A modern editor of Every Man Out of His Humour must choose between two authoritative early editions published during Jonson’s lifetime: the quarto of 1600 (Q), and the revised folio text of 1616 (F) . Two different conclusions appear in each of these editions: original and revised versions in Q (though presented in reverse order), and two more revised conclusions in F, thus effectively creating four different endings of the play. Each of these conclusions possesses legitimate claims to authority based on individual historical circumstances and the evolving intentions of the playwright. The present edition is based on Q and its original conclusion, for reasons discussed below. Chief of these is that the revised endings in Q and F cannot be determined to represent changes that Jonson intended absolutely to supersede the original conclusion which he explicitly defended in Q and never entirely abandoned.
The early quartos
The first quarto (Q1) of Every Man Out was Jonson’s first published play. It was probably printed by Adam Islip and issued by William Holme. The printer’s name does not appear on the title-page, and Greg (1939-59) , 1.264 suggested that the printer was Richard Bradock. However, J. A. Lavin (1970) , 331-3 observed that the title-page ornament also appears on Marie Magdalens Lamentations for the Losse of her Master Jesus, ‘Printed by Adam Islip for E. White 1601’ (STC 17569), and that damaged ornaments on A3 and B1 appear in Islip’s books printed between 1596 and 1602 (see also Greg, 1922b). By contrast, Holme’s name appears both on the title-page and in the Stationers’ Register for 8 April 1600:
William holme. Enterd for his copie vnder the handes of master Harsnet. and master
wyndet warden. A Comicall Satyre of euery man out of his humour. vj d.
(Arber, 1875-94, 3.159)
Bibliographically, Q1 contains seventeen sheets and collates A-R. Signatures are regular. Pages A1r-v and R4v are blank. Invariant running-titles (‘Euery man out of his Humor’) appear on every page from B1v to R4. As Greg (1921b) , 154-5 first pointed out, Q1 is in fact not strictly a regular quarto; for while signatures H, P, Q, and R are in that format, the others are folded in fours rather than twos and agree ‘in size and shape with a normal quarto, but according to wire and water marks’ appear to be an octavo.
Q1 was typeset by two compositors. Kevin Donovan (1991) , 36, n.21 observes: ‘one [compositor] favors the spellings Humor, blood, houre, togither, master, Mitre, monsieur, spite, and sute; the other favors Humour, bloud, hower, together, maister, Miter, mounsieur, spight, and suit’. They worked with remarkable accuracy, as there seem to be only a couple of substantive errors: (1) at 4.5.93 (O1), where the compositor produced ‘manfrede’ for an illegible word, which Ostovich (1989) , 320-1 has emended to ‘mansuete’ and this edition follows; (2) at 4.3.18 (L4) where ‘not’ was probably omitted, either by the compositor or in the manuscript copy, and which this edition restores. There are likewise only a few typographical errors, consisting mainly of turned letters and wrong sort (Wilson and Greg’s Malone Society Reprint of Q1 (1920) supplies a full list of typographical irregularities on pp. vii-viii). Four of these irregularities (listed below) are corrected among the five extant copies of Q1, which vary in condition. The British Library copy (shelfmark c.34.1.29) exhibits the worst wear: A1, the blank leaf before the title-leaf, is missing; A2, the title-leaf, is worn, damaged, and repaired; A4, B4, and H3 are mutilated and have lost portions of text; and R3-4 containing the Appendix is missing. The University of London copy (Durning-Lawrence Library, shelfmark 31893) is missing A2-3, Q3 is damaged with some text lost, and the lower half of R4r containing Macilente’s speech has been cut out. The Boston Public Library copy (call number G.3973.8) has cropped running-titles but otherwise is in good condition, as are the Alexander Turnbull Library copy at the National Library of New Zealand (with the titlepage edges worn and some discolouring), and the Huntington Library copy (call number 31191). The control copy for this edition is the Huntington copy. The corrections I have found in these copies are:
A3r, line 2 ingenious] Q1 state 2 (all other copies); ingenuous Q1 state 1 (BL)
B2v, line 9 dew] Q1 state 2 (all other copies); due Q1 state 1 (BL)
I4r, line 23 you] Q1 state 2 (Turnbull); yon Q1 state 1 (all other copies)
P4v, line 31 Vnicorne] Q1 state 1 (Huntington); Vnicornes Q1 state 2 (Boston, Turnbull)
There also seem to be several corrections of worn type. At E2, line 31, for example, the worn and flattened ‘ee’s in ‘mischeefe’ are replaced by newer, sharper ‘ee’s in the Boston and Turnbull copies. The same is true for the ‘e’ in ‘affections’ at E2, line 32. At E2v, line 1, the apparent wrong-sort ‘c’ in ‘Mincrua’ (for ‘Minerua’) is replaced by a clear ‘e’ in the Boston and Turnbull copies. These few press corrections, combined with the overall low level of error, indicate the composition and press-work in Islip’s shop was assiduous, and bears out the traditional assumption that Jonson was present as a proof-reader. And though Loewenstein (2002) , 138-9 has recently cautioned that this assumption has been applied too broadly in the case of the early quartos, Every Man Out’s bibliographical evidence indicates it is still valid.
Q1’s few substantive errors and high level of accuracy also suggest that the underlying manuscript was a fair copy, highly legible, and prepared with care before printing, again almost certainly by Jonson himself. His printed text significantly revises the original theatrical manuscript. Q1’s titlepage advises readers that it contains ‘more than hath been Publickely Spoken or Acted’, so it can be inferred that the performance script staged at the Globe in 1599 differed at certain points, perhaps substantially, from the published dramatic text (there are compelling circumstantial reasons for believing this to be the case; see the Introduction). The main changes now visible are: the title-page mottos from Horace (A2); the title-page notice of ‘seuerall Character[s] of euery Person’ (A2); the socially grouped ‘Names of the Actors’ (A2v); the prose descriptions of Characters (A3-A4v); William Holme’s (or more likely Jonson’s, given its authoritative tone) notice to readers (A4v); the alternative endings; and the defiant apology for the original ending in the Appendix (R3-4). Jonson intended these additions, as well as his minute attention to details of spelling, punctuation, and font, to influence the critical reception of his work among readers and to distance it from the less socially elevated and collaborative status of the performance text (Jowett, 1991, 255-7).
But the fair-copy manuscript for Q1 was not entirely free of errors. In Act 2 the heading ‘SCENA TERTIA’ (F4v, line 20) may be a mistake for ‘SCENA SECUNDA’, which does not appear earlier after the correctly marked ‘ACTUS SECUNDUS. SCENA PRIMA’ (D4v, line 27). ‘SCENA TERTIA’ is unlikely to be have been caused by the compositors misreading their copy and therefore may be the correct original reading, in which case what was omitted in the manuscript copy (or by the compositors) was the heading ‘SCENA SECUNDA’ to accompany the stage direction for Puntarvolo’s first entry with his Dog at E3, line 25. Despite Jonson’s evident care with the copy and the proof-reading elsewhere, an omission – either by Jonson or the compositor – rather than a misreading seems to be the more likely error. This edition therefore marks a new scene, 2.2, at this point. Other errors possibly originating in the copy are the omission of a speech heading for Deliro at 2.3.137 (G2v, line 31), and the misassignment of Fungoso’s speech to the Drawer at 5.5.2 (Q4, line 22; alternatively, this could have been compositorial eyeslip from the SD in line 20). The omission of a numeral to accompany the speech-heading ‘Rust.’ at 3.2.106 (K3, line 7) could derive from either the compositor or the underlying manuscript.
Holme published a reprint of this edition, now referred to as Q2, by the end of 1600 (STC 14768). As Greg (1921) , 155-7 has shown in detail, it was reset to save one sheet in order to reduce paper costs, for a new total of sixteen sheets, collating A-Q. The press-work was divided between Adam Islip, who reset I3-R4 as I1-Q4, and Peter Short, who reset A1-I2 as A1-H4, and whose ornament appears on the title-page (Ostovich, 2001, 3). Each man saved two leaves but still managed to reproduce his portion of Q1 copy very accurately, introducing only a few typographical and wrong-sort errors. Peter Short reversed those instances where Q1 uses ‘v’ for ‘u’ and ‘i’ for ‘j’, following modern rather than Elizabethan conventions, while Islip retained them. Greg expressed ‘complete surprise’ at Q2’s fidelity to Q1; its accuracy raises the possibility that Jonson may have been involved in the proof-reading of this edition as well. On the other hand Q2 contains no evident revisions or corrections made by Jonson – who routinely tinkered with his texts – and is therefore not authoritative.
A third reprint, Q3, based upon Q2, was published by Nicholas Linge (STC 14769). It is dated 1600, but may actually have been issued after then if Q2 was not printed until late in the same year. (The identical date of 1600 was possibly meant to create an impression of commercial continuity with Holme’s previous, exceptionally popular, editions.) The Stationers’ Register does not record Holme transferring his rights to the play to Linge, but such registration was not obligatory and its absence does not imply anything underhanded; neither Jonson nor Holme objected to Q3. On the other hand when Linge transferred his rights to various books to John Smithwicke, publisher of this section of Jonson’s first folio (1616, see below) on 19 November 1607, Every Man Out was not listed among them. But Smithwicke must have acquired de facto right to the play from Linge (or someone else), because on 28 April 1638 he transferred it to Richard Bishop, publisher of the second folio (Loewenstein, 2002, 188).
Whereas Q2 was a highly accurate reprint and introduced only a few trivial errors, Q3 is an apparently hasty reprint containing many blunders. Press-work was divided among four printers: William White produced A1-C4, Valentine Sims D1-H4, Simon Stafford or Edward Allde I1-M4, and an unidentified printer N1-Q4 (Ostovich, 2001, 4). Q3 contains no authorial changes. Its omission of a repeated occurrence of ‘one and twentieth’ (1.3.43) probably represents a sophistication rather than a correction (pace Ostovich, 2001, 5), as do several other putative modernizations, all of which are plausibly attributable to the printers.
Q1 is therefore the only authoritative edition of the original text of the play (hereafter normally Q). It includes substantially different endings, however, which create two distinct versions of Every Man Out. In an appendix to Q, Jonson presents the play’s original 1599 conclusion, including alternative stage directions and speeches for the final scene. These completely change the way Macilente is driven out of his satirical and envious humour. They also introduce a final prose epilogue in which Macilente as Asper joins the Grex or chorus figures Cordatus and Mitis.
Following the sequence as it appears in Q, the main text first presents Jonson’s revised 1600 ending, in which Macilente is converted out of his envious humour simply by running out of victims to harass after the last one leaves:
Why here’s a change: Now is my soule at peace,
I am as emptie of all Envie now,
As they of Merit to be envied at . . . . (R2r)
As he continues, Macilente returns to the persona of Asper without changing his appearance, and his verse-speech modulates without a break into an epilogue in which he thanks the Globe’s spectators for their attention and invites their applause (for further discussion, see the Introduction). The play is then marked ‘FINIS’ (R2v).
Q continues with an appendix (R3-R4) in which Jonson records that the stage version ‘had another Catastrophe [i.e. final event in a neutral sense] or Conclusion’ in which a figure of the Queen appeared, represented by a stage (presumably boy) actor. After presenting itemized historical and critical justifications for his original conception, Jonson’s comments evolve into a stage direction: ‘the verie wonder of her Presence strikes [Macilente] to the earth dumbe, and astonisht. From whence rising and recouering heart, his Passion thus vtters it selfe’. Macilente makes a speech attributing his transformation to the Queen’s virtues and praying for her safety and health. Another stage direction then calls for trumpets to sound, ‘in which time Macilente conuerts himselfe to them that supply the place of GREX, and speakes’, now in a brief prose dialogue with Cordatus and Mitis. He concludes with a prose epilogue asking the audience to imagine he is speaking as Asper (since he has foregone exiting to change apparel in order to avoid delay) and inviting the power of their applause to make ‘leane Macilente as fat as Sir Iohn Fallstaffe’. The three players ‘Exeunt’, and Jonson signs off his edition: ‘Non ego ventosae plebis suffragia venor.’ (‘I do not hunt for the changeable votes (or approval) of the common people’).
This alternative ending was therefore not only Jonson’s original intention but also remained his preferred version, a preference he forcefully defended in the quarto’s appendix. It sought to re-establish the priority of the earlier 1599 ending, whereas the 1600 version without the Queen in Q’s main text was rewritten under the pressure of public disapproval, and perhaps some degree of official censorship (Dutton, 1996, 70). As part of an unforeseen negotiation between audience and playwright, unwelcome to Jonson, these forced changes make explicit the nature of a performance script as a social or ‘collective text’ (Geertz, 1973, 50): an exchange between the desires and values of the Globe’s spectators, players, and the playwright. Perhaps self-consciously, Jonson substituted a revised conclusion in the main text that is dramatically feeble and anticlimactic for the original one that was more theatrically spectacular and artistically daring. Presented with a choice between the two, most actors and readers would prefer the original ending.
The Folio
The second edition of Every Man Out appeared in the folio volume (F1) of Jonson’s Works produced in 1616 by printer and publisher William Stansby. He negotiated permission to print the play from John Smithwicke (STC 14752), who still held the copyright (H&S, 9.13-14). The text was set up from a copy of Q1 revised by Jonson, and occupies signatures G1-P4. Because Every Man Out was the first play in the volume to be printed, Jonson worked closely with Stansby’s printing-house corrector to proof-read the text as it was being machined. Every Man Out is F1’s most extensively corrected – but not revised – play, existing in three identifiable states (Gants, 1999, 40-4). David L. Gants’s full collation of folio variants for Every Man Out is reproduced at the end of this essay. James A. Riddell has also demonstrated that the play’s first quire, G, was reset and printed after the rest (H-P4) had been finished, probably because Stansby and/or others decided to enlarge the press-run (1996b, 152-4). As a result, besides other variants in this quire, there are two kinds of title-pages: ‘in compartment’ (i.e. with ornamental borders) and plain paper, and these exist in seven variant states (Riddell, 1996a, 408-9 ; 1996b, 149 ). Three states (1, 2, 6) name only Stansby, four (3, 4, 5, 7) add Smithwicke, and more than half (4-7) add the abbreviation ‘Hor[ace].’ to identify the source of the Latin epigraph (which is the same as on the title-page of Q).
F1’s action and dialogue remain essentially the same as Q’s. Its revisions consist mainly of intermittent minor revisions in diction. Of this small group of changes, many are substantive and probably authorial. Others concern accidentals and modernizations in usage, punctuation, and spelling that could be either authorial or compositorial (Donovan, 1991, 25). A few changes probably reflect the influence of the anti-blasphemy statute of 1606, and these may or may not have accorded with Jonson’s preferences. The extent to which all these revisions represent his personal intentions is thus neither readily quantifiable nor absolutely determinable, as the diametrically opposed conclusions reached by certain commentators on the issue have demonstrated. Henry de Vocht (1937) denied Jonson’s involvement in making changes to F1, in the course of defending Q3. H&S argued the opposite, vehemently demolishing de Vocht’s arguments (9.13-84) . But Johan Gerritsen (1959) , 53 later refined some of them. The bowdlerizing of religious oaths in F1 – with some patently absurd results – was probably carried out routinely by the printers rather than by Jonson himself. In the face of this ambiguous context of authorial and non-authorial agencies, F1’s revisions to the play’s dialogue remain largely a matter of editorial preference tied to the wider historical claims and circumstances of it and Q.
Other minor changes in F1 concern details of prosody, scene division, typography, font, and stage directions. Again, many of these are probably attributable to Jonson (Donovan, 1999, 66), but some are likely to be compositorial, and efforts to distinguish among them largely remain speculative. In as much as they do represent Jonson’s wishes, they reflect his efforts to erase the earlier edition’s playhouse origins and signs of theatrical collaboration in order to monumentalize the dramatic text into a literary artifact. Following the practice of continental editions of ancient Greek and Latin dramatists, for example, he removed Q’s entrances and exits and grouped the names of all characters who appear in the course of a scene in a single heading at the beginning, even if some do not enter until later (e.g. F1 1.3's opening SD includes Sordido’s Hind, who arrives with a letter at about line 60). If characters remain on stage when a new character or characters enters, he created a new scene headed by only the incoming persons and, occasionally, the marginal SD ‘To the rest’ or ‘To them’ (H&S, 9.46; e.g. F1 2.2.0 SD lists Puntarvolo et al., who join Fastidious, Carlo, Sogliardo, and Cinedo on stage). These changes greatly increased the number of folio scenes. Q’s fifth act, for example, has only three (long) scenes; F1’s has eleven. Jonson numbered all his acts and scenes, however, which classical editions did not. The folio also makes the dashes in Q marking breaks or interjections in speeches bolder and longer, and adds to their number, thereby clarifying the direction and dynamic of his dialogue for readers (see Collation) while simultaneously regulating it too. In general, Jonson’s revisions aim to subsume Q Every Man Out’s bold individuality as a dramatic experiment within the retrospectively classicizing and self-fashioning agenda of the folio volume as a whole (Donovan, 1999, 64), a project which enshrines his ambitions to raise his stage-works into the category of dramatic literature and to be recognized as the country’s pre-eminent poet.
Despite these efforts to stabilize and aestheticize the play-script as a finished book, F contains two additional alternative conclusions centred on Macilente’s conversion and epilogue. These endings constitute F1’s major dramatic revision of Q. F1’s main text presents a shortened and revised version of Q’s first (i.e. Jonson’s 1600 revised) transformation speech, ‘Why, here’s a change!’. This is followed by the brief prose dialogue between Macilente and Cordatus and Mitis, and the prose epilogue comparing Macilente and Falstaff, both of which appeared in Q’s appendix (i.e. Jonson’s 1599 stage ending). F1 marks this conclusion ‘THE END.’
F1’s first conclusion thus represents a conflated reduction of the two alternative endings Jonson presented separately in Q. In terms of textual transmission, it is two steps removed from Jonson’s original ending, which he explicitly preserved and defended. Herford and Simpson argue that for Jonson to ‘have retained [the Q appendix version of Macilente’s conversion speech before the figure of the Queen] in this form in print thirteen years after her death would have been grotesque’ (3.413). Yet this is not self-evident. The speech might have appeared forgivably anachronistic and fashionably memorialising, especially if Jonson had made a few small changes in wording to signal an awareness of a new monarch at the time of publication (as indeed he does with F1’s other revised ending; see below). Moreover, its composition before Elizabeth’s death would have been readily explained by a notice which follows in F1 (though not in Q) recording that the play ‘was first acted in the yeere 1599. By the then Lord Chamberlaine his Seruants’, and listing the names of the main actors. This notice adds information not included on Q's title-page and recalls Every Man Out’s first staged performances at the Globe. But Jonson did not revert in F1’s main text, as perhaps he could have done if he felt it safe to do so, to the original ending in Q which he had preferred. Whether Jonson felt that Q continued satisfactorily to preserve his original ending and justifications and that they did not need to be re-presented, or whether F1’s ending represents either a new preference or a voluntary alternative, cannot be determined with certainty.
At the most, F1’s adapted ending remains evidence of a historically differentiated but not optative intention (Donovan, 1999, 70, following Tanselle, 1976, 210). But F1 then proceeds to complicate this matter further. It continues with an alternative version of Macilente’s speech (but not in an appendix, as in Q), this one written for a presumed court performance with the Queen in attendance (not historically documented other than by F1 itself, pace H&S, 9.481; see the Introduction). The heading reads: ‘Which, in the presentation before Queene E. was thus varyed, by Macilente’. The speech that follows somewhat resembles the longer 1599 speech presented in Q’s appendix, with wording changed in several places to reflect the Queen’s death in 1603 and its publication in F1 in 1616. F1’s text also omits the first four lines of the Q speech, a stage direction calling for Macilente to kneel, the concluding prose dialogue with Cordatus and Mitis, the epilogue, a final exit direction, and Jonson’s Latin envoi. In view of the absence of these details, one might argue that Jonson meant this pared-down speech to be inserted in place of the equivalent passage in the main folio text and then to be followed by the dialogue with Cordatus, etc. which appears there. This situation would contrast with the integral ending presented by Q’s appendix, which stands on its own dramatically as a conclusion to the scene and the play, as does Macilente’s speech in Q’s main text. If F1’s speech were to be thus inserted, it would in fact create another minor variant version, since the passages following Macilente’s speech in F1’s main text are not precisely the same as those in Q. Taken as an integral ending on its own, however, Macilente’s second concluding speech in F1 substantially revises the ending’s structure and closing effects once again. More significantly in terms of characterizing Every Man Out’s variant endings, it is different enough in wording and intent – in so far as it reflects or imagines an alternative conclusion in unique circumstances before a royal spectator – to constitute a fourth version of the play.
Choices of copy-text
For their Oxford edition Herford and Simpson chose the main folio text with its first ending as their copy-text chiefly on the basis of the revised profile overall of the folio Works, and on the assumptions that its revisions are attributable mainly to Jonson himself and that they represent his preferred final intentions (H&S, 9.13-84) . (They also reproduced Macilente’s alternative folio speech, while Q1 was reprinted in a separate appendix.) Such assumptions are debatable, however, for reasons mentioned in the preceding section. Kevin Donovan (1999) , 70-1 instead distinguishes Q and F1 as temporally discrete and independently authoritative texts, thereby arguing that F1’s revisions should not be regarded as final or absolute but as Jonson’s ‘new intentions’, different from those represented by Q but not superseding them in priority. His views are shared by the Revels editor, Helen Ostovich, who also chooses Q as her copytext because of its historical and theatrical value as the more ‘culturally significant’ text (Ostovich, 2001, 9, citing Jowett, 1991, 264). While I agree with both Ostovich and Donovan, Jonson’s putative intentions can be considered a bit further in the light of Q and F1’s structurally variant endings, whose differences and implications continue to remain underexplored. In particular, the degree to which F1 represents Jonson’s changed preferences remains theoretically open because F1’s alternative endings create persistent textual instability which prevents Jonson’s personal preferences from being clarified beyond reasonable doubt. The version represented by F1’s main text reflects his intentions ambiguously since it incorporates both the 1599 original and the 1600 rewritten-under-duress endings. And despite the presence of this new adapted ending in F1, Jonson decided also to include the alternative court-performance script of Macilente’s speech – a variation on the ‘original’ intention linked to the Globe performance – that stands apart from (and in some sense antedates) the changes he was forced to make in Q as a result of public disapproval. (Jonson, as Ostovich (2001, 8) recognizes, refused in F1 to discard the idea – and merits – of his original ending in either of its versions.) Whether he came to change his mind about the priority of either alternative ending in F1 over that in Q’s appendix by the time he came to revise the text for F1 cannot be known and remains doubtful, in my view. Jonson’s evolving approach to Every Man Out can be discerned partly – though as we have seen, ambiguously – from the other minor changes in dialogue, stage directions, punctuation, etc. he made in F1 and from F1’s revisionist agenda overall. But the question of whether Jonson wished F1 to supersede Q in the matter of his original final scene is radically indeterminable in the light of F1’s two variant endings.
In terms of choosing a copy-text, one can narrow down the possible choices first by considering Q and F1 as separate editions. In the case of Q, the original circumstances of composition, performance, and printing argue in favour of unifying the main text with the alternative ending presented by Q’s appendix, since Jonson purposefully included this version to defend the priority and integrity of his original script and to preserve the ending spectators had witnessed at the Globe. Though the ending provoked public controversy (see the Introduction), overall, performances of Every Man Out must have been appealing to some sections of the audience (e.g. members of the Inns of Court and their set, as F1’s dedication to them later testifies), since sales of the printed text were brisk, with Q going through three printings in one or little more than a year. While selecting and rearranging Q in this way constitutes a major editorial intervention, which might otherwise be regarded as suspect, the objective would not be to recuperate an ideal, dehistoricized, or undocumented text which exists only in an editor’s imagination. In a modernized edition designed to produce a readable and performable text (Jonson’s 1599 version of the play is not stageable without the rearrangement and re-presentation of Q), this reconstruction would restore a historically authentic and dramatically proven, but fortuitously fragmented, original version.
In the case of F1, ambiguity concerning the position of Macilente’s speech to the Queen – where it is to be inserted in the final scene and whether or not it is to be followed by his dialogue with Cordatus and Mitis and his epilogue as Asper – creates an element of irreducible textual instability. On historical grounds, F1’s alternative version possesses authority and significance in so far as it records the revised ending written for, and possibly even staged at, a particular court performance before the Queen. But attempting to restore this version as a copy-text and making editorial decisions about the placement and context of Macilente’s speech could not avoid being speculative and arbitrary. In choosing a copy-text based on F1, one would therefore choose the main text which includes Jonson’s adapted ending, since this possesses its own dramatic integrity and carries the authority of Jonson’s considered later thoughts, as do presumably many of F1’s verbal and presentational changes (and in contrast to any new revisions appearing in the second folio, printed by Richard Bishop in 1640 after Jonson’s death).
Because Jonson was personally involved in preparing the copy for both Q and F1 and seeing both texts through the press, there is nothing to choose between these editions in terms of authorial and textual integrity. Each represents the play at a distinct historical moment in the progress of Jonson’s career. Conflating them to produce an eclectic edition is unwarranted. This principle holds true not only for the dialogue but also the stage directions. The relationships between Q and F1 are not always simply complementary or supplementary; they sometimes envisage alternative kinds of stage action and meaning, and should therefore remain unhybridized. When their stage directions diverge in meaningful ways, this edition keeps Q’s instructions distinct, and it records F1’s and other non-copytext alternatives in the collation.
In terms of choosing Q’s preferred version or F1’s, a further theoretical distinction seems possible. Whereas there remains some uncertainty about the priority and intent of the revised adaptation in F1’s main text, as discussed above, Jonson’s preference for Q’s appended ending is unambiguously authoritative. It can therefore be chosen as an unexceptionable copy-text. Doing so also has several advantages, as Ostovich has noted in following the same reasoning in her Revels edition. Q is well-printed and contains more frequent and illuminating stage directions. Its less constraining scene divisions are more compatible with the fluid and rhythmical nature of the play’s stage movements and of Elizabethan (and modern) performance in general. Though Q differs from F1 in occasional local readings, the latter’s revisions are not always authorial in origin, or even literary or theatrical improvements, as Simpson tends to accept axiomatically (even though he concedes in a few cases that F1’s changes seem manifestly inferior (H&S 3.413)). Q’s punctuation is lighter and less obtrusive (to modern eyes) than the relentless and often idiosyncratic pointing Jonson and his printers introduced in order to transform F1 into a textual edifice. In an edition that modernizes spelling and punctuation, as this edition does, Q requires less editorial tampering than F1 would do, and this is preferable in the current climate of wariness and restraint towards editorial mediation between original texts and readers. Finally, though the dramatic effectiveness of Every Man Out’s ending is arguably problematic to some degree in all of its versions, Q’s appendix of Macilente’s conversion speech before a figure of the Queen, followed by his epilogue as Asper, is probably the least of these. Historically, as Jonson himself argues, it is in keeping with Elizabethan stage conventions, and it reflects (and/or perhaps subtly undermines) the mythology of royal power. Its extradramatic shift in perspective focuses consideration on Jonson’s personal cultivation of court patronage, and its contested reception by the Globe audience raises interesting questions about the Queen’s personal security and public image towards the end of her reign. (For further discussion of the effects and topical resonances of Q’s original ending, see the Introduction.)
Collation of folio variants, compiled by David L. Gants
All comments are enclosed within square brackets; occurrences of the long ‘s’ are noted, but not ligatures; tailed letters are indicate by an angle bracket ‘>’. All page numbers refer to folio pagination of the first state, and an ‘m’ indicates marginal note. The state of each variant progresses from left to right, and if no change occurs between states it is indicated by three dashes ‘---’.
Setting A
| G1:6 (o) | State 1 | State 2 | State 3 | ||
| G1 | [73] | [Compartment T-P] | [Plain T-P] | --- | |
| 2 | MAN | OVT | OVT | OF | --- | ||
| 3 | OF | HIS | HIS | HVMOUR | --- | ||
| 6 | Satyre. | Satyre>. | --- | ||
| 7 | Acted ^ ... 1599. | By | ~ ... then | Lord | --- | ||
| 9 | CHAMBERLAINE | his Seruants. | Chamberlaine his | Seruants. | --- | ||
| 11m | [omit] | --- | --- | ||
| 14 | LONDON | LONDON | --- | ||
| 15 | William | Stansby. | WILLIAM STANSBY ^ | --- | ||
| 17 | [omit] | --- | for Iohn Smithwicke. | ||
| G6v | 84 | 1 | Metaphore | --- | --- |
| 3 | quality | --- | --- | ||
| 8 | Rooke | --- | --- | ||
| 10 | ſhoe-tie | --- | --- | ||
| 12 | O, ‘tis | --- | --- | ||
| 13 | truth: now ^ | --- | --- | ||
| 15 | Apes; | --- | --- | ||
| 18 | deformity | --- | --- | ||
| 19 | euery | --- | --- | ||
| 21 | ASPER ^ | --- | --- | ||
| 25 | men; | ||||
| 27 | Yes ^ ... be ^ | --- | --- | ||
| 28 | either | --- | --- | ||
| 30 | phiſicke | --- | --- | ||
| 31 | And ^ ... camels ^ | --- | --- | ||
| 36 | Worthy | --- | --- | ||
| 37 | this, ... no. | --- | |||
| 38 | any ^ here ^ | --- | |||
| 40 | For ^ | --- | --- | ||
| 43 | Cruſh ... ſoules | --- | --- |
Setting B
| G1:6 (o) | State 4 | State 5 | State 6 | ||
| [Plain T-P] | [Compartment T-P] | [Plain T-P] | |||
| G1 | [73] | 2 | --- | MAN | OVT | OVT | OF |
| 3 | --- | OF | HIS | HIS | HVMOVR | ||
| 6 | --- | Satyre. | Satyre>. | ||
| 7 | --- | ~ ... 1599. By | ~, ... then | Lord | ||
| 9 | --- | CHAMBERLAINE | | Chamberlaine his | | ||
| his Seruants. | SERVANTS. | ||||
| 11m | Hor. | [omit] | HOR. | ||
| 14 | --- | LONDON | LONDON | ||
| 15 | --- | William | Stansby. | WILLIAM STANSBY. | ||
| 17 | --- | for I. Smithwicke. | |||
| G6v | 84 | 1 | --- | Metaphore | [swash ‘M’]etaphore |
| 3 | --- | --- | qualitie | ||
| 8 | --- | --- | rooke | ||
| 10 | --- | --- | ſhooetye | ||
| 12 | --- | --- | O, it is | ||
| 13 | --- | --- | truth ^ now, | ||
| 15 | --- | --- | apes; | ||
| 18 | --- | --- | deformitie | ||
| 19 | --- | --- | euerie | ||
| 21 | --- | --- | ~. | ||
| 25 | --- | --- | ~, | ||
| 27 | --- | --- | ~, ... ~, | ||
| 28 | --- | --- | eyther | ||
| 30 | --- | --- | phyſicke | ||
| 31 | --- | --- | ~, ... ~, | ||
| 36 | --- | --- | Worthie | ||
| 37 | --- | ~? ... ~. | ~ ... No. | ||
| 38 | --- | --- | ~, ~, | ||
| 40 | --- | ~, | --- | ||
| 43 | --- | Squeeze ... ~ | ~ ... natures |
Imposition A
| G2:5 (o) | State 1 | State 2 | State 3 | ||
| G2 | [75] | rt | [omit] | --- | --- |
| 3 | LIBERTY, | IN | --- | --- | ||
| 15 | Now ^ | --- | --- | ||
| 18 | promiſe; | --- | --- | ||
| 21 | vſe ^ full | --- | --- | ||
| 21 | publike. ... ſo ^ | --- | --- | ||
| 22 | it ... gowne ^ | --- | --- | ||
| 26 | your true Honorer | --- | --- | ||
| 27 | [Font 4] | --- | --- |
Setting A
| G5v | 82 | 5 | publicke | --- | --- |
| 7 | luxuries; | --- | --- | ||
| 17 | howerly | --- | --- | ||
| 1-21 | [unleaded] | --- | [leaded] | ||
| 22 | words | --- | --- | ||
| 24 | Sanctitie | --- | --- | ||
| 26 | than | --- | --- | ||
| 27 | than the Ocean | --- | --- | ||
| 28 | Counters | --- | --- | ||
| 34 | [line justified left] | [justified right] | [omit] | ||
| 40 | friends. | --- | --- | ||
| 43 | merit: | --- | --- | ||
| cw | Where | --- | --- |
Imposition B
| G2:5 (o) | State 4 | State 5 | ||
| G2 | [75] | rt | --- | 81 |
| 3 | --- | THE | KINGDOME | ||
| 15 | --- | ~, | ||
| 18 | --- | ~, | ||
| 21 | vſe-full | --- | ||
| 21 | --- | ~: ... ,~ | ||
| 22 | --- | ~. ... ~, | ||
| 26 | --- | your honourer | ||
| 27 | --- | [Font 6] |
| Setting A | Setting B | |||
| [Setting A begins with ‘Naked , as at,’ while Setting B begins three lines earlier, with ‘To flatter vice’.] | ||||
| G5v | 82 | 5 | --- | 8 publike |
| 7 | --- | 10 ~: | ||
| 17 | --- | 20 hourely | ||
| 1-21 | --- | [unleaded] | ||
| 22 | --- | 25 wordes | ||
| 24 | --- | 27 ſanctitie | ||
| 26 | --- | 29 then | ||
| 27 | --- | 30 then the ocean | ||
| 28 | --- | 31 Counters | ||
| 34 | --- | --- | ||
| 40 | --- | 43 ~, | ||
| 43 | --- | 46 ~. | ||
| cw | --- | Like | ||
| Setting A | Setting B | |||
| G3:4 (o) | State 1 | State 2 | ||
| G3 | 77 | 4 | froſty ... of | danger | froſtie ... dan-|ger |
| 8 | thinks | thinkes | ||
| 9 | falls | fals | ||
| 14 | ſingularity | ſingularitie | ||
| 19 | deſpight | deſpight | ||
| 23 | de-|formity | de-|formitie | ||
| G4v | 80 | 2 | A[swash ‘N’] | AN |
| 3 | Twins | twins | ||
| 4 | [smaller font] | [larger font] | ||
| 5 | Plaiers | Players | ||
| 13 | diſcreet, ... iudgement; | ~ ^ ... ~; |
| Setting A | Setting B | |||
| G3:4 (i) | State 1 | State 2 | ||
| G3v | 78 | 6 | ſalute; | ~; |
| 8 | variety | varietie | ||
| 10 | Hee ... and | backs | He ... backes | him | ||
| 11 | neede ... into | credit | need ... credit | with | ||
| 12 | marchant .. the | jerke | merchant ... of | his | ||
| 20 | diſpleaſure | displeaſure | ||
| 29 | Lady | Ladie | ||
| G4 | 79 | 2 | recreation, | ~ ^ |
| 3 | Al-|manacks; ... felicity | Al-|manackes, ... felicitie | ||
| 3 | pray’d, | but | but | for | ||
| 5 | FVNGOSO. | FVNGOSA. | ||
| 10 | aimes | aymes | ||
| 13 | Gentleman | gentleman | ||
| 18 | Souldier ... lives | vpon | ſouldier ... lives vp-|on | ||
| 21 | Falls ... ſhil-|lings, | Fals ... ſhillings, | and | ||
| 22 | of | ſeruices | of ſerui-|ces | ||
| 23 | came | new | new | from | ||
| 24 | he | hee | ||
| 27 | he ... He | hee ... Hee | ||
| cw | [smaller font] | [larger font] |
| Setting A | Setting B | |||
| [G5, setting A ends with line 25, ‘follies of the time,’ while Setting B ends three lines earlier, with ‘ſuch oily colours’.] | ||||
| G2:5 (i) | State 1 | State 2 | ||
| G2v | 76 | Col 1 | ||
| 6 | PVNTERVOLO | PVNTARVOLO | ||
| 7 | Seruingmen 2. | Seruingmen, two. | ||
| 10 | Cinedo ^ | his | CINEDO, | his | ||
| 13 | Fido ^ their Seruant | FIDO, | their Seruant | ||
| Col 2 | ||||
| 4 | Hinde | Hine | ||
| 9 | Ruſtici | RVSTICI | ||
| 14 | ORENGE | ORANGE | ||
| 15 | GREX | G[swash ‘R’]EX | ||
| G5 | 81 | 3 | Sounding | ſounding |
| 10 | he | hee | ||
| 13 | cEQ \O(a,~)not wake? | To | cannot | wake? | ||
| 18 | vs. | ~! | ||
| 20 | I: my ſoule | I. My language | ||
| 21 | oyly | oily | ||
| 22 | daube | dawbe | ||
| 24 | I ^ le ... time, | I’le ... ~ ^ | ||
| [28] | than the Counters | then the Counters | ||
| cw | Naked, | To | ||
| Setting A | Setting B | |||
| [Setting A begins with ‘Where I wante arte,’ while Setting B begins two lines earlier, with ‘Like ſome drie braine’.] | ||||
| G1:6 (i) | State 1 | State 2 | ||
| G6 | 83 | 2 | Cenſors ^ ... eyes ^ | cenſors’ ... ~, |
| 3 | me; ...fauour. | ~, ... ~, | ||
| 9 | fury | furie | ||
| 12 | Cripple-gate | Cripple-gate | ||
| 14 | peremptory | peremptorie | ||
| 16 | Nay ^ | ~, | ||
| 16 | anſwere. | MIT. | Anſwere? what? | ASP. | ||
| 22 | CORD. O ^ | COR. ~, | ||
| 26 | 1I; | ~, | ||
| 27 | is’t? | COR. | Humour. | ASP. | ||
| 30 | Why ^ ... it ^ | ~, ... ~ | ||
| 31 | aire ^ | ~, | ||
| 33 | Moiſture ^ | ~, | ||
| 34 | water | vvater | ||
| 35 | horne ^ | ~, | ||
| 37 | we | vve | ||
| 38 | what ſoe’re | vvhatſoe’re | ||
| 39 | wanting | vvanting | ||
| 40 | Humour: ſo | ~. So | ||
| Setting A | Setting B | ||||
| H1:6 (o) | State 1 | State 2 | State 3 | ||
| H1 | 85 | 5 | ready | --- | readie |
| 7 | cenſors, | --- | ~ ^ | ||
| 8 | liberally ^ | --- | ~. | ||
| 17 | ſeueral | --- | ſeuerall | ||
| 26 | `Tis | --- | ^ ~ | ||
| 38 | behold! | --- | ~! | ||
| 44 | tels | --- | tells | ||
| H6v | 96 | 1 | full! ... vvell trod! | --- | ~! ... well ~! |
| 2 | vvith ſtore! ... vvell | --- | with ~! ... well | ||
| 4 | xv ^ ... vveather | --- | ~. ... weather | ||
| 5 | fortie | --- | forty | ||
| 6 | vvas ... vvas | --- | was ... was | ||
| 8 | bee | --- | be | ||
| 9 | vvell | --- | well | ||
| 10 | vvith | --- | with | ||
| 12 | twelth | --- | twelfth | ||
| 13 | daies | --- | dayes | ||
| 15 | 5ſtill! | --- | ~! | ||
| 16 | vvell vve | --- | well we | ||
| 17 | vvould it vvere | --- | would it were | ||
| 18 | [all four `vv’] | --- | [all four `w’] | ||
| 20 | good! | --- | ~! | ||
| 27 | vvherein | --- | wherein | ||
| 28 | booke, | --- | ~. | ||
| 30 | vvith ... me | --- | with ... mee | ||
| 33 | God ^ pardon me! | Gods, pardon me! | God pardon me! | ||
| 36 | vvrinckled ... vvorld | --- | wrinckled ... world | ||
| 38 | vvalke | --- | walke | ||
| 39 | vvith | --- | with | ||
| 40 | vvhale, ſvvallowing | --- | whale, ſwallowing | ||
| 41 | vvealth | --- | wealth | ||
| 42 | ſkin | --- | ſkinne | ||
| 43 | vvonder ... novv | --- | wonder ... now |
| Setting A | Setting B | |||
| H2:6 (o) | State 1 | State 2 | ||
| H2 | 87 | 1 | CHORUS ... fall | CHGRUS ... fal |
| 17 | kinde | kind | ||
| 22 | elegancie | elegancy | ||
| 23 | power, | ~ ^ | ||
| 24 | bee | be | ||
| 32 | ſeas. | Seas. | ||
| 33 | run | runne | ||
| 35 | countries | countreys | ||
| 37 | auditorie | auditory | ||
| 41 | ſtaid a little | longer | ſtayed a lit-|tle | ||
| H5v | 94 | 6 | Sir? | ſir? |
| 11 | vvits | wits | ||
| 13 | tell | tel | ||
| 14 | Sbloud, | ~ ^ | ||
| 18 | ordinarie | ordinary | ||
| 19 | beene | been | ||
| 20 | readie | ready | ||
| 22 | well | wel | ||
| 23 | we | wee | ||
| 25 | vvickerd | wickered | ||
| 28 | that. | ~: | ||
| 30 | you’ld ... you’ld | youl’d ... youl’d | ||
| 34 | he ... chap- | hee ... chop- | ||
| 36 | carries ... vvill ... vvhere | caries ... will ... where | ||
| 37 | quick | quicke | ||
| 38 | vvorſe | worſe | ||
| 40 | he be | hee bee | ||
| 41 | him, | ~. | ||
| 43 | I, | are | and | I, | ||
| 44 | wee | ſhall | citie, | we | ||
| 45 | meet | meete |
| Setting A | Setting B | ||||
| H3:4 (o) | State 1 | State 2 | State 3 | ||
| H3 | 89 | 2 | mary ... keepes | --- | marie ... keeps |
| 5 | do’ | --- | do’s | ||
| 7 | withall | --- | with all | ||
| 8 | He ... calls ... Man | --- | Hee ... cals ... man | ||
| 9 | humour: Sbloud | --- | Humour : Sblood | ||
| 9 | humour he ... me | --- | Humour hee ... mee | ||
| 10 | Gentles | --- | Gentiles | ||
| 12 | No ... be | --- | [swash ‘N’]o ... bee | ||
| 13 | thirſty | --- | thirſtie | ||
| 14 | play | --- | Play | ||
| 14 | Exit. [indent left] | --- | Exit. [indent right] | ||
| 15 | G[swash `R’]EX [indent 48mm] | [indent 40mm] | GREX | ||
| 16 | CORDATVS? | --- | ~. | ||
| 17 | He | --- | Hee | ||
| 22 | honorable | --- | honourable | ||
| 23 | varietie | --- | variety | ||
| 26 | he | --- | hee | ||
| 28 | ap-|peare | --- | hee’le | appeare | ||
| 31 | Act | --- | [swash ‘A’]ct | ||
| 32-33 [indent 40mm] | [indent 30mm] | --- | |||
| 34 | VIri eſt ... facilè ferre> | --- | VIrieſt ... facilé ferre | ||
| 35 | Stoique | --- | Stoicke | ||
| 37 | well: | --- | ~: | ||
| 39 | euery | --- | euerie | ||
| 40 | cor’ſiue | --- | corr’ſiue | ||
| H4v | 92 | 1 | boot; ... elſe | as | --- | ~, ... as | the |
| 8 | city ... marchants | --- | citie ... Merchants | ||
| 11 | ſuppe ... hire | a | --- | ſup ... a | fellow | ||
| 12 | be | --- | bee | ||
| 14 | kinſ-|man, | --- | kinſman, | Signior | ||
| 15 | there | (while | --- | (while | you | ||
| 16 | enquiry ... or | (ſo | --- | enquirie ... one | of | ||
| 17 | carry ... breakes | it | --- | carrie ... vp | (as | ||
| 18 | publikely ... table: | --- | publikly ... ~: | ||
| 18 | you | muſt | --- | muſt | ſeeme | ||
| 19 | Mi-|ſtris | --- | Miſtriſſes | colours | ||
| 20 | hot | grace, | --- | grace, | as | ||
| 23 | this. | --- | ~: | ||
| 26 | vvill | --- | will | ||
| 27 | vvorth | --- | worth | ||
| 30 | vvill | --- | will | ||
| 31 | MACIL. ... fate! | --- | MACI. ... ~! | ||
| 33 | vvith | --- | with | ||
| 34 | vvhen | --- | when | ||
| 35 | ‘twill | --- | ‘twil | ||
| 37 | policy ... daies | --- | policie ... dayes | ||
| 38 | Signior? | --- | ~? | ||
| 39 | credi-|tor | --- | cre-|ditor | ||
| 40 | hee | --- | he | ||
| 43 | pliant ... creditors | --- | plyant ... creditours | ||
| 45 | yeares | --- | yeeres |
| Setting A | Setting B | ||||
| H3:4 (i) | State 1 | State 2 | State 3 | ||
| H3v | 90 | 5 | [swash `M’]y minde | --- | my mind |
| 6 | hungrie ... foode. | --- | hungry ... ~ ^ | ||
| 11 | lou’d ^ | ~, | --- | ||
| 12 | third, | --- | ~ ^ | ||
| 18 | eye-balls ... | ||||
| wild-fire ^ | ~ ... ~, | eye-bals ... wilde ^ fire, | |||
| 24,31 G[swash `R’]EX | --- | GREX | |||
| 26 | incutit[que] | --- | incutitque | ||
| 35 | Act | --- | [swash `A’]ct | ||
| 37 | MACILENTE [Font 6] | ~ [Font 5] | --- | ||
| 38 | NAy ^ ... CARLO ... | ~, ... | Carlo ... ~! | ||
| now!--- | |||||
| 39 | Gentleman ^ | ~, | --- | ||
| [40] | [omit] | CAR. A moſt gentle-man | --- | ||
| like reſolution. | |||||
| cw | CAR | SOG ^ | ~. | ||
| H4 | 91 | 1 | tay-|lors | --- | Tay-|ors |
| 4 | iſ’t? | --- | ~? | ||
| 6 | excellent! | --- | ~! | ||
| 12 | SOGLIARDO, | --- | Sogliardo, | ||
| 12 | you | affect | --- | affect | to | ||
| 13 | be | --- | bee | ||
| 13 | qualities, | humours | --- | hu-|mours | ||
| 15 | ſignior | Signior | --- | ||
| 17 | me-|dicine | --- | medi-|cine | ||
| 19 | 3and | --- | & | ||
| 22 | CORD. | --- | COR. | ||
| 23 | MACIL. | --- | MACI. | ||
| 25 | through? | --- | ~? | ||
| 26 | lordſhips? | --- | ~? | ||
| 30 | city | --- | Citie | ||
| 32 | trunks ... coniu-|rer | --- | trunkes ... con-|iurer | ||
| 33 | be ... ſtil | --- | bee ... ſtill | ||
| 33 | ſpring | of | --- | the | ſpring | ||
| 34 | behauior | in | --- | beha-|uior | ||
| 35 | othes | --- | oathes | ||
| 36 | all: | ~; | --- | ||
| 37 | As you are a | true | --- | [swash ‘A’]s you are | a | ||
| 38 | gentleman | --- | Gentleman | ||
| 40 | rare! he ... chooſe | --- | ~! hee ... chuſe | ||
| 40 | be a gentleman | --- | bee a Gentleman |
| Setting A | Setting B | |||
| H2:5 (i) | State 1 | State 2 | ||
| H2v | 88 | 8 | neceſſity | neceſſitie |
| 10 | Seriouſly! | ~! | ||
| 14 | How? | ~, | ||
| 15 | or | no | did | or | ||
| 16 | Come, it | Come, come, it | ||
| 16 | not | ſerue | but | ‘twill | ||
| 18 | pro-|logue | Pro-|logue | ||
| 20 | poyſon’d | poiſon’d | ||
| 21 | penny | pennie | ||
| 27m | with | a | a | boy | ||
| 31 | you’ld | youl’d | ||
| 32 | him, | ~ ^ | ||
| 33 | well-timberd | ~ ^ timbred | ||
| 35 | ſaid | ſaide | ||
| 36 | cup ... diamond | cuppe ... Diamond | ||
| H5 | 93 | 4 | Ludgathians: | ~: |
| 5 | tragedies | Tragedies | ||
| 6 | Mary | Marie | ||
| 7 | vvorld | world | ||
| 8 | counting-houſes ... feare, | ~ ^ ~ ... ~ ^ | ||
| 10 | penny | pennie | ||
| 14 | they? What? | ~? ~? | ||
| 15 | lye | lie | ||
| 16 | Mercuries ... me ... had | not | [swash ‘M’]ercuries ... mee ... | ||
| 20 | keepe | keep | ||
| 24 | citie | Citie | ||
| 26 | you, | ~ ^ | ||
| 28 | vvhat ... vvill | what ... will | ||
| 29 | Signior; Ile be | ſignior; Ile bee | ||
| 30 | i’faith | if’aith | ||
| 36 | wild vvith | wilde with | ||
| 39 | vvorſhip | worſhip | ||
| 42 | al vveft, and ſtraies | all weft, and ſtrayes | ||
| 44 | pitty | pittie |
| Setting A | Setting B | |||
| H1:6 (i) | State 1 | State 2 | ||
| H1v | 86 | 29 | [swash `A’]rte | Arte |
| 37 | only | onely | ||
| H6 | 95 | 1 | vvhen ... ſhun ... vve | when ... ſhunne ... we |
| 5 | deuill | diuell | ||
| 15 | Act ^ | ~. | ||
| 22 | vvith | with | ||
| 24 | vvas | was | ||
| 25 | vvould ... vvould | would ... would | ||
| 26 | vviſh | wiſh | ||
| 28 | vvith | with | ||
| 29 | vvill .. yeere ... ſee, | will ... yeare ... ~ ^ | ||
| 30 | vvhat ... vve | what ... we | ||
| 32 | xxi ... vvinde | xxj... winde | ||
| 34 | xxvi ... vvould | xxvj ... would | ||
| 35 | vvinde: vvell | winde: well | ||
| 36 | xxxi, vvinde | xxxj, winde | ||
| 37 | S’lid ... vvorſe and vvorſe | Slid ... worſe and worſe | ||
| 37 | ſaies | he | he | of | ||
| 38 | back ... 2 S. Swithins : | backe ... ~: | ||
| 39 | here’s ... rogue, | her’s ... ~. | ||
| 40 | vvith | with |
| Setting A | Setting B | |||
| I3:4 (o) | State 1 | State 2 | ||
| I3 | 101 | 1 | be | bee |
| 11 | ‘Fore | ^ Fore | ||
| 14 | of an-|other | of | another | ||
| 15 | me to your | harſh | mee to | your | ||
| 20 | a ha-|bit | a | habit | ||
| 24 | lie | lye | ||
| 25 | muſke-cat | muſk-cat | ||
| 27 | ſweetneſſe | ſweetnes | ||
| 31 | enuy | en-|uy | ||
| 32 | How | now? | yfaith. | How | ||
| 39 | bounty | bountie | ||
| 44 | gentleman | Gentleman [this line on I3 v] | ||
| cw | exceeding | I | ||
| I4v | 104 | 3 | melancholy: | ~. |
| 5 | chiefly | chiefely | ||
| 11 | ‘Slud | ^ Slud | ||
| 17 | ſea ... twiſe | ſeas ... twice | ||
| 18 | back | backe | ||
| 20 | hee goes | to church | he goes to | Church | ||
| 23 | he ... capacity | hee ... capacitie | ||
| 26 | down | downe | ||
| 28 | qua-|lified | quali-|fied | ||
| 29 | him? | ~? | ||
| 31 | amiable? | ~? | ||
| 39 | hee does? | Looke | he does? Looke | | ||
| 40 | on: | and | dogge | watching |
| Setting A | Setting B | |||||
| I3:4 (i) | State 1 | State 2 | State 3 | State 4 | ||
| I3v | 102 | [1] | --- | --- | [last line of I3] | |
| 3 | hobby | --- | --- | hobbie | ||
| 4 | groome | --- | --- | Groome | ||
| 7,8 | 2he | --- | --- | 2hee | ||
| 10 | he | --- | --- | hee | ||
| 13 | deliuer ^ d ... hee | --- | --- | deliuer’d ... he | ||
| 15 | owne lady ... ſhee | --- | --- | own Lady ... ſhe | ||
| 18 | gentleman | --- | --- | Gentleman | ||
| 19m | Hee ... frow | Hee ... from | He ... from | --- | ||
| 20 | lady | --- | --- | Ladie | ||
| 21m | boy | --- | --- | Boy | ||
| 22 | Signior? | --- | --- | ~? | ||
| 23 | as | firſt | --- | --- | as firſt | (ſuppoſe | ||
| 24 | he has | his | --- | --- | hee has his | trumpet | ||
| 25 | ſhee ... out, | and | --- | --- | ſhe ... and | then | ||
| 26 | hee ... ſhee ... | |||||
| pretty | --- | --- | he ... ſhe ... pretie | |||
| 26 | gentle-|man. | --- | --- | gentleman. | | ||
| 33 | ſaies | --- | --- | ſayes | ||
| 36 | Saies | ſaies | --- | --- | ||
| I4 | 103 | 1 | pleaſing | obiect | --- | -- | pleaſing ob-|iect |
| 3 | Act ^ | --- | --- | ~. | ||
| 6 | this, | --- | --- | ~ ^ | ||
| 7 | encloſed | --- | --- | incloſed | ||
| 11 | aboue. | ~! | --- | --- | ||
| 12-14m | ||||||
| [in line] | --- | --- | [text below baseline] | |||
| 12 | eye | --- | --- | eie | ||
| 14 | retire | --- | --- | retyre | ||
| 28 | he | --- | --- | hee | ||
| 36 | ſtudied | --- | --- | ſtudyed | ||
| 38 | play | --- | --- | Play | ||
| 39 | e’en | --- | --- | e’ene | ||
| 40 | edifice; | ~! | --- | --- |
| K3:4 (o) | State 1 | State 2 | ||
| K3 | 113 | cw | [omit] | In |
| K3:4 (i) | State 1 | State 2 | State 3 | ||
| K3v | 114 | rt | 114 | 1^ 4 | 114 |
| 10 | her, | --- | ~. | ||
| 11 | birth? | --- | ~, | ||
| 29 | amorouseye | --- | amorous eye |
| State 1 | State 2 | |||
| L1:6 (o) | ||||
| L6v | 131 | 3m | [omit] | To him. |
| L1:6 (i) | ||||
| L1v | 122 | 10 | and acute | & acute |
| 14 | her; | ~ --- | ||
| 15 | me. | ~! | ||
| 16 | admiration, | ~ ^ | ||
| 18m | [omit] | The firſt bill. | ||
| 26 | This | is ^ | giuen. | PVNT. This is, | ||
| 27 | meaſure ^ | ~, | ||
| 28m | [omit] | the ſecond | bill. | ||
| 28 | PVNT. If ... any | yong | If ... young | gentleman | ||
| 35 | EV-|RIPVS ... whiffe | Eu-|ripus ... Whiffe | ||
| L6 | 131 | 2 | 2 ſervice! | ~? |
| 8 | Sweet ^ ... mee | ~, ... me | ||
| 8m | [omit] | The letter. | ||
| 9 | gold ^ | ~, | ||
| 11 | dancing, | ~: | ||
| 12 | ſhew ^ ... truth; | ~, ... ~, | ||
| 15 | law: therefore | ~. Therefore | ||
| 16 | ſake ^ | ~, | ||
| 18 | gentilitie, | ~: | ||
| 22 | Yours, if his owne [Font 6] | Yours, if his owne [Font 5] | ||
| 25 | this? | ~! | ||
| 26 | Belike ^ ... kinde ... Wel, | ~, ... kind ... Wel! | ||
| 27 | indeede; | ~! | ||
| 34 | there ^ | ~, | ||
| 36 | I’le | I ^ le | ||
| 37 | now, | ~! | ||
| 38 | No, aliue | ~. Aliue | ||
| 39 | 2it, | ~; | ||
| 40 | it, ... hell ^ | ~: ... hel, | ||
| L2:5 (i) | ||||
| L2v | 124 | 1 | Hipotheſis | Hypotheſis |
| 3 | Pithagoricall | Pythagoricall | ||
| 8 | vvith a | vvith the | ||
| 10m | [stage direction] | 13mar [stage direction] | ||
| 12 | Harrots | Harrots | ||
| 15 | 1your | 1you | ||
| 16 | thanke god | thanke them | ||
| 22 | Bore | Bore | ||
| 23 | Bore | Boore | ||
| 24 | Heralds | Heralds | ||
| 25 | Swine | ſwine | ||
| 37 | PROPER | Proper | ||
| 39 | head, PROPER ^ | ~ ^ Proper, | ||
| 41m | Puntaruolo ^ | ~, | ||
| 41 | Hogs | hogs | ||
| 45 | pan ^ ... creſt ^ | ~, ... ~, | ||
| L5 | 129 | 1 | ſir, ... head, | ~; ... ~: |
| 2 | thoſe | theſe | ||
| 7 | whiffe ^ | ~, | ||
| 8 | ſir, | ~: | ||
| 10 | Canarie | Canarie | ||
| 24 | whiffes | whiffes | ||
| 25 | them ^ | ~, | ||
| 28 | companie ^ | ~, | ||
| 32 | Dogge | dogge | ||
| 39 | Affrick, | ~: | ||
| 40 | face, you | ~. You | ||
| 43 | argue ^ ... day ^ ... and | ~, ... ~, ... & | ||
| M2:5 (o) | ||||
| M2 | 135 | 3 | that you would | would |
| M5v | 142 | 4 | [line flush left] | [line indented] |
| 8 | SOGLIADO | SOGLIARDO | ||
| 14 | chamber ^ | ~, | ||
| 22 | awaie | away | ||
| M3:4 (o) | ||||
| M3 | 137 | 20 | ano-|god | ano-|ther |
| M4v | 140 | 10m | o ^ | | ~-| |
| M3:4 (i) | ||||
| M3v | 138 | 1 | in the ... courtier? | i’the ... courtier ! [`!’ displaced up 1/2 x-height] |
| 2 | courteſie! | court’ſie! | ||
| 3 | betwixt ... kiſſes? ... table? | betweene ... ~! ... ~! | ||
| 4 | carues? | ~! | ||
| 5 | lady? ... ſpoone ^ | ~! ... ~, | ||
| 7 | Oh, | O, | ||
| 11 | you’le | you’ll | ||
| 13 | you, | ~: | ||
| 16 | yfaith, | ~! | ||
| 17 | her, | ~. | ||
| 24 | time ^ | ~, | ||
| 30 | from the court | from court | ||
| 31 | mi-|ſtris | Mi-|ſtris | ||
| 38 | gallants’t | gallant’st | ||
| 41 | Fearefull | fearefull | ||
| M4 | 139 | 2 | counterfeits, | ~. |
| 6 | Zani ^ | ~, | ||
| 10 | him. | ~! | ||
| 11 | ‘hem ^ | ~, | ||
| 12 | Cheſſe, | ~: | ||
| 13 | O, | ~ ^ | ||
| 15 | me ^ | ~, | ||
| 18 | hand ^ | ~, | ||
| 19 | ſtill ^ | ~, | ||
| 20 | 2him ^ | 2~, | ||
| 23 | Notaries ^ ... Exchange ^ preſently, | ~, ... ~, ~: | ||
| 31 | here ^ ... gold ^ | ~, ... ~, | ||
| 36m | [omit] | Deliro follow’s | his wife | ||
| 42 | ſute; | ~: | ||
| 44 | maſter | Maſter | ||
| 45 | [omit] | malitious | ||
| 45 | and tell ... heauens | & tel ... heuens | ||
| M2:5 (i) | ||||
| M2v | 136 | 8 | meto | me to |
| 11 | fingers ^ | ~, | ||
| 21 | ladie ^ | ~. | ||
| 24 | Good, | ~! | ||
| 25 | fire: | ~. | ||
| 26 | And ^ | ~, | ||
| 40 | Simile! | ſimile! | ||
| 44 | ^ March ... yeeres agoe. | (~ ... yeres ago.) | ||
| 44 | comet | Comet | ||
| M5 | 141 | 2 | cat, | ~ ^ |
| 4 | phyſicians ^ | ~, | ||
| 7 | meanes; as magique | ~, as magicke | ||
| 10 | enchantments; | ~, | ||
| 13 | vnderſtand you? ... bee | (vnderſtand you?) ... be | ||
| 14 | fraud ^ | ~, | ||
| 18 | traine ^ | ~, | ||
| 20 | 1ſir: | ~, | ||
| 25 | That ... departure ^ | that ... ~, | ||
| 27 | hindered ^ | ~, | ||
| 30 | ſir; | ~, | ||
| 33 | CARLO, | ~! | ||
| 39 | him; | ~: | ||
| 40 | houre; | ~, | ||
| 41 | ſmooth? | ~! |
| N1:5 (o) | State 1 | State 2 | State 3 | ||
| N1 | 145 | 1 | table ^ | --- | ~, |
| 2 | citie ^ | --- | ~, | ||
| 4 | ‘hem ^ | --- | ~, | ||
| 5 | then: | --- | ~, | ||
| 7 | man; | --- | ~! | ||
| 10 | GALLANTO’S ... come | --- | Gallanto’s ... ~, | ||
| 18 | any’s | --- | any is | ||
| 20 | 1you; | --- | ~. | ||
| 23 | 1him; | --- | ~, | ||
| 28 | place ^ | --- | ~, | ||
| 34 | manhood; | --- | ~: | ||
| 39 | allowance ^ | --- | ~, | ||
| N6v | 156 | 1 | you’re | --- | you were |
| 4 | doe ^ | --- | ~, | ||
| 10 | 1thee ^ | --- | ~, | ||
| 13 | will ... ſlight command | --- | wil ... ſlight a command | ||
| 15 | 1no; | --- | ~, | ||
| 20 | you ^ | --- | ~, | ||
| 30 | ſweet; | --- | ~: | ||
| 31 | ſhort ^ | --- | ~, | ||
| 37 | no: you ... with, | ~. You ... ~, | ~. ~ ... ~- | ||
| 39 | inough; | --- | ~, | ||
| 40 | how, ... at’ | --- | ~ ^ ... o’t |
| N2:5 (o) | State 1 | State 2 | State 3 | ||
| N2 | 147 | 2m | [omit] | To them. | --- |
| 10 | me: | ~. | --- | ||
| 11 | one ^ | ,~ | ~, | ||
| 19 | diſgrace, indeed, | ~ ^ ( ~ ) | --- | ||
| 24 | there’s | there were | --- | ||
| 25 | I; | ~: | --- | ||
| 27 | an ingenious tall | ~ ingenious a tal | as ~~~ | ||
| 31 | robbery ^ | ~, | --- | ||
| 34 | was’t | was it | --- | ||
| 35 | that | oc-|caſions | --- | ||
| 38 | re-|ſpects, | ~: | --- | ||
| 40 | for ^ | ~, | --- | ||
| N5v | 154 | 1 | SOGLIARDO ^ | ~, | --- |
| 2 | for court. | for the court. | --- | ||
| 3 | court ^ | ~, | --- | ||
| 4 | ſelfe; | ~, | --- | ||
| 6 | mitre | Miter | Mitre | ||
| 9 | manfrede it | ſhal vndertake it | ſhall vndertake | ||
| 13 | monſieur | Monſieur | --- | ||
| 14 | Courtier | courtier | --- | ||
| 19 | himſelfe; | ~, | --- | ||
| 26 | ſafe; | ~: | --- | ||
| 28 | gentlemen ^ | ~, | --- | ||
| 33 | proteſt; | ~, | --- |
| N3:4 (o) | State 1 | State 2 | State 3 | ||
| N4v | 152 | 4-5 | [9 mm base-to-base] | [6 mm base-to-base] | --- |
| 25 | ambroſiam | --- | ambroſian |
| N1:6 (i) | State 1 | State 2 | ||
| N6 | 155 | 12 | while, ... you: | ~: ... ~, |
| O3:4 (i) | ||||
| O4 | 163 | 14mar [note] | 15mar [note] | |
| O1:6 (i) | ||||
| O1v | 158 | 10 | he’s | h’is |
| 27 | does. | does it. | ||
| O6 | 167 | 4 | faire. | ~ ———— |
| 13 | familiar ^ | ~, | ||
| 14m | [omit] | The knight | beates him. | ||
| 14 | houres: | ~ ———— | ||
| 30 | Good, MACILENTE. | ~ ^ MACILENTE ———— | ||
| 32 | enter: On, | ~. One ^ | ||
| 35 | eyes ^ | ~, | ||
| P2:5 (o) | ||||
| P2 | 171 | 2 | farewell ^ ... Lord ^ | ~, ... ~, |
| 9 | ſpriht anone | ſpight anon | ||
| 15 | you ^ | ~, | ||
| 17 | apparrell | apparell | ||
| 23-41 | [general type disruption] | |||
| 37 | ſo[inked space]happie | ſo ^ happie |
| P3:4 (o) | State I | State II | State III | ||
| P3 | 173 | 1 | hether | hither | --- |
| 3 | when | one | one | is | --- | ||
| 4 | compelled by | --- | compelled either by | ||
| 4 | ſhame> | ſhame | --- | ||
| 26 | vaine | --- | veine | ||
| 33 | perceiue ^ ... ladies, | ~, ... ~ ^ | --- |
DISTRIBUTION OF VARIANTS
G 1:6 (o)
State 1: 22
State 2: reported in Riddell (1996b), note 20
State 3: 4, 8, 11, 14, 21, 30, 33, 34, 35, 36, 40, 43
State 4: 6, 37, 42
State 5: 1, 3, 7, 8, 9, 10, 11, 16, 18, 19, 20, 26, 27, 28, 29, 39, 41, 47, 48
State 6: 2, 5, 12, 13, 15, 17, 23, 24, 25, 31, 32, 38, 44, 45, 46, 49
(copy 8 contains two states of G1)
G 2:5 (o)
State 1: 8, 29, 34, 35, 40, 42, 43, 48
State 2: 2, 10, 14, 21, 22, 27, 30, 36
State 3: 1, 3, 6, 16, 20, 26, 28, 33, 39, 41, 47
State 4: 7, 9, 11, 18, 19
State 5: 2, 5, 12, 13, 15, 17, 23, 24, 25, 31, 32, 37, 38, 44, 45, 46, 49
G 3:4 (o)
State 1: the rest
State 2: 5, 14, 15, 23, 24, 25, 31, 32, 37, 45, 46, 49
G 3:4 (i)
State 1: the rest
State 2: 5, 14, 15, 23, 24, 25, 31, 32, 37, 45, 46, 49
G 2:5 (i)
State 1: the rest
State 2: 2, 5, 12, 13, 15, 17, 23, 24, 25, 31, 32, 37, 38, 44, 45, 46, 49
G 1:6 (i)
State 1: the rest
State 2: 2, 5, 12, 13, 15, 17, 23, 24, 25, 31, 32, 37, 38, 44, 45, 46, 49
H 1.6 (o)
State 1: 8
State 2: the rest
State 3: 5, 14, 15, 23, 24, 25, 32, 37, 45, 49
H 2:5 (o)
State 1: the rest
State 2: 5, 14, 15, 23, 24, 25, 32, 37, 45, 49
H 3:4 (o)
State 1: 1, 6, 7, 8, 12, 13, 16, 18, 19, 20, 21, 22, 26, 27, 28, 35, 46, 47
State 2: the rest
State 3: 5, 14, 15, 23, 24, 25, 32, 37, 45, 49
H 3:4 (i)
State 1: 1, 6, 8, 16, 19, 20, 21, 22, 26, 27, 28, 35, 46, 47
State 2: the rest
State 3: 5, 14, 15, 23, 24, 25, 32, 37, 45, 49
H 2:5 (i)
State 1: the rest
State 2: 5, 14, 15, 23, 24, 25, 32, 37, 45, 49
H 1:6 (i)
State 1: the rest
State 2: 5, 14, 15, 23, 24, 25, 32, 37, 45, 49
I 3:4 (o)
State 1: the rest
State 2: 5, 14, 15, 23, 24, 25, 32, 37, 38, 45, 49
I 3:4 (i)
State 1: 9, 18, 20, 22, 29, 30, 40
State 2: the rest
State 3: 6, 7, 8, 12, 13, 35,
State 4: 5, 14, 15, 23, 24, 25, 32, 33, 34, 37, 45, 49
K 3:4 (o)
State 1: 21
State 2: the rest
K 3:4 (i)
State 1: 2, 3, 7, 10, 18, 22, 26, 27, 37, 39, 40, 41, 46
State 2: the rest
State 3: 6, 8, 12, 13, 14, 15, 17, 24, 25, 33, 35, 49
L 1:6 (o)
State 1: 1, 16, 19, 29, 47
State 2: the rest
L 1:6 (i)
State 1: 1, 3, 9, 16, 19, 22, 26, 29, 39, 40, 41, 42, 43, 47, 48
State 2: the rest
L 2:5 (i)
State 1: 1, 5, 14, 15, 16, 25, 26, 30, 32, 42, 43, 45, 47, 48,
State 2: the rest
M 2:5 (o)
State 1: 4, 5, 6, 7, 10, 11, 16, 22, 26, 27, 28, 29, 30, 34, 35, 39, 40, 41, 42, 46, 47, 48
State 2: the rest
M 3:4 (o)
State 1: 10, 15, 25, 29, 30, 34
State 2: the rest
M 3:4 (i)
State 1: 10, 29, 30, 34
State 2: the rest
M 2:5 (i)
State 1: 1, 4, 5, 6, 7, 10, 11, 22, 26, 27, 28, 29, 30, 34, 35, 39, 40, 41, 42, 46, 48
State 2: the rest
N 1:6 (o)
State 1: the rest
State 2: 20, 34
State 3: 2, 8, 10, 12, 13, 17, 22, 23, 26, 31, 32, 38, 39, 40, 44, 45
N 2:5 (o)
State 1: reported in British Library, C.28.m.12 (H&S, 9. 59)
State 2: 1, 16, 37, 41, 46, 47
State 3: the rest
N 3:4 (o)
State 1: the rest
State 2: 1, 3, 9, 16, 18, 24, 41, 47
State 3: 7, 8, 14, 19, 20, 23, 26, 27, 32, 34, 37, 38, 39, 44, 45
N 1:6 (i)
State 1: 41
State 2: the rest
O 3:4 (i)
State 1: 2, 5, 8, 12, 13, 14, 17, 20, 26, 27, 31, 38, 44
State 2: the rest
O 1:6 (i)
State 1: 1, 4, 9, 13, 15, 16, 18, 22, 24, 25, 28, 39, 41, 47
State 2: the rest
P 2:5 (o)
State 1: 5, 25
State 2: the rest
P 2:5 (i)
State 1: 5, 25
State 2: the rest
COPIES COLLATED
1. Huntington Library, 62100
2. Huntington Library, 62101
3. Huntington Library, 62104
4. Huntington Library, 62105
5. Huntington Library, 495467 (Ford Copy ‘A’)
6. Folger Shakespeare Library, STC 14751, Copy 1
7. Folger Shakespeare Library, STC 14751, Copy 2
8. Folger Shakespeare Library, STC 14751, Copy 3
9. Folger Shakespeare Library, STC 14751, Copy 4
10. Folger Shakespeare Library, STC 14751, Copy 5
11. Folger Shakespeare Library, STC 14751, Copy 6
12. Folger Shakespeare Library, STC 14751.2, copy 1
13. Folger Shakespeare Library, STC 14751.2, copy 2
14. Library of Congress, Yorke W.4.4
15. Gants Personal Copy, Fenton bookplate
16. Gants Personal Copy, Everard Home bookplate
17. British Library, G. 11630 (Grenville copy)
18. Boston Public Library, XfG .3811 .5
19. Boston Public Library, XfG .3811 .5A
20. Boston University, YPR 2600 .C16
21. Wellesley College, qx - English Poetry
22. Bodleian Library, Douce I. 302
23. Huntington Library, 499968
24. Huntington Library, 499967
25. Huntington Library, 499971
26. Huntington Library, 606199
27. Huntington Library, 606202
28. Huntington Library, 606200
29. Huntington Library, 606574
30. Huntington Library, 606576
31. Huntington Library, 606599
32. Huntington Library, 606579
33. Huntington Library, 606582
34. Huntington Library, 606583
35. Brown University, Providence, PR 2600 - 1616
36. Texas Christian University, Fort Worth, Lewis PR2600 1616
37. University of Texas, Austin, Ah/ J738/ +B616a
38. University of Texas, Austin, Ah/ J738/ +B616ab
39. University of Texas, Austin, Ah/ J738/ +B616ad
40. University of Texas, Austin, Ah/ J738/ +B616af
41. University of Texas, Austin, Ah/ J738/ +B616ah
42. University of Texas, Austin, Ah/ J738/ +B616ak
43. University of Texas, Austin, Ah/ J738/ +B616am
44. University of Texas, Austin, AH/ J738/ +B616an
45. University of Texas, Austin, Wh/ J738/ +B616a
46. University of Texas, Austin, Pforz. 559
47. University of Texas, Austin, Woodward-Ruth 181
48. University of Texas, Austin, Stark 6431
49. University of Virginia, E 1616 .J64