199 and answer’st not?] om. F2 200 1thou … snail] thou Dromio, snaile F2; thou drone, thou snail Theobald; thou drumble, thou snail Riv; –thou, Dromio–thou snail Folg2 Dromio] F’s italics retained this edn 201 SD] Oxf 204] verse as Steevens4
205 ass donkey; fool; see 207; 3.1.15–18, 47; 3.2.75; 4.4.28–9; and related nn. Both Dromios will be likened to, and call themselves, asses. On women as bridled asses, see 2.1.13–14 and nn.
206–8 For a like sentiment from Ephesian Dromio, see 3.1.15 and n., on so … appear.
206 ’Tis true Dromio now considers himself changed into an ass. Shakespeare may be recalling the transformation of Nebuchadnezzar into an animal: ‘thy dwelling shalbe with the beastes of the fielde: with grasse shalt thou be fed like oxen’ (Daniel, 4.25; not in Shaheen), referred to in AW 4.5.20–1. Scot cites a story of a young traveller transformed in body, but not mind, into an ass by a witch who beats him and makes him carry burdens (54–5). In the background stands the Odyssey’s witch Circe, who turns men into beasts (Bk 10), invoked at 5.1.271 (see n.).
rides dominates, ‘tyrannizes over’ (Ard2), ‘like a witch or nightmare’ (Cam1); cf. TN 3.4.290–1; with a play on rides as one rides an ass.
I … grass Donkey-like, Dromio feels hungry for grass. He is so fearful of demonic transformation that he feels as if he actually were possessed. In Elizabethan England, mad individuals behaving as animals were sometimes considered ‘incarnations of the demonic realm’ (Almond, 35).
207 hexameter
I … ass Cf. 3.2.75, 4.4.30.
209 Come, come.
210 a proverbial and derisive description of crying (Dent, F229; OED eye n.1 2c); cf. 2.1.114 and n.
211 laughs … scorn i.e. mocks (OED laugh v. 3); a third-person plural verb might sometimes end in -s (Hope, 2.1.8a).
212 keep the gate guard the door (to Adriana’s house); on gate, see OED door n.1 1; cf. 3.1.30 and n., on door; 5.1.156.
213 above upstairs (OED adv. 2), as MW 4.2.76; presumably denoting a private chamber on the first floor of the house. The word probably indicates the use of the upper stage for Adriana in 3.1; see 3.1.60.1 and n.
210 2the] thy F2; my Collier2
214 shrive you (1) hear your confession and administer absolution to you (OED shrive v. 1); (2) question, examine (OED 7a); cf. FQ, 4.12.26; (3) have sexual intercourse; cf. ‘shrives this woman to her smock’, 1H6 1.2.119; 3H6 3.2.107. See Williams, Glossary, 277.
idle foolish (OED adj. 2b); cf. 184n., on idle.
216 forth away from home
217 porter doorkeeper
218–22 Cf. Sebastian at TN 4.1.60–3.
219 well advised prudent (OED adj. 1); in my right mind (Wells)
221 persever persèver; continue staunchly, persevere
222 mist doubt (OED n.1 6); confusion, haziness; proverbial (Tilley, M1017); cf. vapours at 1.1.89 and n. Here, mist connotes the aura of enchantment or ‘mystification’ cast by the Ephesian women (see OED n.1 4b, 6) into which Antipholus enters wilfully (a feature absent from Men.). The word also carries extensive 16th-century associations with conceptual error, Catholic superstition and juggling deception; see LN. Such connections suggest the exponential dangers of entertaining fallacies.
at all adventures whatever the risk (OED adventure n. 3c)
223–5 gate … pate … late a scene-closing triple rhyme
224 break your pate See 1.2.65 and n.
225 SD *Dromio, as porter at the gate (see 212, 217, 223), would exit last, or he might linger on stage, visible to the audience, as the characters enter for 3.1. F lacks an exit SD; it was either absent in the manuscript or dropped because of crowded type at the column’s foot (see Var.).
218 SD] Capell subst. 224 Ay] (I) 225 too] (to) SD Exeunt] Rowe3; Exeunt into the Phoenix. Oxf; Exit F with Dromio last] this edn; Dromio of Syracuse remains as porter, visible to the audience but not to those approaching the door. / Bevington4
3.1 The setting is before the Phoenix, the house of Antipholus of Ephesus and Adriana. On staging issues in the scene.
1 Signor frequently used by Shakespeare with an Italian name or in an Italian setting (e.g. TGV, TS, MV); also at 19, 22; 4.1.36; 5.1.13. Cf. 5.1.423 and n., on for the senior. F’s spelling, signior, is a variant of Signor, both pronounced as two syllables.
Angelo perhaps pronounced ‘Anj’lo’ or treated as having a double feminine ending
excuse us all i.e. excuse our lateness to Adriana, all meaning ‘everything’
2–4 indicating to the audience that the speaker is the long-anticipated Ephesian Antipholus and recapitulating 2.1
2 shrewish given to scolding (OED adj. 2); cf. 4.1.51 and n., on shrew.
when … hours ‘when I am unpunctual’ (Wells): Antipholus refers to his being late for dinner; hours makes another time reference.
4 carcanet ornamental collar or necklace, usually of gold, often set with pearls or precious stones (see OED n. 1); cf. ‘Like stones of worth … / Or captain jewels in the carcanet’ (Son 52.7–8). It is the chain promised to Adriana (2.1.105 and n.; see 115 below), although carcanet evokes something richer than chain. In 1578, the Earl of Leicester gave Queen Elizabeth ‘a carcanet of golde ennamuled nyne peces whereof are garnesshed with Sparkes of Diamondes and rubyes’ (Lawson, 225). Shakespeare may have been influenced by Solyman and Perseda (1592), attributed to Thomas Kyd, where the loss of a bejeweled carcanet, or ‘chain’, exchanged as a lover’s gift, helps to bring about tragedy (Vitkus, 121) and where a ring also functions as a lover’s gift.
6 face me down ‘insist saucily that’ (see OED face v. Phrases P1a; see also OED v. 3); cf. 5.1.227 and n.; 5.1.245 and n., on out-facing.
8 charged him with ‘accused him of having’ (see OED charge v. 17)
9 deny ‘refuse to admit the existence of’ (OED v. 3b)
3.1] (Actus Tertius. Scena Prima.); ACT III. SCENE I. Rowe 0.2 BALTHAZAR] F2; Balthaser F 1+ SP] (E. Anti., E.Ant., E.An., Anti., E. Ant., Ant.) 1, 19, 22 Signor] (signior) 6 SD] this edn
10 drunkard Luciana had called Syracusan Dromio a sot (2.2.200 and n.).
11–85 Here the verse changes to couplets and triplets, exaggerating the scene’s disputes and increasing the tempo. Although Antipholus and Balthazar address each other largely in ceremonious hexameters, the episode will become dominated by the Dromios’ tumbling verse, with many lines of 12 or 14 syllables and typically four to six stresses (cf. 2.2.47–8, and 45–8n). These lines feature an irregular number of unaccented syllables, with anapaestic effect, inviting quick delivery. Such tumbling verse, derived from medieval and mid-century drama, was associated with clowns and plebeian characters, and employed by Shakespeare for raucous comedy. Rapid-fire lines are shared among speakers, individual voices homogenize and characters become caught up in the heat of the situation, creating a certain aural anarchy. The reintroduction of blank verse at 85 will mark a return to control and civility (see O’Donnell, 403–9). Cf 3.2.71–7 and n., 5.1.420–5 and n.
11 I … 2know proverbial (Dent, K173).
12 See 1.2.92 SD and n.
mart On the mart as the setting to 1.2, see 1.2.27n.
hand the marks of Antipholus’ hand-blows as his handwriting (OED n. 16) or signature (OED 17).
13 parchment made from animal hide, thus closer to human skin than paper; used for official documents
15 ass Here and elsewhere both Dromios are insulted with the same epithets; see 2.2.205 and n.
so … appear Cf. Syracusan Dromio’s embrace of ass at 2.2.206–8.
15–18 On Dromio’s resentments, cf. 1.2.85–6 and n., 4.4.30–40 and n.
15–16 appear … bear a rhyme (Kökeritz, 404)
17 at that pass in that predicament (OED pass n.3 3); cf. Spenser, FQ, 6.3.14.
18 beware … ass Despite Dromio’s implicit anger, Antipholus does not respond.
> 10 SD] Andrews subst. 11+ SP] (E.Dro., E.Drom., E. Dro.)
19–29 Here begins a courteous ‘debate’ (see 67) between host and guest about cheer, meaning both food (OED n.1 6a) and welcome (OED 5); the ideas are proverbial: ‘Welcome is the best cheer’ (Dent, W258). The conversation sounds conventional, even literary, and, in its elevated hexameters, a bit comic. Although the courtesy debate adds humour and facilitates dramatic irony (see 66–7), it also establishes decorum as a value. Humanists were interested in manners and hospitality. A similar debate occurs in Lyly’s Euphues (2.161–2). Erasmus’s colloquy ‘A Feast of Many Courses’ cites the already mentioned welcome proverb (40.805; see 802–8), and the hosts in Erasmus’s feasting colloquies typically downplay their repast’s delicacy. Such set themes provide matter for social discussion in Castiglione’s The Courtier (1528) (Ard2).
19 sad grave or serious (chiefly applied to looks) (OED adj. 3a), establishing Balthazar’s character and function
19, 22 Signor See 1 and n., on Signor.
19–20 cheer … welcome Cf. 66.
20 my … welcome The two phrases’ syntactical similarity (equal length and equivalent structure) illustrates rhetorical isocolon, underscored by the repetition of good and the near-rhyme of will and wel-.
21 cheap of small account (OED adj. 5b)
dear valuable, precious
22–3 In some productions, Adriana, Luciana and Syracusan Antipholus can be seen on the balcony dining as Antipholus speaks.
22 either … fish i.e. whether one eats meat or fish (with a possible reference to Catholic fasting (Oxf1)); at means ‘for’ (Blake, 5.4.2) as a measure of value.
23 i.e. all the welcoming in the world cannot take the place of good food.
24 common an ordinary occurence (OED adj. 10a); perhaps playing on commons as provisions (OED n. 3a, b)
churl peasant (OED n. 4)
21] verse as Rowe 21+ SP] (Bal, Bal., Baltz., Balth.) 24 common;] Theobald; cõmon F
26–7 feast … guest a rhyme (Kökeritz, 439)
27 niggardly stingy
sparing frugal (OED adj. 1a, b)
28 cates food (OED n. 1); choice food, delicacies (OED 2); cf. TS 2.1.189.
mean of poor quality
29 i.e. you may have better food elsewhere but not offered with more cordiality.
30 door is locked The ensuing dialogue will play on the sexual suggestiveness of open and closed gates, knocking at the door, entrance, denied entrance and the like; cf. 120, 4.4.64 and n. (On door and ‘gate’ as slang for vagina, and on ‘knock’ as slang for coitus, see Williams, Glossary, 103, 139, 179.) The scene recalls Amph., 341–462, 1018–34.
door interchangeable with gate (e.g. 2.2.212); door has theatrical associations (Dessen & Thomson, 73–4, 99; see also OED gate n.1 1). For similar usages of gate, see e.g. TS 1.2.11; TN 1.5.126, 268.
31 These names, or forms of them, occur elsewhere in Shakespeare, Maud excepted (although ‘Maudlin[e]’ appears at AW 5.3.68, TNK 3.5.25). Two are used for servants: Cicely (TS Ind.2.89) and Gill (TS 4.1.50); and two for prostitutes: Bridget (MM 3.2.79) and Jinny (MW 4.1.62). Ginn, probably a variant of Jenny, may connote a female ‘Jack of all trades’ (see OED gin n.4 2). The servants’ number conveys a sense of Ephesian Antipholus’ wealth and status (Wells).
32 SD *Syracusan Dromio responds from within the Phoenix, on the other side of the door upon which Antipholus has knocked, perhaps from behind a stage door (possibly with a grate or half-door). The SD within for Dromio’s speeches has been traditional since Rowe, suggesting a position offstage and inside the tiring-house (cf. 5.1.183 SD; see Dessen & Thomson, 253).
32 Syracusan Dromio’s six abusive terms for fools mirror in their number of syllables and stress those of the corresponding women’s names just uttered by his twin brother. A Mome, in Shakespeare unique here, is a fool or dolt (OED n.2); malt-horse, a slow, heavy horse that grinds malt on a treadmill (OED n.; cf. TS 4.1.129); capon, a dullard and (as a castrated cock) also a eunuch (OED n. 1c, 2; cf. Cym 2.1.23); coxcomb, a person wearing a jester’s cap, i.e. a simpleton (OED 3; cf. MA 4.2.69); patch, a fool or simpleton, alluding to the licensed fools’ parti-coloured coat (Steevens) and deriving perhaps from the nickname for Cardinal Wolsey’s jester (see OED n.2 1; cf. MV 2.5.46). Puck in MND calls the mechanicals ‘A crew of patches’ (3.2.9); see also Warner’s translation of Men., 37. Three of these terms, like ass (15), refer to animals.
27 Ay] (I) 29 SD] Folg subst.; They approach the door of Antipholus of Ephesus’ house. / Bevington4 30, 31 SDs] Oxf 31 Cic’ly] Riv; Cisley F; Cicely Theobald 32+ SP] (S.Dro., S. Dro.) 32 SD within] Rowe on … door] Bevington4 subst.; the Phoenix Oxf
33 sit … hatch A hatch is a ‘half-door’ or ‘gate … with an open space above’ or ‘the lower half of a divided door’ (OED n.1); it may signal a stage door divided horizontally with upper and lower halves on separate hinges, a meaning that occurs three other times in Shakespeare (KJ 1.1.171, 5.2.138; KL 3.6.73). Dromio’s phrase probably recalls the proverb ‘It is good to have a hatch before the door’ (Tilley, H207), i.e. ‘to close one’s mouth and be silent’ (see Ard2). The injunction thus sounds both literal and metaphoric: sit down at the lower half of the door and be quiet (Oxf1). Understood differently, the hatch may be a ‘grating or half-door in the upper part of the stage door’ (Ard2) through which Syracusan Dromio speaks (see Gurr & Egan). A wooden or iron framework with ‘bars’ or ‘gratings’, in effect a grille, is one meaning of gate (OED n.1 6a; see 30n., on door); cf. ‘gates of steel’ (Son 65.8). Such language suggests that Shakespeare was writing this line with the public theatre rather than an indoor hall in mind.
34 Dromio imagines a catalogue of spirits’ names from a conjuring book (with conjure alluding sexually; see Williams, Glossary, 80); cf. Hotspur on Glendower, 1H4 3.1.154–6. For examples, see Scot, Bk 15 passim, especially chs 1–2.
34 store abundance (OED n. 4a)
35 When … many especially if Ephesian Dromio is a capon (32)
36 Dromio addresses the first half-line to his companions, the second to Syracusan Dromio.
37 catch … feet i.e. from standing in place while waiting at the door; proverbial (Dent, F579a). Cf. Lyly, MB, 5.3.98, where the phrase suggests being too stupid to come out of the cold.
35 many?] F4; many, F 36 porter?–My] Collier; Porter? my F 37, 39, 41, 43 SDs] Dyce
39 I’ll … wherefore alluding to the saying ‘When? Can you tell?’ (Dent, T88) (see also 52) and suggesting rudely that something will not come to pass. Cf. 52 and n., 2.2.44 and n.
an if
41 when you may ‘when you are invited’ (Oxf1)
42 owe own
43 Dromio pronounced with three syllables here for a playful rhyme with I owe (42); typically two syllables
44 office position (in a public sense) (OED n. 2a). In CE offices are usurped, neglected or contested; see 3.2.2 and n.; 5.1.99 and n., on office.
45 i.e. my name brought me no praise, and my performance of duties brought me only blame; mickle = much.
47 *F’s line makes no clear sense. Generally, Ephesian Dromio means that if the porter-impostor had truly taken his place and name, then he would have acquired the appellation of ass, which Ephesian Dromio has just been called (15). On the editorial problem, see LN.
38 Ho] (hoa) 39 an] (and) 40 ‘Wherefore’] this edn; Wherefore F 41 not;] Rowe subst.; not F 46 been] bid F2 47] Cam2a lines name, / ass. / place] Oxf1 (Gould); face F; office Ard2; pate Oxf a name] an aim Cam1 and] this edn; or F an ass] a face Collier2 (Collier, Notes)
47.1 Luce ‘enters’ the scene but remains, like Dromio, within the house (see 32 SDn.), not visible to those outside. She probably joins Dromio behind the door rather than emerging on to the balcony. Luce is surely the same character as Nell the kitchen wench, described by Dromio in 3.2.78–152 (see 3.2.110n.).
&nb
sp; 48 coil noisy disturbance (OED n.2 1)
51, 52 Have … with ‘I attack you with’
51 ‘set … staff’ take up residence; hold fast in an opinion or position (OED staff n.1 5d). The familiar proverbial form is ‘To set up one’s staff’ (Dent, S804). Dromio threatens to hold his position by the door and to cause further ‘coil’. The preposition in, the phallic connotations of staff (see e.g. TGV 2.5.27) and the nature of Luce’s reply suggest an additional, bawdy meaning.
52 ‘When … tell’ See 39n.
53 ‘Luce’ possibly punning on ‘loose’ as unchaste (see Williams, Glossary, 193–4); ‘luce’ can refer to a kind of fish, a pike (OED n.1 1a); on ‘fish’ as a sexual term for a woman, see Williams, Glossary, 126. Dromio’s comment that Luce has answered him well suggests that she has made a saucy answer to Ephesian Dromio’s bawdy request.
54, 59 minion See 2.1.86n.; Adriana’s accusatory minions there is now being turned against her household.
47.1] Oxf subst.; om. Rowe; Enter Luce. (within) / Collier2; Luce, the kitchen-maid, comes out upon the balcony Cam1 (Dyce) 48+ SP] Mai[d]. Capell; Nell Oxf 48 SD] Rowe 48 there, Dromio!] Jorgensen; there Dromio? F; there! Dromio / Capell 49–51] Rowe3; F lines Luce. / Master. / Prouerbe, / staffe. / 49, 52, 53 SDs] Dyce 51 ‘Shall … staff?’] Oxf (Theobald subst.); Shall … staffe. F staff?] Rowe; staffe. F 52 ‘When … tell?’] Wells (Capell subst.); when … tell? F 53 ‘Luce’] Folg2; Luce F 53–4] Oxf shows lacuna between 53 and 54 54 SD] Bevington4 54] prose Pope2 minion?] Capell; minion, F hope] trow Theobald 54–5] Oxf1 shows lacuna between 54 and 55
55 The meaning of these retorts is unclear. Tilley considers the proverbial ‘I had thought to have asked you’ to be a ‘mocking retort’ (T225; also Dent, T225) and identifies other instances in Lyly, MB (2.3.73, 4.2.42). Given the line’s opacity and the break in rhymed couplets at 54–5, many editors have concluded that at least one line is missing between 53 and 55. Malone conjectured that such a line may have contained a threat from Antipholus and ended with ‘rope’ (to rhyme with hope, 54) (Boswell–Malone).
The Comedy of Errors Page 34