And here we wander in illusions: Some blessed power deliver us fro Enter a Courtesan Cour. Well met, well met, Master Ant I see, sir, you have found the gold Is that the chain you promised m Ant. S. Satan, avoid! I charge thee, Dro. S. Master, is this Mistress Satan Ant. S. It is the devil. Dro. S. Nay, she is worse, she is the here she comes in the habit of a 1 thereof comes that the wenches s me," that's as much as to say, light wench." It is written, they like angels of light: light is an e fire will burn; ergo, light wenches not near her. Cour. Your man and you are marve Will you go with me? we'll mend 45. SCENE VI. Pope. 53. damn] Capell; a Rowe (ed. 2); as much Ff. 60. me?. me?... here. Steevens (1778); me? . . . there 51. devil's dam] "the devil and his dam" is not uncommon in the earlier plays of Shakespeare, but it occurs as late as Othello (1604), IV. i. 153: "Let the devil and his dam haunt you!" H. Chichester Hart, in his note on the latter passage, says that it was derived from a medieval legend, and he quotes the York Mystery Plays (ed. Toulmin Smith, p. 300): "What pe deuyll and his dame schall I now doo?" (circ. 1400). 52, 55, 57. light] So Portia, in the Merchant of Venice, v. i. 129, 130:"Let me give light, but let me not be light; For a hea The quibb manner. 54. as undoubted remarks i mula Sha omits the sometimes after the Two Gen [308]; Mu iii. [269], a 60. men additional Dro. S. Master, if you do, expect spoon-meat; or bespeak a long spoon. Ant. S. Why, Dromio? Dro. S. Marry, he must have a long spoon that must eat with the devil. 65 Ant. S. Avoid, thou fiend! what tell'st thou me of sup ping? Thou art, as you are all, a sorceress : I conjure thee to leave me, and be gone. Cour. Give me the ring of mine you had at dinner, a pin, a nut, a cherry-stone; 70 61. if you do, expect] Ff 2, 3, 4; if do expect F 1; if you do expect Rowe. if... bespeak] if you do, or expect spoon-meat, bespeak Collier (ed. 2). or] omitted by Rowe; so Capell; Either stay away, or Malone conj.; and Grant White, ed. 1 (Ritson conj.). 66. thou] F 4; then Ff 1, 2, 3; thee Dyce. 67. are all] all are Boswell. 72-77. Printed as prose by Ff; as verse by Capell, ending the third line at covetous. line 73 with a kiss, and begin line 74 with A coll, Editor. 73, 74. End probably refers to Marlowe's Faustus, and his signature of the bond in his own blood. 74. The Folio is here at fault. Steevens aptly refers to Middleton's Witch [(? 1604), III. iii. 50; Bullen, v. 417 (1885)]: "There's one come downe to fetch his dues, A kisse, a coll, a sip of blood," etc. See also ib. I. ii. 25: "Dance, kiss and coll, use everything.' On the ground that Middleton may have taken them from his recollection of The Errors, I think the words kiss and coll should be included in the text-until something better is pro Cour. Now, out of doubt, Antipholus Else would he never so demean A ring he hath of mine worth for And for the same he promised m Both one and other he denies me The reason that I gather he is m Besides this present instance of Is a mad tale he told to-day at d Of his own doors being shut aga Belike, his wife, acquainted with On purpose shut the doors again My way is now, to hie home to h And tell his wife that, being luna He rush'd into my house, and to 76. an] Theobald; and Ff. 79. so] Hann .] Exeunt Dromio, and Antiphilis Capell; 82. SCENE VII. Pope. go. doors] door Johnso posed. Shakespeare, I think, does not use coll meaning embrace, etc., elsewhere. But he may have found the collocation in Erasmus, Praise of Folly, 1549, sig. B, 2 (quoted by Nares, s.v.): "For els, what is it in young babes, that we do kysse so, do colle so." 81. "Fly pride"] Craig refers to Harsnet's Declaration of Popish Im postures asked m part fro cock." rebuke t master cheat, 83. d My ring away. This course I fittest choose; SCENE IV.-A Street. Enter ANTIPHOLUS of Ephesus and the Officer. Ant. E. Fear me not, man; I will not break away: I'll give thee, ere I leave thee, so much money, I tell you, 'twill sound harshly in her ears. Enter DROMIO of Ephesus with a rope's end. Dro. E. Why, sir, I gave the money for the rope. Scene IV. SCENE IV.] Capell; SCENE VIII. Pope. Enter . . [Exit. ΙΟ 15 and the Officer] Capell; 3. 'rested] Hanmer; rested Ff. 5, 6. messenger. That Ephesus,] Rowe; Messenger, That 14. I'll serve certainly has little mouth of Dromio E. rate] This line meaning in the The Cambridge Editors somewhat ingeniously suggest that it should be assigned to the officer. Dro. E. To a rope's end, sir; and to t Dro. E. Nay, 'tis for me to be patient Ant. E. Thou art sensible in nothing Dro. E. I am an ass, indeed; you ma long ears. I have served him from nativity to this instant, and hav hands for my service but blows. he heats me with beating; when cools me with beating; I am wal I sleep; raised with it, when I s doors with it, when I go from 1 home with it, when I return; nay shoulders, as a beggar wont her b when he hath lamed me, I shall door to door. Ant. E. Come, go along; my wife is 17. [Beating him] Capell; Beats Dro. Pope; now] Good, now Dyce. 20. Good now] The phrase also occurs in Troilus and Cressida, III. i. 122; Hamlet, I. i. 70; Antony and Cleopatra, 1. ii. 25, 1. iii. 78; and Winter's Tale, v. i. 19. 25. sensible] perhaps with a quibble on the sense of "sensitive." 39. Pinch] The stage-direction of the Folio Pinch," is Staple o "Censure than I, I school-ma a cunning is, a conj |