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

Property arbours did exist in elizabethan staging

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actual. Property arbours did exist in Elizabethan staging practice (one is featured on the title page of the 1615 edition of Kyd's Spanish Tragedy; see p. 112). already i.e. immediately; cf. AH 2.2.65: 'I am there before my legs.' There is no SD for the boy's re- entry (and Cam' suggests that he exists merely to let Benedick identify the location in his address to him), although many productions have 50 you] thou F 52 SD] Rowe; exit. Q_ 2.3] Cupe/l 0.1] Enter Benedick and a boy. / Rowe 1.1] Collier 2+ Signor] fSignior,) 204
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Much Ado About Nothing 2.3.19 BENEDICK I know that, but I would have thee hence and here again. Exit [Boy]. I do much wonder that one man, seeing how much another man is a fool when he dedicates his behaviours to love, will, after he hath laughed at such shallow 10 follies in others, become the argument of his own scorn by falling in love. And such a man is Claudio. I have known when there was no music with him but the drum and the fife, and now had he rather hear the tabor and the pipe. I have known when he would have walked 15 ten mile afoot to see a good armour, and now will he lie ten nights awake carving the fashion of a new doublet. He was wont to speak plain and to the purpose, like an honest man and a soldier, and now is he turned successfully had him reappear and attempt to deliver the book to the concealed Benedick while the latter frantically attempts to maintain his concealment. 7 SD Q_ marks this at 5, perhaps so as to avoid inserting a SD in Benedick's long speech, but if this direction is followed Benedick can address himself to the retreating boy, or to no one in particular (as if he were puzzling over the phrase here already). 9-10 dedicates . . . love fashions his actions in the habits of a lover. The notion suggests a set of conventional gestures and attitudes appropriate to a lover; see 3.2.38n. 11 argument subject 12 And . . . Claudio Draper (264) com- ments that Benedick's reading himself 'a lengthy lecture against marriage' is 'quite a needless task for a truly con- firmed bachelor!' 14 drum . . . fife i.e. instruments usually reserved for military music 14-15 tabor . . . pipe The tabor was a small drum, used principally as an 7 SD] Johnson; exit opp. 5 Qj after that 6 Collier accompaniment to the whistle, or pipe, i.e. instruments for dances and love songs (and often played by fools). Cf. R3 1.1.5-8, 24: 'Now are . . . / chang'd . . . / Our dreadful marches to delightful measures . . . in this weak piping time of peace . . . '; and Lyly, Campaspe, 2.2.35-9: 'Is the warlike sou[n]d of drumme and trumpet turned to the soft noyse of lire and lute? The neighing of barbed steeds. . . conuerted to dilicate tunes and amorous glaunces?' {Works, 2.330). Claudio's entrance at 34 with musicians bears out Benedick's criticism. 16 armour i.e. suit of armour 17 carving designing doublet upper part of a man's dress, a close-fitting jacket with detachable sleeves 18-19 like . . . soldier Shakespeare also associates a soldier's speech with a blunt and unornamented style in H5 5.2.148-9: 'I speak to thee plain soldier.' 19-20 turned ortography become the very spirit of an over-polished or 205
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2.3.20 Much Ado About Nothing
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