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XXXVII
654
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Vincent H. Ogburn 655
The fact that the someoneis a man of ratherbetter birthcan only give an added
spice to so bourgeoisa literarytype as the fabliauhas alwaysbeen.4
If this is warranted for the accepted version of The Merry Wives, it is
doubly so for the quarto, for in it everything is done to stress the farce
elements. Its very brevity suggests an effort to meet the common limits
of the interlude. Instead of the 3018 lines of the folio, it is reduced to
1624. Hyckescornerand Jack Juggler run approximately a thousand lines
each, while The Four PP has 1236.
But the brevity of the quarto has more significance than the mere fact
of shortness. It is in the method of attaining this brevity that we find
the key to the purpose and character of the quarto. The compression
which is everywhere so conspicuous is according to plan. Things which
are not in the interlude manner are cut out, and things which are typical
of the interlude are emphasized and heightened. This treatment and its
effects are seen in almost every element of the play.
The first result of such compression is greatly to increase the tempo of
the action. As noted by Hart, we have in the quarto "the unusually nu-
merous gallery of actors that the full play presents, but in a much reduced
space."5 It matters little if motivation and logical relationship are often
wrenched violently, or that the plot thread is frequently broken by in-
version and omission. And if the underplot impedes the swift onward
rush, why, out it must go. The interlude must have action, vigorous and
raw. The ruthless cutting and reshaping for this purpose is excellently
shown in the opening scene of the play. Justice Shallow has the stage in
both versions. The folio gives his words thus:
Sir Hugh,perswademe not: I will makea Star-Chambermatterof it, if hee were
twenty Sir Iohn Falstaffs,he shall not abuse RobertShallowEsquire.
The quarto starts instead with this abrupt, melodramatic manner: "Nere
talke to me, Ile make a star-chamber matter of it." But even so, the
adapter apparently found the going too slow. For, to obtain the next sen-
tence, which concludes the speech, he skipped lightly forward to line 35
(though actually line 119 is more nearly what he uses): "The Councell
shall know it." The intervening thirty lines or so of the folio, occupied
with the "most pleasant and excellent conceits" promised in the title
page, must have been mere padding to the adapter. "Action! Action !" he
seems to demand, much in the manner of the modern movie director.
Accordingly, Page is introduced as the second speaker, although in the
folio he doesn't appear until line 80. His words borrow the conciliating
business assigned to Evans in the folio. Slender and Sir Hugh "make
4 E. K. Chambers, A Survey(London,1925),p. 170.
Shakespeare:
6 H. C. Hart, TheMerryWivesof Windsor(London,1904),p. xx.
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656 "The Merry Wives"Quarto
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Vincent H. Ogburn 657
This, with two other of her long speeches, totaling 84 lines, is rendered
by these two fatuous lines: "I sir, and as they say, she is not the first
Hath bene led in a fooles paradice." Surely this illustrates the difference
between holding the mirror up to nature, and the stringing together of a
company of eccentrics who are involved in intrigue. But one does not
look to farce for a mirror of life.
If the humanizing of character suffers thus in the quarto transforma-
tion of The Merry Wives, what shall we expect for the more delicate and
intangible qualities of poetric beauty, and the artistic in concept and
expression? Shakespeare generally contrives to relieve the coarseness of
his low-life groups so that their vulgarity is somehow submerged under
a stronger atmosphere of decency and refinement. A little of this elevat-
ing power is discoverable in the folio of The Merry Wives. But even that
little is squeezed out of the quarto. For instance, Fenton's justification
of Anne at the end of the folio, has a heroic ring and tends to bring the
play back to a world of nobility and fine idealism. All this is lost in the
quarto, replaced by these two miserable lines:
Marriedto me, nay sir never storme,
Tis done sir now, and cannotbe undone.
Indeed the whole final act in the folio takes on the color of fairy pagean-
try, with definite gleams of delicacy and beauty. Even Quickly is made
the mouthpiece of magic incantation. For her poetic part, the quarto
substitutes this horrible doggerel:
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658 "The Merry Wives" Quarto
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Vincent H. Ogburn 659
Conventional stage phrasing, found not only in the oaths6 but also in
various kinds of stereotypes, helps to lend the quarto the old-fashioned
tone of the moralities. Such expressions as "pray, sir," "marry, was it,"
"that will I do," "nay, prithee," "with all my heart," "a word with you,
sir," "how now, woman," and a host more, are the very stamp of inter-
lude and morality diction. The point is not that they are unknown to
Elizabethan drama, even to Shakespeare, but that they are used so con-
stantly in the quarto as to become a sort of verbal medium of exchange.
In the stage tags and cues are further links with the interlude manner.
Phrases such as "let us about it then" (quarto, 235), "I am glad I am got
hence" (307), "I now will seek" (790), "stand aside" (923)," well, let's
about this (1297), "my name is John Simple" (292), "my name is Nym"
(374) are surely the echoes of earlier forms like these: "nede I must de-
parte now" (Hyckescorner,153), "I must go hence" (Nice Wanton, 433),
"I wyll go nowe as fast as I may" (Johan, Johan, 286), "now wende I
wyll" (Mundus et Infans, 808), "Wanton is my name" (Ibid., 76).
Shakespeare's humor in The Merry Wives is broad and farcical, yet it
is by no means all on the lowest plane. Instead, it is built on at least four
levels. In relation to the plot, the basis of humor is the confusion and
conquest of an intriguer caught in a series of practical jokes. In the sec-
ondary lines of action, the humor is founded on good-natured satirizing
of love match-making by elders, of explosive passion growing out of
rivalry, and of madness in jealousy. On a third level, that is, in char-
acter, we have these same strains of satire pursued but with additions
supplied by the personalities of Shallow, Evans, Host, Quickly, Nim, and
others. And on the fourth level, the humor often rests on puns (many un-
savory), on fantastic word twists, on errors caused by unfamiliarity with
English, and on double meaning or word play. The folio amplifies the
subtler forms such as character foibles. But this is exactly the type which
the quarto minimizes or omits while at the same time building up the
cruder and coarser forms. Such emphasis of the gross and vulgar is the
mode of farce. The distinction is not altogether a matter of substance; it
is, in fact, often largely a matter of proportion and emphasis.
Of course it is useless to look for much of the finer art or deeper philoso-
phy of Shakespeare in The Merry Wives. And yet in the folio there are a
few marks of the master. For instance, after Mrs. Page reads Falstaff's
letter, she falls into a meditative questioning of how such a thing could
be. This is destroyed in the quarto, where instead, she rails like the con-
ventional termagant:
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660 "The Merry Wives" Quarto
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