The Oxford Shakespeare: The Complete Works
Page 273
Lest that this prove to us an ill May Day. Exeunt
Sc. 4a Enter three or four prentices of trades, famongst them Harry, Robin, and Kit,⌉ with a pair of cudgels
HARRY Come, lay down the cudgels.—Ha, Robin, you met us well at Bunhill, to have you with us a-Maying this morning!
ROBIN Faith, Harry, the head drawer at the Mitre by the Great Conduit called me up, and we went to breakfast into St Anne’s Lane. But come, who begins? In good faith, I am clean out of practice. When wast at Garrett’s school, Harry?
HARRY Not this great while; never since I brake his usher’s head when he played his scholar’s prize at the Star in Bread Street. I use all to George Philpot’s at Dowgate. He’s the best back-sword man in England.
KIT ‘Bate me an ace of that,’ quoth Bolton. 58
HARRY I’ll not bate ye a pin on‘t, sir, for, by this cudgel, ’tis true.
KIT I will cudgel that opinion out of ye. Did you break an usher’s head, sir?
HARRY Ay, marry, did I, sir.
KIT I am very glad on’t. You shall break mine too, an ye can.
HARRY Sirrah, I prithee what art thou?
KIT Why, I am a prentice, as thou art. Seest thou now? I’ll play with thee at blunt here in Cheapside; and when thou hast done, if thou beest angry, I’ll fight with thee at sharp in Moorfields. I have a sword to serve my turn in a favour. ( > come July, to serve < )
[Exeunt]
A2. Replaced approximately by 6.159-63.
MORE To persist in it is present death. But if you yield yourselves, no doubt what punishment you in simplicity have incurred, his highness in mercy will most graciously pardon.
A3. Continues after Sc. 7. Replaced by 8.22-46 and 128-159. In the Original Text there are missing leaves between A3 and A4. Revised Sc. 8 restructures and expands upon A3 and A4. Annotated probably by Hand B.
This must be new written.
Sc. 8 A table being covered with a green carpet, a state cushion on it, and the purse and mace lying thereon, enter Sir Thomas More, and his man Randall with him, attired like him
MORE Come on, sir, are you ready?
RANDALL Yes, my lord. I stand but upon a few points. I shall have done presently. Is it your honour’s pleasure that I should grow proud now?
MORE
Ay, I must have thee proud, or else thou‘lt ne’er
Be near allied to greatness. Observe me, sir.
The learnèd clerk Erasmus is arrived
Within our English court. This day, I hear,
He feasteth with an English honoured poet
The Earl of Surrey, and I know this night 10
The famous clerk of Rotterdam will visit
Sir Thomas More. Therefore, sir, act my part.
There, take my place furnished with purse and mace.
I’ll see if great Erasmus can distinguish
Merit and outward ceremony. Observe me, sirrah.
I’ll be thy glass. Dress thy behaviour
According to my carriage. But beware
Thou talk not overmuch, for ‘twill betray thee.
Who prates not oft seems wise, his wit few scan,
Whilst the tongue blabs tales of th’imperfect man.
RANDALL I conceive your lordship, and have learned your shift so well that I must needs be apprehensive.
The waits plays within
MORE
This music tells us that the Earl is come
With learned Erasmus. Now, my Lord Chancellor,
Act like a formal player our grave part.
RANDALL I pray ye, my lord, let me command ye to leave me. If I do it not in cue, let your lordship banish me from the wearing of a gold chain for ever.
MORE
They come now. Set thy countenance, act thy part
With a firm boldness, and thou winnest my heart.
Exit
Music. Enter Surrey, Erasmus, and attendants
SURREY
Now, great Erasmus, you approach the presence
Of a most learned worthy gentleman.
This little isle holds not a truer friend
Unto the arts; nor doth his greatness add
A feigned flourish to his worthy merit.
He’s great in study: that’s the statist’s grace
That gains more reverence than the outward place.
ERASMUS
Report, my lord, hath crossed the narrow seas,
And to the several parts of Christendom
Hath borne the fame of your Lord Chancellor.
I longed to see him whom with loving thoughts
I in my study oft have visited.
Is yon Sir Thomas?
SURREY
It is, Erasmus.
Now do you view the honourablest scholar,
The most religious politician,
The worthiest counsellor, that tends our state.
That study is the general watch of England.
In it, the Prince’s safety and the peace
That shines upon our commonwealth are forged
Upon the golden anvil of his brain.
Who cures the realm, such care attends the great
That mind and body must together sweat.
ERASMUS
His lordship hath some weighty business, sure,
For see, as yet he takes no notice of us.
I think ’were best I do my duty to him
In a short Latin speech.
SURREY It will do well.
He’s the best linguist that we have in England.
ERASMUS
Cum tua virtus, amplissime doctissimeque vir,
< > as pervenit < > tu < >visui < > divin
A4. Replaced by 8.47-127 and 8.219-86.
MORE
Methinks this strange and ruffian-like disguise
Fits not the follower of a secretary.
FALKNER
My lord, I wear my hair upon a vow.
SHREWSBURY
But for no penance of your sins, I fear.
SURREY
No, he’s no haircloth man, though he wear hair.
MORE
Falkner, how long is’t since you cut your locks?
FALKNER Three years, my lord.
MORE
How long will’t be before your vow expire?
FALKNER
As many years as since my hair was cut.
MORE
Sure, vows are holy things, if they be made
To good intent; and, sir, you shall not say
You were compelled by me to break your vow.
But till the expiration of the same,
Because I will not have ye walk the streets
For every man to stand and wonder at,
I will commit ye prisoner unto Newgate,
Except meantime your conscience give you leave
To dispense with the long vow that you have made.—
Away with him.
SURREY
A cell most meet for such a votary.
FALKNER Well, sir, and I may perhaps be bailed ere’t be long, and yet wear my hair. They lead him out
MORE
And Master Sheriff of London,
Here in his highness’ name we give you charge
Continual watch be kept throughout the city
For the suppressing of these mutinies.
And if hereafter any that belong
Either to my lord of Winchester or Ely
Do come into your city with a weapon,
Or above two of either faction
Shall be seen walking in the streets together,
Or meet in tavern or in ordinary,
They be committed presently to prison.
SURREY
And cause to be proclaimed about the city
That no man whatsoever that belongs
Either to my lord of Winchester or Ely
Do walk without the livery of his lord,
Either in cloak or any other garment,
That notice may be t
aken of th’offenders.
Enter Master Morris, and exeunt Sheriff and ⌈ail but
Morel⌉
MORRIS
God save your honour my Lord Chancellor!
MORE
Welcome, Master Morris! What news, sir?
MORRIS
I come most humbly to entreat your honour
In the behalf of a poor man of mine.
MORE
What, the votary that will not cut his hair
Until the expiration of his vow?
MORRIS
My lord, being sorry for his rude behaviour,
He hath cut his hair, and doth conform himself
To honest decency in his attire.
MORE
Where is the fellow? I am glad to hear it.
Falkner is brought
MORRIS
Here, my good lord.
MORE
You mock me, surely. This is not the man.
FALKNER
Yes indeed, my lord, I am he.
MORE Thou art not, sure.
The other was an ugly, filthy knave;
Thou a good-featured and well-favoured man.
Why, see what monsters you will make yourselves
By cherishing a loathsome excrement
T’abuse the goodly image of a man
Whom God did frame so excellent a creature.
Well, be a peaceable and civil man.
I do discharge thee.
FALKNER I humbly thank your honour.
MORRIS And myself
Shall rest most thankful for this gracious favour.
MORE
Will’t please your honours now to keep your way?
I fear the lords are hindered by our stay.
Exeunt Lords
MORRIS
See, sir, what your ruffian tricks come to.
You think the eye of wisdom does not see
Into the brainsick follies of vain heads,
But with your swaggering you can bear’t away.
FALKNER
Sir, I confess I have been much misgoverned,
And led by idle spleens, which now I see
Are, like themselves, mere sottish vanity.
When in the jail, I better called to mind
The grave rebukes of my Lord Chancellor,
And looked into myself with more respect
Than my rash heat before would let me see.
I caused a barber presently be sent for,
And moved your worship then to speak for me.
But when I fall into like folly again
Cashier me < )
⌈Exeunt⌉
A5. Replaced by 13.53-122.
MORE
Close them not then with tears, for that ostent
Gives a wet signal of your discontent.
If you will share my fortunes, comfort then:
An hundred smiles for one sigh. What, we are men!
Resign wet passion to these weaker eyes,
Which proves their sex, but grants them ne‘er more
wise.
Let’s now survey our state. Here sits my wife
And dear-esteemed issue. Yonder stand
My loving servants. Now the difference
Twixt those and these. Now you shall hear me speak
Like More in melancholy. I conceive that nature
Hath sundry metals, out of which she frames
Us mortals, each in valuation
Outprizing other. Of the finest stuff
The finest features come. The rest of earth
Receive base fortune even before their birth.
Hence slaves have their creation. And I think
Nature provides content for the base mind—
Under the whip, the burden, and the toil
Their low-wrought bodies drudge in patience—
As for the prince, in all his sweet-gorged maw,
And his rank flesh that sinfully renews
The noon’s excess in the night’s dangerous surfeits.
What means or misery from our birth doth flow
Nature entitles to us; that we owe.
But we, being subject to the rack of hate,
Falling from happy life to bondage state,
Having seen better days, now know the lack
Of glory, that once reared each high-fed back.
But you that in your age did ne’er view better,
Challenge not fortune for your thriftless debtor.
CATESBY
Sir, we have seen far better days than these.
MORE
I was the patron of those days, and know
Those were but painted days, only for show.
Then grieve not you to fall with him that gave them.
Pro eris generosis servis gloriosum mori.
Dear Gough, thou art my learnèd secretary—
You, Master Catesby, steward of my house;
The rest, like you, have had fair time to grow
In sunshine of my fortunes. But I must tell ye,
Corruption is fled hence with each man’s office—
Bribes, that make open traffic twixt the soul
And netherland of hell, deliver up
Their guilty homage to their second lords.
Then, living thus untainted, you are well.
Truth is no pilot for the land of hell.
APPENDIX B
The following authorial first drafts are marked for deletion and immediately replaced.
B1. First Version of 9.334-53 in Add. VI.
MORE
Lord Mayor and ladies and the rest, be patient.
The state hath sent, and I must needs be gone.
Lead on there.—What seek’st thou, fellow?
PLAYER of WIT Your lordship sent us eight angels by your man, and I have lost one here amongst the rushes.
MORE Eight angels? Who delivered it? I sent them ten.
SERVINGMAN I, my lord, delivered it. Anon they shall have two more.
PLAYER of WIT That’s more than we heard before, my lord.
MORE Am I a man of equity
Equally to divide true right his own,
And shall I have deceivers in my house?
Go pull the coat over the varlet’s ears.
There are too many such.
Give them their due. Lead on away.
B2. First Version of 17.106-127 (Stay... states) in the Original Text.
Come, let’s to the block.
HANGMAN My lord, I pray ye put off your doublet.
MORE No, my good friend, I have a great cold already, and I would be loath to take more. Point me meet the block, for I was ne’er here before.
HANGMAN
To the east side, my lord.
MORE Then to the east.
We go to sigh; that o’er, to sleep in rest.
No eye salute my trunk with a sad tear.
Our birth to heaven should be thus: void of fear. Exit
MEASURE FOR MEASURE
BY SHAKESPEARE, ADAPTED BY THOMAS MIDDLETON
Measure for Measure, first printed in the 1623 Folio, was performed at court on 26 December 1604. Plague had caused London’s theatres to be closed from May 1603 to April 1604; the play was probably written and first acted during this period. Dislocations and other features of the text as printed suggest that it may have undergone adaptation after Shakespeare’s death. Someone—perhaps Thomas Middleton, to judge by the style—seems to have supplied a new, seedy opening to Act I, Scene 2; and an adapter seems also to have altered 3.1. 517-4.1.63 by transposing the Duke’s two soliloquies, by introducing a stanza from a popular song, and supplying dialogue to follow it, and by adding other short passages. We print the text in what we believe to be its adapted form; a conjectured reconstruction of Shakespeare’s original version of the adapted sections is given in the Additional Passages.
The story of a woman who, in seeking to save the life of a male relative, arouses the lust of a man in authority was an ancient one th
at reached literary form in the mid sixteenth century. Shakespeare may have known the prose version in Giambattista Cinzio Giraldi’s Gli Ecatommiti (1565, translated into French in 1583) and the same author’s play Epitia (1573, published in 1583), but his main source was George Whetstone’s unsuccessful, unperformed two-part tragicomedy Promos and Cassandra, published in 1578.
Shakespeare’s title comes from St Matthew’s account of Christ’s Sermon on the Mount: ‘with what measure ye mete, it shall be measured to you again’. The title is not expressive of the play’s morality, but it alerts the spectator to Shakespeare’s exploration of moral issues. His heroine, Isabella, is not merely, as in Whetstone, a virtuous young maiden: she is about to enter a nunnery. Her brother, Claudio, has not, as in Whetstone, been accused (however unjustly) of rape: his union with the girl (Juliet) he has made pregnant has been ratified by a betrothal ceremony, and lacks only the church’s formal blessing. So Angelo, deputizing for the absent Duke of Vienna, seems peculiarly harsh in attempting to enforce the city’s laws against fornication by insisting on Claudio’s execution; and Angelo’s hypocrisy in demanding Isabella’s chastity in return for her brother’s life seems correspondingly greater. By adding the character of Mariana, to whom Angelo himself had once been betrothed, and by employing the traditional motif of the ‘bed-trick’, by which Mariana substitutes for Isabella in Angelo’s bed, Shakespeare permits Isabella both to retain her virtue and to forgive Angelo without marrying him.
Although Measure for Measure, like The Merchant of Venice, is much concerned with justice and mercy, its more explicit concern with sex and death along with the intense emotional reality, at least in the earlier part of the play, of its portrayal of Angelo, Isabella, and Claudio, creates a deeper seriousness of tone which takes it out of the world of romantic comedy into that of tragicomedy or, as the twentieth-century label has it, ‘problem play’. Its low-life characters inhabit a diseased world of brothels and prisons, but there is a life-enhancing quality in their frank acknowledgement of sexuality; and the Duke’s manipulation of events casts a tinge of romance over the play’s later scenes.
Measure for Measure’s subtle and passionate exploration of issues of sexual morality, of the uses and abuses of power, gave it a special appeal in the later part of the twentieth century. Each of the ‘good’ characters fails in some respect; none of the ‘bad’ ones lacks some redeeming quality; all are, in the last analysis, ‘desperately mortal’ (4.2.148).