3.6.8 my imaginatiue forces1 4. I. 405 to procure vs a warrant for his arest of your maister 4.5.7 F forces of my phant'sie to procure a warrant, to bring him afore your master 12. READINGS MORE APPROPRIATE TO CONTEXT Often Jonson's later reflection upon the play has led him to see where a different turn to a phrase, or a new word, would more clearly bring out the meaning he had in mind. A few instances may be seen below, and to these more could readily be added. Some syntactical changes occur. These are usually discussed in their appropriate place in the notes, but may be emphasized by a few typical examples here. It would be tedious and unprofitable to enumerate many of the elisions found in F. It is a fairly consistent change. A few examples are cited below and others are quickly to be noted from the parallel texts: 15. CHANGES FROM SOLEMN FORMS One of the changes contributing to the greater appropriateness of this play as a transcript of English life and manners is the omission of solemn forms in F. A few typical examples follow: Occasional examples occur where solemn forms from Q persist or new ones are added: Oaths form a very distinctive feature of this play in both versions; probably no one of Jonson's has more. They are considerably altered in the folio, and, for the most part, softened. Direct references to the Deity are avoided, and the most objectionable expressions changed to others less displeasing. Public sentiment had become aroused against the wide-spread use of oaths, and in 1605 -6 an act to restrain the abuses of players was placed upon the statute-books: 'For the preventing and avoiding of the great abuse of the Holy name of God in stageplays, enterludes, may-games, shews, and such like; (2) be it enacted by our sovereign lord the kings majesty, and by the lords spiritual and temporal, and the commons in this present parlement assembled, and by the authority 1 An interesting article on figures of imprecation, by A. E. H. Swaen, may be found in Englische Studien 24. 16-71, 195–239. Allusions to it occur in the Explanatory Notes of this edition. of the same, That if at any time or times after the end of this present session of parliament any person or persons do or shall in any stage play, enterlude, shew, may-game or pageant, jestingly or profanely speak or use the holy name of God, or of Christ Jesus, or of the Holy Ghost, or of the Trinity, which are not to be spoken of but with fear and reverance, shall forfeit for every such offence by him or them committed ten pounds: (3) the one moiety thereof to the Kings majesty, his heirs and successors, the other moiety thereof to him or them that will sue for the same in any court of record at Westminster, wherein no essoin, protection or wager of law shall be allowed (Marginal note—The penalty of players on the stage, Etc., profanely abusing the name of God').'1 3 James I, ch. 21. An exact enumeration and comparison of the oaths in Q and F is difficult, because of the varying lengths of the two versions, and the complete change of text in places. Enough data can be presented, however, to show that the majority of oaths were softened in F.2 1 Gifford (ed. Every Man In, p. 10) writes, after remarking that the quarto is 'shockingly profane': 'Better knowledge, or the dread of a licenser, subsequently taught him to correct this dangerous propensity, or at least to indulge it with more caution, as a very visible improvement in this respect is manifested in the folio copies of this and every other play.' Wheatley (p. xliii) cites Jonson's Epistle to Master Colby, 'To Persuade Him to The Wars' (Wks. 8. 360), where the following counsel is found: And last, blaspheme not; we did never hear Man thought the valianter, 'cause he did swear. 2 Wheatley says of the oaths (p. xlii): 'Most of them are changed in the folio edition, although they are not necessarily softened to any extent; and it seems strange that, while the effect of the law is seen in the material alterations made from Shakespere's quartos in the first folio of 1623, so little improvement should be seen in Jonson's folio of 1616 from the quarto of 1601. Cf. also: Q I. I. 83, F 1. 2. 1; Q 1. 1. 98, F 1. 1. 19; Q 1. 2. 81, F 1. 3. 85; Q I. 3. 92, F 1. 1. 6; Q 1. 3. 136, F 1. 5. 52; Q 1. 3. 161, F 1. 5. 78; Q 1. 4. 136, F 2. 2. 30; Q 1. 4. 191, F 2. 3. 40; Q I. 4. 197, F 2. 3. 46; Q 1. 4. 199, F 2. 3. 48; Q 1. 4. 207, F 2. 3. 58; Q 2. 1. 23, F 2. 4. 25; Q 2. 1. 91, F 2. 4. 96; Q 2. 2. 43, F 2. 5. 73; Q 2. 2. 48, F 2. 5. 78; Q 2. 2. 54, F 2. 5. 84; Q 2. 2. 89, F 2. 5. 120; Q2. 3. 7, F 3. 1. 6; Q 2. 3. 10, F 3. 1. 10; Q 2. 3. 78, F 3. 1. 85; Q 2. 3. 83, F 3. 1. 90; Q 2. 3. 159, F 3. 1. 170; Q 2. 3. 219, F 3. 2. 58; Q3. 2. 66, F 3. 5. 67; Q 3. 2. 108, F 3. 5. 112; Q 3. 2. 125, F 3.5. 129; Q 3. 2. 126, F 3. 5. 130; Q 3. 4. 39, F 4. 2. 17; Q 3. 4. 47, F 4. 2. 27; Q 3. 4. 91, F 4.2.65; Q 3. 4. 102, F 4. 2. 78; Q 3. 4. 105, |