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i

ENGLISH CLASSICS

MUCH ADO ABOUT NOTHING

W. A. WRIGHT

£on5on

HENRY FROVVDE

Oxford University Press Warehouse

Amen Corner, E.G.

(Pew Sotft

Macmillan & Co, 66 Fifth Avenue

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SHAKESPEARE

SELECT PLAYS

MUCH ADO ABOUT NOTHING

EDITED BY

WILLIAM ALDIS WRIGHT, M.A.

HON. D.C.L. AND LL.D.

FELLOW, SENIOR BURSAR, AND VICE-MASTER OF TRINITY COLLEGE, CAMBRIDGE

AT THE CLARENDON PRESS

4 » * ,0'

M DCCC XCIV

301^1

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['KIN TED AT THE CLARENDON PRESS

UY HORACi: HART, PRINTER TO THE UNIVERSITY

PREFACE

Much Ado about Nothing first appeared in print in the
quarto edition of 1600 with the following title : * Much adoe
about Nothing. As it hath been sundrie times publikely
acted by the right honourable, the Lord Chaimberlaine his
seruants. Written by William Shakespeare. London
Printed by V. S. for Andrew Wise, and William Aspley.
1600.'

As it is not mentioned by Meres (Palladis Tamia) in 1598
among the plays of Shakespeare, it was probably written in
1599 or 1600 not long before the quarto was published.
Among the entries at Stationers' Hall we find, under the date
23 August, 1600,

Andrew Wvsk £ntred for their copies vnder the handes of the wardens Two

William Aspley bookes. the one called Muche a Doo about nothinge. Thother

the second parte of the history of kinge Henry the iiij^^ with

the humours qf Sir JOHN FFA L LS TA FFE : Wrytten by

master Shakespere. , xij<'.

In a previous entry, which apparently belongs to the same
year, under the date of the 4th of August, Much Ado is, with
As You Like It, Henry V, and Ben Jonson's Every Man in
his Humour, among the books which were for some reason
or other * to be staied.' Besides the quarto of 1600 no other
edition of this play appeared till it was included in the first
folio of 1623.

As to the source from which the plot was derived, there
can be little doubt that it was the twenty-second novel of the
first part of Bandello's Navelle, which was certainly trans-
lated into French and included in Belleforest's Histdres

as

VI PREFACE.

Tragiques^ and was also most probably translated into
English, although no copy of the translation is known to
exist. The scene of the novel is laid in the year 1283 at
Messina. The hero, Timbreo di Cardona, an officer in the
victorious army of Piero d*Aragona, and a favourite with
the king, was enamoured of Fenicia, the daughter of Lionato
de' Lionati, a gentleman of Messina, and by the help of
a friend obtained her father's consent to their marriage.
But a rival admirer of Fenicia, one Girondo, a young cavalier
of noble family, determined to break off the match and
win the lady for himself. He had served in the same
campaigns as Timbreo, and but for their rivalry in love
there was the most brotherly affection between them.
Girondo communicated his iiUentions to a friend, who readily
lent himself to assist him. ^is first step was to poison the
mind of Timbreo by assuring him that Fenicia was unworthy
of his regard, inasmuch as she was known to receive the
visits of a gentleman of Messina three nights in the week
without the knowledge of her parents. Of this Timbreo is
furnished with what he supposes to be ocular proof, and one
night from a post of concealment sees a man enter the house
of Lionato by means of a ladder placed against one of the
windows. On the following morning he employs the same
friend who had acted for him in bringing about the marriage,
and sends him to Lionato's house to repudiate his daughter
for her misconduct. The charge came upon the assembled
family like a thunderbolt Fenicia swooned and remained
for some time as one dead. Her father, who regarded the
story as an invention of Timbreo*s in order to avoid marrying
into a family of decayed fortunes, dismissed the messenger.
Fenicia revived for a time and then apparently died in
reality, and preparations were made for her funeral on die
following day. But signs of life appeared, and she came out
of the swoon to the great joy of her parents, who resolved to
carry her into the country to the house of Lionato's brother,
and to allow the funeral ceremony to proceed as if she were

PREFACE. vii

really dead. Girondo, filled with compunction at the disas-
trous result of his plot, confessed to Timbreo at the grave of
Fenicia the falsehood of which he had been guilty, and the
two then resorted to the house of Lionato and related all the
circumstances, which completely cleared the good fame of
Fenicia. Timbreo, by way of atonement for the part he had
taken, was willing to submit to any penance which Lionato
might impose upon him, and this was to accept a wife of
Lionato's choice. In the end of course he marries Fenicia,
and lives happily ever after.

From this brief outline of the story it seems clear that,
through whatever medium it may have come to him,
Shakespeare must have been acquainted with it. The
substantial identity of the plot, the scene laid at Messina,
Ihe names of Piero d' Aragona under whom the hero served,
and of Lionato the father of the injured lady, are coincid-
ences too striking to admit of any other conclusion. It is
true that in Spenser's Fairy Queen, Book ii. canto 4, st. 17,
&c., there is the story of Claribella, who was personated by
her maid Pryene, and was the victim of the same stratagem ;
but this is of no value except as an illustration of a literary
commonplace, which Spenser may have borrowed from the
story of Ariodante and Genevra in the fifth book of Ariosto's
Orlando Furioso. A translation of Ariosto by Sir John
Harington appeared in 1591, and in a note he remarks,
*• The tale is a prettie comicall matter, and hath beene written
in English verse some few yeares past (learnedly and with
good grace) though in verse of another kind, by M. George
TurberuiL' It is not certain whether Turbervile's name is
a mistake for that of Peter Beverley, who did translate the
story from Ariosto in 1565-6, though it is improbable that
Sir John Harington should have made such an error, but in
any case Shakespeare can only have borrowed from this
source the incident of the part taken in the plot of the
waiting-maid who personates her mistress. The motive of
the action is entirely different. In the novel of Bandello, as

Vlll PREFACE.

well as in the stories told in Ariosto and Spenser, it is the
design of the false friend or rival to win the lady for himself.
In Much Ado the moody and discontented spirit of Don John
plans the ruin of Hero in order to wreak his revenge on
Claudio, of whom he was jealous as a rival, not in love but
in the friendship and favour of his prince. When we add to
this essential difference of motive the fact that the important
characters of Benedick and Beatrice, and the parts they
play, are Shakespeare's own, we are in a position to realise
how much and how little he was indebted to the crude
elements he may have worked with.

In Hunter's New Illustrations of Shakespeare a very
curious theory is propounded to explain the real meaning
which Shakespeare had in view when he introduced Benedick
and Beatrice into the plot of Bandello's novel. Starting
from the poor jest, as Johnson calls it, in the dialogue
between Beatrice and Margaret, iii. 4. 47-49 :

* Beat, By my troth, I am exceeding ill : heigh-ho !
Marg. For a hawk, a horse, or a husband?
Beat, For the letter that begins them all, H : '

Mr. Himter supposes that ' H was intended to suggest to the
intelligent at once both ache and something else — Herbert*
By Herbert is meant no less a person than William Herbert,
son of Henry Earl of Pembroke and Mary Sydney, who is
thought to be the * Mr. W. H.' of the Dedication to Shake-
speare's Sonnets. It is known from the letters of Rowland
Whyte in the Sydney Correspondence that in 1599 an
attempt was made to bring about a marriage between
William Lord Herbert and a daughter of the Lord Admiral,
Howard Earl of Nottingham. The attempt failed, but
Mr. Hunter believes that Shakespeare was aware of it, and
sums up his account of the negotiations in the following
conclusion : * What I contend for is this : that the poet was
cognizant of the design to bring about the union of his noble
friend with a certain noble lady, and that out of this design

PREFACE, ix

arose the second plot of this play, those characters and
incidents which are added by the English poet to the story
of Hero as he found it in Bandello. Shakespeare, however,
makes the scheme successful, which is the opposite of ^he
result of any such scheming in the real story. This is as if
Shakespeare had said :— Some ingenious devices have been
tried and failed, I will show you how such a design might
have been carried out to a successful issue ; and this he has
done so skilfully that the whole has an air of being perfectly
in nature:*

All this baseless fabric of a vision is imagined in order to
give a hidden meaning to what after all is truly described by
Johnson as a poor jest, which probably had no other motive
than to raise a laugh and tickle the ears of the groundlings.
If Shakespeare had had any such intention as that attributed
to him in introducing Benedick and Beatrice into his play,
he would have taken care that their parts had more likeness to
the originals they were intended to resemble. That Benedick
had points in common with a young English nobleman of
the period is not improbable, but it is not evident that he
was more like Lord Herbert than any other, while, as nothing
whatever is known of the Earl of Nottingham's daughter,
there is not the slightest foundation for the supposition that
she>is shadowed forth by Beatrice.

The accompanying illustration of ' the old tale * referred to
in i. 1. 187, being too long for the Notes, has necessarily to
find a place in the Preface.

In Bosweirs edition of 1821 there is printed, on the
authority of Mr. Blakeway, the following story which he had
heard in his childhood from a great aunt. This, or something
like it, may have been * the old tale * to which Shakespeare
refers.

* Once upon a time, there was a young lady (called Lady
Mary in the stOry) who had two brothers. One summer
they all three went to a country seat of theirs, which they
had not before visited. Among the other gentry in the

X PREFACE.

neighbourhood who came to see them, was a Mr. Fox,
a batchelor, with whom they, particularly the young lady,
were much pleased. He used often to dine with them, and
frequently invited Lady Mary to come and see his house.
One day that her brothers were absent elsewhere, and she
had nothing better to do, she determined to go thither ; and
accordingly set out unattended. When she arrived at the
house, and knocked at the door, no one answered. At length
she opened it, and went in ; over the portal of the hall was
written. Be bold^ be boldy but not too bold : she advanced :
over the stair-case, the same inscription : she went up : over
the entrance to a gallery, the same: she proceeded: over
the door of a chamber, — Be bold, be bold, but not too bold,
lest that your hearfs blood should run cold. She opened
it ; it was full of skeletons, tubs of blood, &c. She retreated
in haste ; coming down stairs, she saw out of a window
Mr. Fox advancing towards the house, with a drawn sword
in one hand, while with the other he dragged along a young
lady by her hair. Lady Mary had just time to slip down,
and hide herself , under the stairs, before Mr. Fox and his
victim arrived at the foot of them. As he pulled the young
lady up stairs, she caught hold of one of the bannisters with
her hand, on which was a rich bracelet. Mr. Fox cut it off
with his sword : the hand and bracelet fell into Lady Mary's
lap, who then contrived to escape unobserved, and got home
safe to her brothers' house.

* After a few days, Mr. Fox came to dine with them as
usual (whether by invitation, or of his own accord, this
deponent saith not). After dinner, when the guests began to
amuse each other with extraordinary anecdotes. Lady Mary
at length said, she would relate to them a remarkable dream
she had lately had. "I dreamt," said she, "that as you,
Mr. Fox, had often invited me to your house, I would go there
one morning. When I came to the house, I knocked, &c.,
but no one answered. When I opened the door, over the
hall was written, Be bold, be bold, but not too bold. But"

PREFACE, XI

said she, turning to Mr. Fox, and smiling, " It is not so, nor
it was not so ; " then she pursues the rest of the story,
concluding at every turn with // is not so^ nor it was not sOy
till she comes to the room full of dead bodies, when Mr. Fox
took up the burden of the tale, and said, // is not so, nor it
was not so, and God forbid it should be so : which he
continues to repeat at every subsequent turn of the dreadful
story, till she came to the circumstance of his cutting off the
young lady's hand, when, upon his saying as usual, // is
not sOy nor it was not so, and God Jorbid it should be so,
Lady Mary retorts. But it is so, and it was so, and here
the hand I have to show, at the same time producing the
hand and bracelet from her lap : whereupon the guests drew
their swords, and instantly cut Mr. Fox into a thousand
pieces.'

This may indeed be Much Ado about Nothing, and I give
it for What it is worth.

WILLIAM ALDIS WRIGHT.

Trinity College, Cambridge,
2 June, 1894.

MUCH ADO ABOUT NOTHING.

DRAMATIS PERSON/E.

Don Pedro, prince of Arragon.
Don John, his bastard brother.
Claudio, a young lord of Florence.
Benedick, a young lord of Padua.
— Leonatq, governor of Messina.
Antonio, his brother.
Balthasar, 'attendant on Don Pedro.

"S^rcm^, }foUow.«ofDonJohn.
I -Friar Francis.
Dogberry, a constable.

Verges, a headborough.
A Sexton. *

A Boy.

Hero, daughter to Leonato.
Beatrice, niece ty Leonato.
Margaret, ) gentlewomen attending
Ursula, > on Hero.

Messengers, Watch, Attendants, &c.

Scene : Messina.

ACT I.
Scene I. Be/ore Leonato*s ^use.

Enter Leonato, Hero, and Beatrice, with a
Messenger.

Leon, I learn in this letter that Don Pedro of Arragon
comes this night to Messina.

Mess, He is very near by this : he was not three leagues
off when I left him.

Leon, How many gentlemen have you lost in this action ?

Mess, But few of any sort, and none of name. 6

Leon, A victory is twice itself when the achiever brings
home full numbers. I find here that Don Pedro hath be-
stowed much honour on a young Florentine called Claudio.

Mess, Much deserved on his part and equally remem-
bered by Don Pedro : he hath borne himself beyond the
promise of his age, doing, in the figure of a lamb, the feats of
a lion : he hath indeed better bettered expectation than you
must expect of me to tell you how. 14

B

2 MUCH ADO ABOUT NOTHING.

Leon. He hath an uncle here in Messina will be very
much glad of it

Mess. I have already delivered him letters, and there
appears much joy in him ; even so much that joy could not
show itself modest enough without a badge of bitterness.

Leon, Did he break out into tears ? 20

Mess. In great measure.

Leon. A kind overflow of kindness : there are no faces
truer than those that are so washed. How much better is it
to weep at joy than to joy at weeping !

Beat. I pray you, is Signior Mountanto returned from
the wars or no ?

Mess. I know none of that name, lady : there was none
such in the army of any sort.

Leon. What is he that you ask for, niece ?

Hero. My cousin means Signior Benedick of Padua. 30

Mess. O, he *s returned ; and as pleasant as ever he was.

Beat. He set up his bills here in Messina and challenged
Cupid at the flight ; and my uncle's fool, reading the chal-
lenge, subscribed for Cupid, and challenged him at the
bird-bolt. I pray you, how many hath he killed and eaten
in these wars.^ But how many hath he killed? for indeed
I promised to eat all of his killing.

Leon. Faith, niece, you tax Signior Benedick too much ;
but he *11 be meet with you, I doubt it not. 39

Mess. He hath done good service, lady, in these wars.

Beat. You had musty victual, and he hath holp to eat it :
he is a very valiant trencher-man; he hath an excellent
stomach.

Mess. And a good soldier too, lady.

Beat. And a good soldier to a lady : but what is he to
a lord ?

Mess. A lord to a lord, a man to a man ; stuffed with all
honourable virtues.

Beat. It is so, indeed ; he is no less than a stuffed man :
but for the stuffing, — well, we are all mortal. 50

ACT I. SCENE I. 3

Leon, You must not, sir, mistake my niece. There is
a kind of merry war betwixt Signior Benedick and her : they
never meet but there 's a skirmish of wit between them.

Beat, Alas ! he gets nothing by that. In our last con-
^fiict four of his five wits went halting off, and now is the
\Vhole man governed with one : so that if he have wit enough
toMceep himself warm, let him bear it for a difference between
himWelf and his horse ; for it is all the wealth that he hath
left, tt^ be known a reasonable creature. Who is his com-
panion ncf^w ? He hath every month a new sworn brother.
Mess. Is ^'t possible? 6i

Beat. Very . -easily possible ; he wears his faith but as the
fashion of hif f '^ hat ; it ever changes with the next block.
Mess, n/^ see, lady, the gentleman is not in your books.

Beat.y No ; an he were, I would bum my study. But,

I pf^iy you, who is his companion? Is there no young

squ^rer now that will make a voyage with him to the devil t

^Mess, He is most in the company of the right noble

Zlaudio. 69

Beat. O Lord, he will hang upon him like a disease :
he is sooner caught than the pestilence, and the taker runs
presently mad. God help the noble Claudio! if he have
caught the Benedick, it will cost him a thousand pound
ere a' be cured.

Mess, I will hold friends with you, lady.

Beat, Do, good friend.
, Leon, You will never run mad, niece.

Beat, No, not till a hot January.

Mess, Don Pedro is approached.

Enter DON PEDRO, DON JOHN, Claudio, Benedick,
and Balthasar.

D, Pedro. Good Signior Leonato, you are come to meet
your trouble : the fashion of the world is to avoid cost, and
you encounter it. 82

Leon, Never came trouble to my house in the likeness of
B 2

4 MUCH ADO ABOUT NOTHING. \

your grace : for trouble being gone, comfort should remain ;
but when you depart from me, sorrow abides and happiness ^
takes his leave.

D, Pedro, You embrace your charge too willingly. I ■ '^^
think this is your daughter. /'^ot

Leon. Her mother hath many times told me so.

20

Bene, Were you in doubt, sir, that you asked her?

Leon. Signior Benedick, no ; for then were you a ce no fo,,

D. Pedro, You have it full. Benedick : we mi'-ix better is it
by this what you are, being a man. Truly, the J
herself. Be happy, lady; for you are like^to returned from
father. \

Bene. If Signior Leonato be her father, sh^^^ere was none
have his head on her shoulders for all Messinai
him as she is. ^^

Beat. I wonder that you will still be talking, Sig^a. 30
Benedick : nobody marks you. ^i^as.

Bene. What, my dear Lady Disdain ! are you yet livin^ed

Beat. Is it possible disdain should die while she hatqal-
such meet food to feed it as Signior Benedick ? Courtesy V
itself must convert to disdain, if you come in her presence. ^

Bene. Then is courtesy a turncoat. But it is certain
I am loved of all ladies, only you excepted : and I ^would *
I could find in my heart that I had not a hard heartV for, V^
truly, I love none.

Beat. A dear happiness to women: they would
have been troubled with a pernicious suitor. I thank
and my cold blood, I am of your humour for that : I
rather hear my dog bark at a crow than a man swear he K
loves me. 113 \

Bene. God keep your ladyship still in that mind ! so
some gentleman or other shall 'scape a predestinate scratched
face.

Beat. Scratching could not make it worse, an 'twere such
a face as yours were.

Bene. Well, ybu are a rare parrot-teacher. 119

ACT /. SCENE I. 5

BecU, A bird of my tongue is better than a beast of yours.
Bene, I would my horse had the speed of your tongue,
and so good a continuer. But keep your way, i* God's
name; I have done.

Beat, You always end with a jade's trick : I know you
Sfold.

° D, Pedro. That is the sum of all, Leonato. Signior

^°^ ttdio and Signior Benedick, my dear friend Leonato hath

\ *^ d you all. I tell him we shall stay here at the least

panion n.^ , ^^^ j^^ heartily prays some occasion may detain

Mess. Is I dare swear he is no hypocrite, but prays from

Beat, Very 131

fashion of hiif you swear, my lord, you shall not be forsworn.

Mess, m John\ Let me bid you welcome, my lord : being

^^^.ciled to the prince your brother, I owe you all duty.

I pK^. John, I thank you : I am not of many words, but

squ thank you.

Leon, Please it your grace lead on ? •

D, Pedro, Your hand, Leonato ; we will go together.

\Exeunt all except Benedick and Claudto,
Claud, Benedick, didst thou note the daughter of Signior
Leonato ? 140

Bene. I noted her not; but I looked on her.
Claud, Is she not a modest young lady ?
Bene, Do you question me, as an honest man should do,
for my simple true judgement? or would you have me
speak after my custom, as being a professed tyrant to
their sex?

Claud, No ; I pray thee speak in sober judgement.

Bene. Why, i' faith, methinks she *s too low for a high

praise, too brown for a fair praise, and too little for a great

pi^aise : only this commendation I can afford her, that were

she other than she is, she were unhandsome ; and being

no other but as she is, I do not like her. 152

I Claud, Thou thinkest I am in sport : I pray thee tell

' me truly how thou likest her.

6 MUCH ADO ABOUT NOTHING,

Bene, Would you buy her, that you inquire after her?

Claud, Can the world buy such a jewel?

Bene. Yea, and a case to put it into. But speak you this
with a sad brow ? or do you play the flouting Jack, to tell us
Cupid is a good hare-finder, and Vulcan a rare carpenter ?
Come, in what key shall a man take you, to go in the
song? i6i

Claud, In mine eye she is the sweetest lady that ever
I looked on.

Bene, I can see yet without spectacles and I see no such
matter : there *s her cousin, an she were not possessed with
a fury, exceeds her as much in beauty as the first of May
doth the last of December. But I hope you have no intent
to turn husband, have you ?

Claud, I would scarce tnist myself, though I had sworn
the contrary, if Hero would be my wife. 170

Bene, Is 't come to this ? In faith, hath not the world
one man but he will wear his cap with suspicion? Shall
I never see a bachelor of threescore again ? Go to, i' faith ;
an thou wilt needs thrust thy neck into a yoke, wear the
print of it and sigh away Sundays. Look; Don Pedro
is returned to seek you.

Re-enter Don Pedro.

D, Pedro, What secret hath held you here, that you
followed not to Leonato's?

Bene, I would your grace would constrain me to tell.

D, Pedro, I charge thee on thy allegiance. 180

Bene, You hear. Count Claudio : I can be secret as
a dumb man ; I would have you think so ; but, on my
allegiance, mark you this, on my allegiance. He is in love.
With who ? now that is your grace's part. Mark how short
his answer is; — With Hero, Leonato's short daughter.

Claud, If this were so, so were it uttered.

Bene, Like the old tale, my lord : ' it is not so, nor
'twas not so, but, indeed, God forbid it should be so.'

ACT I. SCENE I. 7

Claud. If my passion change not shortly, God forbid it
should be otherwise. 190

Z>. Pedro, Amen, if you love her ; for the lady is very
well worthy.

Claud. You speak this to fetch me in, my lord.

D. Pedro. By my troth, I speak my thought.

Claud, And, in faith, my lord, I spoke mine.

Bene. And, by my two faiths and troths, my lord, I
spoke mine.

Claud. That I love her, I feel.

Z>. Pedro. That she is worthy, I know. 199

Bene. That I neither feel how she should be loved noivl^
know how she should be worthy, is the opinion that fife '^
cannot melt out of me : I will die in it at the stake.

D. Pedro. Thou wast ever an obstinate heretic in the
despite of beauty.
^ Claud. And never could maintain his part but in the
force of his will.

Bene. That a woman conceived me, I thank her; that
she brought me up, I likewise give her most humble thanks :
but that I will have a recheat winded in my forehead, or
hang my bugle in an invisible baldrick, all women shall
pardon me. Because I will not do them the wrong to mis-
trust any, I will do myself the right to trust none ; and the
fine is, for the which I may go the finer, I will live
a bachelor. 214

D. Pedro. I shall see thee, ere I die, look pale with love.

Bene. With anger, with sickness, or with hunger, my
lord, not with love: prove that ever I lose more blood
with love than I will get again with drinking, pick out mine
eyes with a ballad-maker's pen and hang me up at the
door of a brothel-house for the sign of blind Cupid. 220

D. Pedro. Well, if ever thou dost fall from this faith,
thou wilt prove a notable argument.

Bene. If I do, hang me in a bottle like a cat and shoot

8 MUCH ADO ABOUT NOTHING.

at me ; and he that hits me, let him be clapped on the
shoulder, and called Adam. -^

D, Pedro, Well, as time shall try :
*In time the savage bull doth bear the yoke/

Bene, The savage bull may; but if ever the sensible
Benedick bear it, pluck off the bull's horns and set them
in my forehead : and let me be vilely painted, and in such
great letters as they write * Here is good horse to hire,* let
them signify under my sign 'Here you may see Benedick
the married man.' 233

Claud, If this should ever happen, thou wouldst be
horn-mad.

D. Pedro, Nay, if Cupid have not spent all his quiver
in Venice, thou wilt quake for this shortly.

Bene, I look for an earthquake too, then.

D, Pedro. Well, you will temporize with the hours. In
the meantime, good Signior Benedick, repair to Leonato*s : ^
commend me to him and tell him I will not fail him at
supper; for indeed he hath made great preparation. 242

Bene, I have almost matter enough in me for such an
embassage ; and so I commit you—

Claud, To the tuition of God : From my house, if I had
it,—

D, Pedro, The sixth of July : Your loving friend. Bene-
dick. 248

Bene, Nay, mock not, mock not. The body of your
discourse is sometime guarded with fragments, and the
guards are but slightly basted on neither : ere you flout
old ends any further, examine your conscience : and so
I leave you. [Exit,

Claud, My liege, your highness now may do me good.

D, Pedro, My love is thine to teach : teach it but how,
And thou shalt see how apt it is to learn
Any hard lesson that may do thee good.

Claud, Hath Leonato any son, my lord?

ACT I. SCENE I. ' 9

D. Pedro. No child but Hero; she's his only heir.
Dost thou affect her, Claudio?

Claud, O, my lord, 260

When you went onward on this ended action,
I look'd upon her with a soldier's eye.
That liked, but had a rougher task in hand
Than to drive liking to the name of love :
But now I am returned and that war-thoughts
Have left their places vacant, in their rooms
Come thronging soft and delicate desires,
All prompting me how fair young Hero is,
Saying, I liked her ere I went to wars.

D, Pedro, Thou wilt be like a lover presently 270

And tire the hearer with a book of 'words.
If thou dost love fair Hero, cherish it.
And I will break with her and with her father
And thou shalt have her. Was*t not to this end
That thou began*st to twist so fine a story.?

Claud, How sweetly you do minister to love.
That know love's grief by his complexion !
But lest my liking might too sudden seem, ^
I would have salved it with a longer treatiseI3iC

D, Pedro, What need the bridge much broader than
the flood ? 280

The fairest grant is the necessity.
Look, what will serve is fit : 'tis once, thou lovest.
And I will fit thee with the remedy.
I know we shall have revelling to-night :
I will assume thy part in some disguise
And tell fair Hero I am Claudio,
And in her bosom I *11 unclasp my heart
And take her hearing prisoner with the force
And strong encounter of my amorous tale ;
Then after to her father will I break ; 290

And the conclusion is, she shall be thine.
In practice let us put it presently. \Exeunt,

lO MUCH ADO ABOUT NOTHING,

Scene II. A room in Leonato's house.
Enter Leonato and Antonio, meeting.

Leon, How now, brother ! Where is my cousin, your
son ? hath he provided this "music ?

Ant, He is very busy about it. But, brother, I can tell
you strange news that you yet dreamt not of.

Leon, Are they good? 5

Ant, As the event stamps them : but they have a good
cover; they show well outward. The prince and Count
Claudio, walking in a thick-pleached alley in mine orchard,
were thus much overheard by a man of mine : the prince
discovered to Claudio that he loved my niece your daughter
and meant to acknowfedge it this night in a dance ; and
if he found her accordant, he meant to take the present
time by the top and instantly break with you of it.

Leon, Hath the fellow syiy wit that told you this.?

Ant, A good sharp fellow : I will send for him ; and
question him yourself. i6

Leon, No, no ; we will hold it as a dream till it appear
itself: but I will acquaint my daughter withal, that she
may be the better prepared for an answer, if peradventure
this be true. Go you and tell her of it. [Enter attendants,'\
Cousins, you know what you have to do. O, I cry you
mercy, friend ; go you with me, and I will use your skill.
Good cousin, have a care this busy time. [Exeunt,

Scene III. The same.
Enter Don John and Conrade.

Con, What the good-year, my lord ! why are you thusv'
out of measure sad ?

D, John, There is no measure in the occasion that
breeds ; therefore the sadness is without limit.

Con, You should hear reason.

D, John, And when I have heard it, what blessing
brings it?

ACT L SCENE III, II

Con, If not a present remedy, at least a patient suffer-
ance. 9

D, John, I wonder that thou, being, as thou sayest thou
art, bom under Saturn, goest about to apply a moral medi-
cine to a mortifying mischief. I cannot hide what I am :
I must be sad when I have cause, and smile at no man's
jests ; eat when I have stomach, and wait for no man's leisure ;
sleep when I am drowsy, and tend on no man's business ;
laugh when I am merry, and claw no man in his humour.

Con, Yea, but you must not make the full show of this
till you may do it without controlment. You have of late
stood out against your brother, and he hath ta'en you newly
into his grace ; where it is impossible you should take true
root but by the fair weather that you make yourself: it is need-
ful that you frame the season for your own harvest. 2 2

D, John, I had rather be a canker in a hedge than
a rose in his grace, and it better fits my blood to be dis-
dained of all than to fashion a carriage to rob love from
any : in this, though I cannot be said to be a flattering
honest man, it must not be denied but I am a plain-dealing
villain. I am trusted with a muzzle and enfranchised with
a clog ; therefore I have decreed not to sing in my cage.
If I had my mouth; I would bite; if I had my liberty,
I would do my liking : in the mean time let me be that I am,
and seek not to alter me. 32

Con, Can you make no use of your discontent-?

D, John, I make all use of it, for I use it only. Who
comes here? ^^^^ BoRACHio.

What news, Borachio ?

Bora, I came yonder from a great supper: the prince
your brother is royally entertained by Leonato ; and I can
give you intelligence of an intended marriage. 39

D, John, Will it serve for any model to build mischief
on? What is he for a fool that betroth s himself to un-
quietness ?

Bora, Marry, it is your brother's right hand.

I a MUCH ADO ABOUT NOTHING,

D. John, Who ? the most exquisite Claudio ?

Bora, Even he.

D, John, A proper squire ! And who, and who ? which
way looks he?

Bora, Marry, on Hero, the daughter and heir of
Leonato. ' 49

D, John, A very forward March-chick ! How came you
to this?

Bora, Being entertained for a perfumer, as I was
smoking a musty room, comes me the prince and Claudio,
hand in hand, in sad conference: I whipt me behind the
arras; and there heard it agreed upon that the prince
should woo Hero for himself, and having obtained her,
give her to Count Claudio.

D, John. Come, come, let us thither : this may prove
food to my displeasure. That young start-up hath all
the glory of my overthrow : if I can cross him any way,
I bless myself every way. You are both sure, and will
assist me? 62

Con, To the death, my lord.

D, John, Let us to the great supper : their cheer is
the greater that I am subdued. Would the cook were
of my mind ! Shall we go prove what *s to be done ?

Bora, We'll wait upon your lordship.^^^ [Exeunt,

ACT II.
Scene I. A hall In Leonato's house.

Enter Leonato, Antonio, Hero, Beatrice, and others,

Leon, Was not Count John here at supper?
Ant, I saw him not.

Beat, How tartly that gentleman looks ! I never can
see him but I am heart-burned an hour after.

ACT II. SCENE /. 13

Hero, He is of a very melancholy disposition.

Beat. He were an excellent man that were made just
in the midway between him and Benedick: the one is
too like an image and says nothing, and the other too like
my lady's eldest son, evermore tattling. 9

Leon. Then half Signior Benedick's tongue in Count
John's mouth, and half Count John's melancholy in Signior
Benedick's face, —

Beat, With a good leg and a good foot, uncle, and money
enough in his purse, such a man would win any woman
in the world, if a* could get her good will.

Leon. By my troth, niece, thou wilt never get thee
a husband, if thou be so shrewd of thy tongue.

Ant, In faith, she's too curst. 18

Beat. Too curst is more than curst: I shall lessen
God's sending that way ; for it is said, * God sends a curst
cow short horns ' ; but to a cow too curst he sends none.^

Leon. So, by being too curst, God will send you no
horns.

Beat. Just, if he send me no husband ; for the which
blessing I am at him upon my knees every morning and
evening. Lord, I could not endure a husband with a beard
on his face : I had rather lie in the woollen. 27

Leon. You may light on a husband that hath no beard.

Beat, What should I do with him? dress him in my
apparel and make him my waiting-gentlewoman ? He that
hath a beard is more than a youth, and he that hath no
beard is less than a man : and he that is more than a youth
is not for me, and he that is less than a man, I am not
for him: therefore I will even take sixpence in earnest of
the bear-ward, and lead his apes into hell.

Leon. Well, then, go you into hell? 36

Beat. No, but to the gate ; and there will the devil meet
me, like an old cuckold, with horns on his head, and say
*Get you to heaven, Beatrice, get you to heaven; here's

14 MUCH ADO ABOUT NOTHING,

no place for you maids : ' so deliver I up my apes, and
away to Saint Peter for the heavens ; he shows me where
the bachelors sit, and there live we as merry as the day
is long.

Ant, \io Hero], Well, niece, I trust you will be ruled
by your father.

Beat. Yes, faith ; it is my cousin's duty to make curtsy
and say 'Father, as it please you/ But yet for all that,
cousin, let him be a handsome fellow, or else make another
curtsy and say 'Father, as it please me.' 49

Leon, Well, niece, I hope to see you one day fitted with
a husband.

Beat, Not till God make men of some other metal than
earth. Would it not grieve a woman to be overmastered
with a piece of valiant dust? to make an account of her
life to a clod of wayward marl? No, uncle, I'll none:
Adam's sons are my brethren; and, truly, I hold it a sin
to match in my kindred.

Leon, Daughter, remember what I told you : if the prince
do solicit you in that kind, you know your answer. 59

Beat, The fault will be in the music, cousin, if you be
not wooed in good time : if the prince be too • important,
tell him there is measure in everything and so dance out
the answer. For, hear me. Hero: wooing, wedding, and
repenting, is as a Scotch jig, a measure, and a cinque pace :
the first suit is hot and hasty, like a Scotch jig, and full
as fantastical ; the wedding, mannerly-modest, as a measure,
full of state and ancientry ; and then comes repentance
and, with his bad legs, falls into the cinque pace faster
and faster, till he sink into his grave.

Leon, Cousin, you apprehend passing shrewdly. 70

Beat. I have a good eye, uncle ; I can see a church
by daylight.

Leon, The revellers are entering, brother : make good
room. [All put on their masks.

ACT II. SCENE 7. 1 5

Enter DoN Pedro, Claudio, Benedick, Balthasar,
Don John, Borachio, Margaret, Ursula, and
others, masked.

D. Pedro. Lady, will you walk about with your friend?

Hero. So you walk softly and look sweetly and say
nothing, I am yours for the walk ; and especially when
I walk away.

D. Pedro. With me in your company?

Hero. I may say so, when I please. 80

D. Pedro. And when please you to say so?

Hero. When I like your favour; for God defend the
lute should be like the case !

D. Pedro. My visor is Philemon's roof ; within the house
is Jove.

Hero. Why, then, your visor should be thatched.

D. Pedro. Speak low, if you speak love.

[Drawing her aside,

Balth. Well, I would you did like me.

Marg, So would not I, for your own sake: for I have
many ill qualities. 90

Balth. Which is one?

Marg. I say my prayers aloud.

Balth. I love you the better : the hearers may cry, Amen.

Marg. God match me with a good dancer!

Balth. Amen.

Marg. And God keep him out of my sight when the
dance is done! Answer, clerk.

Balth. No more words : the clerk is answered.

Urs. I know you well enough ; you are Signior Antonio.

Ant. At a word, I am not. 100

Urs. I know you by the waggling of your head.

Ant. To tell you true, I counterfeit him.

Urs. You could never do him so ill-well, unless you
were the very man. Here's his dry hand up and down:
you are he, you are he.

l6 MUCH ADO ABOUT NOTHING,

Ant, At a word, I am not

Urs, Come, come, do you think I do not know you by
your excellent wit? can virtue hide itself? Go to, mum,
you are he : graces will appear, and there *s an end.

Beat, Will you not tell me who told you so? no

Bene, No, you shall pardon me.

Beat, Nor will you not tell me who you are?

Bene, Not now.

Beat, That I was disdainful, and that I had my good
wit out of the * Hundred Merry Tales ' : — well, this was
Signior Benedick that said so.

Bene, What's he? v

Beat, I am sure you know him well enough.^|^ ,

Bene, Not I, believe me.

Beat, Did he never make you laugh? 120

Bene, I pray you, what is he?

Beat, Why, he is the prince's jester : a very dull fool ;
only his gift is in devising impossible slafi3ers : none but
libertines delight in him; and the commendation is not ill
his wit, but in his villany; for he both pleases men and
angers them, and then they laugh at him and beat him.
I am sure he is in the fleet : I would he had bosirded me.

Bene, When I know the gentleman, I'll tell him what
you say. 129

Beat, Do, do : he '11 but break a comparison or two on
me; which, peradventure not marked or not laughed at,
strikes him into melancholy; and then there's a partridge
wing saved, for the fool will eat no supper that night,
\Music^ We must follow the leaders.

Bene, In every good thing.

Beat, Nay, if they lead to any ill, I will leave them at
the next turning.

\Pance, Then exeunt all except Don John^ BorachiOy
and Claudio,

D, John, Sure my brother is amorous on Hero and hath

ACT 11. SCENE L 1 7

withdrawn her father to break with him about it The ladies
follow her and but one visor remains. 140

Bora, And that is Claudio: I know him by his bearing.

D. John, Are not you Signior Benedick ?

Claud, You know me well; I am he.

Z>. John. Signior, you are very near my brother in his
love : he is enamoured on Hero ; I pray you, dissuade
him from her : she is no equal for his birth : you may do
the part of an honest man in it.

Claud, How know you he loves her?

D. John. I heard him swear his affection.

Bora. So did I too; and he swore he would marry her
to-night. 151

D. John, Come, let us to the banquet.

\Exeunt Don John and Borachto,

Claud. Thus answer I in name of Benedick,
But hear these ill news with the ears of Claudio.
'Tis certain so; the prince wooes for himself.
Friendship is constant in all other things
Save in the office and affairs of love :
Therefore all hearts in love use their own tongues ;
Let every eye negotiate for itself

And trust no agent; for beauty is a witch 160

Against whose charms faith melteth into blood.
This is an accident of hourly proof,
Which I mistrusted not. Farewell, therefore, Hero!

Re-enter BENEDICK.

Bene. Count Claudio .»*

Claud. Yea, the same.

Bene. Come, will you go with me?

Claud. Whither?

Bene. Even tb the next willow, about your own business,
county. What fashion will you wear the garland of? about
your neck, like an usurer's chain ? or under your arm, like

C

1 8 MUCH ADO ABOUT NOTHING.

a lieutenant's scarf? You must wear it one way, for the
prince hath got your Herp^ 172

Claud. I wish him joy of her.

Bene. Why, that's spoken like an honest drovier: so
they sell bullocks. But did you think the prince would
have served you thus?

Claud. I pray you, leave me.

Bene. Ho ! now you strike like the blind man : 'twas
the boy that stole your meat, and you'll beat the post. 179

Claud. If it will not be, I '11 leave you. \Exit.

Bene. Alas, poor hurt fowl! now will he creep into
sedges. But that my Lady Beatrice should know me, and
not know me ! The prince's fool ! Ha ? It may be I go
under that title because I am merry. Yea, but so I am
apt to do myself wrong ; I am not so reputed : it is the
base, though bitter, disposition of Beatrice that puts tht^
world into her person, and so gives me out. Well, I '11 be
revenged as I may.

Re-enter Don Pedro.

D. Pedro. Now, signior, where *s the count? did you
see him ? 190

Bene. Troth, my lord, I have played the part of Lady
Fame. I found him here as melancholy as a lodge in
a warren : I told him, and I think I told him true, that
your grace had got the good will of this young lady ; and
I offered him my company to a willow-tree, either to make
him a garland, as being forsaken, or to bind him up a rod,
as being worthy to be whipped.

D. Pedro. To be whipped! What's his fault?

Bene. The flat transgression of a schoolboy, who, being
overjoyed with finding a birds' nest, shows it his companion,
and he steals it. 201

D. Pedro. Wilt thou make a trust a transgression ? The
transgression is in the stealer.

Bene. Yet it had not been amiss the rod had been

ACT II. SCENE L 1 9

made, and the garland too ; for the garland he might have
worn himself, and the rod he might have bestowed on you,
who, as I take it, have stolen his birds' nest.

D. Pedro, I will but teach them to sing, and restore
them to the owner.

Bene, If their singing answer your saying, by my faith,
you say honestly. 211

D, Pedrh, The Lady Beatrice hath . a quarrel to you :
the gentleman that danced with her told her she is much
wronged by you.

Bene, O, she misused me past the endurance of a block !
an oak but with one green leaf on it would have answered
her; my very visor began to assume life and scold with
her. She told me, not thinking I had been myself, that
I was the prince's jester, that I was duller than a great
thaw; huddling jest upon jest with such impossible con-
veyance upon me that I stood like a man at a mark, with
a whole army shooting at me.. She speaks poniards, and^
every word stabs : if her breath were as terrible as her '
terminations, there were no living near her; she would
infect to the north star. I would not marry her, though
she were endowed with all that Adam had left him before
he transgressed: she would have made Hercules have
turned spit, yea, and have cleft his dub to make the fire
too. Come, talk not of her : you shall find her the infernal
Ate in good apparel. I would to God some scholar would
conjure her ; for certainly, while she is here, a man may
live as quiet in hell as in a sanctuary; and people sin
upon purpose, because they would go thither; so, indeed,
all disquiet, horror and perturbation follows her.

D, Pedro, Look, here she comes. ~ 235

Enter Claudio, Beatrice, Hero, and Leonato.

Bene, Will your grace command me any service to the

world's end ? I will go on the slightest errand now to the .

Antipodes that you can devise to send me on ^ I will fetch

you a toothpicker now from the furthest inch of Asia,

C 2

ao MUCH ADO ABOUT NOTHING.

bring you the length of Prester John's foot, fetch you a hair
off the great Cham's beard, do you any embassage to the
Pygmies, rather than hold three words' conference with this
harpy. You have no employment for me? 243

D, Pedro, None, but to desire your good company.

Bene, O God, sir, here's a dish I love not: I cannot
endure my Lady Tongue. {Exit,

D, Pedro, Come, lady, come ; you have lost the heart
of Signior JBenedick.

Beat, Indeed, my lord, he lent it me awhile ; and I gave
him use for it, a double heart for his single one : marry,
once before he won it of me with false dice, therefore your
grace may well say I have lost it. 252

D, Pedro, You have put him down, lady, you have
put him down.

Beat. So I would not he should do me, my lord, lest
I should prove the mother of fools. I have brought Count
Claudio, whom you sent me to seek.

D, Pedro, Why, how now, count ! wherefore are you
sad?

Claud, Not sad, my lord. 260

D, Pedro, How then ? ' sick ?

Claud, Neither, my lord.

Beat, The count is neither sad, nor sick, nor merry,
nor well ; but civil count, civil as an orange, and some- *
thing of that jealous complexion.

D, Pedro, V faith, lady, I think your blazon to be true ;
though, I'll be sworn, if he be so, his conceit is false.
Here, Claudio, I have wooed in thy name, and fair Hero
is won : I have broke with her father, and his good will
obtained : name the day of marriage, and God give thee
joy! 271

Leon, Count, take of me my daughter, and with her
my fortunes: his grace hath made the match, and all
grace say Amen to it.

Beat, Speak, count, 'tis your cue.

ACT ir, SCENE I. %\

Claud, Silence is the perfectest herald of joy: I were^
but little happy, if I could say how much. Lady, as you;
are mine, I am yours : I give away myself- for you and
dote upon the exchange.

Beat, Speak, cousin ; or, if you cannot, stop his mouth
with a kiss, and let not him speak neither. 281

Z>. Pedro, In faith, lady, you have a merry heart.

Beat, Yea, my lord : I thank it, poor fool, it keeps on
the windy side of care. My cousin tells him in his earJL
that he is in her heart. y

Claud, And so she doth, cousin.

Beat, Good Lord, for alliance! Thus goes every one
to th'e world but I, and I am sunburnt; I may sit in
a comer and cry heigh-ho for a husband !

D, Pedro, Lady Beatrice, I will get you one. 290

Beat, I would rather have one of your father's getting.
Hath your grace ne'er a brother like you? Your father
got excellent husbands, if a maid could come by them.

D, Pedro, Will you have me, lady?

Beat, No, my lord, unless I might have another for
working-days : your grace is too costly to wear every day.
But, I beseech your grace, pardon me : I was bom to
speak all mirth and no matter.

D, Pedro, Your silence most offends me, and to be
merry best becomes you; for, out of question, you were
bom in a merry hour. 301

Beat, No, sure, my lord, my mother cried; but then
there was a star danced, and under that was I bom.
Cousins, God give you joy I

V Leon, Niece, will you look to those things I told
you of?

Beat, I cry you mercy, uncle. By your grace's
pardon. {Exit,

D, Pedro, By my troth, a pleasant-spirited lady.

Leon, There's little of the melancholy element in her,
my lord : she is never sad but when she sleeps, and not

22 MUCH ADO ABOUT NOTHING.

ever sad then ; for I have heard my daughter say, she
hath often dreamed of unhappiness and waked herself
with laughing. 314

D, Pedro, She cannot endure to hear tell of a husband.

Leon. O, by no means : she mocks all her wooers out
of suit.

D. Pedro, She were an excellent wife for Benedick.

Leon, O Lord, my lord, if they were but a week
married, they would talk themselves mad. 320

D, Pedro, County Claudio, when mean you to go to
church ?

Claud, To-morrow, my lord: time goes on crutches
till love have all his rites.

Leon, Not till Monday, my dear son, which is hence
a just seven-night; and a time too brief, too, to have all
things answer my mind. 327

D, Pedro, Come, you shake the head at so long
a breathing: but, I warrant thee, Claudio, the time shall
not go dully by us. I will in the interim undertake one
of Hercules' labours ; which is, to bring Signior Benedick
and the Lady Beatrice into a mountain of affection the
one with the other. I would fain have it a match, and
I doubt not but to fashion it, if you three will but minister
such assistance as I shall give you direction. 335

Leon. My lord, I am for you, though it cost me ten
nights* patchings.

Claud. And I, my lord.

D, Pedro, And you too, gentle Hero?

Hero. I will do any modest office, my lord, to help my
cousin to a good husband. 341

D, Pedro, And Benedick is not the unhopefullest
husband that I know. Thus far can I praise him; he is
of a noble strain, of approved valour and confirmed
honesty. I will teach you how to humour your cousin,
that she shall fall in love with Benedick ; and I, with
your two helps, will so practise on Benedick that, in

ACT II. SCENE II. 7,3

despite of his quick wit and his queasy stomach, he shall
fall in love with Beatrice. If we can do this, Cupid is
no longer an archer: his glory shall be ours, for we are
the only love-gods. Go in with me, and I will tell you
my drift. [Exeunt.

Scene II. TAe same.
Enter Don John and Borachio.

D. John. It is so ; the Count Claudio shall marry the
daughter of Leonato.

Bora. Yea, my lord; but I can cross it.

Z>. John. Any bar, any cross, any impediment will be
medicinable to me: I am sick in displeasure to him, and
whosoever comes athwart his affection ranges evenly with
mine. How canst thou cross this msirriage?

Bora. Not honestly, my lord; but so covertly that no
dishonesty shall appear in me.

D. John. Show me briefly how. 10

Bora. I think I told your lordship a year since, how
much I am in the favour of Margaret, the waiting gentle-
woman to Hero.

Z>. John. I remember. v

Bora. I can, at any unseasonable instant of the night,
appoint her to look out at her lady's chamber window.

D. John. What life is in that, to be the death of this
marriage ?

Bora. The poison of that lies in you to temper. Go
you to the prince your brother ; spare not to tell him
that he hath wronged his honour in marrying the renowned
Claudio — whose estimation do you mightily hold up — to
a contaminated stale, such a one as Hero. * 23

D. John. What proof shall I make of that ?

Bora. Proof enough to misuse the prince, to vex
Claudio, to undo Hero and kill Leonato. Look you for
any other issue?

24 MUCH ADO ABOUT NOTHING,

D, John, Only to despite them, I will endeavour anj^
thing. 29

Bora, Go, then ; find me a meet hour to draw Don
Pedro and the Count Claudio alone: tell them that you
know that Hero loves me ; intend a kind of zeal both to
the prince and Claudio, as, — in love of your brother's
honour, who hath made this match, and his friend's
reputation, who is thus like to be cozened with the
semblance of a maid, — that you have discovered thus.
They will scarcely believe this without trial; offer them
instances ; which shall bear no less likelihood than to see
me at her chamber- window, hear me call Margaret Hero,
hear Margaret term me Claudio; and bring them to see
this the very night before the intended wedding, — for in
the mean time I will so fashion the matter that Hero ^all
be absent, — and there shall appear such seeming truth of
Hero's disloyalty that jealousy shall be called assurance
and all the preparation overthrown. ' 45

D, John, Grow this to what adverse issue it can, I will
put it in practice. Be cunning in the working this, and
thy fee is a thousand ducats.

Bora, Be you constant in the accusation, and my
cunning shall not shame me. 50

D, John. I will presently go learn their day of marriage.

[Exeunt.

Scene HI. Leonato's orchard.

Enter Benedick.
Bene. Boy !

Enter Boy.
Boy. Signior ?

Bene. In my chamber-window lies a book: bring it
hither to me in the orchard.

Boy. I 2im here already, sir.

Bene. I know that ; but I would have thee hence, and
here again. [Exit Boy,] I do much wonder that one
man, seeing how much another man is a fool when he

ACT IT. SCENE III. 25

d dedicates his behaviours to love, will, after he hath
laughed at such shallow follies in others, become the
argument of his own scorn by falling in love : and such
a man is Claudio. I have known when there was no
music with him but the drum and the fife ; and now had he
rather hear the tabor and the pipe : I have known when
he would have walked ten mile a-foot to see a good
armour; and now will he lie ten nights awake, carving
the fashion of a new doublet. He was wont to speak
plain and to the purpose, like an honest man and a
soldier ; and now is he turned orthography ; his words
are a very fantastical banquet, just so many strange dishes.
May I be so converted and see with these eyes? I cannot
tell; I think not: I will not be sworn but love may
transform me to an oyster ; but I *11 take my oath on it,
till he have made an oyster of me, he shall never make
me such a fool. One woman is fair, yet I am well;
another is wise, yet I am well; another virtuous, yet
I am well; but till all graces be in one woman, one
woman shall not come in my grace. Rich she shall be,
that 's certain ; wise, or I *11 none ; virtuous, or I '11 never
cheapen her ; fair, or I '11 never look on her ; mild, or
come not near me ; noble, or not I for an angel ; of good
discourse, an excellent musician, and her hair shall be of
what colour it please God. Ha ! the prince and Monsieur
Love ! I will hide me in the arbour. [ Withdraws,

Enter Don Pedro, Claudio, and Leonato.

D. Pedro. Come, shall we hear this music? 35

Claud. Yea, my good lord. How still the evening is,
As hush'd on purpose to grace harmony !

D. Pedro. See you where Benedick hath hid himself?

Claud. O, very well, my lord : the music ended
We'll fit the kid-fox with a pennyworth. 40

Enter Balthasar with Music.
D. Pedro. Come, Balthasar, we'll hear that song again.

26 MUCH ADO ABOUT NOTHING. \

Balth, O, good my lord, tax not so bad a voice
To slander music any more than once.

D, Pedro, It is the witness still of excellency
To put a strange face on his own perfection.
•I pray thee, sing, and let me woo no more.

Balth, Because you talk of wooing, I will sing ;
Since many a wooer doth commence his suit
To her he thinks not worthy, yet he wooes,
Yet will he swear he loves.

Z>. Pedro, Nay, pray thee, come ; 50

Or, if thou wilt hold longer argument.
Do it in notes.

Balth, Note this before my notes ;

There 's not a note of mine that *s worth the noting.

Z>. Pedro, Why, these are very crotchets that he speaks ;
Note, notes, forsooth, and nothing. \Air.

Bene, Now, divine air ! now is his soul ravished ! Is it
not strange that sheeps' guts should hale souls out of men's
bodies ? Well, a horn for my money, when all 's done.

The Song.

Bodth, Sigh no more, ladies, sigh no more^^

Men were deceivers ever, ^^|^ 60

One foot in sea and one on shore,

To one thing constant never :
Then sigh not so, but let them go.

And be you blithe and bonny,
Converting all your sounds of woe

Into Hey nonny, nonny.

Sing no more ditties, sing no moe,

Of dumps so dull and heavy ;
The fraud of men was ever so,

Since summer first was leavy: 70

Then sigh not so, &c.

D, Pedro, By my troth, a good song.

ACT IT. SCENE III. 27

Balth, And an ill singer, my lord.

D, Pedro. Ha, no, no, faith ; thou singest well enough
for a shift.

Bene, An he had been a dog that should have howled
thus, they would have hanged him : and I pray God his
bad voice bode no mischief. I had as lief have heard the
night-raven, come what plague could have come after it.

D. Pedro. Yea, marry, dost thou hear, Balthasar ? I pray
thee, get us some excellent music ; for to-morrow night we
would have it at the Lady Hero's chamber-window. W^2

Balth. The best I can, my lord.

D. Pedro. Do so : farewell. \Exit Balthasar^ Come
hither, Leonato. What was it you told me of to-day, that
your niece Beatrice was in love with Signior Benedick?

Claud. O, ay : stalk on, stalk on ; the fowl sits. I did
never think that lady would have loved any man.

Leon. No, nor I neither ; but most wonderful that she
should so dote on Signior Benedick, whom she hath in all'
outward behaviours seemed ever to abhor. 91

Bene. Is't possible? Sits the wind in that comer?

Leon. By my troth, my lord, I cannot tell what to think
of it but that she loves him with an enraged affection ; it^Sf^
is past the infinite of thought.

D, Pedro. May be she doth but counterfeit.

Claud. Faith, like enough.

Leon. O God, counterfeit ! There was never counterfeit
of passion came so near the life of passion as she discovers it.

D. Pedro. Why, what effects of passion shows she ? 100

Claud. Bait the hook well; this fish will bite.

Leon. What effects, my lord? She will sit you, you
heard my daughter tell you how.

Claud. She did, indeed.

D. Pedro. How, how, I pray you ? You amaze me :
I would have thought her spirit had been invincible against
all assaults of affection.

a8 MUCH ADO ABOUT NOTHING,

Leon, I would have sworn it had, my lord; especially
against Benedick. 109

Bene, I should think this a gull, but that the white-
bearded fellow speaks it : knavery cannot, sure, hide him-
self in such reverence.

Claud, He hath ta'en the infection: hold it up.

D, Pedro, Hath she made her affection known to Bene-
dick ?

I^on, No ; and swears she never will : that 's her tor-
ment.

Claud, 'Tis true, indeed ; so your daughter says : * Shall
I,' says she, * that have so oft encountered him with scorn,
write to him that I love him?* 120

Leon, This says she now when she is beginning to write
to him ; for she '11 be up twenty times a night, and there
will she sit in her smock till she have writ a sheet of paper :
my daughter tells us all.

Claud, Now you talk of a sheet of paper, I remember
a pretty jest your daughter told us of.

I^on, O, when she had writ it and was reading it over,
she found Benedick and Beatrice between the sheet?

Claud, That. 129

Leon, O, she tore the letter into a thousand halfpence ;
railed at herself, that she should be so immodest to write
to one that she knew would flout her ; * I measure him,* says
she, * by my own spirit ; for I should flout him, if he writ
to me ; yea, though I love him, I should.'

Claud, Then down upon her knees she falls, weeps, sobs,
beats her heart, tears her hair, prays, curses ; * O sweet
Benedick ! God give me patience ! *

Leon, She doth indeed ; my daughter says so : and the
ecstasy hath so much overborne her that my daughter is
sometime afeard she will do a desperate outrage to herself:
it is very true. 141

/?. Pedro, It were good that Benedick knew of it by
some other, if she will not discover it.

ACT II. SCENE III. 29

Claud. To what end ? He would make but a sport of
it and torment the poor lady worse.

D. Pedro. An he should, it were an alms to hang him.
She 's an excellent sweet lady ; and, out of all suspicion,
she is virtuous,

Claud. And she is exceeding wise.

D. Pedro. In everything but in loving Benedick. 150

Leon. O, my lord. Wisdom and blood combating in so
tender a body, we have ten proofs to one that blood hath
the victory. I am sorry for her, as I have just cause, being
her uncle and her guardian.

D. Pedro. I would she had bestowed this dotage on me :
I would have daffed all other respects and made her half
myself. I pray you, tell Benedick of it, and hear what a*
will say.

Leon. Were it good, think you? 159

Claud. Hero thinks surely she will die ; for she says she
will die, if he love her not, and she will die, ere she make
her love known, and she will die, if he woo her, rather
than she will bate one breath of her accustomed crossness.

D. Pedro. She doth well : if she should make tender of
her love, 'tis very possible he '11 scorn it ; for the man, as
you know all, hath a contemptible spirit.

Claud. He is a very proper man.

D. Pedro. He hath indeed a good outward happiness.

Claud. Before God ! and, in my mind, very wise.

D. Pedro. He doth indeed show some sparks that are
like wit. 171

Claud. And I take him to be valiant.

D. Pedro. As Hector, I assure you : and in the managing
of quarrels you may say he is wise ; for either he avoids them
with great discretion, or undertakes them with a most
Christian-like fear.

Leon. If he do fear God, a* must necessarily keep peace :
if he break the peace, he ought to enter into a quarrel
with fear and trembling.

30 MUCH ApO ABOUT NOTHING. \

D. Pedro* And so will he do; for the man doth fear
God, howsoever it seems not in him by some large jests he
will make. Well, I am sorry for your niece. Shall we go
seek Benedick, and tell him of her love? 183

Claud, Never tell him, my lord : let her wear it out with
good counsel.

Leon, Nay, that 's impossible : she may wear her heardL
out first.

D, Pedro, Well, we will' hear further of it by your
daughter : let it cool the while. I love Benedick well ; and
I could wish he would modestly exaniine himself, to see
how much he is unworthy so good a lady. 191

Leon. My lord, will you walk? dinner is ready.

Claud. If he do not dote on her upon this, I will never
trust my expectation.

D. Pedro, Let there be the same net spread for her ;
and that must your daughter and her gentlewomen carry.
The sport will be, when they hold one an opinion of another's
dotage, and no such matter : that 's the scene that I would
see, which will be merely a dumb-show. Let us send her
to call him in to dinner. 200

{Exeunt Don Pedro, ClaudiOy and Leonato.

Bene, [coming forward]. This can be no trick : the
conference was sadly borne. They have the truth of this
from Hero. They seem to pity the lady : it seems her
affections have their full bent. Love me ! why, it must be
requited. I hear how I am censured: they say I will bear
myself proudly, if I perceive the love come from her ; they
say too that she will rather die than give any sign of
affection. I did never think to marry : I must not seem
proud: happy are they that hear their detractions and
can put them to mending. They say the lady is fair ;
'tis a truth, I can bear them witness ; and virtuous ; 'tis
so, I cannot reprove it; and wise, but for loving me; by
my troth, it is no addition to her wit, nor no great argument
of her folly, for I will be horribly in love with her. I may
chance have some odd quirks and remnants of wit broken

ACT III. SCENE I. 31

on me, because I have railed so long against marriage : but
doth not the appetite alter? a man loves the meat in his
youth that he cannot endure in his age. Shall quips and
sentences and these paper bullets of the brain awe a man
from the career of his humour ? No, the world must be
peopled. When I said I would die a bachelor, I did not
think I should live till I were married. Here comes Beatrice.
By this day ! she 's a fair lady : I do spy some marks of love
in her. 224

Enter Beatrice.

Beat. Against my will I am sent to bid you come in to
dinner.

Bene. Fair Beatrice, I thank you for your pains.

Beat. I took no more pains for those thanks than you
take pains to thank me : if it had been painful, I would not
have come. ^-"230

Bene. You take pleasure then in the message?

Beat. Yea, just so niuch as you may take upon a knife's
point and choke a dak withal. You have no stomach,
signior: fare you welr^ [Exit.

Bene. Ha ! * Against my will I am sent to bid you come
in to dinner ; * there 's a double meaning in that. * I took
no more pkins for those thanks than you took pains to thank
me;' that's as much as to say, Any pains that I take for
you is as easy as thanks. If I do not take pity of her, I am
a villain ; if I do not love her, I am a Jew. I will go get
her picture. [Exit.

ACT III.
Scene I. Leonato's orchard.
Enter Hero, Margaret, and Ursula.

Hero. Good Margaret, run thee to the parlour ;
There shalt thou find my cousin Beatrice
Proposing with the prince and Claudio :

3^ MUCH ADO ABOUT NOTHING,

Whisper her ear and tell her, I and Ursula

Walk in the orchard and our whole discourse

Is all of her ; say that thou overheard'st us ;

And bid her steal into the pleached bower,

Wh^re honeysuckles, ripen'd by the sun,

Forbid the sun to enter, like favourites,

Made proud by princes, that advance their pride lo

Against that power that bred it : there will she hide her,

To listen our propose. This is thy office;

Bear thee well in it and leave us alone.

Marg, I '11 make her come, I warrant you, presently.

[Exit,

Hero, Now, Ursula, when Beatrice doth come,
As we do trace this alley up and down.
Our talk must only be of Benedick.
When I do name him, let it be thy part
To praise him more than ever man did merit :
My talk to thee must be how Benedick 20

Is sick in love with Beatrice. Of this matter
Is little Cupid's crafty arrow made,
That only wounds by hearsay.

Enter Beatrice, behind.

Now begin;
For look where Beatrice, like a lapwing, runs
Close by the ground, to hear our conference.

Urs, The pleasant'st angling is to see the fish
Cut with her golden oars the silver stream.
And greedily devour the treacherous bait :
So angle we for Beatrice ; who even now
Is couched in the woodbine coverture. 30

Fear you not my part of the dialogue.

Hero, Then go we near her, that her ear lose nothing
Of the false sweet bait that we lay for it.

[Approaching the bower.
No, truly, Ursula, she is too disdainful;
I know her spirits are as coy and wild
As haggards of the rock.

ACT in. SCENE 1. 33

Urs, But are you sure

That Benedick loves Beatrice so entirely?

Hero» So says the prince and my new-trothed lord.

Urs. And did they bid you tell her of it, madam?

Hero. They did entreat me to acquaint her of it ; 40
But I persuaded them, if they loved Benedick,
To wish him wrestle with affection,
And never to let Beatrice know of it.

Urs. Why did you so? Doth not the gentleman
Deserve as full as fortunate a bed
As ever Beatrice shall couch upon?

Hero. O god of love ! I know he doth deserve
As much as may be yielded to a man:
But Nature never framed a woman's hea^
Of prpuder stuff than that of Beatrice^^ 50

Disdain and scorn ride sparkling in her eyes,.
Misprising what they look on, and her wit
Values itself so highly that to her
All matter else seems weak: she cannot love,
Nor take no shape nor project of affection,
She is so self-endeared.

Urs. Sure, I think so ;

And therefore certainly it were not good
She knew his love, lest she make sport at it.

Hero. Why, you speak truth. I never yet saw man,
How wise, how noble, young, how rarely featured, 60

But she would spell him backward : if fair-faced,
She would swear the gentleman should be her sister;
If black, why. Nature, drawing of an antique.
Made a foul blot; if tall, a lance ill-headed;
If low, an agate very, vilely cut ;
If speaking, why, a vane blown with all winds ;
If silent, why, a block moved with none.
So turns she every man the wrong side out
And never gives to truth and virtue that
Which simpleness and merit purchaseth. 70

Urs. . Sure, sure, such carping is not commendable.
D

34 MUCH ADO ABOUT NOTHING.

Hero, No, not to be so odd and from all fashions
As Beatrice is, cannot be commendable :
But who dare tell her so? If I should speak,
She would mock me into air; O, she would laugh me
Out of myself, press me to death with wit.
Therefore let Benedick, like covered fire.
Consume away in sighs, waste inwardly:
It were a better death, than die with mocks,
Which is as bad as die with tickling. 80

Urs. Yet tell her of it : hear what she will say.

Hero, No ; rather I will go to Benedick
And counsel him to fight against his passion.
And, truly, I'll devise some honest slanders
To stain my cousin with : one doth not know
How much an ill word may empoison liking.

Urs, O, do not do your cousin such a wrong.
She cannot be so much without true judgement— 9^
Having so swifl and excellent a wit

As she is prized to have — as to refuse 90

So rare a gentleman as Signior Benedick.

Hero, He is the only man of Italy,
Always excepted my dear Claudio.

Urs, I pray you, be not angry with me, madam,
Speaking my fancy : Signior Benedick,
For shape, for bearing, argument and valour,
Goes foremost in report through Italy.

Hero, Indeed, he hath an excellent good name.

Urs, His excellence did earn it, ere he had it.
When are you married, madam? 100

Hero, Why, every day, to-morrow. Come, go in :
I'll show thee some attires, and have thy counsel
Which is the best to furnish me to-morrow.

Urs, She's limed, I warrant you: we have caught her,
madam.

Hero, If it prove so, then loving goes by haps :
Some Cupid kills with arrows, some with traps.

\Exeunt Hero and Ursula.

ACT III. SCENE II. 35

Beat [coming forward]. What fire is in mine ears? Can
this be true ?

Stand I condemned for pride and scorn so much?
Contempt, farewell ! and maiden pride, acUeu !

No glory lives behind the back of suqjW^ no

And, Benedick, love on ; I will requite thee,

Taming my wild heart to thy loving hand :
If thpu dost love, my kindness shall incite thee

To bind our loves up in a holy band;
For others say thou dost deserve, and I
Believe it better than reportingly. [Exit,

Scene II. A room in Leonato's home.

Enter DON Pedro, Claudio, Benedick, and
Leonato.

D, Pedro. I do but stay till your marriage be consum-
mate, and then go I toward Arragon.

Claud I'll bring you thither, my lord, if you'll vouch-
safe me.

D, Pedro. Nay, that would be as great a soil in the
new gloss of your marriage as to show a child his new
coat and forbid him to wear ixj^ I will only be bold with
Benedick for his company ; for, from the crown of his head
to the sole of his foot, he is all mirth : he hath twice or
thrice cut Cupid's bow-string, and the little hangman dare
not shoot at him ; he hath a heart as sound as a bell,
and his tongue is the clapper, for what his heart thinks
his tongue speaks. 13

Bene. Gallants, I am not as I have been.

Leon. So say I : methinks you are sadder.

Claud. I hope he be in love.

D. Pedro. Hang him, truant! there's no true drop of
blood in him, to be truly touched with love : if he be sad,
he wants money.

D 2

36 MUCH ADO ABOUT NOTHING.

Bene^ I have the toothache. 20

D. Pedro. Draw it.
Bene, Hang it !

Claud, You must hang it first, and draw it afterwards.
D, Pedro. What! sigh for the toothache?
Leon, Where is but a humour or a worm.
Bene, Well, every one can master a grief but he that
has it.

Claud, Yet say I, he is in love. 28

D, Pedro, There is no appearance of fancy in him, un-
less it be a fancy that he hath to strange disguises ; as,
to be a Dutchman to-day, a Frenchman to-morrow, or in
the shape of two countries at once, as, a German from the
waist downward, all slops, and a Spaniard from the hip
upward, no doublet. Unless he have a fancy to this
foolery, as it appears he hath, he is no fool for fancy, as
you would have it appear he is.

Claud, If he be not in love with some woman, there
is no believing old signs : a' brushes his hat o' mornings ;
what should that bode?

D, Pedro, Hath any man seen him at the barber's ? 40

Claud, No, but the barber's man hath been seen with
him, and the old ornament of his cheek hath alreadjj^
stuffed tennis-balls. ^

Leon, Indeed, he looks younger than he did, by the
loss of a beard.

D, Pedro, Nay, a' rubs himself with civet : can you
smell him out by that ?

Claud. That 's as much as to say, the sweet youth 's in
love.

D, Pedro, The greatest note of it is his melancholy. 50

Claud, And when was he wont to wash his face?

D, Pedro. Yea, or to paint himself? for the which,
T hear what they say of him.

ACT HI. SCENE TI. 37

Claud, Nay, but his jesting spirit; which is now crept
into a lute-string and now governed by stops.

D, Pedro, Indeed, that tells a heavy tale for him:
conclude, conclude he is in love.

Claud, Nay, but I know who loves him.

D, Pedro, That would I know too : I warrant, one
that knows him not. 60

Claud, Yes, and his ill conditions ; and, in despite of
all, dies for him.

D, Pedro, She shall be buried with her face upwards.

Bene, Yet is this no charm for the toothache. Old
signior, walk aside with me : I have studied eight or nine
wise words to speak to you, which these hobby-horses
must not hear, \Exeunt Benedick and Leonato,

D, Pedro, For my life, to break with him about Beatrice.

Claud, 'Tis even so. Hero and Margaret have by this
played their parts with Beatrice ; and then the two bears
will not bite one another when they meet. 71

Enter PON JOHN.

D, John, My lord and brother, God save you !

D, Pedro, Good den, brother. \^

D, John^ If your leisure served, I would speak with you.

D, Pedro. In private?

D. John, If it please you : yet Count Clau^ may
hear ; for what I would speak of concerns him. ^

D, Pedro, What's the matter?

D, John, [To Claudlo] Means your lordship to be
married to-morrow? 80

D, Pedro, You know he does.

V, John. I know not that, when he knows what I know.

Claud, If there be any impediment, I pray you dis-
cover it.

£>, John„ You may think I love you not : let that
appear hereafter, and aim better at me by that I now will

38 MUCH ADO ABOUT NOTHING.

manifest. For my brother, I think he holds you well,
and in deamess of heart hath holp to effect your ensuing
marriage ;— surely suit ill spent and labour ill bestowed.

D, Pedro.' Why, what's the matter? 90

D. John, I came hither to tell you ; and, circumstances
shortened, for she has been too long a talking of, the lady
is disloyal.

Claud. Who, Hero?

D. John. Even she ; Leonato's Hero, your Hero, every
man's Hero.

Claud. Disloyal ? 97

D. John. The word is too good to paint out her wicked-
ness ; I could say she were worse : think you of a worse
title, and I will fit her to it. Wonder not till further
warrant: go but with me to-night, you shall see her
chamber-window entered, even the night before her wed-
ding-day : if you love her then, to-morrow wed her ; but
it would better fit your honour to change your mind.

Claud. May this be so?

D. Pedro. I will not think it.

D. John. If you dare not trust that you see, confess
not that you know : if you will follow me, I will show you
enough ; and when you have seen more and heard more,
proceed accordingly. no

Claud. If I see anything to-night why I should not
marry her to-morrow, in the congregation, where I should
wed, there will I shame her.

p, Pedro. And, as I wooed for thee to obtain her,
I will join with thee to disgrace her.

D. John. I will disparage her no farther till you are
my witnesses : bear it coldly but till midnight, and let the
issue show itself.

D. Pedro. O day untowardly turned !

Claud. O mischief strangely thwarting ! 120

D. John. O plague right well prevented ! so will you
say when you have seen the sequel. [Exejint.

ACT III. SCENE III. 39

Scene III. A street.
Enter Dogberry and Verges with the Watch,

Dog, Are you good men and true?

Verg, Yea, or else it were pity but they should suffer
salvation, body and soul.

Dog. Nay, that were a punishment too good for them,
if they should have any allegiance in them, being chosen
for the prince's watch.

Verg, Well, give them their charge, neighbour Dogberry.

Dog, First, who think you the most desartless man to
be constable?

First Watch, Hugh Otecake, sir, or George Seacole;
for they can write and read. ii

Dog, Come hither, neighbour Seacole. God hath blessed
you with a good name : to be a well-favoured man is the
gift of fortune ; but to write and read comes by nature.

Sec, Watch, Both which, master constable, —

Dog, You have : I knew it would be your answer.
Well, for your favour, sir, why, give God thanks, and make
no boast of it; and for your writing and reading, let that
appear when, there is no need of such vanity. You are
thought here to be the most senseless and fit man for the
constable of the watch; therefore bear you the lantern.
This is your charge : you shall comprehend all vagrom
men : you are to bid any man stand, in the prince's name.

Sec, Watch, How if a* will not stand? 24

Dog, Why, then, take no note of him, but let him go ;
and presently call the rest of the watch together and
thank God you are rid of a knave.

Verg, If he will not stand when he is bidden, he is
none of the princess subjects.

Dog, True, and they are to meddle with none but the
prince's subjects. You shall also make no noise in the

40 MUCH ADO ABOUT NOTHING.

streets; for for the watch to babble and to talk is most
tolerable and not to be endured. 33

Watch, We will rather sleep than talk : we know what
belongs to a watch.

Dog, Why, you speak like an ancient and most quiet
watchman ; for I cannot see how sleeping should offend :
only, have a care that your bills be not stolen. Well, you
are to call at all the ale-houses, and bid those that are
drunk get them to bed. 40

Watch, How if they will not?

Dog, Why, then, let them alone till they are sober :
if they make you not then the better answer, you may say
they are not the men you took them for.

Watch, Well, sir.

Dog, If you meet a thief, you may suspect him, by
virtue of your office, to be no true man; and, for such
kind of men, the less you meddle or make with them,
why, the more is for your honesty.

Watch, If we know him to be a thief, shall we not
lay hands on him? 51

Dog, Truly, by your office, you may; but I think they
that touch pitch will be defiled : the most peaceable way
for you, if you do take a thief, is to let him show himself
what he is and steal out of your company.

Verg, You have been always called a merciful man, jh
partner.

Dog, Truly, I would not hang a dog by my will, much
more a man who hath any honesty in him.

Verg, If you hear a child cry in the night, you must
call to the nurse and bid her still it. 61

Watch, How if the nurse be asleep and will not hear us ?

Dog, Why, then, depart in peace, and let the child
wake her with crying; for the ewe that will not hear her
lamb when it baes will never answer a calf when he bleats.

Verg, 'Tis very true.

ACT III. SCENE III. 41

Dog. This is the end of the charge: — you, constable,
are to present the prince's own person : if you meet the
prince in the night, you may stay him.

Verg. Nay, by'r lady, that I think a' cannot 70

Dog. Five shillings to one on 't, with any man that knows
the statues, he may stay him: marry, not without the
prince be willing ; for, indeed, the watch ought to offend
no man ; and it is an offence to stay a man against his will.

Verg. By'r lady, I think it be so.

Dog. Ha, ah, ha ! Well, masters, good night : an there
be any matter of weight chances, call up me : keep your
fellows' counsels and your own ; and good night. Come,
neighbour. 79

Watch. Well, masters, we hear our charge : let us go
sit here upon the church-bench till two, and then all to bed.

Dog. One word more, honest neighbours. I pray you,
watch about Signior Leonato's door ; for the wedding being
there to-morrow, there is a great coil to-night. Adieu :^
be vigitant, I beseech you. [Exeunt Dogberry and Verges J

Enter Borachio and Conrade.

Bora. What, Conrade!

Watch. [Aside] Peace! stir not.

Bora. Conrade, I say !

Con. Here, man ; I am at thy elbow.

Bora. Mass, and my elbow itched; I thought there
would a scab follow. 91

Con. I will owe thee an answer for that : and now
forward with thy tale.

Bora. Stand thee close, then, under this pent-house,
for it drizzles rain; and I will, like a true drunkard, utter
all to thee.

Watch. [Aside] Some treason, masters : yet stand dose.

Bora. Therefore know I have earned of Don John^^
a thousand ducats. 99

42 MUCH ADO ABOUT NOTHING.

Can, Is it possible that any viilany should be so dear?

Bora, Thou shouldst rather ask if it were possible any
viilany should be so rich ; for when rich villains have
need of poor ones, poor ones may make what price they
will.

Con, I wonder at it.

Bora, That shows thou art unconfirmed. Thou knowest
that the fashion of a doublet, or a hat, or a doak, is
nothing to a man.

Con, Yes, it is apparel.

Bora, I mean, the fashion. no

Con, Yes, the fashion is the fashion.

Bora, Tush ! I may as well say the fool *s the fooL
But seest thou not what a deformed thief this fashion is ?

Watch, [Aside] I know that Deformed ; a' has been
a vile thief this seven year; a* goes up and down like
a gentleman : I remember his name.

Bora, Didst thou not hear somebody?

Con, No; 'twas the vane on the house. ii8

Bora, Seest thou not, I say, what a deformed thief this
fashion is ? how giddily a' turns about all the hot bloods
between fourteen and five-and-thirty ? sometimes fashioning
them like Pharaoh's soldiers in the reechy painting, some-
time like god Bel's priests in the old church-window,
sometime like the shaven Hercules in the smirched worm-
eaten tapestry.

Con. All this I see ; and I see that the fashion wears
out more apparel than the man. But art not thou thyself
giddy with the fashion too, that thou hast shifted out of
thy tale into telling me of the fashion? 129

Bora, Not so, neither ; but know that I have to-night
wooed Margaret, the Lady Hero's gentlewoman, by the
name of Hero : she leans me out at her mistress' chamber-
window, bids me a thousand times good night, — I tell
♦his tale vilely: — I should first tell thee how the prince,

ACT ///, SCENE in. 43

Claudio and my master, planted and placed and possessed
by my master Don John, saw afar off in the orchard this
amiable encounter.

Con. And thought they Margaret was Hero? 138

Bora. Two of them did, the prince and Claudio ; but
the devil my master knew she was Margaret; and partly
by his oaths, which first possessed them, partly by the
dark night, which did deceive them, but chiefly by my
villany, which did confirm any slander that Don John had
made, away went Claudio enraged ; swore he would meet
her, as he was appointed, next morning at the temple, and
there, before the whole congregation, shame her with what
he saw o'er night, and send her home again without a
husband.

First WcUch. We charge you, in the prince's name,
stand! 150

Sec. Watch. Call up the right master constable. We
have here recovered the most dangerous piece of lechery
that ever was known in the commonwealth.

First Watch, And one Deformed is one of them : I know
him ; a' wears a lock.

Con. Masters, masters, —

Sec. Watch. Youll be made bring Deformed forth,
I warrant you.

Con. Masters, —

First WcUch. Never speak : we charge you let us obey
you to go with us. 161

Bora. We are like to prove a goodly commodity, being
taken up of these men's bills.

Con. A commodity in question, I warrant you. Come,
we'll obey you. \Exeunt.

44 MUCH ADO ABOUT NOTHING.

Scene IV. Hero's apartment.

Enter Hero, Margaret, and Ursula.

Hero, Good Ursula, wake my cousin Beatrice, and desire
her to rise.

Urs. I will, lady.

Hero, And bid her come hither.

Urs. Well. ' [Exit.

Marg. Troth, I think your other rabato were better.

Hero. No, pray thee, good Meg, I '11 wear this.

Marg, By my troth, 's not so good; and I warrant
your cousin will say so.

Hero. My cousin 's a fool, and thou art another : I '11
wear none but this. ir

Marg, I like the new tire within excellently, if the hair
were a thought browner; and your gown's a most rare
fashion, i' faith. I saw the Duches$ of Milan's gown that
they praise so.

Hero, O, that exceeds, they say.

Marg, By my troth, 's but a night-gown in respect of
yours : cloth o' gold, and cuts, and laced with silver, set
with pearls, down sleeves, side sleeves, and skirts, round
underbome with a bluish tinsel: but for a fine, quaint,
graceful and excellent fashion, yours is worth ten on 't. 2 1

Hero, God give me joy. to wear it I for my heart is
exceeding heavy.

Marg, 'Twill be heavier soon by the weight of a man.

Hero. Fie upon thee! art not ashamed?

Marg. Of what, lady ? of speaking honourably ? Is not
marriage honourable in a beggar? Is not your lord honour-
able without marriage ? I think you would have me say,
* saving your reverence, a husband ' : an bad thinking do
not wrest true speaking, I '11 offend nobody : is there any
""^arm in ' the heavier for a husband ' ? None, I think, an

ACT III, SCENE IV, 45

it be the right husband and the right wife ; otherwise 'tis

light, and not heavy : ask my Lady Beatrice else ; here

she comes. 34

Enter Beatrice.

Hero, Good morrow, coz.

Beat. Good morrow, sweet Hero.

Hero. Why, how now ? do you speak in the sick tune ?

Beat. I am out of all other tune, methinks.

Marg. Clap 's into ' Light o' love ' ; that goes without
a burden : do you sing it, and I '11 dance it. 40

Beat. Ye light o' love, with your heels ! then, if your
husband have stables enough, you'll see he shall lack no
bams.

Marg. O illegitimate construction! I scorn that with
my heels.

Beat. 'Tis almost ^\^ o'clock, cousin; 'tis time you
were ready. By my troth, I am exceeding ill : heigh-ho J

Marg. For a hawk, a horse, or a husband?

Beat. For the letter that begins them all, H.

Marg. Well, an you be not turned Turk, there's no
more sailing by the star. 51

Beat. What means the fool, trow?

Marg. ' Nothing I ; but God send every one their heart's
desire !

Hero. These gloves the count sent me; they are an
excellent perfume.

Beat. I am stuffed, cousin; 1 cannot smell.

Marg. A maid, and stuffed! there's goodly catching
of cold.

Beat. O, God help me ! God help me ! how long have
you professed apprehension ? 61

Marg. Ever since you left it. Doth not my wit become
me rarely?-*

Beat. It is not seen enough, you should wear it in your
cap. By my troth, I am sick.

46 MUCH ADO ABOUT NOTHING.

Marg. Get you some of this distilled Carduus Bene-
dictus, and lay it to your heart : it is the only things for
a qualm.

Hero. There thou prickest her with a thistle.

Beat' Benedictus ! why Benedictus ? you have some
moral in this Benedictus. 71

Marg, Moral ! no, hy my troth, I have no moral mean-
ing ; I meant, plain holy-thistle. You may think perchance
that I think you are in love : nay, by 'r lady, I am not
such a fool to think what I list, nor I list not to think
what !• can, nor indeed I cannot think, if I would think
my heart out of thinking, that you are in love or that you
will be in love or that you can be in love. Yet Benedick
was such another, and now is he become ^ man : he swore
he would never marry, and yet now, in despite of his heart,
he eats his meat without grudging : and how you may be
converted I know not, but methinks you look with your
eyes as other women do. 83

Beat What pace is this that thy tongue keeps?

Marg. Not a false gallop.

Reenter URSULA.

Urs. Madam, withdraw: the prince, the count, Signior
Benedick, Don John, and all the gallants of the town, are
come to fetch you to church.

Hero. Help to dress me, good coz, good Meg, good
Ursula, [Exeunt.

Scene V. Another room in Leonato's house.
Enter Leonato, with DOGBERRY and VERGES.
Leon. What would you with me, honest neighbour?
Dog. Marry, sir, I would have some confidence with
you that decerns you nearly*

Leon. Brief, I pray you ; for you see it is a busy time
with me.

Dog. Marry, this it is, sir.

ACT III. SCEUE V. 47

Verg. Yes, in truth it is, sir.

Leon, What is it, my good friends ?

Dog, Goodman Verges, sir, speaks a little off the matter :
an old man, sir, and his wits are not so blunt as, God
help, I would desire they were ; but, in faith, honest as the
skin between his brows. 12

Verg, Yes, I thank God I am as honest as any man
living that is an old man and no honester than I.

Dog, Comparisons are odorous: palabras, neighbour
Verges.

Leon, Neighbours, you are tedious.

Dog, It pleases your worship to say so, but we are the
poor duke's officers ; but truly, for mine own part, if I were
as tedious as a king, I could find it in my heart to bestow
it all of your worship. ji- 21

Leon. All thy tediousness on me, ah?

Dog, Yea, an 'twere a thousand pound more than 'tis;
for I hear as good exclamation on your worship as of any
man in the city; and though I be but a poor man, I am
glad to hear it.

Verg, And so am I.

Leon, I would fain know what you have to say.

Verg, Marry, sir, our watch to-night, excepting your
worship's presence, ha' ta*en a couple of as arrant knaves
as any in Messina. 31

Dog, A good old man, sir ; he will be talking : as they
say, When the age is in, the wit is out : God help us ! it
is a world to see. Well said, i' faith, neighbour Verges:
well, God's a good man ; an two men ride of a horse, one
must ride behind. An honest soul, i' faith, sir; by my
troth he is, as ever broke bread ;. but God is to be wor-
shipped ; all men are not alike ; alas, good neighbour !

Leon. Indeed, neighbour, he comes too short of you.

Dog, Gifts that God gives. 40

Leon. I must leave you.

48 MUCH ADO ABOUT NOTHING.

Dog. One word, sir: our watch, sir, have indeed com-
prehended two aspicious persons, and we would have them
this morning examined before your worship.

Leon. Take their examination yourself and bring it me :
I am now in great haste, as it may appear unto you.

Dog. It shall be suffigance.

Leon. Drink some wine ere you go : fcire you well. ^
Enter a Messenger.

Mess. My lord, they stay for you to give your daughter
to her husband. 50

Leon. I '11 wait upon them : I am ready.

\Exeunt LeoncUo and Messenger.

Dog. Go, good partner, go, get you to Francis Seacole ;
bid him bring his pen and inkhom to the gaol ; we are
now to examination these men.

Verg. And we must do it wisely.

Dog. We will spare for no wit, I warrant you ; here 's
that shall drive some of them to a noncome : only get
the learned writer to set down our excommunication and
meet me at the gaol. \Exeunt.

ACT IV.
Scene I. A church.

Enter DON Pedro, Don John, Leonato, Friar Francis,
Claudio, Benedick, Hero, Beatrice, and atten-
dants.

Leon. Come, Friar Francis, be brief; only to the plain
form of marriage, and you shall recount their particular
duties afterwards.

Friar, You come hither, my lord, to marry this lady.

Claud. No.

Leon. To be married to her : friar, you come to marry her.

ACT IV. SCENE /. 49

Friar. Lady, you come hither to be married to this
count.

Hero. I do. 9

Friar. If either of yoq know any inward impediment
why you should not be conjoined, I charge you, on your
souls, to utter it.

Claud. Know you any, Hero?

Hero. None, my lord.

Friar. Know you any, count ?

Leon. I dare make his answer, none.

Claud. O, what men dare do ! what men may do !
what men daily do, not knowing what they do!

Bene. How now I interjections ? Why, then, some be
of laughing, as, ah, ha, he ! 20

Claud. Stand thee by, friar. Father, by your leave :
Will you with free and unconstrained soul
Give me this maid, your daughter?

Leon. As freely, son, as God did give her me.

Claud. And what have I to give you back, whose worth
May counterpoise this rich and precious gift?

D. Pedro. Nothing, unless you render her again.

Claud. Sweet prince, you learn me noble thankfulness.
There, Leonato, take her back again :
Give not this rotten orange to your friend ; 30

She's but the sign and semblance of her honour.
Behold how like a maid she blushes here !
O, what authority and show of truth
Can cunning sin cover itself withal !
Comes not that blood as modest evidence
To witness simple virtue? Would you not swear,
All you that see her, that she were a maid.
By these exterior shows? But she is none:
She knows the heat of a luxurious bed ;
Her blush is guiltiness, not modesty. 4^

Leon. What do you mean, my lord?
E

50 . MUCH ADO ABOUT NOTHING,

Claud. Not to be married,

Not to knit my soul to an approved wanton.

Leon. Dear my lord, if you, in your own . proof,
Have vanquished the resistance of her youth,
And made defeat of her virginity, —

Claud. I know what you would say : if I have known her,
You will say she did embrace me as a husband,
And so extenuate the 'forehand sin:
No, Leonato,

I never tempted her with word too large ; 50

But, as a brother to his sister, Sihow'd
Bashful sincerity and comely love.

Hero. And seem'd I ever otherwise to you ?

Claud. Out on thee! Seeming! I will write against it:
You seem to me as Dian in her orb,
As chaste as is the bud ere it be blown;
But you are more intemperate in your blood
Than Venus, or those pampered animals
That rage in savage sensuality.

Hero. Is my lord well, that he doth speak so wide ? 60

Leon. Sweet prince, why speak not you?

D. Pedro. What should I speak?

I stand dishonoured, that have gone about
To link my dear friend to a common stale.

Leon. Are these things spoken, or do I but dream?

D. John. Sir, they are spoken, and these things are
true.

Bene. This looks not like a nuptial.

Hero. True! O God!

Claud. Leonato, stand I here?
Is this the prince ? is this the prince's brother ?
Is this face Hero's ? are our eyes our own ?

Leon. All this is so : but what of this, my lord ? 70

Claud. Let me but move one question to your daughter ;
And, by that fatheriy and kindly power
'"^at you have in her, bid her answer truly.

ACT IV. SCENE I. 5 1

Leon. I charge thee do so, as thou art my child.

Hero, O, God defend me I how am I beset !
What kind of catechizing call you this ?

Claud. To make you answer truly to your name.

Hero. Is it not Hero? Who can blot that name
With any just reproach ?

Claud. Marry, that can Hero;

Hero itself can blot out Hero's virtue. 80

What man was he talk'd with you yesternight
Out at your window betwixt twelve and one?
Now, if you are a maid, answer to this.

Hero. I talk'd with no man at that hour, my lord.

D. Pedro. Why, then are you no maiden. Leonato,
I am sorry you must hear: upon mine honour.
Myself, my brother and this grieved count
Did see her, hear her, at that hour last night
Talk with a ruffian at her chamber- window ;
Who hath indeed, most like a liberal villain, 90

Confessed the vile encounters they have had
A thousand times in secret.

D. John. Fie, fie ! they are not to be named, my lord.
Not to be spoke of:

There is not chastity enough in language
Without offence to utter them. Thus, pretty lady,
I am sorry for thy much misgovemment.

Claud. O Hero, what a Hero hadst thou been.
If half thy outward graces had been placed
About thy thoughts and counsels of thy heart ! 100

But fare thee well, most foul, most fair ! farewell.
Thou pure impiety and impious purity!
For thee I '11 lock up all the gates of love,
And on my eyelids shall conjecture hang,
To turn all beauty into thoughts of harm.
And never shall it more be gracious.

Leon. Hath no man's dagger here a point for me ?

[Hero swoons.
£ 2

52 MUCH ADO ABOUT NOTHING.

Beat, Why, how now, cousin ! wherefore sink you down ?

D, John, Come, let us go. These things, come thus to
light,
Smother her spirits up. no

\Exeunt Don Pedro, Don John, and Ciaudio.

Bene. How doth the lady?

Beat. Dead, I think. Help, uncle !

Hero ! why. Hero ! Uncle ! Signior Benedick ! Friar !

Leon. O Fate ! take not away thy heavy hand.
Death is the fairest cover for her shame
That may be wished for.

Beat. How now, cousin Hero !

Friar. Have comfort, lady.

ILeon. Dost thou look up?

Friar. Yea, wherefore should she not?

Leon. Wherefore ! Why, doth not every earthly thing
Cry shame upon her? Could she here deny 120

The story that is printed in her blood?
Do not live. Hero ; do not ope thine eyes :
For, did I think thou wouldst not quickly die,
Thought I thy spirits were stronger than thy shames,
Myself would, on the rearward of reproaches.
Strike at thy life. Grieved I, I had but one?
Chid I for that at frugal nature's frame ?
O, one too much by thee ! Why had I one ?
Why ever wast thou lovely in my eyes ?
Why had I not with charitable hand 130

Took up a beggar's issue at my gates.
Who smirched thus and mired with infamy,
I might have said * No part of it is mine ;
This shame derives itself from unknown loins ' ?
But mine, and mine I loved, and mine I praised,
And mine that I was proud on, mine so much
That I myself was to myself not mine.
Valuing of her, — why, she, O, she is fallen
Into a pit of ink, that the wide sea

ACT IV. SCENE /. 53

Hath drops too few to wash her clean again, 140

And salt too little which may season give
To her foul-tainted flesh I

Bene, Sir, sir, be patient.

For my part, I am so attired in wonder,
I know not what to say.

Beat. O, on my soul, my cousin is belied !

Bene. Lady, were you her bedfellow last night?

Beat. No, truly not; although, until last night,
I have this twelvemonth been her bedfellow.

Leon. Confirmed, confirmed! O, that is stronger made
Which was before barr'd up with ribs of iron ! 150

Would the two princes lie, and Claudio lie.
Who loved her so, that, speaking of her foulness,
Wash'd it with tears ? Hence from her I let her die.

Friar. Hear me a little; for I have only been
Silent so long and given way unto
This course of fortune ....
By noting of the lady I have mark'd
A thousand blushing apparitions
To start into her face, a thousand innocent shames
In angel whiteness beat away those blushes ; 160

And in her eye there hath appeared a fire,
To bum the errors that these princes hold
Against her maiden truth. Call me a fool;
Trust not my reading nor my observations,
Which with experimental seal doth warrant
The tenour of my book ; trust not my age.
My reverence, calling, nor divinity.
If this sweet lady lie not guiltless here
Under some biting error.

Leon. Friar, it cannot be.

Thou seest that all the grace that she hath left 170

Is that she will not add to her damnation
A sin of perjury ; she not denies it :
Why seek'st thou then to cover with excuse
That which appears in proper nakedness ?

54 MUCH ADO ABOUT NOTHING,

Friar. Lady, what man is he you are accused of?

Hero, They know that do accuse me ; I know none :
If I know more of any man alive
Than that which maiden modesty doth warrant,
Let all my sins lack mercy! O my father,
Prove you that any man with me conversed i8o

At hours unmeet, or that I yesternight
Maintained the change of words with any creature,
Refuse me, hate me, torture me to death !

Friar, There is some strange misprision in the princes.

Bene, Two of theni have the very bent of honour ;
And if their wisdoms be misled in this.
The practice of it lives in John the bastard,
Whose spirits toil in frame of villanies.

Leon, I know not. If they speak but truth of her.
These hands shall tear her ; if they wrong her honour,
The proudest of them shall well hear of it. 191

Time hath not yet so dried this blood of mine,
Nor age so eat up my invention.
Nor fortune made such havoc of my means.
Nor my bad life reft me so much of friends.
But they shall find, awaked in such a kind,
Both strength of limb and policy of mind.
Ability in means and choice of friends.
To quit me of them throughly.

Friar, Pause awhile.

And let my counsel sway you in this case. 200

Your daughter here the princes left for dead:
Let her awhile be secretly kept in,
And publish it that she is dead indeed ;
Maintain a mourning ostentation.
And on your family's old monument
Hang mournful epitaphs and do all rites
That appertain unto a burial.

Leon, What shall become of this ? what will this do ?

Friar, Marry, this well carried shall on her behalf
Change slander to remorse ; that is some good : aio

ACT IV. SCENE T. 55

But not for that dream I on this strange course,

But on this travail look for greater birth.

She dying, as it must be so maintain'd,

Upon the instant that she was accused,

Shall be lamented, pitied and excused

Of every hearer : for it so falls out

That what we have we prize not to the worth

Whiles we enjoy it, btit being lack'd and lost.

Why, then we rack the value, then we find

The virtue that possession would not show us 220

Whiles it was ours. So will it fare with Claudio:

When he shall hear she died upon his words,

The idea of her life shall sweetly creep

Into his study of imagination.

And every lovely organ of her life

Shall come apparell'd in more precious habit,

More moving-delicate and full of life.

Into the eye and prospect of his soul,

Than when she lived indeed ; then shall he mourn,

If ever love had interest in his liver, 230

And wish he had not so accused her,

Ko, though he thought his accusation true.

Let this be so, and doubt not but success

Will fashion the event in better shape

Than I can lay it down in likelihood.

But if all aim but this be levell'd false.

The supposition of the lady's death

Will quench the wonder of her infamy :

And if it sort not well, you may conceal her,

As best befits her wounded reputation, 240

In some reclusive and religious life,

Out of all eyes, tongues, minds and injuries.

Bene, Signior Leonato, let the friar advise you :
And though you know my inwardness and love
Is very much unto the prince and Claudio,
Yet, by mine honour, I will deal in this
As secretly and justly as your soul
Should with your body.

56 MUCH ADO ABOUT NOTHING.

Leon, Being that I flow in grief,

The smallest twine may lead me.

Friar, *Tis well consented: presently away; 250

For to strange sores strangely they strain the cure.
Come, lady, die to live: this wedding-day

Perhaps is but prolong'd : have patience and endure.

\Exeunt all but Benedick and Beatrice^

Bene, Lady Beatrice, have you wept all this while?

Beat, Yea, and I will weep a while longer.

Bene, I will not desire that.

Beat, You have no reason; I do it freely.

Bene, Surely I do believe your fair cousin is wronged.

Beat. Ah, how much might the man deserve of me that
would right her! ' . 260

Bene, Is there any way to show such friendship ?

Beat, A very even way, but no such friend.

Bene, May a man do it?

Beat, It is a man's office, but not yours.

Bene, I do love nothing in the world so well as you :
is not that strange?

Beat, As strange as the thing I know not. It were as
possible for me to say I loved nothing so well as you : but
believe me not ; and yet I lie not ; I confess nothing, nor
I deny nothing. I am sorry for my cousin. 270

Bene, By my sword, Beatrice, thou lovest me.

Beat,' Do not swear, and eat it.

Bene, I will swear by it that you love me ; and I will
make him eat it that says I love not you.

Beat, Will you not eat your word?

Bene, With no sauce that can be devised to it. I pro-
test I love thee.

Beat, Why, then, God forgive me !

Bene, What offence, sweet Beatrice ?

Beat, You have stayed me in a happy hour : I was
about to protest I loved you. 281

ACT IV. SCENE /. 57

Bene, And do it with all thy heart.

Beat. I love you with so much of my heart that none
is left to protest.

Bene. Come, bid me do anything for thee.

Beat Kill Claudio.

Bene. Ha! not for the wide world.

Beat. You kill me to deny it. Farewell,

Bene. Tarry, sweet Beatrice.

Beat. I am gone, though I am here: there is no love
in you : nay, I pray you, let me go. 291

Bene. Beatrice, —

Beat. In faith, I will go.

Bene. We'll be friends first.

Beat. You dare easier be friends with me than fight
with mine enemy.

Bene. Is Claudio thine enemy ?

Beat. Is he not approved in the height a villain, that
hath slandered, scorned, dishonoured my kinswoman.'*

that I were a man ! What, bear her in hand until
they come to take hands ; and then, with public accusa-
tion, uncovered slander, unmitigated rancour, — O Gk»d, that

1 were a man ! I would eat his heart in the market-place. *
Bene. Hear me, Beatrice, —

Beat. Talk with a man out at a window ! A proper
saying !

Bene. Nay, but, Beatrice, —

Beat. Sweet Hero I She is wronged, she is slandered,
she is undone.

Bene. Beat — 310

Beat. Princes and counties ! Surely, a princely testimony,
a goodly count. Count Comfect ; a sweet gallant, surely !
O that I were a man for his sake! or that I had any
friend would be a man for my sake ! But manhood is
melted into courtesies, valour into compliment, and men
are only tamed into tongue, and trim ones too : he is now

58 MUCH ADO ABOUT NOTHING.

as valiant as Hercules that only tells a lie and swears it
I cannot be a man with wishing, therefore 1 will die
a woman with grieving. 319

Bene, Tarry, good Beatrice. By this hand, I love thee.

Beat, Use it for my love some other way than swear-
ing by it.

Bene, Think you in your soul the Count Claudio hath
wronged Hero?

Beat, Yea, as siu'e as I have a thought or a soul.

Bene, Enough, I am engaged; I will challenge him.
I will kiss your hand, and so I leave you. By this hand,
Claudio shall render me a dear account. As you hear of
me, so think of me. Gk), comfort your cousin : I must say
she is dead : and so, farewell. \Exeunt.

Scene II. A prison.

Enter DOGBERRY, VERGES, and Sexton, in gowns j and
the Watch, with CONRADE and BORACHIO.

Dog, Is our whole dissembly appeared?

Verg, O, a stool and a cushion for the sexton.

Sex, Which be the malefactors?

Dog, Marry, that am I and my partner.

Verg, Nay, that 's certain ; we have the exhibition to
examine.

Sex, But which are the oflfenders that are to be
examined ? let them come before master constable.

Dog, Yea, marry, let them come before me. What is
your name, friend? 10

Bora, Borachio.

Dog, Pray, write down, Borachio. Yours, sirrah?

Con. I am a gentleman, sir, and my name is Conrade.

ACT IV. SCENE II. 59

Dog. Write down, master gentleman Conrad^. Masters,
do you serve God?

B^ra. \ Y^' ^^'•' ^^ ^°P^-

Dog. Write down, that they hope they serve God : and
write God first ; for God defend but God should go before
such villains ! Masters, it is proved already that you are
little better than false knaves; and it will go near to be
thought so shortly. How answer you for yourselves? 21

Con. Marry, sir, we say we are none.

Dog. A marvellous witty fellow, I assure you ; but
I will go about with him. Come you hither, sirrah ;
a word in your ear : sir, I say to you, it is thought you
are false knaves.

Bora. Sir, I say to you we are none.

Dog. Well, stand aside. 'Fore God, they are both in
a tale. Have you writ down, that they are none?

Sex. Master constable, you go not the way to examine :
you must call forth the watch that are their accusers. 31

Dog. Yea, marry, that 's the eftest way. Let the watch
come forth. Masters, I charge you, in the prince's name,
accuse these men.

First Watch. This man said, sir, that Don John, the
prince's brother, was a villain.

Dog. Write down Prince John a villain. Why, this is
flat perjury, to call a prince's brother villain.

Bora. Master constable, —

Dog. Pray thee, fellow, peace : I do not like thy look,
I promise thee. 41

Sex. What heard you him say else?

Sec. Watch. Marry, that he had received a thousand
ducats of Don John for accusing the Lady Hero wrongfully.

Dog. Flat burglary as ever was committed.

Verg. Yea, by mass, that it is.

Sex. What else, fellow?

6o MUCH ADO ABOUT NOTHING.

First Watch, And that Count Claudio did mean, upon
his words, to disgrace Hero before the whole assembly,
and not marry her. 50

Dog, O villain ! thou wilt be condemned into everlast-
ing redemption for this.

Sex, What else ?

Watch, This is all.

Sex, And this is more, masters, than you can deny.
Prince John is this morning secretly stolen away ; Hero
was in this manner accused, in this very manner refused,
and upon the grief of this suddenly died. Master constable,
let these men be bound, and brought to Leonato's: I will
go before and show him their examination. {Exit.

Dog, Come, let them be opinioned. 61

Verg, Let them be in the hands —

Con, Off, coxcomb !

Dog, God 's my life, where 's the sexton ? let him write
down the prince's officer coxcomb. Come, bind -them.
Thou naughty varlet !

Con, Away ! you are an ass, you are an ass. 67

Dog, Dost thou not suspect my place? dost thou not
suspect my years ? O that he were here to write me down
an ass ! But, masters, remember that I am an ass ; though
it be not written down, yet forget not that I am an ass.
No, thou villain, thou art full of piety, as shall be proved
upon thee by good witness. I am a wise fellow ; and, which
is more, an officer ; and, which is more, a householder ; and,
which is more, as pretty a piece of flesh as any is in
Messina ; and one that knows the law, go to ; and a rich
fellow enough, go to ; and a fellow that hath had losses ; and
one that hath two gowns and everything handsome about
him. Bring him away. O that I had been writ down
an ass! [Exeunt, 80

ACT V. SCENE /. 6 1

ACT V.

Scene I. Before Leonato'S house.

Enter Leonato and Antonio.

Ant, If you go on thus, you will kill yourself;
And *tis not wisdom thus to second grief
Against yourself.

Leon, I pray thee, cease thy counsel,

Which falls into mine ears as profitless
As water in a sieve : give not me counsel ;
Nor let no comforter delight mine ear
But such a one whose wrongs do suit with mine.
Bring me a father that so loved his child,
Whose joy of her is overwhelmed like mine,
And bid him speak of patience ; lo

Measure his woe the length and breadth of mine
And let it answer every strain for strain,
As thus for thus and such a grief for such,
In every lineament, branch, shape, and form :
If such a one will smile, and stroke his beard.
Bid sorrow wag, cry * hem ! ' when he should groan,
Patch grief with proverbs, make misfortune drunk
With candle-wasters ; bring him yet to me,
And I 9f him will gather patience.

But there is no such man : for, brother, men 20

Can counsel and speak comfort to that grief
Which they themselves not feel ; but, tasting it,
Their counsel turns to passion, which before
Would give preceptial medicine to rage.
Fetter strong madness in a silken thread.
Charm ache with air and agony with words :
No, no; 'tis all men'? office to speak patience
To those that wring under the load of sorrow,
But no man's virtue nor sufficiency
To be so moral when he shall endure 3^

62 MUCH ADO ABOUT NOTHING,

The like himself. Therefore give me no counsel :
My griefs cry louder than advertisement

Ant. Therein do men from children nothing differ.

Leon, I pray thee, peace. I will be flesh and blood;
For there was never yet philosopher
That could endure the toothache patiently,
However they have writ the style of gods
And made a push at chance and sufferance.

Ant, Yet bend not all the harm upon yourself;
Make those that do offend you suffer too. 40

Leon, There thou speak'st reason : nay, I will do so.
!My soul doth tell me Hero is belied ;
And that shall Claudio know ; so shall the prince
And all of them that thus dishonour her.

Ant, Here comes the prince and Claudio hastily.

Enter Don Pedro and Claudio.
D, Pedro, Good, den, good den.

Claud, Good day to both of you.

Leon, Hear you, my lords, —
D, Pedro. We have some haste, Leonato.

Leon: Some haste, my lord ! well, fare you well, my
lord:
Are you so hasty now? well, all is one.

D, Pedro, Nay, do not quarrel with us, good old man.

Ant, If he could right himself with quarrelling, 51

Some of us would lie low.

Claud, Who wrongs him?

Leon, Marry, thou dost wrong me ; thou dissembler,
thou : —
Nay, never lay thy hand upon thy sword;
I fear thee not

Claud, Marry, beshrew my hand,

If it should give your age such cause of fear :
In faith, my hand meant nothing to my sword.

ACT V. SCENE I. 6^

Leon. Tush, tush, man ; never fleer and jest «it me :
I speak hot like a dotard nor a fool,
As under privilege of age to brag 60

What I have done being young, or what would do
Were I not old. Know, Claudio, to thy head,
Thou hast so wrong'd mine innocent child and me.
That I am forced to lay my reverence by
And, with grey hairs and bruise of many days.
Do challenge thee to trial of a man.
I say thou hast belied mine innocent child;
Thy' slander hath gone through and through her heart,
And she lies buried with her ancestors;
O, in a tomb where never scandal slept, 70

Save this of hers, framed by thy villany !

Claud. My villany?

I^on, Thine, Claudio; thine, I say.

D, Pedro. You say not right, old man.

Leon. My lord, my lord,

I '11 prove it on his body, if he dare.
Despite his nice fence and his active practice.
His May of youth and bloom of lustihood.

Claud. Away, I will not have to do with you.

Leon. Canst thou so daff me ? Thou hast kill'd my child :
If thou kill'st me, boy, thou shalt kill a man.

Ant. He shall kill two of us, and men indeed : — 80
But that's no matter; let him kill one first;
Win me and wear me; let him answer me.
Come, follow me, boy ; come, sir boy, come, follow me :
Sir boy, I '11 whip you from your foining fence ;
Nay, as I am a gentleman, I will.

Leon. Brother, —

Ant. Content yourself. God knows I loved my niece ;
And she is dead, slander'd to death by villains.
That dare as well answer a man indeed
As I dare take a serpent by the tongue : 90

Boys, apes, braggarts, Jacks, milksops !

64 MUCH ADO ABOUT NOTHING.

Leon, ' Brother Antony, —

Anf. Hold you content What, man ! I know them,
yea.
And what they weigh, even to the utmost scruple, —
ScambUng, out-facing, £uhion-monging boys,
That lie and cog and flout, deprave and slander,
Go anticly, show outward hideousness,
And speak off half a dozen dangerous words,
How they might hurt their enemies, if they durst ;
And this is alL

Leon, But, brother Antony, —

An/, Come, 'tis no matter : loo

Do not you meddle; let me deal in this.

D, Pedro, Gentlemen both, we will not wake your
patience.
My heart is sorry for your daughter's death :
But, on my honour, she was charged with nothing
But what was true and very full of proof.

Leon, My lord, my lord, —

D, Pedro, I will not hear you.

Leon. No ? Come, brother ; away ! I will be heard.

Ant, And shall, or some of us will smart for it.

\Exeunt Leonato and Antonio,

D, Pedro, See, see; here comes the man we went to
seek. no

Enter Benedick.

Claud, Now, signior, what news.?

Bene, Good day, my lord.

D, Pedro, Welcome, signior: you are almost come to
part almost a fray.

Claud, We had like to have had our two noses snappisd
off with two old men without teeth.

D, Pedro, Leonato and his brother. What thinkest
thou? Had we fought, I doubt we should have been too
young for them.

ACT V. SCENE I. 65

Bene, In a false quarrel there is no true valour. I came
to seek you both. 131

Claud, We have been up and down to seek thee ; for
we are high-proof melancholy and would fain have it beaten
away. Wilt thou use thy wit?

Bene. It is in my scabbard: shall I draw it?

Z>. Pedro, Dost thou wear thy wit by thy side?

Claud, Never any did so, though very many have been
beside their wit I will bid thee draw, as we do the min-
strels ; draw, to pleasure us.

Z>. Pedro, As I am an honest man, he looks pale.
Art thou sick, or angry? 131

Claud, What, courage, man ! What though care killed
a cat, thou hast mettle enough in thee to kill care.

Bene, Sir, I shall meet your wit in the career, an you
charge it against me. I pray you choose another subject.

Claud, Nay, then, giv^ him another staff: this last
was broke cross.

D, Pedro, By this light, he changes more and more:
I think he be angry indeed.

Claud, If he be, he knows how to turn his girdle. 140

Bene, Shall I speak a word in your ear.?

Claud, God bless me from a challenge !

Bene, [Aside to Claudiol You are a villain ; I jest not :
I will make it good how you dare, with what you dare,
and when you dare. Do me right, or I will protest your
cowardice. You have killed a sweet lady, and her death
shall fall heavy on you. Let me hear from you.

Claud, Well, I will meet you, so I may have good cheer.
D, Pedro, What, a feast, a feast? 149

Claud, V faith, I thank him ; he hath bid me to a calf s
head and a capon; the which if I do not carve most
curiously, say my knife *s naught. Shall I not find a wood-
cock too?

7

66 MUCH ADO ABOUT NOTHING,

Bene, Sir, your wit ambles well ; it goes easily. 154

D, Pedro, I *11 tell thee how Beatrice praised thy wit
the other day. I said, thou hadst a fine wit : * True,' said
she, * a fine little one.' * No,' said I, *a great wit : ' * Right,'
says she, * a great gross one.* * Nay,* said I, * a good wit : *
*Just,' said she, *it hurts nobody.* *Nay,* said I, *the
gentleman is wise : ' * Certain,' said she, * a wise gentleman.'
* Nay,* said I, *he hath the tongues:* 'That I believe,'
said she, *for he swore a thing to me on Monday night,
which he forswore on Tuesday morning ; there 's a double
tongue; there *s two tongues.* Thus did she, an hour to-
gether, trans-shape thy particular virtues : yet at last she
concluded with a sigh, thou wast the properest man in Italy.

Claud, For the which she wept heartily and said she
cared not.

jD. Pedro, Yea, that she did ; but yet, for all that, an
if she did not hate him deadly, she would love him dearly :
the old man*s daughter told us all. 171

Claud, All, all; and, moreover, God saw him when he
was hid in the garden.

D. Pedro, But when shall we set the savage bull's horns
on the sensible Benedick's head ?

Claud, Yea, and text underneath, * Here dwells Bene-
dick the married man'? 177

Bene, Fare you well, boy : you know my mind. I will
leave you now to your gossip-like humour : you break jests
as braggarts do their blades, which, God be thanked, hurt
not. My lord, for your many courtesies I thank you :
I must discontinue your company : your brother the bastard
is fled from Messina : you have among you killed a sweet
and innocent lady. For my Lord Lackbeard there, he and
I shall meet : and, till then, peace be with him. \Exit,

D. Pedro, He is in earnest.

Claud, In most profound earnest ; and, I *11 warrant you,
for the love of Beatrice.

D, Pedro, And hath challenged thee.

ACT V, SCENE I. 67

Claud, Most sincerely. 196

Z>. Pedro, What a pretty thing man is when he goes in
his doublet and hose and leaves off his wit !

Claud. He is then a giant to an ape; but then is an
ape a doctor to such a man.

Z>. Pedro, But, soft you, let me be: pluck up, my
heart, and be sad. Did he not say, my brother was fled ?

Enter Dogberry, Verges, and the Watch, with Conrade
and BORACHIO.

Dog, Come you, sir: if justice cannot tame you, she
shall ne'er weigh more reasons in her balance : nay, an you
be a cursing hypocrite once, you must be looked to. 199

D, Pedro, How now ? two of my brother's men bound !
Borachio one !

Claud, Hearken after their offence, my lord.

D, Pedro, Officers, what offence have these men done ?

Dog, Marry, sir, they have committed false report;
moreover, they have spoken untruths ; secondarily, they
are slanders; sixth and lastly, they have belied a lady;
thirdly, they have verified unjust things; and, to conclude,
they are lying knaves. 208

D, Pedro, First, I ask thee what they have done ; thirdly,
I ask thee what's their offence ; sixth and lastly, why they
are committed ; and, to conclude, what you lay to their charge.

Claud, Rightly reasoned, and in his own division ; and,
by my troth, there's one meaning well suited.

D, Pedro, Who have you offended, masters, that you
are thus bound to your answer.^ this learned constable is
too cunning to be understood : what's your offence? 216

Bora, Sweet prince, let me go no farther to mine answer:
do you hear me, and let this count kill me. I have deceived
even your -very eyes : what your wisdoms could not discover,
these shallow fools have brought to light ; who in the night
overheard me confessing to this man how Don John your
F 2

68 MUCH ADO ABOUT NOTHING.

brother incensed me to slander the Lady Hero, how you
were brought into the orchard and saw me court Margaret
in Hero's garments, how you disgraced her, when you should
marry her: my villany they have upon record; which
I had rather seal with my death than repeat over to my
shame. The lady is dead upon mine and my master's
false accusation; and, briefly, I desire nothing but the
reward of a villain.

D, Pedro, Runs not this speech like iron through your
blood? 230

Claud, I have drunk poison whiles he utter'd it.

D, Pedro, But did my brother set thee on to this ?

Bora, Yea, and paid me richly for the practice of it.

D, Pedro, He is composed and framed of treachery :
And fled he is upon this villany.

Claud, Sweet Hero ! now thy image doth appear
In the rare semblance that I loved it first.

Dog, Come, bring away the plaintiffs : by this time our
sexton hath reformed Signior Leonato of the matter : and,
masters, do not forget to specify, when time and place
shall serve, that I am an ass. 241

Verg, Here, here comes master Signior Leonato, and
the sexton too.

Re-enter Leonato and Antonio, with the Sexton.

Leon, Which is the villain? let me see his eyes,
That, when I note another man like him,
I may avoid him : which of these is he ?

Bora, If you would know your wronger, look on me.

Leon, Art thou the slave that with thy breath hast kilPd
Mine innocent child ?

Bora, Yea, even I alone.

Leon, No, not so, villain ; thou beliest thyself: 250
Here stand a pair of honourable men ;
' third is fled, that had a hand in it.

ACT V. SCENE I. 6g

I thank you, princes, for my daughter's death :
Record it with your high and worthy deeds :
Twas bravely done, if you bethink you of it.

Claud. I know not how to pray your patience;
Yet I must speak. Choose your revenge yourself;
Impose me to what penance your invention
Can lay upon my sin : yet sinn'd I not
But in mistaking.

D, Pedro, By «ny soul, nor 1 : 260

And yet, to satisfy this good old man,
I would bend under any heavy weight
That he'll enjoin me to.

Leon. I cannot bid you bid my daughter live ;
That were impossible: but, I pray you both.
Possess the people in Messina here
How innocent she died ; and if your love
Can labour aught in sad invention,
Hang her an epitaph upon her tomb
And sing it to her bones, sing it to-night: 270

To-morrow morning come you to my house,
And since you could not be my son-in-law,
Be yet my nephew : my brother hath a daughter,
Almost the copy of my child that *s dead,
And she alone is heir to both of us :
Give her the right you should have given her cousin,
And so dies my revenge.

Claud. O noble sir,

Your over-kindness doth wring tears from me!
I do embrace your offer; and dispose
For henceforth of poor Claudio. 280

Leon. To-morrow then I wDl expect your coming ;
To-night I take my leave. This naughty man
Shall face to face be brought to Margaret,
Who I believe was packed in all this wrong,
Hired to it by your brother.

Bora. No, by my soul, she was not,

Nor knew not what she did when she spoke to me,

70 MUCH ADO ABOUT NOTHING.

But always hath been just and virtuous

In anything that I do know by her. 28S

Dog, Moreover, sir, which indeed is not under white
and black, this plaintiff here, the offender, did call me ass :
I beseech you, let it be remembered in his punishment
And also, the watch heard them talk of one Deformed :
they say he wears a key in his ear and a lock hanging
by it, and borrows money in God's name, the which he
hath used so long and never paid that now men grow
hard-hearted and will lend nothing for God's sake : pray
you, examine him upon that point

Leon. I thank thee for thy care and honest pains.

Dog, Your worship speaks like a most thankful and
reverend youth; and I praise God for you. 300

Leon, There's for thy pains.

Dog, God save the foundation!

Leon, Go, I discharge thee of thy prisoner, and I thank
thee.

Dog, I leave an arrant knave with your worship ; which
I beseech your worship to correct yourself, for the example
of others. God keep your worship I I wish your worship
well ; God restore you to health ! I humbly give you leave
to depart; and if a merry meeting may be wished, God
prohibit it! Come, neighbour. 310

[Exeunt Dogberry and Verges.

Leon, Until to-morrow morning, lords, farewell.

Ant, Farewell, my lords : we look for you to-morrow.

D, Pedro, We will not fail.

Claud, To-night I'll mourn with Hero.

Lecn. [To the WatcK\ Bring you these fellows on.
We'll talk with Margaret,
How her acquaintance grew with this lewd fellow.

[Exeunt^ severally.

ACT K SCENE II, 7 1

Scene II. Ije.oj!1\to*s garden.
Enter Benedick and Margaret, meeting.

Bene. Pray thee, sweet Mistress Margaret, deserve well
at my hands by helping me to the speech of Beatrice.

Marg, Will you then write me a sonnet in praise of
my beauty?

Bene, In so high a style, Margaret, that no man living
shall come over it; for, in most comely truth, thou de-
servest it.

Marg, To have no man come over me ! why, shall
I always keep below stairs?

Bene, Thy wit is as quick as the greyhound's mouth;
it catches. ii

Marg, And yours as blunt as the fencer's foils, which
hit, but hurt not.

Bene, • A most manly wit, Margaret ; it will not hurt
a woman : and so, I pray thee, call Beatrice : I give thee
the bucklers.

Marg, Give us the swords; we have bucklers of our
own.

Bene, If you use them, Margaret, you must put in the
pikes with a vice; and they are dangerous weapons for
maids. 2 1

Marg, Well, I will call Beatrice to you, who I think
hath legs.

Bene, And therefore will come. \Exit Margaret,

\Sings\ The god of love,

That sits above.
And knows me, and knows me,
How pitiful I deserve, —

I mean in singing ; but in loving, Leander the good

T% MUCH ADO ABOUT NOTHING.

swimmer, Troilus the first employer of pandars, and a ivhole
bookful of these quondam carpet-mongers, whose names
yet run smoothly in the even road of a blank verse, why,
they were never so truly turned over and over as my poor
self in love. Marry, I cannot show it in rhyme ; I have
tried: I can find out no rhyme to *lady* but 'baby,' an
innocent rhyme.; for * scorn,' * horn,* a hard rhyme ; for
* school,' * fool,* a babbling rhyme ; very ominous endings :
no, I was not bom under a rhyming planet, nor I cannot
woo in festival terms.

Enter Beatrice.

Sweet Beatrice, wouldst thou come when I called thee ? 40

Beat, Yea, signior, and depart when you bid me.

Bene, O, stay but till then !

Beat, *Then* is spoken; fare you well now: and yet,
ere I go, let me go with that I came; which is, with
knowing what hath passed between you and Claudio.

Bene, Only foul words ; and thereupon I will kiss thee.

Beat, Foul words is but foul wind, and foul wind is but
foul breath, and foul breath is noisome; therefore I will
depart unkissed. 49

Bene, Thou hast frighted the word out of his right
sense, so forcible is thy wit. But I must tell thee plainly,
Claudio undergoes my challenge ; and either I must shortly
hear from him, or I will subscribe him a coward. And,
I pray thee now, tell me for which of my bad parts didst
thou first fall in love with me ?

Beat, For them all together ; which maintained so politic
a state of evil that they will not admit any good part to
intermingle with them. But for which of my good parts
did you first suffer love for me?

Bene, Suffer love I a good epithet I I do suffer love
indeed, for I love thee against my will. 61

Beat, In spite of your heart, I think ; alas, poor heart !

ACT V. SCENE IL 73

If you spite it for my sake, I will spite it for yours; for
I will never love that which my friend hates.

Bene. Thou and I are too wise to woo peaceably.

Beat. It appears not in this confession: there 'snot one
wise man among twenty that will praise himself.

Bene. An old, an old instance, Beatrice, that lived in
the time of good neighbours. If a man do not erect in this
age his own tomb ere he dies, he shall live no longer in
monument than the bell rings and the widow weeps. 71

Beat. And how long is that, think you.^

Bene. Question : why, an hour in clamour and a quarter
in rheum: therefore is it most expedient for the wise, if
Don Worm, his conscience, find no impediment to the
contrary, to be the trumpet of his own virtues, as I am
to myself. So much for praising myself, who, I myself
will bear witness, is praiseworthy: and now tell me, how
doth your cousin ?

Beat. Very ill. 80

Bene. And how do you?

Beat. Very ill too.

Bene. Serve God, love me and mend. There will I leave
you too, for here comes one in haste.

Enter Ursula.

Urs. Madam, you must come to your uncle. Yonder 's
old coil at home : it is proved my Lady Hero hath been
falsely accused, the prince and Claudio mightily abused;
and Don John is the author of all, who is fled and gone.
Will you come presently?

Beat. Will you go hear this news, signior? 90

Bene. I will live in thy heart, die in thy lap, and be

buried in thy eyes; and moreover I will go with thee to

thy uncle's. [Exeunt.

74 MUCH ADO ABOUT NOTHING,

Scene III. A church.

Enter DON PEDRO, Claudio, and three or four
with tapers,

Claud, Is this the monument of Leonato?

A Lord, It is, my lord.

Claud, [Reading out of a scroll]

Done to death by slanderous tongues
Was the Hero that here lies:

Death, in guerdon of her wrongs.
Gives her fame which never dies.

So the life that died with shame

Lives in death with glorious fame..

Hang thou there upon the tomb,
Praising her when I am dumb. lo

Now, music, sound, and sing your solemn hymn.

Song.

Pardon, goddess of the night.
Those that slew thy virgin knight;
For the which, with songs of woe.
Round about her tomb they go.

Midnight, assist our moan;

Help us to sigh and groan.
Heavily, heavily:

Graves, yawn and yield your dead.

Till death be uttered, 20

Heavily, heavily.

Claud, Now, unto thy bones good night !
Yearly will I do this rite.

D, Pedro. Good morrow, masters ; put your torches out :

The wolves have prey'd; and look, the gentle day,
Before the wheels of Phoebus, round about

Dapples the drowsy east with spots of grey.
Thanlcs to you all, and leave us: fare you well.

ACT V. SCENE IV, 75

Claud. Good morrow, masters: each his several way.

D. Pedro, Come, let us hence, and put on other weeds ;
And then to Leonato's we will go. 31

Claud, And Hymen now with luckier issue speed's
Than this for whom we rendered up this woe. \Exeunt,

Scene IV. A room in Leonato's house.

Enter Leonato, Antonio, Benedick, Beatrice, Mar-
garet, Ursula, Friar Francis, and Hero.

Friar, Did I not tell you she was innocent?

Leon, So are the prince and Claudio, who accused her
Upon the error that you heard debated :
But Margaret was in some fault for this.
Although against her will, as it appears
In the true course of all the question.

Ant, Well, I am glad that all things sort so well.

Bene, And so am I, beinjgf else by faith enforced
To call young Claudio to a reckoning for it.

Leon, Well, daughter, and you gentlewomen all, 10

Withdraw into a chamber by yourselves.
And when I send for you, come hither mask'd.

\Exeunt Ladies.
The prince and Claudio promised by this hour
To visit me. You know your office, brother:
You must be father to your brother's daughter,
And give her to young Claudio.

Ant, Which 1 will do with confirmed countenance.

Bene, Friar, I must entreat your pains, I think.

Friar, To do what, signior?

Bene, To bind me, or undo me ; one of them. 20

Signior Leonato, truth it is, good signior.
Your niece regards me with an eye of favour.

76 MUCH ADO ABOUT NOTHING.

Leon, That eye my daughter lent her: 'tis most true.

Bene, And I do with an eye of love requite her.

Leon, The sight whereof I thiiik you had from me.
From Claudio and the prince: but what's your will?

Bene, Your answer, sir, is enigmatical:
But, for my will, my will is your good will
May stand with ours, this day to be conjoin'd
In the state of honourable marriage : 30

In which, good friar, I shall desire your help.

Leon, My heart is with your liking.

Friar, And my help.

Here comes the prince and Claudio.

Enter Don Pedro and Claudio, and two or three others.

D, Pedro, Good morrow to this fair assembly.

Leon, Good morrow, prince ; good morrow, Claudio :
We here attend you. Are you yet determined
To-day to marry with my brother's daughter?

Claud, I '11 hold my mind, were she an Ethiope.

Leon, Call her forth, brother; here's the friar ready.

\Exit Antonio,

D, Pedro, Good morrow. Benedick. Why, what's the
matter, 40

That you have such a February face.
So full of frost, of storm and cloudiness?

Claud, I think he thinks upon the savage bull.
Tush, fear not, man ; we '11 tip thy horns with gold
And all Europa shall rejoice at thee,
As once Europa did at lusty Jove,
When he would play the noble beast in love.

Bene, Bull Jove, sir, had an amiable low ;
And some such strange bull leap'd your father's cow,
And got a calf in that same noble feat 50

Much like to you, for you have just his bleat.

Claud, For this I owe you : here comes other reckonings.

ACT V. SCENE IK 77

Re-enter Antonio, with the Ladies masked.

Which is the lady I must seize upon ?

Ant. This same is she, and I do give you her.

Claud. Why, then she 's mine. Sweet, let me see your
face.

Leon, No, that you shall not, till you take her hand
Before this friar and swear to marry her.

Claud. Give me your hand : before this holy friar,
I am your husband, if you like of me.

Hero. And when I lived, I was your other .wife. 60

[Unntaskingi
And when you loved, you were my other husband.

Claud. Another Hero!

Hero. Nothing certainer:

One Hero died defiled, but I do live.
And surely as I live, I am a maid.

D. Pedro. The former Hero ! Hero that is dead !

Leon. She died, my lord, but whiles her slander lived.

Friar. All this amazement can I qualify ;
When after that the holy rites are ended,
I '11 tell you largely of fair Hero's death :
Meantime let wonder seem fiamiliar, 70

And to the chapel let us presently.

Bene. Soft and fair, friar. Which is Beatrice?

Beat. \Unmasking\ I answer to that name. What is
your will?

Bene. Do not you love me?

Beat. Why, no; no more than reason.

Bene. Why, then your uncle and the prince and
Claudio
Have been deceived; they swore you did.

BecU. Do not you love me?

Bene. Troth, no ; no more than reason.

Beai. Why, then my cousin Margaret and Ursula
Are much deceived; for they did swear you did.

78 MUCH ADO ABOUT NOTHING.

Bene, They swore that you were almost sick for me. 80

Beat, They swore that you were weil-nigh dead for me.

Bene, Tis no such matter. Then you" do not love me?

Beat, No, truly, but in friendly recompense.

Leon, Come, cousin, I am sure you love the gentleman.

Claud, And I *11 be sworn upon *t that he loves her ;
For here's a paper written in his hand,
A halting sonnet of his own pure brain,
Fashion'd to Beatrice.

Hero, And here's another

Writ in my cousin's hand, stolen from her pocket,
Containing her affection unto Benedick. 90

Bene, A miracle ! here 's our own hands against our
hearts. Come^J^ will have thee ; but, by this light, I take
thee for pity. jT^

Beat, I would not deny you ; but, by this good day,
I yield upon great persuasion ; and partly to save your life,
for I was told you were in a consumption.

Bene, Peace ! I will stop your mouth. {Kissing her,

D, Pedro, How dost thou. Benedick, the married man?

Bene, I '11 tell thee what, prince ; a college of wit-crackers
cannot flout me out of my humour. Dost thou think I care
for a satire or an epigram ? No : if a man will be beaten
with brains, a* shall wear nothing handsome about him. In
brief, since I do purpose to marry, I will think nothing to any
purpose that the world can say against it ; and therefore
never flout at me for what I have said against it ; for man
is a giddy thing, and this is my conclusion. For thy part,
Claudio, I did think to have beaten thee; but in that thou
art like to be my kinsman, live unbruised and love my
cousin. 10^

Claud, I had well hoped thou wouldst have denied
Beatrice, that I might have cudgelled thee out of thy single
life, to make thee a double-dealer ; which, out of question,
thou wilt be, if my cousin do not look exceeding narrowly
to thee.

ACT V. SCENE IV, 79

Bene. Come, come, we are friends ; let *s have a dance
ere we are married, that we may lighten our own hearts
and our wives' heels.

Leon, We'll have dancing afterward.

Bene, First, of my word ; therefore play, music. Prince,
thou art sad ; get thee a wife, get thee a wife : there is
no staff more reverend than one tipped with horn. 1 2 1

Enter a Messenger.

Mess, My lord, your brother John is ta'cn in flight,
And brought with armed men back to Messina.

Bene, Think not on him till to-morrow ; I '11 devise thee
brave punishments for him. Strike up, pipers.

[Dance. Exeunt.

NOTES.

Dramatis Personae. In the lists of persons given by Rowe and Pope
is included 'Innogen, wife to Leonato.' The stage direction at the
opening of the play in the Quarto and Folios is * Enter Leonato
gouemour of Messina, Innogen his wife, Hero his daughter, and
Beatrice his neece, with a messenger.* And at the beginning of the
second Act we find : * Enter Leonato, his brother, his wife, Hero his
daughter, and Beatrice his neece, and a kinsman.' But as Leonato's
wife takes no part in the play, and as it is incredible that Hero's
mother could have looked on in silence at the crisis of her daughter's
fortunes, her name was properly omitted by Theobald, who remarks,

* It seems as if the poet had in his first Plan designed such a Character ;
which, on a Survey of it, he found would be sjiperfluous ; and therefore
he left it out.'

ACT L
Scene I.

I, 8. Don Pedro is Rowe*s correction of Don Peferasii stands in the
Quarto and Folios, which have Don Pedro elsewhere.

6. sort. It is disputed whether in this passage ' sort * is used in the
sense of ' kind,' or of * rank' or * condition.' In the former case * name *
mast mean * title,' and in ' the latter * military reputation,' as in
Richard II, ii, 3. 56 :

* And in it are the Lords of York, Berkeley, and Seymour ;
None else of name and noble estimate.'
It is a matter of indifference which alternative is taken ; but it is worth
noting that a few lines lower down, 1. 28, * sort ' undoubtedly means

♦ rank.'

13. hcUh indeed better bettered expectation^ &c., hath surpassed
expectation more than you must expect me to be able to describe.

15. will^ who will.

19. a badge of bitterness. Compare Sonnet xliv. 14 : ' heavy tears,
badges of eithei's woe.' A badge was a mark of service, worn by the

6

82 .NOTES. [act I.

retainers of a nobleman ; hence appropriately used for a mark of in-
feriority, and as sach an expression of modesty.

21. In great measure, abundantly. The Authorised Version of
Psalm Ixxx. 5 is *and givest them tears to drink in great measure,'
where the Prayer- Book Version has ' and givest them plenteousness of
tears to drink.*

23. truer, more honest, more genuine. Compare Timon of Athens,
iv. 3. 487 :

'Ne'er did poor steward wear a truer grief
For his undone lord than mine eyes for you.'

25. Signior Mountanto. * Montanto ' and * Montant * were terms of
the fencing-school, the latter being defined by Cotgrave as * an vpright
blow, or thrust.' Beatrice therefore indicates in her lively way that
Benedick is a professional fencer or bravo.

28. of any sort, of any rank. Compare Henry V, iv. 7. 142, • It may
be his enemy is a gentleman of great sort.'

32. set up his bills, issued a public challenge. Steevens quotes from
Nashe's Have with you to Saffron Walden (1596), ed. Grosart, iii. 179,
* Setting vp bills, like a Bear-ward or Fencer, what fights we shall haue,
and what weapons she will meete me at.* According to Beatrice,
Benedick was also a professed lady-killer, and had even the vanity to
challenge Cupid.

33. the flight was an arrow for shooting at long distances. See Ben
Jonson, Cynthia's Revels, v. 10: * O yes, here be of all sorts, flights,
rovers, and butt-shafts.' Farmer quotes the title-page of an old
pamphlet : ' A new post — a marke exceeding necessary for all men's
arrows : whether the great man's flight, the gallant's rover, the wise
man's pricke-shaft, the poor man's but-shaft, or the fool's bird- bolt.'
Cupid's weapon was the butt-shaft or bird- bolt, as we learn from Love's
Labour's Lost, i. 2. 181 : * Cupid's butt-shaft is too hard for Hercules'
club ' ; and again, iv. 3. 25 : * Proceed, sweet Cupid : thou hast thumped
him with thy bird-bolt under the left pap.' This is why the fool is said
to have selected it.

35. the bird-bolt was a blunt-headed arrow used in shooting with the
cross-bow. Being less dangerous, it was a weapon which the domestic
fools were allowed to play with. Hence the proverb in Henry V, iii.
7. 132, quoted by Douce, * a fool's bolt is soon shot.' The Quarto and
Folios read * Burbolt' Douce in his Illustrations of Shakespeare gives
several forms of the bird-bolt

lb, killed and eaten. Steevens quotes Henry V, iii. 7. 99 :

* Ram. He longs to eat the English.
Con. I think he will eat all he kills.'

sc. I.] MUCH ADO ABOUT NOTHING. 83

Cotgrave (Fr. Diet.) has : • Mangeur de charrettes ferries. A notable
kill-cow, monstrous huff-snuff, terrible swaggerer ; one that will kill all
he meets, and eat all he kills.'

38. /ax, censure, ridicule. Compare As You Like It, ii. 6. 7 1 :

*Why, who cries out on pride,
That can therein tax any private party?*
And i. a. 91 : * You'll be whipped for taxation one of these days.'

39. he *ll be meet with you, he '11 be even with you, be quits with you.
Steevens quotes from Barton Holiday's Technogamia (1618) :

* Go meet her, or else she '11 be meet with me/
See also Ben Jonson, Bartholpmew Fair, ii. i : ' Well, I shall be meet
with your mumbling mouth one day.'

41. victual. Compare Exodus xii. 39: 'Neither had they prepared
for themselves any victual.' Shakespeare elsewhere uses the plural
form.

Jb, holp, helped. As in iii. 2. 88, and The Tempest, i. 2. 63 :
' By foul play, as thou say'st, were we heaved thence.
But blessedly holp hither.'
4a. a very valiant trencher-man, Cotgrave defines Freschedenty
' A glutton, lavenor, greedie fellow, good trencher-man ; one that eats
as if he had beene hunger-starued.'

47. stuffed. Compare Romeo and Juliet, iii. 5. 183 :

'Stuff'd, as they say, with honourable parts.'

49. a stuffed man, Beatrice is still thinking of Benedick's prowess
as a valiant trencher-man. She is free-spoken, but there is no necessity
to attribute to her the coarse reference suggested by Farmer, who
points out that ' a stuffed man was one of the many cant phrases for
a cuckold,' for the sufficient reason that if it were so it would have no
point in being applied to Benedick, who was unmarried. Nor is there
any ground for supposing that Beatrice checks herself for fear of being
misinterpreted.

50. but for the stuffing, — well, &c. This punctuation was adopted
by Theobald, after Davenant in his Law against Lovers. The Quarto
and Folios have ' but for the stuffing well, &c.'

55. four of his five wits. As has been observed in a note to Lear, iii.
4. 56 (Clar. Press ed.), the five wits, or intellectual powers, correspond
in ntimber to the five senses. Compare Sonnet cxli. 9, 10 :
*• But my five wits nor my five senses can
Dissuade one foolish heart from serving thee.'
Also Romeo and Juliet, i. 4. 47, ii. 4. 77.
lb. halting, limping. See v. 4. 87.
6 2

84 NOTES. [act I.

56. governed. Compare The Merchant of Venice, iv. i. 134 :
* Thy cnrrish spirit
Govem'd a wolf.'

56, 57. wit enough to keep himself warm, A proverbial expression
which is again alluded to in The Taming of the Shrew, ii. i. 268 :

' Kath. A witty mother t witless else her son.

Pet. Am I not wise ?

Kath, Yes : keep you warm.*
Steevens quotes from Ben Jonson, C)mthia's Revels, ii. i : * Madam,
your whole self cannot but be perfectly wise ; for your hands have wit
enough to keep themselves warm.* It is still a common saying in
Ireland. See Blackwood's Magazine, September, 1893, p. 367.

57. a difference. An heraldic term, denoting the mark attached to
a coat of arms, by which members of the same family were distinguished
from each other. See Hamlet, iv. 5. 183: 'O, you must wear your
rue with a difference.'

^^. to be knorwn^ &c. For this use of the infinitive see i. i. 160,
iii. 2. 18.

60. sworn brothj^. * Sworn brothers ' were those who were bound by

oath to share each other's fortunes, and were therefore the closest friends.

So in Chaucer (Freres Tale, L 6987, ed. Tyrwhitt), and Richard II, v. i. 20:

' I am sworn brother, sweet,

To grim Necessity.'

And I Henry IV, ii. 4. 7 ; * I am sworn brother to a leash of drawers.'

63. b/oeht the mould or shape upon which a hat was made. See
Lear, iv. 6. 187 : * This' a good block.' And Lyly, Euphues (ed. Arber),
p. 324 : ' That there is no more hold in a new friend then a new
fashion, that Hats alter as fast as the Turner can tume his block.'

64. is not in your bopks^ is not in your favour, or, as we now say,
in your good books. The origin of the phrase is uncertain, though its
meaning is plain. It may be derived either from the memorandum or
visiting books which contained a list of personal friends and ac*
quaintances ; or from the registers in which the names of members of
Colleges and Universities were entered ; or from the lists which were
kept in great households of the retainers of the family. The first of
these is perhaps the most probable. Malone has suggested that, as in
the language of courtship * lover ' and * servant ' were synonymous, * to
be in a person's books ' was applied equally to the lover and the menial
attendant. But this does not suit the relationship between Benedick
and Beatrice. For the phrase, see Lyly's Euphues (ed. Arber), p. 374:
*■ If I were as farre in thy bookes to be beleeued, as thou art in mine to
be beloued, thou shouldest either soone be made a wife, or euer remaioe
a Virgin.'

8C. I.] MUCH ADO ABOUT NOTHING. 85

65. an^ if.

66, 67. no young squarer, no quarrelsome yonng fellow. The verb
to square in the sense of to quarrel occurs several times. See Antony
and Cleopatra, iii. 13. 41 : * Mine honesty and I begin to square/

72. presently, immediately, instantly.

75. hold friends f keep friends, not quarrel.

77. You will never run mad in consequence of catching the
Benedick.

80. In the stage direction of the Quarto and Folios Don John is
called 'lohn the Bastard.' This probably accounts for his moody,
discontented character. Bacon {Essay of Envy, p. 30) says, • Deformed
Persons, and Eunuches, and Old Men, and Bastards, are Envious : For
he that cannot possibly mend his owne case, will doe what he con to
impaire anothers.*

8a. encounter ttf come to meet it.

87. charge, literally, burden ; hence, responsibility, expense, and so
equivalent to * cost ' in 1. 81.

91. a child, and therefore not to be suspected.

92. You have it full, like a home thrust.

93. 94. fathers herself, shows who her father is.

99. will still be talking, will still keep talking. See iii. 5. 32.

104. convert, used intransitively, as in Richard II, v. i. 66 :
' The love of wicked men converts to fear.*
The Geneva Version (1560) of i Kings xiii. 33 is * Howbeit after this,
leroboam conuerted not from his wicked way.*

107. could find in my heart, could make up my mind, resolve. See
iii. 5. 20, and As You Like It, ii. 4. 4 : * I could find in my heart to
disgrace my man's apparel and to cry like a woman.'

109. A dear happiness, a precious piece of good luck.

114. still, constantly. So in Hamlet, ii. 2. 42 :

' Thou still hast been the father of good news.*

115. predestinate, predestinated: as 'articulate' for 'articulated,*
I Henry IV, v. i. 72 ; * suffocate ' for • suffocated,* Troilus and Cressida,
i- 3' 125. It might be maintained that these forms are derived from
the Latin form of the participle in 'Otus, but there is no evidence of
this, and there are many instances of verbs ending m d ox t the
participles of which drop the d of the termination. See iii. 2. i.

lb. The scratched face was the certain doom of the man who
ventured to marry Beatrice.

118. as yours were. An instance of the use of the subjunctive mood
which is now obsolete. Compare ii. i . 6 : ' He were an excellent man
that were made just in the midway between him and Benedick.* In

86 NOTES. [act I.

Latin also the subjunctive is used for the indicative, and its presence is
accounted for by the assimilating power of a neighbouring clause.

124. a jade's tricky a trick played by a vicious horse. Compare All's
Well, iv. 5. 64 :

' Laf. Go thy ways : let my horses be well looked to, without any
tricks.

Clo, li I put any tricks upon 'em, sir, they shall be jades' tricks ;
which are their own right by the law of nature.*

And Ben Jonson, Every Man in his Humour, iii. 2 : 'An you offer to
ride me with your collar, or halter either, I may hap shew you a jade*s
trick, sir.'

126. Durbg this 'skirmish of wit* between Benedick and Beatrice,
Don Pedro and Leonato have been conversing apart. The punctuation
here adopted was first given in the Cambridge Shakespeare. The
Quarto and Folios place a colon at ' all,* and connect ' Leonato ' with
what follows, and this arrangement is made intelligible by Theobald,
who prints 'Leonato. — Signior Claudio, and Signior Benedick, — my
dear friend Leonato hath invited you all.*

I33» I34« f^y lord: being , . . brother y /, &c. CapelVs punctuation.
The Quarto and Folios put a comma at * lord,* and the longer stop at
* brother.*

135- / thank you. Sir John Hawkins observes : * The poet has
judiciously marked the gloominess of Don John's character, by making
him averse to the common forms of civility.* He might have added
that bluntness of manner docs not of necessity indicate honesty of
purpose.

137. Please it, may it please. For this, and the omission of *to*
before the infinitive, see Love*s Labour's Lost, v. 2. 311 :
* Please it your majesty
Command me any service to her thither?*

144. simple t sincere.

148-150. Compare Lyly's Euphues (ed. Arber), p. 281 : 'I know not
how I shold commend your beautie, because it is somwhat to brown,
nor your stature being somwhat to low.*

157. Yea. According to Sir Thomas More, Yea and Nay are answers
to questions firamed in the affirmative : Yes and No to questions framed
in the negative. But Shakespeare does not always observe this rule,
and even in the earliest times the usage appears not to have been
consistent. See Marsh, Lectures on the English Language, ed. Smith,
pp. 415, 422-425.

158. a sad brow^ a grave, serious face. Compare As You Like It, iii.
2. 227 : ' Nay, but the devil take mocking : speak, sad brow and true
maid.* And 2 Henry IV, v. i. 92 : 'O, it is much that a lie with

sc. I.] MUCH ADO ABOUT NOTHING. 87

a slight oath and a jest with a sad brow will do with a fellow that
never had the ache in his shoulders !'

lb. the flouting J<uk^ the mocking knave. Compare The Tempest, iv.
1 . 198 : * Monster, your fairy . . . has done little better than played
the Jack with us ' ; where there is perhaps a reference to Jack o* Lantern
or Will o* the Wisp. For * Jack,* as a term of contempt, see Romeo
and Juliet, iii. i. 12 : ' Thou art as hot a Jack in thy mood as any in
Italy.* So also * bragging Jacks,* The Merchant of Venice, iii. 4. 77 ;

* twangling Jack,* The Taming of the Shrew, ii. i. 159 ; * a swearing
Jack,* Ibid. ii. 1. 290. For 'flout* see below, i. 1. 251, v. 4. 100.
Etymologically it is the same as *■ flute,* used as a verb, to play the
flute; and hence, metaphorically, to cajole, wheedle. Kilian in his
Etymologicum Teutonicae Linguae (1777) has * Fluyten. Fistula canere,
tibiis canere, dr* metaph. Mentiri, bland^ dicere.* Staunton quotes very
appropriately from Futtenham's Arte of English Poesie (p. 201, ed.
Arber) what is given as an illustration of * Anttphrasis, or the Broad
floute * : * Or when we deride by plaine and flat contradiction, as he
that saw a dwarfe go in the streete said to his companion that walked
with him : See yonder gyant : and to a Negro or woman blackemoore,
in good sooth ye are a faire one, we may call it the broad floute.*

159. Cupidy who is blind.

lb. hare-finder. In * The Lawes of the Leash or Coursing ' as given
in Markham's Country Contentments (1675), P* 4^> ^^ ^'^ * Th.z.t he
which was chosen Fewterer, or letter-loose of the Grey-hounds, should
receive the Greyhounds match[t] to run together into his Leash, as soon
as he came into the field, and to follow next to the Hare-finder till he
came unto the Form.* And in Harsnet*8 Declaration of Popish Im-
postures (1603), p. 64 : * They that delight in hunting, being men of
quality, and sort, when they would entertaine their friends with that
pleasing sport, doe vse to haue an Hare-finder, who setting the Hare
before, doth bring them speedily to their game.* It is therefore un-
necessary to suppose with Dr. Alexander Schmidt that it was ' perhaps
originally a hair finder^ one who easily finds fault/

Jb, and Vulcan^ who was by trade a smith.

160, 161. to go in the song^ so as to join in the song.

164, 165. no such matter, nothing of the kind. So in Sonnet
Ixxxvii. 14 :

<In sleep a king, but waking no such matter.*

172. with suspicion, so as by keeping his cap on to make others
suspect that it may conceal the horns of a cuckold ; Henderson quotes
from Painter's Palace of Pleasure, vol. i. fol. 233 [for 229] (ed. 1569) :

* All they y* weare homes, be pardoned [i.e. permitted] to weare their
capps vpon their heads.'

88 NOTES. [act I.

173. Go to is equivalent to our * Come, come.*

1 75. sigh away Sundays^ when you will have most leisure to reflect
on your captive condition.

177. Re-enter Don Pedro. The old editions have. Enter don Pedro,
lohn the bastard. But it is clear that Don John was not present at the
dialogue between Don Pedro and Claudio, which was overheard by
Borachio and communicated by him to his master in Act i. Scene 3.

184. With who? So Othello, iv. 2. 99 :

* Emit, Good madam, what's the matter with my lord?
Des. With who?*

186. so were it uttered or disclosed. 'So' appears to refer to Bene-
dick's abruptness in revealing the secret : so shortly, keeping up the
play on words.

187. the old tale. See the Preface.

193. to fetch me in, to take me in, entrap me.

194. troth, faith; A. S. treSivC'. now only used in the phrase to
* plight troth.'

196. my two faiths and troths, my faith and troth to you both.

203, 204. in the despite of beauty, in despising beauty.

205, 206. in the force of his will, by wilful obstinacy; not by
argument, or because he believed what he said.

209. a recheat was a lesson or set of notes on the horn used on various
occasions in hunting. In the Quarto and Folios it is spelt, as it was no
doubt pronounced, * rechate.' Drayton in his Polyolbion (xiii. 127) uses
it as a verb :

'Rechating with his home, which then the Hunter cheeres.
Whilst still the lustie Stag his high-palm'd head vp-beares.'
It is impossible to say precisely what the word * recheat ' means, and its
etjnnology is only guessed at. Blount in his Glossographia suggests that
it is from the Fr. rechercher, * because oftentimes, when they wind this
lesson, the Hounds have lost their game, or hunt a game unknown.'
Skinner (Etymologicum Linguae Anglicanae) derives it from the Fr.
rachet, redemptio, rcuheter, redimere. Hanmer defines it as 'a particular
lesson upon the horn to call dogs back from the scent ; from the old
French word Recet which was used in the same sense as Retraite,^ One
of the forms given by Godefroy (Diet, de Tancienne Langue Fran^aise)
for the old verb receter is rechaiter, and for recet he gives rechet and
rechiet, so that Hanmer may be on the right track ; but there is no
evidence that receter and recet were hunting terms. Among the * Antient
Hunting Notes,' given in The Gentleman's Recreation, we find 'A Recheat
when the Hounds Hunt a right Game,' * The Double Recheat,* * The
Treble or S' Hewets Recheat,* • A New Warbling Recheat for any
^ce,' * The Royal Recheat,' * A Running Recheat with very quick

«c. I.] MUCH ADO ABOUT NOTHING. 89

time,* and 'A Recheat or Farewell at parting.* In fact a recheat
appears to be almost anything but what the books describe it as being.
It was sounded at the death of the fox, as we learn from The Retume
from Parnassus, ii. 5 (p. 106, ed. Macray) : * When you blow the death
of your Fox in the field or conert, then must you sound 3. notes, with
3. windes, and recheat.' See also the old English poem Sir Gawa3me
and the Green Knight, 1. 191 1.

lb. winded^ sounded. Cotgrave (Fr. Diet.) gives 'Comer. To sound
a Comet, to wind a Home.'

210. baldrick, a leather belt. Cotgrave (Fr. Diet.) has * Baudrier : m.
A hide, skin, or peece of dressed, curried, and coloured Cowes leather ;
also, a belt, baudricke, or sword-girdle of that leather.' It appears
to have been also used for a necklace. ' Baldrike for a ladyes necke —
carcan^ (Palsgrave).

211. pardon nu, excuse me from doing so. See ii. I. 1 1 1. Benedick
implies that he will neither have his shame published nor silently
endure it.

213. thefine^ the conclusion. So in All's Well, iv. 4. 35 :
'All's well that ends well: still the fine's the crown;
Whate'er the course, the end is the renown.'
And, with a play on words as here, in Hamlet, v. i. 115 : 'Is this the
fine of his fines, and the recovery of his recoveries, to have his fine pate
full of fine dirt?'

lb, the whichy which ; like the French lequel. See ii. i. 34, iii. 2.

52.

217. lose more blood, by blood-consuming or blood-drinking sighs
(2 Henry VI, iir. 2.61, 63). See A Midsummer Night's Dream, iii. 2. 97 :

* All fancy-sick she is and pale of cheer,
With sighs of love, that costs the fresh blood dear.*

218. with drinking. See 2 Henry IV, iv. 3. 110-113: * The second
property of your excellent sherris is, the warmino^ of the 'blood ; which,
before cold and settled, left the liver white and pale.'

2 1 9. a ballad-maker^ s pen, the worthless instrument by which the
misfortunes of lovers are celebrated.

222. argument, subject of discourse. See ii. 3. 11.

223. a bottle, probably a twiggen bottle (Othello, ii. 3. 152), or wicker
basket, in which our rude forefathers appear to have enclosed a cat, real
or fictitious, as a mark for their archers, like the popinjay in Old
Mortality. In Brand's Popular Antiquities (ed. Ellis, 1849), iii. 39, an
account is given of a barbarous custom, said to have been practised at
Kelso at the end of the last century, by which a cat was put in a barrel
partly filled with soot. But even if true this sport has nothing in common
with that referred to by Benedick, for there is no shooting, and the poor

90 NOTES. [act I.

animal is beaten to death. Steevens quotes from a black-letter pamphlet,
called Warres, or the Peace is Broken : ' arrowes flew faster than they
did at a catte in a basket, when Prince Arthur, or the Duke of Shordich,
strucke up the drumme in the field.*

225. Adam, Adam Bell, Clym of the Clough, and William of
Cloudesly, were three famous Cumberland archers, whose prowess is
celebrated in a ballad printed by Bishop Percy in his Reliques of
Ancient English Poetry.

227. In time the savage bull doth bear the yohe. The same qootatioo
occurs in Watson*s Ecatompathia (1582), Sonnet 47, in the form,

'In time the Bull is brought to weare the yoake.*
It was thence copied in Kyd's Spanish Tragedy, ii. i :

'In time the savage bull sustains the yoke.*
The original may either have been Ovid, Tristia, iv. 6. i :
'Tempore ruricolae patiens.fit taurus aratri*;
or Art. Am. i. 471:

' Tempore diffidles veniunt ad aratra juvenci.'
230. vilely. See note on iii. i. 65.

232. signify, announce, give notice. So in The Merchant of Venice,
V. I. 51 :

'Signify, I pray you.
Within the house, your mistress is at hand.*
235. horn-mad, raving mad ; mad as a mad bull, according to the
common explanation. But ' horn * may be a corruption of the Scottish
and North-country word ' hams * for brains, akin to the German Him^
whence Himwuth, frenzy. Another form is ' hora-wood.' Whatever
the etymology, there is no doubt the word was always understood in the
sense given above. Compare The Merry Wives of Windsor, iii. 5. 155 :
' If I have horns to make one mad, let the proverb go with me : I *11 be
hom-mad.* And Comedy of Errors, ii. i. 57 :

' Dro, E* Why, mistress, sure my master is horn-mad.
Adr, Hom-mad, thou villain!

Dro, E, I mean not cuckold-mad ;

But, sure, he is stark mad.*
237. in Venice, which was famous for intrigues. Compare Greene's
Neuer Too Late (Works, ed. Grosart, viii. 221) : ' Hearing that of all the
Cities in Europe, Venice hath most semblance of Venus vanities ' ; and
(p. 222), 'Because therefore this great Citie of Venice is holden Loues
Paradize, thether doo I direct my pilgrimage.*

239. you will temporize with the hours, you will come to terms as
time goes on. See King John, v. 2. 125 :

'The Dauphin is too wilful-opposite.
And will not temporize with my entreaties.*

8c. I.] MUCH ADO ABOUT NOTHING 9 1

244. embassage^ errand. See ii. i. 241.

244, 245. and so I commit you — Claud. To the tuitioft of God,
A common form of ending letters in the sixteenth century. Compare
Thomas Alvard to Thomas Cromwell (Ellis, Original Letters, First
Series, i. 310): *A[nd thus] makyng an ende I commit you to the
tuicion and g[uidance of] Almyghty God. From Saint Albons the
xxiij*^ S[ep]tember.'

247. The sixth of July, old Midsummer Day, an appropriate date
for such Midsummer madness. See Twelfth Night, iii. 4. 61.

250. sometime f sometimes; with which it is used interchangeably.
See iii. 3. 1 21-124.

lb. guarded f embroidered, trimmed, ornamented. See The Merchant
of Venice, ii. 2. 164 :

• Give him a livery
More guarded than his fellows': see it done.*

251. guards y trimmings. Compare Love's Labour 's Lost, iv. 3. 58 :

'O, rhymes are guards on wanton Cupid's hose.'
Id. flout. See above, 1. 158.

252. old ends, old scraps of quotations. Compare Richard III,

i. 3. 337 '

'And thus I clothe my naked villany
With old odd ends stolen out of holy writ.*

Ben Jonson has an epigram (53), * To Oldend Gatherer.'

lb. examine your conscience, and see whether they do not apply to
yourself.

260. affect, love. So in Merry Wives, ii. i. 115: 'Sir John affects
thy wife.' And Twelfth Night, ii. 5. 28 : ' Maria once told me she did
affect me.'

264. liking . . . love. The same gradation occurs in As You Like It,
V. 2. 2,3: ' Is't possible that on so little acquaintance you should like
her? that but seeing you should love her? and loving woo ?'

269. wars. Collier prints 'wars, — ' as if the Prince interrupted
Claudio. There is no necessity for this.

273. break, communicate. See below, 1. 290, and note on Julius
Caesar, ii. i. 150 : ' Let us not break with him.'

273, 274. The words * and with her father And thou shalt have her'
are omitted in the Folios, the printer's eye having caught the second
'her'

277. complexion, external Appearance. As in Winter's Tale, i. 2.
381:

'Your changed complexions are to me as a mirror.'

279. salved,^ literally, anointed; hence, softened down, palliated.

92 NOTES. [act I.

See Coriolanns, iii. 3. 70 :

'Speak fair: yon may sali^ so.
Not what is dangerous present, bat the loss
Of what is past'
lb, treatise^ disconne, narrative. So in Macbeth, v. 5. 12 :
<My feU of hair
Would at a dismal treatise roose and stir
As life were in 't'
And Venns and Adonis, 774 :

'Your treatise makes me like yon worse and worse.'

280. Whcit need the bridge j^Scc For the construction see Two
Gentlemen of Verona, ii i. 158 :

* Vol, Why, she hath not writ to me?

Speed. What need she, when she hath made you write to yourself?'
And Henry VIII, iL 4. 128: * What need you note it?'

lb. thejlood^ the stream or river. So in Henry V, i. 2. 45 :
'Between the floods of Sala and of Elbe.'
And in the Authorised Version of Joshua xxiv. 2 : * Your fathers
dwelt on the other side of the flood in old time.*

281. The fairest grant is the necessity ^ the best boon, as StauntoQ
explains it, is that which answers the necessities of the case. The bes:
answer to a demand is that which exactly meets it. There is no need
to alter the text.

282. ^tis once. So much is certain, there can be no question about it.
Compare Coriolanus, ii. 3. i : * Once, if he do require our voices, we
ought not to deny him.'

283. fity suit, furnish. See ii. i. 50.

286. bosom^ used metaphorically as the receptacle of secrets. So in
Julius Caesar, ii. i. 305 :

* And by and by thy bosom shall partake
The secrets of my heart'
lb. unclasp my heart as if it were a book in which his f>ecrets were
written. Compare Twelfth Night, i. 4. 13 :

'I have unclasp 'd
To thee the book even of my secret soul.'
290. after , afterwards. As in The Tempest, iii. 2. 158 : *The sound
is going away ; let 's follow it, and after do our work.'
lb. break. See 1. 273.

Scene II. %

Enter Leonato, &c. The Quarto, followed by the Folios, has * Enter
Leonato and an old man brother to Leonato.' That his name was
■>nio appears from ii. i. 99, v. i. 91, 100.

sc. 2, 3.] MUCH ADO ABOUT NOTHING. 93

5. they, 'News* is often used as a plural. For instance, in
ii. I. 154; and i Henry IV, iii. 2. 121 :

'But wherefore do I tell these news to thee?'

8. a thick-pleached alley , a walk between trees thickly intertwined.
For * alley,' Kr. a///<f, see iii. i. 16 ; and for * pleached* see iii. i. 7.

Id, in mine orchard. The conversation here referred to, if it took
place at all, must have been different from that recorded in the last
scene, which was either in or before Leonato's house. There may have
been a sufficient interval between the two scenes to allow of a second
conversation in Antonio's orchard on the same subject, which his
servant overheard imperfectly and misreported. And Borachio in the
next scene seems to have been listening to what took place in Scene i ,
and in that case the scene should clearly be in Leonato's house and not
before it. Yet it could not have been so : see i. i. 178, 240. Probably
Shakespeare was careless about the matter, which is of no importance.

10. discovered J disclosed, revealed. See ii. 3. 143.

12. accordant, agreeable, of the same mind.

12, 13. to take the present time by the top. Compare All's Well,

V. 3- 39 ••

'Let s take the instant by the forward top.'
Another version of the phrase ' to take time by the forelock/

14. wit J sense, understanding. See ii. 3. 171.

17, 18. appear itself , become self-evident. Dyce and others have
proposed to read 'approve.*

19. ifperadventurey\ii^r<^2inci&. Seeii. i. 131.

20. £nter attendants. Some such stage^irection is necessary to
explain what follows. Theobald has, * Several cross the Stage here ' :
Capell, ' Enter several persons, bearing things for the Banquet.*

21. Cousins. * Cousins,' says Steevens, ' were anciently enrolled among
the dependants, if not the domesticks, of great families, such as that of
Leonato.* Dyce, following Johnson, here reads ' cousin,' and explains
it of Antonio's son, who is mentioned in the first line of the scene.

.21, 22. / cry you mercy, I beg your pardon. See ii. i. 307, and
A Midsummer Night's Dream, iii. i. 182 : 'I cry your worships mercy,
heartily.'

Scene III,

I. What the good-year! an interjectional expression of frequent oc-
currence but unknown origin. Hanmer invented a French equivalent
for it, which has apparently no other existence than in his invention ;
goufire a disease contracted from a gouge or camp-follower. It may
possibly be a corruption of quad yere = bad year, which occurs in
Chaucer, and would so be equivalent to the Italian imprecation mcW

94 NOTES. [act I.

anno ! Or it may be a euphemism for the latter. See hote on King
Lear, v. 3. 24. "When Sir Thomas More was in the Tower, his wife,
* like a simple ignorant woman, and somewhat worldlie to, with this
manner of salutation homelie saluted him. "What a good yeer, Mr.
More, quoth she, I marvaile that yow that hetherto have binne taken
for a Wiseman will now soe plaie the foole to lie heere in thb close
filthie prison.'* ' (Life of Sir T. More, by Roper, ed. 1731, p. 88.)

8, 9. sufferance, endurance. As in The Merchant of Venice, i. 3. iii :
' For sufferance is the badge of all our tribe.'

II. bom under Saturn, the planet which predominated oyer those of
a gloomy and morose temper.

lb, goest about, endeavourest. See iv. 1.63, and A Midsummer Night's
Dream, iv. i. 212 : ' Man is but an nss, if he go about to expound this
dream.' So in Romans x. 3 : ' Going about to establish their own
righteousness.'

11, 12. a moral medicine, like patching grief with proverbs, y. 1. 17.
or giving preceptial medicine to rage.

12. mortifying, mortal, deadly. Compare The Merchant of Venice,
i. I. 82:

* And let my liver rather heat with wine
Than my heart cool with mortifying groans.'
lb. mischief. In Lyly's Euphues (ed. Arber), p. 107, there is the
same alliterative contrast between medicine and mischief: 'Be as
earnest to seeke a medicine, as you were eager to run into a mischiefe.'

15. tend on, wait on. So in Troilus and Cressida, v. i. 79 :

*Ajax commands the guard to tend on you.*

16. claw, scratch, tickle ; hence, to flatter.

18. controlment, restraint, compulsion. See Titus Andronicus, ii.
1.68:

* Without controlment, justice, or revenge.'
20. grace, favour. As in Macbeth, i. 6. 30 :

*We love him highly.
And shall continue our graces towards him.'

23. a canker^ a dog-rose. Compare i Henry IV, i. 3. 176 :

*To put down Richard, that sweet lovely rose,
And plant this thorn, this canker, Bolingbroke.'
The word is still used in some provincial dialects.

24. blood, temper, disposition. See 2 Henry IV, iv. 4. 38 :

'"When you perceive his blood inclined to mirth.'

25. ^is frequently used with the agent or instrument after a passive
verb. See iii. 3. 164; iv. i. 216.

lb. a carriage, a demeanour, bearing. As in Twelfth Night, iii.
4. 81 : * A sad face, a reverend carriage, a slow tongue.'

sc. 3.] MUCH ADO ABOUT NOTHING. 95

lb. to rob love, to steal love. 'Rob* is generally used with the
accusative of the person robbed, not of the thing stolen. But in The
Tempest, ii. 2. 155, we have the same constrnction as in this passage:
• When 's god 's asleep, he 11 rob his bottle.'

27. 1^ must net be denied but that / am is equivalent to 'it must not
be said that I am not.'

31. that, that which. As in iii. 2. 86.

34. / use it only, I make use of nothing else.

37. / came, I am come. The same tense is used in Julius Caesar,

▼• 5- 3 :

*Statilius show'd the torch-light, but, my lord, "^

He came not back.'

And Richard III, v. 3. 277 : * Who saw the sun to-day ? ' In these cases

we should now say *• He is not come back,' and * Who has seen the sun

to-day?' Similarly, in Genesis xliv. 28 : *I said, Surely he is torn in

pieces ; and I saw him not since.'

40. model, groundplan. Compare 2 Henry IV, i. 3. 42 :

* When we mean to build.
We first survey the plot, then draw the model.'

41. What is he for a fool? What kind of fool is he? The same
expression occurs in Spenser's Shepheird's Calendar, April :

'What is he for a Ladde yon so lament?'
And in Ben Jonson, The Silent Woman, iii. i : ' What is he for a vicar?'
Again, in Every Man out of his Humour, iii. i : ' What is he for
a creature?'

46. A proper squire, a fine fellow, used ironically. See iv. i. 305 :
' A proper saying ! ' And Othello, iv. 2. 145 :

'Some such squire he was
That tum'd your wit the seamy side without.'
50. March-chick, early hatched, and so, precocious.

52. entertained for, engaged as. So in Two Gentlemen of Verona,
ii. 4. no:

'Sweet lady, entertain him for your servant.'

53. smoking a musty room. The virtues of fresh air were not under-
stood in Shakespeare's time, and what was disagreeable was rather
concealed than removed. Burton, in his Anatomy of Melancholy,
quoted by Steevens, ed. 1632, p. 261, says, * The smoake of juniper is in
greate request with us at Oxford, to sweeten our chambers.' According
to Muffet (Healths Improvement, ed. 1655, p. 25 \ it ' retaineth his sent
and substance a hundred years.'

53, 54. com£5 me . . . whipt me. The pronoun in such phrases,
though superfluous in the construction, gives a touch of personal interest
to the narrator in his story. See iii. 3. 133 ; The Merchant of Venice,

g6 NOTES. [act n.

ii. 2. 115: * Give me your present to one Master Bassanio ' ; and Julius
Caesar, i. 2. 267 : < He plucked me ope his doublet' Compare also the
use of ' you * in ii. 3. 102, and of ' thee * in iiL 3. 94.

54. in sad conference, in serious conversation. See i. i. 58, and ii. 3.
202.

55. arrcLSf tapestry hangings ; so called from having been made
originally at Arras. They were used frequently as places of conceal-
ment. See King John, iv. i. 2 :

'Heat me these irons hot; and look thou stand
Within the arras.'
And" Hamlet, ii. 2. 163 :

' Be you and I behind an arras then.*

58. i>/ us thither. For the ellipsis of the verb of motion see
Abbott, Shakespeare Grammar, § 405.

59. start-up, upstart. Mr. Deighton quotes Middleton, Women
beware Women, iv. i. iii : * A poor, base start-up.'

60. cross, thwart ; with a reference to the other meaning of the word,
to make the sign of the cross, as is evident from * bless ' which follows.
See ii. 2. 3.

61. sure, trusty, to be depended on. So in i Henry IV, ill. i. i :

'These promises are fair, the parties sure.*
64. cheer, enjoyment, cheerfulness. See Richard III, v. 3. 74 :
' I have not that alacrity of spirit.
Nor cheer of mind, that I was wont to have.*
66. go prove. In such phrases *go' is almost redundant. Sec
The Merchant of Venice, iv. i. 71 :

*You may as well go stand upon the beach
And bid the main flood bate his usual height.'

ACT II.
Scene L

The stage direction in the Quarto and Folios is ' Enter Leonato, his
brother, his wife, Hero his daughter, and Beatrice his neece, and
a kinsman.' See note at the opening of the play.

4. heart-burned. The heart-burn is said to be caused by acidity.

6. were . . . were. For a similar use of the subjunctive sect i. 117,
118.

9. my lady's eldest son, a spoilt child, and therefore allowed to talk
constantly. See The Puritan (p. 264, col. i, ed. 1685) : * To towre
among Sons and Heirs, and Fools, and Gulls, and LAdies eldest Sons.*

8C. I.] MUCH ADO ABOUT NOTHING. 97

17. shrewd, mischievous, ill-natured ; generally applied to one sharp
of tongue. As in A Midsummer Night's Dream, iii. 2. 323 :

* O, when she 's angry, she is keen and shrewd ! '

18. curst^ vixenish, ill-tempered. So in The Taming of the Shrew,
1. I. 185 :

'Her eldest sister is so curst and shrewd.*
20. God sends a curst cow short horns. Another form of the proverb
is quoted in Fronde's History of England (iv. 512) : * God sends a shrewd
cow short horns,' says Lord Surrey to Blage.

24. Just, exactly so. See v. i. 159, and As You Like It, iii. 2. 281 :

*Jaq, Rosalind is. your love's name?
Orl. Yes, just.'

25. I am at him, I appeal to him, urge him.

27. I had rctther lie in the woollen. That is, according to the inter-
pretation given by Steevens, * I had rather lie between blankets, without
sheets.' It has been supposed that it might mean ' I had rather be dead
and buried in a woollen shroud,' but the custom of burying in woollen
appears not to have com6 in till the Act of 18 & 19 Charles the
Second for the protection of the woollen trade, which made it com-
pulsory for all to be buried in woollen.

34. in earnest, as a pledge of engaging myself in his service.

35. the bear-ward. The Quarto and two earlier Folios have * Berrord,'
while the third and fourth Folios read ' Bearherd,' and this is no doubt
one form of the word. Schmidt in his Shakespeare Lexicon asserts that
it is the only form in Shakespeare. It occurs thus in The Taming of the
Shrew, Ind. 2. 2P, and 2 Henry IV, i. 2. 192. But on the other hand,
in The First Part of the Contention, v. i . 1 24, which is the original of
2 Henry VI, v. i. 210, we find

'Dispight the Beare-ward that protects him so,'
while the first Folio of 2 Henry VI reads * Bearard.' * Bear-herd ' is
formed on the analogy of 'shepherd' and 'neat-herd,' but as bears are
not kept in flocks or herds it seems likely that ' bear-ward ' is the more
correct form.

lb. lead his apes into hell. It was supposed to be the punishment of
old maids in a future state to lead apes in hell, perhaps because it was
thought fitting that having escaped the plague of children in this life
they ought to be tormented with something disagreeably like them in
the next. The expression is of frequent occurrence. In The Taming of
the Shrew, ii. i. 34, Katharina sa3rs :

* I must dance bare-foot on her wedding day,

And for your love to her lead apes in hell.'

It occurs in Lyl/s Euphues (ed. Arber), p. 75 : ' But certes I will either

lead a virgins life in earth (though I lead Apes in hel) or els follow thee

H

98 NOTES. Lact II.

rather then thy gifts.' And again, p. 87 : ' For I had rather thou
shouldest leade a lyfe to thine owne lyking in earthe, then to thy great
torments, leade Apes in Hell.'
37. btit^ only. See 1. 130.

41. away to Saint Peter for the heavens ; &c., &c. This punctuation
is Pope's. The Quarto and Folios have away to saint Peter : for the
heavens, See, 8cc., thus making * for the heavens ' an ejaculation, as in
The Merchant of Venice, ii. 2. 12 : * For the heavens, rouse up a brave
mind.' Cotgrave (Fr. Diet. s. v. Ifaut) has * Faire haut le hois. ... to
quaffe, tipple, carouse for the heavens.*

42. flurry. In the sixteenth century this word was used in the sense
of * joyful ' and without the notion of levity which now attaches to it
For instance, in the Prayer- Book Version of Psalm xlvii. 5 : ' God is
gone up with a merry noise.' And Sir Thomas More (Life by Roper,
ed. 1 731, p. 98) said to the Constable of the Tower, 'Good Mr King-
stone, trouble not your selfe, but be of good cheere : For I will praie
for you and my good Ladie your wife that wee maie meet in Heaven
together, wheare we shall be merrie for ever ^d ever.'

54. with^ by. As in iii. i. 66, 79, 80 ; v. i. 116 ; v. 4. 123.

55. / '// none^ I '11 have none of them, nothing to do with them. So
in Twelfth Night, i. 3. 115: 'She'll none o' the count.' And Psalm
IxxL 11:' Israel would none of me.'

59. in that kind, in that manner. See iv. i. 196.
61. in good time. There is the same play upon words in Merry
Wives, i. 3. 29 : ' His filching was like an unskilful singer, he kept not
time.' And in Twelfth Night, ii. 3. 98-100 : ♦

' Mai. Is there no respect of place, persons, nor time in you ?

Sir To. We did keep time, sir, in our catches.'
lb, important, importunate, urgent. Compare Comedy of Errors,
V. I. 138 : * At your important letters.* And All 's Well, iii. 7. 21 :
' Now his important blood will nought deny
That she'll demand.'
64. a measure, a grave and formal dance.

lb. a cinque pace, a dance in which, says Nares, ' the steps were
regulated by the number five.' This is apparently a guess, and does
not tell us much. Dr. Murray (English Diet.) quotes Sir John Davies,
Orchestra, St. 67 :

* Fine was the number of the Musick's feet.
Which still the daunce did with fiue paces meet.'

66. mannerly-modest, decorously modest

67. ancientry, old-fashioned formality.

70. apprehend, seize an idea, perceive. See iii. 4. 61.

lb. shrewdly, sharply. In the adjective 'shrewd* and the adverb

8c. I.] MUCH ADO ABOUT NOTHiAg. 99

' shrefwdly ' there is a transition from the quickness of temper which
distinguishes the shrew, to quickness of wit.

75. In the stage direction of the Quarto, which the Folios follow,
instead of ' Balthasar, Don John,* we find ' and Balthaser, or dumb
lohn/ and the other characters are omitted, the Folios only adding
' Maskers with a drum.*

76. softly f gently, slowly. So in Julius Caesar, y. i. 16 :

'Octavius, lead your battle softly on.*
8 a. favour, &ce, countenance. See Twelfth Night, iii. 4. 363 :
'I know your favour well,
Though now you have no sea-cap on your head.'
Jb. defend, forbid. See iv. 2. 18. In Richard III, iii. 7. 81, where
the Quartos read * forbid ' the Folios have :

* Marry, God defend his grace should say us nay t *
84-87. Blakeway proposed to arrange these as two lines of fourteen-
syllable verse, and his suggestion was adopted by Grant White.

84. The reference is to the visit of Jupiter to the cottage of Baucis
and Philemon as told by Ovid, Metam. viii.

lb. visor, mask. Spelt also vizor, visard, and vizard* In Richard III,
ii. 2. 28, the Quartos have * vizard,* the Folios ' vizor.'

85. Jove is the reading of the Quarto. The Folios have * Love.*
Theobald, without knowing of the Quarto, divined the true reading.
He points out that the same story is referred to in As You Like It, iii.
3. 10, II : 'O knowledge ill-inhabited, worse than Jove in a thatched
house i'

88, 91, 93. In the Quarto and Folios these speeches are given to
Benedick. Theobald assigned them to Balthasar.

100. At a word, in brief. Compare Coriolanns, i. 3. 122 :

< Vol, Prithee, Virgilia, turn thy solemness out o' door, and go along
with us.

Vir. No, at a word, madam. Indeed, I must not.*
And Holland's Pliny, xvii. 5 : * Well, to speake at a word, surely that
ground is best of all other, which hath an aromaticall smell and tast
with it.' We find in Cooper's Thesaurus (1584) : * Vno verbo absoluam.
Plant. To make an end shortly : to tell at a worde : I will make an
ende at a worde.*

103. so ill-well, so successfully imitating a defect. Steevens quotes
a parallel expression in The Merchant of Venice, i. 2. 63, 64 : ' a better
baid habit of frowning than the Count Palatine.*

104. his dry hand, A sign of age and decrepitude.

lb, up and down, all over, altogether. So in Titus Andronicus, v. 2.
107 :

< For up and down she doth resemble thee.'
H 2

lOO NOTES. [act n.

io8. mumi an interjection enjoining silence. See The Tempest,
ill. 2. 59 : * Mum, then, and no more.'

109. there V an end, there is no more to be said. So in i Henry IV,
V. 3. 65 : ' If not, honour comes unlooked for, and there 's an end.*

111. pardon. See i. i. an.

112. Nor you will net. For the double negative see iii. i. 55, ▼. i.
6, 286.

115. the 'Hundred Merry Tales.* A collection of humorous stories
of which an edition appeared in 1866, by Dr. Herman Oesterley, from
the only perfect copy known, printed in 1526 by John Rastell, and
preserved in the Royal Library of the University of Gottingen.

122. the princess jester. Mary Lamb, in Tales from Shakespeare,
acutely remarks on this : * This sarcasm sunk deeper into the mind of
Benedick than all Beatrice had said before. The hint she gave him
that he was a coward, by saying she would eat all he had killed, he did
not regard, knowing himself to be a brave man : but there is nothing
that great wits so much dread as the imputation of buffoonery, because
the charge comes sometimes a little too near the truth.'

123. only his gift is, his gift is only. For this transposition of the
adverb see iii. i. 23, iii. 2. 7, and Julius Caesar, v. 4. 12 : 'Only I yield
to die/ Again, Love's Labour's Lost, i. i. 51 :

*I only swore to study with your grace.'
Jb. impossible slanders, slanders too extravagant for any one to
believe.

127. in the fleet, among the company. The phrase is perhaps
suggested by ' boarded ' which follows.

lb. boarded, accosted. See Twelfth Night, i. 3. 60 : * " Accost " is
front her, board her, woo her, assail her.'

130. break. The figure is taken from breaking a lance at tilting.
See ii. 3. 215.

"Jb. a comparison, a jest or scoff, which took the form of a dis-
advantageous comparison, and may be illustrated from Falstaff*5
vocabulary in i Henry IV, ii. 4. 272-277 : ' O for breath to utter what
is like theel you tailor's yard, you sheath, you bow-case, you vile
standing-tuck, —

Prince. Well, breathe awhile, and then to it again : and when thou
hast tired thyself in base comparisons, hear me speak but this.'
See Love's Labour 's Lost, v. 2. 854 :

*The world's large tongue
Proclaims you for a man replete with mocks,
Full of comparisons and wounding flouts.'
132, 133. a partridge wing saved. Benedick, who has been described
^ Beatrice as ' a very valiant trencher-man,' is not likely to have made

«c. I.] MUCH ADO ABOUT NOTHING. . 101

his supper off a partridge wing. She means that he would eat what he
wonld call no supper because he had not finished up with a little game.
134. the leaders of the dance.

138. amorous on. We have ' enamoured on ' in 1. 145, and ' amorous
of occurs in Antony and Cleopatra, ii. a. 202 :

'Made
The water which they beat to follow faster,
As amorous of their strokes.'

139. break. See i. i. 273.

141. bearing^ carriage, port. See iii. i. 96.

144. ttear my brother, in my brother's confidence. Staunton com-
pares 2 Henry IV, v. i. 81 : * If I had a suit to Master Shallow, I would
humour his men with the imputation of being near their master.'

151. to-night. This qualifies 'swore' not 'marry.' For a similar
transposition of the adverb see above, 1. 1 23.

158. Therefore QiCt) all hearts, 8cc.

161. When exposed to the witchcraft of beauty, honour gives way
to passion.

lb. bloody passion. See ii. 3. 151.

162. accident, incident, occurrence. So in A Midsummer Night's
Dream, iv. i. 73 :

' And think no more of this night's accidents
But as the fierce vexation of a dream.'
lb. of hourly proof , of hourly experience. See ii. 3. 152, and compare
Twelfth Night, iii. i. 135:

•'Tis a vulgar proof
That very oft we pity enemies.'
And Julius Caesar, ii. i. 21 :

* 'Tis a common proof
That lowliness is young ambition's ladder.'

163. mistrusted, suspected. As in Winter's Tale, ii. i. 48 : ' All 's
true that is mistrusted.'

169. county. So the Quarto. The Folios have ' Count,' as in 1. 321.
lb. the garland. A willow garland was the emblem of a forsaken

lover. See 1. 196, and 3 Henry VI, iii. 3. 228 :

* Tell him, in hope he'll prove a widower shortly,
I'll wear the willow garland for his sake.'

170. an usurer's chain, such as was worn by rich citizens, at a time
when portable property was the safest investment. It would seem
that usurer and wealthy citizen were synonymous terms. See Cymbeline,

iii. 3- 45 •

' Did you but know the city's usuries.'

lOa NOTES. [act n.

17 a. drovier, drover. In Sherwood's English-French Dictionary, at
the end of the second edition of Cotgrave (1632), we find, ' A drouier.
Revendenr de gros bestail.*

180. If it will not be, if it is in vain to ask jfm to leave me.
Compare Venus and Adonis, 607 :

'But all in vain; good queen, it will not be.'
And I Henry VI, i. 5. 33 :

'It will not be: retire into your trenches.'

186. the base, though bitter, disposition of Beatrice. Though it is the
disposition of Beatrice to be sarcastic, it is mean of her to put her own
sayings into the mouth of others. According to Bacon (Essay xxii) this
was called ' The turning of the cat in the pan.' In the old copies the
words ' though bitter * are in a parenthesis. Johnson proposed to read
' the base, the bitter,' and Steevens followed him.

187. gives me out, reports me, proclaims me. So in Twelfth Night,
iii. 4. 203 : * The behaviour of the young gentleman gives him out to be
of good capacity and breeding.'

191, 192. Lady Fame, who spreads false reports, like Rumour in
the Induction to 2 Henry IV.

192, 193. as a lodge in a warren, which is necessarily a lonely
dwelling, and solitariness breeds melancholy.

194. this young lady, as if Hero were present. In the Quarto both
she and Leonato enter with Don Pedro, Don John, Borachio, and
Conrade, and at 1. 236 Beatrice comes upon the stage with only Claudio.
But in the Folios the Prince enters alone at 1. 189, and the others
at 1. 236 as in the text, Don John and his followers being omitted. For
' this ' as used here, see iii. 4. 66.

212, a quarrel to you, a quarrel against you. See Twelfth Night,
iii. 4. 248 : ' I am sure no man hath any quarrel to me.'

214. wronged, injured by being misrepresented, slandered. For this
peculiar sense of the word see v. i. 63, 67, and Richard" HI, iv. 4. 211 :

* Wrong not her birth, she is of royal blood.'
Compare The Tempest, L 2. 443 : * I fear you have done yourself some
wrong ' ; that is, in representing yourself as King of Naples.

215. misused, abused, slandered. So in As You Like It, iv. i. 205:
* You have simply misused our sex in your love-prate.'

216. but with, with but. But see note on 1. 113.

220, 221. such impossible conveyance, such incredible dexterity, as
Staunton properly explains it. Warburton proposed to read 'im-
passable,' Hanmer ' impetuous,' and Johnson ' importable,' but Monck
Mason referred to line 123 for 'impossible * in the sense of ' incredible,
inconceivable,* and Malone quotes Twelfth Night, iii. 2. 77 : * For there is
^t^ Christian . . . can ever believe such impossible passages of grossness.'

sc, I.] MUCH ADO ABOUT NOTHING. 103

For * conyeyance * in the sense of sleight of hand, jugglexy, trickery,
see I Henry VI, i. 3. 2 :

* Since Henry's death, I fear, there is conveyance.'

223. She speaks poniards. Compare Hamlet, iii. 2. 414 :
*■ I will speak daggers to her, but use none.'

223, 224. her terminations y the points of her words.

226. all that Adam had left him, all that *was bequeathed him, all to
which he was heir, and that was dominion over the rest of the creation.

228. hafve turned spit, that is, performed the most menial office. For
the tense compare ii, 3. 78 : * I had as lief have heard the night-raven.'

230. Ate, the goddess of discord, as in King John, ii. i. 63 :

' An Ate, stirring him to blood and strife.'
See Additional Note, p. 159.

lb. some scholar, who knew Latin enough to exorcise an evil spirit.
Compare Hamlet, i. 1. 42, where Marcellus, on the appearance of
the ghost, says :

'Thou art a scholar; speak to it, Horatio.'

231. conjure. Spirits were supposed to be laid as well as raised
by exorcisms. See Henry V, ii. i. 57: *I am not Barbason; you
cannot conjure me.*

lb. while she is here^ a sanctuary is no rdfuge from her tongue, and
a man may live as quiet in hell.

233. uponpurpose^ on purpose. ,

lb. go thither, rather than lead a religious life in a sanctuary within
reach of Beatrice.

240. the length of Pr ester JohtCs foot. Prester John was a fabulous
Christian King of vast wealth and power who was supposed to live
in some inaccessible region in the east of Asia. Marco Polo identiSes
the original Prester John with Unc Khan, the chief of the Keraits,
a Mongol tribe said to have professed Christianity. In the sixteenth
century the name was applied to the King of Abyssinia, whose title
Prestegian, according to Purchas (Pilgrimage, ed. 1614, p. 670), was
' easily deflected and altered to Priest John^ Benedick is not thinking
so much of the danger of such an enterprise as of its remoteness, which
would take him out of the reach of Beatrice.

241. the great Champs beard. The Great Cham or Kaan was the
supreme sovereign of the Mongols. In Dekker's Shoemaker's Holi-
day, V. 5, we find, * Tamar Chams beard was a rubbing brush toot.'
Speaking of what lovers will do for their mistress, Burton (Anat. of Mel.
part 3, sect. 2, mem. 4, subs, i) says, * If she bid them they will go
barefoot to Jerusalem, to the great Chams Court, to the East Indies,
to fetch her a bird to wear in her hat.' In the travels which pass under
the name of Sir John Maunde^le he is called the Emperor of Cathay.

I04 NOTES. [act u.

343. the Pygmies, accordiDg to Marco Polo, were manufactured out
of the monkeys of Sumatra. ' Higher in the countrey [India], and
above these, even in the edge and skirts of the mountaines« the Pygmaei
Spythamei are reported to bee : called they are so, for that they are
but a cubite of three shaftments (or spannes) high, that is to say, three
times nine inches.' Holland's Pliny, vii. 2.

350. use, interest. See Sonnet vi. 5 :

'That use is not forbidden usury
Which happies those that pay the willing loan.'

364. civil, perhaps sour, bitter, with a pun on Seville. This being
the case, there is no advantage in fixing the precise meaning of the woid
in the phrase * as civil as an orange,* which is of common occurrence,
and is brought in here to indicate Claudio's jealousy. * Sad ' and * civil'
are again associated in Twelfth Night, iii. 4. 5 : ' Where is Malvolio ?
he is sad and civil ' ; that is, grave and decorous.

265. that jealous complexion. In The Merry Wives of Windsor,
i. 3. Ill, Nym says of Pag^, whom he is about to inform of Falstaff*s
designs upon his wife, * I will possess him with yellowness.'

273, 374. all grace say, may he who is the fountain of all grace
say, &c. There is a similar play upon words in All 's Well, ii. i. 163 :
* The greatest grace lending grace.'

266. blazon^ description ; a term of heraldry v6ry commonly mis-
applied. See Twelfth Night, i. 5. 312 :

*Thy tongue, thy face, thy limbs, actions and spirit.
Do give thee five-fold blazon ' ;
that is, describe thee five times over.

267. his conceit, what he conceives or imagines ; his idea. Compare
Hamlet, ii. 2. 583:

'His 'whole function suiting
With forms to his conceit.'
275. cue. In the Quarto and Folios ' Qu.' From Fr. queue, the tail
or end of the previous speech, which indicates to an actor when his
turn comes. See A Midsummer Night's Dream, iii. i. 103-104.

283. poor fool, used as an expression of tenderness, as in The Two
Gentlemen of Verona, iv. 4. 98 ;

'Alas, poor fool! why do I pity him?'
And Twelfth Night, v. i. 377 :

'Alas, poor fool, how have they bafHed thee I'
384. on the windy side of care, so as to have the advantage of it.
The figure is nautical. In naval actions in the old days of sailing-ships
it was always an object to get the weather-gage of the enemy. Compare
Troilus and Cressida, v. 3. 36 :

' Mine honour keeps tl^e weather of my fiEite.'

8c. I.] MUCH ADO ABOUT NOTHING. 105

SchiXudt explams it as a hontiiig metaphor, and interprets 'keeps
on the windy side of care ' to mean ' so that care cannot scent and find
it.' But the scent wonld be carried down by the wind, and this cannot
be the explanation. Compare Twelfth Night, iii. 4. 181 : 'Still yon
keep o' the windy side of the law.*

287. for alliance I As Claudio has addressed her as cousin, Beatrice
exclaims, 'just see what new relation this marriage brings me I' It
cannot mean, as Staunton explains it, ' Heaven send me a husband I '
however ironically it may be spoken ; for ' alliance * does not express
the relation of husband and wife to each other, so much as the relation
into which they are brought by marriage with the members of their
respective families.

287. 288. goes every one to the world, gets married. So in All 's
Well, i. 3. 20 : ' If I may have your ladyship's good will to go to
the world, Isbel the woman and I will do as we may.' In As You
Like It, V. 3. 5, Audrey says, ' I hope it is no dishonest desire to desire
to be a woman of the world.'

288. lam sunburnt^ and so not likely to attract a husband. Compare
Troilus and Cressida, i. 3. 282 :

' The Grecian dames are sunburnt and not worth
The splinter of a lance.'
In Henry V, v. 2. 154, Henry speaks of himself as a fellow 'whose
face is not worth sunbuming,' because he has no good looks to be
spoiled by it There is possibly a reference to the Song of Songs i. 6,
and the expression may be intended to hint at the unsheltered condition
of an unmarried woman who had no home of her own. See note on As
You Like It, ii. 6. 35 (CUr. Press ed.).

289. heigh-ho for a husband \ This, as Malone points out, is the
title of a song in the Pepysian Collection at Magdalene College,
Cambridge [vol. iv. p. 8] : Hey ho, for a Husband. Or, the willing
Maids wants made known. It is referred to again in iii. 4. 47, 48,
and in Burton's Anatomy of Melancholy (ed. 1651, p. 565), part 3,
sec. 2, mem. 6, subs. 3 : ' Hai-ho for an husband, cries she, a bad
husband, nay the worst that ever was is better then none.'

298. no matter, no sober sense, nothing serious or in earnest.
Compare Winter's Tale, i. 2. 166 :

' He 's all my exercise, my mirth, my matter.'
And Twelfth Night, i. 5. 227 : * My words are as full of peace as
matter.' See also note on As You Like It, ii. i. 68.

303. a star danced, as the sun was supposed to do on Easter Day.
' We shall not, I hope,* says Sir Thomas Browne in his Vulgar Errors,
V. 22, § 16, ' disparage the Resurrection of our Redeemer, if we say the
Sun doth not dance on Easter-day^

Io6 NOTES. [act n.

307. By your grctci 5 pardon. Beatrice asks the Prince's pennission
to leave.

310. the melancholy element The other three elements which go to
the composition of man are the choleric, the sanguine, and the phlegmatic,
and the four correspond to earth, air, fire, and water.

311, 312. not ever, not always. See Henry VIII, v. i. 130:

*And not ever
The justice and the tmth o* the question carries
The due o' the verdict with it.*
313. unhappiness has been interpreted to mean ' mischief,* a sense
which the word ilndoubtedly bears, but which is here inappropriate.
It has no point unless it is used in its obvious meaning.

315. hear tell. Mr. R. G. White in his note on this passage remarks,
'This form of speech, which S. constantly puts into the month
of personages of the highest rank, but which is now never heard
in Old England, except perhaps in the remotest rural districts, is in
common use in New England.* So far from its being the fact that
Shakespeare constantly puts this expression into the mouth of personages
of the highest rank, I question whether it occurs in any of his writings
except in the present passage. And it is rather a colloquialism of
common occurrence than a rare provincialism in Old England.

316, 317. out of suit y so that they no longer are her suitors. See 1. 65.
326. a just seven-night, exactly a week. For 'just,' compare The

Merchant of Venice, iv. i. 327: *A just pound,' that is, an exact
pound. And for 'seven-night,' see Winter's Tale, i. 2. 17 : 'One
seven-night longer.' In As You Like It, iii. 2. 333, it is spelt
'sennight' in the first Folio. We retail^ 'fortnight,* but 'se'nnight'
is almost obsolete, though it is still used by those who belong to
an earlier generation.

329. breathing, breathing-while, pause. As in Lucrece, 1720:
'Till after many accents and delays,
Untimely breathings, sick and short assays.'

332. a mountain of affection. Johnson stumbled at this as ' a strange
expression,' and proposed * a mooting of affection,' that is, a mooting
or conversation of love. But it is surely not more strange than * a sea
of troubles.'

333. would fain, would gladly. See iii. 5. 28.

335. <w / shall give you direction. The sentence is incomplete unless
' for' or * about * be supplied.

337. watchings, lying a\^ake. Compare Macbeth, v. i. 12: *To
receive at once the benefit of sleep, and do the effects of watching.'
Lady Macbeth was fast asleep and yet with her eyes open had the
appearance of being awake, and acted as if she were so.

sc. 2.] MUCH ADO ABOUT NOTHING. 107

344. strain, descent, stock. Compare Pericles, iv. 3. 24: .

*■ I do shame
To think of what a noble strain you are,
And of how coward a spirit.'
And see note on Henry V, ii. 4. 51 (Clarendon Press Edition^

lb. approved, proved, tried, tested. So in Titus Andronicus, v. i. i :

* Approved warriors, and my faithful friends.'
lb. confirmed, firm, steady, immovable. See v. 4. 17.

345. honesty, honour, honourable character.

348. queasy, squeamish. Lyly's Euphues (ed. Arber), p. 248 :
' I cannot tell Philautus whether the Sea make thee sicke, or she that
was borne of the Sea : if the first, thou hast a quesie stomacke : if
the latter, a wanton desire.'

Scene II.

I. shall marry, that is, it is settled that he shall marry. So in
Julius Caesar, i. 3. 87 :

*They say the senators to-morrow
Mean to establish Caesar as a king;
And he shall wear his crown by sea and land.
In every place, save here in Italy.'
3. cross^ thwart. See i. 3. 60.

5. medicinable, medicinal. Compare Troilus and Cressida, L 3. 91,
where it is said of the sun,

'Whose medicinable eye
Corrects the ill aspects of planets evil.*
lb. to him. See ii. i. ai2.

6. affection, inclination, desire. In i. i. 260, the Prince asked, * Dost
thou affect her, Claudio? '

17. life. See Twelfth Night, i. 3. 118 : * Tut, there's life in 't, man.'
19. lies inyoUy is in your power. So in Sonnet ci. 10 :
' For 't lies in thee
To make him much outlive a gilded tomb.'
lb. temper, used of the mixing of poisons, as in Romeo and Juliet,
iii. 5. 98 :

* Madam, if you could find out but a man
To bear a poison, I would temper it.'
23. hold up, uphold, maintain. See Henry V, i. 2. 91 :
'Howbeit they would hold up this Salique law
To bar your highness claiming from the female.'

23. stale, a common prostitute. See iv. i. 63.

24. What proof shall I make of that ? How shall I prove that ?

lo8 NOTES. [actd.

What evidence shall I give? See Julius Caesar, ii. i. 299, where
Portia says :

'I have made strong proof of my constancy';
that is, I have given strong evidence of it

25. /<? misuse, to deceive. The word occurs with another shade 0:
meaning in ii. i. 215.

28. to despite, to spite. Cotgrave (Fr. Diet.) gives, * Despiter. To
despight, spight, or doe a thing in spight of.'

32. intendj pretend. So in The Taming of the Shrew, iv. i . 206 :

*Ay, and amid this hurly I intend
That all is done in reverend care of her.'

33. as, — as for example. The punctuation of this passage is Capell's.
The Quarto, followed by the Folios, prints it thus : * (as in loue of your
brothers honor who hath made this match) and his friends reputa-
tion,' &c.

35. like to be cozened, likely to be cheated.

36. discovered thus, made such a discovery. I

37. without trial, without putting it to the test.

38. instances, proo&. So in 2 Henry IV, iii. i. 103 :

* I have received
A certain instance that Glendower is dead.'

40. term me Claudio. Pope, in his second edition, adopted Theo-
bald's suggestion of substituting Borachio for Claudio. But the text
must be right, for it was necessary to the plot to make it appear that
Hero was endeavouring to conceal her intrigue with Borachio. It was
also necessary to induce Margaret to take part in it innocently, and she
would at once have suspected something if she had allowed Borachio in
his own name to address her as Hero. That she was not an accomplice is
evident, and yet it is difficult to explain how she could have been induced
to help forward the conspiracy without knowing it, and at the same time
should remain silent when a word from her would have explained the
mystery. This is the defect in the plot. Knight has remarked that
*The very expression term me shows that the speaker assumes that
Margaret, by connivance, would call him by the name of Claudio,*
No weight can be attached to this, for otherwise we ought to read
in the previous line, ' hear me term Margaret Hero.'

44. disloyalty, unfaithfulness, especially in love. For instance, Othello
says of Desdemona, Othello, iii. 3. 409 :

*Give me a living reason she's disloyal.'

lb, jealousy shall be called insurance, suspicion shall be called cer-
tainty.

46. Grow this. Let this grow.

51. presently. See i. i. 73.

8C. 3.] MUCH ADO ABOUT NOTHING. I09

lb. go learn. So *go seek/ ii, 3. 18 a ; 'go get,' ii. 3. 240; where
' go ' is almost redundant.

Scene III.

9. behaviours. ' The plural indicates the details of his behaviour, the
various ways in which he shows that he is in love.

II. argument. See i. i. 222.

13. the drum and theffe^ the musical instruments appropriate to war
as the tabor and pipe to peace.

15. miie^ like 'pound/ &c, is used as a plural with numerals.

15, 16. a good armour^ a good suit of armour. Compare 2 Henry IV,
iv. 5. 30 :

'Like a rich armour worn in heat of day.'
And Antony and Cleopatra, iv. 8. 27 :

* I '11 give thee, friend.
An armour all of gold ; it was a king's.'
In the Authorised Version, in the Preface of the Translators to the
Reader, we find : ' It is not only an armour, but also a whole armoury
of weapons, both offensive and defensive.'

17. doublet^ the close-fitting upper part of a man's dress. * Doublet
and hose ' formed a complete suit.

19. orthography. This was changed by Rowe in his second edition
to ' orthographer,* and Capell conjectured * orthographist.' If the text
is right it must be explained as an instance of the abstract used for the
concrete ; and, in support of this, reference is generally made to Love's
Labour 's Lost, i. 2. 190 : * Assist me, some extemporal god of rhyme,
for I am sure I shall turn sonnet' ; where 'sonnet 'is taken to mean
' sonneteer.' But I am not satisfied that this is the meaning, and under-
stand the phrase * turn sonnet ' differently.

20. a very fantastical banquet^ like the great feast of languages at
which Armado and Holofernes had stolen the scraps (Love's Labour 's
Lost, V. I. 40).

21. May^ as frequently, is here equivalent to * can.' So in iii. 2. 105,
iv. I. 263, and King John, v. 4. 21 :

* May this be possible ? may this be true ? '

28. in my grace ^ into my favour.

29. I ^11 none. See ii. 1.55.

30. cheapen her, bid for her. See Pericles, iv. 6. 10 : * She would
make a puritan of the devil, if he should cheapen a kiss of her.'

31. noble . , . angel. There is the same play upon 'noble,' which
also denoted a coin worth 6s. Sd.^ and ' angel,' which was a coin worth

no NOTES. Cactd.

loj., as between * noble ' and 'royal,' a coin of the same value as an
angel, in Richard II, v. 5. 67 :

* Groom. Hail, royal prince !
K, Rich, Thanks, noble peer ;

The cheapest of as is ten groats too dear.'
33. what colour it please God, its natural colour, without any aid
from cosmetics. The fashion of discolouring hair was as common ic
Shakespeare's time as it is now. To the colour itself Benedick was
indifferent.

33, 34. Monsieur Lave. Delius quotes As You Like It, iii. a. 310,
where Jaques says to Orlando, * Farewell, good signior Love.'

35, 41. The stage directions here follow the Quarto, except that it
has for the first 'Enter prince, Leonato, Claudio, Musicke.* In the
Folios they are combined, ' Enter Prince, Leonato, Claudio, and Jacke
"Wilson * ; Jack Wilson being the name of the player who took the part
of Balthasar. Dr. Rimhault proposed to identify him with Dr. John
Wilson, afterwards Professor of Music at Oxford.
36. Compare The Merchant of Venice, v, i. 56, 57 :

'Soft stillness and the night
Become the touches of sweet harmony.'

40. kid-fox is supposed to mean cub-fox, but Warburton substituted
' hid fox ' in reference to the game alluded to in Hamlet, iv. a. 33 :
' Hide fox, and all after.'

lb. a pennyworth, a bargain. Compare Winter's Tale, iv. 4. 650 :
' Though the pennyworth on his side be the worst.* To fit one with
a pennyworth is therefore to sell him a bargain in which he will get the
worst.

41. Enter . . . There is no reason to suppose that Balthasar had
other musicians with him. He probably accompanied himself on a lute.
In Twelfth Night, iii. i. i, Viola says to the Clown, ' Save thee, friend,
and thy music,' when he had only a tabor.

lb, Balthasar. Dr. Bumey thought that he was perhaps thus named
from Baltazarini, an Italian performer on the violin at the court of
Henry II of France in 1577. But Shakespeare probably never heard of
him, and he uses the- name Balthasar in some form in three other plays,
Comedy of Errors, The Merchant of Venice, and Romeo and Juliet.

42. good my lord. See iv. i. 43.

lb. tax, task. In Lear, iii. 2. 16, where the Quartos have,
* I task not you, you elements, with unkindness,'
the Folios read * tax.'

55. nothing. To keep up the play on words, Theobald read * noting/
but although perhaps the two words were not pronounced exactly alike,

5C. 3.] MUCH ADO ABOUT NOTHING. 1 1 1

they resembled each other nearly enough. In Sonnet xx. la, 'nothing'
rhymes with ' a-doting ' ; < mote * is spelt ' moth/ as in the Qnartos and
Folios of Hamlet, i. i. iia : '

*A moth it is to trouble the mind's eye';
and in As You Like It, iii. 3. 7, 9, there is a pun on * goats ' and * Goths.'
All this shows that there must have been something in the pronun-
ciation to render such plays on words intelligible, and Mr. R. G. White
was led to recognize a similar pun in the title of the play, which is
perhaps going rather too far.

56. divine air! There is no reason to suppose that this affected
ejaculation is a quotation.

5 7. hctU souls. The attractive power of music is similarly described
in Twelfth Night, ii 3. 61 : 'Shall we rouse the night-owl in a catch
that will draw three souls out of one weaver ? ' ' Hale,' which is the
same as * haul/ occurs in Acts viii. 3 : * And haling men and women,
committed them to prison.' And in Twelfth Night, iii. 2. 64: 'I think
oxen and wainropes cannot hale them together.'

58. fl horn for my money ^ if I have to choose give me a hom.
Compare Coriolanus, iv. 5. 248 : * The wars for my money.'

lb. when all 'j done, after all. Compare Macbeth, iii. 4. 67 :
* When all 's done,
You look but on a stool.'
And Twelfth Night, ii. 3. 31 : * Why, this is the best fooling, when all
is done.'

67. moe, more. See note on As You Like It, iii. a. 243 (Clar. Press ed.).

68. dumps f sadness, melancholy. See Romeo and Juliet, iv. 5. 129 :

' When griping grief the heart doth wound.
And doleftil dumps the mind oppress.*
70. leavyy leafy : as in Macbeth, v. 6. i :

* Now near enough : your leavy screens throw down.*
Pope altered it to the modem spelling, but here the rhyme requires the
older form.

76. should have howled. See note on i. i. 118, for the subjunctive
where we now use the indicative.

78. had as lief would as willingly. For the construction which
follows compare As You Like It, iii. 2. 269 : ' I had as lief have been
myself alone.' In the Quarto, * lief ' is spelt * line,' which indicates the
pronunciation.

79. night-raven. It is difficult to ascertain whether this describes
any bird known to ornithologists. Because it is supposed to represent
the nycticorax of the ancients, it has been identified with the nighi-
heron, a bird very rarely met with in these islands. In Batman's
translation of Bar^olomeus De Proprietatibus Rerum, it is said to be

1 12 NOTES. [act n.

a kind of owL Willnghby identified it with the bittern, whose note,
according to Goldsmith (Animated Nature), was regarded as the presage
of some sad event See Milton, L* Allegro, 7. It may be the same as the
night-crow mentioned in 3 Henry VI, y. 6. 45 :

' The night-crow cried, aboding luckless time/
If so, it is different from the owl, which is spoken of in the previous
line and is apparently the screech-owl. Bat as no one knows more
precisely what a night-crow is, it does not help towards the identifica-
tion of the night-raven. It was clearly a bird whose hoarse note was
regarded as a sign of ill omen. Sir Walter Scott, in the same conven-
tional way, uses the night-crow in his Legend of Montrose :
* Birds of omen dark and foul,
Night-crow, raven, bat, and owl.'
And the night-raven in the song of the White Lady of Avenel :
'We have roused the night-raven, I heard him croak.'

87. Claudio here and at loi of course speaks aside.

lb. stalk on. To stalk is to move cautiously, as a fowler who avails
himself of any cover to get as near as possible to his game. For this
purpose a real or artificial horse, called in consequence a stalking-hoise,
was sometimes used. There is no necessity to suppose any reference to
such an artifice here, for the arbour in which Benedick was hidden
effectually screened the Prince and his party.

91. behaviours. See 1. 9.

92. Sits the wind. So in The Merchant of Venice, i. i. 18 :
* 'Plucking the grass, to know where sits the wind.*

94. an enraged affection, an affection which has passed the bounds of
passion and become frenzy. As in Venus and Adonis, 29 :

* Being so enraged, desire doth lend her force.'

95. past the infinite of thought, past the boundless power of thought
to conceive. The meaning is so obvious that it is not easy to see hovr
Warburton should have stumbled over it, and proposed one of his many
unnecessary emendations. He says, ' Human thought cannot surely be
called infinite with any kind of figurative propriety. I suppose the
true reading was definite^ On which Johnson remarks, * Here are diffi-
culties raised only to show how easily they can be removed.*

99. discover. See 1. 143, and i. 2. 10.

102. she will sit you. See note on i. 3. 53, 54. The speaker takes
the audience into his confidence and makes them personally interested
in his story. So in A Midsummer Night's Dream, i. 2. 84 : * I will roai
you as gently as any sucking dove.' And Troilus and Cressida, i. 2. 188 :
* He will weep you, an 'twere a man bom in April.'

106. / would have thought. * Would ' is here used as the conditional
for * should.' Abbott, in his Shakespeare Grammar, § 331, disputes

8c. 3.] MUCH ADO ABOUT NOTHING. II3

this, and says it means ' I was willing and prepared to think.' This,
however, does not explain Merry Wives, ii. i. 192 : 'I would be loath
to turn them together'; or Twelfth Night, iii. i. 44 : < I woald be sorry,
sir, but the fool should be as oft with your master as with my mistress.'

no. a gully a trick, deception. It most commonly means a dupe.
Cotgrave (Fr. Diet.) has : * Baye, it A lye, fib, foist, gull, rapper : a
cosening tricke, or tale.'

113. hold it up, keep up the jest. See A Midsummer Night's Dream,
iii. a. 339 :

* Wink each at other ; hold the sweet jest up :
This sport, well carried, shall be chronicled.'

127. writ^ written. A common form of the participle in Shakespeare,
as in Lucrece, 811: 'To cipher what is writ in learned books.' See 1. 133,
where it is the most common form of the past tense.

128. between, in the midst of. As in Hamlet, iv. 5. 119 :

'Brands the harlot
Even here, between the chaste unsmirched brow
Of my true mother.'

129. That, just so, that was it. Similarly in Julius Caesar, ii. i. 15 :
* Crown him ?— that ' ; i. e, that is the danger.

130. halfpence^ small bits. This was before the time of the copper
coinage, and halfpence, being the halves of silver pence, were pieces of
silver so small that they had to be carried in a halfpenny purse.

136. prays, curses. Halliwell transposes the words. Collier's MS.
corrector reads • prays, cries.'

139. ecstasy, an uncontrolled outburst of feeling, violent excitement.
Compare The Tempest, iii. 3. 108 :

'Follow them swiftly
And hinder them from what this ecstasy
May now provoke them to.'
Ib^ overborne, overpowered, subdued. So in A Midsummer Night's
Dream, iv. i. 184:

* Kgeus, I will overbear your will.'

140. sometime. See i. i. 250.
lb. afeard, afraid.

1 44. would mctke but, would but make.

146. an alms, a charitable act. Like 'alms-deed' in 3 Henry VI,
V. 5. 79 • * Murder is thy alms-deed.'

151. blood. See ii. i. 161, and iv. !• 57. Wisdom and blood are
here contrasted, as in Hamlet, iii. 2. 74 :

' Whose blood and judgement are so well commingled.'
155. dotage, fondness ; as in 1. 198. . /

I

114 NOTES. [Acr ii.

156. daffed^ pnt aside. See i Henry IV, iv. i. 96 :

*■ And his comrades, that dafTM the world aside,
And bid it pass.'

163. crossness y perversity, spirit of contradiction.

164. tnahe tender of, offer. So in Love's Labour's Lost, ii. i. 171 :

'Meanwhile receive such welcome at my hand
As honour without breach of honour may
Make tender of to thy true worthiness.'

166. contemptible, contemptuous. The two words were convertible.
Steevens quotes from the argument to The Tragedie of Darius by William
Alexander, Lord Stirling (1604), where it is said that Darius wrote to
Alexander * in a proud and contemptible spirit.*

167. proper, handsome, good-looking. See v. i. 166^ and The
Merchant of Venice, i. 2. 77 : ' He is a proper man's picture.' Again,
in the Authorised Version of Hebrews xi. 23 : * By faith Moses, when
he was bom, was hid three months of his parents, because they saw he
was a proper child.' Lyly, in his Euphues (ed. Arber), p. 35a, says of
Adam and Eve, * Yet then was she the fairest woman in the worlde, and
he the properest man.'

168. He hath indeed a good outward happiness, he is fortunate in the
goodness of his external appearance. His face is his fortune.

169. Before God I An asseveration of common occurrence in Shake-
speare, equivalent to * I declare before God.' So in a Henry IV, ii. 2. i :
* Before God, I am exceeding weary.' See also iv. a. a 8.

171. wit. See i. a. 14.

181. large, freespoken, licentious. See iv. i. 50. We use * broad' in
the same sense, and * liberal ' is so used by Shakespeare in this play,
iv. 1. 90, and in the phrase 'liberal shepherds* in Hamlet, iv. 7. 171.

1 8a, 183. go seek. See ii. a. 51.

185. counsel, reflection, consideration ; not necessarily the advice of
others. See iv. i. 100.

189. the white, in the meantime. See The Tempest, ia. i. a4 : *ni
bear your logs the while.'

192. dinner. As it appears from 1. 36 that the time is evening,
Halliwell proposed here and in lines 200, aa6, 336 to read ' supper.*

193. upon this, in consequence of this. See iv. i. aaa.

196. carry, manage ; referring of course to the plot indicated by the
' net.' See iv. i. 209, and A Midsummer Night's Dream, iii. 2. 340 :

'This sport, well carried, shall be chronicled.'

197. one . . . another s. In Shakespeare's time ' another ' was used in
such expressions where we should now say 'the other.' So in the
Authorised Version of the Apocr3rpha, Susanna 10 : ' And albeit they both
were wounded with her love, yet durst not one shew another his g;iief.'

8C. 3.] MUCH ADO ABOUT NOTHING. II5

198. and no such matter , and there is nothing of the kind. See
i. I. 164, 165, and y. 4. 82. Compare Burton, Anatomy of Melancholy,
part 3, sec. 2, mem. 3, subs. 4 : ' Many men to fetch oyer a young woman,
widdows, or whom they love, will not stick to crack, forge and fain any
thing comes next, bid his boy fetch his cloak, rapier, gloves, jewels,
&c. in such a chest, scarlet-golden-tissue breeches, &c. when there is no
such matter.' (p. 495, ed. 1651.)

202. sadly borne i seriously conducted. See i. 3. 54.

204. hoDt their full bent, are strained to the utmost. The figure is
taken from archery. In Hamlet, ii. 2. 30, * in the full bent ' signifies
' with the full intention,* like a bow bent to the utmost. In Twelfth
Night, ii. 4. 38, * Or thy affection cannot hold the bent * signifies canni
endure the strain.

205. how I am censured, what judgement is passed upon me, what
opinion is held of me. Compare Coriolanus, ii. i. 25 : * Do you two
know how yon are censured here in the city ? '

212. cannot reprove it, cannot prove the contrary, cannot disprove it.
So in 2 Henry VI, iii. i. 40 :

* Reprove my allegation, if you can.'
And the Authorised Version of Job vi. 25 : * How forcible are right
words ! but what doth your arguing reprove?'

213. nor no. For the double negative see iii. !• 5£>v» i. 6, 287.

lb. argument, proof. Compare Twelfth Night, iii. 2. 12 : * This was
a great argument of love in her toward you.*

215./ may chance have. For ' chance ' followed by the infinitive
without * to * see 2 Henry IV, ii. i. 12 : * It may chance cost some of us
our lives.*

lb, odd quirks, irrelevant conceits or turns of expression. * Odd ' is
applied to anjrthing which is taken away from that to which it belongs,
such as a phrase out of its context. So in Richard III, i. 3. 337 :

* With old odd ends stolen out of holy writ.'
For 'quirks* compare Cassio's description of D^emona, Othello,
ii. I. 63:

' One that excels the quirks of blazoning pens.'

lb, remnants, scraps. So in Romeo and Juliet, v. i. 47, the apothe-
cary's shop is described as containing

* Remnants of packthread and old cakes of roses.'

lb. broken. See iL i. 130.

218. quips, taunts, smart sayings. So in Two Gentlemen of Verona,
iv. 2. 12 :

* And notwithstanding all her sudden quips,
The least whereof would quell a lover's hope.'

219. sentences, maxims, sententious sayings. After listening to

I 2

Il6 NOTES. [act in.

Nerissa*s maximB Portia exclaims. The Merchant of Venice, i. a. ii:
' Good sentences, and well pronounced/ See also Lncrece, 244 :
'Who fears a sentence or an old man^s saw
Shall by a painted cloth be kept in awe.'

219. paper bullets. Benedick has already compared himself when
suffering from Beatrice's wit to a man at a mark with a whole army
shooting at him.

323. By this day! See v. 4. 94..

240. I am a Jew. Falstaff says of himself with similar contempt,
in I Henry. IV, ii. 4. 198 : * You rogue, they were bound, every man of
them ; or I am a Jew else, an Ebrew Jew.'

ACT III.
Scene I,

The stage direction in the Quarto is ' Enter Hero and two Gentle-
women, Margaret, and Vrsley.' For ' Gentlewomen ' the Folios have
' Gentlemexi.'

I. run thee. ' Thee* is used here redundantly, as in iii. 3. 94, iv. i. 21.
' Stand thee.* Schmidt (Shakespeare Lexicon) gives this as an instance
of * thee ' for * thou * ; but in all the cases he quotes * thee * is either
redundant, representing what Latin grammarians call the da/ivus com-
modi, or reflexive.

3. Proposing^ conversing. The word does not occur again in Shake-
speare in exactly this sense. For instance, in Othello, i» i. 25 :

' The bookish theoric,
Wherein the toged consuls can propose
As masterly as he,*

* propose ' has rather the sense of laying down propositions, submitting
points for formal discussion. And in Hamlet, ii. 2. 297, a * proposer'
is one who puts forward formal statements for consideration, not merely
a speaker.

4. Whisper her ear. Compare Macbeth, iv. 3. 210 :

* The grief that does not speak
Whispers the o'er-fraught heart and bids it break.'
lb. Ursula. The metre requiring a disyllabic, the Quarto here has

* Vrsley * as in the stage direction. But in 1. 34 it has ' Vrsula' like the
Folios.

7. pleached. See i. 2. 8.

I a. propose^ conversation : Yi.propos. This is the readingof the Quarto.
The Folios have * purpose,* but this reading requires a change of accent,
and therefore the third and fourth Folios read ' to our purpose.* Reed

8C. I.] MUCH ADO ABOUT NOTHING. lij

quotes from Knox's History of the Reformation in Scotland examples of
the use of * purpose ' in the sense of discourse, but though * purpose * is
used in Shakespeare in the sense of * proposal/ ' purport/ it does not
appear to signify merely talk or conversation, as it does in Spenser.

i6. trace, pace. So in A Midsummer Night's Dream, ii. i. 35 :
* And jealous Oberon would have the child
Knight of his train, to trace the forests wild.*

Id. this alley. Not the ' thick-pleached alley ' of i. a. 8, which was in
Antonio's orchard.

23. only wounds by hearsay ^ wounds merely by hearsay. For the
transposition of the adverb see note on ii. i. 123.

30. the woodbine coverture is the pleached bower covered with honey-
suckles of line 7. In A Midsummer Night's Dream, iv. i. 47, the
woodbine and honeysuckle, which are commonly identified, are distinct,
and the former is the bindweed or convolvulus.

36. haggards, wild untrained hawks. See Twelfth Night, iii. i. 71 ;
'And, like the haggard, check at every feather
That comes before his eye.*
Cotgrave (Fr. Diet.) gives : * Faulcon hagard. A Hagard ,* a Faulcon
that preyed for her selfe long before she was taken.'

38. new-trothed, newly betrothed.

42. To wish him wrestle, iod^xe him to wres,\XQ, For the construc-
tion see All 's Well, ii. i. 134 :

' Such thanks I give
As one near death to those that wish him live.'
* Wrestle ' is spelt * wrastle ' in the Quarto and Folios, and the spelling,
which represented the pronunciation, was not changed till Johnson's time.

45. as full CLS fortunate, as fully as fortunate. In the second and
third Folios a comma is put at * full,' and Mason interprets it to mean
that he is as deserving of complete happiness in the marriage state, as
Beatrice herself; whereas Ursula asks, * Does he not deserve as much
happiness in marriage as if he were to marry Beatrice ? '

52. -^M/m»«^, undervaluing. See As You Like It, i. 2. 192 : * Your
reputation shall not therefore be misprised.' In Troilns and Cressida,
iv. 5. 74, the Quartos have

<A little proudly, and gteat deal misprising
The knight opposed,'
while the Folios have * disprising.'

55. project, imaginary conception, idea ; something much less definite
than shape or form with which it is contrasted. Compare 2 Henry IV,

i. 329:

' Flattering himself in project of a power
Much smaller than the smallest of his thoughts.'

Il8 NOTES. [ACTin.

60. HifWy howeyer. So in Sonnet zxviii. 8 :

<How far I toil, still farther off from thee.'

61. spell him kukioard, misconstrue him, turn him the wrong side
out ; use him as witches do their prayers, turn them into incantatioDs by
sa3ring them backward.

6a. Compare ii. i. 39, 30; t. u 155, &c., for specimens of this quality
of Beatrice.

63. dlack, dark complexioned and black haired. As in Lovers
Labour's Lost, iy. 3. 253 :

' No face is fair that is not full so black.'

7(5. drawing of. After the participles of transitiye yerbs ' of is
redundantly used. See iy. i. 138. It is probable that what app>ears to
be a participle is in reality a yerbal noun, and that the full form is ' in
drawing of or 'a drawing of.' See note on A Midsummer Night's
Dream, i. i. 231.

Ii. an antique, a grotesque figuie.

65. an agule. The figure cut on an agate was necessarily small. See
Romeo and Juliet, i. 4. 55, where Mercutio describes Queen Mab as
* In shape no bigger than an agate-stone
On the fore-finger of an alderman.'

Id, vilely. The Quarto and Folios haye *vildly' or 'vildlie/
a common form of misspelling, which it would be as reasonable to retain
as to spell ' gown ' with a ' d ' because Mrs. Pritchard called it ' g^ownd.'

63, &c. Steevens quotes two passages from Lyly's Euphues (ed. Arber,
p. 115), which are yery parallel to the present passage, whether
Shakespeare had them in his mind or not. ' If he be cleanelye, then
terme they him proude, if meane in apparell a slouen, if talle a lungis,
if short, a dwarfe, if bolde, blunt : if shamefast, a cowarde.' And again,
* If shee be well sette, then call hir a Bosse, if slender, a Hasill twygge,
if Nutbrowne, as blacke as a coale, if well couloured, a paynted wall, if
shee bee pleasaunt, then is shee a wanton, if suilenne, a downe, if honest,
then is shee coye, if impudent, a harlot.' Another passage (p. 109), not
quoted by Steevens, contains the same idea. * Dost thou not know that
woemen deeme none yalyaunt ynlesse he be too venterous ? That they
accompt one a dastard if he be not desperate, a pynch penny if he be
not prodygall, if silent a sotte, if full of wordes a foole ? Peruersly doe
they alwayes thinke of their loners and talke of them scomefully, iudging
all to be clownes which be no courtiers, and al to be pinglers that be
not coursers.'

70. simplenessy simplicity. As in A Midsummer Night's Dream,
V. i. 83 :

' For never anything can be amiss,
When simpleness and duty tender it.'

sc. I,] MUCH ADO ABOUT NOTHING. II9

71,73. commendable has the accent on the last 8]^llable but one, as in all
but one instance in Shakespeare. Schmidt marks the accent on the first
syllable, but •even so there must be a secondary accent on the penultimate.
Compare i Henry VI, iy. 6. 57 :

'And, commendable proved, let's die in pride.'
And Coriolanus, iv. 7. 51 :

•And power, unto itself most commendable.'
In Spenser adjectives in -able have the accent on the penultimate. See
Faerie Queene, ii. 6. § 44:

•O how I bume with implacable fyre!'
7 a. not is redundant. Rowe read * for ' ; Capell * nor.'
lb. from all fashions ^ contrary to all fashions. As in Hamlet,
iii. 2. 32 : * For anything so overdone is from the purpose of plajring,'
And Julius Caesar, i. 3, 35 :

*■ But men may construe things after their fashion.
Clean from the purpose of the things themselves.'
76. press me to death. Pressing to death was the ancient punishment
of one who refused to plead guilty or not guilty. Hero means that
Beatrice would first reduce her to silence by her mockery and then
punish her for not speaking. There is an allusion to the same punish-
ment in Richard II, iii. 4. 72 :

* O, I am press'd to death through want of speaking ! '
Compare Nashe, Lenten Stuffe (1599), p. 63 : 'If I should fall into
their handes, I would be pressed to death for obstinate silence, and
neuer seeke to cleere my selfe.'

79. a better death than die with mocks. The reading of the Quarto,
which has the old spelling ' then ' for ' than.* Hero is speaking of
Benedick. The reading of the first Folio *a better death, to die &c.,'
which is corrupted in the second Folio to *a bitter death, to die &c.,'
makes her speak of herself.

lb, die. The omission of * to ' before the infinitive is not uncommon
after * better* when it stands by itself, and this construction is here
imitated. See, for instance, Macbeth, iii. 2. ao : * Better be with the
dead.' Again, Two Gentlemen of Verona, ii. 7. 14: 'Better forbear
till Proteus make return.' In both these cases the verb is in the infinitive.
Compare also Twelfth Night, ii. 2. 27 :

* Poor lady, she were better love a dream.'

80. tickling, a trisyllable. Words in which a liquid follows a con-
sonant are sometimes lengthened by a syllable in verse. As in v. 4. 34,
and Coriolanus, i. i. 159: 'You, the great toe of this assembly.'
Again, Winter's Tale, iv. 4. 76 :

' Grace and remembrance be to you both.'

lao NOTES. [act m.

And Twelfth Night, i.^ i. 33 :

'A brother's dead love, which she would keep fiesh
And lasting in her sad remembrance.'
84. some honest slanders, some slanders which do hot affect her virtne.

89. swift y ready, quick of apprehension. It signifies * quick- witted '
in As Yon Like It, v. 4. 65 : * By my faith, he is very swift and
sententious.'

90. prized, estimated. As in Troilus and Cressida, iv. 4. 136 :

* To her own worth
She shall be prized.*

92. only. See iiL 4. 67.

96. argument, capacity for reasoning. Ursula describes Benedick's
qualities in what she regards as an ascending scale: his personal
appearance, demeanour, intellectual qualities, and, to crown all, his
courage. The punctuation is that of the fourth Folio. The other old
copies have * bearing argument'

loi. Why, every day, tomorrow, Staunton understands this to mean
* every day after to-morrow.* I doubt it. Hero thinks of nothing else.

103. furnish, equip. So in As You Like It, iii. a. 258 : ' He was
furnished like a hunter.'

104. limed, taken as with bird-lime. The same figure is employed in
Hamlet, iii, 3. 68 :

* O limed soul, that, struggling to be free.
Art more engaged!'
The Folios read ' tane,' that is, taken, which some editors adopt.

105. by haps, by chance.

107. What fire is in mine ears? Warburton remarks on this,
' Alluding to a proverbial saying of the common people, that their ears
bum, when others are talking of them.' But this is only supposed to
happen when the person talked of is absent, which is not the case here.
See Holland's Pliny, xxviii. 2 (vol. ii. p. 297). Beatrice had heard what
fired her ears with curiosity to hear more.

1 10. behind the back of such. When their backs are turned no one
speaks well of them.

112. Taming , . , to thy laving hand. The figure, as Johnson
observes, is taken from falconry. The falcon was trained to sit on the
falconer's hand. Lyly (Euphues, ed. Arber, p. 41) says : 'Though the
Fawlcon be reclaimed to the fist, she retjrreth to hir haggardnesse.'
But Beatrice, who has already been described as having ' spirits as coy
and wild as haggards of the rock,' was now to be reclaimed.

116. reportingly, by report.

sc. 2.] MUCH ADO ABOUT NOTHING, 121

Scene II.

I, 2. consummate, consummated. As in Measure for Measure,
V. 1 . 383, the Duke orders the Friar to marry Angelo and Mariana :
*Do yon the office, friar; which consummate,
Return him here again.'
In both these cases the word is used of the completion of the marriage
ceremony. The form of the participle may be an imitation of the Latin
participles in -atus, and occurs frequently without the addition of the
final 'd.* See i. i. 115. Thus we have * dedicate* (Measure for
Measure, ii. 2. 154) and 'dedicated' (The Tempest, i. a. 89) ; and in
I Henry IV, v. i. 72, where the Quartos have * articulate,' the Folios
have * articulated.' On the other hand, we find the form * suffocate '
only, as in Troilus and Cressida, i. 3. 125; a Henry VI, i. i. 124.
Besides these there are many cases of verbs with a dental in the last
syllable, of which the participles are formed without the final ' -ed.'
See Abbott, Shakespeare Grammar, § 342.

3. Mngy accompany, escort As in Coriolan^s, iv. i. 47 : * Bring me
but out at gate.'

Id. vouchsafe, permit, allow.

6, 7. as to show a child his new coat and forbid him to wear it.
Steevens quotes fi-om Romeo and Juliet, iii. 2. 28-31 :

'So tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them.'

7, 8. will only be bold with Benedick, will only take the liberty of
asking Benedick. Compare Henry VIII, ii. 4. 168 :

'I will be bold with time and your attention.*
7. only. See note on ii. i. 123.

10. the little hangman, the little rogue. Schmidt gravely remarks
that ' Cupid is called so in jest as the executioner of human hearts.' In
the same literal manner he interprets * the hangman boys ' of The Two
Gentlemen of Verona, iv. 4. 60, as * probably the servants of the public
executioner.'

11. oj sound as a bell, an expression still common. See Harington's
Epigrams, iii. 8.

12. 13. what his heart thinks his tongue speaks. Steevens finds in
this * a covert allusion to the old proverb :

As the fool thinketh

So the bell clinketh.'

But the allusion is so covert as to be very doubtful ; for the proverb

laa NOTES. [act hl

apparently means that the fool gives his own interpretation to ^vrhat he
hears, not that he speaks all thi^t he thinks. Burton (Anatomy of
Melancholy, part i, sec. 3, mem. 3) says, * The hearing is as fineqaentlj
deluded as the sight, from the same causes almost, as he that hears bells,
will make them sound what he list. As the fool thinkeih, so the bell
clinketh:

16./ hope he be. For the subjunctive after ' hope ' see Merry Wives,
ii. I. 113 : ' Well, I hope it be not so.' And Cymbeline, ii. 3. 152 :
'I hope it be not gone to tell my loid.'
ao. the toothache. Boswell quotes from Beaumont and Fletcher, The
False One, ii. 3 :

'You had best be troubled with the tooth-ache too.
For lovers ever are.*

25. Where is. For a similar omission of 'there ' see Twelfth Night,
iii. 4. 261 : ' His incensement at this moment is so implacable, that
satisfaction can be none but by pangs of death and sepulchre.'

lb. a worm was supposed to be the cause of decay of the teeth. In
the Whole Worke of tliat fainous chimrgion Maister lohn Vigo (1586),
fol. 272, we read, *The iuyce of wormewood, & sothemwood, taketh
away the paine caused of wormes, if the teeth be annointed there-
withall.'

26. can master. Pope's reading. The Quarto and Folios have
* cannot master.'

29 fancy, in the language of Shakespeare's time, means love aa well
as humour or caprice, and the two meanings are here played upon.

31-34. The tendency of an Englishman to borrow his fashions from
foreigners is a commonplace in the literature of the sixteenth century.
See The Merchant of Venice, i. 2. 79-82. It is the subject of remark in
Harrison's Description of England (Holinshed, ed. 1 586, i. 172), who says,
' For my part I can tell better how to inueigh against this enormitie, than
describe anie certeintie of our attire: sithence such is our mutabilitie, that
to daie there is none to the Spanish guise, to morrow the French toies
are most fine and delectable, yer long no such apparell as that which is
after the high Alman fashion, by and by the Turkish maner is generallie
liked of, otherwise the Morisco gowns, the Barbarian sleeues, the
mandilion wome to Collie weston ward, and the short French breches
make such a comelie vesture, that except it were a dog in a doublet,
you shall not see anie so disguised, as are my countrie men of Eng-
land.' And Lyly's Euphues (ed. Arber), p. 118: 'Be not lyke the
Englishman, which preferreth euery straunge fashion before the vse of
his countrey.'

31-34. or in , , . doublet. This passage, which is found in the
Quarto, is omitted in the Folios, as Malone conjectures, to avoid giving

«c, a,] MUCH ADO ABOUT NOTHING. \%^

offence to the Spuiiards, whose friendship James the First caltivated.
It was rather to avoid offendiDg the King himself, and for the like reason
in The Merchant of Venice, i. a. 83, ' the Scottish lord * of the Quartos
becomes * the other lord ' in the Folios.

33. slops f loose breeches.

34. no doublet, that is, according to Malone, all cloak.

43. stuffed tennis-balls, Henderson quotes from Dekker, The
Shoemaker*s Holiday or The Gentle Craft (v. 5, p. 7a, ed. Wamke and
Proescholdt, 1886) : * lie shaue it off, and stuffe tennis-balls with it.'

46. civet, a perfume supplied by the civet-cat. See As You Like It,
iii. 2. 66 : ' The courtier*s hands are perfumed with civet'

50. This speech is given to Benedick in the Quarto by mbtake.
lb, note, mark, indication. So in Winters Tale, i. a. 387 ;

'A note infallible
Of breaking honesty.*

51. to Tvash his face vrith some cosmetic This agrees with 'paint
himself* in the next line. Benedick was not a sloven.

52. for the which, with regard to which.

53. I hear what they say. The Prince only professes to report the
gossip of others.

55. a lute-string. As melancholy as ' a lover's lute ' is a comparison
made by Prince Hal in i Henry IV, L a. 84. Benedick's jesting spirit
is humbled and finds expression in love-songs.

lb. stops, or frets, were the small pieces of wire or cord, fastened
round the neck of a lute at intervals of a semitone, on which the strings
were pressed.

61. ill conditions, bad qualities. As in Henry V, iv. i. 108 : < All
his senses have but human conditions.*

63. with her face upwards, and in her lover's arms. See Pericles,

▼. 3- 43 '

* O, come, be buried

A second time within these arms.'

The meaning is so obvious that it is not easy to understand why

Theobald should read 'with her heels upwards' and propose as an

alternative ' with her face downwards.'

66. these hobby-horses. The hobby-horse was one of the grotesque
figures in the old morris-dance, and the word, like ' antic,' is used con-
temptuously of a frivolous, foolish person.

73. Good den^ good even. See v. i. 46, and King John, i. i. 185 :
< Good den, sir Richard ! ' Titus Andronicus, iv. 4. 43 : ' God and
.Saint Stephen give you good den.' It is also found in the form ' God-
den,' as in Henry V, iii. a. 89.

86. aim better at me, form a better estimate of me.

1 24 NOTES. [act m.

87. holds you well, thinks well of you. So in Othello, i. 3. 396 :

* He holds me well ;
The better shall my purpose work on him/

87, 88. For my brother . . . hath holp &c. The punctuation is
Rowe's. The Quarto, followed by the Folios, has *for my brother
(I thinke, he holdes you well, and in dearenesse of heart) hath holpe
&c.* For =s as for.

91, 9a. circumstances shortened^ cutting short the details. Schmidt
(Shakespeare Lexicon) puts this passage with others in which * circum-
stance' means ceremony. But the plural is not so used by Shake-
speare.

93. disloyal. See note on ii. a. 44.

98. to paint out, to depict, pourtray. Harrison, in the Epistle Dedica-
torie to his Description of Britaine (Holinshed, ed. 1586, vol. i.), says:
*■ Thinking it sufficient, truelie and plainlie to set foorth such things as
I minded to treat of, rather than with value affectation of eloquence to
paint out a rotten sepulchre.'

10,^ if you love her then^ to-morrow &c. Hanmer's punctuation.
The Quarto and Folios have, * if you loue her, then to morow &c.*

105. May, can. See ii. 3. 21.

Ill, 112. why I should not . . . congregation, &c This is Rowe's
punctuation. The Quarto and Folios have, ' why I should not marry
her to morrow in the congregation, &c.* Capell reads, * why I should
not marry her ; to-morrow, in the congregation, &c.' But Rowe is right
because of the contrast between * to-night * and * to-morrow.'

117. coldly, quietly, coolly, without heat or passion. So in Romeo
and Juliet, iii. i. 55:

* And reason coldly of your grievances.*

119. untowardly, perversely, mischievously.

Scene III,

Enter Dogberry and Verges, . . . The Quarto and Folios have 'Elnter
Dogbery and his compartner with the Watch.* Steevens points out
that Dogberry gets his name from the female cornel, a common hedge
shrub, and that Verges is the provincial pronunciation of * Verjuice.*

3. salvation. In all these blunders the two foolish officers say just
the opposite of what they mean. There is therefore no necessity to
change ' no need * in I. 19 to ' more need * as Warburton does.

7. give them their charge, explain to them their duties. * To charge
his fellows,* says Malone, ' seems to have been a r^[ular part of the duty
of the constable of the watch.' He quotes Maiston*s Insatiate Countess

sc. 3.] MUCH ADO ABOUT NOTHING, 135

[Act iii. Works, ed, Halliwell, iii. 145] : * Come on, my hearts ; we
are the cities securitie. He give you your charge.*

10. George. Halliwell changed this to Francis, on account of
iii. 5. 52; but Francis Seacole there mentioned is not necessarily the
same person. If it is a slip of Shakespeare's it is .one easily made. In
the Merry Wives, Page is called Thomas in i. i. 46, and George in
ii. I. 153-

13. well-favoured^ good-looking. As in Genesis xxix. 17: 'Rachel
was beautiful and well-favoured.'

22. comprehend^ apprehend.

lb, vagronty vagrant.

38. your bills, Johnson says (1765), * A bill is still carried by the
watchmen at Lichfield. It was the old weapon of English infantry,
which, says Temple, gave the most ghastly and deplorable wounds. It
may be called securis falcaia^ Steevens quotes, from Glapthome*s Wit
in a Constable, [Act v, Plays and Poems, i. 226, ed. 1874] :

' Well said, neighbours ;
You're chatting wisely o*er your bills and lanthoms,
As becomes watchmen of discretion.'

47, true man, honest man. See Measure, for Measure, iv. 2. 46 :
* Every true man's apparel fits your thief.'

48. meddle or make, a common alliterative expression, of the kind
which has a great charm for those who cannot invent phrases for
themselves. See Troilus and Cressida, i. i. 14 : ' For my part, I '11 not
meddle nor make no further,'

53. touch pitch. See Lyly's Euphues (ed. Arber), p. in : * Hee that
toucheth Pitch shall bee defiled.' The origin of the saying is probably
in the Apocrypha, Ecclesiasticus xiii. i.

59. more. Of course he means ' less.'

68. present J represent. As in 2 Henry IV, v. 2. 79 :

* The image of the king whom I presented.'

70. by 'r Icuiy, by our Lady. The Quarto has * birlady ' ; the first
Folio * birladie.'

72. the statues. This, which is the reading of the first Folio, is more
appropriate to Dogberry than ' statutes * which the Quarto and the other
Folios have.

77. call up me. For this transposition of the pronoun for the sake of
emphasis see Julius Caesar, i. 3. 134 :

• Cass, Cinna, where haste you so ?

Cinna. To find out you.'

77, 78. keep your' fellows^ counsels and your own. According to
Malone these words are part of the oath of a grandjuryman. The exact

J 26 NOTES. [act m.

words of the oath at present are, * The Qaeen*s counsel your Fellows
and your own you shall observe and keep secret.'

Si. the church-henchf the bench in the church porch.

84. coil, bustle, disturbance. See v. a. 86, and King John, ii. 1. 165 :
'I am not worth this coil that's made for me.'

90. Mass, by the mass, a relic of pre-Reformation times. See
iv. a. 46, and 2 Henry IV, ii. 4. 4 : ' Mass, thou sayest true.' It is
sometimes omitted in the Folios as irreverent

91. a scab, used as a term of contempt in Coriolanus, i. i. 169 :

•What's the matter, you dissentious rogues.
That, rubbing the poor itch of your opinion.
Make yourselves scabs?'
And in Twelfth Night, ii. 5. 83, Sir Toby says to Malvolio, 'Out,
scab!'
94. Stand thee. See iii. i. i.

lb, pent-house, a lean-to roof. See Merchant of Venice, ii. 6. i :
'This is the pent-house under which Lorenzo
Desired us to make stand.'
96. a true drunkard. Perhaps with reference to his name. 'Bor-
racho ' in Spanish is a drunkard, and ' Borracha ' a wineskia, as Malone
points out.
99. a thousand ducats. See ii. a. 48.

106. unconfirmed^ inexperienced. On the other hand 'confirmed'
signifies ' hardened' in Lucrece, 15 13: 'Like a constant and confirmed
devil.'

1 13. Tush! a scornful interjection. See v. i. 58, and the Prayer-
Book Version of Psalm x. 6 : ' For he hath said in his heart. Tush,
I shall never be cast down.*

115. this seven year. So the Quarto. The Folios read * this vii.
years,' and this is further altered by Warburton to ' these seven years/
and by Steevens to * these seven year.' Compare i Henry IV, ii. 4. 343 :
'I did that I did not this seven year'; where again the Folios read
'years.' For the singular with numerals see ii. 5. 15, 'ten mile';
!• !• 73> *a thousand pound.*

1 20. the hot bloods, the fiery spirited young fellows. See King John,
ii. I. 461 :

'What cannoneer begot this lusty blood?'
The Quarto and Folios read * Hot-blouds.*

132. like Pharaoh* s soldiers, perhaps in some picture of the Israelites
crossing the Red Sea.

lb, reechy, smoky, dirty. So in Coriolanus, ii. i. 335 :
'The kitchen malkin pins
Her richest lockram 'bout her reechy neck.*

«!. 4.1 MUCH ADO ABOUT NOTHING. \%f

122. 123. sometime. See i. i. 250.

123. god BeVs priests. The snbject for a painted window being
takeh from the story of Bel and the Dragon in the Apocr3rpha.

124. shaven Hercules, Hereuleswith his beard shaven when Omphale
made him spin among her maids. Warbnrton supposed the refinence
to be to the story of Samson in Judges zvi. 17-19. Hercales was
generally represented as bearded. See The Merchant of Venice, iii. 2. 85 :

' The beards of Hercules and froMming Mars.*
lb. jmfVr^^, soiled, begrimed. See ir. 1. 132; As You Like It, i. 3. 114:
'I'll put myself in poor and mean attire.
And with a kind of umber smirch my face.'
133. leans me. See note on i. 3. 53, 54.

1 36. possessed, instructed ; hence, influenced by his evil communica-
tions, as in 1. 142. The first meaning is illustrated by Twelfth Night,
ii. 3. 149 : < Possess us, possess us ; tell us something of him.*^

1 38. amiable encounter, meeting as of two lovers.

139. thought they Margaret, This is the reading of the Quarto.
The Folios have ' thought thy Margaret.'

146. temple, church (see iiL 4. 88) or chapel (see v. 4. 71) ; as in The
Merchant of Venice, ii. i. 44 : ' First, forward to the temple.'

156. a* wears a lock. It was a fashion among the gallants of Shake-
speare's time to allow one lock of hair to grow longer than the rest in
compliment to their mistresses. According to Greene in his Quippe
for an Vpstart Courtier (Works, ed. Grosart, xi. 247) it was a French
fa^ion. The barber, after asking his patient whether he will have his
hair dressed in the Italian or Spanish manner, adds, ' or will you bee
Freochefled with a loue locke downe to your shoulders, wherein you
may weare your mistresse fauour? ' This was in 1592.

160-162. The two speeches, which are here divided between Conrade
and the First Watchman, are in the Quarto and Folios spoken by
Conrade alone.

164. tcJten up of these men*s bills. To take up a commodity was to
bay goods on credit, a bill or bond being given as security. There is
the same pun in 2 Henry VI, iv. 7. 135 : ' My lord, when shall we go
to Cheapside and take up commodities upon our bills ? '

lb. of. See i. 3. 25.

165. « commodity in question, which is likely to be put under examin-
ation. So in *2 Henry IV, L 2. 68 : 'He that was in question for the
robbery.'

Scene IV.

6. rabato, the support for a ruff. Spelt ' rebato * in the Quarto and
Folios. Steevens quotes from Dekker's Guls Hom-booke (1609) : ' Your

128 NOTES.' [act m.

stifTenecked rebatoes (that bane more arches for pride to row vnder, then
can stand vnder fine London Bridges).' Non-Dramatic Works, ed.
Grosart, ii. an.

8, 17. By my troths 's. In many such cases the prononn is omitted.
Compare i Henry IV, ii. i. 6 : * Poor jade, is wrung in the withers out
of all cess.' And again, line i a : ' Poor fellow, never joyed since the
price of oats rose.*

I a. fin, head-dress : of which artificial hair formed a part. See Merry
Wives, iii. 3. 60 : * Thou hast the right arched beauty of the brow that
becomes the ship-tire, the tire-valiant, or any tire of Venetian ad-
mittance.*

13. /Ae hair. The custom of wearing false hair is referred to by
Shakespeare in The Merchant of Venice, iii. a. 93-96 ; Timon of Athens,
iv. 3. 144, 145; and Sonnet Izviii. 5-8. Delius understands 'the hair'
of Hero's own hair.

13. a thought browner y a trifle browner. An expression still in use.

16. that exceeds^ that excels, is surpassingly fine. In like manner,
' pass * is used absolutely, in . the sense of to pass belief. See Merry
Wives, i. I. 310 : * The women have so cried and shrieked at it, that it
passed.*

\*j. a night-gown. We should call it a dressing-gown. See Macbeth,
ii. a. 70 ;

*Get on your night-gown, lest occasion call us.
And show us to be watchers.'
And in the same play, v. i. 5 : * I have seen her rise from her bed, throw
her night-gown upon her.'

lb. in respect of^ in comparison with. As in Psalm xxxix. 6 (Pr. Book) :
* Mine age is even as nothing in respect of thee.'

18. cloth o" gold, cloth embroidered with gold thread.

lb, cuts were apparently slashed openings in the gown which were
filled in with some other material.

19. down sleeves. These are interpreted by Schmidt (Shakes. Lex.)
to mean * hanging sleeves ' ; but if so they are not different from * side
sleeves,' and therefore Steevens proposed to read ' set with pearls down
sleeves ' or * down the sleeves.' Knight and Delius adopt the former of
these. But Mr. Grant White remarks : * The dress was made after
a fashion which is illustrated in many old portraits. Beside a sleeve
which fitted more or less closely to the arm and extended to the wrist,
there was another, for ornament, which hung from the shoulder,, wide
and open.* The * down sleeves ' were probably those that fitted more
closely.

Jb, side sleeves, long trailing sleeves. Reed quotes from Stowe's
Chronicle, p. 337, ed. 1631, 3rd year of Henry IV : * This time was vsed

sc. 4.] MUCH ADO ABOUT NOTHING. 129

exceeding pride in garments, gownes with deepe and broad sleeues
coiamonly called poke-sleeves, the seroants ware them as well as their
masters, which might well haue beene called the receptacles of the
denill, for what they stole, they hid in their sleeues, whereof some hung
downe to the feete, and at least to the knees, full of cuts, and iagges,
whereupon were made these verses [by Thomas Hoccleve].

Now hath this land little neede of Broomes,
to sweepe away the filth out of the street :

Sen side sleeues of pennilesse groomes,
will it vp licke be it drie or weete.'
Steevens says, * Side or syde in the North of England, and in Scotland,
is used for long when applied to the garment, and the word has the
same signification in the Anglo-Saxon and Danish/ The Anglo-Saxon
is sid ; Icelandic sitir,

19. 20. round underbome with a bluish tinsel. Schmidt (Shakesp.
Lex.) interprets * nnderbear ' in this passage * to guard, to face, to trim';
following Halliwell. It seems very improbable that a gown which
was made of cloth of gold should be merely trimmed with * a bluish
tinsel,' and it is more likely that this was the material either of the
lining of the skirt or of a petticoat worn under it so as to set it out.

20. tinsel, a stuff interwoven with gold or silver thread. Cotgrave
(Fr. Diet.) gives * Brocatel : m. Tinsell ; or thin cloth of gold, or siluer,'
and ' Pourfiler d'or. To purfle, tinsell, or ouercast with gold thread, &c.'

lb. quaint^ delicate, curiously designed. See The Taming of the
Shrew, iv. 3. 102 :

'I never saw a better-fashion'd gown,
More quaint, more pleasing, nor more commendable.'

21. on*tyO{ it. In 2 Henry IV, iv. 3. 53, where the Quarto reads, * I
will have it in a particular ballad else, with mine own picture on the
top on 't,' the Folios read * of it.'

29. * saving your reverence, a husband^ Margaret implies that Hero
was so prudish as to make it necessary to apologize for even using the
word * husband.' Modem editors print ' you would have me say, saving
your reverence, '* a husband ",' as if the substitution of * husband ' for
* man ' required an apology. In the Quarto and Folios it is ' you would
haue me say, sauing your reuerence a husband.'

30. wrest, twist firom its meaning. See 2 Henry VI, iii. i. 186 :

* He '11 wrest the sense and hold us here all day.'
33. light, Shakespeare appears to have been unable to resist playing
on the various senses of this word. Compare The Merchant of Venice,
V. I. 129, 130:

*Let me give light, but let me not be light:
For a light wife doth make a heavy husband.'
K

130 NOTES, [act m.

And Love's Labour's Lost, v. 3. 19, ao :

' Ros. What 's your dark meaning, mouse, of tlhis light word ?
Kath. A light condition in a beauty dark.*

39. ' Light o* Love * was an old dance tune, again mentioned in The
Two Gentlemen of Verona, i. a. 83, and with the same equivoque :

'/«/. Best sing it to the tune of " Light o' love.*'

Luc. It is too heavy for so light a tune.

JuL Heavy ! belike it hath some burden then.*
The notes are given by Sir John Hawkins from an old MS. In
Chappeirs Popular Music of the Olden Time, p. 224, we find a ballad
which was formerly in Mr. George Daniel's Collection, * A very proper
dittie : to the tune of Lightie Love.'

40. without a burden, ' There being no man or men on the stage to
slug one ' (Chappell). ' The burden of a song, in the old acceptation
of the word, was the base, foot, or under-song. It was sung throughont,
and not merely at the end of the verse. Burden is derived from bourdoun^
a drone base \Ftcq.q\ bourdon), . . . Light 0^ Love was therefore strictly
a balUty to be sung and danced.* Chappell, Popular Music of the
Olden Time, p. 222.

44, 45. I scorn that with my heels. For this way of expressing
contempt, compare The Merchant of Venice, ii. a. 9, la: ' Do not run ;
scorn running with thy heels.'

41. Ye light 0* love. For ' Ye,* which is the reading of the Quarto
and Folios, Rowe has ' Yes,* and Steevens ' Yea.'

43. bamSf children. A very obvious pun. See All 's Well, i. 3. 28 :

* For they say bames are blessings.* And Winter's Tale, iii. 3. 70 :

• Mercy on 's, a barne ; a very pretty bame I *

48. heigh-ho! See ii. i. 289.

56. H, that is, ache, which was so pronounced. A similarly poor
jest, as Johnson calls it, is to be found in Antony and Cleopatra,
iv. 7. 8 :

'I had a wound here that was like a T,
But now 'tis made an H.*

This explains why 'aches' is a disyllabic in The Tempest, i. 2. 370:
' Fill all thy bones with aches.* And in Timon of Athens, 1. i. 257:
' Aches contract and starve your supple joints 1 *

51. turned Turk, completely changed, and for the worse, like one
who has changed, his religion. So in Hamlet, iii. a. 387 : 'If the rest
of my fortunes turn Turk with me.*

52. the star, the north or pole star. Compare Sonnet cxvL 7 :

'It is the star to every wandering bark.*

53. trow is used in questions either for ' I trow,' which is nearly

8C 4.] MUCH ADO ABOUT NOTHING. 131

equivalent to * I wonder,' or for 'trow you?'«»do you think? can you
tell? The former occurs in Merry Wives, i. 4. 140: 'Who's there,
I trow ? ' With the present passage compare Cymbeline, i. 6. 47 :
• What is the matter, trow?'

54. their ^ as if 'all* instead of 'every one' had preceded. See
Lucrece, 125 :

'And every one to rest themselves betake/
where only one copy of the first Quarto reads ' himselfe betakes.'

56. gloves. Among the attributes of a lover, according to Burton
(Anat. of Mel. part 3, sect, a, memb. 4, subs, i, p. 535, ed. 1651), were
' a long love-lock, a flower in his ear, perfumed gloves, rings, scarfs,
feathers, points, &c/

58. stuffed, as with a cold in the head.

61. apprehension, quickness of wit. See ii. i. 70.

66, 67. distilled carduus Benedictus, The virtues of this plant were
well known to the old herbalists. Steevens refers to The Haven of Health
(1584) by Thomas Coghan (or Cogan), in which there is a chapter
(46) ' Of Blessed thistill.' ' Carduus benedictus, or blessed Thistell so
worthily named for the singular vertues that it hath. . . . Howesoeuer
it be vsed it strengtheneth all the prindpall partes of the bodie, it sharp-
eneth both the wit and the memorie, quickeneth all the senses, comforteth
the stomacke, procureth appetite, and hath a speciall vertne against
poyson, and preserueth from the pestilence, and is excellent good against
any kinde of feuer. . . . For which notable effects this herbe may worthily
be called Benedictus or Omnimorbia, that is a salue for eueiy sore.'

67. the only thing, the best thing possible, there is nothing to
compare with it. So Benedick is described in iii. i. 9a as 'the only
man of Italy.'

71. moral, hidden meaning. So in The Taming of the Shrew, iv. 4.
78 : ' Faith, nothing ; but has left me here behind to explain the moral
or meaning of his signs and tokens.'

Si, he eats his meat without grue^ng, 'Though he is in love he has
not lost the appetite for which he was famous. Malone says the meaning
is ' he feeds on love and likes his food.' I doubt it. ' Grudge ' signifies
' grumble,' as in Psalm lix. 15 : ' And grudge if they be not satisfied.'

85. a false gallop, literally, was the pace of a horse between a trot and
a gallop, also called a Canterbury gallop or canter. Hence it describes
what was not a true and natural movement, and as applied to verse
a mere artificial jingle. So in As You Like It, iii. 2. 1 19, Touchstone says
of his doggerel : 'This is the very false gallop of verses.' Margaret
maintains that she is not talking nonsense.

K 2

i^l NOTES.

ScauV.

Enter . . . The Qoaito and Fotios hftve, 'Enter Leonato, and the
ConsUble, and the Hcadborong^' So in The Taming of the Shrew,
Ind. L 13, the Folios have, * I most go fetch the hcadboroogh,' which
was altered to < tfaiid-boroogfa ' bj Theobald. The headboroog^ was
a kind of constable, the principal man in the borough or tything.

9. a little off ike matter, a little wide of the point, a little beside the
mark. The Quarto and Folios hare* a little of the matter,' bat <of ' and
' off' are frequently interchanged in the old copies. See v. i. 97.

II, 13. as honest as the skin between his brows. As an illiistrati(Mi
of this proverbial saying. Reed gives, the following from Gammer
Gorton's Needle (Hawkins, Origin of the English Drama, i. 330) :
' I am as troe, I wold thou knew, as skin between thy browes.' The
idea that the brow was a tablet on which the character was inscribed
ocean more than once in Shakespeare. See Measure for Measure,
IT. 3. 163: 'There is written in yoor Ih-ow, provost^ honesty and
constancy.' And in Hamlet, ir. 5. 119:

* Brands the harlot
Even here, between the chaste onsmirched brow
Of my true mother.'

13, 14. Jam as honesty &c. Warboiton makes this carious remark :
* There is much humour, and extreme good sense, under the covering of
this blnndering expression.' which he then proceeds to moralize. No one
will doubt about the humour ; but for the good sense there is just as
little as Shakespeare thought appropriate to Goodman Verges. Sir
Andrew Aguecheek spoke even more modestly of himself See Twelfth
Night, i. 3. 133-136:

' Sir To. Art thou good at these kickshawses, knight ?
Sir And, As any man in Dlyria, whatsoever he be, under the degree
of my betters ; and yet I will not compare with an old man.'

15. palahras may be Dogberry's blunder for the ^^ojo^pocas palabras,
few words, but it may not

19. the poor duke^s officers. For this transposition Steevens compares
Measure for Measure, iL i. 47, 48, where Elbow says : * I am the poor
duke's constable.'

30. I could find it in my heart. See L i. 107.

31. of, on. This is not one of Dogberry's blunders. See Twelfth
Night, iii. 4. a :

' How shall I feast him ? what bestow of him ? '
^-'' AirsWeU,iu. 5. 103:

' I will bestow some precepts of this virgin.'

«c. 5.J MUCH ADO ABOUT NOTHING. 133

23. pound is the reading of the Quarto. The Folios have ' times.*

32. will be talking. See i. i. 99, and proverbs xx. 3 : ' Every fool will
be meddling.'

33. ' When the age is in, the wit is out,* The nsnal form of the proverb
is, * When the wine is in, the wit is ont ' ; but Hejrwood, in Epigrammes,
163, has * When ale is in, wyt is out,* which is nearer Dogberry's version,

34. a world to see^ wonderful to see, a rare thing to see. So Lyl/s
Enphues (ed. Arber), p. 54 : * It is a worlde to see the doating of their
louers.' Again, in The Taming of the Shrew, ii. i. 313 :

* O, you are novices ! 'tis a world to see.
How tame, when men and women are alone,
A meacock wretch can make the curstest shrew.'
Harrison, in his Description of England (Holinshed, i. 172, ed. 1586),
says, ' And as these fashions are diuerse, so likewise it is a world to see
the costlinesse and the curiositie.' Baret in his Alvearie, quoted by
Holt White, gives as the equivalent of 'It is a world to heare ' the Latin

* Audire est operae pretium.'

35. God *s a good man. This curious expression occurs in Burton's
Anatomy of Melancholy, ed. 1632, p. 70 (quoted by Steevens) : * God
is a good man, and will doe no harme.' Steevens also gives the following
from the old Morality or Interlude of Lusty Juventus (Hawkins, Origin
of the English Drama, i. 141) :

* He wyl say, that God is a good man.
He can make him no better, and say the best he can.'
See Armin's Nest of Ninnies (Works, ed. Grosart, p. 22).

54. to examination. So the Quarto : the Folios have * to examine,'
which Grant White prefers on the ground that * Dogberry mistakes the
significance of words, but never errs in the forms of speech.' But he has
just used * sufiigance ' for * sufficient,* and though a nonsense word it is
a substantive in form. It is urged also in support of the Folio reading
that in line 44 he uses * examined ' correctly. But Dogberry is not con-
sistent in his blunders, for in iii. 3. 46 he uses * suspect ' in its proper
sense, while in iv. 2. 69 it stands for * respect'

53. inkhom. The word has gone out with the thing. Cade
(2 Henry VI, iv. 2. 117) ordered the Clerk of Chatham to be hanged :

* Hang him with his pen and ink-horn about his neck.' See Ezekiel ix. 2 :

* One man among them was clothed with linen, with a writer's inkhom
by his side.'

56, 57. here *s thai, tapping his forehead.

57. a noncome, a nonplus, which Dogberry has confused with another
legal phrase non compos.

134 NOTES, [act IV.

ACT IV.

Scene L

I. only [proceed] to^ &c.

lo. If either of you, &c. A reminiscence of the English Marriage
Service.

12. to utter it, to disclose it.

ao. ah, ha, he! Ben Jonson, in his English Grammar, gives as
examples of interjections 'ah, alas, woe, fie, tnsh, ha, ha, he.'

a I. Stand thee by. See iii. 3. 94.

38. learn, teach. In Hamlet, v. a. 9, where the Quartos have

'And that should learn us
There's a divinity that shapes our ends,'
the Folios have * teach.'

39. luxurious, lustful, lascivious. See Macbeth, iv. 3. 58 :

'I grant him bloody,
Luxurious, avaricious, false, deceitful'
4a. an approved wanton, one proved to be a wanton, or an unchaste
woman. For ' approved ' see ii. i. 344 ; and for ' wanton ' see Othello,
iv. 1. 7a :

'To lip a wanton in a secure couch.*

43. Dear my lord. Similarly we have ' good my lord ' in ii. 3. 43 ;
' Good your grace,' Othello, i. 3. 53 ; ' dear my sweet,' Twelfth Night,
ii. 5. 193; 'Gracious my lord,' Lear, iii. 3. 61, &c. 'Dear' is here
a disyllabic. Compare Hamlet, iii. 4. 7 :

' Fear me not withdraw, I hear him coming,'
where ' Fear ' is also a disyllable. Not recognizing this, Theobald, as
he thought, corrected the metre by reading ' approof ' for ' proof,' and
Capell by reading * Dear, dear my lord.'

lb, in your own proof in making trial of her yourself.

45. made defeat. Synonymous with ' vanquish'd ' in the previous
line. Compare Henry V, i. 3. 107 :

* Making defeat on the full power of France.'

48. the forehand sin, the sin committed by anticipating marriage.

50. large. See ii. 3. 181.

54. Out on thee! Seeming! This reading, suggested by Seymour,
was first adopted by Grant White. The Quarto and Folios have, * Out
on thee seeming, I, &c.' Pope changed * thee ' to * thy.' Knight read
* Out on the seeming ! ' and Collier, * Out on thee, seeming ! * The last

' *hese regards Hero as ' seeming' personified.

sc. I.] MUCH ADO ABOUT NOTHING. I35

Th, I will write against it. Compare Cymbeline, ii. 5. 33, where
Posthnmns says of women :

'I'll write against them,
Detest them, carse them.'
■ The Qnarto and Folios hare only a comma at < it/ and this is retained
by Knight in preference to a longer stop, as indicating that what follows
is what Claudio proposed to write. He says, *We believe that the
poet nsed " Ont on tiie seeming '* — the specious resemblance — ** I will
write against it ** — that is, against this false representation, along with
this deceiving portrait,

" Yon seem to me as Dian in her orb," &c.'

55. seexn was changed by Hanmer to * seem'd,' but it is the correct
reading, because a contrast is intended between her present appearance,
which is unchanged, and what is in Claudio's thought.

lb. as Diatiy the goddess of the moon and of chastity.
lb, in her orb^ in her orbit See Romeo and Juliet, ii. a. no :
'The inconstant moon.
That monthly changes in her circled orb.'

56. ere it be blovm, before it is in full bloom, and open to the wanton
air.

60. so wide, so wide of the mark, so far from the truth. Steevens
quotes Troilus and Cressida, iii. i. 97 : ' No, no, no such matter ; you are
wide.' See also Lear, iv. 7. 50 :

* Lear, You are a spirit, I know: when did you die?
Cor, Still, still, far wide! '

61. Sweet prince, &c. Tieck gives this speech to Claudio, and he is
followed by Dyce and Delius ; but after what Hero says of Claudio*s
words it seems natural that her father should appeal to the prince.

62. gone about, endeavoured. See i. 3. 11.

64. stale. See ii. 2. 23.

65. Are these things spoken, &c. Steevens compares Macbeth, i. 3. 83 :

'Were such things here as we do speak about?
Or have we eaten on the insane root
That takes the reason prisoner?*
67. a nuptial, a wedding. Shakespeare uses the plural * nuptials '
only in Pericles, v. 3. 80, and in Othello, ii. 2. 8, where the Quartos have
the plural and the Folios the singular. In The Tempest, v. i. 308,
and A Midsummer Night's Dream, i. i. 125, v. i. 75, the plural is
introduced in the later Folios.

lb. True I God I Hero's exclamation, * True ! ' must refer to Don
John's speech, and not to Benedick's, and the third and fourth Folios
therefore put a note of exclamation at ' True.' The Quarto and first

136 NOTES, [act IV.

two Folios do not make this dear, but read ' Tme, O God ! ' which
might be interpreted as a reply to Benedick. Bat this is tame. Collier,
to avoid misapprehension, read * True ? O God ! *

7 1 . move, propose. In Troilns and Cressida, ii. 3. 89,

* We dare not move the question of our place,*
'move' has rather the sense of * stir.' We still speak of 'moving'
a proposition.

72. kindly, natural. As in the Litany, *the kindly fruits of the
earth.'

85. then are you no maiden, because you have not answered truth-
fully, and I infer the worst.

90. liberal, licentious in speech. Steevens quotes a passage from The
Fair Maid of Bristow, 1605, which appears to be a reminiscence of this :
' But Vallinger, most lik a liberal villain.
Did give her scandalous ignoble terms.*

See also Hamlet, iv. 7. 171 r

'Long purples,
That liberal shepherds give a grosser name.'
94. spoke and * spoken ' (1. 64) are used indifferently.
97. thy much misgovemment, th^ grievous misconduct. For ' much ' j
in the sense of ' great ' see Measure for Measure,* v. i. 534 :

' Thanks, good friend Escalus, for thy much goodness.'
Shakespeare does not again use * misgovemment ' for disorderly, inde-
corous conduct, but he has * misgoverning ' in the same sense in
Lucrece, 654 :

'Black lust, dishonour, shame, misgoverning.
Who seek to stain the ocean of thy blood.'
On the contrary, Katharine in Henry VIII, ii. 4. 138, is praised by the
king for her ' wife-like government'

104. conjecture, suspicion. As in Hamlet, iv. 5. 15 :

'For she may strew
Dangerous conjectures in ill-breeding minds.'

And Winter's Tale, ii. i. 176 :

'Their familiarity.
Which was as gross as ever touch'd conjecture.'

106. gracious, lovely, attractive. Compare King John, iii. 4, 81 :
' For since the birth of Cain, the first male child.
To him that did but yesterday suspire.
There was not such a gracious creature bom.'
The word is here a trisyllable, as in Sonnet cxxxv. 7 :

'Shall will in others seem right gracious?'

sc. I.] MUCH ADO ABOUT NOTHING. 137

1 10. Smother her spirits up. So in Henry V, iv. 5. ao :
* We are enow yet living in the field
To smother op the Efiglish in our throngs.*
' Up' is added for emphasis, as in 'stifle up' (King John, iv. 3. 133),
* pobons np ' (Love's Labour *s Lost,' iv. 3. 305), * kill np * (As You Like
It, ii. I. 62). See note on this last passage in the Clarendon Press
edition.

121. The story that is printed in her bloody that is, as Johnson
explains it, ' the story which her blushes discover to be true,' for the
Friar, although Hero had swooned, observed 'a thousand blushing
apparitions To start into her face.' This is a more natural explanation
than that given by Schmidt (s. v. Print), the story ' with the stain of
which her blood is polluted.'

122. ope and 'open* are used indifferently by Shakespeare in verse,
according to the requirements of the metre. In Richard II, iii. 3. 94,

*He is come to open
The purple testament of bleeding war,'
where the Quartos read ' open * the Folios have * ope.*

iie^, on the rearward of reproaches, following up reproach by violence.
The phrase occurs again in Sonnet xc. 6 :

*Ah, do not, when my heart hath 'scaped this sorrow,
Come in the rearward of a conquer'd woe.'
' Reward,' the reading of the first Folio, is a misprint. ' Hazard'
(Collier MS.) and * re-word' (Brae) are unnecessary conjectures.

137. Chid. 'To chide at' is to upbraid, rebuke, quarrel with. So
in Romeo and Juliet, iii. 2. 95 :

' O, what a beast was I to chide at him ! '
lb. frugal natures frame, the parsimonious arrangement of nature
which limited him to a single child.

131. Took, taken. As in Twelfth Night, i. 5. 282 :

' He might have took his answer long ago.'

132. Who smirched thus, &c. Participial clauses of this kind, which
in Latin would be represented by the ablative absolute, are not uncom-
mon in Shakespeare. Compare The Merchant of Venice, iv. i. 134 :

'Thy currish spirit
Govem'd a wolf, who, hang'd for human slaughter,
Even from the gallows did his fell soul fleet'
And Henry VIII, ii. i. 42 :

'First, Kildare's attainder.
Then deputy of Ireland ; who removed,
Earl Surrey was sent thither.'
See Abbott, % 376.

140 NOTES. [act IT.

172. ske not denies it. Compare for the transposition of the negative
V. I. 22, and The Tempest, ii. i. lai :

'I not donbt
He came alive to land.'
And V. I. 38 of the same play, * Whereof the ewe not bites.'

175. Warburton, who had a gift for discovering mare's nests, finds
much subtlety in the Friar's question, which he thinks was framed for
the purpose of inducing Hero, if guilty, to betray herself by the mention
of the name of her paramour. But the Friar, who stoutly maintained
Hero's innocence, would never have asked such a question if the point
of it had been that he suspected her to be guilty ; and if Hero had been
guilty the question would at once have put her on her guard. There is
therefore no probability that the Friar had any such motive for his
question as Warburton attributes to him, and if he had there is little
subtlety in the question itself, for it would have defeated its purpose.

182. change f exchange. So in Henry V, iv. 8. 30 : * He that I gave
it to in change promised to wear it in his cap.' And Marston's Insatiate
Countess, ii. (Works, ed. Halliwell, iii. 125):

'Change is no robbery; yet in this change
Thou rob'st me of my heart.'

183. Refuse, reject, disown. See Romeo and Juliet, ii. 2. 34 :

* Deny thy father and refuse thy name.'

184. misprision^ mistake, error. Compare A Midsummer Night's
Dream, iii. 2. 90 :

' Of thy misprision must perforce ensue
Some true love tum'd and not a fisdse tum'd true.*
Cotgrave (Fr. Diet.) has, ' Mesprison : f. Misprision, error ; offence ;
a thing done, or taken, amisse.'

185. have the very bent of honour, the aim and purpose of their lives,
the direction of their thoughts, is truly honourable. Compare Romeo
and Juliet, ii. 2. 143 :

* If that thy bent of love be honourable ' :
that is, if the aim and object of thy love be honourable. To * bend,'
originally a term of archery, signifies to aim, to point, and is used of
a cannon or a sword. See King John, ii. i. 37 :

'Our cannon shall be bent

Against the brows of this resisting town ' ;
and the note on the passage in the Clarendon Press edition. Hence
'bent' signifies direction; and so, inclination, disposition. As in
Julius Caesar, ii. i. 210 :

' For I can give his humour the true bent.'

ic. I.] MUCH ADO ABOUT NOTHING. I4I

187. practice, plot, contrivance, design. Compare King John,

iv. 3- 63 :

' The practice and the purpose of the king.'

lb. lives, has its vitality and force. Dyce, at Sidney Walker's
suggestion, changed this to 'lies/ and the two words axe sometimes
confounded in printing. For instance, in i Henry IV, i. 3. 313, ' In the
reproof of this lies the jest,' the first Quarto has * lives.' On the other
hand, in i Henry IV, iv. i. 56, we find * A comfort of retirement lives
in this.'

188. in frame ofvillanies, in contriving villanies.

193. eat and 'eaten,' like 'spoke' and 'spoken' (see line 94) are
used indifferently for the participle.

lb. my invention, the * policy of mind ' referred to afterwards.

196. in such a kind^ in such a way. See ii. i. 59. In consequence
of the rhyme which follows, and for no other reason, Capell conjectured,
and Collier substituted 'cause,' which has no point. In lines 214, 215
there is another instance of rhyme, where no one proposes to change
the reading.

199. to quit me of tkem, to reckon with them, be revenged upon
them. So in Coriolanus, iv. 5. 89 :

* To be full quit of those my banishers.'

lb. throu^kfyy thoroughly, as the fourth Folio reads. See Matthew
iii. I a : * He will throughly purge his floor.'

304. a mourning ostentation^ a show or appearance of mourning.

306. Hang mournful epitaphs. It was the custom, upon the death
of a person of eminence, to hang upon the tomb verses in honour
of the departed. Such were the lines attributed to Ben Jonson in praise
of Mary Sidney, Countess of Pembroke. See the note on Henry V,
i. 3. 233 (Clarendon Press edition).

308. What shall become of this f What will be the issue of this ?

209. carried. See ii. 3. 196, and Ben Jonson, Every Man in his
Humour, iii. 2 : * Beshrew me, but it was an absolute good jest, and
exceedingly well carried.'

3 10. remorse J compassion, pity; not compunction. See notes on
King John, ii. i. 478 (Clarendon Press edition), and The Merchant
of Venice, iv. i . 20.

313. travail, labour, toil ; with a reference to the labour of childbirth.
Compare Psalm xlviii. 6 : ' Pain, as of a woman in travail.'

314. Upon the instant, at the very instant. Compare Hamlet, i. i. 6 :

'You come most carefully upon your hour.*
And A Lover's Complaint, 248 :

'The accident which brought me to her eye
Upon the moment did her force subdue.'

14a NOTES. [act IT.

217-219. Compare Antony and Cleopatra, i. 4. 43, 44 :

*And the ebb'd man, ne'er loved till ne*er worth love,
Comes dearM by being lackM.'
And Coriolanns, iv. 1. 15 :

*I shall be loved when I am lack'd.'
318. Whiles, while, with which it is used interchangeably. In form
it is the genitive singular of 'while ' (A. S. hwil, time), used adverbially.
See note on Julius Caesar, 1.2. 209 (Clarendon Press edition).

219. rack, extend to the utmost ; as the rack-rent of land is the
utmost that it will bear. Compare The Merchant of Venice, i. 1. 181 :
'Try what my credit can in Venice do:
That shall be rackM, even to the uttermost.'
Johnson reads ' reck,' unnecessarily and perhaps unintentionally.

222. upon his wards, in consequence of his words; her death
following close upon them. See ii. 3. 193; iv. 2. 58 ; v. i. 227, 235;
V. 4. 3 ; and note on King John, iv. 2. 214 (Clarendon Press edition) :

'More upon humour than advised respect.'

223. The idea of her life. For ' life ' Pope reads * love' ; but the
whole point of the passage is the contrast between the living Hero
and Hero supposed to be dead, and this is emphasized by the threefold
repetition of * life.' * Idea' is used for * image ' as in Richard III, ill

7.13:

' Being the right idea of your £a,ther,
Both in your form and nobleness of mind.'

224. his study of imagination, that is, as Dr. Abbott (Grammar,
§ 423) explains it, the study of his imagination, or rather, perhaps^
' his imaginative study or contemplation,' the two nouns connected
by 'of being regarded as one. Of this construction he gives many
examples ; among others, Hamlet, i. 4. 73 :

* Which might deprive your sovereignty of reason.'

227. moving-delicate. Capell inserted the hyphen; and this is
essentially the reading of the Quarto, which has * moouing delicate,* and
of the first Folio, which has ' moveing deUcate,' both of them putting
a comma after * delicate.' The later Folios read * moving, delicate.'

228. the eye and prospect. The two words are again combined in
King John, ii. i. 208:

* Before the eye and prospect of your town.*
230. his liver, which was regarded as the seat of the emotioiis.
Compare Twelfth Night, ii. 4. loi :

*Alas, their love may be calVd appetite.
No motion of the liver, but the palate.'
See note on As You Like It, iii. 2. 384 (Clarendon Press edition).

ic. I.] MUCH ADO ABOUT NOTHING. 143

333. success, issue, result. See All's Well, iii. 6. 86: 'I know not
what the success will be, my lord.' ' Success ' was formerly a colourless
word, which required to be defined by a qualifying adjective. So in
Joshua i. 8 : ' Then thou shalt have good success.'

336. but this refers not to what precedes but to what follows. The
Friar means, if we miss our aim in every other respect but this, at least
the supposition of her death, &c.

lb. levelVd, To ' level ' was the technical word for la3dng a gun so
as to take aim. See Richard III, iv. 4. 203 :

'They shall be pnying nuns, not weeping queens;
And therefore level not to hit their lives.*

Hence as a substantive ' level * is used for ' aim,' as in Romeo and
Juliet, iii. 3. 103:

' As if that name.

Shot from the deadly level of a gun,

Did murder her.'

339. sort not, fall not out. See v. 4. 7, and A Midsummer Night's
Dream, iii. 3. 353 :

'And so far am I glad it so did sort
As this their jangling I esteem a sport.*

341. reclusive, retired, befitting a recluse, who adopted the religious
life of a cloister.

343. injuries, reproaches, insults. See 3 Henry VI, iv. i. 107 :
*But what said Warwick to these injuries?'

343. advise you, guide you by his advice, prevail upon you. Compare
Lear, v. 1.3:

* Know of the duke if his last purpose hold.
Or whether since he is advised by aught
To change the course.'
On the other hand, 'persuade,' which now means to prevail by persuasion,
in Shakespeare's time signified also to use persuasion.

344. inwardness, intimacy. So 'inward' is used for 'intimate' in
Richard III, iii. 4. 8 :

'Who is most inward with the royal duke?'
And as a substantive, in Measure for Measure, iii. 3. 138, it signifies
an intimate friend : ' Sir, I was an inward of his.'

348. Being, it being the case, since. See 3 Henry IV, ii. i. 199 :
' Sir John, you loiter here too long, being you are to take soldiers up in
counties as you go.'

350. presently. See i. i. 73.

144 ^0 TES. [act it.

253. prolonged, postponed. See Richard III, iii. 4. 47 :
' For I myself am not so well provided
As else I would be, were tie day prolong'd.'
And Ezekiel xii. 25: 'The word that I shall speak shall come to pass;
it shall no longer be prolonged.* * Perhaps ' might be omitted.

270. / am sorry for my cousin^ because I cannot trust to you to
revenge her.

275. eat your word. This is a phrase which in the present day
requires no illustration.

280. in a happy hour^ just at the right moment. So in Juhns
Caesar, ii. 2. 60 :

' And you are come in very happy time,
To bear my greeting to tie senators.'
288. to deny it, by denying it. For this use of the infinitive see
Abbott, § 356, and Henry V, i. 2. 280:

*Yea, strike the Dauphin blind to look on us.'
Also Lear, iii. 5. 11 : 'How malicious is my fortune, that I most
repent to be just ! '

290. / am gone, though I am here. She struggles to escape from
Benedick, who detains her.
298. approved. See iv. i. 42.

lb. in the height , in the highest degree. Like 'to the height* in
Henry VIII, i. 2. 214 : ' He 's traitor to the height'

300. bear her in hand, delude her with false pretences. Compare
Macbeth, iii. 11. 80: 'How you were borne in hand, how cross'd.'
And Hamlet, iL 2. 67 :

'Whereat grieved,
That so his sickness, age, and impotence
Were borne in hand.'

305. proper. See i. 3. 46, and Macbeth, iii. 4. 60 : ' O proper stuflf!'

311. counties. See ii. i. 169.

312. a goodly Count. There is possibly a pun here between ' Count'
a title and * count ' the declaration of complaint in an indictment. The
occurrence of the word * testimony * favours this.

lb. Count Comfect. Staunton renders it, by an equivalent alliteration,
' my Lord Lollipop.' ' Comfect * is the old spelling of * comfit,* and
Grant White's suggestion is very probable that there is again a pUy
upon the meaning of 'comfect,' which etymologically might signify
'made up' as applied to 'count.' He interprets the phrase 'count
comfect ' as a fictitious story ; but I prefer to think that the legal
meaning of ' count ' is rather pointed to, and that it means a fictitious
charge.

8c. 3.] MUCH ADO ABOUT NOTHING, . I45

315. melted into courtesies, Beatrice is still playing on the con-
fectionery metaphor. Compare i Henry IV, i. 3. 351 :

* Why, what a candy deal of courtesy
This fawning greyhound then did proffer me ! '
In Hamlet, iii. 2. 65, * the candied tongue ' was the tongue of courtesy
and compliment, as sweet and unsubstantial as comfits and sugar-candy.

316. trim ones too. They are so smooth-spoken that their tongues
have lost their roughness. The change from the singular to the plural
is not uncommon. See iii. 4. 54 : ' God send every one their heart's
desire'; and v. i. 37. Steevens wrongly understands 'trim ones' to
refer to men and not to ' tongues.'

330. By this hand. So in The Merchant of Venice, v. i. 161 :
*Now, by this hand, I gave it to a youth.'
In swearing it was anciently the custom either to raise the hand by way
of appeal to the Deity, or to lay it upon something sacred, as an altar
or a relic, to add solemnity to the oath. Or the hand was ofiiered as
a pledge of good faith.

336. engaged^ pledged. See Richard II, i. 3. 17 :

' My name is Thomas Mowbray, Duke of Norfolk ;
Who hither come engaged by my oath.'
328. a dear account, an account which will cost him dear. Compare
Romeo and Juliet, i. 5. 130 :

* O dear account ! my life is my foe's debt.'

Scene II,

For the stage direction the Quarto and Folios have only ' Enter the
Constables, Borachio, and the Towne clearke in gownes.' By * Town
clerk ' is probably meant ' parish clerk,' and the offices of parish cleric
and sexton were often held by the same person. In line 2, and whenever
he speaks, he is called 'Sexton.' The constables in Shakespeare's time
wore black gowns.

I. In the Quarto and Folio this speech is assigned to * Keeper,' which
is probably a mistake for ' Kempe ' or ' Kemp,' that is, William Kemp,
the actor who played Dogberry.

3. For * Verges ' the old copies have * Cowley' or * Couley,' that is,
Richard Cowly, whose name is among those of the principal actors of
whom a list is prefixed to the first Folio.

4. In the old copies this speech is assigned to ' Andrew,' which is
supposed to be a nickname given to Kemp from his playing the part of
Merry Andrew.

L

146 . NOTES. [activ.sc. 3.

5. exhibition for 'commission.' Steevens says that 'exhibition to
examine * is a blunder for * examination to exhibit.'

16-19. The answer of Conrade and Boracbio, and the first part of
Dogberry's speech dowti to * villains/ are omitted in the Folios, perhaps,
as Blackstone suggested, to avoid incurring the penalties of the Act of
3 James I. c 21, ' to restrain the abuses of players.' See The Merchant
of Venice (Clarendon Press ed.), i. 2. 99.

18. defend. See ii. I. 82.

24. go about ^ go cunningly to work, and like Polonius ' by indirections
find directions out.' It is not used in the same sense as in i. 3. 11 and
iv. I. 62, where it signifies 'to endeavour.' -

28, 29. they are both in a tale^ they both tell the same story.

33. ef testy readiest. Perhaps a blunder for 'deftest,' which Theobald
substituted.

46. by mass. See iii. 3. 90. Halliwell says this form of oath was
going out of fashion and was therefore appropriately put into the
mouth of Verges, ' a good old man, sir.' But Borachio is not a good
old man, and yet he uses it.

57. refused. See iv. i. 183.

62, 63. Verg. Let them be in the hands — Con. Offy coxcomb! Malone's
reading. The Quarto has * Couley Let them be in the hands of Cox-
combe,' and the Folios read the same, except that they give the speech
to * Sex.* Theobald assigned it to Conrade.

64. GW'j my life^ an exclamation also used by Bottom, with whom
Dogberry had much in common. See A Midsummer Night's Dream,
iv. I. 201 : * God 's my life, stolen hence, and left me asleep ! '

66. naughty y wicked. See v. i. 382, and The Merchant of Venice,
V. I. 91 :

'So shines a good deed in a naughty world.*

67. In the Quarto and Folios this speech is given to 'Couley' for
'Cowley,' the actor who played Verges. Probably the abbreviation
* Con.' was misread ' Cou.'

75. as pretty a piece of flesh. Compare Twelfth Night, i. 5. 30: 'If
Sir Toby would leave drinking, thou wert as witty a piece of Eve's flesh
as any in Illyria.*

77. that hcUh had losses. It is no uncommon thing for rich men to
boast of the money they have lost, for it adds credit to what they have.
The meaning is perfectly obvious, but some extremely foolish emenda-
tions have been proposed, such as ' hath had leases,' ' hath had law-
suits,' ' hath horses,' or ' trossers * or ' strait trossers.'

78. everything handsome about him. See v. 4. 102, and Roper's Life
of Sir Thomas More (ed. 1731), p. 89: 'And seeing you have at
Chelsey a right faire howse, your Librarie, your gallarie, garden,

I

ACTV.8C. I.] MUCH ADO ABOUT NOTHING. I47

orchard and all other necessaries soe handsome about yon, ... I muse
what a God's name you meane heere still thus fondlie to tarrie.'

79, 80. writ down an ass. This phrase is quoted by Armin in the
Epistle dedicatory of the Italian Tailor and his Boy (1609), * Pardon
I pray you the boldnes of a Begger, who hath been writ downe for an
Asse in his time.' Dr. Grosart infers that one of Armin's parts was that
of Dogberry.

ACT V.

Scene /.

5. As waier in a sieve. Compare Plautus, PseuduluSy. i. i. loa ;
' Non pluris refert qaam si imbreid in cribrum ingeras.'

6. Nor let us. See ii. 3. 213.

lb, comforter, the reading of the Quarto^ was misprinted * comfort ' in
the first Folio, and then the metre was amended in the later Folios by
the conjectural insertion of ' else.' This is a good illustration of the way
in which various readings originate.

7. siiit^ agree, accord. So in Twelfth Night, iii. 4. 6:

'Where is Malvolio? he is sad and civil,
And suits well for a servant with my fortunes.'
10. Hanmer mended the verse by reading ' speak to me,* regarding
' patience ' as a trisyllable, as in line 19.

12. every strain for strain^ every emotion by which it finds ex-
pression. Compare Sonnet xc. 13 :

* And other strains of woe, which now seem woe,

Compared with loss of thee will not seem so.*

See note on Coriolanus, v. 3. 149 (Clarendon Press ed.). There may be

also a reference to the musical sense of the word as is suggested by the

use of * answer,' which might mean * re-echo.' See Lucrece, 1 131 :

'So I at each sad strain will strain a tear.'

15. stroke his beard, like an old man who utters sententious platitudes.
Dr. Ingleby compares Troilus and Cressida, i. 3. 165 :

* Now play me Nestor ; hem, and stroke thy beard.'
And Chapman's May Day, ii. i : ' Yes, thou shalt now see me stroke
my beard, and speake sententiously.' Dramatic Works, ii. 339, ed. 1 873.

1 6. Bid sorrow wag, cry * hem V &c. This is Capell's correction of the
line which stands corruptly in the Quarto and first two Folios : ' And

L 2

148 NOTES. [actt.

sorrow, wagge, crie hem, &c.' The third Folio does not mend matters
by substituting for * sorrow ' ' hallow,* which in the fourth Folio becomes
* hollow.' Other emendations which have been proposed do not com-
mend themselves. Schmidt, with desperate courage, adheres to the old
reading, and interprets, ' and if sorrow, a merry droll, will cry hem, &c.*
Dyer punctuates * And — sorrow, wag ! — cry hem, &c.'

18. candle-wasters are students who bum the midnight oil, not those
who sit up all night to drink, as Steevens explains it, understanding too
literally • make misfortune drunk.' Whalley gave the true interpretation :
'stupefy misfortune, or render himself insensible to the strokes of it, by
the conversation or lucubrations of scholars ; the production of the lamp,
but not fitted to human nature.' He quotes a passage from Ben Jonson,
Cynthia's Revels, iii. 2, in which * candle-waster ' is synonymous with
bookworm. This is in keeping with the rest of Leonato's speech and
with his reference to the philosopher in 1. 35. He had no thought of
drowning his sorrow in drink.

lb. yet J nevertheless.

22. not feel. See iv. i. 173.

lb, tasting it, that is, when they taste it ; the subject of the participle
being made clear by the pronoun 'Their' which follows. Compare
Julius Caesar, v. i. 80:

* Coming from Sardis, on our former ensign
Two mighty eagles fell.'
See Abbott, § 379.

20-22. Theobald quotes, among other classical parallels, Terence
[Andria, ii. 1.9]: ' Facile omnes, qnum valemus, recta consilia aegrotis
damns.'

24. preceptial medicine, the medicine of precepts ; appl3ring * a moral
medicine to a mortifying mischief' as Don John says, i. 3. 11, 12.

27. No, no ; perhaps these words should be put in a separate line, and
' patience,' as before, be read as a trisyllable.

28. wring, writhe, are tortured. Compare Cymbeline, iii. 6. 79:
^ He wrings at some distress.'

29. no , , , nor. See As You like It, i. 2. 19 : * You know my
father hath no child l^qt I, nor none is like to have.'

30. moral, capal>le of moralizing. Goneril, in Lear, iv. 2. 58, calls
her husband 'a moral fool.'

32. advertisement, is interpreted by Johnson to mean admonition, or
moral instruction, and so almost synonymous with ' counsel.* Compare
I Henry IV, iv; i. 36:

* Yet doth he give us bold advertisement.
That with our small conjunction we should on.
To see how forttme is disposed to us.'

sc. I.] MUCH ADO ABOUT NOTHING, I49

Shakespeare had no doubt in his mind the other and now more usnal
sense of * advertisement/ and this suggested the expression ' cry louder.'
Cotgrave gives the following meanings of the Fr. Advertissement : * An
aduertisement, signification, information, intelligence, notice ; a warning
aduise, monition, admonishment.'

37. Howtver they, &c. Another instance of the change from the
singular to the plural. See iv. i. 516.

lb. have writ the style of gods, as if they were superior to human
infirmity. Steevens correctly explains it. Warburton's note, * This alludes
to the extravagant titles the Stoics gave their wise men,' is nonsense.

38. made a push, or contemptuous exclamation. See Timon, iii. 6.
1 19 : 'Push ! did you see my cap?' Rowe altered it unnecessarily to
'pish.' Boswell defends the old reading, but interprets 'to make a push
at ' anything as meaning to contend against it, or defy it But in the
case of accident and suffering this is what ordinary mortals have to do,
whereas philosophers professed to treat them with indifference or con-
tempt.

lb. sufferance, suffering. As in Lear, iii. 6. 113 :

* But then the mind much sufferance doth o'erskip.'
In i. 3. 8 of the present play it means * endurance.'

45, Here comes, &c. When the verb precedes the plural nominative
it is frequently in the singular. See note on The Tempest, i. 1. 15
(Clarendon Press ed.).

46. Good den. See iii. a. 73.

49. all is one, it is all the same, it makes no difference. So in Merry
Wives, ii. 2. 79 : ' But I warrant you all is one with her.'

55. beshrew my hand, mischief befall my hand. See notes on A Mid-
summer Night's Dream, ii. 2. 54, and Twelfth Night, ii. 3. 77 (Clarendon
Press ed.).

57. meant nothing to my sword, had no purpose in grasping my
sword.

58. Jleer, sneer, grin ; like a dog that shows its teeth. So in Julius
Caesar, i. 3. 117 :

'You speak to Casca, and to such a man
That is no fleering tell-tale.'
And Love's Labour *s Lost, v. a. 109 :

' One rubb'd his elbow thus, and fleer'd and swore
A better speech was never spoke before.*
62. to thy head, to thy face. Still a common expression in Norfolk
and Suffolk, and recorded as such in Forby's Vocabulary of East Anglia.
Compare A Midsummer Night's Dream, i. i. 106 : ' I '11 avouch it to his
head.'

'150 NOTES. [actv.

65. bruise of many days. Compare Romeo and Juliet, ii. 3. 37:

* Unbruised youth.*

76. May of youth ^ the fresh and vigorous springtime of his life. This
passage supports the conjectural alteration of < Way of life ' to ' May
of life* in Macbeth, v. 3. 2a.

lb, lustihood, high-spirited vigour. See Troilus and Cressida, ii.

a. 50:

' Reason and respect

Makes livers pale and lustihood deject.'

78. daffme, put me aside. See ii. 3. 156.

80. men indeed, real men ; as below, 1. 89, ' a man indeed,' where the

sense is obscured by putting a comma after *■ man,' as Theobald did.

82. Win me and wear me, a common proverb, which occurs in Lyly's
Euphues (ed. Arber), p. 307 : * If then shee looke as fayre as before,
wooe hir, win hir, and weare hir.'

lb, answer i meet in single combat. Compare Troilus and Cressida,

iii. 3- 35 :

* Withal bring word if Hector will to-morrow
Be answer'd in his challenge.'

83. sir boy, Coriolanus is goaded into fury when called ' thou boy
of tears ' by Aufidius. See Coriolanus, v. 6. 101-117.

84. foining. A * foin' is a thrust in fencing. See Lear, iv. 6. 251 :

* No matter vor your foins.' In Merry Wives, ii. 3. 24, the Host says to
Dr. Caius, * To see thee fight, to see thee foin, to see thee traverse.'

87. Content yourself f contain, restrain yourself; be calm. See Romeo
and Juliet, i. 5. 67 :

* Content thee, gentle coz, let him alone.'
91. Jacks, See i. i. 158.

94. Scamblingy scrambling, struggling; and so, shifty. See Kiog
John, iv. 3. 146 :

' England now is left
To tug and scamble and to part by the teeth
The unowed interest of proud-swelling state.'
lb, outfacing, swaggering, impudent, brow-beating. Compare King
John, V. I. 49 :

'Threaten the threatener and outface the brow
Of bragging horror.'
lb. fashion-monging, aping the fashions, foppish. In the same sense
' fashion-monger ' occurs in Romeo and Juliet, ii. 4. 34.

95. cog, cheat, deceive. Compare Richard III, i. 3. 48 :

'Smile in men's faces, smooth, deceive and cog.'
Ih, flout, Seei. 1. 158.

8c. I.] MUCH ADO ABOUT NOTHING. 151

lb. deprave^ depreciate, detract. So in Timon of Athem, i. a. 145 :
* Who lives that *s not depraved or depraves ? '

96. anticly^ grotesquely dressed, like buffoons.

97. speak off is Theobald's emendation for ' speak oV which the old
copies have. He says, * These Editors are persons of unmatchable
IndoleDce, that can*t afford to add a single letter to achieve common
sense. To speak off^zsl have refonn*d the Text, is to throw out boldly,
with an ostentation of Bravery, &c.* He quotes Twelfth Night, iii.
4. 198 : * A terrible oath, with a swaggering accent sharply twanged off.'

102. wake your patience. Perhaps this is ironical, for Leonato and his
brother had shown no signs of patience. Schmidt compares Richard II,
i. 3. 133, 'To wake our peace.*

113, 114. almost. One of these words has been suspected as super-
fluous. Rowe omits the second and Marshall proposed to omit the
first ; but the jingle of repetition is in keeping with the levity with which
the speaker regarded the situation.

115. had like to have hady were very near having.

116. with. See ii. i. 54.

119. too young, too strong and active. The phrase occurs again in
the opposite sense in As You Like It, i. i. 57: * Come, come, elder
brother, you are too young in this.'

123. high-proof, in the highest degree, capable of enduring the severest
test. Applied now to other than low spirits.

128. draw, that is, according to Schmidt, 'draw the bow of this
fiddle.' Others say, ' draw the instruments from their cases.' Perhaps,
however, • as we do the minstrels ' only refers to the phrase ' to plea-
sure us.*

1 29. to pleasure us, to gratify us. As in The Merchant of Venice,
i. 3. 7 : ' May you stead me ? will you pleasure me ? *

133. a cat, with its nine lives. In Ben Jonson's Every Man in his
Humour, i. 3, quoted by Reed, Cob says, * Care '11 kill a cat.'

1 34. in the career, at full speed, full tilt.

135. charge it against me, direct it, as a tilter directs his lance.
Compare Love's Labour 's Lost, v. a. 88 ;

' What are they
That chaige their breath against us?'

136. staff, properly the shaft of a lance. The tilting metaphor is
still kept up.

137. cross, across. A skilful tilter broke his lance by a blow in the
direction of its length, and did not snap it across the body of his advers-
ary. Compare As You Like It, iii. 4. 44-48: 'Swears brave oaths
and breaks them bravely, quite traverse, athwart the heart of his lover ;

152 NOTES. [act v.

as a puisny tilter, that spnrs his horse but on one side, breaks his staff
like a noble goose/

138. By this lights an oath of frequent occurrence. Compare v. 4. 92,
and The Tempest, ii. 3. 154: 'By this light, a most perfidious and
drunken monster ! *

140. to turn his girdle. The proverbial expression, recorded by Ray,
' If you be angry, you may turn the buckle of your girdle behind you,'
has been variously explained. Holt White says, * Large belts were worn
with the buckle before, but for wrestling the buckle was turned behind,
to give the adversary a fairer grasp at the girdle. To turn the buckle
behind, therefore, was a challenge.' Halliwell interpreted the proverb,
' you may change your temper or humour, alter it to the opposite side.'
But it is more probable that the explanation given by Steevens is the true
one. He quotes a parallel Irish proverb, * If he be angry, let him tie
up his brogues,* and adds, * Neither proverb, I believe, has any other
meaning than this : '' If he is in a bad humour, let him employ himself
till he is in a better." ' The examples given clearly show that the
proverb was used rather contemptuously. Farmer quotes Cowley, On
the Government of Oliver Cromwell [p. 74, ed. 1680] : * The next Month
he swears by the Living God, that he will turn them out of doors, and he
does so, in his Princely way of threatning, bidding them, Turn the
buckles of their Girdles behind them.' And Sidney Walker refers to
Swift's Polite Conversation : * Mr. Neverout, if Miss will be angry for
nothing, take my counsel, and bid her turn the buckle of her girdle
behind her.' A Spanish proverb to the same effect is given by Captain
John Stevens in his Spanish Dictionary, s. v. Enojo ; * Si tienes de mi
enojo descal9ate un 9apato, y echalo en remojo : If you are angry with
me pull off one of your shoes and lay it in soak. We say, If you are
angry you may turn the buckle of your belt behind.' Burton (Anatomy
of Melancholy, Democritus to the Reader, p. 77, ed. 165 1) says, 'If any
man take exceptions, let him turn the buckle of his girdle, I care not.'

145. Do me righti give me satisfaction by meeting me in single
combat.

lb, protest, proclaim. As in Macbeth, iii. 4. 105 : * Protest me the
baby of a girl.'

153. curiously, daintily, nicely.

lb. a woodcock being a foolish bird is used as a term of contempt, as
* capon ' in the previous line, which seems by an obvious pun to indicate
a coxcomb. See Cymbeline, ii. i. 35, 26 : ' You are cock and capon
too ; and you crow, cock, with your comb on.*

159. Just, See ii. i. 24.

160. a ivise gentleman, probably, like 'wiseacre,' another name for
a simpleton.

sc. 2.] MUCH ADO ABOUT NOTHING. 153

165. trans- shape^ distort. See iii. i. 61.

166. properest. See ii. 3. 167.

1 72. A reference to Genesis iii. 8.

173-177- Seei. I. 228-233.

1 78. bay. See above, 1. 83.

192. leaves off his wit, as well as his cloak, when he prepares to fight.
In Minsheu*s Spanish Grammar (1599), P* ^'> ^^ ^^^' 'Andar en
caerpo ... To goe in hose and doublet without a cloake.*

193- iOf compared to.

195. soft you, gently, hush ! As in Hamlet, iii. i. 88 : * Soft you
now I The fair Ophelia 1 '

lb. let me be, the reading of the Quarto and first Folio, was changed in
the second Folio to * let me see,' and by Capell to * let be.' Staunton
suggests * let me pluck up my heart.*

Jb. pluck up, rouse thyself, collect thyself.

1 96. sad, serious.

197. In the Quarto and Folios the Constables enter before Claudio's
speech, 1. 193.

198. reasons. There is possibly, as Ritson suggests, a play here
upon * reasons ' and ' raisins,' as in i Henry IV, ii. 4. 264 : * If reasons
were as plentiful as blackberries.*

199. once, at any time, at some time or other. As in Antony and
Cleopatra, v. 2. 50 :

'If idle talk will once be necessary,
1*11 not sleep neither.*

202. Hearken after, give heed to. See Richard III, i. i. 54 :
'He hearkens after prophecies and dreams.*

213. well suited, put in four different dresses or forms of words.

214. Who. Seei. i. 184.

215. to your answer, to give account of yourselves. See 2 Henry VI,
ii. I. 203 :

*And call these foul offenders to their answers.*

222. incensed, incited. As in Richard III, iii. i. 152 :

* Think you, my lord, this little prating York
Was not incensed by his subtle mother
To taunt and scorn you thus opprobriously ? *

235. upon. See iv. i. 222.

237. that I loved it first, that I loved it first m, or in which I loved it
first. Such an omission of the preposition is of common occurrence in
Shakespeare. See v. 2. 44, and Abbott, § 394.

258. Impose me to, put me to, impose upon me.

156 NOTES. [act v.

7. with shame. Shame was the cause, not the accompaniment, of
Hero's death. For this sense of * with * see ii. i. 54.

11. music i used of a band of musicians, as in i. 2. 2, and The
Merchant of Venice, v. 1. 98 :

' It is your music, madam, of the house.*

12. goddess of the nighty Diana.

13. thy virgin knight. Johnson refers to All's Well, i. 3. 120:
* Dian no queen of virgins, that would suffer her poor knight surprised,
without rescue in the first assault or ransom afterward.'

20. Till death be uttered, till death be cast out or expelled, and there is
no more death. Schmidt takes ' uttered ' in its usual sense of ' pronounce,
speak,' and explains the words * the cry of* Graves, yawn &c." shall be
raised till death.* But the reference is perhaps to Revelation xx. 13, 14 :
' And the sea gave up the dead which were in it : and death and hell
{or, the grave) delivered up the dead which were in them. . . . And
death and hell were cast into the lake of fire.' This penance was to
continue to the end of time. Sidney Walker says of the words * Graves,
yawn &c.,' * I know not why we should consider them as anything more
than an invocation — after the usual manner of funeral dirges in that age,
in which mourners of some description or other are summoned to the
funeral — a call, I say, upon the surrounding dead to come forth from
their graves, as auditors or sharers in the solemn lamentation. " Uttered,^
expressed, commemorated in song/ But midnight and the grave are
appealed to not to join in any song commemorating Death, but to assist
Claudio in giving expression to his remorse and sorrow, which in
exaggerated language he indicates would continue till there should be
no more death. Although, therefore, Sidney Walker speaks rather
contemptuously of those who take * uttered ' as signifying * ousted,' it
appears to me to give a better meaning to the passage than his own
explanation, which misses the point.

21. Heavily, heavily. So the Quartos, repeating the refrain. The
Folios read * Heavenly, heavenly,' which is adopted by Knight, who
says, * Death is expelled heavenly — by the power of heaven ' ; a forced
explanation.

22. Claud. The Quarto and Folios give this speech to 'Lo,' that
is A Lord, but it clearly belongs to Claudio, and Rowe made the
change.

27. with spots of grey. Compare Romeo and Juliet, ii. 3. 1-4:
* The grey-eyed mom smiles on the frowning night.
Chequering the eastern clouds with streaks of light,
And flecked darkness like a drunkard reels
From forth day's path and Titan's fiery wheels.*

30. weeds, garments. So in A Midsummer Night's Dream, ii. 2. 71,

sc. 4.] MUCH ADO ABOUT NOTHING. 1 57

* Weeds of Athens he doth wear/ Puck had previonsly (ii. i. 264) been
told:

'Thou shalt know the man
By the Athenian garments he hath on.*
32. speech's, Theobald adopted Dr. Thirlby's conjecture in place of
' speeds/ which the old copies have. Thirlby wrote, ' Claudia could
not know, without being a Prophet, that this new-propos'd Match
should have any luckier Event than That designed with Hero. Certainly,
therefore, this should be a Wish in Claudio ; and, to this End, the Poet
might have wrote, speed^s ; i.e. speed us : and so it becomes a Prayer to
Hymen? Malone objected to the harshness of the contraction ; but
Dyce quotes Love's Labour's Lost, ii. i. 25 :

•Therefore to*8 seemeth it a needful course.'

Scene IV.

In the stage direction, Steevens in his edition of 1793 omitted the
name of Margaret, and she does not appear on the stage at all. But in
the old copies she enters at the opening of the scene and again at line 53,
although she does not speak. In the interval she must have left with
the ladies at 1. 12.

3. Upon. See iv. i. 222.

7. sort. See iv. i. 239.

8. by faiths by my word which I have pledged.

17. confirm^ dj steady, immovable. See ii. i. 344, and Coriolanus,
i. 3* 65 : ' Has such a confirmed countenance.'

29. stand with, agree with, be consistent with. Compare As You
Like It, ii. 4. 91 :

' I pray thee, if it stand with honesty.'
And Coriolanus, ii. 3. 91 : * Pray you now, if it may stand with the tune
of your voices that I may be consul, I have here the customary gown.'

34. assembly. A quadrisyllable. See iii. i . 80.

43. the savage bull. See i. i. 237.

46. Europa. The story of Europa who was carried off by Jupiter in
the shape of a bull is told by Ovid, Metamorphoses, ii, and is referred
to again in Merry Wives, v. 5. 4 : * Remember, Jove, thou wast a bull
for thy Europa ; love set on thy horns.'

52. here comes. See v. 1. 45.

54. The old copies assign this speech to Leonato. ' The ingenious
Dr. Thirlby,' says Theobald, * agreed with me, that it ought to be given
to Benedick, who, upon saying it, kisses Beatrice.'

59. like of. So in Romeo and Juliet, i. 3. 96 :

* Speak briefly, can you like of Paris* love ? *

158 NOTES, [act v. ic. 4.

And Love*s Labour's Lost, i. i. 107 :

* Bat like of each thing that in season grows.'
66. whiles. See iv. i. a 18.

69. largely^ at large, with full detail.

70. let wonder seem familiar^ let what is wonderful seem as if it were
of common occurrence.

82. no such matter. See ii. 3. 198.

92. by this light. See v. i. 138.

^. by this good day. See ii. 3. 323.

97. Peace I In the old copies this speech is given to Leonato.
Theobald properly assigned it to Benedick.

100. flout. Seei. 1. 158.

loi, 102. beaten with brains. Compare Love's Labour's Lost, v.
2. 263 : * Dry-beaten with pure scoff.' And see ii. 3. 214-220.

102. nothing handsome about him. See iv. 2. 78.

107. in thaty inasmuch as. So in Venus and Adonis, 174 :
* And so, in spite of death, thou dost survive,
In that thy likeness still is left alive.'

111. a double-dealer is especially used of one who played false with
women. The Double-Dealer is the title of one of Congreve 's comedies.

119. ^w^ w<?r</, upon my word. *0f' and *on' are interchanged,
as in iii. 5. 21, 35. In Romeo and Juliet, i. i. i : 'Gregory, o' my
word, we '11 not carry coals ' : the abbreviation may be for * on ' or 'of.'

121. than one tipped with horn. Becket's 'rude pastoral staff of
pearwood, with its crook of black horn,' was one of the relics shown to
the pilgrims at Canterbury (Stanley, Historical Memorials of Canter-
bury, 4th ed., p. 225).

ADDITIONAL NOTES.

ii. I. 230. like the infernal Ate in good apparel. On this Warburton
remarks, * This is a pleasant allusion to the cnstom of ancient poets and
painters, who represent the Furies in rags.' As Ate was not one of the
Furies this statement if true would be irrelevant, and with regard to the
Fnries themselves it is, so far as I hare been able to ascertain, entirely
without foundation. In Spenser's elaborate description of Ate and her
dwelling (Fairy Queen, Bk. iv, canto i, stanzas 19-30), nothing is said of
her characteristic attire, although she comes upon the scene * in good
apparel * with the false Duessa in the guise of two fair ladies.
'But Ladies none they were, albee in face
And outward, shew faire semblance they did beare;
For under maske of beautie and good grace
Vile treason and fowle falshood hidden were.'

iii. I. 12. Even in Spenser, although 'purpose' is used for discourse
or conversation, the accent is not changed. For instance, in F. Q. i. 2. 30 :
' Faire semely pleasaunce each to other makes,
With goodly purposes, there as they sit.*.
In i. 12. 13:

*On which they lowly sitt, and fitting purpose frame.*

In ii. 6. 6 :

' For she in pleasaunt purpose did abound.'

But after all it must be remembered that Spenser, because of his affected
archaisms, is a doubtful authority in questions of language.

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