Mucedorus Q3: Collation Mucd Q3: Collation Collator Sofia Spiteri Supervising Editor Janelle Jenstad Copyright Holder (Content) Sofia Spiteri Copyright Holder (XML and interface) University of Victoria Code Review LEMDO Team LEMDO Website

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 Social Sciences and Humanities Research Council of Canada Valerie Kuehne Undergraduate Research Awards, University of Victoria

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 Mucedorus Q1 (1598) Mucedorus Q2 (1606) Mucedorus Q3 (1610) Mucedorus Q4 (1611) Mucedorus Q5 (1613) Mucedorus Q6 (1615) Mucedorus Q7 (1618) Mucedorus Q8 (1619) Mucedorus Q9 (1621) Mucedorus Q10 (1626) Mucedorus Q11 Mucedorus Q12 (1631) Mucedorus Q13 (1634) Mucedorus Q14 (1639) Mucedorus Q15 Mucedorus Q16 (1663) Mucedorus Q17 (1668) Tyrrell, Henry. Mucedorus. The Doubtful Plays of William Shakespeare. London and New York: John Tallis, 1853 . 350–372. 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, Karl and Proescholdt, Ludwig, eds. Mucedorus. Pseudo-Shakespearian Plays. Halle (Saale): Max Niemeyer, 1878. Hopkinson, A.F., ed. Mucedorus. Shakespeare’s Doubtful Plays. London, M.E. Sims, 1893. Tucker Brooke, C.F. Mucedorus. The Shakespeare Apocrypha. Oxford: Clarendon Press, 1908; rpt. 1929. 103–126. 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, James, ed. Mucedorus, in Three Elizabethan Plays. London, Chatto and Windus, 1959, 14–16, 105–153. 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, Arvin H. A Contextual Study and Modern-Spelling Edition of <title level="m">Mucedorus. New York: Garland, 1987. The Renaissance Imagination 29. 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, Jonathan and Eric Rasmussen. Mucedorus. William Shakespeare and Others: Collaborative Plays. Palgrave Macmillan, 2013. 503–550. WSB aaac460. This edition, edited by Sofia Spiteri.

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 Document Types All documents in LEMDO are either born-digital documents or primary documents. Within those two general categories, LEMDO offers additional ways to categorize a file. Born-digital Born-digital documents are anything other than primary texts Apparatus Collation files. Responsibilities Responsibilities Supervising Editor An editor who supervises the work of a student editor. Peer Reviewer LEMDO uses the term peer reviewer for a person who reviews a transcription, critical materials, dataset, and/or some or all components of an edition. Copyright Holder A person or organization to whom copy and legal rights have been granted or transferred for the intellectual content of a work. The copyright holder, although not necessarily the creator of the work, usually has the exclusive right to benefit financially from the sale and use of the work to which the associated copyright protection applies. Normally the editor is the copyright holder for an LEMDO edition. Collator A person who compiles the vertical collations for a text. font-style: italic; Fixing everything Licensed for Classroom anthology. Checked metadata. Added edition statement. Changed status to draft. Began creating collations. Created file. Janelle Jenstad 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

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.

 LEMDO Team 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 https://www.uvic.ca/ University of Victoria Libraries https://library.uvic.ca England—nay, the world—admires, England; nay, the World admires: both as one bench both at one bench, throne place Exit. Exit Prologue. joyfully, ioyfull Why so? Why so; Who so; Why so, Why so: Why so Why so! Why, so! Why, so; come coms gentles; gentiles Gentles, silver-tunèd siluer tuned silver tun’d silver-tuned silver tunèd What, all on mirth? What al on mirth; What, all on mirth, What all on mirth? What, al on mirth! stifle stiffe still deeds name Danish danes dankish (emended from Collier) Sound drums within and cry, Stab! Stab! Sound drumes within and crie stab stab. A sound of Drums within, and cries of Stab, stab. Drums within and a cry, ’Stab, stab!’ Sound drums within, and cry, Stab, stab! Sound Drums within, and cry stab, stab. the gods Gods the cries of many thousands the cries of many thousand the cry of many thousand This sport alone for me? thi’s sport alone for me. ’tis sport alone for me. ’t is sport alone for me! This port alone for me! this sport alone for me! seek to quail quaile Delighting in mirth, Delights in mirth, Thou bloody, envious disdainer Thou bloodie, Enuious, disdainer Thou bloodie, enuious; disdayner Thou bloody envious disdainer Thou bloody, envious ’sdainer Thou, bloodie, Enuious, disdainer Thou, bloody, envious disdainer joys, ioye, I humbly crave thee hence, I humbly crave thee, hence! I humbly crave thee; hence, ’mongst amongst human humaine humane forbearance forbeare This will I do! This will I doe, This will I do; This will I doe? This will I doe: Thus will I doe: brave praue prove trade tread two monsters, to monsters, Exeunt. Exit. Exit with Comedy. Exit Comedy and Envy. Anselmo! Anselmo. Anselmo? True my Anselmo, both thy Lord and friend, 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. Anselmo Q7 collapses Mucedorus’ previous speech into a longer speech for Anselmo. It also removes Anselmo’s speech prefix here. ne’er near But, my Anselmo… say, / I must… friendship. But, my Anselmo… friendship. In the quartos, these lines are set as one long prose line. Hazlitt is the first editor to properly lineate them as verse. mountebank? Mountebancke. mountebank! Enter Anselmo with a shepherd’s coat. Re-enter Anselmo with a Shepherd’s coat. Re-enter Anselmo with a shepherd’s coat, which he gives to Mucedorus. Anselmo returns with the disguise. Exit. Exit Mucedorus. wish’s wishes wishes’ on her, on him, to him to her Away I say, Away, I say Reason, some reason, soon your spare save it he any any, A Ah neuer, is my never it is Amadine. Amadine? so. no. no. so. we heere a Shepheard standes, a second here, sees saies Thou sot, Then (Sot) deare Oh impudent; a Shepheard, and so insolent? Oh impudent, a shepheard and so insolent. Oh impudent! A Shepherd and so insolent. we he pastimes, you pastimes you combining combined heart head Fiend, friend, your our desertfull deceitful Yon splendant Maiestie hath feld my sting, sir? sirrah? sir, sirrah; sir, to sirrah, cald? call’d; so of Why What’s that same King, What is that King, doubts; doubts, doubts: thinke have Sire; Sir, Golden treasures: golden tresuries, gold and treasures: and if sight-fort; sight for’t, Least Lest praue braue prove lieue live you? you. A Shepheard (Lady) A Shepherd, Ladie! desgusseth disguiseth discloseth Let the musicke cease Musick ceaseth 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. Muc. In Q16, this speech is attributed to Anselmo as a continuation of his previous speech. True my Anselmo, both thy Lord and friend Ans. Because Q16 attributes the previous lines of speech to Anselmo as well, his speaker tag on this line is omitted.