Shakespearean prompt-books of the seventeenth century.Shakespearean prompt-books of the seventeenth century, vol. 2 (Padua Measure for Measure) William Shakespeare Editor G. Blakemore Evans
Issued in portfolios. The prompt-books are reproduced in collotype facsimile.University Press of Virginia Charlottesville, VA 1963 Print copy consulted: UVa Library call number PR 2757 .E9 1960 v.2
Shakespearean prompt-books of the seventeenth century
Prepared for the University of Virginia Library Electronic Text Center.
All quotation marks retained as data.
All unambiguous end-of-line hyphens have been removed, and the trailing part of a word has been joined to the preceding line.
The images exist as archived TIFF images, one or more JPEG versions for general use, and thumbnail GIFs.
Keywords in the header are a local Electronic Text Center scheme to aid in establishing analytical groupings.
Library of Congress Subject Headings 1960-1963 English drama; prose; non-fiction LCSH 24-bit color; 400 dpi March 1997 corrector Catherine Tousignant, Electronic Text Center
SEVENTEENTH CENTURY Vol. II: Part i
Introductions to the Padua
Measure for Measure
The Winter's Tale
Collations Edited by G. Blakemore Evans Bibliographical Society of the University of Virginia
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.
- Introduction to Measure for Measure
- Measure for Measure: Collations
- Introduction to The Winter's Tale
- The Winter's Tale: Collations
Measure for Measure: Padua
In the General Introduction I have advanced reasons for considering a date between 1625 and 1635 for the Padua First Folio prompt-book of Measure for Measure. I also claimed for it some connection, together with the other two Padua prompt-books, with Sir Edward Dering's group of amateur actors and discussed the bearing which this association with Sir Edward had on the relation of these prompt-books to the public stage.1 Unlike the Padua prompt-books of Macbeth and The Winter's Tale, the prompt-book of Measure for Measure does not contain any actors' names or initials, but the hand responsible for making the prompt-notations, and most probably the deletions, is the same as that in Macbeth.
Although much more has been cut by the reviser in Measure for Measure than in Macbeth, the treatment of the play as a whole is more conservative.2 Something under 579 lines (since this figure includes half-lines) have been cut; as in Macbeth, much of the cutting seems to have been aimed at shortening the principal roles (see the notes on II.iv.9-17 and V.i.112-114). These cuts leave a play of about 2,081 lines,3 comparable in length to the 2,134 lines of the Tonson (1722) acting text, the 2,013 lines of the Bell version, and the 2,037 lines of the Inchbald version.4 In Tonson, Bell, and Inchbald, however, the cutting is more concerned with removing certain of the low-comedy scenes and with the usual eighteenth-century process of `refinement,' less concerned with shortening the leading roles.
The longer cuts (18 lines or more) are as follows:
I.ii.7-44 (conversation between Lucio and the two Gentlemen). Tonson and Bell were even more severe on this scene, omitting everything down through 119. Inchbald retains a substantial part of the opening lines, including those of Mistress Overdone and Pompey, but reverses the order of scenes ii and iii. D'Avenant dispenses entirely with Mistress Overdone, Pompey (except as the `Fool' in Acts IV and V), Elbow, Froth, etc. throughout his version.
II.i.230-265 (dialogue between Escalus and Pompey). D'Avenant, Tonson, and Bell omit. Inchbald preserves 258 (`I advise . . .') -267 as part of a separate scene following II.ii.
III.i.21-39 (part of the Duke's speech on death). D'Avenant cuts the whole speech; Tonson, 23-35 (`Thou . . . Moon.'); Bell, 19-21 (`Thou . . . dust.'), 35-36 (`and . . . palsied-Eld:'); Inchbald, 17-21 (`Thou . . . dust.'), 23-32 (`Thou . . . sooner.').
III.ii.43-89 (conversation in which Pompey tries to persuade Lucio to go bail for him). This considerable cut would have partly satisfied the editor of Bell, Francis Gentleman, who (p. 314) thinks the whole scene, down to line 90, "low ribaldry, too insignificant to make even an upper gallery laugh; and too indecent to bear." Indeed Gentleman later (p. 318) suggests beginning the scene at 209. Nevertheless it was mostly retained in performance (also in Inchbald), somewhat shortened and bowdlerized. The PB reviser does not seem to have been concerned with the moral implications of the lines at all; at least he makes no attempt to chasten Lucio's later speeches in this scene. Tonson cuts 42, 48-55 (`for . . . worse?'); Bell, 42, 48-55 (`for . . . worse?'), 58-63 ('Clo. Troth . . . so.'), 83; Inchbald, 35-42 (`he . . . sir'), 47-63 (`What . . . so.'), 66-72 (`for . . . borne.') .
III.ii.197-218 (scene in which Mistress Overdone is sent to prison by Escalus). This cut gets rid of the Bawd's role here entirely. D'Avenant cuts all this material; Bell and Inchbald also omit the Bawd, cutting 200-218 (`But . . . words.').
III.ii.276-296 (the Duke's rhymed moralizing). Part of the general reduction in D'Avenant; Tonson, Bell, and Inchbald cut 277-278 (`Pattern . . . go:'), 287-290 (`How . . . ?'). Most modern readers would consider this speech a natural cut, but Gentleman (Bell, p. 320) thinks otherwise: "The sentiments of this soliloquy are just and instructive."
IV.iii.4-21 (Pompey's list of Mistress Overdone's customers). Inchbald cuts as in PB; D'Avenant, Tonson, and Bell omit 1-21.
It will be noticed that only two of these longer cuts are aimed at reducing the major roles (III.i.21-39 and III.ii.276-296); most of the cutting affecting these roles is accounted for by the large number (86 in all) of short scattered deletions (see particularly V.i). Not infrequently, as one might expect, the heart has been cut out of some of the most poetically famous speeches in the play (e.g., I.i.28-43; II.ii.109-125, 166-172; II.iv.9-17, 159-167; III.i.21-39; IV.iv.23-30); and in this respect the Padua prompt-book is rather more culpable than the eighteenth-century versions.
No attempt has been made to reduce the number of characters, nor are any changes made in the assignment of speeches. There is also little to comment on in the matter of stage business. The handling of what modern texts from Pope on, including Bell and Inchbald, call Scene ii of Act III follows the Folio arrangement by which the Duke remains on stage, with no change of scene implied. Pope is the first to introduce a change of scene here, from `The Prison' to `The Street'. Rowe and Tonson retain the Folio arrangement. We may also notice the early entrance for the Provost and others in I.ii, at line 114, an arrangement which appears to ignore the Folio scene break (uncancelled, however) and agrees with Rowe's later handling of the scene. Moreover the reviser-prompter's delay in Lucio's entrance also anticipates Bell and Inchbald.
Two prompt-warnings are of special significance inasmuch as they support a pre-Restoration date for the Padua prompt-books. At IV.iii we find `Bee ready Abhorson' and at V.i.259, `Bee ready'. I have not found this particular form of imperative warning in Restoration prompt-books, but it is to be found occasionally in prompt-books belonging to the second and third decades of the century.5 The `florish' added at the opening of V.i may also be significant.6
The following characteristics of the prompt-book may be noticed:
- a. A single hand is responsible for all prompt-notations and calls. The same hand is probably also responsible for the deletions.
- b. The play was cut first, the calls for the characters being added afterwards. This is shown by the way in which the calls and entrances make allowance for the cuts (see, for example, I.ii.5). A few cuts, however, were made after the original calls.
- c. The calls for the characters wanted in a scene are essentially non-anticipative. Exceptions may be seen, however, in the use of `Bee ready', twice (IV.iii and V.i. 259), and something of an anticipative nature may be found in the habit, where a new scene begins at the top of the next page or even at the top of the second column, of placing the call for the characters at the bottom of the preceding page or column. An extreme case of this occurs in the notation for I.iii, where the entries for `Duke / Fryer Tho.' are marked at the bottom of the first column, although Scene iii does not begin immediately at the top of the second column. Except for the `Bee ready' notations this is perhaps the clearest case of an anticipative call in the prompt-book. At the beginning of IV.i, which falls at the top of a new page (64), a `Song' is called for by the text. The prompter's call for the song, however, is given on page 63 at the point where, with the cutting of the Duke's final speech, the reviser has concluded the act. Such a warning for something at the beginning of an act is unique in the prompt-book.
- d. No characters are called for at the beginning of an act, all act breaks being very carefully marked. See note on III.ii.274.
- e. There is a tendency for the prompter to bring characters on a little before the Folio's s.d.'s indicate (see I.ii.85, 114; III.ii.41; V.i.166). This is a characteristic of professional prompt-books.
1. Shakespearean Prompt-Books of the Seventeenth Century, Vol. I, Part i (1960), pp. 7-10.
2. I have compared the Padua acting version with the following later stage texts: D'Avenant's The Law against Lovers (1673), in Works, ed. Maidment and Logan, V (1874), 117-211; the Tonson (1722) acting text (Lincoln's-Inn-Fields); the Bell text (Covent Garden), edited by Francis Gentleman, in Shakespeare (1773), Vol. III; and the Inchbald text (Covent Garden) in the British Theatre (1808), Vol. III. The cuts in the Collier-Perkins Second Folio (1632) have also been compared. No attempt has been made to compare Charles Gildon's adaptation of Shakespeare and D'Avenant, Measure for Measure, or Beauty the Beast Advocate (1700).
3. Based on Alfred Hart's total of 2660 lines (RES , VIII, 21).
4. These figures are, more than usually, estimates because of the amount of prose in Measure for Measure. No comparison in length with The Law against Lovers, D'Avenant's telescoped version of Measure for Measure and Much Ado, is possible.
5. See W. W. Greg's discussion of the prompt-books of The Welsh Embassador (c. 1623) and Believe as you List (1631) in Elizabethan Dramatic Documents (1931), pp. 217-219, 279-282, 293-300.
6. This direction is added in several places in the Padua Winter's Tale; see, below, the Introduction to that play, p. 20.
Padua Measure for Measure
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.................. text of Measure for Measure in Bell's Shakespeare (1773), Vol. III
- Collier MS............ Collier-Perkins Second Folio (1632) now in the Huntington Library
- D'Avenant............. D'Avenant's The Law against Lovers (1673)
- F..................... here used for First Folio (1623)
- Ff.................... the four Folios of 1623, 1632, 1664, 1685
- Inchbald.............. text of Measure for Measure in Mrs. Inchbald's The British Theatre (1808), Vol. III
- PB.................... Padua Measure for Measure prompt-book
- s.d. ................. stage direction
- Tonson................ text of Measure for Measure in Tonson's acting edition (1722)
3-14 Of Gouernment . . . remember:] Circled. This cut expertly gets rid of a wordy passage and leads directly into the exposition. D'Avenant rewrites the opening scene; Tonson, Bell, Inchbald cut 7-10 (`Then . . . worke:').
17 What figure. beare.] Crossed through. Cut as parenthetical.
23-24 [line] / Angelo / [line]
27 this] PB interlines `this' with a caret before `Angelo', thus preparing for the deletion of 28-43.
28-43 There is . . . Angelo:] Circled. First deleted only from `they on' (32) through `aduertise;' (42); when 28-32 were added, 43 also had to go. Inchbald cuts 30 (`Thy selfe . . .') -43.
54-61 Our haste . . . Commissions.] Circled. The marking suggests that the deletion originally went only through `value:' (56). Bell and Inchbald cut 54-56 (` . . . value:').
70-73 Though it . . . it.] Circled. This cuts part of the supposed compliment to King James. Inchbald cuts 68 (`I loue . . . ') -73.
83-84 [line] / Lucio / Gentlemen / [line] ] Note that this call for the entry of scene ii occurs at the bottom of page 61 instead of at the top of page 62 where scene ii begins. In a sense, then, the call is anticipative.
5 [line] / Bawde / [line] ] Call for entry at 44, 7-44 being deleted.
7-44 Luc. Thou . . . free.] Circled. See Introduction, p. oo, for discussion.
85 [line] / Clow<ne> / [line] ] PB places the Clown's entry after 85 instead of 86 as in F; Capell is the first to make the change in an edited text.
114 [line] / Prouost Claudio, Lucio, Iuliet, Gent Offi / [line] ] Call for entry 4 lines before F entry at 119. Although PB does not cancel the F scene iii break at 119, as do modern texts since Rowe, it obviously runs the two scenes together by bringing the Provost, etc. on 4 lines earlier. It also makes another change in the entry of Lucio and the Gentlemen who (see below) are brought on separately just before Lucio's first speech at 128 (this in spite of the fact that Lucio and `Gent' were included in the prompter's call at 114). D'Avenant, Tonson, Bell, and Inchbald enter Lucio as in PB, though Tonson does not include `Gentlemen' at all (only Lucio enters).
123-124 [line] / Lucio / Gent / [line] ] Call for entry at 128, 124-127 being cut. The form `Gent' is ambiguous; F1 calls for `2.Gent.' (`two Gent.' in later Ff). Modern editors follow the later Ff, but F1 may well mean `Second Gentleman' and this, I suspect, is PB's interpretation.
124-127 Clau. Thus . . . iust.] Circled. D'Avenant cuts 126-127.
153-157 This we . . . vs.] Circled. Deletion originally went through `Iuliet.' (159); 157 (`But . . .') -159 restored by a marginal `stet'.
197 [line] / Duke / Fryer Tho. / [line] ] Note that PB sets a short line after the last word of scene ii (`away.' 198), whether to indicate exit of characters at the end of scene ii or the entry of characters for scene iii is not clear (cf. Padua Macbeth). PB's call is slightly anticipative, appearing at the bottom of the first column instead of at the top of the second column where scene iii (F `Scena Quarta.') begins.
7-10 My holy . . . keepes.] Circled. It is not clear when `My holy Sir,' (7) was included in the cut.
12 (A man . . . abstinence) ] Bracketed. The reviser is pitiless on short parenthetical comments; see the next two cuts.
15 (For so . . . eare) ] Bracketed. D'Avenant cuts 15-16 (` . . . receiu'd:').
20 (The needfull . . . weedes,) ] Bracketed. So D'Avenant.
21 let slip, and] PB sets `and' after `slip,' to serve as a transition to `our Decrees' in 27, 22-27 being cut.
22-27 Euen like . . . so] Circled. Inchbald cuts 22-23 (` . . . prey:').
34-39 I doe . . . punishment:] Circled; originally only 37-39 (`For . . . punishment:') were cut.
48-53 Moe reasons . . . stone:] Circled, 50-53 (`Lord . . . stone:') being separately deleted. D'Avenant rephrases.
53-54 [line] / Isabella / Nun / [line] ] This call comes at the end of scene iv (p. 63) instead of at the beginning of `Scena Quinta.' at the top of page 64.
5 [line] / Lu: wthin / [line] ] This call anticipates F s.d. following 5.
13 [line] / wthin Lu / [line] ] PB here warns Lucio to call again (no s.d. in F) and marks the moment for his call by a vertical line after `speake.' (changing F period to a colon after `speake'). D'Avenant and Inchbald give Lucio a line (`with-out') at this point.
15-16 [line] / Lucio / [line] ] F fails to mark Lucio's entry.
16-18 (if you . . . As] Circled. This and the next cut (30-39) seem to be made in an attempt to purge Lucio's comments of their wanton familiarity. D'Avenant cuts 16-17 (`if . . . lesse:') and rephrases.
30-39 Luc. `Tis . . . truth;] Circled; originally only 30-32 (`I . . . so:') were deleted. D'Avenant reduces to 6 lines and re-phrases; Tonson cuts 30-44; Bell, 38-44; Inchbald, 30-45 ('. . . by him?').
51-55 Bore many . . . designe:] Circled. This and the next two cuts (56, 58-64) seem to be made simply to shorten a long and rather involved speech. Cut as in PB in Tonson, Bell, Inchbald; D'Avenant cuts 51-55 (` . . . place,').
56 (And with . . . authority) ] Circled.
58-64 one, who . . . Lyons) ] Circled, though `He' (62) seems to be marked for retention (see, however, 64 below). D'Avenant rephrases; cut in Bell and Inchbald.
64 Hee hath pickt] PB sets `Hee' at beginning of 64, thus re-duplicating the `He' retained in 62 above. Bell and Inchbald read as in PB.
77-79 Our doubts . . . attempt:] Circled. So D'Avenant; Gentleman (Bell, p. 294), however, calls these lines an "excellent remark".
86-87 No Longer . . . you:] Bracketed.
90 [line] / Act] Call for the act break.
9 (Whom I . . . vertue) ] Bracketed. So D'Avenant.
12 Or that . . . blood] Bracketed. D'Avenant rephrases; Bell cuts 10-13; Inchbald, 10, 12-13.
18-26 I not . . . it.] Circled; deleted in three stages of uncertain order, 21-23 (`what's . . . theeues?') perhaps first. D'Avenant cuts 21-26 (`what's . . . it.'); Bell and Inchbald as in PB.
35-36 [line] / Elbow: Fro: / Clowne off / [line] ] Call for entry at 41, 38-40 being cut.
38-40 Some rise . . . alone.] Circled. These gnomic passages lend themselves to cutting. So Inchbald; D'Avenant rewrites the speech in character for Benedick; Tonson cuts 39-40. D'Avenant and Bell omit the rest of this scene and continue here with II.ii.7 ff. Gentleman (Bell, p. 295) remarks: "Here follows no less than seven pages too full of indecencies: the annihilation of them does credit to our author and the stage." Tonson omits the rest of this scene. Inchbald introduces 41-289 as a separate scene, following II.ii and continues here with II.ii.7 ff.
139-140 This will . . . there:] Circled. The reason for this isolated cut is not clear except on the assumption that the reviser was looking especially closely at Angelo's role for possible deletions.
230-265 Pompey, you . . . whipt;] Circled. Cut presumably merely to shorten a long scene. The omission of these lines makes nonsense of Pompey's thanks to Escalus for `your good counsell' in 266-267. See Introduction, p. oo, for further comment.
299 (below) Prouost and / Seruant / [line] ] This call comes at the end of scene i, bottom of page 66, instead of at the top of page 67 where `Scena Secunda.' begins.
9-14 Pro. Lest . . . spar'd.] Circled. This cut injures the characters of the Provost and Angelo.
17 [line] / Serut / [line] ] PB marks here a re-entry for the Servant; F ignores his exit at 2 above and his re-entry. Tonson and Collier MS follow PB; D'Avenant and Inchbald introduce the Servant for the first time at 17 (named Thomas in Inchbald); Bell marks no entrance for him at all, though he exits at 22.
22-23 [line] / Lucio and / Isabell / [line] ] Call for entry at 26, 23-25 being cut. Intersecting lines have been set after `alreadie.' (22) to mark point of entry. Note that PB first called `[line] Lucio / Isabella / [line]' opposite 24-25, then cancelled the call when it was decided to cut 23-25.
23-25 See you . . . for't.] Bracketed. This cut was an after-thought (see 22-23 above) . D'Avenant reduces and rewrites. Bell cuts 23-26 (' . . . while:'); Inchbald retains, but makes the Provost exit here and cuts `Stay a little while:' (26).
29-33 Isab. There . . . matter?] Circled. It will be noticed that the parts of Isabella and Angelo are particularly heavily cut in the remainder of this scene, Isabella's especially. D'Avenant slightly rephrases and cuts 32-33 (' . . . not.'); Bell cuts 32 (`For . . . but').
59-63 No ceremony . . . does:] Circled, 59 being separately bracketed.
73-82 Why all . . . him:] Circled; originally cut only through 75. D'Avenant slightly rephrases and cuts 77-79 (`Oh . . . made.').
84-87 euen for . . . good,] Circled. D'Avenant slightly rephrases; Tonson cuts as in PB; Bell, and Inchbald cut as in PB, but retain `good,' (87).
93-99 Now 'tis . . . end.] Circled. `uc' in `successiue' (98) is blotted. D'Avenant rewrites `future . . . hatc'hd' (95-97) and cuts 97-98 (`and . . . end.'); Bell and Inchbald cut as in PB.
109-125 Luc. That's . . . perceiu't.] Circled. The reviser was not concerned with mere poetry. D'Avenant in part rephrases; Tonson cuts 113 (`Nothing . . .') -123; Bell, 122-125 (`who . . . perceiu't.'); Inchbald, 122-123 (`who . . . mortall.').
166-172 That, lying . . . fie:] Circled; originally only 166-168 (` . . . season:') deleted. D'Avenant reduces the whole speech to 6 lines; Inchbald cuts 163-168 (` . . . season:'), 172 (And . . . there?').
179-181 what is't . . . hooke:] Circled. Cut in D'Avenant's rewriting; Bell cuts `what . . . on?' (179); Inchbald, 179-185 (`what . . . but').
(opening) Prouost / Duke / [line] ] Inchbald omits this scene and the character of Juliet.
30-34 Duk. 'Tis . . . feare.] Circled. This deletion of the Duke's speech leaves Juliet with an awkward repetition in 29 and 35. D'Avenant rephrases; Bell slightly rephrases and cuts 32-34.
42 [line] / Angelo / [line] ] Call for scene iv.
8 [line] / Seruant / [line] ] Call for entry at 17, 9-17 being cut. D'Avenant and Bell omit the Servant.
9-17 yea, my . . . Crest:] Circled. This whole scene has been quite heavily cut (roughly 50 lines out of 187), especially in Angelo's role. D'Avenant cuts 1-30; Tonson and Bell, 15-17 (`Blood . . . Crest.'); Inchbald, 7-17 (`the state . . . Crest:').
22-23 [line] / Isabell / [line] ] Call for entry at 30, 24-30 being cut.
24-30 So play . . . offence:] Circled. The reviser excises the supposed compliment to King James. D'Avenant cuts 1-30; Bell cuts 18-19 (` . . . way:'), interpolating `'tis Isabel.', 21-30 (` . . . offence:'); Inchbald and Collier MS cut as in PB.
52-62 Which had . . . life,] Circled. Originally 61 seems to have been the extent of the cut; an `I' was written in at the end of 60 to link with 62. D'Avenant slightly rephrases.
79-82 As these . . . plaine,] Circled. The reviser thus gets rid of a difficult passage. D'Avenant offers a gloss on Shakespeare's meaning; Tonson, Bell, and Inchbald cut 79-81 (` . . . display'd.').
104 (above)] I can see no significance in the cross at the upper left corner of page 70 (sig. [F5]v).
126-128 Which are . . . them:] Circled. D'Avenant and Inchbald cut 127-128 (`men . . . them:') and rephrase slightly; Tonson, 127-130 (` . . . Prints.'); Bell, 127-128.
136-137 (as you . . . warrants) ] Circled.
149-150 Ha? Little . . . seeming.] Circled. D'Avenant rephrases 150; Bell cuts `Seeming, seeming.' (150).
172-177 O Perilous . . . drawes.] Circled. D'Avenant cuts as in PB and reduces the whole speech to 5 weak lines; Tonson cuts 175-177 (` . . . draws.'); Bell, 176-177 (` . . . drawes.').
96-97 The damnest . . . gardes;] Circled. The reviser thus gets rid of the difficulty in `prenzie gardes' (97), though he retains the earlier `prenzie, Angelo' (94). D'Avenant completely rewrites, getting rid of `prenzie gardes' and converting `prenzie Angelo' to `Princely Angelo' (the reading of F2, etc.); Tonson does not cut but uses `Princely' in 94 and 97; Bell cuts as in PB and uses `princely' in 94; Inchbald does not cut but reads `priestly' (Hanmer) for `prenzie' in 94 and 97.
140-143 What should . . . blood.] Circled. D'Avenant cuts the whole speech, for which there is no need since Claudio has obliged by dissolving in sentiment just before. Bell retains the lines, but a note by Gentleman (p. 311) suggests they "had better be left out, as blemishing the chaste ideas of Isabella, particularly that insinuation of a mother's frailty" (he includes the preceding line also); Inchbald cuts as in PB; Tonson cuts only 136 (`O you Beast!').
151-152 [line] / Duke / [line] ] Call for re-entry of Duke at 152, not marked in F (added F2, etc.). Note that PB, like F (added F2, etc.) fails to notice the Duke's and Provost's exit earlier at 53.
161 ff.] Beginning with this line PB has what appears to be a name scrawled three times down the left margin (the last two attempts badly smudged). I read the scribble as follows: `B ffor t t t joh: B john B'. The series `t t t' is questionable, possibly the first `t' should be read as `j'; the last `t' might be almost anything. `B ffor t' may be some kind of shortened form for `Beaufort'. No John Beaufort appears to be linked in any way with Sir Edward Dering. The name seems to have no immediate connection with the prompt-book as such and may have been written in later. The hand is certainly not that of the reviser-prompter in either Macbeth or Measure for Measure, nor is it the same as the prompt-hand in Winter's Tale.
177] PB, like Ff, fails to bring the Provost back at this point, though F2, etc. includes him in the Duke's exit at 53. D'Avenant does not reintroduce him; Tonson and Bell bring him on with the Duke at 152 (following Rowe); Inchbald introduces him after 177 (following Capell). Collier MS fails to re-enter the Provost.
184-188 The hand . . . that] Circled, though probably `the assault that' (188) was not meant to be included in the cut. D'Avenant, Inchbald, and Collier MS cut 185-188 (`the goodnes . . . faire:').
200-204 yet, as . . . selfe.] Circled. Mostly cut in D'Avenant, who after 188 reduces the rest of this scene to 17 lines, omitting the Mariana episode.
235-236 & dried . . . comfort:] Circled. Part of the general cutting in D'Avenant.
242-244 Isab. What . . . liue?] Circled. Speech-head cancelled in error. It is possible that the cut extended through 256 (` . . . vnruly:') at one time. Part of the general cutting in D'Avenant.
246-256 Duke. It . . . vnruly:] Circled, with one or two cross lines. The `v' in `vio- / lent' is marked with a pen stroke. Part of the general cutting in D'Avenant.
III.ii.] PB, following F, does not mark a new scene here.
22-26 Do thou . . . liue:] Circled. So Tonson and Bell; Inchbald cuts 22-28 (' . . . depending?') . D'Avenant omits everything down to go and then reduces the rest of the scene to 32 lines.
31-32 Nay, if . . . his.] Circled.
41 [line] / Lucio / [line] ] Note that PB actually brings Lucio on two lines above, placing a heavy line after `errand.' (39) to mark point of entry. The change was made presumably because of the long deletion beginning at 43, thus giving Lucio time to get well on stage before his first line at 90.
96 ff.] The several ink dots down the right margin are ink offprints from page 72.
150-153 The very . . . proclamation.] Circled. Part of the general reduction in D'Avenant.
193-196 [line] / Escalus / Prouost / [line] ] Call for entry at 196, 197-218 being cut. Note that PB does not call the `Bawd' (i.e. Mistress Overdone). A line set after `Farewell.' (196) marks point of entry.
197-218 Duke. No . . . words.] Circled, 197-201 perhaps separately. Escalus' speech-head (216) is accidentally included in the cut. See Introduction, p. oo, for discussion.
237-244 No- / ueltie is . . . newes.] Circled. Part of the general reduction in D'Avenant; Inchbald cuts as in PB. Gentleman (Bell, p. 319), however, singles out these lines as "very sensible, and well suited to the present times."
261-264 yet had . . . him,] Circled. Part of the general reduction in D'Avenant.
274 [line] / Act / [line] ] This call for the act break occurs one line (possibly two) before the end of the act as arranged in PB.
276-296 Duke. Peace . . . contracting.] Circled, 276 separately. The marking here is confusing, but it seems likely that 276 was meant to be retained, giving the Duke an exit line. See Introduction, p. oo, for further comment.
276-278 [line] / Song / [line] ] This is a call for the song with which Act IV opens and we may suppose that the `Song' thus furnished the interact music. This is the only example in the Padua PB's where something is called for at the beginning of an act. Note that there is no call for Mariana or the `Boy singing'.
38-40 I haue . . . precept,] Circled. D'Avenant and Inchbald omit this whole scene; Tonson cuts 7-15; Bell omits 1-25, including the Song, though Gentleman (p. 320) objects.
64-65 [line] / Mariana / Isabell / [line] ] A short vertical stroke after `fancies.' (65) marks point of entry.
29-30 [line] / Prouost / [line] ] A short horizontal line after `Theefe.' (30) marks point of entry.
64-65 [line] / Claudio / [line] ] A short horizontal line after `brother.' (65) marks point of entry.
75 Duke] Two short vertical strokes after `Claudio.' mark point of entry.
84-88 He doth . . . iust.] Circled; only 86-88 (`were . . . iust.') clearly marked for deletion; 84-86 (` . . . others:') certainly an afterthought. D'Avenant uses only bits of this scene: 132-61 (in part), 23-44 (in part), 55-56; Inchbald cuts 86-88 (` . . . iust'). Gentleman (Bell, pp. 323-324) wishes that the scene might begin with 66.
85-86 [line] / Knock / [line] ] This warning, not in Ff, occurs here rather than at 83 because 84-86 were cut after `Knock' had been inserted. Note that PB has no such warning at 72 above and that the warning here seems early (for this PB) since the Duke only mentions the noise as apparently beginning again at 91. We may note, however, that Rowe, who first introduced the s.d.'s, also placed the second one here instead of at 91 (also in Tonson and Bell, the second of which omits the `knocking' at 72, cutting the reference to `noise'). Inchbald has the `knocking' at 72 and 86, but cuts the reference to `noise' in 91; part of the general cut in D'Avenant. Note that PB, as in Ff, makes no allowance for the Provost's exit (88) and re-entry (92).
102-103 [line] / Seruant / [line] ] PB substitutes `Seruant' for F `Messenger.'; cf. the Padua Macbeth, I.v.31. The ink marks below are a show-through from p. 75.
113-116 Hence hath . . . friended.] Bracketed, each couplet separately. Such gnomic passages offer themselves to any reviser. Part of the general cutting in D'Avenant; Bell and Inchbald cut 111-116.
162-166 There is . . . hazard:] Circled. Part of general cutting in D'Avenant.
219-222 Looke, th' . . . knowne.] Part of general cutting in D'Avenant. The PB reviser would not seem to agree with Gentleman (Bell, p. 327): "This short break, in the Duke's speech, is very beautiful; it is a well-timed relief to, and pleasing gratification of, attention."
(opening) [line] / Clowne / [line] / Bee ready Abhorson] The advance warning for Abhorson (compare V.i.259) is inserted because the Clown's entrance and Abhorson' are almost simultaneous as a result of cutting 4-21. This imperative formula `Bee ready' is not found in Restoration prompt-books (see the General Introduction, p. oo).
4-21 First, here's . . . sake.] Circled. See Introduction, p. oo, for discussion.
40 [line] / Barnard: / [line] ] Note that PB brings Barnardine on at 40 instead of at 38 as in Ff and all texts down to Capell; Inchbald as in PB (following Capell).
104-105 [line] / Prouost / [line] / Head / [line] ] Property notes are rare in the Padua PB's; in only one other case is a prop not called for in the F s.d.'s noted (see Macbeth, IV.i). A short line after `Angelo.' (105) marks point of entry. Inchbald decorously notes: `Enter Provost with a Bag.'.
109 [line] / wthin / Isa / [line] ] A short line after `speede.' markes moment for Isabella's speech.
114-115 [line] / Isabell / [line] ] A short line after `expected.' (115) marks point of entry.
128-129 This nor . . . heauen,] Circled. Part of a general cut in D'Avenant.
162 olde] Circled. The adjective must have been too obviously incongruous when applied to the actor playing the Duke.
23-30 A deflowred . . . breather.] Circled. Again the heart is cut out of one of Angelo's soliloquies, largely, I suspect, to shorten his role. D'Avenant, having changed the plot, necessarily omits; Inchbald cuts 27 (`yet . . .') -30.
(opening) Duke / Peter / [line] ] D'Avenant, Bell, and Inchbald omit scenes v and vi: Collier MS deletes scene v.
(opening) [line] / florish / [line] ] This is PB's addition to the F s.d. Inchbald adds `Flourish of Trumpets and Drums.'.
9-13 Oh your . . . obliuion:] Circled. So Bell and Inchbald, except that 9 (through `loud,') is retained. Gentleman (Bell, p. 333), however, feels the whole speech should be restored. D'Avenant completely alters the fifth act.
105 By heauen] Circled. This sudden niceness in matters of profanity seems strange, though actually there is little of this sort of thing left in the play to cut.
112-114 some one . . . complaine.] Circled. Note that all the cuts in this long scene, with one exception (433), are in the major roles (Duke, Isabella, Angelo); this suggests, what earlier evidence seems to support, that the reviser is as much (or more) interested in reducing the length of the principal roles as in shortening the play as a whole.
115-118 Then oh . . . countenance:] Circled.
166 [line] / -- Mariana / [line] ] Note that PB brings Mariana on here instead of at 167 as in Ff. Tonson and Bell follow Ff; Inchbald places entry after `Cause:' in 167.
241-245 Thou foolish . . . you,] Circled.
259 [line] / Bee ready / [line] ] PB places this notation opposite F `Exit.' to warn the prompter to remind the Duke that he is to re-enter about 20 lines below. See IV.iii, above.
278-279 [line] / Duke / Prouost / Isabell. / [line] ] A short line after `asham'd.' (278) marks point of entry.
294-295 and let . . . throne.] Circled.
299-301 But oh . . . redresse:] Circled.
371-375 Oh, my . . . passes.] Circled. Cut perhaps because of the reference to `powre diuine' (374).
401-403 but peace . . . feare:] Circled. This cut tends to make nonsense of the last lines of the Duke's speech.
403 (below) Angelo, Mariana / Peter, Prouost / [line] ] This call comes at the bottom of page 82, instead of at the top of page 83 where the entry occurs (marked by a line set after `Brother-' ).
433-434 Mar. Gentle . . . you.] Circled. Cut perhaps to get rid of the rather awkward `Now Sir, to you.' (434) . Bell and Inchbald omit `Now . . . you.'.
485-487 thou art . . . according:] Circled. This cut makes the Duke's reference to `earthly faults' (488) rather pointless.