1.1 The 1611 quarto is divided into acts. Gaines was the first scholar to divide the play into scenes. See Textual Introduction for a discussion of scene divisions in this edition. crares small boats Gaines emends to crayers but the one-syllable crares fits the meter better. The examples in the OED show that both crayer and crare were early modern spellings (OED crayer|crare noun). Aside This aside is marked in Q1 after Diana’s What can you do?. Collier places it in the margin after To bright Diana and her train I’ll stand, perhaps suggesting that this line, with its sexual pun on stand, as well as More than the best here can are spoken as asides. Gaines places the aside before That’s more than I can promise and indicates that Well, proceed and subsequent lines are spoken To them (Gaines 2.6.113). (That’s … proceed. The compositor has wrongly put parentheses around the part of the line that is spoken to Atlanta. Collier and Gaines recognize the error and correct it in their respective ways. Jupiter alone his life defended Jupiter merely defended his own life his Saturn’s He … force Jupiter is the subject here his father Jupiter’s father (i.e., Saturn); Jupiter drove his father from Crete leaving him ceasing to speak of him (i.e., Saturn) father, double tyrannous double tyrannous / To prosecute the virtues of his son is a subordinate clause modifying our unkind father. I have followed Collier’s punctuation instead of Gaines’. fost’ress foster parent jennet horse Specifically a small Spanish horse (OED n.1) riched enriched yet Possibly a compositorial misreading of yt (a common abbreeviation for that) in the manuscript. Both Collier and Gaines retain Q1’s yet. Nay, … lords This dialogic stage direction indicates that Pluto and Neptune have not taken Arcas’s hands. She … strumpet Gaines marks this line as an aside. One might experiment in performance with this moment of strife between Juno and Jupiter. Jupiter hears Juno’s denigration of Callisto. Does Juno hear Jupiter’s resolve woo and win all the beauteous maids on earth? What is happening on stage during this lengthy aside? It was … star The quarto sets each of these three half lines on their own compositorial lines. I have tagged the second and third as a shared verse line, because of the isocolon on She was/shall be a. One might experiment in performance with the rapidity of responses. Does Juno make a speedy rejoinder to Jupiter’s It was before your time? Does she take a moment to formulate her response? snaffle in bridle snaffle is a transitive verb meaning to put a bit on a horse. See OED v1 1. transhapes changes of shape, metamorphoses; see OED trans-shape | transhape, where all three examples come from Heywood. Heywood appears to be the only early modern writer to use transhape as a noun. In addition to OED’s examples from , , and , Heywood uses the term as a noun in . He also accounts for more than half of the uses of transhape as a verb in the EEBO-TCP corpus up to 1640. Transhape is a more common spelling than trans-shape. Argos king king of Argos mure wall novel piece of news (Gaines). beldams an aged woman (OED n.2). Unlike Gaines, we treat this term as a generic noun rather than a proper name. Unsensible of Incapable of being affected by (Gaines). obdur’s obdurate is (i.e., is stubborn) That fort … fail Gaines marks these two lines as an aside. We … behold Gaines marks this concluding couplet as an aside. tow flax. barricadoed barricaded pleasure … All Collier offers a plausible alternative punctuation of this passage. He puts a question mark after pleasure and treats For thy taste and curious palate as the dependent opening clause of All the chiefest cates / Are Fetched to content thee. durance forced confinement record remember, take to heart (Gaines). child give birth to obdur obdurate gem virginity (metaphoric) off Go off, discharge (Gaines). The Clown, punning on the double meaning of charge (responsibility; munition), continues the verbal play with fire and off. sooth to support, or back up, (a person) in a statement or assertion (OED verb 3). The OED cites this line from as an example of this now-obsolete meaning. Gaines unnecessarily emends the spelling to soothe. Now, gold, Jupiter apostrophizes (speaks to) the gold Gaines marks this speech as an aside. 1 Beldam Q, Collier, and Gaines all assign both and to 1 Beldam. However, one of the two speeches might be assigned to another beldam. The speaker of orders one of the other beldams to Keep the peddler company while she shows the peddler’s gift to Danae; the speaker of orders you that have the best legs to run to Danae. Assigning both speeches to the same speaker may open up comic possibilities, with 1 Beldam feigning lameness and staying behind when she recognizes that the peddler has more presents. that that which Exit 2, 3, and 4 Beldam. This edition adds an exit for three of the beldams, on the grounds that each beldam is given one jewel and the subsequent original stage direction has Danae looking upon three several jewels. 1 Beldam remains behind. —Sweet, your ear. The compositor of Q used italics and an opening parenthesis to signal the aside here. 4.6 This edition adds a scene break here. The Q1 stage direction reads The bed is drawne in, and enter the Clowne new wak’t. Both Collier and Gaines split this two-part paratactic stage direction into its two component parts and drop the and. Collier does not provide scene divisions; even though Gaines does provide scene divisions, he does not add one here, even though the stage is technically cleared. Jove … way I follow Gaines in assigning this line to Arcas, on the grounds that it seems unlikely that Jupiter would invoke Jove (i.e., himself) to guide us in our way (Gaines 77n). Trojans Q1’s Troians could equally well be modernized as Troyans, a more common early modern name for the inhabitants of Troy, from whom Londoners imagined themselves to be descended. 5.3 Gaines does not begin a new scene here. I do, on the grounds that this scene is one of the rest and regroup scenes so common in early modern battle sequences. a on