The Comedy of Errors

by Kent Cartwright

  108 fiend … him Unusual strength was a sign of demonic possession (see Almond, 27): Antipholus has begun to act as if he really were possessed; cf. 127 and n., on mad me.

  109 On Luciana’s increasing sympathy for Antipholus, see 51n.

  105 those] Rowe; these F 106 SD] Capell subst. 108 SD] this edn; after 106 F; after 109 Dyce; after 108 Cam1; after 107 Ard2

  111–13 Most editors, following Pope, turn F’s prose speeches into blank verse, as here. Although an iambic pentameter phrase may occur within a prose speech, when sequential prose speeches scan neatly, they are likely to be verse (see Wright, Metrical, 108–13).

  112 make a rescue forcibly take someone out of legal custody (OED rescue n. 2); cf. Cor 3.1.275.

  114 Dromio is probably struggling with Pinch’s men to save Antipholus.

  115 peevish foolish; mad (OED adj. 2a, b); see 4.1.93 and n., on peevish.

  117 displeasure injury, harm (OED n. 3); also at 5.1.142

  118–19 if … me ‘In Elizabethan times the jailer could be held responsible for the prisoner’s debts’ (Wells).

  120 discharge pay

  121 Bear take (OED v.1 1e)

  forthwith immediately

  122 grows arises; see 4.1.8 and n.

  125 Some editions print this brief speech as prose, but the line (124) that Antipholus parodies is verse.

  unhappy mischief-causing, evil (OED adj. 5a)

  111–13] Pope; prose F 114 this] his Wells (Tannenbaum) SD] Cam 115 SD] Folg2 125] verse this edn

  126 bond (1) physical bondage; (2) a contract for debt (recalling creditor and debt at 121, 122, bond in 4.1.13 (see n.)); cf. 4.3.31–3 and 31, 33n. See also 95n., on bound.

  127 Out on curses upon (OED out int. 2)

  mad me ‘enrage me’ (OED v. 2), but suggesting that Antipholus is turning into the madman that his antagonists imagine; see also 108n.

  128–9 sometimes divided into verse, as with 111–13. Here and at 126, Dromio’s speech wavers between prose and verse.

  128 bound See 1.1.81n.

  128–9 Be … devil Dromio encourages Antipholus, if he is to be bound as a madman, to act as a madman (see 127n., on mad me). To cry ‘The devil!’ is to express impatience, irritation or vexation (OED devil n. 20a). In Men., Sosicles Menaechmus, accused by his wife of being insane, decides to simulate insanity and to call out the names of gods who are speaking to him (‘quid mi meliust … ego med assimulem insanire … euhoe Bacche, Bromie …’, 831–5). Cf. e.g. Edgar in KL 3.4. See also mad Orlando in Greene’s play Orlando Furioso (1592), 13.845–52, and half-mad Hieronymo in Kyd’s Spanish Tragedy. Dromio understands theatrical conventions.

  130 idly deliriously (OED adv. 1b)

  131 SD2 *F locates the exit SD after 132, but Pinch and his men would probably begin to remove Antipholus and Dromio (into the Phoenix) immediately upon Adriana’s order, ‘Go bear him hence’.

  131 Sister … me Adriana’s instruction suggests that Luciana has started to follow the bound Antipholus offstage, acting on the sympathetic feelings that she expressed earlier; see 51 and n.

  126] verse as Steevens4 129 ‘The devil!’] Dyce2; the diuell F 130 help, poor] Theobald; help poor F idly] (idlely) 131 SD1] Folg2 131 SD2] Folg2 subst.; Exeunt. Manet Offic. Adri. Luci. Courtizan F, after 132; after 131 Theobald 132 SD] Capell subst.

  135 Two hundred ducats Cf. 4.3.84 and 4.3.84, 97n.

  grows See 122n., 4.1.8 and n.

  137 bespeak order (as with merchandise) (OED v. 5a)

  had it perhaps ‘had’t’ (Walker, Versification, 77)

  138–9 The Courtesan lies about how she came into possession of the ring, as she had promised; see 4.3.95–6 and n.

  138 Whenas when (OED adv. 1)

  rage See 4.3.88 and n.

  139, 140 ring See 4.1.13.1–2n.

  141 Straight See 1.1.86n.

  142 Adriana is rightly suspicious; see 138–9 and n.

  144 at large in full (Crystal & Crystal, 1)

  144.2 with … drawn The SD in F designates a drawn sword for Antipholus but none for Dromio, although various editors (and theatrical directors), following Dyce, have both Syracusans entering with swords in hand, reflecting Adriana’s exclamation at 146; see also 5.1.151.

  144.1 OF SYRACUSE] Theobald2; Sirac. F 144.2 wearing the chain] Oxf 144.3 OF SYRACUSE] Theobald2; Sirac. F; of Syracuse with their rapiers drawn. / Dyce

  146–7 Modern editions, as here, often combine F’s three irregular lines (‘swords, / againe. / vs. / ’) into two pentameters, implying immediately continuous reactions.

  Let’s … again Adriana’s speech is followed in F by the SD ‘Runne all out.’ (omitted here), then by the Officer’s line (Away … us!) and after that by yet another SD (retained here) for the characters to exit. On F’s embarrassment of SD riches, see Appendix 2. This edition follows the standard practice of admitting only one exit direction, here after us! at the end of 147. If the exit were to begin after again, the Officer might be the last character off; if it starts after us!, he may lead the charge. In the spirit of theatrical frenzy, Cam2a retains both F’s SDs by amending the first to ‘Run all out [and re-enter with others]’, thus enabling a second chase at 148 (SD Exeunt …). That ingenious solution, however, seems more Keystone Cops than Elizabethan. A distant possibility is that the first direction, ‘Runne all out.’, was meant to apply to the women and to distinguish their exit from the Officer’s.

  147 bound See 1.1.81n.

  148, 157 witches … witch See 1.2.100 and n.

  149 would be pretended to be (Abbott, 329)

  151 safe and sound proverbial (Dent S21.1)

  153 saw … speak An irregular sequence of verb tenses (here past shifting to present) is not uncommon (see Abbott, 370). Past events were sometimes narrated in the present tense, creating the impression that the speaker could barely distance himself from them (Hope, 2.0a).

  153–4 speak us fair See 4.2.16n., on speak him fair.

  146–7] Hanmer; F lines swords, / againe. / vs. / 147 again.] Pope; again. Runne all out. F SD all … Syracuse] Pope subst.; omnes F 148+ SP] (S.Ant., Ant.) 149+ SP] (S.Dro., Dro.)

  156 claims … me See 3.2.78–83 and 3.2.79n., on claims. Whether Nell claims the promise of marriage or marriage itself is unclear.

  156–7 I … still Dromio is now willing to stay in Ephesus: ‘The tide begins to turn’ (Wells).

  157 still See 2.1.11n., on still.

  5.1 The location remains the mart, as in 4.3–4.

  0.1 *Second See 4.1.0.1 and n.

  1 hindered i.e. obstructed (OED v. 2) by failing to pay the debt (see 4.1.1–6); perhaps also injured or damaged (OED 1a) monetarily. Angelo’s arrest for debt at the suit of the Second Merchant (see 4.1.69–70) has apparently been resolved.

  2 protest declare, affirm

  3 dishonestly fraudulently (OED adv. 3, first citation)

  deny i.e. deny having; deny is reiterated at 16, 22, 23, 25, 378, 380; see 378, 380n.

  4 suggesting the Merchant’s unfamiliarity with Ephesus; see 4.1.0.1n.

  5 reverend See 3.2.88n.; also at 124 (see n.), 134.

  reputation See 2.1.108–12 and n.

  6 credit (1) reputation for solvency (OED n. 11); (2) trustworthiness (OED 2b); financial probity and personal honour merge.

  7 here … city repeated from 4; perhaps a compositorial error but also the first of the scene’s several repeated phrases and words

  8 His … wealth i.e. I would loan my wealth to him on his assurance; bear suggests that an airless word can carry heavy wealth. The verb bear recurs variously at 35, 41, 89, 143 and 158.

  5.1] (Actus Quintus. Scoena Prima.); ACT V. SCENE I. Rowe 0.1 Second] Dyce ANGELO] Rowe 1+ SP] Rowe; Gold., Goldsmith. F 4+ SP] Dyce subst.; Mar. F 5 reverend] (reuerent)

  8.1–2 *See 2.1.4
2.1 LN.

  8.1 *wearing the chain as observed at 10; see 4.3.0.1 and n.

  8.2 again suggesting that Shakespeare conceived 5.1 as continuous with 4.4. The Syracusans may enter carrying pouches or stuff (4.4.150, 159).

  10 self same, very; self functions as a demonstrative adjective used to specify and emphasize the noun referred to (Blake, 3.3.4.5; Abbott, 20).

  11 forswore swore falsely (OED v. 4a); denied by oath (OED 2), although Ephesian Antipholus had not precisely ‘sworn’: see 4.1.66 and n.; see also at 24, 25 (forswear).

  monstrously unnaturally (OED adv. 1), recalling Adriana’s denunciations of her husband (e.g. 4.2.19–22) and the likening of characters to animals (e.g. 3.1.15–18): oath-breaking makes men monsters.

  12 to me i.e. as Angelo approaches Antipholus

  13 Signor See 3.1.1n., on Signor.

  14, 18 shame See 2.1.112n.

  16 circumstance detailed narration, i.e. excuses (OED n. 6); cf. MV 1.1.154.

  oaths See 11n., on forswore.

  deny i.e. deny having; see 3n., on deny.

  18 Beside besides

  charge expense, cost (OED n.1 10a); cf. ‘chargeful’ at 4.1.29 and n.; perhaps inconvenience (echoing trouble, 14) (Ard2).

  20 on because of (OED prep. 9); cf. TNK 4.1.50.

  8.1–2] after 9 F 8.1 OF SYRACUSE] Rowe wearing the chain] Oxf 8.2 OF SYRACUSE] Rowe 12 1to] with Collier2 13 Signor] (Signior)

  24, 25 forswore, forswear See 11n., on forswore.

  27–31 The Second Merchant takes honesty in business dealings as a life-and-death matter. Antipholus treats his reputation with a like seriousness.

  29 impeach accuse (OED v. 4a)

  31 presently See 3.2.152 and n.

  stand fight, ‘take up an offensive or defensive position against an enemy’ (OED v. 10)

  32–7 The drawing of swords marks the crescendo of violence towards which the play has been building with the beatings of the Dromios and the threats by Ephesian Antipholus against Adriana (Ard2). Fittingly, the priory is here first mentioned (37), with its hint of a providential solution.

  32 defy thee for challenge you to combat as (OED defy v.1 2a; for prep. 19a)

  32 SD At 263, the Second Merchant suggests that he drew first.

  32.2 *with ropes as 35 indicates

  34 within him inside his guard (OED within prep. 8b), i.e. inside the reach of his sword

  35 bear Adriana uses bear similarly at 41, 158; cf. 187 and n.; see 8n.

  23+ SP] (Ant., S.Ant., S. Ant.) 32.2 SD with ropes] this edn 33 God’s] F3 (Gods); God F

  36 take enter for refuge (OED v. 25a); see also took, 94.

  37 priory nunnery governed by a prioress; offshoot of an abbey (OED n. 1a), occurring in Shakespeare only here and in 37 SD; afterwards the text uses abbey (see 122n., on abbey). Egeon’s execution is scheduled to take place in the ‘melancholy vale … Behind the ditches of the abbey’ (120, 122), i.e. on the low waste ground beyond the abbey wall; see 120–2n.; cf. TGV 5.1.9. In pre-Shakespearean England abbeys and priories had been numerous until Catholic foundations were suppressed by Henry VIII in the 1530s.

  spoiled destroyed (OED v.1 10a)

  37.1 The Abbess enters from the priory (37 SD) into which Antipholus and Dromio have escaped. F often uses ‘fictive’ SDs, but inconsistently: later an attendant exits to the Abbess (282 SD), i.e. to a person rather than to a building. Cf. 4.1.13.3 and n.

  39 distracted crazed, mad (OED adj. 5, first citation)

  41 bear See 35n.

  44 possession madness; domination or control by a demon; see 2.2.146n., on I … with. Here as elsewhere, these two agencies are treated as the same.

  45 heavy despondent, weighed down mentally (OED adj.1 27a)

  sour morose; discontented (OED adj. 6a); pronounced as two syllables, as in F’s spelling, ‘sower’

  sad grave

  36+ SP] (S.Dro., S. Dromio., S.Drom.) 37 SD Antipholus … Syracuse] Capell subst. 37.1 Emilia, the] Ard2 39 SP] (Ab., Abbesse., Abb.) 45 sour, sad] (sower sad)

  46 If different is pronounced ‘diff’rent’, the line lacks a stressed syllable; not so if it is given three syllables, as at e.g. MND 1.1.135, RJ 2.3.14. Cam2a reads the line trochaically, as lending to Adriana a sense of ‘puzzlement’ and ‘wonder’. F2 makes up the syllable by emending to ‘much much’, a change that can be compared with MV 3.2.61, and a solution often followed.

  47 passion affliction, bodily disorder (OED n. 4a); overpowering or strong emotion (OED 6a); pronounced as three syllables

  48 rage See 4.3.88n.

  49 wrack of sea shipwreck. The question presciently evokes Egeon’s narration in 1.1. It also suggests that Ephesian Antipholus may be a merchant trader. Cf. Antonio’s melancholy, MV 1.1.1–45.

  50 eye Cf. 2.1.102.

  51 Strayed led astray (OED v.2 4c)

  53 liberty See 340; 2.1.7n., on liberty; on liberties, see 1.2.102 and n.

  gazing See 1.1.88n., on gazing; also 3.2.56n., on gazing.

  57 reprehended rebuked, reprimanded (OED v. 1a)

  58–61 A mini-drama plays out through versification, with Adriana and the Abbess vying for argumentative supremacy by completing each other’s verse line or by taking up a whole line (consequently, 61 is best understood as a short verse line). Cf. Adriana and Luciana, 2.1.10–41 and n.

  58 rough harshly (OED adv.); also at 88. In EM English, adjectives often function as adverbs (Abbott, 1).

  46 much] much much F2; too much Hudson2 (Jervis, per Dyce2) 48 broke] Oxf1; brake F 58, 61 Ay] (I)

  60Haply by chance; perhaps (OED adv.); also at 284; on hap- words, see 1.1.37n.

  assemblies social gatherings (OED n. 7)

  62–86 These descriptions reflect ironically on Adriana’s earlier romantic catalogue; see 2.2.120–4 and n.

  62 copy subject-matter, theme (OED n. 11b); deriving from the Latin phrase copia verborum, the word suggests here ‘abundance of language’ (OED 1c).

  conference serious conversation (OED n. 4a), a common Shakespearean usage; see e.g. TS 2.1.251, MA 2.3.221. Adriana’s elevated Latinate diction (copy, conference) reasserts her dignity.

  63, 64 urging it ‘pressing it upon [his] attention’ (OED n. 1a). Repeating a closing phrase is rhetorical antistrophe.

  65 theme academic exercise (e.g. a school essay; see OED n. 3). In Shakespeare, theme can mean a ‘subject treated by action’ (OED 1b), as at Tit 5.2.80.

  66 *glanced at Pope’s addition of at fills out F’s line metrically and makes glanced into an intransitive verb; glanced at means referred to (OED v.1 3); cf. MND 2.1.75, JC 1.2.320.

  67 Still See 2.1.11n., on still. Adriana brings her argument about persistence to a rhetorical climax: In bed, At board, Alone, In company, Still.

  68, 72 And thereof The repeated sentence-openings, rhetorical anaphora, reinforce the argument; also Thereof (75); likewise with Thou sayst, 73, 77.

  68 mad The Abbess tops Adriana by means of her rhyme, leading to her triumphant counter-argument.

  69 The four front-stressed disyllabic words give the pronouncement weight.

  70 Poisons a verb, whose subject is clamours (69); singular because clamours is collectively singular in sense; see 3.2.19–20n.

  mad dog’s tooth capable of transmitting rabies (which induces mania). The accusation of madness is now turned back on Adriana herself.

  66 glanced at] Pope subst.; glanced F 67 vile] (vilde) 69–70 clamours … Poisons] clamours … Poison Pope; clamour … Poisons Capell 69 woman] Pope; woman, F

  72 light giddy, ‘wandering in mind’ (OED adj.1 22)

  73, 77 Thou sayst See 68, 72n.

  73 possibly alluding to the proverb ‘Sweet meat must have sour sauce’ (Dent, M839, but not recorded for CE)

  sauced seasoned (OED v. 1), but with a sense of making b
itter (OED 1c); cf. sweet-savoured at 2.2.123 and n.

  75 raging echoing rage at 48

  77 *sayst See t.n.

  77, 83 sports, sport pastimes

  78–82 Personifications of activities and qualities such as recreation, melancholy and despair were common in Elizabethan literature. For Despair personified, see e.g. Spenser, FQ, 1.9.29. In Tudor thinking, lack of recreation could lead to despondency.

  79 The iambic tetrameter may invite the performer to pause. Editors have sometimes added words, with little increase in sense.

  80–1 Kinsman … her The melancholy (79) disposition was the one most susceptible to madness (e.g. despair, 80) in humoural theory (on Antipholus’ presumed madness and despair, see 139–40). Grammatically, her presumably refers to despair. Melancholy is female in emblematic depictions, e.g. Albrecht Dürer’s famous engraving ‘Melencolia 1’ (1514), although male in Spenser’s FQ. Ard1 (following Ritson) sees her referring to Kinsman used ‘generically’, i.e. without gender. Kinsman is cited here by OED as its first figurative use.

  81 infectious infected (OED adj. 2); cf. Oth 4.1.21.

  82 distemperatures disordered conditions of the humours; ailments (OED n. 2). Cf. e.g. MND 2.1.106, RJ 2.3.40.

  84 or … or See 1.1.136n., on Or … or.

  85–6 fits … wits The rhyme and oppositional meanings drive home the Abbess’s point; fits identifies Adriana’s own ‘attacks’ of jealousy, or, more extremely, her own ‘paroxysm[s] of lunacy’ (OED fit n.2 3a, b); see 139 and ‘fits’ at 4.3.91, and cf. TA 4.1.17.

  77 sayst] Rowe; sayest F 79 moody and dull] muddy and dull F2; moody, moping, and dull Hanmer 80 Kinsman] A’kin Hanmer; kins- / woman 79–80 in Capell 81 her] their Rann (Heath); his Collier3 (Walker, Critical)

  86 Cf. MND 1.2.79–80.

  87–8 This defence (strengthened by its couplet) is surprising, since Luciana had previously criticized Adriana for impatience (see 2.1.9, 85 and nn.); see also 102 and n.; 174 and n., on patience; on the patience motif, see 1.2.86n.

  88 demeaned conducted, but with the sense of treating badly (OED demean v.1 1a, 4a); see 4.3.83n.; cf. e.g. 2H6 1.1.188, 1.3.103; 3H6 1.4.7.

  rough … wildly On rough, see 58n. In a linked series of EM adjectives functioning as adverbs, the final one sometimes takes -ly (Blake, 5.1.2.2). Luciana’s wildly means roughly, savagely (OED adv. 3b, first citation).