Shakespearean prompt-books of the seventeenth century.Shakespearean prompt-books of the seventeenth century, vol. 1 (Padua Macbeth) William Shakespeare Editor G. Blakemore Evans
Issued in portfolios. The prompt-books are reproduced in collotype facsimile.University Press of Virginia Charlottesville, VA 1960 Print copy consulted: UVa Library call number PR 2757 .E9 1960 v.1
Shakespearean prompt-books of the seventeenth century
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Library of Congress Subject Headings 1960 English drama; prose LCSH 24-bit color; 400 dpi March 1997 corrector Catherine Tousignant, Electronic Text Center
Vol. I: Part i
Introduction to the Padua Macbeth
Collations Edited by
G. Blakemore Evans The Bibliographical Society of the University of Virginia
University Press of Virginia, Charlottesville
EDITORIAL ADVISORY COMMITTEE
The Bibliographical Society of the University of Virginia
Arthur F. Stocker, Chairman
John Cook Wyllie
The production of this volume was supervised by Fredson Bowers and Sears Jayne
Macbeth: Padua First Folio
In the section of the General Introduction devoted to the Padua prompt-books, I have attempted to link this prompt-book of Macbeth, as well as the other two Padua prompt-books, with Sir Edward Dering's group of amateur actors at Surrenden in Kent. At the same time I tried to show on grounds other than the coincidence of actors' names and initials that this version of Macbeth (and the other Padua prompt-books likewise) should probably be dated somewhere between 1625 and 1635. The evidence for this dating was not conclusive; on the other hand there was no conflicting evidence to challenge an early date. If we accept such a date, the Padua Macbeth and the other Padua prompt-books represent the only pre-Restoration Shakespearean prompt-books now extant.
Also examined in the General Introduction was the vexing and finally insoluble question of the extent to which Dering's changes, cuts, etc., allowing that they may be associated with him or another member of his group, represent personal and unprofessional reactions to the text, or whether the treatment of the text arises from a knowledge (however gained) of what was being done on the professional stage in the first three decades of the century.
The version of Macbeth which here emerges from the reviser-prompter's grasp (only one hand can be distinguished) shows, if we compare it with the Smock Alley prompt-book, comparatively slight alterations. Some lines (actually fewer, since this figure includes a few half-lines) are cut. Of these 292 lines, 217 are accounted for by five substantial cuts:
II.iii.1-23 (the Porter scene). This cut would have pleased Coleridge, but it is clearly made on the assumption not that it is poor stuff (the Porter's conversation with Macduff remains untouched), but because it is an easy passage to delete without any obvious complication. The Smock Alley prompt-book retains only lines 1-5 and 24-27. In D'Avenant's version the Porter (played by a Servant) is cut to one line, a handling of the scene which survived even after Garrick 'restored' Macbeth. The Douai MS (1694) reduces the Porter scene to: 'Enter a Porter dressing himselfe. / Knock all the while. / P: here's a knocking indeed: who's there in the name of / belzebub? anon; anon; I am Coming. (Opens the doore.) / Enter Macduffe and Lenox / Macd: was [sic] so late friend, ere you went to bed / That you doe lye so long / P: faith sir we were carowsing till the second cock. / Macd: is thy master stirring? / Enter Macbeth. / our knocking hath him here he comes.' Lee gives the Servant three short speeches (one from D'Avenant and two original efforts). The Collier MS cuts 5-23 ('Here's . . . Bonfire') , 27-47 ( And . . . him.).
III.i.71-140 (the first interview with the two Murtherers). The alteration in line 48 ('bid em stay there for me') allows the reviser to omit the whole interview between Macbeth and the Murtherers, lines 72-140 below. Since the reviser seems to have been interested in cutting Macbeth's role, this deletion was an obvious choice, the theatrics of the scene resembling the kind of thing Shakespeare was busy with in Richard III. D'Avenant cuts about 10 lines and rewrites slightly; Smock Alley cuts 7 lines; Douai MS, 13; Garrick, 26; and Lee, 22 (rephrasing a little).
III.vi (the scene of comment on Banquo's murder). This is clearly the sort of scene which a reviser on the watch for material to cut would single out. Though expository in nature, the scene contains nothing essential to the understanding of the remainder of the play. The Smock Alley prompt-book and the Garrick and Lee versions also omit this "flat, uninteresting scene" (Bell, p. 44).
IV.iii.2-31, 66-100, 149-158 (part of the Malcolm-Macduff interview). These lines are cut to shorten a long and "painfully tedious" scene (Bell, p. 52). The scene is even more drastically reduced in D'Avenant's text; the Douai MS cuts only 8 lines, Garrick about 80, and Lee, eked out by bits of D'Avenant, about 116. D'Avenant, Smock Alley, Garrick, and Lee cut the whole 'Doctor episode'. Why the reviser here should decide to keep part of the episode I do not understand unless perhaps it furnished a few lines for an actor ('T S') whose other part (or parts) left him without anything to say. Apart from these major deletions the play (originally a short one of 2,084 lines) is very slightly reduced.
Some of the cuts, changes, and prompt-notations deserve special comment. In general much of the cutting seems to be aimed at reducing the length of Macbeth's part; for this reason the deletion of the first interview with the Murtherers (III.i. 71-140) was an inevitable cut and is skillfully enough patched over by the reviser. At the opening of I.vii, the prompter calls only for Macbeth and takes no notice of the 'Ho boyes',
'Torches', and 'Sewer' for which the Folio calls (at I.vi a call for 'Hoboys' noted by the prompter has been crossed through and he also ignores the Folio call for 'Hoboyes' at IV.i. 106). Although the prompter tends to ignore 'Attendants' in his calls (e.g., I.ii, I.vi, etc.), he is (except for 'Hoboys') more careful about notations for musical soundings, etc. It would seem, therefore, that it was intended to cut the 'show' of the banquet in progress and to introduce Macbeth directly. The same change is made in the D'Avenant, Smock Alley, and Garrick versions. Again, stage business seems to be slightly changed at the beginning of III.iv, where the reviser cuts line 10, a line which can be taken to mean that Macbeth seats himself with his guests before joining the First Murtherer (here altered to '2 Murtherer'). The deletion of line 10 implies that Macbeth, after welcoming his guests, turns aside directly to talk with the '2 Murtherer'. D'Avenant and Lee likewise cut. We may also notice that the physical appearance of the Ghost of Banquo in this scene is twice vouched for by marginal prompt calls. Some evidence of a desire by the reviser to cut down on the number of 'extras' may be seen in the substitution at III.i and III.iv of 'Angus' in place of the Folio 'Lords', and of 'Angus Rosse, Y Seyward' at V.vi in place of the Folio 'their Army'. In V.viii, however, 'Thanes' is expanded to 'Angus Cathnes Mentith Lenox'. We may also note that in III.i the reviser brings Macbeth's Servant on at line 44, a handling of the scene found likewise in the Smock Alley version. Later edited texts consider the Servant as being among the 'Attendants' at the opening of the scene. Some of the cuts are clearly made to get rid of difficult passages or passages considered merely poetic. For the first, note the deletions at I.vii.50-54; II.iii.55; III.ii.15; for the second, see I.vii.5-12; V.iii.20-29. The cut at IV.iii.120-121 deletes a reference to the deity and the deletion of the lines on the 'poore player' (V.v.24-26) may reflect a histrionic touchiness.
Little has been added in the way of props or offstage sounds. At III.iii.8 there is a call for 'Treacle' to indicate the approach of Banquo's and Fleance's horses;7 and at IV.i a 'Cauldorne' is called for. 'Thunder' is duly called for, as in the Folio, by the prompter at the beginning of III.v, but not at the opening of IV.i, perhaps because this is the beginning of an act. For some reason it was decided to dispense with the Folio call for 'Musicke' at III.v.31-33 and IV.i.42-43; only 'Song' is called for in both instances, though a call for 'musique' has been crossed through at III.v.33, and Folio 'Musicke' is again ignored in the call for the Witches' dance at IV.i.132. We may also notice the prompter's addition of 'Senett' at the opening of III.iv.8
Several of the minor roles have been assigned by the prompter to individuals by name or initials. 'Mr Carlile' (or 'Mr Carl') doubled as one of the 'Murtherers' at the end of IV.ii and as a 'Messenger' at V.v.27-29. A 'Mr H <.> w <. .>', 'H.wit', or 'H<ewi>t' (the name is far from clear)9 played a messenger at IV.ii.64. He is perhaps the same person as the 'E H' who plays a 'Seruant' at I.v.31, III.i.43-44, III.ii (opening), and V.iii.8-9. The Doctor at IV.iii.139 is played by 'T S' and the Doctor in V.iii by 'Mr G'. A 'Mr K' plays the '2 Murtherer' in III.iv.7-8. It is on the basis of these names ('T S' appears again as a 'Servant' and a 'Lord' in Winter's Tale) that I have suggested an association with Sir Edward Dering's group of amateurs.10
The following characteristics of the prompt-book are worth pointing out:
a. A single hand seems to be responsible for all the markings, whether prompt-calls or revisions affecting the text.
b. The prompt-calls and calls for sound effects are not anticipative (except occasionally by a line or two).
c. There are no calls for characters entering at the beginning of an act.
d. Act breaks are carefully marked; see especially the end of Act III.
e. The calls for characters in a new scene are sometimes given at the end of the preceding scene (e.g., I.iii, II.iii, IV.ii, V.iii) instead of at the beginning of the new scene. This may imply the lack of much real sense of break between scenes. Compare Sir E. K. Chambers' comments in his William Shakespeare (1 930), I, 118.
f. Entrances and sound effects are frequently marked with a short horizontal line following or preceding the line of the play before entry or effect.
g. The prompter ignores regularly the Folio call for 'Attendants' (e.g., I.ii, I.vi) and 'Soldiers' (e.g., V.ii, V.iv).
h. Note the general expansion of the Folio stage directions in the final scenes of Act V.
i. In I.vii, at Lady Macbeth's entrance (l. 25), we can see that the cutting was done before the prompt-call was written in; otherwise the call for Lady Macbeth would have followed line 28 as in Folio. The order here implied is the natural order, but it is sometimes difficult to establish.
1. General Introduction, pp. 7-11.
2. The First Folio text of Macbeth, of course, shows signs of being printed from copy-text having connection with the theatre. A prompt-book of Twelfth Night, of unknown provenience (see General Introduction, p. 4), has been described as pre-Restoration (see Halliwell-Phillipps, Some Account of the Antiquities, Coins, Manuscripts . . . Illustrative of the Life and Works of Shakespeare, Brighton Hill , p. 115). The evidence for a pre-Restoration date (Halliwell-Phillipps dates it about 1640) is quite inconclusive.
3. The hand is not, I believe, that of Sir Edward Dering, though Sir Edward seems to have written two fairly distinct hands and may have used others. The same hand has inserted 'Troylus and Cressida' at the beginning of the 'Tragedies' in 'The Catalogue' on sig. [A]r.
4. A detailed comparison has been made with D'Avenant's 1674 version (and with the Yale MS of D'Avenant's version), the Smock Alley version (c. 1680), the Douai MS version (1694), and the much later versions of Garrick (1744) and Lee (1753). Agreements in cutting with the Collier-Perkins Second Folio have also been noted. The D'Avenant text used is that in Dramatic Works, ed. Maidment and Logan, V (1874), 297-394; the Yale MS adds nothing to the printed text so far as this study is concerned. The Douai MS (in the Douai Public Library, MS 7.87, fols. 171-209), entitled 'The Tragedye of Macbeth' and dated 'Anno Dñi 1694', is based on the Second Folio text, but gives evidence of influence from the First Folio (or possibly the 1673 quarto). It shows no immediate connection with the theatre, but contains numerous verbal 'improvements' and makes a good many cuts. The MS, of which I intend to make a separate study, is here used for the first time. The Garrick cutting was printed in Bell's Shakespeare (1773), I. Its connections with Garrick are established by G. W. Stone, Jr. ("Garrick's Handling of Macbeth," SP , XXXVIII, 609-628). Stone also gives some details of other later eighteenth-century versions. John Lee's adaptation was published in Edinburgh in 1753 as The Historical Tragedy of Macbeth (Hogan, Shakespeare in the Theatre, II , 361, lists only a Dublin edition of 1761 and says that Lee's alteration was first acted at Edinburgh 1 January 1754). It is still strongly tinctured with D'Avenant, but a good deal of the original has been restored. This acting version is not mentioned by G. C. D. Odell (Shakespeare from Betterton to Irving , 2 vols.), Stone (op. cit.), or A. C. Sprague (Shakespeare and the Actors ), though it contains a number of interesting theatre characteristics.
5. We may compare the approximately 352 lines deleted in the Smock Alley version and the 310 lines which Garrick cut in the course of his "restoration" of the original in 1744. The Lee version is too confused with D' Avenant to make a comparison useful. The number of lines in Macbeth is based on Alfred Hart's count (RES , VIII, 21). I count roughly 2,124 lines in D'Avenant's version, 1,732 in Smock Alley, 1,846 in Garrick's, and 1,857 in Lee's (these figures are somewhat lower than those given by Stone [p. 621] for Shakespeare, D'Avenant, and Garrick).
6. D'Avenant does not spare the profession, but Harry Rowe (an actor-manager of sorts) makes the same cut on the plea that he considers the lines "as a play-house interpolation, and what Shakespeare would never have put into the mouth of a just man labouring under violent perturbation" (Macbeth, ed. Harry Rowe, 2nd ed. [York, 1799], p. 105). Lee softens to 'a mere player'.
7. See W. J. Lawrence, Pre-Restoration Stage Studies (1927), p. 217. Mr. Lawrence notes this scene (together with IV.i) as the earliest example in English drama calling for this particular sound effect, and draws attention to the lack of any "elucidative stage direction" in the Folio. His inference that such a sound effect was intended here is nicely supported by the Padua prompt-book.
8. I have used this notation as part of my evidence for an early date for the Padua prompt-books. See the General Introduction, p. 7.
9. See the General Introduction, p. 9.
10. See the discussion of this matter in the General Introduction, pp. 8-9.
11. The heavy line which runs diagonally across sig. 2m2r (p. 135) in the collotype reproduction of the Padua Macbeth is the result of a break in the film from which the reproduction was made.
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:
- Collier MS ............. the Collier-Perkins Second Folio (1632) now in the Huntington Library
- D'Avenant .............. D'Avenant's alteration of Macbeth (1674)
- Douai MS ............... manuscript copy of Macbeth (1694) contained in Douai Public Library MS 7.87
- F ...................... here used for First Folio (1623)
- Garrick ................ Garrick's acting version of Macbeth in Bell's Shakespeare (1773), Vol. I
- Lee .................... John Lee's acting version of Macbeth, Edinburgh (1753)
- PB ..................... Padua Macbeth prompt-book
- Smock Alley PB ......... Smock Alley Macbeth prompt-book (c. 1680)
- s.d. ................... stage direction
(opening) [line] / Chardge florish / [line] / K: Malcolme / Dunalbane / Lenox: / Captaine / [line] ] 'Chardge' is PB's comment on F 'Alarum within.' Note the omission, usual in PB, of F 'attendants'.
44 [line] / -- Rosse / Angus ] The line before 'Rosse' marks point of entry. D'Avenant and Smock Alley PB substitute Macduff for both; modern editors, since Steevens, omit Angus.
67 [line] / florish / [line] / Thunder / [line] / Witches / [line] ] Prompt-note for end of scene ii and opening of scene iii.
29 [line] / Drum / [line] ] A line has been set opposite F 'Drum within.' to indicate moment of sounding.
37-38 [line] / Macbeth / Banquo / [line] ] A long line has been set after 'vp.' (37) to mark point of entry.
137-138 Present Feares . . . Imaginings:] Circled for cutting as a parenthetical comment. D'Avenant completely rewrites; Smock Alley PB cuts 137-142 ('present . . . not.').
(opening) florish / [line] / King: Malcolme Donalbaine / Lenox / [line] ] This call for the entry of scene iv appears at the foot of the first column instead of at the top of the second column where 'Scena Quarta.' actually begins. PB also sets a line after 'friends.' in the last line (156) of scene iii, possibly here indicating point of exit, though most usually in this PB such a line is used to mark point of entry.
44 The Rest . . . you:] PB brackets, showing that the reviser is on the lookout for ornamental padding; in this case the line is also confusing in its circumlocution. So Smock Alley PB; D'Avenant substitutes another compliment.
57-58 [line] / florish / [line] / Lady / [line] ] Prompt-note for end of scene iv and opening of scene v.
30-32 [line] / Serut' E H / [line] ] A short line, marking point of entry, has been placed after 'withal!.' (31). F calls for a 'Messenger'; cf. the Padua Measure for Measure, IV.ii.103. See General Introduction, p. 9, for 'E H'.
(opening) Hoboys [deleted]: Torches / [line] / K: Malcolme / Donalbaine Banquo / Lenox, Macduff, Ross Angus / [line] ] 'Hoboys' called for by F has been deleted; PB later ignores the F call for 'Ho-boyes' at the opening of I.vii.
31 [line] / florish / [line] ] This is an addition to F 'Exeunt'.
(opening) [line] / Macbeth / [line] ] PB in thus calling for Macbeth's entry ignores the F 'Enter a Sewer . . . Stage.'; so too D'Avenant, Smock Alley PB, Garrick, and Lee.
5-12 Heere, / But . . . lips.] Circled. This cut, and 25-28 below, seems dictated by a desire to shorten a long speech, though this passage offers difficulties which may have encouraged the reviser to take the easy way out. The omission obviously robs the speech of much of its deeper significance. D'Avenant reduces to 4 lines and rewrites completely; Smock Alley PB cuts 2-12 ('if . . . lips.').
24-25 [line] / Lady / [line] ] Call for entry at 28, 25-28 being cut. The position of the call shows that the following lines were cut before the call was written in.
25-28 I haue . . . other.] Circled. D'Avenant cuts through 'onely' (26); Garrick retains, but Gentleman (Bell, p. 18), remarking that the "latter part of this speech exhibits strained and unnatural imagery", would like to cut everything after 20.
50-54 And to . . . you.] Circled. The reviser by this cut gets rid of one of the famous cruxes. Curiously, D'Avenant, Smock Alley PB, Douai MS, Garrick, and Lee retain the lines.
60-61 But screw . . . fayle:] Crossed through, a form of deletion rare in this PB. Possibly the image or language were considered 'low'; such an explanation, however, savors too much of Restoration practice to fit the general treatment of the text. Compare D'Avenant's colorless 'Bring but your courage to the fatal place, / And we'll not fail.'; Garrick's 'But bring your courage to the proper place, / And we'll not fail.'; or Lee's 'Raise but your courage to the proper pitch, / And we'll not fail.'
81-82 [line] / Act / [line] ] The prompter's call for music between the acts or at least for an act break.
7-9 [line] / Macbeth / Serut / [line] ] PB sets a line after 'repose.' (9), marking point of entry.
(opening) [line ] / Lady / [line]
8 [line] / Macbeth / [line] ] PB also places the F 'Enter Macbeth.' between lines; Steevens was the first to delay Macbeth's entry until 13.
68-69 [line] / --- Knock / [line] ] PB ignores the F 'Knocke.' at 65 above.
(opening) Porter. / [line] ] From the position of the call here we might suppose that the deletion of the Porter's speech was an afterthought, but since none of the F calls for 'Knock.' are noted by the prompter this seems unlikely.
1-25 Porter. Here's . . . Porter.] Circled. See Introduction, p. 26, for discussion.
55 Physicks paine:] Circled. Cut to get rid of a difficult locution? D'Avenant made nonsense of the line by reading 'The labour we delight in, gives;' (1674 ea.; unfortunately the Yale MS is defective at this point); in the 1710 ed. the end of the line has been completed to read 'gives Ease to it self.'. Douai MS omits the whole line; Lee cuts 53-55.
94-95 [line] / Macbeth / Lenox and / Rosse / [line] ] PB sets a short line after 'so.' (95) to mark point of entry.
100-101 [line] / Malcome / < De . . > and / Donalbaine / [line] ] Some word, which seems to begin 'De' has been deleted before 'and'. PB sets a short line after 'of.' (101) to mark point of entry.
8-10 [line] / ---Senett / [line] / Macbeth / Lady Lenox Rosse / Angus / [line] ] Note that PB adds 'Angus' presumably to take the place of the omitted F 'Lords, and Attendants.'. D'Avenant brings on only 'Macbeth, Lenox, and Attendants'; Garrick and Lee cut Lady Macbeth. D'Avenant, Douai MS, and Lee omit F 'Senit'; Garrick substitutes 'Trumpets sound'.
34-36 When therewithall . . . Night.] Circled. The omission of these lines, and 38-39 below, weakens the ironic comment of the scene. So D'Avenant; Douai MS cuts 34-35 (' . . . ioyntly.'); Lee cuts 30-36 ('. . . Night.').
38-39 I wish . . . backs.] Circled. So Smock Alley PB and Lee; D'Avenant cuts 39.
43-44 [line] / Seruant / E H / [line] ] Smock Alley PB also brings the Servant on at this point; editors, from Rowe on, take the Servant as being one of the 'Attendants.' entering at 11. See General Introduction, p. 9, for 'E H'.
48 bid em stay there for me] PB substitutes this line for F 'Bring them before vs.' (partly circled), preparing for the deletion of 72-140. It is possible that we should read 'then' instead of 'there'.
66 the gracious Duncan I murther'd,] PB crosses through F 'For them,' and 'haue'.
68-69 Onely for . . . Man,] Circled. D'Avenant cuts 67-70; Lee cuts 68 ('Onely for them,').
71-72 Rather then . . . vtterance.] Circled. These lines are deleted separately from the deletion of 72 ('Who's . . .')-140 immediately following. The reason for this cut, and that in 68- 69, is difficult to explain. In the second instance, perhaps, the suggestion of 'fatalism' frightened the reviser as it later frightened Francis Gentleman (Bell, p. 34), who remarks: "We would not wish young, unsettled minds to peruse or hear this piece, without proper companions, to prevent absurd prejudices." He did not, however, advocate cutting the lines.
141 No It is concluded:] PB inserts 'No' at beginning of line, thus linking 141 with 70.
(opening) Lady and / Seruant / E H / [line] ] See General Introduction, p. 9, for 'E H'.
15 of her former Tooth.] Crossed through. D'Avenant alters 'Tooth' to 'sting'.
8 [line] / Treade / [line] ] See Introduction, p. 29.
9 [line] / wthin / [line] ] This refers to Banquo who in F std. speaks 'within.'.
14 [line] / Banquo Fleans / [line] ] PB ignores F 'with a Torch.'.
(opening) Senett Banquett / [line] / Macbeth Lady Rosse / R Lenox, Angus / [line] ] The 'R' preceding 'Lenox' should have been deleted, the scribe having started to repeat 'Rosse' from the line above. This call for the entry of scene iv appears at the foot of the first column instead of at the top of the second column where 'Scæna Quarta.' actually begins. PB places a short line after 'done.' in the last line (22) of scene iii, presumably here indicating an exit. Compare I.iv (opening). Note that PB, as in III.i.10, adds 'Angus' in place of the F 'Lords, and Attendants.'. D'Avenant substitutes Seyton for Ross. PB also adds 'Senett' to the F s.d.; see General Introduction, p. 7.
7-8 [line] / 2 Murtherer. / Mr K / [line] ] In F std. PB interlines '2' above deleted 'first'. See General Introduction, pp. 8-9, for 'Mr K'.
10 Both sides . . . mid's",] Bracketed. This cut changes the stage business slightly. Instead of seating himself among his guests, Macbeth moves directly to join the '2 Murtherer. Mr K'. D'Avenant also omits this bit of business; Lee also, cutting 9-10.
87-88 [line] / Ghost: / [line] ] PB sets a short line after 'full:' (88) to mark point of entry.
32-33 [line] / musique Song / [line] ] 'musique' has been crossed through. F calls for 'Musicke, and a Song.' and two lines below notes 'Sing within. Come away, come away, &c.'. The 'Song' is presumably the same in both. D'Avenant retains the F s.d.'s; Smock Alley PB calls for 'Musicke' and 'boys redy' which implies a 'Song'; Douai MS omits the second F s.d.; Garrick omits the 'Musicke' and 'Song' at this point, having Witches calling Hecate from within; Lee reads 'Spirit in the clouds calls.' and, like Garrick, follows essentially D' Avenant's text for the rest of the scene.
35] PB sets a short vertical stroke after this line, which presumably must have something to do with the 'Song'.
36 end] This is PB's indication that the 'Act' finishes at this point, scene vi being omitted. The treatment in the Smock Alley PB is very similar.
(conclusion) [line] / Act / [line] ] What looks like a pen mark after 'Act' has soaked through from a prompt-call on the verve of this page (IV.i.110-111) . Note the care with which the act break here is emphasized.
vi] PB circles this whole scene for deletion. See Introduction, p. 27, for discussion.
(opening) [line] / Cauldorne / [line] ] Rowe is the first to call for a 'cauldron' as part of the setting. Note that PB omits the F call for 'Thunder.', perhaps because this is the beginning of a new act; there are, however, no calls for 'Thunder' later in the scene with the Apparitions. D'Avenant and Lee omit initial call for 'Thunder' (though it appears in the Yale MS of D'Avenant's version).
42-43 [line] / Song / [line] ] Note that F 'Musicke' is ignored; compare III.v.32 33. PB also has no call for 'Hecat, and the other three Witches.' called for by F at 38, but it does not delete or reassign Hecate's speech (39-43) . Smock Alley PB is ambiguous here, calling only for 'Heccate'; D'Avenant, Douai MS, Garrick, and Lee keep all six witches and Hecate, Lee calling those entering with Hecate 'singing Witches'.
47 [line] / Macbeth / [line] ] Following the F call for 'Macbeth.' the prompter has begun a call for the entry of 'Len' (i.e. Lenox) and then crossed it through. Lenox does not actually enter until 135.
67-68 [line] / i Appa: / [line] ] PB sets short line after 'show.' (68) to mark point of entry. Note that F call for 'Thunder.' (76, 87 also) is ignored.
110-lll [line] / Kings. / [line] ] F call for 'Banquo' seems to be ignored; PB also omits F call for 'Hoboyes' at 106 above.
131-132 [line] / Dance / [line] ] F call for 'Musicke.' is ignored (in Lee also).
146-149 From this . . . done:] Circled. D'Avenant cuts or rewrites these lines and a good part of the rest of the speech; Douai MS omits 147-149, prefacing 150 with the std. ' (pauses) '; Garrick cuts 148 ('And . . .')-149; Lee cuts 149 (`be . . . done:').
17-22 I dare . . . moue.] Circled. Omitted Douai MS, which also reduces 15-16 to 'your husband's wise judicious and best knows', and omits 23-25 (' . . . before.'); Lee omits this scene.
36 Poore Birds . . . for:] Bracketed. D'Avenant, Smock Alley PB, and Garrick cut out the 'Son's' role, though Garrick retains him as a mute; Douai MS cuts 34-36; Lee omits this scene.
64 [line] / --- Messenger / MrH <.> w <. .> / [line] ] The reading of this name is very uncertain. What looks like the dot of an 'i' and the top of a 't' appears after the 'w' (the 'w' itself could possibly be a 'u'). The letter before 'w' looks like the remains of an 'e'. Giordano Orsini, p. 41, reads 'Mr. H.wit'; Casson, p. 421, reads 'Mr. H<ewi>'. For a discussion of the name, see General Introduction, p. 9.
79 [line] / ---- Murtherers / Mr Carl] For 'Mr Carl', see the General Introduction, p. 8.
(opening) Malcolme and / Macduff / [line] ] What looks like a deleted 'M' appears before 'Malcolme'. This call for the entry of scene iii appears at the foot of the second column on p. 145 instead of at the top of the first column on p. 146 where 'Scæna Tertia.' begins.
2-31 Macd. Let . . . thinke.] Circled. D'Avenant reduces to 15 lines, with some rewriting; Douai MS omits 4-8 ('each . . . Dolour.'), 23-24 ('Though . . . so.'); Garrick cuts 3-4 ('and . . . Birthdome:'), 8 ('What . . .') -l 1, 20-24 ('But . . . so.'), 26-28; Lee reduces to 14 lines based on D'Avenant.
66-l00 Macd. Boundlesse . . . earth.] Circled. D'Avenant omits 61-l00 ('Your . . . earth.'); Garrick omits 61-97 ('Your . . . wayes.'); Lee, 53-100 ('and . . . earth.').
120-121 but God . . . me;] Crossed through and badly smeared. Probably cut as a reference to the deity. So D'Avenant and Lee; Smock Alley PB cuts 117-123 ('Diuellish . . . detraction.'); Garrick replaces 'God' with 'Heav'n'.
139 [line] / Doctor T S / [line] ] See General Introduction, p. 8, for 'T S'. The retention of a part of the 'Doctor episode' is unusual; D'Avenant, Smock Alley PB, Garrick, Lee, and Collier MS cut entirely (though Smock Alley PB at one point in its preparation seems to have planned the scene as here).
149-158 How he . . . Throne,] Circled. See 139 above.
213] After F 'comforted.' PB sets a small cross. I cannot explain its significance.
235 This time goes manly:] Crossed through. The cut gets rid of a textual difficulty. D'Avenant cuts; Garrick and Lee adopt Rowe's 'tune'.
20-21 [line] / Lady / [line] ] PB sets a short line after 'speech.' (21) to mark point of entry.
(opening) March / [line] / Mentith, Cathnes Lenox Angus / [line] ] 'March' seems to be a substitute for F 'Drum and Colours.'. Note the omission of F 'Soldiers.'; compare PB's usual omission of 'Attendants'. Garrick omits the scene.
(opening) Macbeth and / Doctor Mr / G / [line] ] See General Introduction, p. 9, for 'Mr G'. Note the omission of F 'Attendants.'.
8-9 [line] / Serut' / [line] / E H] See General Introduction, p. 9, for 'E H'.
19 [line] / Seyton / [line] ] Call for entry at 29, 20-29 being cut.
20-29 this push . . . Seyton?] Circled. D'Avenant cuts and replaces with other lines; Douai MS omits 20 ('When . . .')-21.
(opening) [line] / Mrch / [line] / Malcolme, Seyward: Macduff Seywards Sonne / Mentith Cathnes Angus Rosse] PB has crowded this entry call for scene iv under the final lines of scene iii. 'Rosse' has been added to the F entry and 'Soldiers' omitted. 'Mrch' seems to be substituted for F 'Drum and Colours.'. D'Avenant adds Donalbain, Lenox, and Flean and omits Macduff, Siward's Son, Menteith, Caithness, and Angus; Smock Alley PB adds 'Rosse' and deletes 'Seywards Son, Menteth, Cathnes, Angus'; Garrick adds Lenox and omits Menteith and Caithness; Lee adds Lenox and Ross and omits Menteith. D'Avenant, Douai MS, and Garrick omit 'Drum and Colours.'; Lee substitutes, as in PB, 'A march beat.'.
(opening) [line] / Macbeth Seyton / [line] ] PB omits F 'Souldiers, with, Drum and Colours.'. So Smock Alley PB; D'Avenant, Douai MS, Garrick, and Lee omit 'Drum and Colours.'.
13-15 I haue . . . me.] Circled. D'Avenant replaces 10-15 ('. . . me.') with a line which reverses Shakespeare's idea: 'The time has been that dangers have been my familiars.'.
24-26 a poore . . . more.] Circled. The first part of 24 appears to have been originally cut. Lee reads 'a mere player'.
27-29 [line] / Messenger / Mr Carlile / [line] ] PB sets a short line after 'nothing.' (28) to mark point of entry. See General Introduction, p. 8, for 'Mr Carlile'.
(opening) Malcome Seyward / Macduff, Angus / Rosse, Y Seyward / [line] ] PB adds 'Angus / Rosse' and 'Y Seyward' and omits F 'Drumme and Colours.' and 'their Army, with Boughes.'; D'Avenant adds Lenox, Flean, Seyton, and Donalbain; Lee adds 'young Seyward, Rosse, Lenox, Angus, Caithness'. D'Avenant, Douai MS, Garrick, and Lee omit 'Drumme and Colours.'.
(opening) [line] / Macbeth] PB places this call immediately under the last line of scene vi, indicating an immediate entry.
11 [line] / Chardg / [line] ] Probably intended as a comment on F 'Fight'.
13 [line] / Chardge / [line] ] A comment on F 'Alarums.'. Note that PB fails to enter a call for Macduff at this point. Curiously, Smock Alley PB also fails to call for Macduff's entrance here.
29 [line] / Chardge / [line] ] A comment on F 'Alarum'.
(opening) [line] / Macbeth / [line] ] No new scene marked in F, PB, D'Avenant, Smock Alley PB, Douai MS, Garrick, or Lee.
8 Chardg] A comment on F 'Fight: Alarum'.
34 [line] / Chardge Retreate / [line] / florish / [line] / Malcolme Seyward Ross / Angus Cathnes Mentith / Lenox:] 'Chardge' seems to cover F 'Exeunt fighting. Alarums. Enter Fighting, and Macbeth slaine.'. PB adds 'Angus Cathnes Mentith / Lenox:' as an expansion of F 'Thanes'. F 'Drumme and Colours' and 'Soldiers' are ignored. D'Avenant adds Donalbain, Flean, and Seyton in place of 'Thanes', and omits Ross; Douai MS omits 'Thanes'; Lee adds Lenox, Angus, Caithness in place of 'Thanes'. D'Avenant, Garrick, and Lee omit 'Drumme and Colours'.
59] F 'Flourish.' has been placed between lines in the manner of a prompt call.