Edition: MucedorusMucedorus Q3: Collation

Witnesses

[Q1]: Mucedorus Q1 (1598)
[Q2]: Mucedorus Q2 (1606)
[Q3]: Mucedorus Q3 (1610)
[Q4]: Mucedorus Q4 (1611)
[Q5]: Mucedorus Q5 (1613)
[Q6]: Mucedorus Q6 (1615)
[Q7]: Mucedorus Q7 (1618)
[Q8]: Mucedorus Q8 (1619)
[Q9]: Mucedorus Q9 (1621)
[Q10]: Mucedorus Q10 (1626)
[Q11]: Mucedorus Q11
[Q12]: Mucedorus Q12 (1631)
[Q13]: Mucedorus Q13 (1634)
[Q14]: Mucedorus Q14 (1639)
[Q15]: Mucedorus Q15
[Q16]: Mucedorus Q16 (1663)
[Q17]: Mucedorus Q17 (1668)
[Tyrrell]:
Tyrrell, Henry. Mucedorus. The Doubtful Plays of William Shakespeare. London and New York: John Tallis, 1853 . 350–372.
[Hazlitt]:
Hazlitt, W. Carew. Mucedorus. A Select Collection of Old English Plays. Originally Published by Robert Dodsley in the Year 1744. 4th ed. Vol. 7. London: Reeves and Turner, 1874.
[Warnke and Proescholdt]:
Warnke, Karl and Proescholdt, Ludwig, eds. Mucedorus. Pseudo-Shakespearian Plays. Halle (Saale): Max Niemeyer, 1878.
[Hopkinson]:
Hopkinson, A.F., ed. Mucedorus. Shakespeare’s Doubtful Plays. London, M.E. Sims, 1893.
[Tucker Brooke]:
Tucker Brooke, C.F. Mucedorus. The Shakespeare Apocrypha. Oxford: Clarendon Press, 1908; rpt. 1929. 103–126.
[Baskervill]:
Baskervill, Charles Read, Virgil B. Heltzel, and Arthur H. Nethercot. Mucedorus. Elizabethan and Stuart Plays. New York: Henry Holt, 1934; rpt. 1957. 525–552.
[Winny]:
Winny, James, ed. Mucedorus, in Three Elizabethan Plays. London, Chatto and Windus, 1959, 14–16, 105–153.
[Fraser]:
Fraser, Russell A. and Norman Rabkin. Mucedorus. Drama of the English Renaissance I: The Tudor Period. Vol. 1. New York: Macmillan, 1976. 463–480.
[Jupin]:
Jupin, Arvin H. A Contextual Study and Modern-Spelling Edition of Mucedorus . New York: Garland, 1987. The Renaissance Imagination 29.
[Goss]:
Goss, David A., ed. A Most Pleasant Comedy Of Mucedorus, A thesis submitted to the Faculty of the Graduate School of the State University of New York at Buffalo. New York: University at Buffalo, 2009.
[Bate]:
Bate, Jonathan and Eric Rasmussen. Mucedorus. William Shakespeare and Others: Collaborative Plays. London, UK: Palgrave Macmillan, 2013. 503–550. WSB aaac460.
[This edition]: This edition, edited by Sofia Spiteri.
Adopted reading (This edition):
England—nay, the world—admires,
Q3:
England; nay, the World admires:
Go to this point in the text
Adopted reading (Q3):
both as one bench
Hazlitt:
both at one bench,
Go to this point in the text
Adopted reading (Q3):
throne
Q16:
place
Go to this point in the text
Adopted reading (Q3):
Exit.
Hazlitt:
Exit Prologue.
Go to this point in the text
Adopted reading (Q3):
joyfully,
Q1:
ioyfull
Go to this point in the text
Adopted reading (Q1):
Why so?
Q2, Q7, Hazlitt:
Why so;
Q5:
Who so;
Q8, Q12:
Why so,
Q11:
Why so:
Q15:
Why so
Tucker Brooke:
Why so!
Baskervill:
Why, so!
Fraser:
Why, so;
Go to this point in the text
Adopted reading (Q8):
come
Q1:
coms
Go to this point in the text
Adopted reading (Hazlitt):
gentles;
Q1, Q11:
gentiles
Q2:
Gentles,
Go to this point in the text
Adopted reading (Hazlitt):
silver-tunèd
Q16:
siluer tuned
Tyrrell:
silver tun’d
Warnke and Proescholdt:
silver-tuned
Bate:
silver tunèd
Go to this point in the text
Adopted reading (Q2, Q4, Hazlitt):
What, all on mirth?
Q1:
What al on mirth;
Q3:
What, all on mirth,
Q11, Bate:
What all on mirth?
Tucker Brooke:
What, al on mirth!
Go to this point in the text
Adopted reading (Q1, Q5, Baskervill):
stifle
Q13:
stiffe
Q12:
still
Go to this point in the text
Adopted reading (Q1):
deeds
Q6:
name
Go to this point in the text
Adopted reading (Q2, Hazlitt):
Danish
Q1:
danes
Warnke and Proescholdt:
dankish (emended from Collier)
Go to this point in the text
Adopted reading (Tucker Brooke):
Sound drums within and cry, “Stab! Stab!”
Q1:
Sound drumes within and crie stab stab.
Tyrrell:
A sound of Drums within, and cries of “Stab,” “stab.”
Winny:
Drums within and a cry, ’Stab, stab!’
Hopkinson:
Sound drums within, and cry, “Stab, stab!”
Goss:
Sound Drums within, and cry “stab, stab.”
Go to this point in the text
Adopted reading (Q1, Q7, Baskervill):
the gods
Q3:
Gods
Go to this point in the text
Adopted reading (Q6, Warnke and Proescholdt):
the cries of many thousands
Q1:
the cries of many thousand
Hazlitt:
the cry of many thousand
Go to this point in the text
Adopted reading (Q1):
This sport alone for me?
Q3:
thi’s sport alone for me.
Q7:
’tis sport alone for me.
Warnke and Proescholdt:
’t is sport alone for me!
Winny:
This port alone for me!
Hazlitt:
this sport alone for me!
Go to this point in the text
Adopted reading (Q1):
seek to quail
Q3:
quaile
Go to this point in the text
Adopted reading (Q1):
Delighting in mirth,
Warnke and Proescholdt:
Delights in mirth,
Go to this point in the text
Adopted reading (Hopkinson):
Thou bloody, envious disdainer
Q1, Q8:
Thou bloodie, Enuious, disdainer
Q4:
Thou bloodie, enuious; disdayner
Hazlitt:
Thou bloody envious disdainer
Warnke and Proescholdt:
Thou bloody, envious ’sdainer
Tucker Brooke:
Thou, bloodie, Enuious, disdainer
Baskervill:
Thou, bloody, envious disdainer
Go to this point in the text
Adopted reading (Q3, Hazlitt):
joys,
Q1:
ioye,
Go to this point in the text
Adopted reading (Q1):
I humbly crave thee hence,
Hazlitt:
I humbly crave thee, hence!
Baskervill:
I humbly crave thee; hence,
Go to this point in the text
Adopted reading (Q3, Hazlitt):
’mongst
Q1:
amongst
Go to this point in the text
Adopted reading (Q17, Hazlitt):
human
Q1:
humaine
Q6:
humane
Go to this point in the text
Adopted reading (Q1, Q7, Baskervill):
forbearance
Q3:
forbeare
Go to this point in the text
Adopted reading (Bate):
This will I do!
Q1:
This will I doe,
Q2, Hazlitt:
This will I do;
Q3:
This will I doe?
Q4:
This will I doe:
Q10:
Thus will I doe:
Go to this point in the text
Adopted reading (Q1, Bate):
brave
Q3:
praue
Q7:
prove
Go to this point in the text
Adopted reading (Q2):
trade
Q1:
tread
Go to this point in the text
Adopted reading (Q2, Hazlitt):
two monsters,
Q1, Baskervill:
to monsters,
Go to this point in the text
Adopted reading (Tyrrell):
Exeunt.
Q1:
Exit.
Baskervill:
Exit with Comedy.
Goss:
Exit Comedy and Envy.
Go to this point in the text
Adopted reading (Warnke and Proescholdt):
Anselmo!
Q3:
Anselmo.
Q4, Bate:
Anselmo?
Go to this point in the text
Adopted reading (Q3):
True my Anselmo, both thy Lord and friend,
Q5:
Go to this point in the text
Q5 removes the first line of this speech (including the speech prefix for Mucedorus) and attributes the rest to Anselmo. Anselmo’s subsequent speech prefix from Q3 is retained, however, suggesting that the modification was likely done in error. The following quartos retain the adjustment from Q5. By Q7, the final two lines of Mucedorus’ speech have been incorporated into one longer speech for Anselmo.
Adopted reading (Q3):
Anselmo
Q7:
Go to this point in the text
Q7 collapses Mucedorus’ previous speech into a longer speech for Anselmo. It also removes Anselmo’s speech prefix here.
Adopted reading (Tyrrell):
ne’er
Q3:
near
Go to this point in the text
Adopted reading (Hazlitt):
But, my Anselmo… say, / I must… friendship.
Q3:
But, my Anselmo… friendship.
Go to this point in the text
In the quartos, these lines are set as one long prose line. Hazlitt is the first editor to properly lineate them as verse.
Adopted reading (Tucker Brooke):
mountebank?
Q3:
Mountebancke.
Hazlitt:
mountebank!
Go to this point in the text
Adopted reading (Q3):
Enter Anselmo with a shepherd’s coat.
Tyrrell:
Re-enter Anselmo with a Shepherd’s coat.
Hazlitt:
Re-enter Anselmo with a shepherd’s coat, which he gives to Mucedorus.
Winny:
Anselmo returns with the disguise.
Go to this point in the text
Adopted reading (This edition):
Exit.
Q3:
Exit Mucedorus.
Go to this point in the text
Adopted reading (Tyrrell):
wish’s
Q3:
wishes
Hazlitt:
wishes’
Go to this point in the text
Adopted reading ():
on her,
Q3:
on him,
Q5:
to him
Q7:
to her
Go to this point in the text
Adopted reading (Q3):
Away I say,
Q16:
Away, I say
Go to this point in the text
Adopted reading (Q3):
Reason, some
Q16:
reason, soon
Go to this point in the text
Adopted reading (Q3, Q1):
your
Q16:
Go to this point in the text
Adopted reading (Q3):
spare
Q16:
save
Go to this point in the text
Adopted reading (Q3):
it
Q16:
he
Go to this point in the text
Adopted reading (Q3, Q1):
any
Q16:
any,
Go to this point in the text
Adopted reading (Q3):
A
Q16, Q1:
Ah
Go to this point in the text
Adopted reading (Q3):
neuer, is my
Q16:
never it is
Go to this point in the text
Adopted reading (Q3, Q1):
Amadine.
Q16:
Amadine?
Go to this point in the text
Adopted reading (Q3, Q1):
so.
Q16:
no.
Go to this point in the text
Adopted reading (Q3):
no.
Q16:
so.
Go to this point in the text
Adopted reading (Q3):
we
Q16:
Go to this point in the text
Adopted reading (Q3):
heere a Shepheard standes,
Q16:
a second here,
Go to this point in the text
Adopted reading (Q3):
sees
Q16:
saies
Go to this point in the text
Adopted reading (Q3, Q1):
Thou sot,
Q16:
Then (Sot)
Go to this point in the text
Adopted reading (Q3):
deare
Q16:
Go to this point in the text
Adopted reading (Q3):
Oh impudent; a Shepheard, and so insolent?
Q1:
Oh impudent, a shepheard and so insolent.
Q16:
Oh impudent! A Shepherd and so insolent.
Go to this point in the text
Adopted reading (Q3, Q1):
we
Q16:
he
Go to this point in the text
Adopted reading (Q3):
pastimes, you
Q16, Q1:
pastimes you
Go to this point in the text
Adopted reading (Q3):
combining
Q16:
combined
Go to this point in the text
Adopted reading (Q3, Q1):
heart
Q16:
head
Go to this point in the text
Adopted reading (Q3):
Fiend,
Q16:
friend,
Go to this point in the text
Adopted reading (Q3):
your
Q16:
our
Go to this point in the text
Adopted reading (Q3):
desertfull
Q16:
deceitful
Go to this point in the text
Adopted reading (Q3):
Yon splendant Maiestie hath feld my sting,
Q16:
Go to this point in the text
Adopted reading (Q3):
sir?
Q16:
sirrah?
Go to this point in the text
Adopted reading (Q3):
sir,
Q16:
sirrah;
Go to this point in the text
Adopted reading (Q3):
sir,
Q16:
to sirrah,
Go to this point in the text
Adopted reading (Q3):
cald?
Q16:
call’d;
Go to this point in the text
Adopted reading (Q3, Q1):
so
Q16:
of
Go to this point in the text
Adopted reading (Q3):
Why
Q16:
Go to this point in the text
Adopted reading (Q3):
What’s that same King,
Q16:
What is that King,
Go to this point in the text
Adopted reading (Q3):
doubts;
Q1:
doubts,
Q16:
doubts:
Go to this point in the text
Adopted reading (Q3, Q1):
thinke
Q16:
have
Go to this point in the text
Adopted reading (Q3):
Sire;
Q16:
Sir,
Go to this point in the text
Adopted reading (Q3):
Golden treasures:
Q1:
golden tresuries,
Q16:
gold and treasures:
Go to this point in the text
Adopted reading (Q3, Q1):
and
Q16:
if
Go to this point in the text
Adopted reading (Q3):
sight-fort;
Q16:
sight for’t,
Go to this point in the text
Adopted reading (Q3, Q1):
Least
Q16:
Lest
Go to this point in the text
Adopted reading (Q3):
praue
Q1:
braue
Q16:
prove
Go to this point in the text
Adopted reading (Q3):
lieue
Q16, Q1:
live
Go to this point in the text
Adopted reading (Q3):
you?
Q16:
you.
Go to this point in the text
Adopted reading (Q3):
A Shepheard (Lady)
Q16:
A Shepherd, Ladie!
Go to this point in the text
Adopted reading (Q3):
desgusseth
:
disguiseth
Q16:
discloseth
Go to this point in the text
Adopted reading (Q3):
Let the musicke cease
Q16:
Musick ceaseth
Go to this point in the text
In Q16, this stage direction is placed to the right with a curly bracket next to it. The word Musick appears next to the final line of the King’s speech, while ceaseth appears next to the first line of Roderigo’s speech.
Adopted reading (Q3):
Muc.
Q16:
Go to this point in the text
In Q16, this speech is attributed to Anselmo as a continuation of his previous speech.
Adopted reading (Q3):
True my Anselmo, both thy Lord and friend
Q16:
Go to this point in the text
Adopted reading (Q3):
Ans.
Q16:
Go to this point in the text
Because Q16 attributes the previous lines of speech to Anselmo as well, his speaker tag on this line is omitted.

Prosopography

Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

Sofia Spiteri

Sofia Spiteri is currently completing her Bachelor of Arts in History at the University of Victoria. During the summer of 2023, she had the opportunity to work with LEMDO as a recipient of the Valerie Kuehne Undergraduate Research Award (VKURA). Her work with LEMDO primarily includes semi-diplomatic transcriptions for The Winter’s Tale and Mucedorus.

Orgography

LEMDO Team (LEMD1)

The LEMDO Team is based at the University of Victoria and normally comprises the project director, the lead developer, project manager, junior developers(s), remediators, encoders, and remediating editors.

University of Victoria (UVIC1)

https://www.uvic.ca/

University of Victoria Libraries (UVIC2)

https://library.uvic.ca

Witnesses

Baskervill, Charles Read, Virgil B. Heltzel, and Arthur H. Nethercot. Mucedorus. Elizabethan and Stuart Plays. New York: Henry Holt, 1934; rpt. 1957. 525–552.
Bate, Jonathan and Eric Rasmussen. Mucedorus. William Shakespeare and Others: Collaborative Plays. London, UK: Palgrave Macmillan, 2013. 503–550. WSB aaac460.
Fraser, Russell A. and Norman Rabkin. Mucedorus. Drama of the English Renaissance I: The Tudor Period. Vol. 1. New York: Macmillan, 1976. 463–480.
Goss, David A., ed. A Most Pleasant Comedy Of Mucedorus, A thesis submitted to the Faculty of the Graduate School of the State University of New York at Buffalo. New York: University at Buffalo, 2009.
Hazlitt, W. Carew. Mucedorus. A Select Collection of Old English Plays. Originally Published by Robert Dodsley in the Year 1744. 4th ed. Vol. 7. London: Reeves and Turner, 1874.
Hopkinson, A.F., ed. Mucedorus. Shakespeare’s Doubtful Plays. London, M.E. Sims, 1893.
Jupin, Arvin H. A Contextual Study and Modern-Spelling Edition of Mucedorus . New York: Garland, 1987. The Renaissance Imagination 29.
Mucedorus Q1 (1598)
Mucedorus Q10 (1626)
Mucedorus Q11
Mucedorus Q12 (1631)
Mucedorus Q13 (1634)
Mucedorus Q14 (1639)
Mucedorus Q15
Mucedorus Q16 (1663)
Mucedorus Q17 (1668)
Mucedorus Q2 (1606)
Mucedorus Q3 (1610)
Mucedorus Q4 (1611)
Mucedorus Q5 (1613)
Mucedorus Q6 (1615)
Mucedorus Q7 (1618)
Mucedorus Q8 (1619)
Mucedorus Q9 (1621)
This edition, edited by Sofia Spiteri.
Tucker Brooke, C.F. Mucedorus. The Shakespeare Apocrypha. Oxford: Clarendon Press, 1908; rpt. 1929. 103–126.
Tyrrell, Henry. Mucedorus. The Doubtful Plays of William Shakespeare. London and New York: John Tallis, 1853 . 350–372.
Warnke, Karl and Proescholdt, Ludwig, eds. Mucedorus. Pseudo-Shakespearian Plays. Halle (Saale): Max Niemeyer, 1878.
Winny, James, ed. Mucedorus, in Three Elizabethan Plays. London, Chatto and Windus, 1959, 14–16, 105–153.

Metadata

Authority title Mucedorus Q3: Collation
Type of text Apparatus
Publisher Published by the University of Victoria on the LEMDO Platform
Series
Source
Editorial declaration
Edition Released with LEMDO Classroom 0.2.1
Sponsor(s)

LEMDO Website

LEMDO’s own website, published at lemdo.uvic.ca, is generated using the same technology that builds all the anthologies.
Encoding description
Document status draft
Funder(s) Social Sciences and Humanities Research Council of Canada
Valerie Kuehne Undergraduate Research Awards, University of Victoria
License/availability
Intellectual copyright in this file is held by the author, Sofia Spiteri and licensed for reuse under a CC BY-NC-SA 4.0 license. This file is freely downloadable without permission under the following conditions: (1) credit must be given to Sofia Spiteria and LEMDO in any subsequent use of the files and/or data; (2) derivatives must be shared under the same CC BY-NC-SA 4.0 license; and (3) commercial uses are not permitted without the knowledge and consent of the Sofia Spiteria and LEMDO.