The Comedy of Errors (15 page)

Lines 1–73:
Luciana remonstrates with Antipholus of Syracuse, believing him to be her brother-in-law. She tells him that he should remember “A husband’s office” and be kinder to Adriana, even if he did only marry her “for her wealth.” She adds that if he does “like elsewhere,” he should conceal it. Antipholus again denies that Adriana is his wife and it becomes clear that he has fallen in love with Luciana. Sustaining the play’s water imagery, he describes her as a “sweet mermaid” and a “siren.” Luciana says that he is mad, insisting that his loving words should be for Adriana, but he continues, describing Luciana as the “better part” of himself. Luciana runs to find Adriana.

Lines 74–188:
Dromio of Syracuse enters, running. When Antipholus questions him, it seems that Dromio has begun to doubt his sanity and his identity, asking “Am I Dromio?” He reveals that he is being pursued by “the kitchen wench,” who lays “claim” to him. Displaying a bawdy wit, he gives an entertaining but coarse geographical description of her. He tells Antipholus that she must be a witch since she knew his name and the location of “privy marks” on his body. Antipholus sends Dromio to see “if the wind blow any way from shore,” declaring that they will not remain in Ephesus as it is inhabited by “none but witches.” He considers Luciana’s “grace” and “enchanting presence,” but vows that he will “stop [his] ears against
the mermaid’s song.” He is joined by Angelo, who mistakes him for Antipholus of Ephesus and gives him a necklace, saying that he will call at suppertime for payment. Antipholus is surprised, but accepts the necklace and goes to wait for Dromio.

A merchant demands that Angelo pay him the money he owes or he will have him arrested. Angelo assures him that he will get the money for the necklace from Antipholus “At five o’clock.” Antipholus and Dromio of Ephesus enter, returning from his visit to the Courtesan. He sends Dromio to buy a rope so that he can flog Adriana for locking him out and asks Angelo why he did not bring him the necklace. Assuming that he is joking, Angelo presents his bill and asks Antipholus to settle up with the merchant. Antipholus refuses to give him the money without the necklace, while Angelo demands payment for the goods he believes he has already delivered to Antipholus. The merchant insists that the officer arrest the merchant, and the merchant asks him to arrest Antipholus, which he does. As they argue, Dromio of Syracuse arrives and tells Antipholus that he has secured them places on a ship to Epidamium. Antipholus is amazed, having just sent Dromio of Ephesus to buy a rope. He asks if his servant has gone mad, and suggests he is “drunken.” Dromio insists that he sent him to “hire waftage,” but Antipholus angrily sends him to Adriana with a key to the desk where he keeps his money and a message that he is “arrested in the street” and to use the money to bail him. He is led away, and a bewildered Dromio reluctantly goes to do as he is asked.

Luciana has told Adriana about Antipholus’ declaration of love to herself, still believing him to be her brother-in-law. Bitter and angry, Adriana questions her and Luciana admits that had Antipholus’ suit been an “honest” one, his words would have moved her. Adriana rails against her husband, but confesses that her “heart prays for him.” Dromio of Syracuse arrives with the key, breathlessly urging
Adriana to “the desk, the purse!” Startled, the women question him and he tells them of Antipholus’ arrest, and Luciana fetches the money. Adriana sends Dromio to pay the bail and bring Antipholus home.

ANTIPHOLUS OF SYRACUSE is puzzled as to why the people of Ephesus keep greeting him as though he were “their well-acquainted friend.” He is now convinced that Ephesus is filled with witches, and that he is enchanted. Dromio of Syracuse rushes in with the gold from Adriana and expresses surprise that his master has got rid of the law officer. Confused, Antipholus asks about the ship and Dromio says that he has already spoken to him “an hour since” about it. Antipholus decides that both he and his servant are “distract” and “wander in illusions.”

As Dromio gives him the purse, they are accosted by the Courtesan. Believing Antipholus to be his twin, she asks him for the chain which he “promised” to her. Antipholus and Dromio accuse her of being “the devil” and “the devil’s dam,” and Antipholus “conjure[s]” her to “be gone.” She demands that he give back a ring she gave him worth forty ducats, or else give her the promised chain, but Antipholus and Dromio leave, calling her a witch. Alone, the Courtesan concludes that Antipholus must be mad, and this is why his wife barred the door against him earlier. She decides to go to Adriana and tell her that her husband, “being lunatic,” rushed into her house and stole her ring.

Lines 1–128:
Antipholus of Ephesus promises the jailer that he will have the money needed to release him. Dromio of Ephesus enters, bringing the rope that he was sent for in Act 4 Scene 1. Antipholus asks him for the money that he sent Dromio of Syracuse for and, when his Dromio denies any knowledge of this, beats him. Adriana arrives accompanied by Luciana, the Courtesan, and Pinch, in time to see Antipholus beating his servant. The Courtesan argues that
this is proof of Antipholus’ madness and Adriana agrees. She asks Pinch, as a “conjurer,” to restore her husband’s “true sense.” Pinch tries to feel his pulse but Antipholus strikes him. Pinch then tries to exorcise the devil from Antipholus, who insists he is not mad. He turns to his wife and asks if Pinch was the man she had to “Revel and feast” at his house while he was denied entry. Adriana takes this as further proof of his madness. She assures him that he “dined at home” which he denies, backed up by Dromio. Antipholus then accuses her of sending Angelo to arrest him, but she protests that she sent Dromio with the money to “redeem” him. Despite the others’ insistence that he collected the money, Dromio insists that he was “sent for nothing but a rope.” Pinch declares that both Antipholus and Dromio are “possessed.” Again, Adriana denies that Antipholus was locked out, and he begins to threaten her violently. Several men try to tie him up as he struggles and the officer protests that if his prisoner is taken away, he becomes liable for the debt. Adriana says that she will pay and instructs the men to take her husband home. They leave, taking Antipholus and Dromio.

Lines 129–157:
Adriana asks who Antipholus owes money to, and how much. The jailer tells her about the chain, and Adriana asks to be taken to Angelo. Just then, Antipholus and Dromio of Syracuse enter, swords drawn, and everyone assumes that Antipholus and Dromio of Ephesus have escaped. They all run away and Antipholus observes that “these witches are afraid of swords.” He orders Dromio to fetch their belongings from the inn, insisting that they will leave that night.

Lines 1–37:
Angelo apologizes to the merchant, insisting that Antipholus has the necklace, “Though most dishonestly he doth deny it.” As they speak, ANTIPHOLUS OF SYRACUSE enters, and Angelo challenges him for “openly” wearing the chain that he has denied having. As they argue, Adriana and her companions arrive and tell the merchant and Angelo that Antipholus is mad. They try to apprehend Antipholus and Dromio, who escape into a priory.

Lines 38–131:
Emilia demands to know why Adriana’s party is disturbing the priory. Adriana explains that they are trying to find her “poor distracted husband.” She explains that he has been “heavy, sour, [and] sad” for a while, but that he has been much worse that afternoon, in an “extremity of rage.” Emilia says that Adriana has turned Antipholus mad with her jealousy: “The venom clamours of a jealous woman / Poisons more deadly than a mad dog’s tooth.” Luciana defends her sister, but Adriana says that Emilia speaks the truth. She asks her companions to “lay hold” of Antipholus but Emilia will not let them in. She argues that Antipholus has taken “sanctuary” in the priory, and that she will not release him until she has “brought him to his wits again.” Adriana insists that she wants to nurse her husband but Emilia refuses. Luciana says that they should complain to the Duke of Ephesus. The merchant comments that “the dial points at five,” and observes that the duke himself is approaching to oversee the execution of Egeon.

Lines 132–191:
The duke enters with his officials, leading Egeon and asking “If any friend will pay the sum for him.” Adriana asks him for “Justice … against the abbess” and explains that her husband has had an “outrageous fit of madness” and escaped into the abbey but Emilia will not release him. The duke promises to investigate and tells them to “knock at the abbey-gate.” As they do so, a messenger brings Adriana the news that her husband and servant “are both broke loose” and have attacked Pinch. He begs her to send help, but she tells him that Antipholus and Dromio are in the abbey. He tells her that Antipholus is threatening to attack Adriana and, as a cry is heard within, urges her to fly. The duke tells her not to fear, but Adriana cannot understand how her husband has got out of the abbey.

Lines 192–283:
Antipholus and Dromio of Ephesus enter and Antipholus asks the duke to grant him justice. Egeon, apparently unheard by the others, recognizes his son, but believes that he is looking at Antipholus of Syracuse. Antipholus continues to ask for justice against Adriana for shutting him out of his house. Backed up by Luciana, Adriana insists that she dined at home with her husband. Antipholus recounts the whole day’s events from his perspective
and Angelo confirms that he was locked out, but still insists that Antipholus has the chain and was wearing it when he ran into the abbey. Antipholus denies ever entering the abbey but the Courtesan says he did and, moreover, he has her ring. He freely admits to this and the duke, presented with events that apparently both did and did not happen, declares that they all must be under some enchantment, or “stark mad.” He sends for the abbess.

Lines 284–428:
Egeon tells the duke that he sees “a friend” that will save his life by paying the thousand marks. He addresses Antipholus and Dromio by name (assuming that they are of Syracuse) but they deny knowing him. Distressed, Egeon insists that they must at least recognize his voice and tells Antipholus that he is his son, and reminds him of their parting in Syracuse seven years previously. Antipholus argues that he has never seen either his father or Syracuse, and the duke backs him up. Just then, Emilia leads in Antipholus and Dromio of Syracuse. Everyone is amazed. She then reveals that she is Egeon’s lost wife and recounts how she was separated from her son and his servant shortly after their rescue. As their stories unfold, the day’s events become clear. The necklace, the ring, and the money all find their rightful owners and Egeon is pardoned. Emilia invites them all into the abbey. The two sets of twins are reconciled with one another and follow the others in, and the restored order is symbolized by the two Dromios exiting “hand in hand, not one before another.”

The best way to understand a Shakespeare play is to see it or ideally to participate in it. By examining a range of productions, we may gain a sense of the extraordinary variety of approaches and interpretations that are possible—a variety that gives Shakespeare his unique capacity to be reinvented and made “our contemporary” four centuries after his death.

We begin with a brief overview of the play’s theatrical and cinematic life, offering historical perspectives on how it has been performed. We then analyze in more detail a series of productions staged over the last half century by the Royal Shakespeare Company. The sense of dialogue between productions that can occur only when a company is dedicated to the revival and investigation of the Shakespeare canon over a long period, together with the uniquely comprehensive archival resource of promptbooks, program notes, reviews, and interviews held on behalf of the RSC at the Shakespeare Birthplace Trust in Stratford-upon-Avon, allows an “RSC stage history” to become a crucible in which the chemistry of the play can be explored.

Finally, we go to the horse’s mouth. Modern theater is dominated by the figure of the director, who must hold together the whole play, whereas the actor must concentrate on his or her part. The director’s viewpoint is therefore especially valuable. Shakespeare’s plasticity is wonderfully revealed when we hear directors of highly successful productions answering the same questions in very different ways.

It seems fitting that the first recorded performance of a play so often treated as farce should have ended in chaos and confusion.
The Comedy
of Errors
is one of a handful of Shakespeare’s plays for which we have an early eyewitness account. Henry Helmes described the performance of a play, identified as Shakespeare’s, at Gray’s Inn Hall for young men training to be lawyers, on the night of Innocents’ Day, 28 December 1594: