131-133 Lady: & instantly let us meet,] Hand II underlines and Hand III crosses through 132-133 ( 'And . . . exposure: ' ) and inserts '& instantly' (after 131). See below, 135-138.
135-138 Feares and . . . all.] Underlined (Hand II) and crossed through (Hand III). Considering this and the preceding deletion together, one notes that D'Avenant also omits these lines (and a good many others) and works part of 133-135 ('let . . . further.') into a speech by Macbeth a few lines later. In Bell and Lee, Lady Macbeth does not appear in the scene at all, apparently a long-standing practice (G. W. Stone, SP, XXXVIII , 621-22); except for references to Lady Macbeth, Lee preserves 131-138 essentially intact, but Bell omits 132-133 ('And . . . exposure:') as in PB.
139-141 Banqo [Hand IV] / Rosse / Old man [crossed through]] Hand II originally calls for 'Rosse/ Old man'; then Hand IV deletes 'Old man' and inserts 'Banqo' above 'Rosse'. See scene iv, s.d. (opening).
(opening) Rock scan / Towne [crossed through]] Hand I originally gave the setting as 'Towne'; then Hand ? crossed through 'Towne' and inserted 'Rock scan' above. The reading 'scan' is doubtful. Perhaps a form of 'scene'? Bell, Lee: 'Outside of Macbeth's Castle'; Lee adds '[Stage light.]'
(opening) Macduffe] Hand II.
(opening s.d. ) Banquo and Captaine [Hand III, 'Captaine' crossed through] / Roose [Hand IV]] The F s.d. remains untouched; Hand III inserts 'Banquo and Captaine' above it; Hand IV then deletes 'Captaine' and adds 'Roose' below (cf. I.iv.14 s.d.), clarifying the advance call at II.iii.139-141 by adding 'Banqo' and deleting 'Old man'. R. C. Bald (PMLA, LVI , 375 n., 377-78) explains the change of setting from 'Towne' to 'Rock' as the result of what seems to be an appearance of the Witches later in the scene at Macduff's entrance (20) and suggests that "at least one" of D'Avenant's witch songs was here used (see below, 10-13, 21). Of the two witch songs (D'Avenant, II.v) probably the second is the more likely choice, since it alone is followed by a dance in D'Avenant's version (the first sixteen lines of the song also appeared in the 1673 quarto of Macbeth, interpolated between scenes iii and iv, which is otherwise substantially a reprint of F1). The substitution of Banquo for the Old Man in PB may also perhaps be explained by the importation of the Witches, since their song might seem more suitable for Banquo's ears, though it should be noted that the directions implying the Witches are in Hand IV. In D'Avenant the scene is carried by Lennox and Seyton, down to Macduff's entrance; nor do the witch songs appear in this scene. They are part of the following scene (II.v), a scene ('An Heath.') almost entirely D'Avenant's own creation, and are directed at Macduff and Lady Macduff. Bell, Lee retain Shakespeare's scene with Ross and the Old Man, but place it at the beginning of Act III, inserting a scene with all the Witch business, but minus the Macduffs, from D'Avenant II.v. Bell, Lee-Salmon PB exit the Old Man just before Macduff's entry. Clearly PB, Bell, Lee have one aim in mind: entertainment at any cost. Lee gives no scene setting; in Bell 'The SCENE changes to a Wood. Thunder and Lightning.'.
1-2 Threescore and . . . time,] Circled (Hand III). This cut and those at 4-5 and 39 are obviously made to adapt the lines in some sort to Banquo, but the Old Man's speech-prefixes remain untouched. The D'Avenant Yale MS substitutes 'Three score and one' for F 'Threescore and ten', but the printed text cuts the whole phrase and begins 'I can remember well,' thus better adapting the following lines to Seyton.
4-5 Ha, good . . . seest] Crossed through (Hand III). D'Avenant reduces to 'Thou seest'. Collier MS cuts 6-20 ('by th' clock . . . upon't').
10-13 Song / Redy / daunce] Hand IV. See above, II.iv (opening).
21 Sing heere / and daunce] Hand IV. See above, II.iv (opening).
27 Act] Hand II.
39 Father.] Crossed through (Hand III). D'Avenant, Bell, Lee cut 39-41.
40 all happenesse go with you and] Hand III crosses through F 'God's benison' and, with a caret, substitutes 'all happenesse', at the same time crossing through F 'Sir,'. Douai MS substitutes 'blessing' for F 'benison'.
(opening) Court] Hand I. Bell, Lee: 'an Apartment in the Palace' (Theobald, after Rowe).
(opening) Macbeth Lady Rosse ['Rosse' crossed through]] Hand II. The deletion of 'Rosse', by Hand ?II, has been badly smudged.
10 s.d.] F 'Lenox, Rosse,' crossed through; 'Lenox' by Hands II and III, 'Rosse' very lightly, possibly by Hand II, the hand probably responsible for deleting 'Rosse' in advance call above. D'Avenant gives only 'Macbeth, Lenox, and Attendants.'; Bell, Lee, like D'Avenant, omit Lady Macbeth, but otherwise follow F.
16-17 Command me, and my dutie / is with most obedient ty] Hand II circles and/or crosses through F 'upon', 'to the which' ('the' separately circled), the 's' in 'duties', 'Are', 'a', and 'indissoluble tye' and substitutes 'and', 'is', and 'obedient ty'. Before inserting 'and' Hand II seems to have intended reading 'to which'. D'Avenant rewrites; Douai MS reads 'lay your commands on me, to which . . . tye'; Bell, Lee retain but read 'Lay' for F 'Let' in 15 (after D'Avenant and Rowe; compare Douai MS).
22 farlow] Hand ?III. Nothing seems to be known about this actor, and his name appears in none of the other Smock Alley prompt-books. W. S. Clark (The Early Irish Stage, 1955, p. 207) places him with the Smock Alley company "c. 1674," but this date depends, I assume, on dating the Macbeth PB somewhat earlier than I believe likely. See Introduction, p. 2. Farlow here plays the Servant, and the position of the advance call at 22 suggests that he was intended to enter about 44 (as in the Padua PB); editors, from Rowe on (followed by Bell, Lee), assume the Servant to be one of the F 'Attendants' who enter at 11.
24 Is't far] F 'far' appears to be heavily deleted, but the mark is only the result of an ink smudge from the facing page (716, sig. 3P1).
28 two] Hand II crosses through F 'twain.' and writes 'two' following. So D'Avenant, Douai MS, Lee.
38-39 I wish . . . backs.] The marks of deletion (by Hand III) are ambiguous. Possibly (as in Padua PB) both lines are marked for deletion, but it seems more likely that only 39 is meant to be deleted, since D'Avenant omits only 39 (as does Lee) and the scene has earlier shown signs of his influence.
52 53 Serva<nt> / Murt<herers>] Hand II. In connection with Macbeth's interview with the two Murderers, it is worth noting that Padua PB cuts the interview with the Murderers completely and that Lee-Salmon PB turns the interview into one between Seyton and Macbeth, in which, with certain necessary slight omissions and revisions, Seyton speaks the lines of both Murderers.
80 Past in . . . you:] Partly circled (Hand ?III). Cut in D'Avenant; Douai MS, Bell cut 76-86 ('Know . . . meeting.'); Lee makes substantially the same cut as in Douai MS and Bell but retains 84 ('You . . . us.') in revised form.
101-104 Lady / Servant / farlow] Hand II ('farlow' Hand ?III). For 'farlow' see above, 22.
110 care not] Hand III crosses through F 'am reckless' and substitutes 'care not' above end of line. So D'Avenant, Lee; Douai MS replaces F 'that I am reckless' with 'I'm careless'; Bell cuts the Second Murderer's speech.
122-126 Whose loves . . . Reasons.] Circled and x'd through (Hand III). D'Avenant reduces to four lines and rewrites heavily; Bell cuts 121-125; Lee, 122-123 (`but . . . down:').
132-133 alwayes thought . . . clearness;] Circled (Hand III). Cut in Douai MS, Pope, Bell, Lee; D'Avenant rewrites.
(opening) Macbeth] Hand II. PB marks no change of setting here (so Rowe and Lee); D'Avenant interpolates a new scene (between Macduff and Lady Macduff) between F scenes i and ii; Bell gives 'another Apartment in the Palace' (after Theobald).
6-7 Curtaine / ready] Hand III. See 56, below.
22-23 Banqett / Redy] Hand IV. This is an advance call for III.iv.
44 Murtherers] Hand II.
56] Below this line, Hand III inserts 'here ye Curtaine falls.'. R. C. Bald (PMLA, LVI , 375-76) suggests that this direction indicates that the scene of Banquo's murder was actually played before the front curtain, while the banquet for scene iv was being 'set'; see above, 222-23 and III.iii (opening), below. Such an arrangement would seem to ignore Hand I's setting for III.iii as a 'Groue' (which remains undeleted). Lee-Salmon PB also adds 'Drop Curtain) Stage Dark.'.
(opening) Enter Banquo and boy] Hand III. Fleance is described as 'Boy to Banquo' in the 1673 quarto list of 'The Persons Names' (followed by D'Avenant).
(opening) Banqett Set / on] Hand IV.
(opening) Groue] Hand I. See above, III.ii.56. Bell gives 'a Park; the Castle at a Distance' (after Rowe); Lee, 'an avenue to the palace'.
(opening s.d.) Enter two Murtherers.] Hand III deletes F 'three' and writes 'two' above. This scene has been radically cut about by Hand III, largely to bring it into line with D'Avenant's version. Originally the scene was planned as written; Hand II's calls for 'Murtherers' at III.ii.44 and 'Banquo / ffleans' at the beginning of scene iii indicate this (though the number of the 'Murtherers' is ambiguous). As Hand III sets the scene up, Banquo and Fleance cross the stage first and are immediately followed by the 'two' Murderers, whose dialogue has been considerably cut to resemble D'Avenant's. The Murderers follow Banquo and Fleance off-stage and the scene ends. R. C. Bald (PMLA, LVI , 377) is surely mistaken when he says "it is interesting to note that, while Davenant makes the actual murder occur off-stage, in the Dublin version Banquo and Fleance do not even come on beforehand." In D'Avenant the three Murderers enter first, speak nine lines, and exit; then Banquo and Fleance enter, speak five lines, and exit; the Murderers re-enter, speak four lines, and go out after Banquo and Fleance; finally, Fleance, pursued by the Murderers, re-enters on the run and throws a single line at the audience. Bell follows F1 (though with some cutting) down to 18 (' . . . Slave!') and cuts the remainder of the Murderers' lines; Banquo dies on stage. Lee follows a heavily cut version of F1 down to the entrance of Banquo and Fleance and turns to D'Avenant for their speeches; after their exit, the Murderers (First and Second) are given an original line each and then pursue Banquo and Fleance off-stage; finally, Fleance re-enters to deliver D'Avenant's single line.
1 Banquo / ffleans] Hand II. See above, opening s.d.
1-4 j: It is about ye howre.] Hand III substitutes this single line for F '1. But who . . . us.', which lines are partly circled (in two stages) and x'd through. Compare D'Avenant: '1. Mur. The time is almost come,'. Douai MS cuts F 'But' (1) and 2-4 (' . . . just.') and assigns 4 ('1. Then stand with us.') to `2:'.
5 2 The West] Hand III, having deleted the first half-line of the First Murderer's speech, assigns the rest to '2'. D'Avenant gives 5-7 (' . . . Inn.') to First Murderer (6 slightly rephrased) and cuts 7-8 ('and . . . Watch.'); Douai MS assigns 5-8 (' . . . Watch.') to '1:'.
8 1. Heark,] Hand III writes `1 over F `3 . D'Avenant assigns to Second Murderer; so too, Lee.
9 Banquo within. Give . . . hoa.] Crossed and x'd through (Hand III). D'Avenant omits.
11-22 1. Almost a mile: about the horse way is / therefore men / from hence to th'Palace Gate / Make this their usuall walke / 2: come Lets away then and Banquo if thy soule / can in her flight reach / heaven / thy happinesse / begins to / night. / exeunt] Hand III crosses through 11 ('1. His Horses go about.'), alters F '3.' to '1.', interlines 'about', with a caret, after F 'mile: ' (the blot over the 'e' may have been intended to delete the F colon), crosses through 12-13 ('but . . . do,'), and substitutes 'the horse way is'; at this point he apparently planned to keep the rest of the speech as it was, only inserting 'usually' after F 'Gate', but he changes his mind, deletes 'usually' and F 'it' (14), interlining 'this' above, deletes F 'walk.', and inserts 'usuall walke' following. He then adds the speech for the Second Murderer, above and below the F s.d. 'Enter Banquo . . . Torch.', which curiously enough remains undeleted. As a result of the crowding of Hand III's first changes, his intention is not clear, and it is possible that he meant the first line to read '1. the horse way is / almost a mile: about'. Lines 14-22 are circled and x'd through, though perhaps Hand III's 'come Lets away' was suggested by F 'Well, let's away' (22). Compare D'Avenant: '1. Mur. His Horses go about almost a Mile, / And men from hence to th' Pallace make it their usual walk.'; and later, when the Murderers re-enter: '1. Mur. Banquo, thou little think'st what bloody feast / Is now preparing for thee. / 2. Mur. Nor to what shades the darkness of this night, / Shall lead thy wandering spirit.'.
14-16 Macbeth / Lady / Rosse] Hand II.
(opening) Cham<ber> [crossed through] / Cour<t>] Hand I. Bell gives setting as 'a room of state in the castle' (Pope, after Rowe); Lee, 'a chamber of state'.
(opening s.d.)] F 'Lenox,' crossed through (Hand II). Lee-Salmon PB notes 'Door Open OP'.
1 Murth<erer>] Hand II.
15-17 Banq<uo> / Gost] Hand II.
60 distract] Hand III interlines 'distract' above deleted F 'appal'. So D'Avenant.
69 Behold, look, how] Hand III deletes F 'loe,' after 'look,'. D'Avenant cuts 'Behold, look, loe,'; Douai MS reads 'looke, loe behold' and omits 'how say you:'.
75 antient] Hand III deletes F 'olden' and writes 'antient' above. D'Avenant rewrites the line; Douai MS changes the phrase to 'in former times'; Lee alters to 'oldest'.
76 <Ba>nquo / <Go>st] Hand II.
103 be again, reviue] Hand III deletes F 'alive' after 'be' and inserts 'reviue' after 'again,'. Hand II's version while possible is awkward; perhaps he intended to delete F 'be'. Compare D'Avenant's 'revive a while'.
105 and if I meet the not proclaime then] Hand III crosses through F 105 ('If . . . me') and interlines above 'and . . . then'. In making the alteration Hand III omits 'me' after 'proclaime'. Compare D'Avenant's 'If any Sinew shrink, proclaim me then'. Bell, Lee accept Pope's 'inhibit' for F 'inhabit'.
106 horrid] Hand III alters F 'horrible' to 'horrid' by deleting 'le' and changing 'b' to 'd'. So Lee.
108 now I am] Hand III inserts 'now' before F 'I am'. F3 necessitated some change by misprinting F1 'being gone' as 'be gone' in 107. D'Avenant cuts 107 and reads 'So, now I am'.
116 sights] Hand III corrects F3's 'signes' (inherited from F2) to the F1 'sights' by altering 'ne' to 'ht'.
120-121 Witches / Heccate] Hand II.
142-144 My strange . . . indeed.] Circled (Hand II). Douai MS cuts; D'Avenant rewrites 142-144 (followed substantially by Lee).
(opening) Rock] Hand I. Bell changes scene to 'the Heath'; Lee, to 'the open heath. [Stage dark.]' (both after Rowe). Lee-Salmon PB prefaces the scene with 'Curtain down', indicating that the scene was to be played on the forestage before some kind of inner curtain.
(opening) Musiqe / boys redy] Hand IV. Presumably 'boys' are here warned to be ready to 'Sing within.', the song called for at 33 below.
2 as you are] Crossed through (Hand III). So D'Avenant.
7-9 Reddy / Curtin] Hand IV.
15 Act] Hand II.
33-34 And you . . . Enemy.] Circled (Hand ?III). D'Avenant, Lee cut these and the two preceding lines.
36 end the ackt [Hand II] / ffall Curtten [Hand IV]] Compare 'end' inserted here in Padua PB. Bell, followed essentially by Lee, tacks on parts of D'Avenant's conclusion (omitting 33-39 and 50-56) and adds several new lines, giving the majority of the lines to Hecate. Lee-Salmon PB enters 'singin Witches PS' at 28 (D'Avenant's version) and, adapting the Lee s.d. ('A cloud descends, and Hecate (after the ceremony of being anointed) gets into it.'), adds 'Ring Chariot down.' (opposite 31), 'ring up Chariot' (opposite 40), and concludes the scene with 'Drop Curtain.'.
III.vi.] Hand II circles and Hand III crisscrosses through whole scene, Hand ?IV writing 'Cut' to left of opening F s.d . Padua PB, Bell, Lee also omit this scene; D'Avenant inserts the scene (as between Lennox and Seyton), with some cuts and rewriting, between F scenes iv and v (preceding it with an original scene between Macduff and Lady Macduff); Douai MS cuts only 25 and reduces 21-22 to 'no more of this.'. Gentleman (Bell) notes that "the scene between Lenox and another useless lord is properly omitted, as unequal to the warmth and spirit of the rest.".
(opening) Actus Quartus] Hand III deletes F 'Quintus' and interlines 'Quartus' above with a caret.
(opening) Caue / Rock [crossed through]] Hand IV deletes Hand I's 'Rock' and substitutes 'Caue' above. The change was doubtless suggested by the final line in D'Avenant's preceding witch scene: 'Let's to the Cave and our dire Charms prepare.'. Bell gives the setting as 'a dark Cave:'; Lee, 'a cave. [Stage dark.]'. Bald (PMLA, LVI , 376) reads Hand IV's 'Caue' as 'Cau[dron], but PB is quite clear at this point.
7 Heccate] Hand II. It may be noted that this advance call for Hecate at 38 does not include F's 'other three Witches'. As a rule, however, the prompter does not bother to call for non-speaking characters, and the s.d. in F remains uncut. Padua PB has no call for Hecate or 'the other three Witches', but it does not cancel the F s.d. at 38, nor does it reassign Hecate's speech at 39. D'Avenant, who went in for all the witches he could get, retains the three extra witches, as do Douai MS and Bell. Lee goes even further, reading the s.d. at 38 as 'Enter Hecate and all the singing Witches.' and assigning the parts of the song in D'Avenant's version specifically to the 'singing Witches'. D'Avenant (also in the Yale MS) assigns the last part only of 61 to a fourth witch, but the context makes it clear that he really means Hecate; Douai MS, Bell, Lee do not follow him.
22 Mack] Hand IV (very faint and smudged). Hand IV here anticipates his call for Macbeth at 29, presumably because it does not occur until the top of the following page in F.
29 <Ma>cbeth] Hand IV.
55-56 <App>arition] Hand II. Apparently undeleted, but see below, 62-68.
62-68 1. Say, if . . . show.] Circled and x'd (Hand III). This is the first of a series of cuts designed to bring the scene into general agreement with D'Avenant's version, in which these lines are also cut, Hecate's role is enlarged, and the Apparitions are entirely cut out. The scene was originally planned by Hand II to include the Apparitions (see above 55-56). Bell, Lee retain the Apparitions; the Lee-Salmon PB gives elaborate directions, raising and sinking them on traps. In a note to the first edition of Bell (1773, p.48), a note dropped in the second edition, Gentleman remarks: "In a very bad alteration of this play, by Betterton [i.e., D'Avenant], he has hit upon what we think an emendation; that is, making the witches deliver all the prophecies; by which the surfeiting quantity of trapwork, ghosts, phantomes, &c. is judiciously lessened."
68 s.d. 1. Apparition . . . Head.] Crossed and x'd through (Hand III).
69 Tell me you unknown powers what dangers / doe attend my destiny] Hand III alters F 'thou' to 'you' (by writing 'y' over 'th'), F 'power' to 'powers' (by adding 's'), and adds 'what . . . destiny'. Compare D'Avenant, 'What Destinie's appointed for my Fate?'.
69-70 1. He knowes . . . nought.] Partly circled and x'd (Hand III). D'Avenant also cuts.
71-72 Beware Macduff, avoyding him Makbeth is safe Enough.] Hand III adds 'avoyding . . . safe' after F 'Macduff,' and crosses through and x's F 'Beware the Thane of Fife: dismiss me.'. Compare D'Avenant: 'Hec. Thou double Thane and King; beware Macduff: / Avoiding him, Macbeth is safe enough.'. Note that the speech in PB is still assigned, as in F, to '1. Appar.'. This is obviously an oversight on Hand III's part, who assigns the remaining speeches of the Apparitions to Hecate, as in D'Avenant.
72 s.d. He descends.] Partly crossed through (Hand III).
74 But one word more.] Crossed through (Hand III). D'Avenant cuts the whole of 74.
75-78 1. He will . . . thee.] Circled and x'd (Hand III). D'Avenant also cuts.
79 hec:] Hand III, as in D'Avenant, substitutes 'hec:' (i.e., Hecate) for the F speech-prefix '2. Appar.' (crossed through).
79 Horrid musick / ready] Hand III places this prompt call in upper right corner of p. 722 (sig. 3P4v), in preparation for the 'shew of eight Kings' following Macbeth's 'what noise is this?' at 106. Compare the call in the Smock Alley MS prompt-book of Wilson's Belphegor (Folger MS 827.1, p. 77): 'Ready for horrid Music / Mrs Osborne ready'.
81 s.d. Descends.] Crossed through (Hand III).
82 fear thee?] Hand III deletes 'of' in F 'fear of thee'. Compare D'Avenant, 'fear thy power:'.
86 s.d.-89 3. Apparition . . . to't.] Partly crossed through, circled, and x'd (Hand III). D'Avenant also cuts; Bell, Lee (following Pope) cut only 'to't' in 89, which Lee assigns to Hecate.
90 heck.] Hand III, as in D'Avenant, substitutes 'heck.' (i.e., Hecate) for the F speech prefix '3. Appar.' (crossed through).
90 hearted] Hand III substitutes 'hearted' for F 'metled' (crossed through); point of insertion marked with a caret. D'Avenant reads the line as: 'Be Confident, be Proud, and take no care'.
92-94 or slaine / till Birnam woud / shall come to dunsinane] Hand III substitutes these words for F 'until / Great Byrnam wood, to high Dunsinane Hill, / Shall come against him.' (crossed through). Compare D'Avenant, 'Macbeth shall like a lucky Monarch Raign, / Till Birnam Wood shall come to Dunsinane.' (a reading adopted by Lee, substituting 'forest' for 'Wood shall'). Douai MS, anticipating Pope, reads 'to Dunsiman high hill' for F 'to high Dunsinane Hill'; Bell, following Pope, reads 'to Dunsinane's high hill'.
99-100 Banquo / 8 kings] Hand II.
107-109 Seruant / heere]. Hand IV. This is a call for the Servant who replaces F's 'Lenox' at 135. D'Avenant and Lee replace Lennox with Seyton.
110 hec] Hand III substitutes 'hec' (i.e., Hecate) for F speech-prefix 'All.' (crossed through) . D'Avenant gives the line to the Third Witch and the next line (111) to Hecate, reading: 'Wound through his Eyes, his harden'd Heart, / Hec. Like Shaddows come, and straigth depart.' (so Yale MS); Lee reads the lines as in D'Avenant (restoring 'so' for 'straigth') but assigns them to Hecate.
125 heck] Hand III writes 'heck' (i.e., Hecate) over F speech-prefix '1.'. So D'Avenant, Lee.
125 Lenox [crossed through by Hand ?III]] Hand II. See 107-109, above.
135 s.d. Enter <Ser>vant [Hand ?III] / here [Hand IV]] Page 722 (sig. 3P4v) is damaged at this point. The hand in '<Ser>vant' is impossible to determine, though one would expect it to be either Hand III or Hand IV, probably Hand III, though the 'r' form employed is closer to Hand IV's. The ink, however, is much darker than that in 'here', which, nevertheless, does not seem to be quite the same as in Hand IV's call at 107-109. F 'Lenox' has been crossed through.
135 Ser:] Hand ?IV deletes F speech-prefix 'Lenox.' and substitutes 'Ser:'. Lennox's later speeches in this scene are not reassigned.
136 Macduffs Wife her son, and Rosse.] Hand II places this call at the extreme left top of p. 723 (sig. 3P5); it has been badly shaved in binding. The phrase 'her son' seems to have been crossed through (Hand ?II); see opening s.d. of IV.ii.
147 Mesing / er] Hand IV. This early call for the Messenger who enters at IV.ii.64 has been added by Hand IV because of the later cutting of IV.ii.30-64, 79 ('Where . . . ')-85. The Messenger is played by Seyton in D'Avenant; by Angus in Bell.
(opening) Garden] Hand I. Following Rowe, Bell gives the setting as 'Macduff's Castle in Fife'.
(opening) Malcome / Macduf] Hand IV. This early call for the entry of Malcolm and Macduff at the beginning of IV.iii again results from the heavy cutting in IV.ii.
(opening s.d.) Enter Macduff's Wife, and Rosse.] Hand III crosses through F 'her Son,'. The omission of Lady Macduff's son follows D'Avenant. Originally the scene was planned by Hand II to include the little boy, as well as the dialogue between mother and son (30-64) and the later dialogue of the Murderers (79 ('Where . . .' )-85), passages also omitted by D'Avenant. D'Avenant substitutes Lennox for Ross; Douai MS makes an unusual number of short cuts in this scene; Bell cuts essentially as in PB but retains the entry of the son; Lee omits the whole scene. Gentleman (Bell) comments on this scene: "Here Shakespeare, as if the vigorous exertion of his faculties, in the preceding scene, required relaxation, has given us a most trifling superfluous dialogue, between Lady Macduff, Rosse, and her son, merely that another murder may be committed, on the stage too. We heartily concur in, and approve of, striking out the greatest part of it." In the second edition (1774), he drops this note but adds: "The character of Lady Macduff, and consequently this scene, is entirely omitted, at some theatres, as unnecessary to representation, the fatal catastrophe of the family being finely introduced in another part of this act."
25-26 My pretty . . . you.] Crossed through by Hand III, probably over an earlier light crossing through by Hand II. This cut is obviously the result of omitting Lady Macduff's son, but the omission of these lines makes nonsense of Lady Macduff's reply, which is untouched. D'Avenant substitutes 'Heaven protect you.'; Douai MS retains the present lines but cuts 23-25 (' . . . before.') and 27-30 (' . . . once.').
30-64 Wife. Sirra, your . . . talk'st?] Partly circled (Hand III) and crisscrossed (Hand ?II). Cut in D'Avenant, Bell (Lee omits the scene); Douai MS, among other slight changes and cuts, omits 34-36, 41-43, 51-53. Collier MS cuts 32-58.
42-43 Messenger] Hand II. See IV.i.147.
69-70 Murth<erers>] Hand II. A heavy ink blot makes Hand II's call almost illegible; since the entrance and dialogue of the Murderers is cut, the call would ordinarily have been cancelled. Someone has drawn what looks like a phallic symbol above Hand II's call.
75 wicked] Hand III interlines, with a caret, 'wicked' above F 'earthly'. D'Avenant substitutes 'a vicious' for F 'this earthly'; Douai MS omits 74-79 ('But . . . harm?').
79 exit] Hand III. See entry on 79-85.
79 Malcolme [crossed through] / Macduffe [crossed through, both by Hand III]] Hand II. This call replaced by Hand IV at opening of scene ii.
79-85 What are . . . you. Exit, crying Murther.] Partly circled (Hand III) and crisscrossed (Hand II). Cut in D'Avenant, Bell (Lee omits the scene).
(opening) Towne] Hand I. D'Avenant, to avoid a shift of scene to England, gives the setting as 'Birnam Wood'; Lee follows, adding '[Stage light.]'; Bell, following Rowe, gives 'the King of England's Palace'. This scene is cut by about 77 lines in Padua PB; D'Avenant reduces Shakespeare's 240 lines to 167 (divided into two scenes, IV.iii and IV.v); Douai MS omits about 10 lines; Bell, according to Gentleman's note, omits about 80 lines, "which retained, would render it painfully tedious"; Lee keeps as a single scene but reduces the lines to roughly 148. In view of all this, it is surprising to find PB cutting only about 43 lines.
8 greue] Hand IV substitutes 'greue' for F 'wail' (crossed through). Part of larger, and differently handled, cuts in Padua PB, D'Avenant, Bell, Lee.
33-34 wear thou . . . afear'd.] Crossed through (Hand ?III). Cut in general revision by D'Avenant, Lee.
62 matrons] The blot on this word seems to be offset from the facing page.
82 more, I] Hand ?III crosses through F 'that' in the phrase 'more, that I'. Part of larger cuts in Padua PB, D'Avenant, Bell, Lee.
94 Doctor [crossed through]] Hand II (crossed through by Hand IV). Hand II thus includes the Doctor episode, also retained in Padua PB.
113 Rosse] Hand IV. This call, which replaces Hand II's call at 146, would suggest that Hand IV is responsible for the deletions through 137.
115 Cut] Hand ?IV. It is not clear whether 'Cut' is intended to refer to the two following cuts or to the cut at 171-173 ('and . . sicken.').
117-123 Devilish Macbeth . . . detraction.] Circled and criss-crossed by Hand IV. Padua PB, D'Avenant retain substantially but omit 120-121 ('but . . . me ;'); Lee retains general sense but rewrites.
123 Here I abjure] Hand IV interlines 'I' (or possibly 'i'), with a caret, after F 'Here'. D'Avenant reads 'I abjure'; Bell cuts 123-131 ('Here . . . self,'); Lee cuts the first part of 123 ('Unspeak . . . detraction.') and links 'Here abjure' with the end of 122.
125-137 I am . . . Quarrel.] Circled in three stages and criss-crossed by Hand IV. D'Avenant cuts 125-131 ('I . . . self,'), rewrites 133-135, and cuts 136-137 ('... Quarrel.'); for Bell, see 123, above; Lee, after turning 123-125 ('Here . . . Nature,') into 'And here abjure my former accusation:', cuts 125-131 ('I . . . self,'), adopts D'Avenant's version of 133-135, preceding it with 'Come, cheer thy drooping / Spirits--', and cuts 136-137 ('... Quarrel.').
133 thy approach, here] Hand III crosses through 'here' in F 'thy here approach,' and inserts 'here' after 'approach,'. Cut in the rewriting by D'Avenant, Lee; Douai MS changes to 'thy coming hither'. It will be noted that Hand III's change here suggests that he originally included these lines, and probably those of the preceding cut, and supports the view that the cutting at this point is the work of Hand IV (see above, 113).
139 s.d.-159 Enter a Doctor. / Mal. Well . . . Grace.] Circled by Hand III. The ink lines under 'King,' (147) and 157 suggest a tentative first cutting by Hand II. Padua PB retains the Doctor but cuts 149 ('How . . . ')-159; D'Avenant cuts the Doctor but retains eight lines on the King's healing power (completely rewritten); Bell, Lee, Collier MS cut as in PB. Gentleman's comment (Bell) is pungent and to the point: "The author has here lugged in, by neck and heels, a doctor, for the strange purpose of paying a gross compliment to that royal line, which ridiculously arrogated a power of curing the evil, by a touch. But that scene is properly left out in the representation." This note, as usual, is considerably softened in the second edition (1774).
145 Rosse [crossed through]] Hand II's call is deleted by Hand IV (see above, 113).
171-173 and good . . . sicken.] Circled and crisscrossed by Hand ?III. D'Avenant reduces to 'There good Mens lives expire, Dying e're they sicken.'.
191-192 fame geues n<one>[or n<ot>]] Hand IV substitutes these words for F 'none, / That Christendome gives out.' (crossed through) . Another hand draws a line under (perhaps intended to be through) Hand IV's awkward scribble and repeats above 'fame gives n<one> [or n<ot>]'. D'Avenant cuts 191-192 ('... out.'); Bell, Lee retain, but Lee reads 'is none' for F 'none,'.
201 tongue,] Hand ?IV crosses through F 'for ever' after 'tongue,'.
220 man.] A large ink blot has accidentally obscured this word.
221 <A>ct] Hand II.
(opening) <Co>urt.] Hand I. Following Rowe, Bell gives the setting as 'an Anti-Chamber, in Macbeth's Castle'; Lee gives simply 'an antichamber'; Salmon Lee PB adds prompt note 'Table on.' following opening s.d. D'Avenant reduces this scene to thirty-six lines, and Douai MS makes small cuts amounting to about eight lines. Padua PB, as here, leaves the scene untouched; Bell is generally faithful to the original but cuts 65-67; Lee substantially restores Shakespeare's text but makes a number of deletions and does some rewriting, reducing the scene to about sixty lines.
4 <La>dy.] Hand II.
50 Macbeth] Hand IV. This early call for Macbeth was dictated by the deletion of scene ii. Note that only Macbeth is called (see below, V.iii).
63-64 Macbeth, Cathnes / Angus Rosse [all crossed through]] Hand II. This call was naturally cancelled when scene ii was omitted. Note that Ross is substituted for Lennox and that Angus is here listed for the first and only time by Hand II.
(opening) Towne] Hand I. Hand ?II circles and Hand ?III crisscrosses the whole scene for deletion. D'Avenant adapts part of this scene to one between Donalbain, Fleance, and Lennox; Bell, like PB, omits the scene; Lee, giving the setting as 'the field' (after Rowe), retains the scene substantially, but assigns it to 'Rosse, Lenox, Caithness, Angus, &c.' (altered in Salmon-Lee PB to just Ross and Lennox).
(opening) Cut] Hand ?IV.
15 Macbeth Doctor] Hand II (at the top of p. 727, sig. 3Q1) See below.
(opening) doctor] Hand IV. This call has been written partly across F 'Scena' and is made because of the dropping of the Doctor in the opening F s.d. Another call for the Doctor, also by Hand ?IV, appears directly opposite Hand IV's call, after F 'Tertia.', but has been heavily smudged out with ink. See below.
(opening) Servant] Hand II.
(opening) Enter Macbeth, and Attendants.] Hand ?IV lightly crosses out F 'Doctor,'. Hand II seems to have planned the scene as in F (see above, V.ii.25). When, however, scene ii was cut, by Hand ?III, it became necessary to change the Doctor's entrance to avoid an exit at the end of V.i and immediate re-entry at the beginning at V.iii. The initial move to get rid of scene ii has been attributed to Hand III because the Doctor's entrance at 33-34 is partly in Hand III ('Enter [Hand IV] Doc<tor> [Hand III]') and would seem to suggest that Hand III, therefore, had something to do with the cutting of scene ii. Such an explanation supposes that Hand III allowed Hand II's call for Macbeth and the Doctor at V.ii.15 to serve, neglecting to cancel the call for the Doctor at that point. Why the call for the Doctor, tentatively assigned to Hand ?IV, at the beginning of scene iii was deleted (if it was not accidentally smudged) is not clear. D'Avenant omits the Doctor; Bell, Lee enter him at 37, essentially as in PB (the first edition of Bell, 1773, accidentally retained him in the opening s.d.).
13 Seyton [Hand II] Smyth [Hand III]] On the actor Smith, see the Introduction, p.2.
33-34 s.d. Enter [Hand IV] Doc<tor> [Hand III]] See the discussion above.
36 Give me mine Armour:] Crossed through (Hand IV). The line carried on across the right margin from the deletion may be intended to mark the point of the Doctor's actual entrance. This is the first of three cuts relating to Macbeth's armor (see below, 48 and v.51-52), and it would seem that the intention was to dress Macbeth in some costume more nearly contemporary; if so, then 33-34, above, were overlooked. Note that the reference to Macbeth's shield at V.viii.32-34 is part of a cut by Hand III. That this was the intention, however, is suggested by the deletion of all references to armor in D'Avenant, followed by Lee (except for the reference to 'Hamess' in V.v.51-52); Bell retains the references to armor, indicating, perhaps, a retum to more historical costuming (see, however, p. 8, note 17).
39 Cure her of that] Hand III crosses through F 'from' and interlines 'of' above. Hand III thus restores the reading of F1 and F2.
39-46 Malcol<me> / Seywar<d> / Macdu<ff> / Seyw: S<on> / Mente<th> / Cathn<es> [the last two crossed out by Hand IV]] Hand II. See below, scene iv.
42 Raise out . . . Brain,] Circled (Hand IV) . Presumably before the line was circled, Hand III made some change in F 'Raise' ('Raze' F1, F2), possibly changing it to 'Raisd' (a reading which does not make much sense). Part of the general cut of the Doctor episode in D'Avenant; Bell, Lee keep the line, reading 'Raze' and 'rase' respectively.
48 Come, put . . . Staffe:] Circled (Hand IV). Cut in D'Avenant, Lee.
61-62 Doct. Were I . . . here.] Circled and crisscrossed (Hand III). Cut in D'Avenant, Bell, Lee; Douai MS reads 'find' for F 'draw' in 62.
(opening) Grou<e>] Hand I. Bell gives the setting as 'Birnam wood' (after Rowe's 'A Wood'); Lee, as 'the field'.
(opening) Macduff, and Roose and Souldiers Marching.] Hand III crosses through F 'Seywards Son, Menteth, Cathnes, Angus,' and Hand IV inserts 'and Roose' before F 'and Souldiers'. Hand II had earlier crossed through 'Angus,'. Note that 'Seyw: S<on>' was not deleted in Hand II's call (V.iii.39-46); he has no lines in the scene. D'Avenant includes 'Malcolm, Donalbain, Seymour [his equivalent of Seyward], Macduff, Lenox, Fleance,'; Douai MS adds Ross; Bell, 'Malcolm, Siward, Macduff, Siward's Son, Lenox, Angus,'; Lee, 'Malcolm, Seyward, Macduff, young Seyward, Rosse, Lenox, Caithness, Angus, &c.' (Lee-Salmon PB deletes Caithness and Angus).
1-2 Macb<eth> / Seyton] Hand II.
2, 3, 7 R] Hand III assigns Menteith's two speeches and the 'Sold.' speech to Ross, crossing through 'Ment.' at 2 and 'Sold.' at 7 but leaving 'Ment.' untouched at 3. Bell, Lee cut the 'Sold.' speech; D'Avenant rewrites the opening lines, cuts Menteith's first speech, and gives his second and the 'Sold.' speech to Malcolm; Bell reassigns Menteith's speeches to Lennox; Lee again rewrites the opening lines, partly from D'Avenant, cuts Menteith's first speech, and gives his second to Lennox.
14-16 Macd. Let our . . . Souldiership.] Circled (Hand ?IV). D'Avenant rewrites the scene completely after 9; Douai MS cuts 11-16 (' . . . Souldiership.'); Lee cuts and adapts part of D'Avenant's rewriting.
19-21] What looks like a carelessly marked circling of these lines is an offset from the facing page (729, sig. 3Q2).
(opening) <Ca>stle] Hand I. Bell, following Rowe's 'The Castle' gives the setting as 'the Castle of Dunsinane'; Lee, as 'the inside of Dunsinane-castle' (and Lee-Salmon PB indicates that Macbeth, etc. enter 'out of the Castle').
(opening s.d.) Enter Macbeth, Seyton,] Hand ?IV circles F 'and Souldiers, with Drum and Dolours.' (see Hand II's call at V.iv.1-2). D'Avenant introduces 'Macbeth, and Souldier'; Bell, 'Macbeth, Seyton, and Officers'; Lee, 'Macbeth, Seyton, and soldiers'.
8 <Mes>senger / <Tott>erdell] Hands II and III. On the actor Totterdale, see the Introduction, p.2.
11 my hair] Hand ?IV crosses through F 'Fell of' after 'my'. D'Avenant omits the phrase and greatly cuts the speech; Douai MS cuts 11-13 ('and . . . in't.').
51-52 Ring the . . . back.] Partly circled (Hand ?IV). D'Avenant cuts; Lee-Salmon PB adds prompter's note after 'alarum-bell': 'Ring the Bell--'.
(opening) Allarums] Hand IV.
4 s.d. Sttet [Hand IV] Enter Rosse [Hand III, crossed through by Hand IV] Saward [Hand IV]] First, Hand III crosses through F 'young Seyward' and substitutes 'Rosse' above; then Hand IV places 'Sttet' before F 'Enter' and 'Saward' after and slightly above the deleted F 'Seyward.' By 'Saward' Hand IV presumably intends Young Siward. Having converted Siward to Seymour and deleted Young Siward throughout, D'Avenant here substitutes Lennox.
5 Malcolme / Seyward] Hand II.
5, 6, 8, 10 R] Hand III substitutes 'R' for F 'Y. Sey.' (crossed through). Despite Hand IV's restoration of Young Siward, Hand III's attributions to Ross remain unchanged.
10 liest abhorred] Some hand, in pencil, crosses through F 'thou' after 'liest', thus restoring the F1 reading (first editorially restored by Pope). D'Avenant rewrites this speech (see next note).
11 Oh my deare Country pardon me yt <I> / doe in a cause soe good soe / quikly dye] Hand II inserts this couplet following F 'speak'st.'. Compare Lennox's dying lines in D'Avenant: 'Oh my dear Country, Pardon me that I, / Do in a Cause so great, so quickly Die.'.
13 s.d. Enter Macduffe.] There is no advance call for Macduff.
23 s.d. Macbeth / Macduffe] Hand II. For an explanation of the mistreatment this last page (729, sig. 3Q2) of the PB has received (i.e., the deletion of the running title and catchword, the four vertical lines running the length of the page, the deletion of some of the prompt materials), see the Introduction, pp. 6-7.
3 upon them. / Enter Macduff. / Macd. Turn Hell-hound, turn.] The page is damaged at this point, affecting these lines, but there is no evidence of any cutting.
13-14 Malcolme / Seyward / Rosse] Hand II. This call is crossed through, but probably by the nineteenth-century exhibitor. Earlier cancelled calls are more roughly scratched through or blotted. All the deletions on this final page are made with a single pen stroke.
14 let the divill] Hand III interlines 'divill' above F 'Angell' (crossed through). D'Avenant reads as in PB; Douai MS reads the line as 'And let thy angel whom still thou hast serv'd'.
32-34 the last.... enough] Hand III crosses through these F lines and writes in the lower margin below 'if by a man it be thy ['thy' crossed through and 'my' written above] Chance to dye / Fight. / Macb: farwell vaine world and that which is most vaine / Ambition. / Macd: Soe may all tyrants fall. exit'. Compare D'Avenant: 'If by a Man it be thy Fate to Die. / [They Fight, Macbeth falls. They shout within. / / Macd. This for . . . I'le as a Trophy bear / Away his Sword, to witness my Revenge. [Exit Macduff. / Macb. Farewell vain World, and what's most vain in it, Ambition. / [Dies.'. The added lines in PB have been crossed through, but again presumably by the nineteenth-century exhibitor. The action in PB is not entirely clear. The F s.d. at 34 'Exeunt fighting. Alarums. / Enter fighting, and Macbeth slain.' has been left untouched, but the added lines in PB seem to rule out any exit and make it clear that Macbeth is slain on stage immediately after fighting with Macduff, who then exits, as in D'Avenant. It is surprising that PB retains the business of Macbeth's head, in view of D'Avenant's more decorous substitution of his sword, followed by both Bell and Lee. Since Macbeth's body apparently remains on stage (a difficulty also with the F text), one must suppose that Macduff exits with the head at 34. Bell, Lee give Macbeth an eight-line dying speech (described by Gentleman as "furnished by Mr. Garrick, to give the actor more eclat"; though he admits that "from the desperate state of Macbeth's mind, we think his immediate death most natural."); the speech begins with two lines suggested by D'Avenant's line ''Tis done! the scene of life will quickly close. / Ambition's vain, delusive dreams are fled,'.
35-53 Mal. I would . . . comfort.] The lines have been deleted in probably three stages. First, 38-53 (' . . . him.') were partly circled and crisscrossed by Hand III; second 36-37 seem to have been circled and the last half of 53 crossed through by Hand IV; third, 35 was included in the cut with 36-37 by Hand IV (perhaps the third stage was actually a part of the second). The original arrangement (Hand III's) gave Malcolm and Siward three-and-a-half lines before Macduff's entry at 53; the final arrangement (Hand IV's) brings Macduff on directly after Malcolm, Siward, Ross, etc. D'Avenant reduces the F lines to seven; Bell, Lee retain F essentially unchanged.
42 Macduffe] Hand II. Crossed through, presumably by nineteenth-century exhibitor.
64-73 What's more . . . place:] Circled (Hand IV). D'Avenant rewrites these lines completely, as well as 74-75, and is followed by Lee.