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

92 94 sp balthasar this edi tion follows theobald in

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, 92, 94 SP *BALTHASAR This edi- tion follows Theobald in assigning these speeches to Balthasar, in keep- ing with OJs assignment at 97 and 100, and on the grounds of sym- metry ('so that every man talks with his woman once round', Furness). By the same logic, some productions part- ner Margaret with her friend Borachio (using Balthasar as a musician), and yet other editors, and productions, have posited, in keeping with OJs assignments, that Margaret switch- es partners (i.e. Balthasar cuts in on Benedick at 97). Dyce asked 'is not the effect of the scene considerably weak- ened if Benedick enters into conver- sation with any other woman except Beatrice?' (Dyce, Notes, 42); how- ever, an exchange between Margaret and Benedick here could prepare for their flirtatious exchange in 5.2. Capell hypothesized that the women are also masked, and that 'Benedick, who is in search of Beatrice, lights upon Margaret; a sharp one, her voice, suit- ing her sharpness; this voice (which she raises) betrays her to Benedick, who quits her smartly and hastily, a manner resented slightly by Margaret, who expressed it in her prayer' (Capell, Notes, 2.12). Pamela Mason suggests that 'If Benedick is allowed to speak these lines to Margaret it shows a Benedick aware of his attraction to women and following his superior's lead in not respecting established alli- ances' (Mason, 247). Compositor error or typographical necessity has also been adduced for the change in SPs in the early texts. 93 aloud Religious enthusiasts were known for their vocal declamation of prayers. 99 Answer i.e. say 'amen' clerk respondent in a liturgy 88 SD They move aside] Capell (Drawing her aside) Balthasar . . . forward] Folg 2 (Benedic Margaret move forward) 89, 92, 94 SP] Theobald; Bene. Qj Borachio Cam' 184
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Much Ado About Nothing 2.1.119 BALTHASAR No more words; the clerk is answered. [They 100 move aside; Ursula and Antonio come forward.] URSULA I know you well enough; you are Signor Antonio. ANTONIO At a word, I am not. URSULA I know you by the waggling of your head. ANTONIO To tell you true, I counterfeit him. 105 URSULA You could never do him so ill-well, unless you were the very man. Here's his dry hand up and down. You are he, you are he! ANTONIO At a word, I am not. URSULA Come, come, do you think I do not know you by 110 your excellent wit? Can virtue hide itself? Go to, mum; you are he; graces will appear, and there's an end. [They move aside; Benedick and Beatrice come forward.] BEATRICE Will you not tell me who told you so? BENEDICK No, you shall pardon me. BEATRICE Nor will you not tell me who you are? 115 BENEDICK Not now. BEATRICE That I was disdainful, and that I had my good wit out of The Hundred Merry Talesl Well, this was Signor Benedick that said so. 100 the . . . answered i.e. I get the mes- 107 up and down exactly, all over; cf. sage Tit 5.2.107: 'up and down she doth 103 At in (the word being not) resemble thee'.
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