Part 9

_Kath._ Fie, fie! unknit that threatening unkind brow; And dart not scornful glances from those eyes, To wound thy lord, thy king, thy governor: It blots thy beauty as frosts do bite the meads, Confounds thy fame as whirlwinds shake fair buds, 140 And in no sense is meet or amiable. A woman moved is like a fountain troubled, Muddy, ill-seeming, thick, bereft of beauty; And while it is so, none so dry or thirsty Will deign to sip or touch one drop of it. 145 Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labour both by sea and land, To watch the night in storms, the day in cold, 150 Whilst thou liest warm at home, secure and safe; And craves no other tribute at thy hands But love, fair looks and true obedience; Too little payment for so great a debt. Such duty as the subject owes the prince 155 Even such a woman oweth to her husband; And when she is froward, peevish, sullen, sour, And not obedient to his honest will, What is she but a foul contending rebel, And graceless traitor to her loving lord? 160 I am ashamed that women are so simple To offer war where they should kneel for peace; Or seek for rule, supremacy and sway, When they are bound to serve, love and obey. Why are our bodies soft and weak and smooth, 165 Unapt to toil and trouble in the world, But that our soft conditions and our hearts Should well agree with our external parts? Come, come, you froward and unable worms! My mind hath been as big as one of yours, 170 My heart as great, my reason haply more, To bandy word for word and frown for frown; But now I see our lances are but straws, Our strength as weak, our weakness past compare, That seeming to be most which we indeed least are. 175 Then vail your stomachs, for it is no boot, And place your hands below your husband's foot: In token of which duty, if he please, My hand is ready, may it do him ease.

_Pet._ Why, there's a wench! Come on, and kiss me, Kate. 180

_Luc._ Well, go thy ways, old lad; for thou shalt ha't.

_Vin._ 'Tis a good hearing, when children are toward.

_Luc._ But a harsh hearing, when women are froward.

_Pet._ Come, Kate, we'll to bed. We three are married, but you two are sped. 185 'Twas I won the wager, though you hit the white; [_To Lucentio._ And, being a winner, God give you good night! [_Exeunt Petruchio and Katharina._

_Hor._ Now, go thy ways; thou hast tamed a curst shrew.

_Luc._ 'Tis a wonder, by your leave, she will be tamed so. [_Exeunt._

LINENOTES:

## SCENE II.] Steevens. Actus Quintus. F1 Q F2 F3. Scene

Quarta. F4. ACT V. SCENE I. Rowe. SCENE IV. Warburton. SCENE III. Capell.

... Petruchio, Katharina, Hortensio...] om. Ff Q. Enter ... Tranio's servants bringing in a banquet. Rowe. Musick. A banquet set out. Enter ... Tranio, Grumio, Biondello and others, attending. Capell.

[1-62] _At last ... outright_] Put in the margin as spurious by Pope.

[2] _done_] Rowe. _come_ Ff Q. _calm_ Malone conj. _gone_ Collier (Collier MS.).

[6] _Katharina_] _Katharine_ Rowe.

[8] _best_] _rest_ Anon conj.

[9] _banquet_] F3 F4. _banket_ F1 Q F2.

[11] [Company sit to table. Capell.

[14] _nothing_] _no thing_ S. Walker conj.

[17] Wid.] F1 Q. Hor. F2 F3 F4.

[18] _very_] om. Steevens.

_and yet_] _yet_ Anon conj.

[22-37] _Thus I ... lad_] Verses differently arranged in Capell.

[23] _Conceives_] _Conceive_ Capell.

[27] _meant_] _mean_ Anon conj.

[35] _does_] F1 Q. _doe_ F2. _do_ F3 F4.

[37] _ha' to thee, lad_] _ha to the lad_ F1. _ha to thee lad_ Q F2 F3 F4. _here's to thee, lad_ Collier MS.

[38] _How likes_] _And how likes_ Capell. _How liketh_ Anon. conj.

[39] _they_] _they'ld_ Anon conj.

_butt together well_] _butt heads together well_ Rowe (ed. 2). _but heads well together_ Capell.

[40] _Head_] _How! head_ Capell.

[45] _bitter_] Capell (Theobald conj.). _better_ Ff Q.

_two_] F3 F4. _too_ F1 Q F2.

[47] _your_] _my_ Q.

[Rising. Capell.

[48] [Exeunt B., K., and Widow.] Exit ... Rowe. [Exit B. Ff Q. [Exit. Cat. and Wid. follow. Capell.

[49] [Filling. Capell.

[50] _her_] _it_ Rowe.

[51] [Drinks. Capell.

[57] _O ho_] Capell. _Oh, Oh_ Ff Q.

[60] _A' has_] _A has_ Ff Q. He has Rowe.

[62] _two_] Rowe. _too_ Ff Q.

[63] SCENE X. Pope. SCENE XII. Hanmer.

[65] _therefore for_] F2 F3 F4. _therefore sir_ F1. _therefore sir_, Q.

_for assurance_] _sir, as surance_ Staunton conj.

[66-69] _Let's ...wager_] Printed by Pope as three lines ending _he ... first ... wager._

[66] _Let's_] _Please you, let's_ Capell.

_wife_] _several wife_ Collier MS.

[68] _at first_] _first_ Pope.

[69] _which we will propose_] omitted by Pope.

[70] _What is the_] Steevens. _what's the_ Ff Q. _what_ Pope. _the_ Capell.

[72] _of_] _on_ Rowe.

[75] _begin?_] _begin, Lucentio?_ Anon. conj.

_That will I._] _That will I.--Here, where are you?_ Capell.

[78] _I'll_] _Ile_ F1 Q F2. _I'le_ F3 F4. _I will_ Capell.

_your half_] Ff (_your_ F4). _you halfe_ Q.

[80] _Sir_] om. S. Walker conj.

[81, 82] _she cannot_] _cannot_ F3 F4.

[82-88] _How! ... come_] Printed as prose in Ff Q.

[82] _she is_] Capell. _she's_ Ff Q.

[85] _better_] _a better_ S. Walker conj.

[88] _must needs_] _needs must_ Steevens.

[93, 94] _Worse ... endured_] As two lines in Ff Q, ending _come ... indur'd._

[95] _Sirrah_] _Here, sirrah_ Capell.

[96] _come_] _to come_ F3 F4.

[97] _She_] _That she_ Capell.

_not_] _not come_ Steevens.

[98] _there_] _there's_ Rowe.

[99] _Katharina_] _Katharine_ Rowe.

Re-enter K.] Enter K. Ff Q (after line 98).

[105] _them_] _then_ F2.

[106] _of a wonder_] _of wonder_ S. Walker conj.

[109] _An awful_] _And awful_ Rowe (ed. 2). _And lawful_ Rawlinson conj.

[117] _her obedience_] _her submission_ S. Walker conj.

[118] _and obedience_] _of obedience_ Capell. _and her gentleness_ or _and her patience_ Edd. conj.

[120] Re-enter K. with B. and Widow] Enter Kate, B. and Widdow. Ff Q (after line 118).

[122] [She pulls off her cap, and throws it down. Rowe.

[128] _Hath cost me an_] Rowe. _Hath cost me five_ Ff Q. _Cost me an_ Pope. _Cost me a_ Capell. _Hath cost one_ Singer (ed. 1). _Cost me one_ Collier MS.

[130, 131] _Katharine ... husbands_] Printed as prose in Ff Q; as verse by Rowe (ed. 2).

[131] _do owe_] _owe to_ F3 F4.

[132] _you're_] F3 F4. _your_ F1 Q F2.

[133] _begin with her_] _begin--_ Capell, ending the verse with _shall not._

[136] _threatening_] _thretaning_ F1. _threating_ F2.

[139] _do bite_] F1 Q. _bite_ F2 F3 F4.

[140] _fame_] _frame_ Grey conj.

[145] _one_] _a_ Rowe (ed. 2).

[157] _she is_] _she's_ Pope.

[169] _you_] Ff Q. _you'ar_ Rowe (ed. 1). _you're_ Rowe (ed. 2).

[171] _as_] F1 Q. _is_ F2 F3 F4.

[174] _as_] _is_ Rowe.

[175] _to be_] om. Collier MS. _indeed_] om. Steevens.

[176-189] _Then vail ... tamed so_] Put in the margin as spurious by Pope. See note (XXIII).

[181] Luc.] Bap. Capell conj.

[185] _three_] _two_ Rowe.

[186] _won_] _one_ Capell (corrected in note).

[To Lucentio.] Malone.

[187] [... and Katharina] ... and Kath. Rowe.

[189] _be_] om. Q.

NOTES.

NOTE I.

IND. The Folios and the Quarto have here _Actus Primus_. _Scæna Prima_, making no separation between the play and the Induction. The play is divided into Acts, but not into Scenes. The second Act, however, is not marked in any of the old copies. The arrangement which we have followed is that of Steevens, which all subsequent editors have adopted, and which is therefore the most convenient for purposes of reference.

NOTE II.

IND. 1. 7. The phrase 'Go by, Jeronimy,' quoted from Kyd's 'Spanish Tragedy,' was used in popular 'slang,' derisively. It occurs frequently in the dramatic literature of the time, for example, in Beaumont and Fletcher's _Captain_, Act III. Sc. 5. The 'S' of the Folios may have been derived from a note of exclamation in the MS., written, as it is usually printed, like a note of interrogation.

NOTE III.

IND. 1. 62. Mr Lettsom's suggestion that a line has been lost between 61 and 62 seems the most probable solution of the difficulties presented by this passage in its present form.

NOTE IV.

IND. 1. 86. 'Sincklo,' the stage direction of the first Folio, was the name of an actor in Shakespeare's company, not mentioned in the list of 'Principall Actors' at the beginning of the first Folio. He was one of the actors in the Second Part of _Henry IV._, as appears from the 4to. edition of that play, published in 1600, where the stage direction to

## Act V. Scene 4 is, "Enter Sincklo and three or foure officers," and the

part taken by Sincklo is that usually assigned to the 'Officer.' In the Third Part of _Henry VI._ Act III. Scene 1, the stage direction in the first Folio is, 'Enter Sinklo, and Humfrey, with crosse-bowes in their hands.' Sinklo also appears as an actor in the Induction to Marston's play of _The Malcontent_. In the present play he probably took the part of Lucentio.

In III. 1. 80, '_Nicke._' is supposed by Steevens to mean Nicholas Tooley, who at a later period became one of the 'Principall Actors.'

NOTE V.

IND. 1. 99. Pope inserts here the following speech from the old play:

'_2 Player_ [_to the other_]. Go get a dishclout to make clean your shoes, and I'll speak for the properties. [_Exit Player._] My lord, we must have a shoulder of mutton for a property, and a little vinegar to make our devil roar.'

This insertion is repeated by all subsequent editors, till Capell struck it out of the text and Steevens placed it in a note.

NOTE VI.

IND. 2. 96. The following speeches are here inserted by Pope from the same source:

'_Sly._ By th' mass I think I am a lord indeed. What's thy name?

_Man._ Simon, an't please your honour.

_Sly._ Sim? that's as much as to say Simeon or Simon; put forth thy hand and fill the pot.'

Capell was the first to strike it out of the text.

NOTE VII.

IND. 2. 110. Pope prefixed to Sly's speech the following words from the old play, without giving any indication that they were not Shakespeare's: 'Come sit down on my knee. Sim, drink to her.' They are repeated in all subsequent editions, till Capell restored the true text. After line 115, Pope again added, 'Sim, drink to her.'

NOTE VIII.

I. 1. 32. The old play (Q) after the Induction, commences thus:

'_Polidor._ Welcome to Athens, my beloved friend, To Plato's school and Aristotle's walks....'

but this affords us no hint as to the true reading of the passage in question, whether 'checks' or 'ethics.' When Mr Halliwell conjectured that we should read 'works' for 'walks,' he had not observed that the allusion was to the gardens of the Lyceum, the favourite haunt of the Peripatetics.

NOTE IX.

I. 1. 57. We have often observed that as in this line and in III. 1. 4, and Ind. 2. 110, the metre may be completed by pronouncing the name of the speaker at the beginning. This is one indication among many, of the haste with which parts of Shakespeare's plays were thrown off.

NOTE X.

I. 2. 145. Considering the carelessness with which a plural demonstrative pronoun was used with reference to a singular noun and _vice versa_, we have not altered the reading of the old editions in order to accommodate the construction to modern rule. See note (IV) to _Love's Labour's Lost_.

NOTE XI.

I. 2. 259. The misprint in Rowe's second edition remained uncorrected by Pope, Theobald, Hanmer, Warburton, and Johnson. Capell in correcting the error made another by writing 'her' for 'the.' He printed his edition not from any former text, but from a manuscript of his own writing.

Another instance of the facility with which a misprint which makes sense escapes correction is found in II. 1. 4, where 'put,' a misprint for 'pull' in the Variorum of 1821, was retained by many subsequent editors, Mr Collier, Mr Singer, &c.

NOTE XII.

I. 2. 278. Mr Grant White believes the whole of the foregoing scene to be by some other hand than Shakespeare's. Coleridge and Sidney Walker also held that large portions of the play were not from the master's hand. It appears to us impossible to discriminate, as in _Henry the Eighth_ and _The Two Noble Kinsmen_, what parts were due to Shakespeare and what to another hand. The feeblest scenes of this play seem to have been touched by him. The probability is that he worked, in this case, not with, but after, another.

NOTE XIII.

II. 1. 403. Pope inserts from the old play:

'[_Sly speaks to one of the servants._

_Sly._ Sim, when will the fool come again?

_Sim._ Anon, my lord.

_Sly._ Give's some more drink here--where's the tapster? here Sim, eat some of these things.

_Sim._ So I do, my lord.

_Sly._ Here Sim, I drink to thee.'

These lines were repeated by all subsequent editors down to Capell, who inserted them at a different place. See note (XVI).

NOTE XIV.

III. 2. 63. Mr Collier says that the Quarto reads 'the humor _or_ fourty fancies...' If so, his copy differs from ours, which reads 'the humor _of_ fourty fancies...'

NOTE XV.

III. 2. 81-84. It is not always clear from the way in which Capell's text is printed whether he meant a passage where there is a rapid change of speakers to be read as prose or verse. In the Edition before us, this is always explained by certain conventional symbols inserted with his own hand in red ink. This he probably did with a view to a second edition, which he never lived to bring out. 'Tulit alter honores.'

NOTE XVI.

III. 2. 245. Capell here inserted the lines which Pope put after II. 1. 403. See note (XIII).

NOTE XVII.

IV. 1. 124. Theobald first printed 'Where is the life that late I led?' as part of a song. He printed also the following words, 'Where are those--' in italics, as if they were a continuation of the song. He was followed by Hanmer, Warburton, and Johnson, but not by Capell. As the song is lost, the question must remain doubtful.

NOTE XVIII.

IV. 2. Pope made a bold transposition, and placed here the scene which in our Edition stands as the third scene of the fourth Act, beginning:

'_Gra._ No, no, forsooth, I dare not for my life,'

and ending:

'_Hor._ Why so this gallant will command the sun.'

The scene thus in Pope's edition counted as the 4th, 5th, and 6th scenes of Act IV.

Our Scene 2 of Act IV. is in Pope's edition Scenes 1 and 2 of Act V.

Theobald restored the old arrangement, which, as he proves in a note, is indisputably the right one.

NOTE XIX.

IV. 2. 120. Hanmer inserts from the old play the following lines, which are placed by Pope after IV. 3. 192, and by Capell after V. 1. 132.

'_Lord._ Who's within there? [_Sly sleeps._

_Enter_ Servants.

Asleep again! go take him easily up, and put him in his own apparel again. But see you wake him not in any case.

_Serv._ It shall be done, my lord: come help to bear him hence. [_They carry off Sly._'

NOTE XX.

IV. 4. 62. There is evidently some mistake here. On the whole it seems better to change 'Cambio' to 'Biondello' in line 62, than '_Bion._' to 'Luc.' in line 66. The supposed Cambio was not acting as Baptista's servant, and, moreover, had he been sent on such an errand he would have 'flown on the wings of love' to perform it. We must suppose that Biondello apparently makes his exit, but really waits till the stage is clear for an interview with his disguised master. The line 67 is as suitable to the faithful servant as to the master himself.

NOTE XXI.

IV. 4. 70. Mr Dyce says that in some copies of the first Folio the 'l' in welcome is scarcely visible. It was from one of these copies, doubtless, that the later Folios were printed. The 'l' is clear enough in Capell's copy of F1.

NOTE XXII.

V. 1. 26. We have retained 'from Padua,' which is the reading of the old Edition, and probably right. The Pedant has been staying some time at Padua, and that is all he means when he contradicts the newly arrived traveller from Pisa.

NOTE XXIII.

V. 2. 176-189. The following speeches are added by Pope from the old play, and remained as part of the text till Capell's time:

'_Enter two Servants bearing_ Sly _in his own apparel, and leave him on the stage. Then enter a_ Tapster.

_Sly awaking._] Sim, give's some more wine--what, all the Players gone? am not I a lord?

_Tap._ A lord with a murrain! Come, art thou drunk still?

_Sly._ Who's this? Tapster! oh, I have had the bravest dream that ever thou heardst in all thy life.

_Tap._ Yea marry, but thou hadst best get thee home, for your wife will course you for dreaming here all night.

_Sly._ Will she? I know how to tame a Shrew. I dreamt upon it all this night, and thou hast wak'd me out of the best dream that ever I had. But I'll to my wife, and tame her too, if she anger me.'

ALL'S WELL THAT ENDS WELL.

DRAMATIS PERSONÆ[5].

KING OF FRANCE.

DUKE OF FLORENCE.

BERTRAM, Count of Rousillon[6].

LAFEU[7], an old lord.

PAROLLES[8], a follower of Bertram.

Steward, } } servants to the Countess of Rousillon. LAVACHE, a Clown }

A Page.

COUNTESS OF ROUSILLON, mother to Bertram.

HELENA, a gentlewoman protected by the Countess.

An old Widow of Florence.

DIANA, daughter to the Widow.

VIOLENTA, } } neighbours and friends to the Widow. MARIANA, }

Lords, Officers, Soldiers, &c., French and Florentine.

SCENE: _Rousillon_; _Paris_; _Florence_; _Marseilles_.

FOOTNOTES:

[5] DRAMATIS PERSONÆ] First given by Rowe. See note (I).

[6] _Rousillon_] Pope. _Rossilion._ Rowe. _Rosillion_ Capell.

[7] LAFEU] LEFEU Steevens conj.

[8] PAROLLES] PAROLES Steevens conj.

ALL'S WELL THAT ENDS WELL.

## ACT I.

## SCENE I. _Rousillon._ _The_ Count's _palace_.

_Enter_ BERTRAM, _the_ COUNTESS of ROUSILLON, HELENA, _and_ LAFEU, _all in black_.

_Count._ In delivering my son from me, I bury a second husband.

_Ber._ And I in going, madam, weep o'er my father's death anew: but I must attend his majesty's command, to whom I am now in ward, evermore in subjection. 5

_Laf._ You shall find of the king a husband, madam; you, sir, a father: he that so generally is at all times good, must of necessity hold his virtue to you; whose worthiness would stir it up where it wanted, rather than lack it where there is such abundance. 10

_Count._ What hope is there of his majesty's amendment?

_Laf._ He hath abandoned his physicians, madam; under whose practices he hath persecuted time with hope, and finds no other advantage in the process but only the losing of hope by time. 15

_Count._ This young gentlewoman had a father,--O, that 'had'! how sad a passage 'tis!--whose skill was almost as great as his honesty; had it stretched so far, would have made nature immortal, and death should have play for lack of work. Would, for the king's sake, he were living! I 20 think it would be the death of the king's disease.

_Laf._ How called you the man you speak of, madam?

_Count._ He was famous, sir, in his profession, and it was his great right to be so,--Gerard de Narbon.

_Laf._ He was excellent indeed madam: the king very 25 lately spoke of him admiringly and mourningly: he was skilful enough to have lived still, if knowledge could be set up against mortality.

_Ber._ What is it, my good lord, the king languishes of?

_Laf._ A fistula, my lord. 30

_Ber._ I heard not of it before.

_Laf._ I would it were not notorious. Was this gentlewoman the daughter of Gerard de Narbon?

_Count._ His sole child, my lord; and bequeathed to my overlooking. I have those hopes of her good that her education 35 promises; her dispositions she inherits, which makes fair gifts fairer; for where an unclean mind carries virtuous qualities, there commendations go with pity; they are virtues and traitors too: in her they are the better for their simpleness; she derives her honesty and achieves her goodness. 40

_Laf._ Your commendations, madam, get from her tears.

_Count._ 'Tis the best brine a maiden can season her praise in. The remembrance of her father never approaches her heart but the tyranny of her sorrows takes all livelihood from her cheek. No more of this, Helena, go to, no more; lest 45 it be rather thought you affect a sorrow than to have--

_Hel._ I do affect a sorrow, indeed, but I have it too.

_Laf._ Moderate lamentation is the right of the dead; excessive grief the enemy to the living.

_Count._ If the living be enemy to the grief, the excess 50 makes it soon mortal.

_Ber._ Madam, I desire your holy wishes.

_Laf._ How understand we that?

_Count._ Be thou blest, Bertram, and succeed thy father In manners, as in shape! thy blood and virtue 55 Contend for empire in thee, and thy goodness Share with thy birthright! Love all, trust a few, Do wrong to none: be able for thine enemy Rather in power than use; and keep thy friend Under thy own life's key: be check'd for silence, 60 But never tax'd for speech. What heaven more will, That thee may furnish, and my prayers pluck down, Fall on thy head! Farewell, my lord; 'Tis an unseason'd courtier; good my lord, Advise him.

_Laf._ He cannot want the best 65 That shall attend his love.

_Count._ Heaven bless him! Farewell, Bertram. [_Exit._

_Ber._ [_To Helena_] The best wishes that can be forged in your thoughts be servants to you! Be comfortable to my mother, your mistress, and make much of her. 70

_Laf._ Farewell, pretty lady: you must hold the credit of your father. [_Exeunt Bertram and Lafeu._

_Hel._ O, were that all! I think not on my father; And these great tears grace his remembrance more Than those I shed for him. What was he like? 75 I have forgot him: my imagination Carries no favour in 't but Bertram's. I am undone: there is no living, none, If Bertram be away. 'Twere all one That I should love a bright particular star 80 And think to wed it, he is so above me: In his bright radiance and collateral light Must I be comforted, not in his sphere. The ambition in my love thus plagues itself: The hind that would be mated by the lion 85 Must die for love. 'Twas pretty, though a plague, To see him every hour; to sit and draw His arched brows, his hawking eye, his curls, In our heart's table; heart too capable Of every line and trick of his sweet favour: 90 But now he's gone, and my idolatrous fancy Must sanctify his reliques. Who comes here?

_Enter_ PAROLLES.

[_Aside_] One that goes with him: I love him for his sake; And yet I know him a notorious liar, Think him a great way fool, solely a coward; 95 Yet these fix'd evils sit so fit in him, That they take place, when virtue's steely bones Look bleak i' the cold wind: withal, full oft we see Cold wisdom waiting on superfluous folly.