To the Princess
ARMADO I will kiss thy royal finger and take
leave. I am a votary: I have vowed to Jaquenetta to hold the908
To the King
plough for her sweet love three years.— But, most
esteemed greatness, will you hear the dialogue that the two910
learnèd men have compiled in praise of the owl and the
cuckoo? It should have followed in the end of our show.
KING Call them forth quickly: we will do so.
ARMADO Holla! Approach.
Enter all [Holofernes, Nathaniel, Moth, Costard, Jaquenetta and others. They stand in two groups]
This side is Hiems, Winter. This Ver, the Spring. The one maintained916 by the owl, th’other by the cuckoo. Ver, begin.
[THE SPRING GROUP Sings] the song
When daisies pied917 and violets blue
And cuckoo-buds of yellow hue
And lady-smocks919 all silver-white
Do paint920 the meadows with delight,
The cuckoo then on every tree
Mocks married men922; for thus sings he:
‘Cuckoo,
Cuckoo, cuckoo.’ O word of fear,
Unpleasing to a married ear.
When shepherds pipe on oaten straws926
And merry larks are ploughmen927’s clocks,
When turtles tread, and rooks and daws928,
And maidens bleach their summer smocks,
The cuckoo then, on every tree,
Mocks married men, for thus sings he:
‘Cuckoo,
Cuckoo, cuckoo.’ O word of fear,
Unpleasing to a married ear.
[THE WINTER GROUP sings]
When icicles hang by the wall
And Dick the shepherd blows his nail936
And Tom bears logs into the hall
And milk comes frozen home in pail,
When blood is nipped and ways be foul939,
Then nightly sings the staring owl:
‘Tu-whit, tu-whoo.’
A merry note,
While greasy Joan doth keel943 the pot.
When all aloud the wind doth blow
And coughing drowns the parson’s saw945
And birds sit brooding946 in the snow
And Marian’s nose looks red and raw,
When roasted crabs hiss in the bowl948,
Then nightly sings the staring owl:
‘Tu-whit, tu-whoo.’
A merry note,
While greasy Joan doth keel the pot.
ARMADO The words of Mercury are harsh953 after the songs of
Apollo. You that way; we954 this way.
Exeunt [separately]
TEXTUAL NOTES
Q = First Quarto text of 1598
F = First Folio text of 1623
F2 = a correction introduced in the Second Folio text of 1632
Ed = a correction introduced by a later editor
SD = stage direction
SH = speech heading (i.e. speaker’s name)
// // probable authorial first thoughts that should have been cut from the early printed editions
List of parts = Ed
1.1.27 quite = Q. Not in F 62 feast = Ed. F = fast 72 and = F. Q = but 111 That were to = F. Not in Q gate = F. Q = little gate 112 sit = Q. F = fit 129 SH BEROWNE = Ed. F and Q continue speech to Longaville 132 court shall = F. Q = Court can 153 speak = Q. F = break 184 tharborough = F. Q = Farborough 250 continent = Q. F = Continet 262 keep = Q. F = keeper 280 SH KING = F (Fer.). Q = Ber. 299 until then, sit down = F. Q = till then sit thee downe sorrow
1.2.3 SH MOTH = Ed. F = Boy. (throughout) 4 SH ARMADO = Ed. F = Brag. or Bra. (throughout) 10 señor = Ed. F = signeur 13 epitheton = F2. F = apathaton 27 ingenious = Q. F = ingenuous 39 fits = F. Q = fitteth 46 call = F. Q = do call 86 maculate = Q. F = immaculate 94 blushing = F2. F = blush-in 118 let him take = F. Q = suffer him to take 122 SH JAQUENETTA = Ed. F = Maid. (throughout) 128 that = Q. F = what 133 SH COSTARD = F. Some eds reassign to DULL, ignoring his exit at line 98 136 SH COSTARD = Ed. F = Clo. (throughout) 141 SH ARMADO = Q. F = Clo. 150 to be too = Q. F = to be 158 Samson was = F. Q = was Sampson
2.1.13 SH PRINCESS = F2. F = Queen (F has a redundant “Prin.” at line 21) 45 parts = F. Q = peerelsse 54 SH MARIA = Ed. F = Lad. 1 57 SH KATHERINE = Ed. F = 2. Lad. 61 he = Q. F = she 66 if = Q. F = as 81 SH MARIA = F. Q = Lord 90 unpeopled = F. Q = unpeeled 116 SH ROSALINE = F. This and next six speeches assigned to Kath. in Q 144 repaid = Q. F = repaie 146 On = Ed. F = One 171 would I = F. Q = I will 175 in = F. Q = within 178 fair = Q. F = farther 180 we shall = F. Q = shall we 186 SH BEROWNE = Q. This and next five speeches assigned to Boy[et] in F 188 fool = Q. F = soule 193 Non point = Ed. F = No poynt 199 Katherine = Ed. Q/F = Rosalin 216 Rosaline = Ed. Q/F = Katherine 219 You = F. Q = O you 226 SH MARIA = F. Q = Lady Ka. 227 SH BOYET = Q. Placed at next line in F 244 did = Q. F = doe 254 whence = F. Q = where 261 SH BOYET = Q. F = Bro.
3.1.1 SH ARMADO = Ed. F = Brag. or Bra. 9 master = Q. Not in F 10 your feet = F. F = the feete 11 eyelids = Q. F = eie 13 through the nose = F2. F = through: nose 51 Thy = F. Q = The 70 O = Q. F = Or 80 sain = Q. F = faine 120 honours = F. Q = honor 125 One penny = Ed. F = i.d. 127 French = Q. F = a French 163 Signior Junior = Ed. F = signior Iunios 186 sue and = F2. F = shue
4.1.1 SH PRINCESS = F2. F = Qu. (throughout) 14 again = Q. F = then again 70 overcame = Ed. F = covercame 85 Armado = F2. F = Armatho 135 hit it = Ed. F = hit 141 pin = F2. F = is in 149 Armado o’th’t’other = Ed. F = Armathor ath to the side 153 SD Shout = F2. F = Shoote
4.2.3 SH HOLOFERNES = Ed. F = Ped. 11 ‘auld grey doe’ = Ed. F = haud credo 27 of = Ed. Not in F 32 by = F. Q = me by 34 Dictynna = Ed. F = Dictisima 48 called I = Ed. F = call’d 61 SH HOLOFERNES = Ed. Q/F reverse speech headings of Holofernes and Nathaniel in this and their next seven speeches 64 pia mater = Ed. F = primater 72 ingenious = Ed. F = ingennous 74 sapit = Ed (Q2). F = sapis 77 pierce-one = Ed. F = Person 87 Fauste = F2. F = Facile 93 loves thee not = Q. Not in F 99 SH NATHANIEL = Ed. Not in F 114 Here = Ed. (continuation of Holofernes’ speech). Q/F assign to Nath. 123 SH HOLOFERNES = Ed. Q/F = Nath. 126 writing = Ed. F = written 132 hand = F. Q = royal hand 136 SH NATHANIEL = Ed. F = Hol. 143 before = Q. F = being
4.3.80 of = F. Q = in 91 I = Ed. Not in F 100 ever = Q. F = every 140 One = Q. F = On 153 coaches = Ed. F = couches 166 tuning = F. Q = to tune 172 caudle = Q. F = candle 175 to … by = Ed. F = by … to 179 men like you, men = Ed. F = men, like men 221 show = Q. F = will shew 223 are = F. Q = were 254 wood = Ed. F = word 264 and = Ed. Not in F 366 authors = Ed. F = author 390 Allons! Allons! = Ed. F = Alone, alone
5.1.1 quod = Ed. F = quid 20 d, e, t = Ed. F = det 23 insanie = Ed. F = infamie 25 bone = Ed. F = bene 26 Bone? … ‘bene’ = Ed. F = Bome boon for boon 54 venue = Ed. F = vene we 62 manu = Ed. F = unum 82 choice = F2. F = chose 87 important = Ed. F = importunate 104 Nathaniel = Ed. F = Holofernes (Shakespeare confuses the names again) 111 Judas … Hector = Ed. F transposes order of phrases and omits Hector 134 Allons = Ed. F = Alone
5.2.46 not so = Q. Not in F 58 not wish = Q. F = wish 77 wantonness = F2. F = wantons be 82 is in = Q. F = in 143 mocking = F. Q = mockerie 152 her = Ed. F = his 153 speaker’s = Q. F = Keepers 182 princess spelled Princes in F 189 you on the = F. Q = her on this 214 vouchsafe but = F. Q = do but vouchsafe 255 Take you that = F. Q = Take that 258 SH KATHERINE = Ed. F = Mari. or Mar. (throughout this exchange) 336 pecks = Q. F = picks 337 Jove = F. Q = God 345 kissed … hand = F. Q = kist his hand, a way 355 due = Q. F = dutie 372 men’s = Q. F = men 373 unsullied = F2. F = unsallied 390 Russian = Q. F = Russia 395 Fair gentle = F2. F = Gentle 408 was = Q. F = what 412 are = F. Q = were 430 affectation = Ed. F = affection 458 you not = F. Q = not you 510 manage = Ed. F = manager 545 least = F. Q = best 548 There = Ed. F = Their 571 prick = F. Q = picke 588 SH PRINCESS = F2. F = La. 663 Hector = F. Q = Hectors 686 When … man = Q. Not in F 688 SD Costard = Ed. F = Berowne (probably error for Clowne, who is about to confront Armado
over Jaquenetta’s pregnancy) 657–58 set as SD in F 717 pray = F. Q = bepray 737 SH PRINCESS = F2. F = Qu. (throughout rest of scene) 751 entreat = Q. F = entreats 758 nimble = Ed. F = humble 759 too = Q. F = so 774 ear = Q. F = ears 803 this in our = Ed. F = these are our. Q = this our 839 hermit = Ed. F = euer. Q = herrite 864 thy = Q. F = my 909 years = F. Q = yeere 953 SH ARMADO = F. Not in Q, where the Mercury/Apollo speech is set in large type with no speaker 954 You that way = F. Not in Q
SCENE-BY-SCENE ANALYSIS
ACT 1 SCENE 1
Lines 1–184: The King of Navarre reminds his friends Berowne, Longaville, and Dumaine of their plans to make his court into “a little academe, / Still and contemplative in living art.” He promises that this will ensure that they are renowned long after they are dead, giving them “fame, that all hunt after in their lives,” establishing the theme of learning and introducing the hunting imagery that runs throughout (usually associated with love, but symbolizing the pursuit of any desire, be it romantic, sexual, or academic). It also establishes the theme of “reputation,” something many of the characters are either concerned with or judged by. The king reminds his friends that they have agreed to live in the court for three years and to abide by an oath that he asks them to sign. Longaville and Dumaine do so, but Berowne questions the severity of the conditions: they are “not to see a woman” in that time, “to touch no food” for “one day in a week” and to sleep only “three hours in the night.” Berowne’s speech raises the motif of time and the recurrent images of light and dark as he complains that he has been used to sleep a lot more than this, sometimes making “a dark night too of half the day.” His arguments show his quick wit and ability to reason, but the king claims that he is “like an envious sneaping frost,” destroying their plans before they are underway, and suggests that he leaves. Berowne says that he has “sworn” to be part of the king’s plans and so will stay, highlighting the importance of honor. Berowne reads the declaration by the king that “no woman shall come within a mile” of the court and that no man shall talk with a woman during the three years or otherwise “endure such public shame as the rest of the court shall possibly devise.” He points out that the king himself must break this “article,” as the “French king’s daughter” is due to arrive in Navarre to talk with the king on behalf of her “decrepit, sick and bedrid father.” The king confesses that he had forgotten this and declares that the princess must be allowed “on mere necessity.” Berowne finally signs the oath and asks if there is to be no “quick recreation” while they study. The king reminds him of the visiting Spaniard, Armado, whose flamboyance and fanciful language make him a figure of fun. Berowne comments that he is a man of “fire-new words, fashion’s own knight,” one of many references to words and speech that highlight the play’s obsession with language. They agree that Armado and “Costard the swain” shall be their “sport.”
Lines 185–303: Dull brings in Costard and delivers a letter to the king from Armado. Comedy is created through Dull and Costard’s incorrect use of language, which contrasts with Berowne’s verbal dexterity. The king and his friends are pleased at the prospect of a ridiculous letter from Armado, and Costard explains that the “contempts” (contents) concern him. With several comic interruptions from Costard, the king reads the letter aloud, revealing Armado’s pompous and long-winded style. This includes a pedantry over detail and the overuse of synonyms, such as “viewest, beholdest, surveyest or seest,” typical of the play’s self-consciously overwritten style. Armado reports that he saw Costard in the king’s park, where he “sorted and consorted” with Jaquenetta, thereby breaking the king’s recently declared law. He has sent Costard for punishment. The king declares that Costard will “fast a week with bran and water” and tells Berowne to deliver him back to Armado, who shall be Costard’s “keeper.”
ACT 1 SCENE 2
Armado confesses to his page, Moth, that he loves Jaquenetta. Their exchange is full of verbal ambiguities that illustrate Moth’s superior wit. In addition to his intricate wordplay, Moth’s asides also generate humor as he reveals his low opinion of his master and his scorn that Armado is in love with “a light wench.” Dull brings in Costard and Jaquenetta and explains that Armado is in charge of Costard and that Jaquenetta is to serve at the lodge. Armado tells Jaquenetta that he loves her, but she responds with contempt and leaves. Armado tells Moth to take Costard away. Alone, he considers his feelings and decides to “turn sonnet,” declaring: “Devise, wit: write, pen, for I am for whole volumes in folio.” This draws attention to the conventions of romantic love, which are explored throughout the play, and highlights the written word as an aspect of language.
ACT 2 SCENE 1
Lines 1–91: The Princess of France arrives outside the court with her train. Lord Boyet encourages her to “summon up” her “dearest spirits,” as she will need them in dealing with the King of Navarre. Status and honor are emphasized as he talks of the princess as “precious in the world’s esteem” and reminds her that she is dealing with “Matchless Navarre,” reinforcing the issue of reputation that was established in Act 1. The ambiguity of the term “matchless” also evokes the king’s unmarried state and establishes expectations for the development of the romantic plotline. Boyet’s speech introduces a recurrent motif concerned with wealth and value (“precious,” “inheritor,” “owe,” “dowry,” and “dear”), reminding us that there is always a financial as well as romantic aspect to a potential match. Having heard of the king’s vow that “No woman may approach his silent court,” the princess sends Boyet to tell the king that she is waiting. While Boyet is away, the princess asks her attending ladies if they know any of the king’s “vow-fellows.” Reflecting the careful structuring of the romantic plotline, each of the ladies knows one of the lords: Maria speaks of Longaville, “a man of sovereign parts,” Katherine describes Dumaine, “a well-accomplished youth,” and Rosaline praises Berowne’s wit and his “sweet and voluble” “discourse.” The princess declares that they must all be in love. Boyet returns to report that the king intends to “lodge” the princess “in the field,” “Like one that comes here to besiege his court,” an example of the military imagery that is often used as a metaphor for courtship.
Lines 92–182: The king welcomes the princess. Their verbal sparring establishes her as his intellectual equal. She gives him a letter from her father and, while he reads it, Berowne and Rosaline also engage in a brief battle of wits. The letter concerns the disputed loan of “a hundred thousand crowns” and the rights to the province of Aquitaine. The princess claims that she can produce the documentation that proves her father “faithfully” paid Navarre, but Boyet tells them that the packet containing the papers will not arrive until the next day. The king ceremoniously welcomes the princess to wait in lodging that will be provided for her outside of the court. He leaves, taking Longaville and Dumaine with him.
Lines 183–273: Berowne and Rosaline flirt briefly before he follows the others. Dumaine returns and asks Boyet who Katherine is. After he has left, Longaville also comes back and asks “what is she in the white?” and Boyet identifies Maria. Finally, Berowne returns and asks Boyet for Rosaline’s name, and inquires if she is “wedded.” Once the French party is alone, Maria and Boyet banter and the princess suggests that instead of “jangling” with one another, they should engage in a “civil war of wits” with “Navarre and his bookmen.” In a speech that typifies the play’s inquiry into sight and observation, Boyet expresses the opinion that the king is in love with the princess, claiming that “all eyes saw his eyes enchanted with gazes.” The ladies all tease Boyet, calling him a “love-monger” and “Cupid’s grandfather.”
ACT 3 SCENE 1
Lines 1–128: Sustaining his role of “lover,” Armado asks Moth to sing for him (music, like poetry, is one of the conventional expressions of romantic love). Armado’s “romance” however, is comically undermined by Jaquenetta’s previous contempt and the fact that she is, as Moth continually points out,
of low status and questionable virtue. Moth demonstrates his intellectual superiority over his master, who cannot follow his quick wit and whose own attempts to appear learned are made ridiculous by comparison, as Moth insults him as an “ass” and Jaquenetta as a “hackney.” Moth fetches Costard and, after a confusing conversation, Armado gives Costard some money and sets him free on the condition that he delivers a letter to Jaquenetta. Armado and Moth leave.
Lines 129–188: Berowne finds Costard and pays him to deliver a letter to Rosaline. Costard agrees and sets off to deliver both letters. Alone, Berowne muses on how he used to be scornful of love, but now finds himself attracted to Rosaline. His speech simultaneously acknowledges and challenges the conventions of romantic love. In keeping with tradition, it is a highly stylized poetic declaration, but this is undermined by a generic self-consciousness as Berowne refers to “Don Cupid, / Regent of love-rhymes” and acknowledges various traditional images of love poetry. The subversion of conventional romance is emphasized by Berowne’s apparent reluctance to be in love and his less than enthusiastic description of Rosaline, whose eyes are like “two pitch-balls stuck in her face.” Eventually, however, he resigns himself to traditional loverlike behavior, declaring that he will “love, write, sigh, pray, sue and groan.”
ACT 4 SCENE 1
The princess and her attendants are out hunting. She demonstrates her wit as she discusses the struggle for power between the genders, an idea that becomes the focus of much of the action from here onward. The hunting/courtship metaphor is sustained, as is the theme of reputation as the princess acknowledges that she only hunts for the “fame” and “praise” that she will receive for killing the “poor deer.” They are interrupted by Costard, who gives the princess a letter, telling her that it is “from Monsieur Berowne to one Lady Rosaline.” Unable to read, however, he gives her the letter from Armado to Jaquenetta instead. Boyet discovers the mistake and the princess tells Boyet to read the letter aloud. Armado’s ridiculous style causes everyone much amusement. The princess leaves with most of her attendants. Boyet and Rosaline engage in a brief exchange of bawdy wit and Rosaline leaves, saying that Boyet cannot “hit” her (either in wit, or sexually) and Boyet acknowledges this but says that “another can,” meaning Berowne. Maria then banters with Boyet and Costard in an exchange that contains some barely concealed innuendo, although Costard does not appear to understand all that passes, adding to the humor.
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