Complete the Two Noble Kinsmen: An Annotated Edition of the Shakespeare and Fletcher Play

By Donald J. Richardson

Based on Chaucers The Knights Tale in Canterbury Tales, The Two Noble Kinsmen takes as a motif the rules of courtly love endorsed by both Arcite and Palamon who, unfortunately, are nearly indistinguishable. As Mowat and Werstine assert, So fraught are the human relations of the play that only the gods can eventually bring them to their resolution (xv). Credit William Shakespeare and John Fletcher (as given on the title page of the 1634 printing) with the storys rich philosophical and moral potential (Mehl, 288).

• Language: English
• Publisher: AuthorHouse
• Release date: May 15, 2018
• ISBN: 9781546241300

Donald J. Richardson

Although he has long been eligible to retire, Donald J. Richardson continues to (try to) teach English Composition at Phoenix College in Arizona. He defines his life through his teaching, his singing, his volunteering, and his grandchildren.

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© 2018 Donald Richardson. All rights reserved.

No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author.

Published by AuthorHouse 05/11/2018

ISBN: 978-1-5462-4131-7 (sc)

ISBN: 978-1-5462-4132-4 (hc)

ISBN: 978-1-5462-4130-0 (e)

Library of Congress Control Number: 2018905612

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Other Books by Donald J. Richardson

                    Dust in the Wind, 2001

                    Rails to Light, 2005

                    Song of Fools, 2006

                    Words of Truth, 2007

                    The Meditation of My Heart, 2008

                    The Days of Darkness, 2009

                    The Dying of the Light, 2010

                    Between the Darkness and the Light, 2011

                    The Days of Thy Youth, 2012

                    Those Who Sit in Darkness¸ 2013

                    Just a Song at Twilight, 2014

                    Covered with Darkness, 2015

                    Behold the Sun, 2016

                    Approaching Alzheimer’s, 2017

                    The Complete Hamlet, (Revised) 2017

                    The Complete Macbeth, 2013

                    The Complete Romeo and Juliet, 2013

                    The Complete King Lear, 2013

                    The Complete Julius Caesar, 2013

                    The Complete Merchant of Venice, 2013

                    The Complete Midsummer Night’s Dream, 2013

                    The Complete Much Ado About Nothing, 2013

                    The Complete Twelfth Night, 2014

                    The Complete Taming of the Shrew, 2014

                    The Complete Tempest, 2014

                    The Complete Othello, 2014

                    The Complete Henry IV, Part One, 2014

                    The Complete Antony and Cleopatra, 2014

                    The Complete Comedy of Errors, 2014

                    The Complete Henry IV, Part Two, 2014

                    The Complete Henry V, 2014

                    The Tragedy of Richard the Third, 2015

                    The Complete Two Gentlemen of Verona, 2015

                    The Complete Richard the Second, 2015

                    The Complete Coriolanus, 2015

                    The Complete As You Like It, 2015

                    The Complete All’s Well That Ends Well, 2015

                    The Complete Love’s Labor’s Lost, 2015

                    The Complete Measure for Measure, 2015

                    The Complete Winter’s Tale, 2015

                    The Complete Henry VIII, 2016

                    The Complete Troilus and Cressida, 2016

                    The Complete King John, 2016

                    The Complete Cymbaline, 2016

                    The Complete Titus Andronicus, 2016

                    The Complete Pericles, Prince of Tyre, 2016

                    The Complete Timon of Athens, 2017

                    The Complete Merry Wives of Windsor, 2017

                    The Complete First Part of Henry VI, 2017

                    The Complete Second Part of Henry VI, 2017

                    Baxter’s Family, 2017

                    The Complete Third Part of Henry VI, 2018

CONTENTS

Prologue

Act I

Act II

Act III

Act IV

Act V

Epilogue

Works Cited

ABOUT THE BOOK

Based on Chaucer’s The Knight’s Tale in Canterbury Tales, The Two Noble Kinsmen takes as a motif the rules of Courtly Love endorsed by both Arcite and Palamon who, unfortunately, are nearly indistinguishable. As Mowat and Werstine assert, So fraught are the human relations of the play that only the gods can eventually bring them to their resolution (xv). Credit William Shakespeare and John Fletcher (as given on the title page of the 1634 printing) with the story’s rich philosophical and moral potential (Mehl, 288).

ABOUT THE AUTHOR

Although he has long been eligible to retire, Donald J. Richardson continues to (try to) teach English Composition at Phoenix College in Arizona. He defines his life through his teaching, his singing, his volunteering, and his grandchildren.

THE TWO NOBLE KINSMEN

PROLOGUE

1 New plays, and maidenheads, are near akin—

2 Much follow’d both, for both much money gi’n, Follow’d: sought after (Bawcutt, 173)

3 If they stand sound, and well; and a good play Stand: are; remain; sound: healthy, robust (Mowat, 4); stand, sound, well: sexual puns, referring to male potentcy and to freedom (male or female) from venereal disease (Potter, 137)

4 (Whose modest scenes blush on his marriage-day, His marriage-day: i.e., its first performance (Mowat, 4)

5 And shake to lose his honor) is like her His: its; shake … honor: tremble at losing its virginity (Riverside, 1,692)

6 That after holy tie and first night’s stir, Holy tie: marriage (Bawcutt, 173); stir: "i.e., sexual activity (but with an allusion to the excitement of a play’s opening [first] performance)" (Mowat, 4)

7 Yet still is modesty, and still retains Is modesty: "i.e., is the image of modesty" (Mowat, 4); retains … pains: looks more like an unmarried girl than a woman whose husband has eagerly made love to her (Bawcutt, 174)

8 More of the maid to sight than husband’s pains. Maid: young unmarried woman, virgin (Mowat, 4); to sight: visible; pains: exertions (Riverside, 1,692)

9 We pray our play may be so; for I am sure

10 It has a noble breeder, and a pure, Breeder: father (Bawcutt, 174); a pure: i.e., one of unblemished character (Mowat, 4)

11 A learned, and a poet never went Went: existed; ‘literally, walked’ (Oxf) (Potter,137)

12 More famous yet ’twixt Po and silver Trent. Po and silver Trent: "i.e., the Po River in Italy and the silvery Trent River in England (Italy was famous for its great poets, many of whom influenced Chaucer [line 13].)" (Mowat, 4)

13 Chaucer (of all admir’d) the story gives; Chaucer: widely considered the first great writer in English (as opposed to the older Anglo-Saxon or Norman-French languages) and as the father of English literature. (Asimov, 54); gives: perhaps, continuing the opening image, he gives it in marriage, as the father gives the bride (Potter, 138); of: by (Waith, 80)

14 There constant to eternity it lives. There: i.e., in his works (Craik) (Potter, 138) constant: unchanging, fixed (Mowat, 4)

15 If we let fall the nobleness of this, Let fall: fail to sustain (Riverside, 1,692); lower, debase (Bawcutt, 174); the nobleness of this: the tale’s noble ancestry (Potter, 138)

16 And the first sound this child hear be a hiss, Child: "i.e., play, offspring of Chaucer"; hiss: noise of audience disapproval (Mowat, 4)

17 How will it shake the bones of that good man,

18 And make him cry from under ground, "O, fan Fan … chaff: "The image is of removing the chaff (husks, worthless matter) from the grain with a winnowing fan." (Mowat, 4)

19 From me the witless chaff of such a writer that

20 Blasts my bays, and my fam’d works makes lighter Blast my bays: blights my fame as a poet; lighter: more trivial (Riverside, 1,692)

21 Than Robin Hood!" This is the fear we bring; Than Robin Hood: i.e. than some popular ballad or tale (Riverside, 1,692)

22 For to say truth, it were an endless thing, Endless: both never-ending and useless (without an end or purpose) (Potter, 138)

23 And too ambitious, to aspire to him,

24 Weak as we are, and almost breathless swim Swim: i.e., sail (used metaphorically of the boat). (Potter, 138)

25 In this deep water. Do but you hold out Do but you: please (Potter, 139); hold … hands: i.e. assist us with your applause (Riverside, 1,692)

26 Your helping hands and we shall tack about, Tack about: alter course, change direction (Bawcutt, 174)

27 And something do to save us. You shall hear Us: ourselves (Mowat, 6)

28 Scenes, though below his art, may yet appear Scenes: scenes which (Riverside, 1,692); his: (Chacuer’s); may: that may (Bawcutt, 174)

29 Worth two hours’ travail. To his bones sweet sleep! Two hours: This phrase was frequently used in prologues to indicate the length of time needed to perform a play, though it should not be taken too literally.; travail: effort (by the actors) (Bawcutt, 174); To … sleep: "i.e., we wish to his bones sweet sleep (See line 17, above.)" (Mowat, 6)

30 Content to you! If this play do not keep Content to you: may the play please you; keep … us: keep us occupied for a short while at least (Bawcutt, 174)

31 A little dull time from us, we perceive Dull: slack (Riverside, 1,692)

32 Our losses fall so thick we must needs leave. Our losses: Variously explained; perhaps a reference to the burning of the Globe in 1613; leave: leave off acting (Riverside, 1,692)

[Flourish.]

ACT I

[SCENE 1.] (Athens. Before a temple.)

Enter Hymen with a torch burning; a Boy, in a white robe, before, singing, and strewing flow’rs: After Hymen, a Nymph, encompass’d in her tresses, bearing a wheaten garland; then Theseus between two other Nymphs with wheaten chaplets on their heads; then Hippolyta, the bride, led by Pirithous, and another holding a garland over her head (her tresses likewise hanging); after her, Emilia holding up her train; [Artesius and Attendants.]

Hymen: (god of marriage). The burning torch was one of his stock attributes, and he wore a yellow robe.; encompass’d in her tresses: with long hair flowing loose so as to encircle her; wheaten garland: "In this scene and at V.1.166 the wheaten garland is an emblem of virginity, but in Hamlet, V.2.41, it seems to stand for peace and fertility."; chaplet: "wreath or garland worn on the head"; her head, her tresses: Both phrases refer to Hippolyta. (Bawcutt, 174); before: "i.e., walking in front of Hymen"; Nymph: semi-divine being, represented as a beautiful maiden; wheaten: i.e., made of stalks of wheat; another: i.e., someone else; likewise hanging: "i.e., hanging loose, like the Nymph’s"; her train: "i.e.,the train of Hippolyta’s gown" (Mowat, 10); the bride: i.e., dressed as a bride (Potter, 140)

The Song [by the Boy].

1 Roses their sharp spines being gone, Roses: "Since the Boy is described as strewing flowers (0 SD), he presumably scatters the flowers he names in his song."; spines: thorns (Mowat, 10)

5 Daisies smell-less, yet most quaint Quaint: pretty, fine (Riverside, 1,693)

6 And sweet thyme true;

11 Marigolds, on death-beds blowing, Death-beds: i.e. graves; blowing: blooming (Riverside, 1,693)

13 All dear Nature’s children sweet,

14 Lie ’fore bride and bridegroom’s feet, [Strew Flowers.] Strew Flowers: "instructions for the actor playing the Boy" (Mowat, 12)

18 Is absent hence.

19 The crow, the sland’rous cuckoo, nor Sland’rous: The cuckoo supposely called out ‘Cuckold!’ to men slandering their innocent wives. (Riverside, 1,693)

20 The boding raven, nor [chough hoar], Boding: ominous. The raven was commonly regarded as a bird of ill-omen (Bawcutt, 175); chough hoar: crow with grey topknot (Riverside, 1,693)

22 May on our bridehouse perch or sing, Bridehouse: (a large room or hall in which the wedding festivities take place) (Bawcutt, 175)

23 Or with them any discord bring,

24 But from it fly.

[Enter 3. Queens, in black, with veils stain’d, with imperial crowns. The first Queen falls down at the foot of Theseus; the second falls down at the foot of Hippolyta; the third before Emilia.]

Stain’d: dyed, dark (Riverside, 1,693); imperial crowns: "crowns worn by monarchs of independent or sovereign kingdoms" (Mowat, 12)

1. QUEEN

25 For pity’s sake and true gentility’s, Gentility’s: nobility’s (Riverside, 1,693)

2. QUEEN

27 For your mother’s sake,

28 And as you wish your womb may thrive with fair ones,

29 Hear and respect me.

3. QUEEN

30 Now for the love of him whom Jove hath mark’d Him … bed: your future husband, as yet unknown but already destined by Jove for that honour [sic] (Potter, 143); whom: to (or for) whom; mark’d: appointed, destined (Riverside, 1,693); Jove: from a Latin word that means simply ‘god’ (Asimov, 68); mark’d: destined (Mowat, 12)

31 The honor of your bed, and for the sake Honor: (tactfully implies that he will of course be someone of great distinction.) (Bawcutt, 176)

33 For us, and our distresses! This good deed

34 Shall raze you out o’ th’ book of trespasses Raze … there: i.e. erase all your sins from the record (Riverside, 1,693); raze: literally, obliterate by scraping (Mowat, 12)

THESEUS

36 Sad lady, rise.

HIPPOLITA

37 Stand up.

EMILIA

38 No knees to me.

39 What woman I may stead that is distres’d, What: whatever (Mowat, 12); stead: aid (Riverside, 1,693)

THESEUS

41 What’s your request? Deliver you for all. Deliver: report (Riverside, 1,693); for: on behalf of (Bawcutt, 176)

1. QUEEN

42 We are three queens, whose sovereigns fell before

43 The wrath of cruel Creon; who endured Creon: king of Thebes after Oedipus, whose uncle he was. He denied burial to Oedipus’ son Polynices and the kings who had fallen with him in the military expedition known as the Seven against Thebes. (Riverside, 1,693); who: "(the sovereigns)" (Bawcutt, 176)

44 The beaks of ravens, talents of the kites, Talents: talons (Riverside, 1,693); kites: birds of prey (Mowat, 14)

45 And pecks of crows, in the foul fields of Thebes. Fields: battlefields (Mowat, 14)

46 He will not suffer us to burn their bones, Suffer: allow (Mowat, 14)

47 To urn their ashes, nor to take th’ offense Urn: put in an urn (Mowat, 14); take … Phoebus: i.e. remove their rotting bodies from the sunlight (Riverside, 1,693); offense: offensiveness (Mowat, 14)

48 Of mortal loathsomeness from the blest eye      The blest eye / Of holy Phoebus: