Shakespeare, W - Much Ado About Nothing (Arden, 2006).pdf

Music and dancing begin instance is a deformed

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Music and dancing begin]. instance) is a 'Deformed creature, on a filthy swyne, / His belly was up-blowne with luxury' (FQ, 1.4.21.2-3). The penitent's weak legs would presumably indicate the feebleness of old age (and by extension his ward's reluctance to repent or weakness of spirit), or, alter- natively, his propensity for kneeling. 71 apprehend perceive passing shrewdly very satirically 72 church usually the most conspicuous structure in a town; Beatrice's claim to the ability to see what is patently obvious contrasts with imagery elsewhere in the play in which vision is considered as a malleable and socially conditioned quantity, e.g. 2.3.21-2, 'May I be so converted and see with these eyes?'; 3.4.84, 'methinks you look with your eyes as other women do'; 3.2.107-8, 'If you dare not trust that you see, confess not that you know'; 2.1.163-5, 'Let every eye negotiate for itself, / And trust no agent; for Beauty is a witch / Against whose charms faith melteth into blood.' The phrase could also mean that she sees a wedding in the near future (cf. AYL 2.7.52). 75 Make good room stand aside; clear the space. Antonio is one of the masquers, so this provides an opportunity for him to either step aside and put on a visor (as the SD indicates), or (as some editions choose) to exit and re-enter masked. 75 SD It seems according to the SD and Renaissance convention that only the men mask (unless they are already masked; cf. 5.4), and perhaps only those (plus Claudio) who participate in the dance, although most productions mask both sexes. Leonato, as host, may remain unmasked (cf. RJf 1.5 or H8 1.4), as well as Don John and his associates, Don John being professedly hostile to social amusements. The dance has often served in productions as an occasion for great spectacle (Cox, Shakespeare, 113). 75.2-3 Margaret and Ursula are given no entry to this scene in Q. Rowe introduced them at the opening, but since they have no speaking parts until the dance they might equally enter here (particularly to maintain the pretence that Ursula is meant not to know Antonio's identity); see Wells, 'Foul-paper', 6. 74 SD] Oxf' 75 SD] this edn; Exit Antonio. Cam 2 ; Leonato and his company mask. I Capell; He signals the others to disperse and don masks Oxf 1 75.1 DON] Rowe; prince, Pedro Q 75.2 masked, with a Drum] F (Maskers with a Drum) 75.2-3 MARGARET and URSULA] this edn (Wells) 75.3 and DON JOHN] Capell (and Don John;,- or dumb Iohn £> BORACHIO] Capell and others] Rowe 75.4 Music . . . begin] Cam 2 (The dance begins) 182
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Much Ado About Nothing 2.1.87 DON PEDRO [to Hero] Lady, will you walk a bout with your friend? HERO So you walk softly, and look sweetly, and say nothing, I am yours for the walk; and especially when I walk away. DON PEDRO With me in your company? HERO I may say so, when I please. DON PEDRO And when please you to say so? HERO When I like your favour - for God defend the lute should be like the case!
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