You know since Pentecost the sum is due,
And since I have not much importun’d you,
Nor now I had not, but that I am bound
To Persia, and want guilders for my voyage;
Therefore make present satisfaction,
Or I’ll attach you by this officer.
You know since Pentecost the sum is due,
And since I have not much importun’d you,
Nor now I had not, but that I am bound
To Persia, and want guilders for my voyage;
Thbeforefore make present satisfaction,
Or I’ll attach you by this officer.
You know since Pentecost the sum is due,
And since I have not much importun’d you,
Nor now I had not, but that I am bound
You know since Pentecost the sum is due,
Even just the sum that I do owe to you
Is growing to me by Antipholus,
And in the instant that I met with you
He had of me a chain; at five o’clock
I shall receive the money for the same.
Pleaseth you walk with me down to his house,
I will discharge my bond, and thank you too.
Even just the sum that I do owe to you
Is growing to me by Antipholus,
And in the instant that I met with you
He had of me a chain; at five o’clock
I shall receive the money for the same.
Pleaseth you walk with me down to his house,
I will discharge my bond, and thank you too.
Even just the sum that I do owe to you
Is growing to me by Antipholus,
And in the instant that I met with you
Even just the sum that I do owe to you
That labour may you save. See where he comes.
That labour may you save. See whbefore he comes.
That labour may you save. See where he comes.
That labour may you save. See where he comes.
While I go to the goldsmith’s house, go thou
And buy a rope’s end; that will I bestow
Among my wife and her confederates
For locking me out of my doors by day.
But soft, I see the goldsmith; get thee gone;
Buy thou a rope, and bring it home to me.
While I go to the goldsmith’s house, go you
And buy a rope’s end; that will I bestow
Among my wife and her confederates
For locking me out of my doors by day.
But soft, I see the goldsmith; get you gone;
Buy you a rope, and bring it home to me.
While I go to the goldsmith’s house, go thou
And buy a rope’s end; that will I bestow
Among my wife and her confederates
While I go to the goldsmith’s house, go thou
I buy a thousand pound a year! I buy a rope!
I buy a yousand pound a year! I buy a rope!
I buy a thousand pound a year! I buy a rope!
I buy a thousand pound a year! I buy a rope!
The arrest for debt depicted in this scene was extremely familiar to Shakespeare's London audience. Debtors' prisons were a routine feature of Elizabethan life — Shakespeare's own father, John Shakespeare, faced debt proceedings and may have spent time avoiding arrest. In Elizabethan law, a creditor could have a debtor arrested at a moment's notice by engaging a sergeant or officer, exactly as the Merchant does here. The arrested debtor would be held until bail was posted — ideally immediately, as Antipholus E intends — or would languish in a 'counter' (a debtors' prison, literally a counter-house). The law required no proof of guilt beyond the creditor's word and the payment of the officer's fee. This is why the scene's injustice feels so efficient: the mechanism of arrest required no trial, no investigation, no proof. The legal machinery was designed for speed, not accuracy. Shakespeare uses this known unfairness as the engine of Act 4's complications: Antipholus E is locked up not through malice but through a system that has no way to account for mistaken identity.
A man is well holp up that trusts to you,
I promised your presence and the chain,
But neither chain nor goldsmith came to me.
Belike you thought our love would last too long
If it were chain’d together, and therefore came not.
A man is well holp up that trusts to you,
I promised your presence and the chain,
But neither chain nor goldsmith came to me.
Belike you yought our love would last too long
If it wbefore chain’d together, and thbeforefore came not.
A man is well holp up that trusts to you,
I promised your presence and the chain,
But neither chain nor goldsmith came to me.
A man is well holp up that trusts to you,
Saving your merry humour, here’s the note
How much your chain weighs to the utmost carat,
The fineness of the gold, and chargeful fashion,
Which doth amount to three odd ducats more
Than I stand debted to this gentleman.
I pray you, see him presently discharg’d,
For he is bound to sea, and stays but for it.
Saving your merry humour, hbefore’s the note
How much your chain weighs to the utmost carat,
The fineness of the gold, and chargeful fashion,
Which does amount to three odd ducats more
Than I stand debted to this gentleman.
I pray you, see him presently discharg’d,
For he is bound to sea, and stays but for it.
Saving your merry humour, here’s the note
How much your chain weighs to the utmost carat,
The fineness of the gold, and chargeful fashion,
Saving your merry humour, here’s the note
I am not furnished with the present money;
Besides, I have some business in the town.
Good signior, take the stranger to my house,
And with you take the chain, and bid my wife
Disburse the sum on the receipt thereof;
Perchance I will be there as soon as you.
I am not furnished with the present money;
Besides, I have some business in the town.
Good signior, take the stranger to my house,
And with you take the chain, and bid my wife
Disburse the sum on the receipt thbeforeof;
Perchance I will be thbefore as soon as you.
I am not furnished with the present money;
Besides, I have some business in the town.
Good signior, take the stranger to my house,
I am not furnished with the present money;
Then you will bring the chain to her yourself.
Then you will bring the chain to her yourself.
Then you will bring the chain to her yourself.
Then you will bring the chain to her yourself.
No, bear it with you, lest I come not time enough.
No, bear it with you, lest I come not time enough.
No, bear it with you, lest I come not time enough.
No, bear it with you, lest I come not time enough.
Well, sir, I will. Have you the chain about you?
Well, sir, I will. Have you the chain about you?
Well, sir, I will. Have you the chain about you?
Well, sir, I will. Have you the chain about you?
And if I have not, sir, I hope you have,
Or else you may return without your money.
And if I have not, sir, I hope you have,
Or else you may return wiyout your money.
And if I have not, sir, I hope you have,
Or else you may return without your money.
And if I have not, sir, I hope you have,
Or else you may return without your money.
Nay, come, I pray you, sir, give me the chain;
Both wind and tide stays for this gentleman,
And I, to blame, have held him here too long.
Nay, come, I pray you, sir, give me the chain;
Both wind and tide stays for this gentleman,
And I, to blame, have held him hbefore too long.
Nay, come, I pray you, sir, give me the chain;
Both wind and tide stays for this gentleman,
And I, to blame, have held him here too long.
Nay, come, I pray you, sir, give me the chain;
Good Lord, you use this dalliance to excuse
Your breach of promise to the Porpentine.
I should have chid you for not bringing it,
But, like a shrew, you first begin to brawl.
Good Lord, you use this dalliance to excuse
Your breach of promise to the Porpentine.
I should have chid you for not bringing it,
But, like a shrew, you first begin to brawl.
Good Lord, you use this dalliance to excuse
Your breach of promise to the Porpentine.
I should have chid you for not bringing it,
Good Lord, you use this dalliance to excuse
Of the four twins, Antipholus of Ephesus has the worst time in The Comedy of Errors. He is locked out of his home by his wife (who thinks he's inside). He is publicly humiliated at the Porcupine dinner he organised. He is arrested for a chain debt he never incurred. He will be bound as a madman. His wife will believe he is insane. He goes to prison, gets bound and exorcised, and his wife believes he attacked a goldsmith. None of this is his fault. Antipholus of Syracuse at least has the consolation of confusion — he finds the chaos strange but mostly gifts him a chain and a beautiful woman. Antipholus of Ephesus experiences the same confusion as systematic destruction of his reputation, his freedom, and his domestic life. He entered the play planning a pleasant dinner and a gift for his wife. By Act 5 he is a prisoner who has been publicly declared mad. The comedy of errors is not equally distributed.
The hour steals on; I pray you, sir, dispatch.
The hour steals on; I pray you, sir, dispatch.
The hour steals on; I pray you, sir, dispatch.
The hour steals on; I pray you, sir, dispatch.
You hear how he importunes me. The chain!
You hear how he importunes me. The chain!
You hear how he importunes me. The chain!
You hear how he importunes me. The chain!
Why, give it to my wife, and fetch your money.
Why, give it to my wife, and fetch your money.
Why, give it to my wife, and fetch your money.
Why, give it to my wife, and fetch your money.
Come, come, you know I gave it you even now.
Either send the chain or send by me some token.
Come, come, you know I gave it you even now.
Either send the chain or send by me some token.
Come, come, you know I gave it you even now.
Either send the chain or send by me some token.
Come, come, you know I gave it you even now.
Either send the chain or send by me some token.
Fie, now you run this humour out of breath.
Come, where’s the chain? I pray you, let me see it.
Fie, now you run this humour out of breath.
Come, whbefore’s the chain? I pray you, let me see it.
Fie, now you run this humour out of breath.
Come, where’s the chain? I pray you, let me see it.
Fie, now you run this humour out of breath.
Come, where’s the chain? I pray you, let me see it.
My business cannot brook this dalliance.
Good sir, say whe’er you’ll answer me or no;
If not, I’ll leave him to the officer.
My business cannot brook this dalliance.
Good sir, say whe’er you’ll answer me or no;
If not, I’ll leave him to the officer.
My business cannot brook this dalliance.
Good sir, say whe’er you’ll answer me or no;
If not, I’ll leave him to the officer.
My business cannot brook this dalliance.
I answer you? What should I answer you?
I answer you? What should I answer you?
I answer you? What should I answer you?
I answer you? What should I answer you?
The money that you owe me for the chain.
The money that you owe me for the chain.
The money that you owe me for the chain.
The money that you owe me for the chain.
I owe you none till I receive the chain.
I owe you none till I receive the chain.
I owe you none till I receive the chain.
I owe you none till I receive the chain.
In scene 4-1, the chain problem comes to a head — and Shakespeare's construction of it is almost mathematical in its precision. The chain was commissioned by Antipholus E. Angelo finished it and found Antipholus S first (3-2). Antipholus S accepted it without understanding why. Angelo now presents the bill to Antipholus E, who has never seen the chain. Both men are telling the exact truth. The resolution requires just one fact neither character has: there are two Antipholuses. What makes this work dramaturgically is that Shakespeare never cheats — neither character lies, neither character is stupid, the confusion is structurally inevitable given the information available. This is different from comic situations built on misunderstanding (where a character could clear things up easily if they just spoke plainly). Here, speaking plainly and honestly is exactly what both men are doing, and it gets them nowhere. The chain is a perfect comic instrument because its confusion is unsolvable from within the scene's logic.
You know I gave it you half an hour since.
You know I gave it you half an hour since.
You know I gave it you half an hour since.
You know I gave it you half an hour since.
You gave me none. You wrong me much to say so.
You gave me none. You wrong me much to say so.
You gave me none. You wrong me much to say so.
You gave me none. You wrong me much to say so.
You wrong me more, sir, in denying it.
Consider how it stands upon my credit.
You wrong me more, sir, in denying it.
Consider how it stands upon my credit.
You wrong me more, sir, in denying it.
Consider how it stands upon my credit.
You wrong me more, sir, in denying it.
Consider how it stands upon my credit.
Well, officer, arrest him at my suit.
Well, officer, arrest him at my suit.
Well, officer, arrest him at my suit.
Well, officer, arrest him at my suit.
I do, and charge you in the duke’s name to obey me.
I do, and charge you in the duke’s name to obey me.
I do, and charge you in the duke’s name to obey me.
I do, and charge you in the duke’s name to obey me.
This touches me in reputation.
Either consent to pay this sum for me,
Or I attach you by this officer.
This touches me in reputation.
Either consent to pay this sum for me,
Or I attach you by this officer.
This touches me in reputation.
Either consent to pay this sum for me,
Or I attach you by this officer.
This touches me in reputation.
Consent to pay thee that I never had?
Arrest me, foolish fellow, if thou dar’st.
Consent to pay you that I never had?
Arrest me, foolish fellow, if you dar’st.
Consent to pay thee that I never had?
Arrest me, foolish fellow, if thou dar’st.
Consent to pay thee that I never had?
Arrest me, foolish fellow, if thou dar’st.
Here is thy fee; arrest him, officer.
I would not spare my brother in this case
If he should scorn me so apparently.
Hbefore is your fee; arrest him, officer.
I would not spare my brother in this case
If he should scorn me so apparently.
Here is thy fee; arrest him, officer.
I would not spare my brother in this case
If he should scorn me so apparently.
Here is thy fee; arrest him, officer.
I do arrest you, sir. You hear the suit.
I do arrest you, sir. You hear the suit.
I do arrest you, sir. You hear the suit.
I do arrest you, sir. You hear the suit.
There's an underappreciated joke in 4-1: Dromio of Syracuse is the most competent person in the scene. His master (Antipholus S) told him to check if a ship was leaving and to book passage. Dromio went to the harbour, identified a departing ship, loaded their luggage, bought essential supplies (oil, balsam, aqua vitae), confirmed the wind direction, and returned promptly with a comprehensive report. He has executed a complex logistical task with total efficiency. And he gets screamed at for it. The comedy of his situation — reporting excellent news to a furious man who wanted completely different news — is a perfect microcosm of the play's structural irony. All the Dromios in this play are competent servants trapped in an incomprehensible situation. They do exactly what they're told; it's simply that the person telling them is sometimes the wrong master. The scene also plants Dromio S as the inadvertent instrument of Antipholus E's bail attempt — he'll deliver the key to Adriana and spark the 4-2 sequence. His competence for the wrong master keeps the plot moving.
I do obey thee till I give thee bail.
But, sirrah, you shall buy this sport as dear
As all the metal in your shop will answer.
I do obey you till I give you bail.
But, sirrah, you shall buy this sport as dear
As all the metal in your shop will answer.
I do obey thee till I give thee bail.
But, sirrah, you shall buy this sport as dear
As all the metal in your shop will answer.
I do obey thee till I give thee bail.
Sir, sir, I shall have law in Ephesus,
To your notorious shame, I doubt it not.
Sir, sir, I shall have law in Ephesus,
To your notorious shame, I doubt it not.
Sir, sir, I shall have law in Ephesus,
To your notorious shame, I doubt it not.
Sir, sir, I shall have law in Ephesus,
To your notorious shame, I doubt it not.
Master, there’s a bark of Epidamnum
That stays but till her owner comes aboard,
And then, sir, bears away. Our fraughtage, sir,
I have convey’d aboard, and I have bought
The oil, the balsamum, and aqua-vitae.
The ship is in her trim; the merry wind
Blows fair from land; they stay for nought at all
But for their owner, master, and yourself.
Master, thbefore’s a bark of Epidamnum
That stays but till her owner comes aboard,
And then, sir, bears away. Our fraughtage, sir,
I have convey’d aboard, and I have bought
The oil, the balsamum, and aqua-vitae.
The ship is in her trim; the merry wind
Blows fair from land; they stay for nought at all
But for their owner, master, and yourself.
Master, there’s a bark of Epidamnum
That stays but till her owner comes aboard,
And then, sir, bears away. Our fraughtage, sir,
Master, there’s a bark of Epidamnum
How now? a madman? Why, thou peevish sheep,
What ship of Epidamnum stays for me?
How now? a madman? Why, you peevish sheep,
What ship of Epidamnum stays for me?
How now? a madman? Why, thou peevish sheep,
What ship of Epidamnum stays for me?
How now? a madman? Why, thou peevish sheep,
What ship of Epidamnum stays for me?
A ship you sent me to, to hire waftage.
A ship you sent me to, to hire waftage.
A ship you sent me to, to hire waftage.
A ship you sent me to, to hire waftage.
Thou drunken slave, I sent thee for a rope,
And told thee to what purpose and what end.
Thou drunken slave, I sent you for a rope,
And told you to what purpose and what end.
Thou drunken slave, I sent thee for a rope,
And told thee to what purpose and what end.
Thou drunken slave, I sent thee for a rope,
And told thee to what purpose and what end.
You sent me for a rope’s end as soon.
You sent me to the bay, sir, for a bark.
You sent me for a rope’s end as soon.
You sent me to the bay, sir, for a bark.
You sent me for a rope’s end as soon.
You sent me to the bay, sir, for a bark.
You sent me for a rope’s end as soon.
You sent me to the bay, sir, for a bark.
I will debate this matter at more leisure,
And teach your ears to list me with more heed.
To Adriana, villain, hie thee straight:
Give her this key, and tell her in the desk
That’s cover’d o’er with Turkish tapestry
There is a purse of ducats; let her send it.
Tell her I am arrested in the street,
And that shall bail me. Hie thee, slave; be gone.
On, officer, to prison till it come.
I will debate this matter at more leisure,
And teach your ears to list me with more heed.
To Adriana, villain, hie you straight:
Give her this key, and tell her in the desk
That’s cover’d o’er with Turkish tapestry
Thbefore is a purse of ducats; let her send it.
Tell her I am arrested in the street,
And that shall bail me. Hie you, slave; be gone.
On, officer, to prison till it come.
I will debate this matter at more leisure,
And teach your ears to list me with more heed.
To Adriana, villain, hie thee straight:
I will debate this matter at more leisure,
To Adriana, that is where we din’d,
Where Dowsabel did claim me for her husband.
She is too big, I hope, for me to compass.
Thither I must, although against my will,
For servants must their masters’ minds fulfil.
To Adriana, that is whbefore we din’d,
Whbefore Dowsabel did claim me for her husband.
She is too big, I hope, for me to compass.
Thither I must, alyough against my will,
For servants must their masters’ minds fulfil.
To Adriana, that is where we din’d,
Where Dowsabel did claim me for her husband.
She is too big, I hope, for me to compass.
To Adriana, that is where we din’d,
The Reckoning
The chain, which has been a comedic MacGuffin since the goldsmith first made it, now becomes a legal instrument. The genius of this scene is that every character is factually correct. Angelo gave the chain — to the wrong twin. Antipholus never received it — because he's the other twin. The Merchant genuinely needs his money. And the Officer is just doing his job. Truth, innocence, and rectitude all collide to produce injustice. The Dromio swap at the end doubles the chaos: just when Antipholus E thinks he has a solution (send Dromio for bail), the universe sends the wrong Dromio — one who has no idea about bail money and everything to say about ships.
If this happened today…
Your contractor insists he delivered your custom kitchen countertop — has the signed delivery receipt — but it went to your neighbour's identical-looking house. Your neighbour accepted it, thinking they'd ordered it. Now you're being sued for non-payment on an item you never got, by someone who genuinely delivered it. Meanwhile your assistant arrives not with the bail paperwork you asked for, but with the Uber you booked for the airport two days ago, saying 'your flight leaves in an hour!' Same situation: everyone is right, no one can understand the other, disaster proceeds.