Part 8

_Duke._ For this new-married man, approaching here, Whose salt imagination yet hath wrong'd Your well-defended honour, you must pardon 400 For Mariana's sake: but as he adjudged your brother,-- Being criminal, in double violation Of sacred chastity, and of promise-breach Thereon dependent, for your brother's life,-- The very mercy of the law cries out 405 Most audible, even from his proper tongue, 'An Angelo for Claudio, death for death!' Haste still pays haste, and leisure answers leisure; Like doth quit like, and MEASURE still FOR MEASURE. Then, Angelo, thy fault's thus manifested; 410 Which, though thou wouldst deny, denies thee vantage. We do condemn thee to the very block Where Claudio stoop'd to death, and with like haste. Away with him!

_Mari._ O my most gracious lord, I hope you will not mock me with a husband. 415

_Duke._ It is your husband mock'd you with a husband. Consenting to the safeguard of your honour, I thought your marriage fit; else imputation, For that he knew you, might reproach your life, And choke your good to come: for his possessions, 420 Although by confiscation they are ours, We do instate and widow you withal, To buy you a better husband.

_Mari._ O my dear lord, I crave no other, nor no better man.

_Duke._ Never crave him; we are definitive. 425

_Mari._ Gentle my liege,-- [_Kneeling._

_Duke._ You do but lose your labour. Away with him to death! [_To Lucio_] Now, sir, to you.

_Mari._ O my good lord! Sweet Isabel, take my part; Lend me your knees, and all my life to come I'll lend you all my life to do you service. 430

_Duke._ Against all sense you do importune her: Should she kneel down in mercy of this fact, Her brother's ghost his paved bed would break, And take her hence in horror.

_Mari._ Isabel, Sweet Isabel, do yet but kneel by me; 435 Hold up your hands, say nothing,--I'll speak all. They say, best men are moulded out of faults; And, for the most, become much more the better For being a little bad: so may my husband. O Isabel, will you not lend a knee? 440

_Duke._ He dies for Claudio's death.

_Isab._ Most bounteous sir, [_Kneeling._ Look, if it please you, on this man condemn'd, As if my brother lived: I partly think A due sincerity govern'd his deeds, Till he did look on me: since it is so, 445 Let him not die. My brother had but justice, In that he did the thing for which he died: For Angelo, His act did not o'ertake his bad intent; And must be buried but as an intent 450 That perish'd by the way: thoughts are no subjects; Intents, but merely thoughts.

_Mari._ Merely, my lord.

_Duke._ Your suit's unprofitable; stand up, I say. I have bethought me of another fault. Provost, how came it Claudio was beheaded 455 At an unusual hour?

_Prov._ It was commanded so.

_Duke._ Had you a special warrant for the deed?

_Prov._ No, my good lord; it was by private message.

_Duke._ For which I do discharge you of your office: Give up your keys.

_Prov._ Pardon me, noble lord: 460 I thought it was a fault, but knew it not; Yet did repent me, after more advice: For testimony whereof, one in the prison, That should by private order else have died, I have reserved alive.

_Duke._ What's he?

_Prov._ His name is Barnardine. 465

_Duke._ I would thou hadst done so by Claudio. Go fetch him hither; let me look upon him. [_Exit Provost._

_Escal._ I am sorry, one so learned and so wise As you, Lord Angelo, have still appear'd, Should slip so grossly, both in the heat of blood, 470 And lack of temper'd judgment afterward.

_Ang._ I am sorry that such sorrow I procure: And so deep sticks it in my penitent heart, That I crave death more willingly than mercy; 'Tis my deserving, and I do entreat it. 475

_Re-enter PROVOST, with BARNARDINE, CLAUDIO muffled, and JULIET._

_Duke._ Which is that Barnardine?

_Prov._ This, my lord.

_Duke._ There was a friar told me of this man. Sirrah, thou art said to have a stubborn soul, That apprehends no further than this world, And squarest thy life according. Thou'rt condemn'd: 480 But, for those earthly faults, I quit them all; And pray thee take this mercy to provide For better times to come. Friar, advise him; I leave him to your hand. What muffled fellow's that?

_Prov._ This is another prisoner that I saved, 485 Who should have died when Claudio lost his head; As like almost to Claudio as himself. [_Unmuffles Claudio._

_Duke._ [_To Isabella_] If he be like your brother, for his sake Is he pardon'd; and, for your lovely sake, Give me your hand, and say you will be mine, 490 He is my brother too: but fitter time for that. By this Lord Angelo perceives he's safe; Methinks I see a quickening in his eye. Well, Angelo, your evil quits you well: Look that you love your wife; her worth worth yours. 495 I find an apt remission in myself; And yet here's one in place I cannot pardon. [_To Lucio_] You, sirrah, that knew me for a fool, a coward, One all of luxury, an ass, a madman; Wherein have I so deserved of you, 500 That you extol me thus?

_Lucio._ 'Faith, my lord, I spoke it but according to the trick. If you will hang me for it, you may; but I had rather it would please you I might be whipt.

_Duke._ Whipt first, sir, and hang'd after. 505 Proclaim it, provost, round about the city, Is any woman wrong'd by this lewd fellow, As I have heard him swear himself there's one Whom he begot with child, let her appear, And he shall marry her: the nuptial finish'd, 510 Let him be whipt and hang'd.

_Lucio._ I beseech your highness, do not marry me to a whore. Your highness said even now, I made you a Duke: good my lord, do not recompense me in making me a cuckold. 515

_Duke._ Upon mine honour, thou shalt marry her. Thy slanders I forgive; and therewithal Remit thy other forfeits.--Take him to prison; And see our pleasure herein executed.

_Lucio._ Marrying a punk, my lord, is pressing to death, 520 whipping, and hanging.

_Duke._ Slandering a prince deserves it.

[_Exeunt Officers with Lucio._

She, Claudio, that you wrong'd, look you restore. Joy to you, Mariana! Love her, Angelo: I have confess'd her, and I know her virtue. 525 Thanks, good friend Escalus, for thy much goodness: There's more behind that is more gratulate. Thanks, provost, for thy care and secrecy: We shall employ thee in a worthier place. Forgive him, Angelo, that brought you home 530 The head of Ragozine for Claudio's: The offence pardons itself. Dear Isabel, I have a motion much imports your good; Whereto if you'll a willing ear incline, What's mine is yours, and what is yours is mine. 535 So, bring us to our palace; where we'll show What's yet behind, that's meet you all should know.

[_Exeunt._

NOTES: V, 1.

The city-gate] Capell. The street. Rowe. A public place near the city. Warburton. Capell adds: A State with chairs under it. MARIANA ... stand.] Capell. om. Ff. PROVOST, OFFICERS] Malone. om. Ff. 4: _thankings_] F1. _thankings be_ F2 F3. _thinkings be_ F4. _thanks be_ Pope. 5: _We have_] _We've_ Pope. 9: _wrong it_] F1. _wrong_ F2 F3 F4. 13: _me_] F3 F4. _we_ F1 F2. 14: _subject_] _subjects_ Theobald. 19: SCENE II. Pope. ... come forward.] Capell. Enter ... Ff. 21: _I would_] _I'd_ Pope. 25: _given_] _give_ F4. 26: Printed as two lines in Ff, ending _wrongs ... brief._ 32: Two lines in Ff, ending _you ... heere._ _Hear me, O hear me, here!_] F3 F4. _Heare me: oh heare me, heere_ F1 F2. _O hear me here._ Pope. _O, hear me, hear me!_ Theobald. 35: _By_] om. Pope. 36: _and strange_] F1. om. F2 F3 F4. _and strangely_ Collier MS. 37: _strange, but yet_] _strangely yet_ Collier MS. 42: _it is_] om. Pope. 47: _infirmity_] _infirmiry_ F4. 48: _O prince, I conjure thee,_] _O, I conjure thee, Prince,_ Pope. _O prince, I do conjure thee,_ Capell. 54, 55: _as absolute As_] F4. _as absolute: As_ F1 F2 F3. 57: _believe it_] _trust me_ Pope. 63: _e'er_] _ne'er_ Capell conj. _O_] om. Pope. 64: _nor_] _and_ Pope. 65: _inequality_] _incredulity_ Collier MS. 65, 66: _serve To make the truth_] _Serve to make truth_ Pope. 67: _And hide_] _Not hide_ Theobald (Warburton). _And hid,_ Phelps. 67: _that are_] om. Hanmer. 68: Two lines in Ff, ending _reason ... say?_ 73: _Lucio_] _Lucio being_ Hanmer. 74: _As_] _Was_ Johnson. 82: _your honour_] _your honour, sir_ Hanmer. 83: _take heed_] _be sure, take heed_ Hanmer. _to't_] _to it_ Capell. 84: _somewhat_] F1. _something_ F2 F3 F4. 91: _Mended_] _Mend it_ Malone conj. _The matter;_] _The matter then;_ Hanmer. om. Capell. _The matter? now_ Collier MS. 92: _process_] F1. om. F2 F3 F4. 94: _refell'd_] _repell'd_ Pope. 98: _concupiscible_] _concupiscent_ Pope. 99: _and_] om. Pope. 101: _but the_] om. Pope. 102: _surfeiting_] Theobald. _surfetting_ F1 F2 F3. _forfeiting_ F4. 107: _First_] om. Pope. 108: _Next_] om. Pope. 109: _vehemency_] _vehemence_ Pope. 110-113: Hanmer ends the lines _so ... by ... one ... say._ 111: _He would_] _he'd_ Hanmer. 123: _needs_] om. Pope. 124: _your_] _our_ Pope. 131: _this 's_] _this'_ F1 F2 F3. _this_ F4. _this is_ Rowe. See note (XXII). 137: _Blessed_] _Bless'd_ Hanmer. _royal_] om. Hanmer. 142, 143: Hanmer ends the lines _believe ... Lodowick._ 143: _that she speaks of_] F1. _which she speaks of_ F2 F3 F4. om. Hanmer. 145: _temporary_] _tamperer and_ Johnson conj. 147: _trust_] _truth_ Collier MS. _troth_ Singer. 149: _villanously;_] _villanously he did;_ Hanmer. 152: _strange_] _strong_ S. Walker conj. 154: _'gainst_] F1. _against_ F2 F3 F4. 156: _what he with_] _he upon_ Pope. 157: _And_] _By_ Pope. 158: _Whensoever he's convented_] _Whenever he's conven'd_ Pope. _Whenever he's convented_ Warburton. 162: [Isabella, &c.] Stage direction to this effect inserted here by Capell. Hanmer, &c. to Johnson place it after line 166, where Ff have: Enter Mariana. 166: _I'll be impartial_] _I will be partial_ Theobald. 168: SCENE III. Pope. _her face_] F2 F3 F4. _your face_ F1. 170-178: Printed as four verses by Steevens (Capell conj.). 175: _A widow_] _Widow_ Capell. 177: _Why_] _What_ Capell. _you are_] F1. _are you_ F2 F3 F4. 186, 167: _husband Knows not_] Ff. _husband knows not_ Pope. 195: _with such a time_] _with such, a time_ Edd. conj. 199: _No?_ om. Hanmer. 202: _he knows_] _he knew_ Hanmer. 213: _my lord_] om. Hanmer. 221: _with her, saw her, nor_] _with, saw, or_ Hanmer. 234: _informal_] _informing_ Hanmer. 235: _mightier_] _mighty_ Pope. 238: _to_] _unto_ Pope. _even to_ Capell. 242: _against_] F1. _gainst_ F2. _'gainst_ F3 F4. 251: _Go_] om. Pope. 255-257: _while ... you; But ... determined Upon_] Spedding conj. _while Will ... have Well determin'd upon_ Ff. _while Will ... well Determined upon_ Theobald. _while Will ... have Determin'd well upon_ Hanmer. 258: SCENE IV. Pope. 275: _would_] F1. _should_ F2 F3 F4. _she'll_] F1 F2 F3. _she'ld_ F4. _she'd_ Rowe. 278: Re-enter ...] Enter Duke, Provost, Isabella. Ff (after line 276). 289: Malone supposes a line preceding this to be lost. 290: _and_] _then_ Collier MS. 295: _at least_] _at least I'll speak_ Hanmer. 296: _fox?_] F2 F3 F4. _fox;_ F1. _fox,_ Dyce. 299: _retort_] _reject_ Collier MS. 305: _in_] _with_ Theobald. 307-311: Capell ends the lines: _villain? ... himself ... hence; ... by joint, ... unjust?_ 307: _to glance_] _glance_ Pope. 309: _you_] _him_ Malone conj. 310: _Joint by joint_] _Even joint by joint_] Hanmer. _his_] _this_ Hanmer. _your_ Collier MS. 311: _What,_] _What? He_ Hanmer. 311, 312: _the duke Dare no more_] Capell. _the duke dare No more_ Ff. 311-313: Pope ends the lines: _stretch ... own ... not._ 319: _forfeits_] _forceps_ Jackson conj. 321: Two lines in Ff. 340: _close_] _gloze_ Collier MS. 345: _giglets_] _giglots_ Capell. 347: [To Provost] Capell. 352: _hanged an hour!_] _hanged! an hour?_ Hanmer. _hanged--an' how?_ Johnson conj. _hanged anon!_ Lloyd conj. 353: Stage direction inserted by Rowe. 354: _madest_] _mad'st_ Ff. _made_ Capell. 373: _e'er_] _ere_] F1. _ever_ F2 F3 F4. om. Hanmer, who divides the lines: _Come ... thou Contracted ... lord._ 378: SCENE V. Pope. 379: _of it._] _of--_ Capell. 381: _and_] _all_ Hanmer. 390: _remonstrance_] _demonstrance_ Staunton (Malone conj.). 391: _so be_] F1 F2 F3. _be so_ F4. 394: _brain'd_] _bain'd_ Warburton. _But_] _But now_ Hanmer. 398: SCENE VI. Pope. 400: _pardon_] _pardon him_ Hanmer. 401: _he adjudged your brother_] _a judge_ Hanmer. 402: _Being criminal, in double violation_] _Being doubly criminal in violation_ Hanmer. 403: _of promise-breach_] _in promise-breach_ Hanmer. _of promise_ Malone conj. 410: _fault's thus manifested;_] Ff. _faults are manifested;_ Rowe. _faults are manifest;_ Hanmer. _fault thus manifested--_ Dyce. 411: _deny, denies_] _deny 'em, deny_ Hanmer. 413: _haste._] _haste,_ F4. 421: _confiscation_] F2 F3 F4. _confutation_ F1. 422: _withal_] F4. _with all_ F1. _withall_ F2 F3. 426: [Kneeling.] Johnson. 441: [Kneeling.] Rowe. 452: _but_] om. Hanmer, who ends lines 448-452 at _o'ertake ... but ... way ... thoughts._ 456: _It was commanded so_] _'Twas so commanded_ Hanmer. 465: _What's he?_] _And what is he?_ Hanmer. See note (XX). 466: _would_] F1. _wouldst_ F2 F3 F4. _wish_ Capell (corrected in MS. to _would_). 470: _the heat_] _heat_ Pope. 476: SCENE VII. Pope. muffled] om. Ff. C. behind, and J. both muffl'd up. Capell. _my lord_] _my good lord_ Hanmer. 480: _according_] _accordingly_ F4. 482: _And_] F1. _I_ F2 F3 F4. 484: _your hand_] _you_ Hanmer. 489: _Is he pardon'd_] _He's pardoned_ Hanmer. _Is he too pardon'd_ Capell. 490: _and say you will_] _say you'll_ Hanmer. 491: _He is_] _And he's_ Hanmer, ending the line here. 495: _her worth worth yours_] _her worth works yours_ Hanmer. _her worth's worth yours_ Heath conj. 500: _so deserved_] _deserved so_ Pope. _so well deserv'd_ Collier MS. _so undeserv'd_ S. Walker conj. 507: _Is any woman_] Edd. _If any woman_ Ff. _If any woman's_ Hanmer. 519: _executed_] _execute_ Hanmer. 522: [Exeunt ... Lucio] Dyce. 527-532: Johnson conjectures: Ang. _The offence pardons itself._ Duke. _There's more behind That is more gratulate. Dear Isabel, ..._ 537: _that's_] F2 F3 F4. _that_ F1.

NOTES.

NOTE I.

I. 1. 8, 9. The suggestion that a line has been lost in this place came first from Theobald. It is scarcely necessary to say that there is no mark of omission in the Folios. Malone supposes that a similar omission has been made II. 4. 123. The compositor's eye (he says) may have glanced from 'succeed' to 'weakness' in a subsequent hemistich.

In order to relieve the plethoric foot-note we set down in this place some conjectures for which we are indebted to Mr Halliwell's note on the passage.

(1) _Then no more remains To your sufficiency as your worth is able But that you let than work._ Wheler MS.

(2) _But task to your sufficience ..._ Dent. MS.

(3) _But that your sufficiency as your worth be able ..._ Monck Mason.

(4) _Then no more remains: To your sufficiency your worth be added, And let them work._ T. Hull's MS. Commentary.

(5) _... I let them work._ Chalmers.

The reading assigned in the foot-note to Steevens is found in a note to the Edition of 1778. He afterwards changed his mind.

NOTE II.

I. 2. 15. Hanmer's reading is recommended by the fact that in the old forms of 'graces' used in many colleges, and, as we are informed, at the Inns of Court, the prayer for peace comes always after, and never before, meat. But as the mistake may easily have been made by Shakespeare, or else deliberately put into the mouth of the 'First Gentleman,' we have not altered the text.

NOTE III.

I. 2. 22-26. In the remainder of this scene Hanmer and other Editors have made capricious changes in the distribution of the dialogue, which we have not thought it worth while to chronicle. It is impossible to discern any difference of character in the three speakers, or to introduce logical sequence into their buffoonery.

NOTE IV.

I. 2. 110. We retain here the stage direction of the Folio, '_Enter ... Juliet, &c._' for the preceding line makes it evident that she was on the stage. On the other hand, line 140 shows that she was not within hearing, nor near Claudio while he spoke. We may suppose that she was following at a distance behind, in her anxiety for the fate of her lover. She appears again as a mute personage at the end of the play.

NOTE V.

I. 2. 115, 116. Johnson in the first Edition, 1765, says, 'I suspect that a line is lost.' This note was omitted in the Edition of 1778.

NOTE VI.

I. 4. 70. 'To soften Angelo: and that's my pith of business.' We have left this line as it is printed in the Folios. There is a line of similar length and rhythm in _The Two Gentlemen of Verona_, IV. 2. 16.

'But here comes Thurio: now must we to her window.'

NOTE VII.

II. 2. 149. A writer, 'A. E. B.' in _Notes and Queries_ (Vol. V. p. 325) points out that in Wickliffe's bible, 'shekels' is spelt 'sickles,' which he says ought, therefore, to be retained. There is no doubt of the meaning; but we, in accordance with our custom, have modernized the spelling.

NOTE VIII.

II. 2. 155-161. The printing in the Folios gives no help towards the metrical arrangement of these and other broken lines. In the present case we might read:

'_Ang._ Well, come to me to-morrow.

_Luc._ Go to: 'tis well; Away!

_Isab._ Heaven keep your honour safe!

_Ang._ Amen: For I, &c.'

Or, considering the first two lines as prose, we might read the last:

'_Isab._ Heaven keep your honour safe!

_Ang._ Amen: for I Am that way going to temptation Where prayers cross.'

NOTE IX.

II. 4. 9. 'fear'd.' Mr Collier, in _Notes and Queries_, Vol. VIII. p. 361, mentions that in Lord Ellesmere's copy of the First Folio the reading is 'sear'd.'

NOTE X.

II. 4. 94. 'all-building.' 'Mr Theobald has _binding_ in one of his copies.' Johnson.

NOTE XI.

II. 4. 103. 'That longing have been sick for.' Delius says in his note on this passage, 'Das _I_ vor _have_ lässt sich nach Shaksperischer Licenz leicht suppliren.' The second person singular of the governing pronoun is frequently omitted by Shakespeare in familiar questions, but, as to the first and third persons, his usage rarely differs from the modern. If the text be genuine, we have an instance in this play of the omission of the third person singular I. 4. 72, 'Has censured him.' See also the early Quarto of the _Merry Wives of Windsor_, Sc. XIV. l. 40, p. 285 of our reprint:

'Ile cloath my daughter, and aduertise _Slender_ To know her by that signe, and steale her thence, And vnknowne to my wife, shall marrie her.'

NOTE XII.

II. 4. 111-113. Mr Sidney Walker adopts Steevens' emendation, and affirms that among all the metrical licenses used by Shakespeare, the omission of the final syllable of the line is not one. But if the reading of the first Folio be allowed to stand, we can find many instances of lines which want the final syllable. The line immediately preceding may be so scanned:

'Ignomy in ransom and free pardon.'

And in this same scene, line 143, we have

'And you tell me that he shall die for't.'

And in V. 1. 83:

'The warrant's for yourself; take heed to't.'

It is conceivable that 'mercy' may be pronounced as a trisyllable; but in all the undoubted examples of such a metrical license, the liquid is the second of the two consonants, not the first. See, however, S. Walker's _Shakespeare's Versification_, pp. 207 sqq.

Possibly a word may have dropt out, and the original passage may have stood thus:

'Ignomy in ransom and free pardon are Of two _opposed_ houses: lawful mercy Is nothing kin to foul redemption.'

NOTE XIII.

III. 1. 29. Mr Collier's copy of the second Folio has 'sire.' _Notes and Queries_, Vol. VI. p. 141.

NOTE XIV.

III. 1. 56, 57. The metrical arrangement is uncertain here. It is not probable that the last word of the Duke's speech, 'concealed,' should be the first of a line which would be interrupted by his exit. Perhaps, too, the true reading of the following line may have been:

'As comforts all are good, most good indeed.'

NOTE XV.

III. 1. 91, 94. The word 'prenzie,' occurring, as it does, twice in this passage, rests on such strong authority that it is better to seek to explain than to alter it. It may be etymologically connected with 'prin,' in old French, meaning 'demure;' also with 'princox,' a 'coxcomb,' and with the word 'prender,' which occurs more than once in Skelton: e.g.

'This pevysh proud, this prender gest, When he is well, yet can he not rest.'

Mr Bullock mentions, in support of his conjecture, that 'pensie' is still used in some north-country dialects. 'Primsie' is also found in Burns' poems with the signification of 'demure, precise,' according to the glossary.

NOTE XVI.

III. 1. 118. Johnson says the most plausible conjecture is 'benighted.' It does not appear by whom this conjecture was made.

NOTE XVII.

III. 1. 168. We must suppose that Claudio, as he is going out, stops to speak with his sister at the back of the stage within sight of the audience.

NOTE XVIII.

IV. 2. 91. This is a case in which we have thought it best to make an exception to our usual rule of modernizing the spelling. The metre requires 'Haply' to be pronounced as a trisyllable. Perhaps it would be well to retain the spelling of the first two Folios 'Happely,' and as a general rule it would be convenient if an obsolete spelling were retained in words used with an obsolete meaning. We have, however, abstained from introducing on our own authority this, or any other innovation in orthography. In IV. 3. 126, we have retained 'covent,' which had grown to be a distinct word from 'convent,' and differently pronounced. Shakespeare's ear would hardly have tolerated the harsh-sounding line

'One of our cónvent and his cónfessor.'

NOTE XIX.

IV. 3. 17. The reading 'cry' (i.e. 'crie') for 'are' was suggested by a passage in Nashe's _Apologie for Pierce Pennilesse_, 1693, quoted by Malone: 'At that time that thy joys were in the _fleeting_, and thus _crying_ 'for the Lord's sake' out at an iron window.'

NOTE XX.

IV. 3. 83. In order to avoid the unmetrical line 83, as given in the Folios and by all Editors to Johnson inclusive, the lines 82-85 have been arranged as five, thus:

_If ... Let ... In secret ... Ere ... To the under_ ... Capell. _If ... Let ... Both ... The sun ... The under_ ... Steevens. _If ... Let ... Both ... Ere ... To yonder_ ... Collier. _If ... Let ... Both ... The sun ... To yond_ ... Singer.

Perhaps the best arrangement, because requiring the least change from the printing of the Folio, would be to put the words 'And Claudio' in a line by themselves. Many examples of such a broken line in the middle of a speech may be found (e.g. V. 1. 448), and it would add to the emphasis with which the Duke commends Claudio to the Provost's care. The long line V. 1. 465, might be similarly reduced by reading

'His name Is Barnardine.'

NOTE XXI.