Epicene [spelled Epicoene], or The Silent Woman, was registered on the Stationers’ Register with the following entry in 1610:
20mo Septembris
John Brown Entred for their copye vnder thandes of Sir
John Busby George Bucke and master Waterson for master
junior warden Leake, A booke called, Epicoene or the
silent woman by Ben: Johnson. vjd
(Arber, Transcript, 3.444)
John Browne then transferred his rights to Walter Burre on 28 September 1612 as attested by the following entry:
Walter Burre/ Entred for his copie by assignment from John Browne
and consent of the Wardens in full Court holden this day /.
A booke called the Commodye of the silent Woman vjd
(Arber, Transcript, 3.498)
The play was published in the Jonson folio of 1616 and then in quarto in 1620 by William Stansby, who must have made some business arrangement with Burre, although such an arrangement remains unrecorded. Not until 4 July 1635 did the Register belatedly take cognizance of Stansby’s rights to Epicene and six other plays – Every Man In, Cynthia’s Revels, Sejanus, Volpone, The Alchemist, and Catiline – that had been assigned to Burre in 1612:
Master Stansby Entred for his Copies by vertue of a noate under the
hand of Walter Burre and master John Lowndes warden
bearing date the 10th of June 1621 as therby appeareth these
Copies following (viz t .) by order of a Court iiisvid (Arber, Transcript, 4.342)
No explanation has been offered as to why this formal confirmation of Stansby’s rights was delayed until 1635.
Prior to that time, the copyright to eleven books including Epicene had been assigned by John Browne’s widow to John Marriott on 17 February 1623, but evidently without her knowledge that Brown had assigned the copyright to Burre, and so the Registry entry was cancelled (Arber, Transcript, 4.92). Similarly, Burre’s widow after his death in 1622 assigned her supposed rights in Epicene and eight other books to John Spencer on 3 July 1630, but seemingly because she did not in fact own the rights this entry too was cancelled.
The transfer of rights to Burre in 1612 raises the tantalizing possibility that he published a quarto in that year, as in fact he did of The Alchemist in 1612 and Catiline the previous year. Or Browne and Busby could have published a quarto edition prior to the transfer. William Gifford, in his 1816 edition of Jonson’s works, claims to have seen such a quarto dated 1612. None such is now known to exist, however, and bibliographical evidence that the folio Epicene was printed from manuscript rather than printed copy (Gerritsen, 1959) militates against the likelihood of such a quarto’s ever having existed, since the printers would have preferred annotated printed copy if it were available. Gifford made no use of such a quarto in his editorial work, as he would normally have done if it existed. The transfer to Burre in 1612 is more plausibly understood as a move on Burre’s part to prepare for the 1616 folio collected edition, though he did in fact publish The Alchemist in 1612, suggesting that the holdup on Epicene may have stemmed from unknown causes. It was manifestly a controversial play.
Peter Whalley, editor of Jonson’s works in 1756, noted some eight years later that Epicene had appeared in quarto in 1609. Whalley was only making a note in the margin, however, of an item in D. E. Baker’s Companion to the Play-House, 1764: ‘EPICAENE, or the silent Woman. Com. by Ben Jonson, 4to. 1609.’ Whalley understandably took this to mean that a quarto had appeared in that year. Yet Baker’s entry is simply based on the date of performance on the folio title-page. No quarto seems to have been published in 1609 (the Stationers’ Company would not have registered the play to John Brown and John Busby in 1610 if someone had held prior rights), and very likely not in 1612 either. This circumstance is, to be sure, puzzling in itself, since it means that Epicene was the first of Jonson’s plays not to appear in an independent quarto; subsequently, as well, both The Alchemist and Catiline went into quarto publication before the 1616 folio. Epicene stands out as unusual in this regard. Why was it not published in quarto like Jonson’s other plays? The non-appearance of a quarto may have been the result of circumstances unknown to us; perhaps Stansby was already at work acquiring rights for the 1616 folio, negotiating his own right to publish a quarto of Epicene and thus making it worth Burre’s right not to do so in 1612. If so, the question then becomes, why did Stansby not issue a quarto? A tantalizing possibility is that quarto publication was held up in 1610-1612 because the play had caused distress to an important member of the royal family.
The controversial passage in Epicene that seems to have caused offence is to be found at 5.1.19-20, when La Foole, speaking admiringly of Daw’s box of instruments with which he draws ‘maps of every place and person where he comes’, describes to Clerimont what he means by ‘maps of persons’:
Yes, sir, of Nomentack, when he was here, and of the Prince of Moldavia, and of his mistress, Mistress Epicene.
Nomentack was a Virginian Indian who was brought to England in 1608-9. The Prince of Moldavia was Stephano Janiculo, who visited England in 1601 to seek the support of Queen Elizabeth for his claim to this title. He was later lured away from the English embassy in Constantinople and abducted by Turks, escaped disguised as a woman in 1606, returned to England in 1606-7, won the support of King James, and then announced in Venice in 1608 that he was engaged to marry Lady Arabella Stuart, even though he was already married to a Venetian lady whom he then attempted to divorce.
Lady Arabella had reason to be distressed when the reports of her purported engagement to the Prince of Moldavia reached England. She was a cousin of King James who had once been considered a possible successor to Queen Elizabeth; indeed, she was the focus of an alleged plot in 1603-4 to put her on the throne. (Lord Cobham and Sir Walter Ralegh were imprisoned for their supposed involvement in the conspiracy, though the plot was widely suspected of having been manufactured or at least blown out of proportion by Sir Robert Cecil to strengthen his own position with the new monarch.) In December 1609 Lady Arabella was confined for promising her hand to an unnamed suitor (James pardoned her for this) and then for secretly marrying Sir William Seymour in July 1610 after having promised not to do so without sovereign’s consent – a treasonous offence for persons of royal blood. Since Seymour too had a claim to royal lineage through his grandmother, Lady Catherine Grey (whose secret marriage to Edward Seymour in 1560 had led to her imprisonment), the marriage was a potential threat to the crown. Lady Arabella and her husband were both imprisoned. She escaped in boys’ clothes in June 1611 and attempted to reach a safe haven in France, but was captured at sea and brought back to the Tower, where she remained till her death in 1615. (Seymour lived to become Earl of Hertford in 1621 and then an active participant on the royalist side in the Civil Wars, living until 1661.) The secret marriage and the epicene escape took place after the first performances of Epicene in late 1609 or early 1610, but this story was very current during the time that the play might have been published in 1612 or soon after.
A letter written to Seymour by the Venetian ambassador on 8 February 1610 attests to Lady Arabella’s agitated state of mind. ‘Lady Arabella is seldom seen outside her rooms’, he wrote, ‘and lives in greater dejection than ever. She complains that in a certain comedy the playwright introduced an allusion to her person and the part played by the Prince of Moldavia. The play was suppressed. Her Excellency is very ill-pleased and shows a determination in this coming Parliament to secure the punishment of certain persons, we don’t know who’ ( CSPV 1607-1610, 427, written in cipher). Parliament was scheduled to open the next day. (To be sure, Parliament did not concern itself with individual cases of theatre censorship; perhaps the Lady Arabella found the courts unhelpful and so entertained unrealistic hopes of assistance from Parliament, or possibly the Venetian ambassador was misinformed about this detail.) That Lady Arabella was alluding to Epicene can scarcely be doubted; it had opened shortly before this date, and the rumour of the engagement had only recently reached London. The ambassador’s letter suggests that suppression of the play was indeed swift.
Jonson presumably meant the offending passage, ‘and his mistress, Mistress Epicene’, to refer to Daw’s mistress, not the Prince’s; at least Jonson could plead innocence by way of that interpretation. Yet the pronoun ‘his’ is ambiguous, and at the very least Jonson did choose to invite laughter at the Prince of Moldavia at a time when that name was the subject of widespread gossip in connection with the Lady Arabella. Jonson chose not to withdraw the passage when the play was finally printed in 1616; indeed, it may well be what he is referring to when, in his dedication to Sir Francis Stuart, Jonson stoutly proclaims that ‘There is not a line or syllable in it changed from the simplicity of the first copy.’
One other passage in the play betrays an uneasiness about accusations of libellous satire. When Truewit boasts to Dauphine that he can convert Cutbeard and Otter into ‘as able a doctor and complete a parson for this turn as may be wished’, he declares that he intends to do so without defaming their callings: ‘And I hope, without wronging the dignity of either’s profession, since they are but persons put on, and for mirth’s sake’ (4.7.42-4). Jonson had made satirical remarks about lawyers in Poetaster that appear only in the folio text, evidently having been censored in the 1602 quarto. Jonson sounds as though he is answering his critics in Epicene.
Jonson’s proud insistence in the 1616 folio dedication of Epicene that he has not changed ‘a line or syllable’ of his play, then, commemorates his resistance to censorship even while it also reflects a period of struggle in which the play appears to have held up for publication. If an attempt was made to publish a quarto in 1612, nothing has survived from that year. A play that had been suppressed in 1610 was not likely to have been cleared for publication while Lady Arabella was still alive. By 1616 she was dead and the whole thing had blown over.
The 1616 folio text of Epicene is the sole authoritative text. It shows manifest signs of Jonson’s personal involvement, in its dedication, its two prologues, and its concluding list of the original performers. All subsequent early editions are based on F1 with no indications of further authorial involvement. When Stansby produced a quarto in 1620, he simply reprinted F1, giving to a first-issue title page the title ‘EPICOENE, OR The silent VVoman’ (as in F1) and then substituting a second-issue title page entitled ‘The Silent Woman’. Why the change was made is unclear; no evidence suggests that Jonson agreed to it. At all events, the change has had the effect of identifying ‘The Silent Woman’ as, until recently, a commonly used name for the play. Stansby presumably had the right to publish this quarto by virtue of his negotiations with Burre prior to 1616. A second folio published by Richard Bishop in 1640 reprinted a copy of F1 that included the unrevised gathering 2Y (see below). A third folio appeared in 1692, reprinted from F2.
In the 1616 folio, EPICOENE, OR The Silent Woman occupies gatherings 2X5-3D6v, pp. 525-600. 2X5 is the title page, with the verso blank; 2X6 gives the Dedication to Sir Francis Stuart; 2X6v lists ‘The Persons of the Play’ and identifies the scene; 2Y-3D6 contains the text of the play; 3D6v provides information on the year of the first performance, the name of the acting company, and a list of the ‘principall Comoedians’. The running title is ‘The silent Woman’, varied on some pages to ‘The silent Womam’.
The 1616 folio bears the marks of authorial manuscript copy (Gerritsen, 1959). The folio text is also distinctly literary in style. As in other plays in the folio, Jonson provides a dedication, act and scene divisions marked in the ‘continental’ neoclassical style with a new scene number at each major entry onstage even when there is no break in the action, massed names of characters at the beginning of each scene in such a way as to include the names of those already onstage and those who are to enter later in the scene, and marginal directions throughout that have a strongly literary flavour. Some of these marginal notations are not stage directions at all. For example, ‘Horses o’ the time’ at 1.1.27-8 is a gloss on the names of the various racehorses that Truewit mentions. When Morose comes onstage carrying two swords belonging to Daw and La Foole at the start of 4.7, the marginal note explains how Morose happens to have them: ‘He had found the two swords drawne within’. A stage direction that is oddly unhelpful in theatrical terms occurs at the beginning of 4.6, when the Collegiate Ladies enter to the unfolding discomfiture of Daw and La Foole. ‘Hauing discouerd part of the past scene, aboue’, reads the marginal note, to let us know as readers that the Ladies have been present during part of the previous scene in time to witness the physical humiliations of Daw and La Foole, though we are left to guess how much of the scene this entails and can scarcely have known this fact as we were reading. Since entrances in mid scene are generally not specified in the folio text, where the reader is left to imagine when those entrances are necessary, and so too with virtually all exits. The marginal observations often eschew theatrical terminology: ‘He comes out making himselfe ready’ (1.1.0 SD) rather than ‘Enter Clerimont’; ‘They diswade her, priuately’ (2.3.4-5) rather than ‘Aside to Epicene’; ‘His wife is brought out to heare him’ (4.2.61 SD) rather than ‘Enter Mrs. Otter, escorted by Truewit’. Some marginal comments call for special effects with no indication of who is to produce the effects or where the performers are to be located: ‘Musique of all sorts’ (3.7.2 SD). To know that music is sounded is all that a reader need know. The folio text is thus presented as the work of a poet, as Jonson liked to think of himself, rather than playwright. The likelihood that no earlier quarto text intervened between Jonson’s manuscript and the printed folio version may explain why Epicene is especially rich in literary marginal notations and often lacking in stage-oriented directions.
A distinguishing feature of the press work on Epicene is that the first gathering, 2Y (comprising the dedication, the two prologues, and the play down to 2.2.47), exists in two states, the second of which is completely reset. One is printed in large-paper format and the other in small-paper. Herford and Simpson assumed that the large-paper format came second, since in later printing house practice that was often the case; a large-paper format might be used to produce dedicatory copies to honour aristocratic patrons and the like. H&S concede that no clear proof is to be found for such a practice in the seventeenth century. Actually, as Beaurline (1967), Donovan (1987), Gants (1997), and others have conclusively demonstrated, in this instance the large-paper format seems to have been first. Why it was abandoned after the composition of a whole twelve-page gathering, and why the text of 2Y was then wholly reset, is somewhat uncertain. Gerritsen (1959) has speculated that the first setting was discovered to have so many errors that resetting seemed simpler than press correction. A notable change, as he notes, is that the speech-prefix ‘DAV.’ for ‘Dauphine’, occurring frequently in scenes 1.2, 1.3, and 1.4, was changed to ‘DAVP.’ throughout, perhaps because ‘DAV.’ was thought too likely to be confused with ‘DAW’. (‘DAV.’ is in fact erroneously printed at 2.3.105 even in the ‘corrected’ F1 in place of ‘DAW’, attesting to the confusion.) Yet Gants (1997, and in Butler 1999b), while fully agreeing that the small-paper printing came second, questions Jonson’s involvement in this particular set of changes; Gants shows that the ‘DAVP’/’DAV’ variation can be attributed not to authorial intervention but to compositorial preference as two compositors worked on separate formes. Gants is equally unpersuaded by H&S’s speculation that a workman dropped the formes of the first printing job, scattering type everywhere after a number of sheets had been printed off. The decision to reset the gathering, argues Gants, may have been ‘a deliberate one on Stansby’s part’, resulting from a shortage of english type in the printshop; Stansby found it necessary ‘to break down and distribute the type he had used to set gathering 2Y’. Gants and James Riddell (1986) have identified rare instances where the original setting occurs on both sides of the single middle sheet of 2Y, leading to the conclusion that Stansby must have printed this sheet, turned it over, and perfected it, seemingly in the knowledge that he would have to interrupt the work on the 1616 folio for resetting of 2Y. Evidently, too, Stansby’s shop at Cross Keys had enough type to allow six full formes to stand in type, thereby making possible printing by quires, enabling Jonson to proofread at some leisure and perhaps at home rather than at Stansby’s establishment (Gants 1997, and in Butler 1999b).
At all events, the work on 2Y was redone, resulting in a multitude of minor changes in spelling, punctuation, and lineation: beauty/beautie, heere/here, bee/be, chuse/choose, legges/legs, study/studie, nayles/nailes, dwell/dwel, ayre/aire, and so on. These changes, unlikely to be authorial, are of no significance in a modern spelling edition and are not recorded in the textual notes of the print edition; they are fully recorded instead at the conclusion of this essay. Substantive changes are of course recorded in the printed textual notes. Some are commonsense corrections of error; some appear to be Jonson’s own improvements, indicating that he took the resetting of 2Y (even if he had not demanded it himself) as an opportunity for inserting his own improvements. The corrected state adds the authorial-sounding marginal note for the second prologue, ‘Occasion’d by some persons impertinent exception’, and another marginal note at 1.1.27-8: ‘Horses o’ the time’. At 1.1.37, the uncorrected speech heading ‘CEL.’ is corrected to ‘CLE.’ for Clerimont, and at 1.4.54 ‘CLE.’ is corrected to ‘LA-F.’ for La Foole, who is indeed the speaker at this point. At 1.1.69, the erroneous ‘sour’d’ is corrected to ‘scour’d’. A needed ‘in’, not in the uncorrected text, is supplied in the corrected text at 1.1.135. The word substitutions from ‘going’ to ‘marching’ at 1.1.141 and from ‘puritane parlee’s’ to ‘puritane preachings’ at 2.2.26 are unmistakably authorial – the sorts of stylistic ameliorations that Jonson might make while reading proofs. Authorial too are the additions, in the corrected state at 1.2.28, of the phrase ‘one CVT-BERD’, and, at 1.3.34, the word ‘below’. These are only some of the substantive changes in 2Y; see the printed textual notes for a full record. A few press ‘corrections’ seem to have gone in the wrong direction: the uncorrected state reads ‘They’ in the song at 1.1.82 (‘They strike mine eyes, but not my heart’), whereas in the corrected state it becomes ‘Thy’, and at 2.2.28 ‘ETHELRED’s’ is changed to ‘ETHELDRED’s’. Occasional errors of this are not surprising in such an extensive resetting, but in general the corrected state seems to have profited from Jonson’s intervention.
Most such changes are reversible as evidence regarding the question of which setting came first; word substitutions can usually be made to work either way, and omissions in one setting of a phrase found in the other can be explained as an earlier state before the author added the phrase or else a deliberate or inadvertent excision. Each state offers readings that are manifestly more defensible than the other’s readings: ‘They’/‘Thy’ on the one hand and ‘sour’d’/’scour’d’ on the other. Some changes are not reversible, however, and these favour the small-paper format as the corrected text, despite H&S’s conclusion to the contrary. (Those editors do not really theorize their choice, and simply conclude that the words and phrases present in the small-paper format and absent in the large-paper format are ‘errors of omission’ rather than corrections and additions.) One non-reversible piece of evidence is to be found on 2Y1, where the ornamental ‘T’ at the start of the Prologue is perfect in the large-paper copies but with a break in its border in the later printed small-paper copies.
Other non-reversible evidence is to be found in the Keynes copy of Epicene in the King’s College Library, Cambridge, and in two copies in the Huntington Library (495467 and 606599), each containing a mix of corrected and uncorrected pages in the 2Y gathering. In these copies, page 532 (2Y2v) and the pages preceding it are in the large-paper format, ending, at the bottom of 532, ‘before they were painted’ and providing the catch-word ‘and’. Page 533 does not begin with ‘and’ in these copies, however. Page 533 is in small-paper format, continuing as such through page 536 (2Y4v). The printing house, in assembling these copies, must have been out of pages 529 to 532 in the small-paper format and so made use of two large-paper sheets containing 2Y1-2 along with 2Y5-6. The evidence for this order of events is that the printers who assembled the copy allowed to stand a repetition of nearly two lines of type at the bottom of 532, ‘Ald-gate? were the people suffer’d, to see the Cities Love, / and Charitie, while they were rude stone, before they were painted / and’. These words are all repeated at the top of Keynes’s small-paper 533, whereas in the large-paper format 533 begins ‘and burnish’d?’ This repetition would be inexplicable if the large-paper setting had not existed first.
Other evidence reinforces this bibliographical anomaly. The change from ‘DAV.’ to ‘DAVP.’ for Dauphine, discussed above, even if the variations appear to have been compositorial in the first setting, is reasonably thorough and makes sense as a way of distinguishing Dauphine from Daw (DAW), whereas a wholesale correction in the other direction is hard to explain. The large-paper reading of ‘mon’ments’ at 1.2.9 is easy to explain as derived from manuscript copy, whereas a move from the small-paper ‘moniments’ to ‘mon’ments’ would be more of a puzzle; the passage is in prose, so that elision can hardly be considered a factor. The small-paper ‘Strooke into stone’ at 1.2.2 clearly means ‘Struck into stone’; the large-paper ‘Stroke’ is an easy typographical variation from ‘Strooke’ but is hard to explain as a conscious ‘improvement’. The small-paper ‘your now-mistris’ at 2.5.74-5 is correct; ‘your now--mistress’ in large-paper is an easy mistake of resetting, but makes no sense as a deliberate choice. Words are missing in the large-paper format that are needed and are present in the small-paper format, at 1.1.135 (‘in’), 1.2.28 (‘one CVT-BERD’), 1.3.30 (‘for’), 1.3.34 (‘below’), 1.4.32 (‘for’), and 2.1.35 (‘with’). Typographical discrepancies are considerably more apt to be correct in the small-paper format, as at 1.1.46 (‘nor heare’ for ‘not heare’), 1.1.69 (‘scoured’ for ‘soured’), 1.3.28 (‘presents’ for ‘persents’), 1.3.33 (‘Sir’ for ‘Sis’), 1.3.34 (’ownes’ for ‘owes’), 2.5.1 (‘your’ for ‘you’), 3.2.28 (‘gouernes’ for ‘go uernes’), 3.7.30 (‘in ordinary’ for ‘inordanarie’),and 5.3.44 (‘impertinences’ for ‘pertinences’). Occasional typos in the other direction do occur, of course (‘vnfortnnate’ for ‘vnfortunate’ at 3.2.48), but are more rare. The small-paper format carefully discriminates between ‘Mrs.’ and ‘Mr.’, as for example at 3.2.15 and 19 and following for Mrs Otter and Master Truewit (and similarly at 3.6.56, 3.7.15 and 27, and 4.3.1) whereas in the large-paper format both are rendered ‘M.’; one can scarcely imagine Jonson deliberately correcting the unambiguous to the ambiguous form.
Examination of the paper stocks used in the printing of Epicene, as David Gants has shown, supports the evidence derived from headlines and other kinds of material proof showing that the printing of the large-paper copies preceded that of the regular-paper copies; the latter show a disruption of paper usage, as indicated in marks from paper groups not found in the current sequence (Gants, 1997).
What Gerritsen calls the ‘remarkable headline juggling’ in 3A and 3B in the 1616 folio appears to have resulted from the printers having set and printed off the first quire of EMI more or less concurrently with the first quires of Epicene. From this circumstance, argues Gerritsen, one can determine that ‘of the two settings of quire 2Y, containing the beginning of Epicoene, one was printed normally between 2X and 2Z, the other between 3E and 3F, i.e. after the play’s completion’ (Gerritsen, 1959).
Eugene Giddens, having examined (among others) the headlines and rules in the King’s College (Cambridge) Library’s two copies for this edition, concludes that the large-paper seems to have been printed in the normal sequence, and the small-paper printed later. The order of printing of the first part of Epicene appears to have been: 2Y (large-paper state) and 2Z, with 2Y (small-paper state) coming either directly after 2Z, or probably, much later. The large paper copy, Keynes C.10.3, is one of those rare large paper copies having the large paper variants in 2Y only in 2Y2:5. Rule and headline evidence show that skeletons from the large paper state of 2Y were used fairly regularly for the remainder of the play. For instance, the skeleton for large-paper 2Y1 was used again for 2Z2, 2Z4, 3A4, 3B1v, and 3D4v. The skeleton for large paper 2Y5 is interesting in that it contains a variant correction of ‘silent Womam’ to ‘silent Woman’, which in turn permits a deduction about the chronology of setting this part of the folio. The skeleton retaining ‘silent Womam’ was used again in 2Z1 and 2Z3, but by the time it made it to 3A1, 3A3, 3B1, 3B3, and 3C6 this skeleton had been corrected. The large paper printed pages clearly fit within the normal printing sequence. In contrast, the small paper pages were printed out of sequence. Some entirely new skeletons (in relation to Epicene in any case) were made up for the small paper state of 2Y. In one case a skeleton (at 2Y2:5v and 2Y3v:4) was used twice in the small paper quire, but not used again in the remainder of the play. The fact that an entirely new skeleton was used twice within the small paper 2Y and not again suggests that perhaps Stansby did not return to reset the quire until much later in the printing process. None of the skeletons used for the new state of 2Y appears in 2Z. However, the skeleton of 2Y3:4v (small paper state) comes up again in 3A2, 3B4, 3C1, 3C4, and 3D2; the skeleton of 2Y2v:5 (small paper state) comes up again in 3A6, 3B5, 3C5, 3D4. This circumstance suggests that 2Y (small paper) was printed any time after 2Z, including, possibly, at the end of a long stretch of printing. Most importantly, from this evidence, it appears that the large paper headlines are demonstrably within the regular printing sequence, and that some of the small paper headlines are demonstrably out of sequence (and probably fit demonstrably within a later part of the folio, as Gerritsen and Beaurline suggest).
Giddens’ conclusions independently confirm those of Beaurline, who provides further evidence: ‘a break in the border of an ornamental ‘T’ (sig. 2Y1) and changes in the headlines offer incontrovertible proof that existing small paper of 2Y is the resetting. Roughly the same skeleton formes were reused in subsequent formes, and the headlines show gradual shifting and some damage, in a progression from 2Y (large paper), 2Z, 3A-3D, 2Y (small paper)’ (Beaurline 1967, xxi). Beaurline concludes from this evidence that the formes of 2Y in small paper were imposed and printed ‘after the entire play had been run off’; after the large paper sheets of 2Y had been printed, Jonson marked up the speech headings on the printer’s copy in such a way as to make clearer the distinction between Dauphine’s speeches and those of Daw, missing a few in the process.
Two other sheets, 2X1.6 and 3A1-1v and 3A6-6v, were reset after the entire book had been printed, evidently when more copies of these sheets were needed than had been printed. Jonson seems to have had no part in this resetting. The changes, affecting the Dedication, the Persons of the Play, 3.1.18 to 3.2.62, and 3.6.62-3.7.42, contain a few corruptions and one commonsense correction of a typographical error (‘vnfortnnate’ to ‘vnfortunate’ at 3.2.51) but no authoritative alterations (Beaurline 1967, xxi).
Epicene was published in quarto by Stansby in 1620, in two states. The title-page of the first reads ‘EPICOENE, OR The silent Woman. A Comoedie. Acted in the years 1609. By the Children of her Majesties REVELS. The Author B. I. . . . LONDON . . . 1620.’ The second title-page reads ‘The Silent Woman.A Comoedie. Acted by the Children of the REVELS. the Author B. Ionson . . . LONDON . . . 1620. The reason for the change remains unexplained. The play was known generally to Restoration and eighteenth-century audiences as ‘The Silent Woman’, though the title-page for the 1640 folio, printed by Richard Bishop, again reads ‘EPICOENE, OR The Silent Woman’. Conceivably it was thought best not to give even a hint, in the title, of Epicene’s sexual identity. The 1620 quarto is a careless reprint of the 1616 folio seemingly without added authority. At 3.2.49, F1’s ‘iudg’d’ becomes ‘adiudg’d’, and at 5.3.47 ‘perpetuall motion’ is changed to ‘perpetuall about motion’; the first is gratuitous, while the second makes nonsense of Jonson’s reference to the supposed perpetual motion machine on display in Eltham Palace.
The folio text of 1640 was a reprint of the 1616, including what H&S mistakenly call the reset sheet 2Y. In fact, the 1640 text for 2Y was based on the large-paper uncorrected pages, with a result that the marginal note to the second prologue is missing; the text reads ‘going’ at 1.1.141 instead of the corrected ‘marching’; ‘one CVT-BERD’ is missing at 1.2.28; La Foole’s speech at 1.4.54ff. is assigned to ‘CLE’.’ instead of ‘LA-F.’; and the uncorrected ‘Puritane Parlees’ remains instead of the corrected ‘puritane preachings’ at 2.2.26. Except for the occasional commonsense correction – ‘common-place fellow’ for ‘common place-fellow’ at 2.3.49, ‘DAW’ for ‘DAV’ at 2.3.105, ‘you’ll’ for ‘you you’ll’ at 2.3.118, ‘now; when’ for ‘now when’ at 2.6.17, ‘in troth’ for ‘introth’ at 3.1.7, ‘led’ for ‘lead’ at 5.1.69, ‘impertinencies’ for ‘impertinences’ – the 1640 folio offers essentially no added textual authority to Epicene. The first folio of 1616 is, fortunately, a carefully prepared text in its corrected state and serves as the undisputed authority for the present edition.
The present edition incorporates Jonson’s marginal notes into the text, rather than printing them in the margin. Nearly all are stage directions that are easily accommodated to this format, with editorially added material in square brackets. One marginal note that is not a stage direction (‘Occasioned by some person’s impertinent exception’) is treated in this edition as a subtitle for the second prologue; one other is a comment (‘Horses o’ the time’) and as such is printed in a commentary note for 1.1.27-8. Every attempt is made to preserve the language of Jonson’s stage directions by bracketing added information rather than modifying the original wording. Act and scene divisions follow the original, with scene numbering abbreviated in arabic numerals, so that ‘Act I. Scene I’ becomes ‘1.1.’ The massed entries at the beginning of each scene, usually naming all the characters taking part in the scene, including those already onstage and those who are to enter later in the scene, are altered so as to represent when entries take place. The names of characters already onstage are not repeated, and those who enter later are named at the appropriate point. When that point of entry is uncertain, the matter is discussed in the commentary. So too for exits, universally unmarked in the folio text. An entry typically reads (as at 1.1.17 SD.2) ‘[Enter] TRUEWIT’, meaning that Truewit is named in the massed entry at the head of 1.1 but appears to enter after line 17. All such information is recorded in the textual notes.
Spellings are modernized in a thorough-going manner: course/coarse, least/lest, ’hem/’em, loose/lose, mary/marry, waights/waits, ordinance/ordnance, venter/venture, nooze/noose, cosen’d/cozened, sent/scent, dombe/dumb, roule/rool, bodies/bodice, too/to, Lords/Lord’s, off/of, poulder/powder, bason/basin, complement/compliment, seeling/ceiling, again/again’, furder/further, errandst/arrant’st, peitronells/petronels, attone/atone, whether/whither, past/passed, numbre/nombre, lead/led, peebles/pebbles, lyen/lain, fift/fifth, sixt/sixth, eight/eighth, and died/dyed. A few modernizations are resisted by some other editors in order to retain colour or etymological resonance in the original, such as windore/window, moniments/monuments, vellet/velvet, tyrannes/tyrants, heicfar/heifer, porcpisce/porpoise, kastrils/kestrils, squire/square, ioyn’d stooles/joint-stools, and trauaile/travel; and certainly these are instances where modernization exacts some cost, but the view taken here is that a modern edition should use modern spellings when the word is essentially the same word in variant forms, and all such departures are recorded in the textual notes. The commentary notes attempt to provide resonance of meaning lost in any such modernization, as when ‘trauaile’ at 5.4.194 (‘Go, travel to make legs and faces’, says Truewit to Daw and La Foole) suggests both ‘labour’ and ‘journey’. ‘Porcpisce’ is undoubtedly an illuminating way of spelling ‘porpoise’ at 4.4.115; the commentary points out that it means ‘hog-fish’.
Jonson’s punctuation tends to be heavy and rhetorically conceived, as seen from a modern point of view; he prefers to highlight stresses and pauses, with rather less attention to grammatical units of meaning. The attempt here is to lighten that effect and clarify meaning according to the semiotics of modern punctuation, so that, for instance, a colon should signify ‘as follows’ rather than, as often in early modern texts, serving as a heavy stop. Determining ‘meaning’ in order to provide the appropriate modern punctuation can of course fall prey to circular reasoning: a passage can then ‘mean’ what the editor punctuates it to mean. An editor needs to be constantly vigilant to such dangers, and to preserve Jonsonian punctuation when it seems to aim at resonances of meaning that might be lost by what seems to be a conventional modern idiom. Departures from the folio punctuation are recorded in the textual notes when they bear on shifts of interpretation and meaning.
Contractions are generally expanded, again with a wary eye to shifts of meaning. ‘Mrs.’ signifies ‘Mistress’ in Epicene, meaning either an unmarried woman (such as Mavis, one of the Ladies Collegiate, and Trusty, the Lady Haughty’s attendant) or a married woman (Otter’s wife). In 4.3, for example, both Mrs. Otter and Mavis are addressed as ‘Mistress’. This edition follows the original spelling in the dialogue for both unmarried and married women. The speech headings and stage directions, on the other hand, provide what is intended to be a useful distinction in a modern spelling edition. In the list of ‘Persons of the Play’, ‘Mrs.’ is expanded to ‘MISTRESS’ for Mavis and Trusty but ‘MRS’ for Mrs Otter, while the speech headings and stage directions throughout identify the women variously as MAVIS, TRUSTY, HAUGHTY, and MRS OTTER. The folio’s ‘Mr.’ is expanded when it occurs in dialogue to ‘Master’, as at 3.2.19, ‘Master Truewit’, or 3.6.64, ‘Master Morose’.
Word emendation is not often necessary in Epicene. Jonson evidently took care with his manuscript and read proofs, even if he missed some typographical errors. A preponderance of the textual notes in this edition have to do with significant spelling modernizations, massed entries at the commencement of scenes, and placement of stage directions, most of which are not marked in the folio. The corrected small-paper readings of F1 are followed in this edition with minor exceptions (such as the incorrect ‘Thy’ at 1.1.82). Among the emendations proposed by editors beginning with F2 and then Whalley and Gifford, this edition accepts a handful of what are now uncontested readings, including ‘upon’ for ‘vp on’ at 1.1.127, ‘have’ for ‘hane’ at 2.4.13, ‘CLERIMONT’ for ‘DLE.’ at 2.4.40, ‘in troth’ for ‘introth’ at 2.4.110 and 3.1.7, ‘tongue’ for ‘tougue’ at 2.5.31, ‘now. When’ for ‘now when’ at 2.6.17, ‘DAW’ for ‘DAVP.’ at 3.3.14, and ‘DAUPHINE’ for “CLE.’ at 3.3.15. Among more contested readings, this edition follows F1 at 1.2.17 (‘more’ instead of the proposed ‘mere’), 2.2.103 (‘rises’ instead of the proposed and often-adopted ‘rinses’), at 4.5.137 (‘Not I, never’ instead of ‘Not I, I never’), and at 5.4.164 (‘before–’ instead of the proposed ‘before God’ or ‘before heaven’). This edition departs from F1 at 3.3.24 (‘main’ for F1’s ‘man’) and 4.5.101 SD.2 (‘come’ for F1’s ‘came’).
Epicene has been often edited in modern times; its status as a major comedy seems assured. It is included, of course, in collected editions of Jonson by Peter Whalley (1756) , W. Gifford (1816; reprinted with revisions and appendices by F. Cunningham 1871, 1875), W. Bang (1905) , Herford and Simpson (1937) , and G. A. Wilkes (1981) . The learned commentary in Simpson’s edition is extensive, but the text contains some serious errors, owing to the Oxford editors’ mistaken assumption that the large paper format represents the corrected state of the 2Y gathering. Beaurline (1967) argues that Simpson must have used the text of Aurelia Henry’s PhD dissertation edition for Yale Studies in English (1906) as printer’s copy for some at least latter portions of the play; Beaurline notes that the erroneous readings of ‘Pray’ for F1’s ‘Now’ at 4.2.11, ‘And’ for F1’s ‘But’ at 4.5.79, and ‘Mrs. T.’ for F1’s ‘Mrs. OT.’ at 4.6.93 are all identical to errors occurring in the Henry edition. Whether Simpson actually took such a drastic shortcut is perhaps questionable, since it seems out of keeping with that edition’s usual scrupulousness in such matters; yet the coincidence of errors remains to be explained, and does at least point to carelessness in these instances. The edition adds some errors of its own, including ‘Good’ for F1’s ‘God’ at 3.4.11 and an erroneous textual note for 5.3.44 listing ‘impertinences’ as the reading of corr. F1 and Q, and ‘impertinencies’ as the F2 reading, whereas F1 reads ‘impertinencies’. (The line numbers cited here are those of this present edition, not of H&S.) The Henry edition itself, though flawed with such errors, does feature a learned commentary, a good part of which has been subsumed into H&S. Lester Beaurline’s edition for the Regents Renaissance Drama Series (1967) is handy for classroom use and corrects the textual errors of Herford and Simpson. Edward Partridge’s edition for the Yale Ben Jonson series (1971) is a serviceable teaching edition. Roger Holdsworth’s edition for New Mermaids (1979, reprinted 1990, 1993, 1996, 1999) , also a text for the classroom and the modern reader, contains much new information and insight. The most recent single-volume edition is by Richard Dutton, in the Revels Plays series (2003) .
Epicene is included in a number of selected collections of Jonson’s plays, including The Best Plays of Ben Jonson, ed. Brinsley Nicholson and C. H. Herford (1893; reissued 1961) , the World’s Classics Five Plays, edited by G. A. Wilkes (1988) , and the World’s Classics anthology edited by Gordon Campbell (1995) , reissued as The Alchemist and Other Plays (2004). It is included in collections along with Volpone and The Alchemist that do not regularly include other Jonson comedies such Every Man in His Humour though sometimes including Bartholomew Fair; it appears, for example, in the Norton Critical Edition of Ben Jonson’s Plays and Masques edited by Robert M. Adams (first edition, 1979) and then by Richard Harp (second edition, 2001) , in The Selected Plays of Ben Jonson edited in two volumes by Johanna Proctor (vol. 1) and Martin Butler (vol. 2) (1989), and in Jonson: Four Comedies, edited by Helen Ostovich (1997) . It is not included in Ben Jonson in the Oxford Authors series, edited by Ian Donaldson (1985) , which focuses instead on Volpone and The Alchemist along with a generous representation of Jonson’s poetry and prose.
What follows is a detailed record of the variants between the large-paper uncorrected state and the small-paper corrected state of the 1616 folio text. Discrepancies in prose lineation in the resetting of 2Y and 3A1:6 are collated in a separate listing at the end.
Copies examined:
1. Bodleian Library, Oxford, Douce.I.302
2. Bodleian Library, Oxford, AA 83 Art
3. Balioll College, Oxford, 525.C.1
4. British Library, C39.k.9
5. British Library, G 11630
6. University of Cambridge Library, Syn 4.61.19
7. University of Cambridge Library, Keynes D.6.21
8. Duke University A-23 f J81WC
9. Duke University A-23 f J81WD
10. English Faculty Library, Oxford, YK1 26764
11. English Faculty Library, Oxford, YK1 26765
12. English Faculty Library, Oxford, YK1 26766
13. Exeter Collge, Oxford, Ex 142-k-g
14. Fitzwilliam Museum, Cambridge, 31.F.5
15. Folger Shakespeare Library, STC 14751, copy 1
16. Folger Shakespeare Library, STC 14751, copy 2
17. Folger Shakespeare Library, STC 14751, copy 3
18. Folger Shakespeare Library, STC 14751, copy 4
19. Folger Shakespeare Library, STC 14751, copy 5
20. Folger Shakespeare Library, STC 14751, copy 6
21. Folger Shakespeare Library, STC 14751.2, copy 1
22. Folger Shakespeare Library, STC 14751.2, copy 2
23. David Gants personal copy, Fenton bookplate
24. David Gants personal copy, Everard Home bookplate
25. Huntington Library, 499971
26. Huntington Library, 62104
27. Huntington Library, 499967
28. Huntington Library, 495467 (the Schlatter copy)
29. Huntington Library, 606200-201
30. Huntington Library, 606199
31. Huntington Library, 606202
32. Huntington Library, 606575
33. Huntington Library, 606576
34. Huntington Library, 606577
35. Huntington Library, 606578
36. Huntington Library, 606579
37. Huntington Library, 606580
38. Huntington Library, 606581
39. Huntington Library, 606583
40. Huntington Library, 606584
41. Huntington Library, 606585
42. Huntington Library, 606587
43. Huntington Library, 606594-5
44. Huntington Library, 606599
45. Huntington Library, 606600
46. Huntington Library, 62105
47. Huntington Library, 62100
48. Huntington Library, 499968
49. Huntington Library, 499969
50. Huntington Library, 606574
51. Huntington Library, 606582
52. Huntington Library, 606586
53. Huntington Library, 606596
54. Huntington Library, 600687
55. Huntington Library, 62101
56. Harvard University, Houghton STC 14751 v. 1
57. Harvard University, Houghton STC 14751 x
58. Harvard University, Houghton 14751A
59. Harvard University, Houghton 14752 B vol. 1
60. Harvard University, Houghton Lowell 1479.1
61. Harvard University, Houghton fAC9, 735.ZZ 640j. vi
62. Harvard University, Houghton HEW 6.1010 v. 1
63. Jesus College, Oxford, I Arch. 3.6
64. King’s College, Cambridge, N.12.9
65. King’s College, Cambridge, Keynes C.10.3
66. Library of Congress, Yorke W.4.4
67. Mark Bland personal copy, Graham Wenman bookplate
68. Mark Bland personal copy, Brooklyn Public Library bookplate
69. Mark Bland personal copy, to Capt Harris from Wm Nickers
70. Newberry Library, Chicago, Y135. J735
71. Newnham College, Cambridge, Young 381a
72. New York Public Library
73. Oriel College, Oxford, D.B.II.4
74. Pembroke College, Cambridge, LC.I.29
75. Shakespeare Memorial Library, Stratford-upon-Avon, SR 80 Jon 4615 (f. 73)
76. Shakespeare Memorial Library, Stratford-upon-Avon, SR 80 JON 4616 (f. 78)
77. St John’s College, Cambridge, Aa.I.26
78. Trinity College, Cambridge, Capell:G:1
79. Trinity College, Cambridge, VI.6.116
80. University of Texas, Harry Ransom Humanities Research Center, HRC Ah J738+BU616a
81. University of Texas, Harry Ransom Humanities Research Center. HRC Ah J738+BU616am
82. University of Texas, Harry Ransom Humanities Research Center. HRC Ah J738+BU616ak
83. University of Texas, Harry Ransom Humanities Research Center. HRC Ah J738+BU616ah
84. University of Texas, Harry Ransom Humanities Research Center. HRC Ah J738+BU616af
85. University of Texas, Harry Ransom Humanities Research Center. HRC Ah J738+BU616ad
86. University of Texas, Harry Ransom Humanities Research Center. HRC Ah J738+BU616ab
87. University of Texas, Harry Ransom Humanities Research Center. HRC Wh J738+616a
88. University of Texas, Harry Ransom Humanities Research Center. PFORZ 559, PFZ Pforzheimer Collection
89. University of Chicago PR2600.C16 c. 1 Frederic Ives Carpenter Memorial Collection
90. University of Chicago PR2600.C16 c. 2 Wm. Courtenay eius libris 1807
91. Richard J. Daly Library, University of Illinois, Chicago, PR 2600
92. University of London Library, B.S.1272, the Sterling copy
93. University of London Library, B.S.1272, the Bertram Theobold copy
94. University of London Library, B.S.1272, the Durning-Laurence Library copy
95. Worcester College Library, Oxford, Plays 9.6
96. Wadham College Library, Oxford, A39.12
| SETTING A | SETTING B | SETTING C | ||
| 2X1:6 (o) | State 1 | State 2 | State 3 | |
| 2X6v (528) | ||||
| 1 | Play | Play [with a title-font ‘P’] | ~ | |
| 2 | no noiſe | noiſe | ~ | |
| 4-9 | swash ‘A’ | ~ | A | |
| 13 | Collegiates | Collegiate | ~ | |
| 14 | T RVSTY | MAVIS | ~ |
State 1: all copies except 28, 60, 65, 66
State 2: 60
State 3: 28, 65, 66
| SETTING A | SETTING B | SETTING C | ||
| 2X1:6 (i) | State 1 | State 2 | State 3 | |
| 2X6 (527) | ||||
| 10 | truſt | trust | ~ | |
| 16 | noblest . . . vertue [round ‘v’] | nobleſt . . . vertue [sharp ‘v’] | ~ | |
| 18 | Vndertaker [sharp ‘V’] | Vndertaker [round ‘v’] | ~ | |
| 20 | And [swash ‘A’] | And [italic ‘A’] | ~ | |
| 23 | vn-certaine [round ‘v’] | vn-certaine [sharp ‘v’] | ~ | |
| 23 | accuſation; | ~ | ~ [with smaller-font ‘;’] | |
| 24 | contumely . . . me | contumelie . . . mee | ~ | |
| 25-6 | honora- | ble 4H4H | honoura- | ble | ~ | |
| 26 | wip’d | wiped | ~ |
State 1: all copies except 28, 60, 66 [65 reads ‘wiped’ in line 26]
State 2: 28, 60
State 3: 66
| IMPOSITION A | IMPOSITION B | ||
| 2Y1:6(o) | State 1 | State 2 | |
| 2Y1 (529) | |||
| 1 | E P I COE N E [in a smaller font ] | E P I C OE NE, [in large font] | |
| 4 | Prologve | PROLOGVE | |
| 12 | (feaſts | feaſts) | |
| 12 | make publique | (make publique | |
| 15 | gueſtes | gueſts | |
| 25 | thought. | thought | |
| 28 | ſqnires | ſquires | |
| sig. & c.w. | [shifted to the left] | ||
| 2Y6v (540) | SETTING A | SETTING B (beginning with last line of 2Y6 of Setting A) | |
| 1 | at the bottom of 2Y6r in state 1 | ||
| 5 | ſword----- | ſword------- | |
| 6 | taſte, | taſte | |
| 8 | me | mee | |
| 11 | Marry | Mary | |
| 12 | drowne, | drowne | |
| 14 | Pauls; | Pauls, | |
| 15 | nearer | neerer | |
| 16 | window | windore | |
| 17 | halter, | halter; | |
| 18 | wedlocke | wed-lock | |
| 19 | or, a flye | or a flie | |
| 21 | Alaſſe . . . finde | Alas . . . find | |
| 22 | playes . . . parlee’s | plaies . . . preachings | |
| 23 | madfolkes . . . bee ſeene, dayly | mad-folkes . . . be ſeene daily | |
| 23-4 | publiqne | pub-| lique | |
| 24 | liu’d, in . . . E-| thelred’s time, | liu’d in . . . Etheldred’s time, sir, | |
| 25 | Confessor’s | Confessors | |
| 25-6 | countrey hamlet | countrey-ham- | let | |
| 26 | dull, [comma faint in some copies] | dull | |
| 29 | ſir, . . . coſen’d, . . . yours, | ſir! . . . coſen’d . . . yours | |
| 30 | beg’d | begg’d | |
| 35 | mother: . . . ſiſters---- | mother; . . . ſiſters------ | |
| 37 | it | It | |
| 38 | you doe---- | you doe ------ | |
| 39 | Alaſſe | Alas | |
| 42 | if | If | |
| 43 | Frenchman, | Frenchman | |
| 44 | jig . . . fencer, | iig, . . . fencer |
State 1: 5, 21, 22, 55, 86
State 2: the rest
| 2Y2:5(o) | |||
| 2Y2 (531) | |||
| r.t. | shifted to the right in state 1 | ||
| 6 | Gallant | gallant | |
| 12 s.n. | [omit] | Horses o' the | time | |
| 12 | Puppy | Puppy | |
| 13 | Pepper-corne, White-foot, Franklin | Pepper-corne, White-foote, Franklin | |
| 13 | White-maynes party | White-maynes partie | |
| 15 | be | bee | |
| 17 | company | companie | |
| 20 | moyſt | moiſt | |
| 24sh | Cel. | Cle. | |
| 25 | Yes; | Yes: | |
| 28 | indeed | indeede | |
| 29 | only | onely | |
| 34 | not heare | nor heare | |
| 38 | alone, | alone [comma badly inked] | |
| 2Y5v (538) | |||
| 1 | Europe . . . ſelf | Europe . . . ſelfe | |
| 2 | French . . . we . . . our coat | french . . . wee . . . for our coate | |
| yellow . . . coulors | Yellow . . . colours | ||
| coat . . . ſometimes . . . ſolemnly | coate . . . ſome-times . . . ſolemnely | ||
| nobility . . . antiquity | nobilitie . . . antiquitie | ||
| 6 | does . . . mee . . . and | Does . . . me . . . & | |
| 7 | foule | fowle | |
| 9 | be | bee | |
| gentle-| woman | gentlewoman | ||
| 13 | bee . . . knight | be . . . Knight | |
| 14 | be | bee | |
| 15 | bene . . . & | beene . . . and | |
| 17 | gen-| tleman vſher . . . me | gentleman-vſher . . . mee | |
| 18 | die --- . . . Ierkin | die ----- . . . ierkin | |
| 19 | Iland-voyage | Iland-voyage | |
| 24sh | Dav. | Davp. | |
| 26sh | Dav. | Davp. | |
| 26 | commodity. | commoditie ----- | |
| 27sh | Cle. | La-f. | |
| 28-9 | Gen-| tlemen | gen-| tlemen | |
| 29 | faile -– | faile ----- | |
| 31sh | Dav. | Davp. | |
| 31 | We . . . Lafoole | Wee . . . La-Foole | |
| 34sh | Dav. | Davp. | |
| 35 | tis | ’tis | |
| 39 | CAn not . . . finde | CAnnot . . . find | |
| 41 | me | mee | |
| 42 | affflict me . . . harſhe . . . irkeſome | afflict mee . . . harſh . . . irkſome |
State 1: 5, 21, 22, 28, 44, 55, 65, 86
State 2: the rest
| 2Y3:4(o) | |||
| 2Y3 (533) | |||
| 1-2 | Ald-gate? . . . painted, and | [omitted, printed on 2Y3] | |
| 1 | ſuffer’d, . . . Cities Loue [on 2Y2v] | ſuffer’d . . . cities [on 2Y3r] | |
| 2 | no: No | No. No | |
| 3 | Seruants approach . . . Miſtriſſes | ſeruants approch . . . miſtreſſes | |
| 6 | lady | ladie | |
| 7 | ſhe | ſhee | |
| 11 | helde | held | |
| 12 | houre | houre, | |
| 13 | ’tother | t’other, | |
| 14 | Why? . . . ſhouldſt ha’ releiu’d | Why, . . . ſhould’ſt ha’ releeu’d | |
| 15 | wee’ll | wee’l | |
| 19 | vnckle . . . he . . . formality | vncle . . . hee . . . formalitie | |
| 24 | him | him, | |
| 25 | he | hee | |
| 26 | mary | mary, | |
| 28 | Hee | He | |
| 31 | Hammer-man . . . dwell | Hãmer-man . . . dwel | |
| 32 | once | once vp | |
| 33 | ſhroue-tueſdayes | ſhroue-tueſdaies | |
| 34 | Hau’boyes. | Hau’-boyes? | |
| 36 | him not . . . nere | him, not. . . neere | |
| 37 | he | hee | |
| 38 | ayre | aire | |
| 39 | ſir? he | ſir! hee | |
| 41 | noyſes . . . such | noiſes . . . in such | |
| 42 | growe | grow | |
| 43 | eaſe: his | eaſe. His | |
| 44 | Beareward . . . dogges | Beare-ward . . . dogs | |
| 45 | him he did; and cried | him, he did; & cryed | |
| c.w. | most | M OROSE’S |
[Note: in copies 28 and 44, 1-2 ‘Ald-gate? . . . painted, and’ is printed at the bottom of 2Y2v and repeated top of 2Y3r, in a mix of state 1 and state 2 pages, adding comma after ‘suffer’d’; ‘and’ is the c.w.]
| 2Y4v (536) | |||
| 1 | gentleman | gentlemen | |
| 8sh | Dav. | Davp. | |
| 10 | Nay . . . hee | Nay, . . . he | |
| 12sh | Dav. | Davp. | |
| 15sh | Dav. | Davp. | |
| 15 | out, | out! | |
| 16 | dos | do’s | |
| 17 | He . . . prayſes | Hee . . . praiſes | |
| 20 | ſtampes . . . hee | ſtamps . . . he | |
| 22 | lets | let’s | |
| 23 | Boy | Boy | |
| 24sh | Dav. | Davp. | |
| 24 | hee | he | |
| 25 | La Foole | La-Foole | |
| 26 | mannikin. | mannikin! | |
| 27sh | Dav. | Davp. | |
| 27 | Do | Doe | |
| 29 | prayers. He | praiers. Hee | |
| 30 | iudge | Iudge | |
| 31 | biſhop . . . lawyer . . . he | Biſhop . . . Lawyer . . . hee | |
| 32 | lady . . . ſhe | Lady . . . ſhee | |
| 33 | gueſtes | gueſts | |
| 34 | ſtrand | Strand | |
| 35 | purpoſe: or | purpoſe. Or | |
| 36 | Exchange . . . he . . . meete . . . perſents | Exchange . . . hee . . . meet . . . preſents | |
| 37 | pounds worth | pounds-worth | |
| 38 | chamber, | chamber, for | |
| 39 | bayt | bait | |
| 40sh | Dav. | Davp. | |
| 40 | bnt . . . hee | but . . . he | |
| 41 | chriſten name | chriſten-name | |
| 42 | Sis Amorovs La Foole | Sir Amorovs La-Foole |
State 1: 5, 10, 21, 22, 55, 86
State 2: the rest
2Y3:4(i)
2Y3v (534)
| 2Y3:4(i) | |||
| 2Y3v (534) | |||
| 1 | Morose’s . . . made a [at the bottom of 2Y3] | ||
| 3 | going | marching | |
| 7 | clocke . . . holyday eues | clock . . . holy-day-eues | |
| 8 | ſickeneſſe | ſickneſſe | |
| 9 | walles | walls | |
| 10 | hee . . . candlelight. Hee | he . . . candle-light. He | |
| 11 | waites | waits | |
| 12 | ſockes | ſocks | |
| 13 | heere | here | |
| 15 | Trv-wit | Trve-wit | |
| 16 | ayle | aile | |
| 17 | Stroke | Strooke | |
| 18 | of, | of. | |
| 19sh | Dav. | Davp. | |
| 23sh | Dav. | Davp. | |
| 23 | He thinkes | Hee thinks | |
| 24 | company . . . acts and mon’ments | companie . . . acts, and monuments | |
| 28 | almanacke | almanack | |
| 29 | tower wharfe | tower-wharfe | |
| 30 | he | hee | |
| 31 | blood | bloud | |
| 32sh | Dav. | Davp. | |
| 35 | Yes, why . . . tricke | Yes: why, . . . trick | |
| 36 | yeare . . . hearken | yeere . . . harken | |
| 37 | quallitie . . . ſhe be | qualitie . . . ſhee bee | |
| 38 | ſayes | ſaies | |
| 41 | ſoft ſpoken | ſoft-ſpoken | |
| 42 | ſix | ſixe |
State 1: 5, 10, 21, 22, 55, 86
State 2: the rest
| 2Y4 (535) | |||
| 2 | Mary a Barber; | Mary, a Barber; one Cvt-berd : | |
| 3 | heere | here | |
| 5 | noyſe | noiſe | |
| 6 | trimes | trims | |
| 9 | councell | counſell | |
| 10sh | Trv, | Trv. | |
| 13sh | Dav | DAVP. | |
| 15 | we can | wee can | |
| 16 | treaty | treatie | |
| 19 sh | Dav. | DAVP. | |
| 19 | Hee | He | |
| 20 | lye | lie | |
| 21 | guilty | guiltie | |
| 22 | do | doe | |
| 23 | he | hee | |
| 24 | cent . . . lies ſhe . . . Innocent | cent! . . . lyes ſhee . . . innocent | |
| 25 | Why | Why, | |
| 26 | lies | lyes | |
| 29 | Dos | Do’s | |
| 33 | i’th towne! . . . hee | i’th’towne! . . . he | |
| 34 | speake, | speake ---- | |
| 40 | he | hee | |
| 43 | ſory . . . belye | ſorry . . . belie | |
| 45 | deny that. | denie that: |
State 1: 5, 10, 21, 22, 55, 86
State 2: the rest [gathering missing in copy 89]
| 2Y2:5(i) | |||
| 2Y2v (532) | |||
| 2 | countrey-madames | country-madames | |
| 3 | Wits, and Braueries | Wits, and Braueries | |
| 4 | cry | crie | |
| 5 | hermaphroditical | hermaphroditicall | |
| 7 | preſident | Preſident | |
| 8 | Havghtie | Havghty | |
| 9 | beauty | beautie | |
| 10 | ſhe be | ſhee be | |
| 11 | ſour'd . . . heere | ſcour’d . . . here | |
| 12 | oyld lippes | oil’d lips | |
| 16 | As [with swash ‘A’] | As | |
| 17 | bee | be | |
| 22 | ſimplicity | ſimplicitie | |
| 26 | They . . . not, | Thy . . . not | |
| 26 | [with no leading below the line] | [with leading below the line] | |
| 28 | beauty | beautie | |
| 29 | ſhee | ſhe | |
| 30 | chuſe . . . ſhow | chooſe . . . ſhew | |
| 31 | legges | legs | |
| 37 | indeede, ſtudy . . . we . . . ſhe | indeed, ſtudie . . . wee . . . ſhee | |
| 38 | inquiring; | inquiring, | |
| 40 | nayles | nailes | |
| 2Y5 (537) | |||
| r.t. | Womam | Woman | |
| 1 | here that owes | here below, that ownes | |
| 3sh | Dav. | Davp. | |
| 3 | lets | let’s | |
| 4 | Boy | Boy | |
| 7 | hee . . . gueſtes | he . . . gueſts | |
| 17 | Strand | Strand | |
| 21 | company | companie | |
| 22 | ſir: the | ſir. The | |
| 24 | ſhould | ſhould but | |
| 25 | extreamely | extremely | |
| 29sh | Dav. | Davp. | |
| 30 | gamſter, but hee | gamſter: but he | |
| 32sh | Dav. | Davp. | |
| 33sh | L AF | LA-F. | |
| 34 | often; . . . entertainement | often, . . . entertainment | |
| 35 | captaine BL2, | Captaine | |
| 36 | ſhee . . . kinſwoman | ſhe . . . kinſ-woman | |
| 38sh | Dav. | Davp. |
State 1: 5, 10, 21, 22, 28, 44, 55, 65, 86
State 2 the rest
| 2Y2:5(i) | |||
| 2Y2v (532) | |||
| 2 | countrey-madames | country-madames |
| 2Y1:6(i) | |||
| 2Y1v (530) | |||
| r.t. | [shifted slightly to the left] | ||
| 3 | ordinaries | ord’naries | |
| 4 | Muſe [with swash ‘M’] | Muſe | |
| 6 | Another | Another [with swash ‘A’] | |
| 6-8 s.n. | [omitted] | Occaſion’d by | some persons | impertinent | exception. | |
| 7 | endes | ends | |
| 8 | still ’t | still’t | |
| 14 | Leaſt . . . iudge you, | Leſt . . . iudge you. | |
| 16 | like truthes . . . fayn’d | like truths . . . fain’d | |
| 21 | Act [with swash ‘A’] | Act | |
| 29 | lady | ladie | |
| 30 | it, | it: | |
| 35 | ſhe | ſhee | |
| 36 | oyld | oil’d | |
| 2Y6 (539) | |||
| 1 | anſwer | anſwere | |
| 4 | (----) | (-----) | |
| 5 | flockbed | flock-bed | |
| 6 | brickbats | bricke-bats | |
| 7 | legge . . . anſwer . . . otherwiſe, | leg . . . anſwere . . . otherwiſ | |
| 8 | bnt | but | |
| 9 | been | beene | |
| 10 | (--) | (----) | |
| 11 | legge . . . bee . . . bee | leg . . . be . . . be | |
| 12 | ſhrug. (--) So | ſhrug (----) so | |
| 13 | is, . . . grauity | is . . . grauitie | |
| 14 | you | your | |
| 15 | (--) | (----) | |
| 16 | (--) | (----) | |
| 17 | oyld . . . (--) | oild . . . (----) | |
| 18 | (--) | (----) | |
| 22 | warre, . . . chardges | warre . . . charges | |
| 24 | hear-| tely . . . angry oftentimes | heartily . . . angrie often-times | |
| 25 | Barbarian . . . felicity | Barbarian . . . felicitie | |
| 27 | mankinde . . . throate, cut | mankind . . . throat, cut | |
| 28 | diuell | deuill | |
| 31 | Alaſſe . . . he | Alas . . . hee | |
| 32 | you | with you | |
| 33 | Payne | Paine | |
| 36 | ſir, I . . . here: | ſir (I . . . here) | |
| 37 | all? | all! | |
| 38 | ſtrange. | ſtrange! | |
| 39 | heere . . . be | here . . . bee | |
| 42 | ſir----- | ſir------- | |
| c.w. | TR v. | (MOR. |
State 1: 5, 10, 21, 22, 55, 86
State 2: the rest
Note: in line 29, copy 1 reads ‘court ---’ where all other copies have ‘court ------’, perhaps the result of inadequate inking; the longer dashes vary slightly in length also.
| 2Z2:5(o) | |||
| 2Z2 (543) | |||
| 5sh | Daw | Daw | |
| 7 | too:an | too : an | |
| 7-8 | his own | workes | his | owne workes | |
| 8 | madrigall | madrigall | |
| 31 | gentlemen. | gentlemen! | |
| 39 | There is | There’s | |
| 2Z5v (550) | |||
| 9 | print, | ||
| 15 | ſoft-low | ſoft, low | |
| 18 | now---mißris | now-mißris |
State 1: 4, 33, 47
State 2: the rest
| SETTING A | SETTING B | ||
| 3A1:6(o) | State 1 | State 2 | |
| 3A1 (553) | |||
| 2sh | Mrs. | Mrs. | |
| 6 | correction, | correction | |
| 7sh | Mrs. | Mrs. | |
| 9 | polluted | poluted | |
| 15 | theſe? . . . maintenance, | theſe? . . . maintenance | |
| 16 | mans-meat? | mans meat? | |
| 18 | cleane linnen | cleanelinnen | |
| 22 | lady . . . married . . . Whitſon- | ladie . . . married . . . whitſon | |
| 24 | Whiting, | Whiting. | |
| 26sh | Mrs. | Mrs. | |
| 26 | thence, Mrs. | thence. | |
| 28 | elbowes | eldowes | |
| 29 | worry | worrie | |
| 30sh | Mrs. | Mrs. | |
| 33 | III. | III | |
| 34 | Mrs. | Mrs. | |
| 36 | miſtris . . . be | Miſtris . . . bee | |
| 38sh | Mrs. | Mrs. | |
| 42sh | Mrs. | Mrs. | |
| c.w. | Cle. | Cle | |
| 3A6v (564) | |||
| 1 | III. | III | |
| 4 | Mrs. | Mrs. | |
| 5 | anymuſique | any muſique | |
| 7 | plot vpon | plot,vpon | |
| 13 | ſir? | ſir? | |
| 18 s.n. | La-Foole | La-foole | |
| 20 | Mrs. Otter . . . rump | M. Otter . . . rumpe | |
| 21 | it. | it, | |
| 33sh | Mrs. Ot. | M.Ot. | |
| 35sh | Mrs. Ot. | M.Ot. | |
| 36 | in ordinary | inordinarie | |
| 37sh | Mrs Ot. | M.Ot. | |
| 40 | ſent . . . Captayne Otter, | Sent . . . Captaine Otter | |
| 43 | trumpetters | trumpeters | |
| c.w. | Mor. | Mor |
State 1: all except 28, 60, 65
State 2: 28, 60, 65
3A2:5 (o)
3A2 (555)
Variations chiefly owing to shifting of type during printing:
13sh Mrs. Ot. 1, 4, 5, 8, 9, 12, 14, 25, 56, 57, 58, 59, 60, 61, 62, 77, 80, 81, 82, 86, 87, 88, 89, 90, 94, 96
Mr s. Ot. 6, 7, 62, 73, 75, 76, 78, 79, 93, 95
Mrs. Ot . 10, 23, 24, 26, 28
Mrs. Ot. 55, 65, 65, 71
Mrs. Ot. 3, 11, 13, 16, 17, 18, 20, 21, 22, 63, 67, 68, 69, 72
Mrs. Ot. 5, 15, 19, 21, 70, 74
| 3A3:4(i) | |||
| 3A3v (558) | |||
| 36 | Speake out | Speake,out |
State 1: 4, 7, 15, 17, 19, 25, 28, 29, 30, 47, 49, 57, 60, 67, 69, 71, 75, 76, 96
State 2: the rest
| 3A4 (559) | |||
| 13 | EPICOENE | EPICOENE. | |
| 38 | colledge | colledge, |
State 1: 4, 7, 15, 17, 19, 25, 28, 29, 30, 47, 49, 59, 60, 65, 67, 69, 71, 75, 76, 96
State 2: the rest
| SETTING A | SETTING B | |||
| 3A1:6(i) | State 1 | State 2 | State 3 | |
| 3A1v (554) | ||||
| 2 | we | wee | ~ | |
| 3 | he . . . ſpeake? | hee . . . ſpeake? | ~ | |
| 4sh | Trv. | Trv, | ~ | |
| 6sh | Mrs. Ot. | M. Ot. | ~ | |
| 10sh | Mrs. Ot. | M. Ot. | ~ | |
| 10 | Mr. Trve-wit | M. Trve-wit | ~ | |
| 11 | ſome body | ſomebody | ~ | |
| 13sh | Mrs. Ot. | M. Ot. | ~ | |
| 17sh | Mrs. Ot. | M. Ot. | ~ | |
| 18 | gouernes | go uernes | ~ | |
| 19sh | Mrs Ot. | M Ot. | Mrs | |
| 21sh | Mrs. Ot. | M. Ot. | ~ | |
| 23 | ſir: | ſir, | ~ | |
| 25 | he | hee | ~ | |
| 26 | he | hee | ~ | |
| 28 | he | hee | ~ | |
| 32sh | Dav. | Dav, | ~ | |
| 32 | be | bee | ~ | |
| 36sh | Mrs. Ot. | M. Ot. | ~ | |
| 37 | vnfortnnate | vnfortunate | ~ | |
| 38sh | Mrs. Ot. | M. Ot. | ~ | |
| 42 | Artemidorvs | Artemidorts | ~ | |
| 44 | lady? | lady? | ~ | |
| 45sh | Mrs. Ot. | M. Ot. | ~ | |
| 45 | ſtaynd | ſtaind | ~ |
State 1: all copies except 28, 31, 60, 65
State 2: 28, 60, 65
State 3: 31
Note: at 23, copies 15-22 read ‘o’ where other copies have ‘o’’, seemingly the result of imperfect inking of the apostrophe.
| 3A6 (563) | ||||
| 3 | Mr. | M. | ~ | |
| 5 | miraculouſly | ~ | miracalouſly | |
| 7 | vs. | ~ | vs, | |
| 11 | But,doe | ~ | But, doe | |
| 15 | we | ~ | wee | |
| 21 | you. | ~ | you, | |
| 22 | epithalamium? | ~ | epithalamium? | |
| 24 | already | ~ | alreadie | |
| 30 | mee | ~ | me | |
| 36 | miſtake | ~ | mtſtake |
State 1: all copies except 18, 28, 60, 65, 85
State 2: 18, 85
State 3: 28, 60, 65
Note: at line 32 the following copies read ‘rude bride-groome’: 3, 8, 9, 13, 15-22, 28, 60, 65, 73, 75, 76, 92. Copies 1, 2, 4-7, 10-12, 14, 23-27, 29-59, 61-64, 67-72, 74, 77-79, 89, 90, 93-96 read ‘rudebride-groome’. This is not a resetting but the result of type disturbed by press-work.
| 3B3:4(o) | |||
| State 1 | State 2 | ||
| 3B3 (569) | |||
| 5 | cooke . . . landreſſe | cook . . . laundreſſe | |
| 3B4v (572) | |||
| 33 | in a | i' the |
State 1: 12, 19, 24, 29, 65, 69, 71, 79, 85
State 2: the rest
| 3B2:5(i) | |||
| 3B2v (568) | |||
| 37 sh | FA-F: | LA-F. |
State 1: 84
State 2: the rest TxU 5
| 3C1:6(o) | |||
| 3C1 (577) | |||
| 10 | it—-Sir . . . loue me | it-Sir . . . loue me, |
State 1: 4, 6, 8, 9, 13, 24, 69, 73, 92
State 2 the rest
| 3C3:4(o) | |||
| 3C3 (581) | |||
| 1 | vanitie now; | vanitie,now : | |
| 5 | good; there’s | good. There’s | |
| 7 | Away. | Away ----- | |
| 11 | faciendo. Magis | faciendo, magis | |
| 24 | vp-braided, | vp-braided; | |
| 25 | perſon, | perſon : | |
| 26 | you; | you, | |
| 27 | pleasure; which | pleasure. Which | |
| 32 | heart | heart, | |
| 33 | ſo; . . . too | ſo, . . . too, | |
| 37 | SENECA. | SENECA? | |
| 39 | rthearſing | rehearſing | |
| 39-40n. | [omitted ] | Dauphine comes | forth, and kicks | him. | |
| 41 | fiue; | fiue. | |
| 43-4 | ſixe, and he | will: | ſix, & he will | needs | |
| 44 | your sword . . . custodie | Your sword . . . custody | |
| 45 | another. | another ---- | |
| 3C4v (584) | |||
| 1 | man; | man! | |
| 6 | againe | againe, | |
| 10 | fortune, beſide | fortune (beſide | |
| 11 | caskets, | caskets) | |
| 19 | cauſe: | cauſe; | |
| 20 | thing, | thing: | |
| 22 | alike: onely | alike. Onely | |
| 23 | it | it, | |
| 24 | MOROSE. | MOROSE? | |
| 28 | ORESTES, | ORESTES: | |
| 29 | TRVE-WIT. | TRVE-WIT? | |
| 32 | aſſurance | aſſurance, | |
| 38 | here by . . . IACC | here,as by . . . IACK | |
| 39 | ſir. | ſir? | |
| 40 | ſuddenly; | ſuddenly: | |
| 42 | DAW, . . . beene! | DAW! . . . beene? |
State 1: 23
state 2: the rest
| 3D2:5(o) | |||
| 3D2 (591) | |||
| 19 | pertinencies . . . bee | impertinencies . . . be |
State 1: 18, 31, 54, 57
State 2: the rest
| 3D5v (598) | |||
| 21 | DAVPHINE, | DAVPHINE | |
| 36 | nephew, | nephew |
State 1: 11, 18, 20, 31, 54, 57, 68, 85, 88, 93
State 2: the rest
| 3D3:4(i) | |||
| 3D3v (594) | |||
| 1 | præditus, | præditus | |
| 16 | cannot | can not | |
| 3D4 (595) | |||
| 22 | blanketted | blanketted, |
state 1: 6, 7, 9, 13, 14, 15, 20, 23, 25, 26, 29, 32, 36, 37, 43, 44, 45, 46, 47, 56, 59, 62, 67, 68, 69, 72, 73, 74, 75, 76, 77, 79,80, 82. 83, 84, 87, 88, 90, 91, 92, 93, 94, 96
state 2: the rest
The following tabulation records changes in prose lineation in the resetting of 2Y, 2Z2, and 3C3. As before, line numbers refer to copy 1 and similar small-paper copies of F1. Throughout 2Y, the State 1 readings are typically found in large-paper copies, including 5, 21, 22, 28, 44, 55, and 86.
| State 1 | State 2 |
| 2Y6v (540) | |
| 12 wherein . . low | wherein . . . low fall, |
| 13 fall, . . . deli- | with . . . delicate |
| 14 cate . . . as | steeple . . . as Pauls; |
| 15 Paul’s; . . . an | or . . . an excellent |
| 16 excellent . . . garret, | garret . . . this |
| 17 with this . . . soo- | halter; . . . sooner commit |
| 18 ner commit . . . wedlocke | your . . . or, take a |
| 19 nooze; or, take . . . a rat; | little . . . (as one |
| 20 or, a flye . . . rather | ſaid) . . . this goblin |
| 21 then to . . . thinke | matrimony. . . . in theſe |
| 22 to finde . . . ſo many | times? . . . preachings, |
| 23 maſques, . . . ſights | mad-folkes . . . pub- |
| 24 to be . . . in king E- | lique? . . . EDWARD the |
| 25 THELRED’S . . . haue | Confessors . . . countrey-ham- |
| 26 found . . . would | let, . . . man: |
| 27 have beene . . . pleaſ’d | now, they . . . tell you, |
| 28 with one . . . hazards you | ſir, the . . . wife. |
| ſhall runne . . . wife. | |
| 2Y2 (531) | |
| (none) | |
| 2Y5v (538) | |
| 2 lineally . . . yellow, | lineally . . . coate |
| 3 or Or, . . . coulors more, | Yellow, . . . colours |
| 4 which . . . ſolemnly worne | more . . . ſolemnely |
| 5 by diuers . . . not reſpe- | worne . . . antiquitie is |
| 6 cted now --- halfe a do- | not reſpected now --- & halfe |
| 7 ſen of . . . foule, which | a doſen of . . . fowle, |
| 8 I . . . company --- there | which I would . . . company --- |
| 9 will be . . . CENTAURE, | there will bee . . . CEN- |
| 10 miſtris . . . gentle- | TAVRE, . . . ſee the ſi- |
| 11 woman, . . . promis’d to | lent gentlewoman, . . . has |
| 12 bring . . . will bee | promis’d . . . my ladies wo- |
| 13 there too, . . your ſelfe, | man, will . . . DAVPHINE, with |
| 14 master . . . fiddlers, and | your ſelfe, . . . and haue |
| 15 daunce --- I . . . crownes | fiddlers, and daunce . . . haue ſpent |
| 16 ſince I . . . ladies gen- | ſome crownes . . . and after, |
| 17 tleman vſher, . . . elder | my ladies . . . ſince it |
| 18 brother to . . . was worne | pleas’d . . . ierkin on that |
| 19 in the . . . in it hi- | day, as . . . diſprais’d, and |
| 20 ther, . . . downe to | I came . . . and after |
| 21 my tenants . . . tooke | went downe . . . lands, let |
| 22 their . . . now I | new leaſes . . . vpon la- |
| 23 can take vp . . . pleaſure | dies --- . . . pleaſure. |
| 2Y3 (533) | |
| 24 TRV. So . . . as it | TRV. So . . . as it is |
| 25 is made? . . . Fiſh-wiues, | made? . . . Fiſh-wiues, |
| 31 CLE. Or . . . dwell in the | CLE. Or . . . dwell in the pa- |
| 32 pariſh, . . . once | riſh, . . . once vp |
| 33 on a . . . reſt were quit. | on a . . . reſt were quit. |
| 44 Beareward, . . . foure pari- | Beare-ward, . . . four pa- |
| 45 ſhes that . . . vnder maſter | riſhes that . . . vnder maſter |
| MOROSE’S . . . made a | MOROSE’S [cw] |
| Most [cw] | |
| 2Y4v (536) | |
| 8 DAV. I . . . not for ſe- | DAVP. I . . . not for |
| 9 crets. | ſecrets. |
| 2Y3v (534) | |
| 3 going . . . for taking | marching . . . for ta- |
| 4 that ſtreet . . . requeſt. | king that ſtreet . . . requeſt. |
| 7 ſatterday . . . reaſon of | ſatterday . . . reaſon of the |
| 8 the ſickeneſſe, . . . a roome, | ſickneſſe, . . . a roome, with |
| 9 with double . . . ſhut, and | double . . . and calk’d: |
| 10 calk’d: . . . away a man, | and . . . laſt weeke, for |
| 11 laſt weeke, . . . this fel- | hauing . . . waits on him, |
| 12 low waites on him . . . ſol’d with | now, in . . . they talke |
| 13 wooll: . . . who comes | each to . . . who comes here. |
| Here. | |
| 2Y4 (535) | |
| 17 bound . . . to torment | bound . . . to tor- |
| 18 him. | ment him. |
| 2Y2v (532) | |
| 1 ſir, here . . . Collegiates, | ſir, here . . . Collegiates, an or- |
| 2 an order . . . liue from | der . . . from their huſ- |
| 3 their huſbands; . . . Braueries | bands; . . . Braueries o’ the time, |
| 4 o’ the time . . or dislike | as they . . . dilike in a braine, |
| 5 in a braine, . . . harmaphroditical | or a . . . hermaphroditicall authoritie: |
| 6 authoritie: . . . probationer | and, . . . probationer. |
| 12 wipes . . . I pray | wipes . . . I pray thee |
| 13 thee . . . ſubiect. | heare it, . . . ſubiect. |
| 29 nor, is . . . take often | nor, is . . . often coun- |
| 30 counſell . . . eares, ſhow | ſell . . . eares, ſhew ’hem; |
| 31 ‘hem; good . . . a good | good haire, . . . good hand, diſ- |
| 32 hand, diſcouer . . . clenſe teeth, | couer . . . teeth, repaire eye- |
| 33 repaire eye-browes . . . it | browes, . . . it. |
| 39 Is it . . . their com- | Is it . . . their complexion, |
| 40 plexion, . . . will not | their . . . will not worke, but |
| 41 worke, but incloſ’d . . . with | incloſ’d. . . . with the helpe |
| 42 the help of art, . . . canuas | of art, . . . hang afore |
| hang afore Ald-gate? . . . Loue | Ald- [cw] |
| and Charitie, . . . were painted, | |
| and [cw] | |
| 2Y5 (537) | |
| 14 LA-F. Good . . . lodging, as | LA-F. Good . . . lodging, |
| 15 mine. | as mine. |
| 33 LAF I, ſir: . . . viſited | LA-F. I, ſir: . . . viſi- |
| 34 so often; . . . at home. | ted so often, . . . at home. |
| 2Y1v (530) | |
| 30 is the argument . . . vnder a | is the argument . . . vnder a man |
| 31 man that comes there. | that comes there. |
| 36 me with . . . me an’ I | me with . . . me an’ |
| 37 will weare . . o’ the | I will weare . . . o’ the |
| 2Y6 (539) | |
| 10 come to . . . me not but | come to . . . me not |
| 11 with your legge, . . . ſhake your | but with your leg, . . . ſhake your |
| 12 head, or ſhrug. . . . these! and it | head, or ſhrug . . . these! and |
| 13 is, a frugall, . . . CVTBERD | it is a frugall, . . . CVTBERD |
| 16 you giuen . . . And, is the | you giuen . . . And, is |
| 17 lock oyld, . . . of the ſtaires | the lock oild, . . . of the |
| 18 no where . . . much doctrine, and ſtaires | no where . . . much |
| 19 impulſion, . . . this diuine diſci- | doctrine, and . . . in this |
| 20 pline, . . . earth; ſtill waited | diuine diſcipline, . . . of the earth; |
| 21 on by. . . euen in the warre, | ſtill waited on by . . . yea, euen |
| 22 (as I . . . chardges, and directi- | in the warre (as I . . . charges, and |
| 23 ons, giuen . . . and I am hear- | directions, giuen . . . and I am |
| 24 tely . . . Christendome, | heartily . . . Christendome, |
| 27 digie of mankinde . . . his throat: | digie of mankind . . . his throat: what |
| 28 what murderer, . . . can this be? | murderer, . . . can this be? |
| 39 beene here, . . . beleeue you to | beene here, . . . beleeue you to bee |
| 40 be the man, . . . friends at | the man, . . . friends at court |
| 41 court commend . . . you, ſir ----- | commend . . . you, ſir --------- |
| 2Z2 (543) State 1 in copies 4, 33, 47; state 2 in all others. | |
| 7 DAW Nay, . . . recite his owne | DAW Nay, . . . recite his |
| 8 workes. . . . modeſtie. | owne workes. . . . modeſtie. |
| 3C3 (581) State 1 in copy 23; state 2 in all others | |
| 43 TRV. Nay, . . . and he | TRV. Nay, . . . & he will |
| 44 will: your . . . preſently | needs. Your . . . preſently |