But instruments of some more mightier member, Let me have way, my lord, That sets them on. Duke. Let him be sent for. F. Peter. Would he were here, my lord; for he, indeed, Hath set the women on to this complaint. Your provost knows the place where he abides, And he may fetch him. Duke. Go, do it instantly. And you, my noble and well-warranted cousin, [Exit Provost. have well Escal. My lord, we'll do it thoroughly.-[Exit DUKE.] Signior Lucio, did not you say, you knew that friar Lodowick to be a dishonest person? Lucio. Cucullus non facit monachum: honest in nothing, but in his clothes; and one that hath spoke most villainous speeches of the duke. Escal. We shall entreat you to abide here till he come, and enforce them against him.—We shall find this friar a notable fellow. Lucio. As any in Vienna, on my word. Escal. Call that same Isabel here once again: [To an in "Antony and Cleopatra," A. ii. sc. 5, Vol. vi. p. 167, and in "Twelfth Night," A. ii. sc. 5, Vol. ii. p. 279. "Informal" is therefore here to be taken as the opposite of "formal." • And punish them UNTO your height of pleasure.] So the corr. fo. 1632, and so we now, therefore, print; but formerly we adhered to the old copies, although the verse was injured by reading to for "unto." Mr. Singer makes the change, but assigns no reason, since (though a mere trifle) it would properly have occasioned one more reference to our corr. fo. 1632. Attendant.] I would speak with her.-Pray you, my lord, give me leave to question; you shall see how I'll handle her. Lucio. Not better than he, by her own report. Escal. Say you? Lucio. Marry, sir, I think, if you handled her privately, she would sooner confess: perchance, publicly she'll be ashamed. Re-enter Officers, with ISABELLA; the DUKE, in a Friar's habit, and Provost. Escal. I will go darkly to work with her. Lucio. That's the way; for women are light at midnight. Escal. Come on, mistress. [To ISABELLA.] Here's a gentlewoman denies all that you have said. Lucio. My lord, here comes the rascal I spoke of; here, with the provost. Escal. In very good time: speak not you to him, till we call upon you. Lucio. Mum. Escal. Come, sir. Did you set these women on to slander lord Angelo? they have confess'd you did. Duke. "Tis false. Escal. How! know you where you are? Duke. Respect to your great place! then, let the devil' Be sometime honour'd for his burning throne. Where is the duke ? 'tis he should hear me speak. Escal. The duke's in us, and we will hear you speak; Look, you speak justly. Duke. Boldly, at least.-But, oh, poor souls! Come you to seek the lamb here of the fox? Good night to your redress. Is the duke gone? And put your trial in the villain's mouth, 7 THEN, let the devil] It is "and let the devil" in the folios; but "then let the devil" can scarcely be wrong, because it refers to a logical deduction, viz. that if the deputy is to be respected for "his great place," the devil ought to be respected for occupying the throne of hell. • Thus to RETORT your manifest appeal,] This seems to be one of the cases in which a more familiar word was used by the old annotator on the folio, 1632, for one which was not so much in use, and would perhaps not be so well popularly understood. He erased "retort" and wrote reject in his margin; but it is also obvious that the word reject might have been misread, and misprinted “retort" by the compositor of the folio, 1623. Which here you come to accuse. Lucio. This is the rascal: this is he I spoke of. To call him villain'? And, then, to glance from him To the duke himself, to tax him with injustice?— Take him hence; to the rack with him :-We'll touze you Duke. Be not so hot; the duke dare No more stretch this finger of mine, than he Nor here provincial'. My business in this state Where I have seen corruption boil and bubble, Till it o'er-run the stew: laws for all faults, But faults so countenanc'd, that the strong statutes As much in mock as mark. Escal. Slander to the state!-Away with him to prison.. • To call him villain?] This is printed by Malone, and Steevens, as a hemistich, but by restoring the regulation of the metre, as in the old copies, for the next five or six lines, it will be seen that they run at least as regularly as Shakespeare, probably, intended in a scene of this description. At all events, modern editors have effected no improvement by their change. 1 but we will know YOUR purpose.] We formerly printed “ his purpose,” because it so stood in the old copies; but the words "we'll touze you are addressed to the Duke, and the reference to his purpose, which forms the conclusion of the same sentence, ought surely to be addressed to the same person: it is so, according to an emendation in the corr. fo. 1632. Malone printed this for his, but the poet's word must have been " "your." 2 Nor here PROVINCIAL.] "The different orders of monks (says Mason) have a chief, who is called the General of the order; and they have also Superiors, subordinate to the General, in the several provinces through which the order may be dispersed. The friar therefore means to say, that the Duke dares not touch a finger of his; for he could not punish him by his own authority, as he was not his subject, nor through that of the Superior, as he was not of that province." • Stand like the forfeits in a barber's shop,] "Formerly with us (observes Warburton), the better sort of people went to the barber's shop to be trimmed, who then practised the under parts of surgery: so that he had occasion for numerous instruments, which lay there ready for use; and the idle people, with whom his shop was generally crowded, would be perpetually handling and misusing them. To remedy which, I suppose, there was placed up against the wall a table of forfeitures, adapted to every offence of this kind; which, it is not likely, would long preserve its authority." We have no direct information on the point, and Warburton's explanation may, in part at least, be doubted. Ang. What can you vouch against him, signior Lucio? Is this the man that you did tell us of? Lucio. "Tis he, my lord.-Come hither, goodman bald-pate: do you know me ? Duke. I remember you, sir, by the sound of your voice: I met you at the prison, in the absence of the duke. Lucio. Oh! did you so? said of the duke? Duke. Most notedly, sir. And do you remember what you Lucio. Do you so, sir? And was the duke a fleshmonger, a fool, and a coward, as you then reported him to be? Duke. You must, sir, change persons with me, ere you make that my report: you, indeed, spoke so of him; and much more, much worse. Lucio. Oh, thou damnable fellow! Did not I pluck thee by the nose, for thy speeches? Duke. I protest, I love the duke as I love myself. Ang. Hark how the villain would gloze now', after his treasonable abuses. Escal. Such a fellow is not to be talk'd withal:-Away with him to prison.-Where is the provost ?-Away with him to prison. Lay bolts enough upon him, let him speak no more. -Away with those giglots too, and with the other confederate companion. [The Provost lays hand on the Duke. Duke. Stay, sir; stay a while. Ang. What! resists he? Help him, Lucio. Lucio. Come, sir; come, sir; come, sir; foh! sir. Why, you bald-pated, lying rascal! you must be hooded, must you? show your knave's visage, with a pox to you! show your sheep-biting face, and be hang'd an hour, Will't not off? [Pulls off the Friar's hood, and discovers the DUKE'. Duke. Thou art the first knave, that e'er made a duke. Hark how the villain would GLOZE now,] Here we have a small and irresistible emendation from the corr. fo. 1632, viz. “gloze" for close of every edition since the play was first printed. Mr. Singer could not reject "gloze," and could not allege that close was altered to "gloze” in his own amended folio, 1632; but he could avail himself of the improvement of the text in our corr. fo. 1632, merely observing, in his note, that close "must have been a mistake of the old printer." He could not however bring himself to admit where he found the mistake pointed out for the first time, but left his readers to conclude, as they might, that the change of close to “gloze” was prompted by his own unaided sagacity. and discovers the Duke.] "All stand and start" are words here added in the margin of the corr. fo. 1632. The reason for inserting them is obvious, viz. that when the incident occurred on the stage, care should be taken that all the performers expressed due astonishment. First, provost, let me bail these gentle three.— Sneak not away, sir; [To LUCIO.] for the friar and you Lucio. This may prove worse than hanging. Duke. What you have spoke, I pardon; sit you down. We'll borrow place of him :-Sir, by your leave. Hast thou or word, or wit, or impudence, And hold no longer out. Ang. Oh, my dread lord! I should be guiltier than my guiltiness, To think I can be undiscernible, When I perceive your grace, like power divine, Duke. Come hither, Mariana.- Do Ang. I was, my lord. [TO ESCALUS. [TO ANGELO. Duke. Go take her hence, and marry her instantly.— Return him here again.-Go with him, provost. [Exeunt ANGELO, MARIANA, PETER, and Provost. Escal. My lord, I am more amaz'd at his dishonour, Than at the strangeness of it. Come hither, Isabel. Duke. Not changing heart with habit, I am still Isab. Oh! give me pardon, That I, your vassal, have employ'd and pain'd Your unknown sovereignty. Duke. You are pardon'd, Isabel: And now, dear maid, be you as free to us. |
