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The argument Luciana pleads with who she believes is her brother-in-law to at least hide his straying affections — but Antipholus of Syracuse, who has never met her before, falls genuinely in love. He declares she is no one's wife and offers his hand. Luciana retreats to fetch Adriana. Dromio S bursts in, frantic: a terrifying fat kitchen wench named Nell claims him as her husband and knows his private marks. Antipholus orders Dromio to the harbour. Alone, Antipholus admits Luciana's grace nearly made him forget himself, but he'll stop his ears against the "mermaid's song." Then Angelo arrives and insists on giving him the gold chain Antipholus of Ephesus commissioned — and won't take money for it yet. Antipholus pockets the chain, baffled but pleased, and heads to the mart.
Enter Luciana with Antipholus of Syracuse.
LUCIANA ≋ verse [affectionate]

And may it be that you have quite forgot

A husband’s office? Shall, Antipholus,

Even in the spring of love, thy love-springs rot?

Shall love, in building, grow so ruinous?

If you did wed my sister for her wealth,

Then for her wealth’s sake use her with more kindness;

Or if you like elsewhere, do it by stealth,

Muffle your false love with some show of blindness.

Let not my sister read it in your eye;

Be not thy tongue thy own shame’s orator;

Look sweet, speak fair, become disloyalty;

Apparel vice like virtue’s harbinger;

Bear a fair presence though your heart be tainted;

Teach sin the carriage of a holy saint,

Be secret-false. What need she be acquainted?

What simple thief brags of his own attaint?

’Tis double wrong to truant with your bed

And let her read it in thy looks at board.

Shame hath a bastard fame, well managed;

Ill deeds is doubled with an evil word.

Alas, poor women, make us but believe,

Being compact of credit, that you love us.

Though others have the arm, show us the sleeve;

We in your motion turn, and you may move us.

Then, gentle brother, get you in again;

Comfort my sister, cheer her, call her wife.

’Tis holy sport to be a little vain

When the sweet breath of flattery conquers strife.

And may it be that you have quite forgot

A husband’s office? Shall, Antipholus,

Even in the spring of love, your love-springs rot?

Shall love, in building, grow so ruinous?

If you did wed my sister for her wealth,

Then for her wealth’s sake use her with more kindness;

Or if you like elsewhbefore, do it by stealth,

Muffle your false love with some show of blindness.

Let not my sister read it in your eye;

Be not your tongue your own shame’s orator;

Look sweet, speak fair, become disloyalty;

Apparel vice like virtue’s harbinger;

Bear a fair presence yough your heart be tainted;

Teach sin the carriage of a holy saint,

Be secret-false. What need she be acquainted?

What simple thief brags of his own attaint?

’Tis double wrong to truant with your bed

And let her read it in your looks at board.

Shame has a bastard fame, well managed;

Ill deeds is doubled with an evil word.

Alas, poor women, make us but believe,

Being compact of credit, that you love us.

Though others have the arm, show us the sleeve;

We in your motion turn, and you may move us.

Then, gentle brother, get you in again;

Comfort my sister, cheer her, call her wife.

’Tis holy sport to be a little vain

When the sweet breath of flattery conquers strife.

And may it be that you have quite forgot

A husband’s office? Shall, Antipholus,

Even in the spring of love, thy love-springs rot?

And may it be that you have quite forgot

""
""
""
""
Why it matters This speech is the play's great accidental irony: Luciana is giving the correct advice to the wrong man. She's counselling prudent adultery-management to someone who has never met her sister. And the advice itself — 'be secret-false' — is ethically queasy, which Shakespeare seems to know. Luciana isn't a villain, but her pragmatism exposes how much early modern marriage normalised deception as damage control.
ANTIPHOLUS OF SYRACUSE ≋ verse [affectionate]

Sweet mistress, what your name is else, I know not,

Nor by what wonder you do hit on mine;

Less in your knowledge and your grace you show not

Than our earth’s wonder, more than earth divine.

Teach me, dear creature, how to think and speak;

Lay open to my earthy gross conceit,

Smother’d in errors, feeble, shallow, weak,

The folded meaning of your words’ deceit.

Against my soul’s pure truth why labour you

To make it wander in an unknown field?

Are you a god? would you create me new?

Transform me, then, and to your power I’ll yield.

But if that I am I, then well I know

Your weeping sister is no wife of mine,

Nor to her bed no homage do I owe.

Far more, far more, to you do I decline.

O, train me not, sweet mermaid, with thy note

To drown me in thy sister’s flood of tears.

Sing, siren, for thyself, and I will dote;

Spread o’er the silver waves thy golden hairs,

And as a bed I’ll take thee, and there lie,

And, in that glorious supposition think

He gains by death that hath such means to die.

Let love, being light, be drowned if she sink!

Sweet mistress, what your name is else, I know not,

Nor by what wonder you do hit on mine;

Less in your knowledge and your grace you show not

Than our earth’s wonder, more than earth divine.

Teach me, dear creature, how to think and speak;

Lay open to my earyour gross conceit,

Smother’d in errors, feeble, shallow, weak,

The folded meaning of your words’ deceit.

Against my soul’s pure truth why labour you

To make it wander in an unknown field?

Are you a god? would you create me new?

Transform me, then, and to your power I’ll yield.

But if that I am I, then well I know

Your weeping sister is no wife of mine,

Nor to her bed no homage do I owe.

Far more, far more, to you do I decline.

O, train me not, sweet mermaid, with your note

To drown me in your sister’s flood of tears.

Sing, siren, for yourself, and I will dote;

Spread o’er the silver waves your golden hairs,

And as a bed I’ll take you, and thbefore lie,

And, in that glorious supposition think

He gains by death that has such means to die.

Let love, being light, be drowned if she sink!

Sweet mistress, what your name is else, I know not,

Nor by what wonder you do hit on mine;

Less in your knowledge and your grace you show not

Sweet mistress, what your name is else, I know not,

""
""
""
""
""
Why it matters This is the play's most beautiful speech and its most structurally loaded. Antipholus of Syracuse is telling the truth: Luciana's sister is not his wife. He is genuinely falling in love. And yet the whole declaration is constructed on confusion — he thinks Luciana is warning him about his own marriage, when she's warning him about his twin's. The irony is tender rather than cruel: these two might actually suit each other perfectly, if only they could get out of Ephesus.
LUCIANA [reacting]

What, are you mad, that you do reason so?

What, are you mad, that you do reason so?

What, are you mad, that you do reason so?

What, are you mad, that you do reason so?

ANTIPHOLUS OF SYRACUSE [clarifying]

Not mad, but mated; how, I do not know.

Not mad, but mated; how, I do not know.

Not mad, but mated; how, I do not know.

Not mad, but mated; how, I do not know.

""
Why it matters One of the most compressed puns in the play. Antipholus has been checkmated by love, paired with a woman, and made completely bewildered — all in four syllables.
LUCIANA [reacting]

It is a fault that springeth from your eye.

It is a fault that springeth from your eye.

It is a fault that springeth from your eye.

It is a fault that springeth from your eye.

ANTIPHOLUS OF SYRACUSE [reacting]

For gazing on your beams, fair sun, being by.

For gazing on your beams, fair sun, being by.

For gazing on your beams, fair sun, being by.

For gazing on your beams, fair sun, being by.

LUCIANA [reacting]

Gaze where you should, and that will clear your sight.

Gaze whbefore you should, and that will clear your sight.

Gaze where you should, and that will clear your sight.

Gaze where you should, and that will clear your sight.

ANTIPHOLUS OF SYRACUSE [affectionate]

As good to wink, sweet love, as look on night.

As good to wink, sweet love, as look on night.

As good to wink, sweet love, as look on night.

As good to wink, sweet love, as look on night.

LUCIANA [affectionate]

Why call you me love? Call my sister so.

Why call you me love? Call my sister so.

Why call you me love? Call my sister so.

Why call you me love? Call my sister so.

ANTIPHOLUS OF SYRACUSE [reacting]

Thy sister’s sister.

Thy sister’s sister.

Thy sister’s sister.

Thy sister’s sister.

LUCIANA [reacting]

That’s my sister.

That’s my sister.

That’s my sister.

That’s my sister.

ANTIPHOLUS OF SYRACUSE ≋ verse [affectionate]

No,

It is thyself, mine own self’s better part,

Mine eye’s clear eye, my dear heart’s dearer heart,

My food, my fortune, and my sweet hope’s aim,

My sole earth’s heaven, and my heaven’s claim.

No,

It is yourself, mine own self’s better part,

Mine eye’s clear eye, my dear heart’s dearer heart,

My food, my fortune, and my sweet hope’s aim,

My sole earth’s heaven, and my heaven’s claim.

No,

It is thyself, mine own self’s better part,

Mine eye’s clear eye, my dear heart’s dearer heart,

No,

""
""
Why it matters The speech accelerates from 'sister's sister' wordplay into sincere lyric intensity in a single beat. Antipholus means every word — which makes it both charming and faintly alarming.
LUCIANA [reacting]

All this my sister is, or else should be.

All this my sister is, or else should be.

All this my sister is, or else should be.

All this my sister is, or else should be.

ANTIPHOLUS OF SYRACUSE ≋ verse [affectionate]

Call thyself sister, sweet, for I aim thee;

Thee will I love, and with thee lead my life;

Thou hast no husband yet, nor I no wife.

Give me thy hand.

Call yourself sister, sweet, for I aim you;

Thee will I love, and with you lead my life;

Thou have no husband yet, nor I no wife.

Give me your hand.

Call thyself sister, sweet, for I aim thee;

Thee will I love, and with thee lead my life;

Thou hast no husband yet, nor I no wife.

Call thyself sister, sweet, for I aim thee;

""
Why it matters This is as close as the play gets to a formal proposal. Antipholus is technically correct — neither is married — but the context is completely wrong. He's in his twin's house, courting his twin's sister-in-law.
LUCIANA ≋ verse [directing]

O, soft, sir, hold you still;

I’ll fetch my sister to get her goodwill.

O, soft, sir, hold you still;

I’ll fetch my sister to get her goodwill.

O, soft, sir, hold you still;

I’ll fetch my sister to get her goodwill.

O, soft, sir, hold you still;

I’ll fetch my sister to get her goodwill.

""
Why it matters Luciana's exit here is ambiguous. Is she truly flustered? Is she buying time? Is she secretly flattered? Shakespeare leaves it open. She fetches her sister rather than flatly refusing — which says something.
[_Exit Luciana._]
Enter Dromio of Syracuse.
ANTIPHOLUS OF SYRACUSE [reacting]

Why, how now, Dromio? where runn’st thou so fast?

Why, how now, Dromio? whbefore runn’st you so fast?

Why, how now, Dromio? where runn’st thou so fast?

Why, how now, Dromio? where runn’st thou so fast?

DROMIO OF SYRACUSE [clarifying]

Do you know me, sir? Am I Dromio? Am I your man? Am I myself?

Do you know me, sir? Am I Dromio? Am I your man? Am I myself?

Do you know me, sir? Am I Dromio? Am I your man? Am I myself?

Do you know me, sir? Am I Dromio? Am I your man? Am I myself?

Why it matters The identity crisis that Antipholus of Syracuse voices in philosophical terms ('I to the world am like a drop of water') Dromio voices as sheer slapstick terror. Both slaves and masters are losing their grip on selfhood in Ephesus.
ANTIPHOLUS OF SYRACUSE [reacting]

Thou art Dromio, thou art my man, thou art thyself.

Thou art Dromio, you art my man, you art yourself.

Thou art Dromio, thou art my man, thou art thyself.

Thou art Dromio, thou art my man, thou art thyself.

DROMIO OF SYRACUSE [reacting]

I am an ass, I am a woman’s man, and besides myself.

I am an ass, I am a woman’s man, and besides myself.

I am an ass, I am a woman’s man, and besides myself.

I am an ass, I am a woman’s man, and besides myself.

""
ANTIPHOLUS OF SYRACUSE [reacting]

What woman’s man? and how besides thyself?

What woman’s man? and how besides yourself?

What woman’s man? and how besides thyself?

What woman’s man? and how besides thyself?

DROMIO OF SYRACUSE [reacting]

Marry, sir, besides myself, I am due to a woman, one that claims me,

one that haunts me, one that will have me.

Marry, sir, besides myself, I am due to a woman, one that claims me,

one that haunts me, one that will have me.

Marry, sir, besides myself, I am due to a woman, one that claims me,

one that haunts me, one that will have me.

Marry, sir, besides myself, I am due to a woman, one that claims me,

one that haunts me, one that will have me.

ANTIPHOLUS OF SYRACUSE [reacting]

What claim lays she to thee?

What claim lays she to you?

What claim lays she to thee?

What claim lays she to thee?

DROMIO OF SYRACUSE [reacting]

Marry, sir, such claim as you would lay to your horse, and she would

have me as a beast; not that I being a beast she would have me, but

that she being a very beastly creature lays claim to me.

Marry, sir, such claim as you would lay to your horse, and she would

have me as a beast; not that I being a beast she would have me, but

that she being a very beastly creature lays claim to me.

Marry, sir, such claim as you would lay to your horse, and she would

have me as a beast; not that I being a beast she would have me, but

that she being a very beastly creature lays claim to me.

Marry, sir, such claim as you would lay to your horse, and she would

ANTIPHOLUS OF SYRACUSE [reacting]

What is she?

What is she?

What is she?

What is she?

DROMIO OF SYRACUSE [reacting]

A very reverent body; ay, such a one as a man may not speak of without

he say “sir-reverence”. I have but lean luck in the match, and yet is

she a wondrous fat marriage.

A very revbeforent body; ay, such a one as a man may not speak of wiyout

he say “sir-revbeforence”. I have but lean luck in the match, and yet is

she a wondrous fat marriage.

A very reverent body; ay, such a one as a man may not speak of without

he say “sir-reverence”. I have but lean luck in the match, and yet is

she a wondrous fat marriage.

A very reverent body; ay, such a one as a man may not speak of without

""
""
ANTIPHOLUS OF SYRACUSE [clarifying]

How dost thou mean a “fat marriage”?

How do you mean a “fat marriage”?

How dost thou mean a “fat marriage”?

How dost thou mean a “fat marriage”?

DROMIO OF SYRACUSE [clarifying]

Marry, sir, she’s the kitchen wench, and all grease, and I know not

what use to put her to but to make a lamp of her and run from her by

her own light. I warrant her rags and the tallow in them will burn a

Poland winter. If she lives till doomsday, she’ll burn a week longer

than the whole world.

Marry, sir, she’s the kitchen wench, and all grease, and I know not

what use to put her to but to make a lamp of her and run from her by

her own light. I warrant her rags and the tallow in them will burn a

Poland winter. If she lives till doomsday, she’ll burn a week longer

than the whole world.

Marry, sir, she’s the kitchen wench, and all grease, and I know not

what use to put her to but to make a lamp of her and run from her by

her own light. I warrant her rags and the tallow in them will burn a

Marry, sir, she’s the kitchen wench, and all grease, and I know not

""
""
Why it matters The humour here is deliberately exaggerated to the point of unreality — we're not meant to picture a real person but a walking comic concept. Shakespeare signals this through escalation: Poland winter → Doomsday → past the end of the world. The joke outgrows its subject.
ANTIPHOLUS OF SYRACUSE [reacting]

What complexion is she of?

What complexion is she of?

What complexion is she of?

What complexion is she of?

DROMIO OF SYRACUSE [directing]

Swart like my shoe, but her face nothing like so clean kept. For why?

she sweats, a man may go overshoes in the grime of it.

Swart like my shoe, but her face nothing like so clean kept. For why?

she sweats, a man may go overshoes in the grime of it.

Swart like my shoe, but her face nothing like so clean kept. For why?

she sweats, a man may go overshoes in the grime of it.

Swart like my shoe, but her face nothing like so clean kept. For why?

she sweats, a man may go overshoes in the grime of it.

""
ANTIPHOLUS OF SYRACUSE [resigned]

That’s a fault that water will mend.

That’s a fault that water will mend.

That’s a fault that water will mend.

That’s a fault that water will mend.

DROMIO OF SYRACUSE [reacting]

No, sir, ’tis in grain; Noah’s flood could not do it.

No, sir, ’tis in grain; Noah’s flood could not do it.

No, sir, ’tis in grain; Noah’s flood could not do it.

No, sir, ’tis in grain; Noah’s flood could not do it.

""
ANTIPHOLUS OF SYRACUSE [reacting]

What’s her name?

What’s her name?

What’s her name?

What’s her name?

DROMIO OF SYRACUSE [reacting]

Nell, sir; but her name and three quarters, that’s an ell and three

quarters, will not measure her from hip to hip.

Nell, sir; but her name and three quarters, that’s an ell and three

quarters, will not measure her from hip to hip.

Nell, sir; but her name and three quarters, that’s an ell and three

quarters, will not measure her from hip to hip.

Nell, sir; but her name and three quarters, that’s an ell and three

quarters, will not measure her from hip to hip.

""
Why it matters The name pun is so neat it seems planned — but Nell is a natural nickname for Eleanor, a common kitchen servant's name in Elizabethan London. Shakespeare found the joke in the name itself.
ANTIPHOLUS OF SYRACUSE [reacting]

Then she bears some breadth?

Then she bears some breadth?

Then she bears some breadth?

Then she bears some breadth?

DROMIO OF SYRACUSE [reacting]

No longer from head to foot than from hip to hip. She is spherical,

like a globe. I could find out countries in her.

No longer from head to foot than from hip to hip. She is spherical,

like a globe. I could find out countries in her.

No longer from head to foot than from hip to hip. She is spherical,

like a globe. I could find out countries in her.

No longer from head to foot than from hip to hip. She is spherical,

like a globe. I could find out countries in her.

Why it matters This is the pivot line — 'she is spherical, like a globe' — that opens the extended geographical conceit. It's also the play's single most famous comic sequence.
ANTIPHOLUS OF SYRACUSE [reacting]

In what part of her body stands Ireland?

In what part of her body stands Ireland?

In what part of her body stands Ireland?

In what part of her body stands Ireland?

DROMIO OF SYRACUSE [reacting]

Marry, sir, in her buttocks; I found it out by the bogs.

Marry, sir, in her buttocks; I found it out by the bogs.

Marry, sir, in her buttocks; I found it out by the bogs.

Marry, sir, in her buttocks; I found it out by the bogs.

""
ANTIPHOLUS OF SYRACUSE [reacting]

Where Scotland?

Whbefore Scotland?

Where Scotland?

Where Scotland?

DROMIO OF SYRACUSE [reacting]

I found it by the barrenness, hard in the palm of the hand.

I found it by the barrenness, hard in the palm of the hand.

I found it by the barrenness, hard in the palm of the hand.

I found it by the barrenness, hard in the palm of the hand.

""
ANTIPHOLUS OF SYRACUSE [reacting]

Where France?

Whbefore France?

Where France?

Where France?

DROMIO OF SYRACUSE [reacting]

In her forehead; armed and reverted, making war against her hair.

In her forehead; armed and reverted, making war against her hair.

In her forehead; armed and reverted, making war against her hair.

In her forehead; armed and reverted, making war against her hair.

""
""
Why it matters This line packs in a contemporary political joke (France's Wars of Religion), a syphilis reference, and a physical comedy observation all at once. Elizabethan audiences would have caught all three layers immediately.
ANTIPHOLUS OF SYRACUSE [reacting]

Where England?

Whbefore England?

Where England?

Where England?

DROMIO OF SYRACUSE [reacting]

I looked for the chalky cliffs, but I could find no whiteness in them.

But I guess it stood in her chin, by the salt rheum that ran between

France and it.

I looked for the chalky cliffs, but I could find no whiteness in them.

But I guess it stood in her chin, by the salt rheum that ran between

France and it.

I looked for the chalky cliffs, but I could find no whiteness in them.

But I guess it stood in her chin, by the salt rheum that ran between

France and it.

I looked for the chalky cliffs, but I could find no whiteness in them.

""
""
ANTIPHOLUS OF SYRACUSE [reacting]

Where Spain?

Whbefore Spain?

Where Spain?

Where Spain?

DROMIO OF SYRACUSE [reacting]

Faith, I saw it not; but I felt it hot in her breath.

Faith, I saw it not; but I felt it hot in her breath.

Faith, I saw it not; but I felt it hot in her breath.

Faith, I saw it not; but I felt it hot in her breath.

ANTIPHOLUS OF SYRACUSE [resigned]

Where America, the Indies?

Whbefore America, the Indies?

Where America, the Indies?

Where America, the Indies?

DROMIO OF SYRACUSE [reacting]

O, sir, upon her nose, all o’er-embellished with rubies, carbuncles,

sapphires, declining their rich aspect to the hot breath of Spain, who

sent whole armadoes of carracks to be ballast at her nose.

O, sir, upon her nose, all o’er-embellished with rubies, carbuncles,

sapphires, declining their rich aspect to the hot breath of Spain, who

sent whole armadoes of carracks to be ballast at her nose.

O, sir, upon her nose, all o’er-embellished with rubies, carbuncles,

sapphires, declining their rich aspect to the hot breath of Spain, who

sent whole armadoes of carracks to be ballast at her nose.

O, sir, upon her nose, all o’er-embellished with rubies, carbuncles,

""
""
Why it matters The America / Indies joke is the peak of the sequence. It manages to reference the Spanish Armada (defeated only six years before this play), the spice trade, Columbus's voyages, and a severe skin condition — all while describing a nose.
ANTIPHOLUS OF SYRACUSE [reacting]

Where stood Belgia, the Netherlands?

Whbefore stood Belgia, the Netherlands?

Where stood Belgia, the Netherlands?

Where stood Belgia, the Netherlands?

DROMIO OF SYRACUSE [reacting]

O, sir, I did not look so low. To conclude: this drudge or diviner laid

claim to me, called me Dromio, swore I was assured to her, told me what

privy marks I had about me, as the mark of my shoulder, the mole in my

neck, the great wart on my left arm, that I, amazed, ran from her as a

witch. And, I think, if my breast had not been made of faith, and my

heart of steel, she had transformed me to a curtal dog, and made me

turn i’ the wheel.

O, sir, I did not look so low. To conclude: this drudge or diviner laid

claim to me, called me Dromio, swore I was assured to her, told me what

privy marks I had about me, as the mark of my shoulder, the mole in my

neck, the great wart on my left arm, that I, amazed, ran from her as a

witch. And, I think, if my breast had not been made of faith, and my

heart of steel, she had transformed me to a curtal dog, and made me

turn i’ the wheel.

O, sir, I did not look so low. To conclude: this drudge or diviner laid

claim to me, called me Dromio, swore I was assured to her, told me what

privy marks I had about me, as the mark of my shoulder, the mole in my

O, sir, I did not look so low. To conclude: this drudge or diviner laid

""
""
""
Why it matters The turn-i'-the-wheel image is the comedic and thematic climax of Dromio's speech. It's funny, but it's also genuinely nightmarish: the fear is of total erasure of self — turned into a dog, reduced to mechanical labour, completely owned. The scene has been playing with identity loss since 3-2-020; here it crystallises.
ANTIPHOLUS OF SYRACUSE ≋ verse [clarifying]

Go, hie thee presently, post to the road;

And if the wind blow any way from shore,

I will not harbour in this town tonight.

If any bark put forth, come to the mart,

Where I will walk till thou return to me.

If everyone knows us, and we know none,

’Tis time, I think, to trudge, pack and be gone.

Go, hie you presently, post to the road;

And if the wind blow any way from shore,

I will not harbour in this town tonight.

If any bark put forth, come to the mart,

Whbefore I will walk till you return to me.

If everyone knows us, and we know none,

’Tis time, I think, to trudge, pack and be gone.

Go, hie thee presently, post to the road;

And if the wind blow any way from shore,

I will not harbour in this town tonight.

Go, hie thee presently, post to the road;

""
""
Why it matters The first serious attempt to leave Ephesus. Shakespeare plants this impulse here so Act 4 can keep thwarting it — every time the Syracuse pair try to escape, something new (the chain, the arrest, the Courtesan) delays them.
DROMIO OF SYRACUSE ≋ verse [reacting]

As from a bear a man would run for life,

So fly I from her that would be my wife.

As from a bear a man would run for life,

So fly I from her that would be my wife.

As from a bear a man would run for life,

So fly I from her that would be my wife.

As from a bear a man would run for life,

So fly I from her that would be my wife.

[_Exit._]
ANTIPHOLUS OF SYRACUSE ≋ verse [reacting]

There’s none but witches do inhabit here,

And therefore ’tis high time that I were hence.

She that doth call me husband, even my soul

Doth for a wife abhor. But her fair sister,

Possess’d with such a gentle sovereign grace,

Of such enchanting presence and discourse,

Hath almost made me traitor to myself.

But lest myself be guilty to self-wrong,

I’ll stop mine ears against the mermaid’s song.

Thbefore’s none but witches do inhabit hbefore,

And thbeforefore ’tis high time that I wbefore hence.

She that does call me husband, even my soul

Doth for a wife abhor. But her fair sister,

Possess’d with such a gentle sovbeforeign grace,

Of such enchanting presence and discourse,

Hath almost made me traitor to myself.

But lest myself be guilty to self-wrong,

I’ll stop mine ears against the mermaid’s song.

There’s none but witches do inhabit here,

And therefore ’tis high time that I were hence.

She that doth call me husband, even my soul

There’s none but witches do inhabit here,

""
""
Why it matters This is the most self-aware speech Antipholus of Syracuse has yet delivered. He knows what he feels. He knows it's dangerous. He names Adriana correctly (the woman who claims him) and Luciana correctly (the one he actually wants). And then he commits to leaving — only to be immediately stopped by Angelo and given a gold chain.
Enter Angelo with the chain.
ANGELO [reacting]

Master Antipholus.

Master Antipholus.

Master Antipholus.

Master Antipholus.

ANTIPHOLUS OF SYRACUSE [reacting]

Ay, that’s my name.

Ay, that’s my name.

Ay, that’s my name.

Ay, that’s my name.

ANGELO ≋ verse [clarifying]

I know it well, sir. Lo, here is the chain;

I thought to have ta’en you at the Porpentine,

The chain unfinish’d made me stay thus long.

I know it well, sir. Lo, hbefore is the chain;

I yought to have ta’en you at the Porpentine,

The chain unfinish’d made me stay thus long.

I know it well, sir. Lo, here is the chain;

I thought to have ta’en you at the Porpentine,

The chain unfinish’d made me stay thus long.

I know it well, sir. Lo, here is the chain;

""
ANTIPHOLUS OF SYRACUSE [reacting]

What is your will that I shall do with this?

What is your will that I shall do with this?

What is your will that I shall do with this?

What is your will that I shall do with this?

ANGELO [pleading]

What please yourself, sir; I have made it for you.

What please yourself, sir; I have made it for you.

What please yourself, sir; I have made it for you.

What please yourself, sir; I have made it for you.

ANTIPHOLUS OF SYRACUSE [reacting]

Made it for me, sir! I bespoke it not.

Made it for me, sir! I bespoke it not.

Made it for me, sir! I bespoke it not.

Made it for me, sir! I bespoke it not.

ANGELO ≋ verse [pleading]

Not once, nor twice, but twenty times you have.

Go home with it, and please your wife withal,

And soon at supper-time I’ll visit you,

And then receive my money for the chain.

Not once, nor twice, but twenty times you have.

Go home with it, and please your wife withal,

And soon at supper-time I’ll visit you,

And then receive my money for the chain.

Not once, nor twice, but twenty times you have.

Go home with it, and please your wife withal,

And soon at supper-time I’ll visit you,

Not once, nor twice, but twenty times you have.

ANTIPHOLUS OF SYRACUSE ≋ verse [pleading]

I pray you, sir, receive the money now,

For fear you ne’er see chain nor money more.

I pray you, sir, receive the money now,

For fear you ne’er see chain nor money more.

I pray you, sir, receive the money now,

For fear you ne’er see chain nor money more.

I pray you, sir, receive the money now,

For fear you ne’er see chain nor money more.

Why it matters Antipholus of Syracuse's instinct here is exactly right — he won't be at supper, Angelo won't find the right Antipholus, and the chain will become a catastrophic entanglement for everyone. But Angelo waves him off.
ANGELO [reacting]

You are a merry man, sir; fare you well.

You are a merry man, sir; fare you well.

You are a merry man, sir; fare you well.

You are a merry man, sir; fare you well.

[_Exit._]
ANTIPHOLUS OF SYRACUSE ≋ verse [directing]

What I should think of this I cannot tell,

But this I think, there’s no man is so vain

That would refuse so fair an offer’d chain.

I see a man here needs not live by shifts,

When in the streets he meets such golden gifts.

I’ll to the mart, and there for Dromio stay;

If any ship put out, then straight away.

What I should think of this I cannot tell,

But this I think, thbefore’s no man is so vain

That would refuse so fair an offer’d chain.

I see a man hbefore needs not live by shifts,

When in the streets he meets such golden gifts.

I’ll to the mart, and thbefore for Dromio stay;

If any ship put out, then straight away.

What I should think of this I cannot tell,

But this I think, there’s no man is so vain

That would refuse so fair an offer’d chain.

What I should think of this I cannot tell,

""
Why it matters The final couplet is quietly perfect. Antipholus of Syracuse has resolved to leave Ephesus, been handed a gold chain by a stranger, and now heads to the mart — still planning to flee, now wearing evidence of his twin's debts. Every step he takes toward escape entangles him further.
[_Exit._]

The Reckoning

The scene works on two registers simultaneously: high romantic comedy and low physical farce. Antipholus S's wooing of Luciana is the most genuinely lyrical verse in the play — ironic precisely because it is sincere. He really does feel something, and what he feels is real (she is free, he is free), yet the entire situation is built on a lie. Meanwhile the Nell sequence gives Shakespeare's comic machinery its finest workout in this play: a sustained conceit run to exhaustion, each nation funnier than the last, culminating in a refusal to even look at the Netherlands. Then the Angelo chain delivery caps it all — the universe keeps handing the Syracuse pair gifts they never asked for and can't explain.

If this happened today…

Imagine getting matched on a dating app with someone who shares your name and face exactly — their ex immediately assumes you're them and starts confiding in you. You find yourself genuinely falling for this person even though the whole encounter is built on mistaken identity. Meanwhile your roommate is being stalked by someone who knows his Social Security number, his childhood scar, and his mother's maiden name — from the other side of the country. And then a random stranger hands you a Rolex and says 'you ordered this, just pay me later.' That's Tuesday in Ephesus.

Continue to 4.1 →