Much Ado About Nothing - The Folger SHAKESPEARE

1 FrontMatterFrom the Director of the Folger ShakespeareLibraryTextual IntroductionSynopsisCharacters in the PlayACT 1 Scene 1 Scene 2 Scene 3 ACT 2 Scene 1 Scene 2 Folger SHAKESPEARE 3 ACT 3 Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 ACT 4 Scene 1 Scene 2 ACT 5 Scene 1 Scene 2 Scene 3 Scene 4It is hard to imagine a world without SHAKESPEARE . Since theircomposition four hundred years ago, SHAKESPEARE s plays and poemshave traveled the globe, inviting those who see and read his works tomake them their of the New Folger Editions are part of this ongoing processof taking up SHAKESPEARE , finding our own thoughts and feelings inlanguage that strikes us as old or unusual and, for that very reason,new. We still struggle to keep up with a writer who could think a milea minute, whose words paint pictures that shift like clouds. Theseexpertly edited texts are presented to the public as a resource forstudy, artistic adaptation, and enjoyment.

2 By making the classic textsof the New Folger Editions available in electronic form as The FolgerShakespeare (formerly Folger Digital Texts), we place a trustedresource in the hands of anyone who wants New Folger Editions of SHAKESPEARE s plays, which are the basisfor the texts realized here in digital form, are special because of theirorigin. The Folger SHAKESPEARE Library in Washington, DC, is thesingle greatest documentary source of SHAKESPEARE s works. Anunparalleled collection of early modern books, manuscripts, andFrom the Director of the Folger ShakespeareLibraryMichael WitmoreDirector, Folger SHAKESPEARE Libraryartwork connected to SHAKESPEARE , the Folger s holdings have beenconsulted extensively in the preparation of these texts. The Editionsalso reflect the expertise gained through the regular performance ofShakespeare s works in the Folger s Elizabethan want to express my deep thanks to editors Barbara Mowat and PaulWerstine for creating these indispensable editions of SHAKESPEARE sworks, which incorporate the best of textual scholarship with arichness of commentary that is both inspired and engaging.

3 Readerswho want to know more About SHAKESPEARE and his plays can followthe paths these distinguished scholars have tread by visiting theFolger either in-person or online, where a range of physical anddigital resources exists to supplement the material in these texts. Icommend to you these words, and hope that they now, with the release of The Folger SHAKESPEARE (formerlyFolger Digital Texts), readers in search of a free online text ofShakespeare s plays had to be content primarily with using theMoby Text, which reproduces a late-nineteenth century version ofthe plays. What is the difference? Many ordinary readers assume thatthere is a single text for the plays: what SHAKESPEARE wrote. ButShakespeare s plays were not published the way modern novels orplays are published today: as a single, authoritative text. In somecases, the plays have come down to us in multiple published versions,represented by various Quartos (Qq) and by the great collection puttogether by his colleagues in 1623, called the First Folio (F).

4 Thereare, for example, three very different versions of Hamlet, two of KingLear, Henry V, romeo and juliet , and others. Editors choose whichversion to use as their base text, and then amend that text with words,lines or speech prefixes from the other versions that, in theirjudgment, make for a better or more accurate editorial decisions involve choices About whether an unfamiliarword could be understood in light of other writings of the period orwhether it should be changed; decisions About words that made it intoShakespeare s text by accident through four hundred years ofTextual IntroductionBy Barbara Mowat and Paul Werstineprintings and misprinting; and even decisions based on culturalpreference and taste. When the Moby Text was created, forexample, it was deemed improper and indecent for Miranda tochastise Caliban for having attempted to rape her. (See The Tempest, : Abhorred slave,/Which any print of goodness wilt nottake,/Being capable of all ill!)

5 I pitied ). All Shakespeareeditors at the time took the speech away from her and gave it to herfather, editors of the Moby SHAKESPEARE produced their text longbefore scholars fully understood the proper grounds on which to makethe thousands of decisions that SHAKESPEARE editors face. The FolgerLibrary SHAKESPEARE Editions, on which the Folger SHAKESPEARE textsdepend, make this editorial process as nearly transparent as ispossible, in contrast to older texts, like the Moby , which hideeditorial interventions. The reader of the Folger SHAKESPEARE knowswhere the text has been altered because editorial interventions aresignaled by square brackets (for example, from Othello: If she inchains of magic were not bound, ), half-square brackets (forexample, from Henry V: With blood and sword and fire to winyour right, ), or angle brackets (for example, from Hamlet: Ofarewell, honest soldier. Who hath relieved/you?

6 At any point inthe text, you can hover your cursor over a bracket for the Folger SHAKESPEARE texts are edited in accord withtwenty-first century knowledge About SHAKESPEARE s texts, the Folgerhere provides them to readers, scholars, teachers, actors, directors,and students, free of charge, confident of their quality as texts of theplays and pleased to be able to make this contribution to the studyand enjoyment of primary plot of Much Ado About Nothing turns on the courtshipand scandal involving young Hero and her suitor, Claudio, but thewitty war of words between Claudio s friend Benedick and Hero scousin Beatrice often takes center in Messina, the play begins as Don Pedro s army returns after avictory. Benedick, a gentleman soldier, resumes a verbal duel withBeatrice, the niece of Messina s governor, Leonato. Count Claudio issmitten by Leonato s daughter, Hero. After Don Pedro woos her inSynopsisdisguise for Claudio, the two young lovers plan to marry in a fill in the time until the wedding, Don Pedro and the others setabout tricking Benedick and Beatrice into falling in love with eachother.

7 Meanwhile, Don Pedro s disgruntled brother, Don John, plotsto ruin Hero and halt her wedding. Claudio believes Don John sdeception, is convinced Hero has a lover, and, at the wedding,brutally rejects Hero in hiding and falsely reported dead, Beatrice persuadesBenedick to fight Claudio. Tragedy is averted when the bumblingcity watch, having discovered Don John s treachery, arrives andclears Hero s name. With Claudio forgiven, both couples are ready toget , Governor of MessinaHERO, his daughterBEATRICE, his nieceLEONATO S BROTHERDON PEDRO, Prince of AragonCOUNT CLAUDIO, a young lord from FlorenceSIGNIOR BENEDICK, a gentleman from PaduaBALTHASARSIGNIOR ANTONIODON JOHN, Don Pedro s brotherDOGBERRY, Master Constable in MessinaVERGES, Dogberry s partnerGEORGE SEACOAL, leader of the WatchFIRST WATCHMANSECOND WATCHMANSEXTONFRIAR FRANCISMESSENGER to LeonatoMESSENGER to Don PedroBOYC haracters in the Playwaiting gentlewomen to HeroMARGARETURSULADon John s followersBORACHIOCONRADELEONATOMESSENGER LEONATOMESSENGERLEONATOMESSENGERLEONATOM ESSENGERM usicians, Lords, Attendants, Son to Leonato s brotherEnter Leonato, Governor of Messina, Hero his daughter,and Beatrice his niece, with a Messenger.

8 , with a letter I learn in this letter that Don Pedro of Aragon comes this night to Messina. He is very near by this. He was not three leagues off when I left him. How many gentlemen have you lost in this action? But few of any sort, and none of name. A victory is twice itself when the achiever brings home full numbers. I find here that Don Pedro hath bestowed much honor on a young Florentine called Claudio. Much deserved on his part, and equally remembered by Don Pedro. He hath borne himself beyond the promise of his age, doing in the figure of a lamb the feats of a lion. He hath indeed better bettered expectation than you must expect of me to tell you how. He hath an uncle here in Messina will be very much glad of it. I have already delivered him letters, and there appears much joy in him, even so much thatACT 1 Scene 1 FTLN 0001 FTLN 0002 FTLN 0003 FTLN 0004 FTLN 00055 FTLN 0006 FTLN 0007 FTLN 0008 FTLN 0009 FTLN 001010 FTLN 0011 FTLN 0012 FTLN 0013 FTLN 0014 FTLN 001515 FTLN 0016 FTLN 0017 FTLN 0018 FTLN 0019 FTLN 002020 FTLN 00219 Much Ado About NothingACT 1.

9 SC. 1 LEONATOMESSENGERLEONATOBEATRICEMESSENGER LEONATOHEROMESSENGERBEATRICELEONATOMESSE NGER joy could not show itself modest enough without a badge of Did he break out into tears? In great measure. A kind overflow of kindness. There are no faces truer than those that are so washed. How much better is it to weep at joy than to joy at weeping! I pray you, is Signior Mountanto returned from the wars or no? I know none of that name, lady. There was none such in the army of any sort. What is he that you ask for, niece? My cousin means Signior Benedick of Padua. O, he s returned, and as pleasant as ever he was. He set up his bills here in Messina and challenged Cupid at the flight, and my uncle s Fool, reading the challenge, subscribed for Cupid and challenged him at the bird-bolt. I pray you, how many hath he killed and eaten in these wars? But how many hath he killed? For indeed I promised to eat all of his killing.

10 Faith, niece, you tax Signior Benedick too much, but he ll be meet with you, I doubt it not. FTLN 0022 FTLN 0023 FTLN 0024 FTLN 002525 FTLN 0026 FTLN 0027 FTLN 0028 FTLN 0029 FTLN 003030 FTLN 0031 FTLN 0032 FTLN 0033 FTLN 0034 FTLN 003535 FTLN 0036 FTLN 0037 FTLN 0038 FTLN 0039 FTLN 004040 FTLN 0041 FTLN 0042 FTLN 0043 FTLN 0044 FTLN 004545 FTLN 004611 Much Ado About NothingACT 1. SC. 1 BEATRICEMESSENGERBEATRICEMESSENGERBEATRI CELEONATOBEATRICEMESSENGERBEATRICEHe hath done good service, lady, in these wars. You had musty victual, and he hath holp to eat it. He is a very valiant trencherman; he hath an excellent stomach. And a good soldier too, lady. And a good soldier to a lady, but what is he to a lord? A lord to a lord, a man to a man, stuffed with all honorable virtues. It is so indeed. He is no less than a stuffed man, but for the stuffing well, we are all mortal. You must not, sir, mistake my niece.