v^ ^. ^. j^., (?. A. £), NOTES AND CONJECTURAL EMENDATIONS SHAKESPEAEE'S PLAYS. P. A. DANIEL. " An ill-favoured thing, sirs, but mine ovra.' LONDON : ROBERT HARDWICKE, 192, PICCADILLY. 1870. PRINTED BY CHARLES JONES, WEST HARDING STREET. ^i^ivh^K^lTY OF CALIFOIiNIiS SANTA BARBAEA DEDICATED n Umarg of P^r. SHilliam Sklics^ca^. " Lord of my love, to whom in vassalage Thy merit hath my duty strongly knit, To thee I send this written embassage To witness duty, not to show my wit." Soviet XXFI. PEEFACE The following Notes and Conjectural Emendations of certain Doubtful Passages in Shakespeare's Plays are the result chiefly of a careful study of the First Folio (Booth's Reprint and Staunton's Facsimile) and of the " Cambridge Shakespeare," edited by i^iii Mi^u. Messrs. W. G. Clark and W. Aldis Wright. To this last valuable work, showing as it does at one glance the various readings of the old copies, and giving the re- sults of the labours of all preceding editors and com- mentators, I am indebted for any appearance of research in my Notes. By its aid, also, I have been enabled to exclude from these pages much that wna original to myself, but in which I found I had been forestalled by previous writers ; so that now, however VI PREFACE. small the value of my work, it has, I believe, at least the negative recommendation of containing nothing that has before been published.* " To blot old books and alter their contents " is very generally, and oftentimes not undeservedly, the reproach cast on those who undertake work of this kind ; yet sometimes it is their privilege "To unmask falsehood and bring truth to light." I have not the vanity to suppose that I have often achieved this happy result, and I do not believe that more than a very few of my conjectures would be accepted by any responsible editor of Shakespeare's works ; indeed, were I myself in that position, it would be with fear and trembling that I should select any. Yet some few, I think, are certain ; and as the conjec- * I should, howe^'er, mention that the substance of some two-thirds of my Notes on "Antony and Cleoiiatra" and " Cymbeline" has been ad- mitted to the foot-notes of the Cambridge Edition, to whose Editors I did myself the honour of submitting a number of conjectural emendations shortly before the publication of their last volume. PREFACE. Vll tures of others have sometimes put me on what I believe to be the right track, so, perhaps, my attempts may assist future seekers. In this belief I submit my work to the consideration of the Shakespearian stu- dent. That it may aiford him in the reading some little taste of the pleasure I have enjoyed in the writing is the best wish I can bestow upon him, and so subscribe myself, very respectfully. His obedient servant, P. A. DANIEL. 6, GRAY'S INN SQUARE. In the passages under revinc, the text quoted is that of the First Folio, verbatim et literatim {errors excepted). Very frequently some peculiarity of spelling or punctuation, or the mere form under which an error manifests itself, gives the clue to the right reading. The lines, for the convenience of reference, are numbered as in the Cambridge Edition. The numbering of the Quartos is also adopted from the Cambridge Edition. And in any abbreviations introduced {as F. for Folio, Ff. all the Folios, Q. Quarto, Qq. all the Quartos), the plan of the Cambridge Edition has still been followed. SHAKESPEARE : NOTES AND GONJECTUEAL EMENDATIONS. Wijt %m^t^t Act I. Scene 2, Line 269. This blew ey'd hag, was hither brought with child. Qy. for blew ey'd (blue-eyetl) read hlear-eyed. Act I. Scene 2, Lines 379—386, The last lines of Ariel's song, " Come unto these yellow sands," stand thus in the Folio : — Foote it featly heere, and there, and stveete SprigJits beare the burthen. Burthen dispersedly. Marke, harJce, bowgh-ivaxugh : the ivatch-Bogges barke, bowgh-wawgh. Ar. Hark, hark, I heare, the straine of strutting Chanticlere cry cockadidle-dowe. Every reader will, I think, accept Pope's alteration of beare the burthen to the burthen beare ; but there seems to be a diversity of opinion as to what that burthen is. Some B 10 THE TEMPEST. editors only give boivgh-ivawgh, bowgh-waivgh, as the burthen ; others the whole line, Harke, harke, howgh-wawgh : the ivatch-dogges harke, boiogh-waivgh ; and all give cry cocka- didle-dowe as part of Ariel's song. Cry seems to me to be merely a stage direction, and I would arrange the song thus : — Foote itfeatly heere and there, And sweete Sprights the burthen beare. Harke, harke ! i Burthen dispersedly. The watch-Dogges harke. I Bowgh-ivawgh, Hark, hark, I heare | Boivgh-wawgh. The strain of strutting Chanticlere. I Cockadidle-dowe . The burthen heard dispersedly is the barking of dogs and the crowing of cocks. Act I. Scene 2, Lines 107—109. To haue no Schreene between this part he plaid, And him he plaid it for, he needes will be Absolute Millaine. In second line read, — And them he play'd it for. Prosjiero was the screea behind which the traitorous An- tonio governed the people of Milan ; and to remove this screen from between himself and them he conspired his brother's overthrow. Act I. Scene 2, Line 409. "What is't a Spirit ? The usual reading is. What isH ? a Spirit ? Would not. What ! isH a Spirit ? be more in accordance with the original ? THK TEMPEST. 11 Act II. Scene 1, Lines 244, 245, Whereof, what's past is Prologue ; what to come In yours, and my discharge. In the second line, Pope changed In yours to /,s yours. Read rather, 'S in yours. Act II. Scene 1, Lines 260, 261. And how do's your content Tender your own good fortune ? Why should Antonio ask Sebastian whether his content waited on a good fortune he did not possess ? He is tempt- ing him to join in an act which shall achieve that good fortune (the kingship of Naples), and to ask him whether he is satisfied already seems absurd. To ask him if he consents to join in an action which shall secure the object of his ambition is much more to the purpose. Read, therefore. And how ? do you consent T' endeav'r your own good fortune ? Whether this reading which I propose be admitted or not, it is at least singular that so slight a change in sound and spelling should bring out from an obscure sentence a meaning so perfectly in accordance with the intention of the scene. I have written endeav'r for the sake of clearness ; but, just as ever and lohether become e'er and whe'er, so I believe that in this instance endeavour would be contracted to B 2 12 THE TEMPEST. endear, in wliicli case the alteration I propose becomes still slighter. Act II. Scene 2, Lines 132, 133. Come, sweare to thcat : kisse the Booke : I will furnish it anon with new Contents : Sweare. Has the printer here deprived Stephano of a joke ? He calls his Bottle a Book, and perhaps said he would furnish it anon with new contexts. Caliban having taken the oath, Trinculo (Lines 136, 137) commends him with, — Well drawne Monster, in good sooth. Should we not read, — Well sicorn, monster, &c. ? Caliban's song at the end of tins scene seems to me to have been needlessly meddled with in modern editions. In the third line, — Nor scrape trenchering, nor wash dish, — Pope, on the authority of Dryden's version, cut down tren- chering to trencher, and spoiled the jingle of the song. Caliban ends by shouting, Freedome, high-day, high-day freedovie, freedome high-day, freedome. Rowe — followed, I believe, by all the editors — changed the high-day (holy day) of the Folios to the meaningless inter- jection of hey-day ! Act III. Scene 1, Lines 13 — 15. I forget : But these sweet thoughts, doe euen refresh my labours, Most busie lest when I doe it. Folios 2, 3, and 4, for husie lest, have busy least ; but do not thereby throw any light on this difficult passage. I can THE TEMPEST. 13 make nothing of the text as it stands ; still less can I understand the interpretations that have been put upon it, or the various emendations that have been suggested and adopted, by my predecessors. I suspect that lest is a misprint for rest. What is it that Ferdinand /br^/e^s ? The punctuation of the Folios would lead us to suppose that, while thinking of his mistress, he forgets to go on with his labour ; yet Mi- randa, entering immediately after, begs him not to work so hard. While the thoughts of his mistress (she who makes his labours pleasures) throng upon him, what he really for- gets is the tedium of his labour. Read, therefore, and punctuate, I forget But (all but) these sweet thoughts — do even refresh me ; labour's Most busy rest when I do it. i. e. Having forgotten all but these sweet thoughts, I do even refresh myself; labour is but a most busy kind of rest while I am engaged in it.. See " Macbeth," Act I. Scene 4, Line 44 : — The rest is labour which is not used for you. The converse of which exactly represents the idea which I suppose Ferdinand to express : — The labour which is used for you is rest. Act III. Scene 2, Lines 143, 144. Trin. The sound is going away, Lets follow it, and after do our worke. Give this speech to Caliban. Stephano replies to it. Lead, monster; we'll follow. And Trinculo adds, Til follow. 14 THE TEMPEST. Act III. Scene 3, Lines 20, 21. On the entrance of the Strange shapes, hvinging in a Banket, Sebastian exclaims, Now I will beleeue That there are Vnicornes — Read, — Now I well believe. Act III. Scene 3, Line 48. Each putter out of five for one. The allusion here is undoubtedly to that " humour " of the age which Ben Jonson satirises in *' Every Man out of his Humour ;" there is, however, evidently some error in the text. Malone, adopting Thirlby's conjecture, read, by transposition, — of one for Jive. Perhaps we should read, — Each putter out at five for one ; i. e. at the rate of five for every one put out. Act III. Scene 3, Lines 104—106. All three of them are desperate : their great guilt (Like poyson giuen to worke a great time after) Now gins to bite the spirits. Read, — their spirits. Act IV. Scene 1, Lines 5 — 7. All thy vexations Were but my trials of thy loue, and thou Hast strangely stood the test. For strangely read stronglij. Qy. read, TWO GENTLEMEN OF VERONA. 15 Act V. Scene 1, Lines 27, 28. The rarer Action is In vertue, then in vengeance. The rarer virtue is In pardon than in vengeance. Act V. Scene 1, Lines 40 — 43. (Prospero is addressing the spirits wliora he has employed in his enchantments.) by whose ayde ("Weake Masters though ye be) I haue bedymn'd The Noone-tide Sun, &c. Qy. for weak masters read weak ministers. Wsaa (^milzmw ai WtxQxu, Act II. Scene 1, Lines 1, 2. Speed. Sir, your Glove. Valentine. Not mine : my Gloves are on. Speed. Why then this may be yours : for this is but one. Note. — It is evident from this that the words on and one in Shakespeare's time were pronounced alike, or so nearly alike as to render the pun in the above passage sufficiently obvious to the audience. In strong confirmation of this we 16 TWO GENTLEMEN OF VERONA. find that in almost innumerable instances in the old copies (Quartos and Folios) of Shakespeare's Plays the two words are indifferently printed one for the other. This fact is too well known to require any illustration here. I have, how- ever, noted one or two instances in which on and one are printed for oivn: — And wits one grace to grace a learned foole. Love's Labour's Lost, V. 2, 72, Qo. 2. Seek tty one ease. Lear, III. 4, 23, Q,o, 2. While sense can keepe it on. Cymheline, I. 1, 118, Ff. In this last instance, however, I should observe that Mr. Grant White's conjecture is my only authority for supposing that the right word would be own : he proposes to read, While sense can keep it (its) own. Knight is of opinion that one was pronounced 07i. Sidney Walker admits that this Avas sometimes the case, but contends that it was commonly pronounced im, as it still is among the vulgar ; instance : — a good un, a little un, and the like. My own belief is that both words were pronounced as we now pronounce them in onli/, alone, and I think the follow- ing rhyming passages prove this : — Then will two at once woo one That must needs be sport alone. Midsummer Night, III. 3, 118, 119. So thanks to all at once and to each one Whom we invite to see us crown'd at Scone. Macbeth, last two lines. To he exiled and thrown From Leonati seat, and cast From her his dearest one. Cymbeline, V. 4, 59 — 61. TWO GENTLEMEN OF VERONA. 17 I have noted many other instances in Shakespeare in which the words on, one, alone, none, gone, moan, he, rhyme with each other; but, as the passage from the " Two Gentle- men of Verona" wliich heads this note sufficiently proves that on and one were pronounced alike, so I think that the three passages which end it suffice to show what that pro- nunciation really was. Act II. Scene 1, Lines 68, 69. For lie beeing in loue, could not see to garter his hose ; and you, beeing in loue, cannot see to put on your hose. This passage is considered to be corrupt by the com- mentators, as the lover the most absorbed in his passion could hardly forget so important an article of his dress. Among other suggestions, the Cambridge Editors propose, — cannot see to put on your shoes ; but this would be as great a piece of forgetfulness as that recorded in the text. Per- haps it should be, — cannot see to button your shoes. The change from put on to button cannot be said to be violent, and shoes for hose seems justified by Valentine's following speech : — Belike (boy) then you are in loue, for last morning You could not see to wipe my shooes. Act III. Scene 1, Lines 185—187. I flie not death, to flie his deadly doome. Tarry I heere, I but attend on death, But flie I hence, I Hie away from life. Read in first line, — to flie is deadly doome. 18 TWO GENTLEMEN OP VERONA. Act IV. Scene 4, Lines 75 — 78. she lou'd you as well As you doe loue your Lady Siluia : She dreames on him, that has forgot her loue, You doate on her, that cares not for your loue. In third line read, She dreams on you that have forgot her love. Act V. Scene 4, Line 2. This shadowy desart, vnfrequented woods. For woods read wood. Either this or the alteration of Collier's MS. Corrector, I think, should be adopted : — These shadowy, desert, unfrequented woods. Act V. Scene 4, Line 26. How like a dreame is this ? I see, and heare : Theobald, whose reading is generally adopted, has. How like a dream is this I see and hear ! It would be nearer the original to read, How like a dream is this ! I see and hear ! Notes of interrogation are nearly always used in the Folio for notes of exclamation. THE MERRY WIVES OF WINDSOR. 19 Act V. Scene 4, Lines 46 — 51. Eead ouer Julia's heart, (thy first best Loue) For -whose deare sake, thou didst then rend thy faith Into a thousand oathes ; and all those oathes, Descended into periury, to loiie me, Thou hast no faith left now, vnlesse thou'dst two, And that's farre worse than none. Read and punctuate, — thou didst then rain thy faith Into a thousand oaths, and all those oaths Descended into perjury. To love me Thou hast no faith left now, unless, &c. See "Midsummer Night's Dream," Act I. Scene 1, Line 243 : — He haird down oaths, &c. This passage suggests yet another reading : — thou didst then hail thy faith Into a thousand oaths, and all those oaths Discaiidied into perjury. The words candy and discandy, in the sense of freezing and thawing, occur several times in Shakespeare. l^Iji^ "^^m^ Wx'^t^ ai Wnxii^Qx, Act I. Scene 4, Line 113. You shall haue ^«-fooles head of your owne. So stands this speech of Mrs. Quickly in the Folio. All modern editors, I believe, after marking the exit of Dr. 20 MEASURE FOR MEASURE. Caius and Rugby at the eud of the preceding speech, print the line thus : — You shall have An fool's-head of your own; meaning — what ? I think there can be no doubt that the true rendering of the passage would be : — You shall have Anne — [Excioit Caius and Eugby] — fool's-head of vour own. While the Doctor is still within hearing, Mrs. Quickly continues to flatter him ; as soon as he is clear off, she utters a bit of her mind. Note that A7ine is frequently in the Folio spelt An, three times so in the very scene under notice, and in this particular instance is printed in italics, as are all proper names in the Folio. The dash after An clearly indicates a break in Mrs. Q.'s discourse. |£Uas«w iox H^E^ur^. Act I. Scene 1, Lines 7 — 9. Then no more remaines But that, to your sufficiency, as yom- worth is able, And let thein worke. I am inclined to think that the numerous attempts to amend this passage have been suggested, not by the text of the Folio itself, as given above, but by the alterations made in that text by the various editors. The distance of the relative from its antecedent puzzled the first editor, and he in his turn has puzzled all the rest. He supposed that them MEASURE FOR MEASURE. 21 referretl to sufficiency and worth, whereas it refei's to the properties of goveimmeiit. The Duke says : — Of Government, the properties to unfold. Would seeme in me t'affect speech and discourse, Since I am put to know, that your owne Science Exceedes (in that) the lists of all aduice My strength can give you. He then adds : — Then no more remains (for me to say with regard to the properties of government), but that, to your sufficiency («*. e. betake yourself to your sufficiency), as your worth is able, and let them (the properties of govern- ment, the laws) work or take their course. There are two other instances in Shakespeare in which a similar distance of the demonstrative pronoun from its noun has given rise to controversy. In " Taming of the Shrew," Act I. Scene 2, Lines 13/— 149^,— Ento- Gremio and Lucentio disguised. Gre. very well, I have perus'd the note : Hearke you sir, He have them verie fairely bound, All bookes of Loue, see that at any hand. And see you reade no other Lectures to her : You understand me. Over and beside Signior Baptistas liberalitie, He mend it with a Largesse. Take your paper too, And let me have them vcrie wel perfum'd ; For she is sweeter than perfume it selfe To whom they go to : Capell amplified the stage direction of the Folio to — > Enter Gremio, and Lucentio disguised, with books under his arm. But there is nothing in the text to justify this addition. If it were necessary to be minute in the stage direction it should be — Enter Gremio ivith a pap)er in his hand, and Lucentio disguised. — The paper was the note of the books with which Bianca was to be supplied, and it is this 22 MEASURE FOR MEASURE. paper of which Gremio subsequently says, Take your paper too, and then, thinking of the books that were noted in it, he continues, And let me have them (the books) verie wel perfum'd, &c. Modern editors, taking them to be the de- monstrative pronoun to paper, have accordingly altered paper to papers. I notice that the Cambridge Editors restore t\\Q paper of the Folios, believing them to refer to 2-)aper, and that the em- ployment of the plural demonstrative pronoun in this case is merely an instance of the lax grammar of the time, which permitted the use of a plural pronoun to a singular noun, and vice versa. The second instance, in my opinion, is no less conclusive. It involves, however, a slight alteration in the text. It is ia " Coriolanus," Act I. Scene 9, lines 41 — 47: — May these same Instruments, which you prophane, Neuer sound more : When Drums and Trumpets shall I' th' field proue flatterers, let Courts and Cities be Made all of false-fac'd soothing : When Steele grows soft, as the Parasites Silke, Let him be made an Ouerture for th' Warres : No more I say, &c. The alteration I propose is in the last two lines, thus : — "When steel grows soft as the parasite's silk, Let 'em be made an overtm-e for the wars No more, I say ! &c. i. e. Let 'em (the drums and trumpets) no more be made an overture for the wars when steel grows soft, &c. It is scarcely necessary to remark in justification of the change of him to ^em that the two Avords are frequently con- founded in the Folio. Mr. Knight changes hi7)i to the7n, referring, I believe, to the drums and trumpets, but he has totally changed the punctuation of the speech and, thereby, its meaning. MUCH ADO AROUT NOTHING. 23 It was no doubt the distance of the demonstrative pro- noun from its noun, or nouns rather, in this instance which led to Tyrwhitt's strange conjecture that wlieu steel grew soft it was to be made a coverture for the wars ! Act II. Scene 2, Lines 153—155. prayers from presenied soules, From fasting maides, whose miiides are dedicate To nothing temporall. Instead of preserved souls, I should like to read, reserved souls. Act III. Scene 1, Lines 78 — 82. Why give you me this shame ? Thinke you I can a resolution fetch From tlowrie tendernesse ? If I must die, I will encounter darknesse as a bride, And hugge it in mine armes. Qy. in second and third lines read, Think you I For flowery For, i. e. because of. Think you I cannot resolution fetch For flowery tenderness ? l)xt\ ^^0 akitt |T0tIji«0, Act II. Scene 3, Lines 25, 26. till all graces be in one woman, one woman sliall not come in my grace. I should like to read, — till all graces come in one woman, &c. 24 love's labour's lost. Act IV. Scene 1, Lines 249, 250. Being that I flow in greefe, The smallest twine may lead me. The sense of the passage surely requires that we should change flow to float. In the first Qo. edition (1597) of Romeo and Juliet (Act III. Scene 5), we have : — For this thy bodie which I tearme a barke, Still Jloatinff in thy euer-falling teares, &c. Act V. Scene 2, Lines 88, 89. I will line in thy heart, die in thy lap, and be buried in thy eies. I should like to transpose heart and ef/es in this pretty- sentence. %obif% Saknr's %OBt Act L Scene 1, Lines 31, 32. To loue, to wealth, to pompe, I pine and die, "With all these Huing in Philosophie. Instead of, With all these, read, With all three, i. e. with love, wealth, and jiomp. love's labour's lost. 25 Act I. Scene 1, Lines 157, 158. But I believe, althougli I seeme so loth, I am the last that will last keep his oth. Berowne is here made to say exactly the contrary of that which he intends ; he means, of course, that he will be the last to break his oath. Some alteration in this sense seems requisite. Qy. I am the 07ie that will last keep his oath. Act III. Scene 1, Lines 67, 68. No egma, no riddle, no lennoy, no salue, in thee [ male sir. Folios 2, 3, and 4 have, — in the male. Most modern edi- tions read, I know not on what authority, — m the mail; meaning, I believe, in the doctor's box. Knight, adopting Tyrwhitt's conjecture, reads, — in them all. It should be, I think, — on or of them all. Tyrwhitt's conjecture makes Costard reject the egma, &c., because there is no salve in them, whereas he rejects them because he supposes they are all salves ; and he afterwards explains that he will have no salve, but only a plantain, for his broken shin. Act IV. Scene 2, Lines 121—125. Nath But Damosella virgin, was this directed to you ? Jaq. I sir from one mounsier Berowne, one of the strange Queenes Lords. Nath, I will ouerglance the superscript, &c. This speech of Jaquenetta's is quite wrong. Both she and Costard believed, and the humour of the plot requires c 26 love's labour's lost. that they should believe, that the letter was from Don Ar- mado. See her previous speech in this scene (L. 182), — " It was given me by Costard, and sent me from Don Armado." Throughout this scene, Nathaniel the Parson and Holo- fernes the Pedagogue are confounded together ; and this confusion has, I believe, caused the error. Read, therefore, Sol, .... But, Damosella virgin, was this directed to you ? Jaq. Ay, sir. Nath. "Tis from one Monsieur Biron to one of tlie strange queen's ladies. Sol. I will overglance the superscript, &c. Sir Nath. had already overread the letter, and knew by whom it was written, and to whom directed. Holofernes has now the letter in his hand. We must suppose that Jaq. and Cost, do not hear, or do not understand, the conversa- tion between the Parson and Pedagogue ; for when, in the next scene (L. 193), they present the letter to the king, they still suppose it to be Don Armado's. — To one of the strange queen's ladies, — is an alteration of Theobald's, who, how- ever, leaves the speech to Jaquenetta. Act IV. Scene 3, Lines 22—25. So sweete a kisse the golden Sunne giues not, To those fresh morning di-ops vpon the Rose, As thy eye beames, when their fresh rayse haue smot. The night of dew that on my cheekes downe Howes. In last two lines read, when their fresh rays have smote The night off dew, &c. love's labour's lost. 27 Act IV. Scene 3, Lines 254—256. if in blacke my Ladies browes be deckt, It moiu'nes, that painting vsiirping haire Should ravish doters with a false aspect. In the second line, Folios 2 and 3 have, — an usurping ;— Folio 4 has, — and usurping. The Quartos read as above. Qy. read, It mourns that painting, an usurping heir, Should, &c. The reading of Folio 4 has, however, a good meaning ; yet see, in favour of my suggestion, Sonnet cxxvii. : — But now is black beauty's successive heir, &c. &c. Act IV. Scene 3, Lines 331, 332. A Loner's eare will heare the lowest sound When the suspicious head of theft is stopt. Read, — suspicious ear of theft, &c. Act IV. Scene 3, Line 335. Loues tongue proues dainty, Bachus grosse in taste. The comma after dainty is properly omitted in the 2nd, 3rd, and 4th Folios. Modern editors should, I think, add an apostrophe to Bacchus (Bacchus') in order to express what I believe is the meaning of the line, i. e. that Love's tongue proves Bacchus' tongue to be gross in taste in comparison with his. Love's, tongue. c 2 28 love's labour's lost. Act IV. Scene 3, Lines 340, 341. And when Loue speakes, the voyce of all the Gods, Make heaven di-owsie with the harmonie. To the many conjectural emendations to which this pass- age has given rise, add the following : — And when Loue speakes, his voyce, of all the Gods', Makes heaven, &c. Act V. Scene 1, Lines 130—133. Fed. Via good-man Dull, thou hast spoken no word all this while. Dtill. Nor vnderstood none neither sir. Fed. Alone, we will employ thee. Dull. He make one in a dance, or so, &c. The " Alone " in the Pedagogue's (Holofernes') second speech is usually changed to " Allons!" — I presume because the " Aliens ! allons !" of Berowne's last speech in Act i&.rV" Scene 3, is also spelt in all the old copies alone. Yet I think we might here read, — All's one, we will employ thee. Dull's speech, which follows, — He make one, &c., — would seem to favour this supposition. Qy. If the word is " allons," would this spelling of it (alone) be another proof of the similarity in sound of on and one? See note on " Two Gentlemen of Verona," Act II. Scene 1, Lines 1, 2. Act V. Scene 2, Lines 153 — 156. Theres no such sport, as sport by sport orethrowne To make theirs ours, and ours none but our owns. So shall we stay mocking entended game, And they well mockt, depart away with shame. love's labour's lost. 29 In third line read, So shall -we stay 0/ mocking /A' intended game ; meaning, we shall stay or put a stop to their intended game of mocking. The usual reading, in which a comma is placed after sfai/, must mean, — we shall stay here mocking the intended game, and they shall depart away with shame, having been well mocked. Note that a little before the Princess says : — The effect of my intent is to cross theirs : They do it but in mocking merriment ; And mock for mock is only my intent. Lines 138—140. Act V. Scene 2, Lines 805—810. Ber. And what to me my Lone ? and what to me ? £os. You must be purged too, your sins are rack'd. You are attaint with faults and periurie. Therefore if you my fauor meane to get, A twelvemonth shall you spend and never rest, But seeke the wearie beds of people sicke. It is clear from the context that these lines should rhyme ; read, therefore, Ber. And what to me my love ? and what to me ? Boss. You are attaint with faults and perjur/e ; You must be purged too, your sins to rack. Therefore, if you my favour -would not lack, A twelvemonth shall you spend and never rest, But seek the weary beds bij sick men press' d. 30 Pi^simmti^r W^W^ ^xt^m. Act I. Scene 1, Lines 7 — U. Foure daies wil quickly steep theseliies in nights Foure nights wil quickly dreame away the time : And then the Moone, like to a siluer bow, New-bent in heauen, shal behold the night Of our solemnities. Qy. iu the fourth line, instead of heliold the night, read, — behold the height, — sometimes spelt Idght in the old copies. Note, — I have, as a matter of course, adopted Howe's emendation of new-bent for the noiv bent of all the earlier editions. Act I. Scene 1, Lines 200, 201. Her. His folly, Helena, is no fault of mine. Hel. None but your beauty ; wold that fault wer mine. Read, — None but your beauty''s. Note. — The first line here quoted is taken from Fisher's Quarto ; Roberts' Quarto (same date, 1600), and the Folios, have. His folly, Helena, is none of mine. MIDSUMMER NIGHT's DREAM. 31 Act I. Scene 1, Lines 243—245. He hail'd downe oathes that lie was onely mine ; And when this Haile some heat from Hermia felt, So he dissolu'd, and showres of oathes did melt. Capell altered, — So he dissolv'd, — to, — Lo he dissolved. Read rather, — Soon he dissolved. Act I. Scene 2, Line 3-4. This is Ercles vaine, a tyrants vaine : a louer is more condoling Read, — a lover's is more condoling. Act II. Scene 1, Lines 14, 15. I must go seeke some dew drops heere, And hang a peaiie in euery cowslips eare. Qy. read, — some dew-drops clear. Act II. Scene 2, Lines 80, 81. When thou wak'st, let loue forbid Sleepe his seate on thy eye-lid. It is surprising that these lines should never hitherto have challenged enquiry ; yet the only meaning that can attach to them as they at present stand is that, when Ly- sander awakes, Love is to forbid Sleep to occupy his (Love's or Sleep's?) seat on Lysander's eyelid. In other words, when Lysander awakes, he is no longer to be asleep ! It is scarcely necessary to remark that Puck has mistaken Ly- sander for Demetrius ; but his intention in anointing the 32 MIDSUMMER NIGHT's DREAM. sleeper's eyes is clearly to make him fall in love with her whom he had hitherto coutemned. Read, therefore, When tlioii wak'st, let love forbid Kccj) his seat on thy eye-lid. Forbid here has the meaning of accursed, placed under an interdict, as in " Macbeth :" — He shall live a man forbid ; and the sense of the passage is, that love, which was forbid, should, when the sleeper awoke, keej) his seat or enthrone himself on his eyelid. Compare " King John," III. 3, 45: — Making that idiot laughter keep men's eyes. Act III. Scene 2, Lines 36, 37. But hast thoii yet lacht the Athenians eyes "With the loue juyce, as I did bid thee doe ? Here the word lacht is spelt as in Roberts' Quarto, and Folios 1 and 2. Fisher's Quarto, and Folios 3 and 4, have latcht modernised to latched. Lech^d and laced have also been proposed. Perhaps the right word would be hatcKd. In Beaumont and Fletcher, it is a word of frequent occur- rence, meaning generally to cover thinly, as in gilding, lackering, varnishing, or staining. Instance : — they look For all the world like old hatch' d hilts ; For here and there .... One might discover, where the gold was worn, Their iron ages. Valeniinian, Act II. So. 2. MIDSUMMER NIGHt's DREAM. 33 And in the same plaj, Act II. So. 3 : — swords hatch' d in the blood of many nations. Again, thus hatch'd with Britain blood, Let's march to rest, and set in gules like suns. Bonduca, Act III. So. 5. When thine own bloody sword . ily^ Hatch'd in the hlood of him, .2,/. Act III. Scene 2, Lines 163, 164. But after many ceremonies done, Hee calls for wine. For many ceremonies, read, — marriage ceremonies. Note. — In Folio 1, this speech is printed as prose, the word many being divided ; ma- ending one line, and ny beginning the next. Act IV. Scene 2, Lines 73—76. Trauaile you farre on, or are you at the farthest ? Ped. Sir at the farthest for a weeke or two. But then up farther, and as farre as Rome, And so to Tripolie, if God lend me Ufe. Qy. is Tripolie a misprint for Napoli ? 40 %W^ mdl iU ^nh- »IL Act I. Scene 1, Lines 60, 61. Be checkt for silence, But neiier tax'd for speech. Qy. transjjose checkt and tax'd. Act II. Scene 3, Lines 217, 218. Par. Well, I shall be wiser. Zaf. Eu'n as soone as thou can'st, for thou hast to pull at a smacke a'th contrarie. Readj^too full a smach. And further on in the same speech, lines 221 — 223 : — I haue a desire to holde my acquaintance with thee, or rather my knowledge, that I may say in the default, he is a man I know. Read, — in thy default, — i. e. in thy absence. Act III. Scene 4, Lines 41, 42. My heart is heauie, and mine age is weake ; Greefe would haue teares, and sorrow bids me speake. \_Exeutit. It seems odd that, her sorrow bidding the Countess to speak, she should thereupon leave the stage. all's well that ends well. 41 Qy. read in second line, omitting and : — Sorrow /or Jec?s me speak. — Compare : — My tongue-tied sorrows. 3 Hen. VI., III. 3, 22. The grief that does not speak. Macbeth, IV. 3, 209. Death, that hath ta'en her hence to make me wail, Ties up my tongue and will not let me speak. Romeo and Juliet, IV. 5, 32. The killing griefs that dare not speak. "Webster, Vittoria Corombona. And sorrow stops the passage of my speech. Marlowe, Tamburlaine, Act III. Sc. 2. Act III. Scene 6, Lines 82—84. he will steale himselfe into a man's favour, and for a weeke escape a great deale of discouries, but when you finde him out, you haue him euer after. Read, — but when you find him once, you have him ever after. Act IV. Scene 3, Lines 28, 29. Not till after midnight : for he is dieted to his houre. Dieted : qy. tied. Act V. Scene 3, Lines 30G, 307. this it sayes, When from my finger you can get this Ring, And is by me with childe, &c. This is done. Read, — " And are by me with child" — a7id this is done. Note. — Are is a correction by Rowe. 42 &Mj WW', ox, m^nt pw Mill Act I. Scene 1, Lines 9 — 13. spirit of Loue, how quicke and fresli art thou, That notwithstanding thy capacitie, Eeceiueth as the Sea. Nought enters there, Of what validity, and pitch so ere, But falles into abatement, and low price. Qy. In third line read, — Nought enters thee. The usual reading of this passage, originating with Rowe, I believe, is : — That notwithstanding thy capacity Eeceiveth as the sea, nought enters there, &c. &c. Act I. Scene 1, Lines 30 — 32. all this to season A brothers dead loue, which she would keepe fresh And lasting, in her sad remembrance. Read, in second line, — A dead brother's love. Act I. Scene 4, Lines 39 — 41. He do my best To woe your Lady : yet a barrefull strife, "Who ere I woe, my selfe would be his wife. Read, — [aside'] yet {Ah ! barful strife I). TWELFTH NIGHT ; OR, WHAT YOU WILL. 43 Act I. Scene 5, Lines 216—218. but we will draw the Curtain, and sliew you the picture. Looke you sir, such a one I was this present. Read, — such a one, I, as this presents, — meaning, I am such a one as this picture (her own face), which I now un- veil, presents to your view. Act II. Scene 5, Lines 55, 56. I frowne the while, and perchance winde up my watch, or play with my some rich Jewell. Qy. read, — or play with my handsome rich jewel. No doubt, as " Count," Malvolio would have worn a handsome rich jewel, the insignia of his nobility, suspended from his neck. See, for instance, the jewel of the Emperor Charles V. in Shaw's " Dresses and Decorations of the Middle Ages." Act II. Scene 5, Line 156. Therefore in my presence still smile, deero my sweete, I prethee. Is this a misprint for, clear, my sweet? All modern editions, following the reading of the 2nd, 3rd, and 4th Folios, have, dear my sweet. Read, Act V. Scene 1, Lines 104, 105. Buke. Still so cruel ? Olivia. StiU so constant Lord. Duke. Still so cruel, Ladij ? Olivia. Still so constant, Lord. D 2 44 winter's tale. Act V. Scene 1, Lines 192, 193. Then he's a rogue, and a passy measures panyn : I hate a drunken rogue. Read, — Then he's a rogue, and 'a passes measure, pay- nim ! — I hate a drunken rogue. Even Sir Toby may be considered entitled to declare that a fellow whose " eyes are set at eight i' the morning " passes all measure. The reading of Folios 2, 3, and 4, — Then he's a rogue after a passy measures Pavin, — is clearly a blundering attempt to improve a coiTupt passage. Most editors, however, seem to have preferred exercising their ingenuity on the second rather than on the first error. Pope seems to have been nearest the mark when he read, with the first Folio for his guide, — and a past-measure painim. {ixdtx'% %'ii\t Read, Act I. Scene 2, Lines 304—306. Were my "Wiues Liuer Infected (as her life) she would not Hue The running of one Glasse. "Were my wife's life Infected as her liver, she would not, «S;c. winter's tale. 45 Act II. Scene 3, Lines 59, 60. Paulina. Good Queene (my Lord) good Queene, I say good Queene, And would by combate, make her good so, were I A man, the worst about you. Qy. in third liue read, — make it good too. Act III. Scene 2, Lines 40, 41. For Life, I prize it As I weigh Griefe (which I would spare). Qy. instead o? grief, read speech or breath. s. Act III. Scene ^ Lines 57 — 59. More then Mistresse of, Which comes to me in name of Fault, I must not At all acknowledge. Qy. read, — More than mt/ distress, "Which comes, &c. Act III. Scene 3, Lines 21—26. I neuer saw a vessell of like sorrow So tLU'd, and so becomniina; . her eyes Became two spouts. Qy. read in second line, — a7id so o'er-brimming. Note. — Collier adopts the reading of his MS. Corrector, — 6" er-running . This, or the reading I have suggested, seems necessary for the sense. 46 winter's tale. Act IV. Scene 4, Lines 7 — 16. Your high selfe The gracious marke o' th' Land, you have obscur'd "With a Swaines wearing : and me (poore lowly Maide) Most Goddesse-like prank'd yp : But that our Feasts In euery Messe, haue Folly ; and the Feeders Digest [it] with a Custome, I should blush To see you so attyr'd : Sworne I thinke, To shewe my selfe a glasse. Flo. I blesse the time "When my good Falcon, made her flight a-crosse Thy Fathers ground. Read last lines tlius, — 1 should blush To see you so attired : swoon, I think, To show myself. Flo. Ah ! lass, I bless the time When, &c. Note. — [it] in line six is supplied from Folios 2, 3, 4. Swoon is a conjecture of Theobald's, who, however, proposed to read, — Swoon, I think,;To see myself i' the glass. Act IV. Scene 4, Lines 151—153. I thinke you haue As little skill to feare, as I haue purpose To put you to't. Qy. for shill, read call. Act IV. Scene 4, Lines 157, 158 lit i Qy. read, Nothing she do's, or seemes But smackes of something greater then her selfe. Nothing she does but seems Or smacks, &c. KING JOHN. 47 The reading of Collier's MS. Corrector is, however, to my mind preferable : Nothing she does or sai/s But smacks, &c. Act IV. Scene 4, Lines 704 — 707. Let me haue no lying ; it becomes none but Trades-men, and they often giue us (Souldiers) the Lye, but wee pay them for it with stamped Coyne, not staobing Steele, therefore they doe not giue us the Lye. Read, — But we pay them for it, not with stamped coin, but stabbing steel. [He's a soldier; and for one to say a soldier lies, is stabbing. OtMlo, Act III. So. 4, Line 5.] Act IV. Scene 4, Lines 776—778. Close with him giue him Gold ; and though Authoritie be a stubborne Beare, yet bee is oft led by the Nose with Gold. Read, — -for though authority. ling |0lTn. Act V. Scene 6, Lines 12, 13. thou and endles night Haue done me shame. The usual reading for endles night {endlesse, F. 2 and 3; endless, F. 4) is Theobald's adoption of Warburton's con- jecture, eyeless night. Qy. cand'less night : the candles of the night, the stars, is a common expression with Shake- speare. 48 IJirlarxr llj^ Stirnni). Read, Act II. Scene 2, Lines 39, 40. But what it is, that is not yet knowne, what I cannot name, 'tis namelesse woe I wot. But what it is — that is not yet known what— I cannot name ; 'tis nameless woe, I wot. Act II. Scene 2, Lines 56, 57. Why haue you not proclaim'd Northumberland And the rest of the revolted faction, Traitors ? This, which is the reading of F. 1 and 2, and Qo. 2 to 5, does not seem to require any alteration ; but if the reading of Qo. 1, And all the rest revolted faction traitors ? is to be adopted, it might be necessary to alter to, And all the rest reYoltei, factious, traitors ? Act II. Scene 3, Lines 69, 70. SarK\ My Lord of Hereford, my Message is to you. Hull. My Lord, my Answere is to Lancaster. Malone pointed this second line thus, — my answer is — to Lancaster, It would be better thus, — my answer is to — Lancaster. RICHARD THE SECOND. 49 Act II. Scene 3, Line 170. Nor Friends, nor Foes, to me welcome you are. Read, — Or friends or foes, &c. Act III. Scene 3, Lines 10—15. North. Your Grace mistakes : onely to be briefe, Left I his Title out. York. The time hatli beeue, Would you have beene so briefe with him, he would Haue beene so briefe with you, to shorten you. For taking so the Head, your whole heads length. Bull. Mistake not (Vnckle) further then you should. In last line of Yoi'k's speech, instead of, For taking so, read, — Mistaking so. Act IV. Scene 1, Lines 148, 149. Preuent it, resist it, and let it not he so, Lest Child, Childs Children cry against you, "Woe. Qy. read, — Lest child's child's children, &c. Note. — The first line is usually given as altered by Pope : -Prevent, resist it, let it not be so. Act V. Scene 3, Lines 6 — 9. For there (they say) he dayly doth frequent, "With vnrestrained loose Companions Euen such (they say) as stand in nari-ow Lanes, And rob our Watch, and beate our passengers. So Ff. and Q. 5 ; the rest transpose in last line rob and beat, which gives the sense ; it would, I think, read better to transpose ivatch and passengers, thus : — And rob our passengers and beat our watch. 50 f cnrg i])t J'jJitrl|. £mt fad Act I. Scene 2, Lines 23, 24. let not us that are Sqiiires of the Nights hodie, be call'd Theeues of the Dayes beautie. Read, — Let not us that are Squires of the NigMs beauty be called Thieves of the Day's booty. Note. — Day's booty is an alteration of Theobald's. Act I. Scene 3, Line 46. With many Holiday and Lady teanne. Folios 2, 3, and 4 have terms, the usual reading. Qy. With many a Holiday and Lady term. Act V. Scene 1, Lines 12, 13. And made us doffe our easie Eobes of Peace To crush our old Umbes in ungentle Steele. Qy. read, — in uneasy steel. Note that Qos. 6, 7, and 8 have, — our old un caste lims in ungentle Steele, 51 'gtm^ il]t Jfourtlr. ^mnh fart. Act I. Scene 1, Lines 97 — 99. The Tongue offends not, that reports his death : And he doth sinne that doth belye the dead : Not he, which sayes the dead is not aliue. I should like to read in the second line, — Onli/ he sins that doth belie the dead. Act I. Scene 1, Lines 187—189. 'Tis more then time : And (my most Noble Lord) I heare for certaine, and do speake the truth : The gentle Arch -bishop of Yorke is vp With well appointed Powres. In the second line the Qo. has, — and dare speak the truth. Read, — and dare speak /or truth. Act II. Scene 2, Lines 124, 125. Poins. My Lord, I will steepe this Letter in Sack, and make him eate it. Prince. That's to make him eate twenty of his Words. I think the Prince's jest would have been more satis- factorily accounted for had Poins said, — and make him eat it and his word. 52 HENRY THE FIFTH, Act II. Scene 4, Line 215. little tydie Bartholomew Bore-pigge. Modernise to tiddy, not tidy. Act IY. Scene 2, Line 19. Prince John, addressing the Archbishop of York, says that he is To us, th' imagine Voyce of Heauen it selfe. Read, — the imaged voice. The usual reading (Rowe's) is the imagined voice. Note. — For Heauen it selfe, the Quarto has, — God liimself. Act V. Scene 2, Lines 73, 74. I then did use the Person of your Father : The Image of his i)o\ver, lay then in me. Qy. transpose Person and poiver. §tm^ il]t Jiftlj, Act I. Scene 2, Lines 136 — 139. "We must not onely arme t'inuade the French, But lay downe our proportions, to defend Against the Scot, who will make roade vpon vs, With all aduantages. Read in third line, — who still make road upon us. HENRY THE FIFTH. 53 Act I. Scene 2, Lines 269—271. "We neuor valew'cl this poore seato of England, And therefore lining hence, did giue onr selfe To barbarous licence. I fancy a line has been lost after England. Something of this kind is wanting to complete the sense of the passage : — ■ We never valued this poor seat of England, But as the footstool to our throne of France ; And therefore, &c. Note. — Keightley's conjecture of thence for hence, in second line, should be adopted. Act III. Scene 3, Lines 3 — 5. Therefore to our best mercy giue your selues, Or like to men prowd of destruction, Defie vs to our worst. Qj. read, — proud to destruction. Act III. Scene 7. (Scene IX., Poj^e; Scene VI., i)yce.) Enter the Constable of France, the Lord Ramburs, Orleance, Dolphin, with others. In this and subsequent scenes a personage called Dolphin or Dauphin takes a prominent part ; but no editor of Shake- speare (as far as I know) has ever explained who he was, nor is he ever included in the list of Dramatis Personce. It seems to have been supposed that he was the Dauphin of France, although at the end of Act III. Scene 5, we are expressly informed that Lewis the Dauphin was to remain with his father in Rouen. Mr. Johnes, in a note to his translation 54 HENRY THE SIXTH. SECOND PART. of Monstrelet's Chrouicle, was, I believe, the first to point this out ; but he does not seem to have attracted the atten- tion of any of Shakespeare's editors. I think there can be no doubt that Sir Guichard Dauphin, Great Master of France, vi^as the personage intended by Shakespeare. See his name in the list of those slain in the battle. Act IV. Scene 8, Line 89. With the Chronicles, which he has so faithfully followed, before him, it is impossible to suppose that Shakespeare could have confounded Sir Guichard with the Dauphin of France, and future editors would do well, therefore, to include him in the list of Dramatis Personce. Act V. Scene 1, Line 6. wliicli you and yourselfe, and all the World know to be, &c. Read, — t/ou yourself. §mx^ % Sy|. Btmxh |part» Act I. Scene 4, Lines 40, 41. Lay hands rpon these traytors, and their trash : Beldam I thinke we watcht you at an ynch. Qy. read, — we've catch"d you in the nick, or at the nick. Yet see Green's " Friar Bacon and Friar Bungay," — we are all ready at an inch. Green probably had a hand in this play. RICHARD THE THIRD. 55 Act III. Scene 3, Lines 20—23. Oh beate away the busie medling Fiend, That layes strong siege vnto this wretches soule And from his bosome purge this blacke dispaire. In the second line I should like to adopt Capell's con- j ecture, — his wretched soul ; and in the third I would read, — Ai's black despair. )mx^ % Si^|, ^Ijirb- ^art* Act II. Scene 5, Lines 9, 10. Sometime, the Flood preuailes ; and then the Winde ; Now, one the better : then, another best. Qy. read, — then the other best. ^irJ^arir i^t t^IjirlJ. Act I. Scene 2, Lines 29—32. Come now towards Chertsey with your holy Lode, Taken from Paulas, to be interred there. And still as you are weary of this {the, Qq.) waight, Rest you, whiles I lament King Hemies Coarse. These last two lines, I fancy, should form a rhyming couplet; read, therefore, — King Henry's /aie. 56 HENRY THE EIGHTH. Act IV. Scene 4, Lines 75 — 78, Earth gapes, Hell bximes, Fiends roare, Saints pray, To haiie him sodainly conuey'd from hence : Cancell his bond of life, deere God I pray, That I may hue and say The Dogge is dead. This surely should be a rhyming passage. The Qos. supply the rhyme for the second line, reading, — conveyed awai/. The repetition of jv^ai/ in the third line cannot be right ; read, therefore, — dear God, I plead. Read also with the Quartos in last line, — live to say. Wmx^ tlje €ii Pkologue, Lines 27 — 29. Thinke yon see them Great, And follow'd with the generall throng, and sweat Of thousand Friends. Qy. read, — the general throng and suite. Act II. Scene 4, Lines 69 — 73. Qu. Sir, I am about to weepe ; but thinldng that We are a Queene (or long haue dream' d so) certaine The daughter of a King, my drops of teares, He turne to sparkes of fire. Read, — Sir, I was about to weep, 8fc. HENRY THE EIGHTH. 57 Act III. Scene 2, Lines 342—344, To forfeit all your Goods, Lands, Teneiuents, Castles, and whatsoeuer, and to be Out of the Kings protection. If Theobald's alteration of Castles to Chattels is to be adopted, I would alter still further, and read, — And chattels ivhatsoever. Act V. Scene 1, Lines 117— 12L My Lord, I look'd You would haue giuen me your Petition, that I should haue tane some paines, to bring together Your selfe, and your Accusers, and to haue heard you Without indurauce further. Read in last line, — While out of dwance, further. The 'object of the Council being to imprison Cranmer before calling the witnesses against him, the King naturally supposes that the Archbishop would desire to be heard while enjoying the advantages of liberty — ivhile out of durance. Act V. Scene 4, Lines 52, 53. when sodainly a File of Boyes behind 'em, loose shot, deliuer'd such a showre of Pibbles, that, &c. Qy. read, — loos\l shot and deliver'd, &c. : loos'd shot, i. e., let fly. See Sidney Walker's " Criticisms on Shakespeare," vol. ii. p. 61, Art. LXIL, " Final d and final e confounded" — in which, says Lettsom, " he has shown how frequently old copies confound the e and d, particularly at the ends of words." 58 l^roilus mxh Crcjifjiba. Act I. Scene 1, Lines 97—100. Between onr Ilium, and where Shee recides Let it be cald the wikl and vvandring flood, Onr selfe the ^Merchant, and this sayling Pandar, Oui' doubtfull hope, our conuoy and our Barke. In second line, qy. for wildveix(\. ivide ; and in third line, for this sayling Pa7idar, read, this railing Pandar. Note that in the dialogue wliich precedes this soliloquy Pandai'us has professed himself angry with Troilus. See also Line 92 : — And he's as tetchy to he wood to ivoo, &c. Act I. Scene 3, Lines 62—64. Ulysses praises the speeches of Agamemnon and Nestor, which were such, As Agamemnon and the hand of Greece Should hold vp high in Brasse, &c. This speech is a difficult one. Would it at all help to read, instead of a7ul the hand of Greece, — as the hand of Greece ? — Agamemnon being chief cummauder. Act I. Scene 3, Line 114. Strength should he Lord of imbecihty. Qy. for Lord read slave. All things having fallen into confusion, strength should yield to imbecility. Or might TROILUS AND CRESSIDA. 59 one read, — Strength should be law'd of imbecility, i. e., have laws imposed ou it by imbecility? See Sonnet LXVI. : — And strength by limping sway disabled, And folly, doctor-like, controiliug skill. Act I. Scene 3, Lines 256, 257. Trumpet blow loud, Send thy Brasse voyce through all thtse lazie Tents. Qy. — Sound thy brass voice, &c. Act hi. Scene 1, Lines 31, 32. the mortall Yenus, the heart bloud of beauty, loues inuisible soule. The terra invisible apjjlied to Helen seems doubtful. Hanmer altered to love's visible soul. Qy. read, by transpo- sition, — invisible love's soul; or, perhaps, — love's indivisible soul. Act hi. Scene 3, Lines 120—123. who like an arch reuerb'rate The uoyee againe ; or liKe a g.ite of Steele, Fronting the Sunne, receiues and renders backe His figure, and his heate. Qy. read in second line, — a glass of steel. Act IIL Scene 3, Lines 293, 294. Achil. Why but he is not in this tune, is he ? Ther. No, but he's out a tune thus. In the first speech read, — not thus in tune. £ 2 60 TROILUS AND CRESSIDA. And in the following lines, 294 — 297, — What musicke will be ia him when Hector has knockt out hia braines, I know not : but I am sure none, vnlesse the Fidler Apollo get his sinewes to make catlings on. In this speech, instead of — hut I am sure none, read, — hut I fear none. Or, adopting Rowe's alteration in the first line, read, — What music he ivill be in when Hector, &c., I know not ; but I am sure none will be in him, unless, &c. Act IV. Scene 4, Lines 94—96. And sometimes we are diuels to our selues, When we will tempt the frailtie of our powers, Presuming on their changefull potencie. Read, — changeless potency. Act V. Scene 8, Lines 19, 20. My halfe supt Sword, that frankly would haue fed, Pleased with this dainty [bait], thus goes to bed. Qy. for Pleased read ^Peased (appeased). Note. — \bait~\^ is the reading of Qo.; F. 1 has hed, F. 2, hitt, and F. 3 and 4, hit. 61 Cariokmt.'?. Act I. Scene 9, Line 46. Let him be made aa Ouerture for th' Warres. See note on "Measure for Measure," Act I. Scene 1, Lines 7 — 9. Act I. Scene 10, Lines 20—22. nor Phane, nor Capitoll, The Prayers of Priests, nor times of Sacrifice : Embarquements all of Fury, — Qy. for Embarquements read Emhalkments. Note. — Hanmer has Embankments ; Warburton, Emharr- ments ; Heath proposes Embargments. Act II. Scene 2, Lines 124—126. Com. rewards his deeds "With doing them, and is content To spend the time, to ead it. , Menen. Hee's right noble, &c. End Cominius' speech at content, and give the rest to Menenius, thus: — Com. rewards his deeds "With doing them, and is content. Menen. Wv spend the time. To end it, He's right noble, &c. 62 CORIOLANUS. Act III. Scene 1, Line 66. For the mutable rank-sented Meynie, &c. Read, — For their mutable rank-scented Meynie, &c., i. e,, the mutable, rank-scented following of the Ti'ibuaes. Note. — On the authority of F. 4, modern editors have altered (very improperly, I think) ineijnie to many. Act III. Scene 2, Lines 29—31. I haue a heart as little apt as yours, But yet a braiue, that leades my vse of Anger To better vantage. Q}*. — a heart as tickle- s im^sd as yours. Act III. Scene 3, Lines 25—27. he hath been vs'd Euer to conquer, and to hane his worth Of contradiction. Qy. — and to heat his ivrath On contradiction. Note. — Have his wroth Of contradiction, — is a conjecture of Becket's. Act IV. Scene 1, Lines 31—33. Tour Sonne Will or exceed the common, or be caught With cautelous baits and practice. Qy. read, — Will nor exceed the common, nor be caught. COUIOLANUS. 63 Act IV. Scene 5, Lines 112—117. Know thou first, I loii'd the Maid I in inieil : neuer man Sigh'd truer breath. But that I see thee heere Thou Noble thing, more dances my rapt heart, Then when I first my wedded Mistriss saw Bestride my Threshold. Read first line thus, — Know, thou first ! ?'. e., thou first of men. Aufidius addresses Coriolanus throughout in superla- tives, — " All noble Marcius !" " Thou noble thing !" " Thou Mars!" "Most absolute sir." Compare ActTV. Scene 1, Line 33, where Volumnia addresses Coriolanus as " My first son." Act IV. Scene 5, Lines 208—210. But M^hen they shall see sir, his Crest vp againe, and the man in blood, they will out of their Burroughs (like Couies after Eaine) and reuell all with him. Qj. for reuell in last line, read ravel. Act IV. Scene 7, Lines 48 — 53. But he ha's a merit To choake it in the vtt' ranee : So our Vertue, Lie in th' interpretation of the time. And power vnto it selfe most commendable, Hath not a Tombe so euident as a Chaire T' extoU what it hath done. Qy. read this passage thus : — But he has a merit To choke it in the utterance : so our virtue Zives in th' interpretation of the time. And, howe'cr unto itself most commendable. Hath not a tomb so evident as a care T' extol what it hath done. 64 CORIOLANUS. Note. — F. 2, 3, ami 4, for vertiie, have virtues. Collier's MS. Corrector clianges Lie to Live, and Mitford first con- jectured that cliaire should be cure. Taken as a whole, however, the reading I snggest has not, I believe, been pro- posed before. The following passages may be quoted by way of illustration : — "All's Well that Ends Well," Act I. Scene 3, Lines 5—7: For then Ave wound our modesty and make foul the clearness of our deservings, Avhen of ourselves we publish them. " Troilus and Cressida," Act II. Scene 3, Lines 149— J 52 : He that is proud eats up himself: pride is his own glass, his own trumpet, his own chronicle ; and what ever praises itself but in the deed, devours the deed in the praise. Act III. Scene 3, Lines 96—102:— That man, how dearly ever parted How much in having, or without or in, Cannot make boast to have that which he hath, Nor feels not what he owes, but by retiection ; As when his virtues shining upon others Heat them, and they retort that heat again To the first giver. Act V. Scene 1, Lines 25 — 28. He could not stay to picke them, in a pile Of noysome musty Chatfe. He said, 'twas folly For one poore graine or two, to leave vnbiu-nt And still to nose th' offence. Qy. read in third line, — leave H unburnt, i. e., the pile of musty chaff. You may " nose " an offence ; but you can only burn that which produces it. TITUS ANDRONICUS. 6ft Act V. Scene 1, Lines 67 — 69. What he would do He sent in writing after me : what he would not, Bound with an Oath to yield to his conditions. Qy. read, What he would do, What he would not, he'd send in writing after me : He was bound with an Oath to yield to no conditions. Act Y. Scene 3, Lines 65 — 67. chaste as the Isicle That's curdled by the Frost, from purest Snow, And hangs on Dians Temple. Qy. for ciirdied read candied. %\\m ^ubv0uiru.s'. Act IIL Scene 1, Lines 282, 283. And Lauinia thou shalt be employd in these things : Beare thou my hand sweet wench betweene thy teeth. In the first line the Quartos have, — hnployd in these Armes. Omit, with F. 2, 3, and 4, And, and read : — Layinia, thou shalt be employed : in these arms Bear thou my hand, sweet wench, between thy teats. The notion of Lavinia carrying off her father's dead hand in her mouth, like a dog, seems too revoltingly ludi- crous even for the author of this bloody drama. 66 ROMEO AND Jl'LIET. Act IV. Scene 2, Lines 120, 121. Looke how the hlacke slaue smiles vpon the father ; As who should say, old Lad I am thine owne. Qy. for old Lad read old Dad. '^.omta mh Juliet. Act I. Scene 1, Lines 79, 80. Kehellious Subiects, Enemies to peace, Prophaners of this Neighbor-stained Steele. Qy. for Steele read soil. Act I. Scene 1, Line 197. Tell me in sadnesse, who is that you loue ? Read, — who is't that you love ? — or, — who ^tis that you love. I believe in all modern editions the note of interro- gation is omitted. Act I. Scene 3, Lines 34, 35. Shake quoth the Doue-house, 'twas no neede I trow to bid mee trudge. Qy. for quoth read go'th. Yet in Peele's " Old Wives' Tale" (ed. Dyce ; Routledge, 1861, p. 454) there is a similar strange expression : — " bounce, quoth the guns." ROMEO AND JULIET. 67 Against this, however, may be set, "bounce goes the guns," in Decker's "Honest Whore," Dodsley, ed. 1744, vol. iii. p. 167. Act II. Scene 1, Lines 6, 7. Nay, lie coniiire too. Romeo, Humours, Madman, Passion, Louer. Read, — Romeo ! humorous madman ! passionate lover ! Act II. Scene 2, Lines 160—163, Bondage is hoarse, and may not speake aloud. Else would I teare the Caue where I"]echo lies, And make her ayrie tongue more hoarse, then [mine] With rejjetition of my Eomeo['s name]. Qy. in first line read, — Bondage is liuslit. Note. — [mine] in third line supplied by Qos. 4 and 5 ; ['s name] in fourth line added by Steevens from 1st Qo. sketch of the Play. Act III. Scene 2, Line 75. Beautifull tyrant, fiend Angelicall. Does not the antithesis require that instead of Beautiful we should read Bountiful, or some such word ? Act III. Scene 3, Lines 126, 127. Thy Nohle shape, is but a forme of waxe, Digressing from the Valour of a man. Valour : qy. valure = value. 68 TIMON OF ATHENS. Act III, Scene 5, Line 66. Is she not downe so late, or up so early ? I don't know how any sense is to be made of this line, yet it is retained unaltered by all the editors except Pope, who omits it altogether. I would read, Is she yet down so late, or up so early ? %xmo\x 0f ^tljms. Act I. Scene 1, Line 283. Long may he live in Fortunes. Qy. read, — in's Fortune. Act II. Scene 2, Lines 160—163. when euery roome Hath hlaz'd with Lights, and hraid with Minstrelsie, [I haue retyr'd me to a wasteful! cocke, And set mine eyes at flow. For ivastefiill coche, I would read, — wakeful cot. Substantially this conjecture, I find, has been anticipated by Jackson and Jervis, one reading wakeful cock, the other wakeful couch,. Act III. Scene 1, Lines 58 — 60. And when he's sicke to death, let not that part of Nature Which my Lord payd for, be of any powder To expell sicknesse, but prolong his hower. TIMON OF ATHENS. 69 For — part of Nature — read, — part ofs nature ; or per- haps, adopting HaMmer's change of nature to nurture, read, — part ofs nurture. Act III. Scene 6, Lines 95, 96. You Fooles of Fortune, Trencher-friends, Times Flyea, Cap and knee-Slaues, vapours, and Minute Jackes. For vapours read vampires. Act IV. Scene 3, Lines 208—211. Be thou a Flatterer now, and seeke to thriue By that which ha's undone thee ; hindge thy knee, And let his very breath whom thou'lt obserue Blow off thy Cap. For — his very breath — read, — his ey'r?/ breath. Act IV. Scene 3, Lines 380—382. (Timon addresses the gokl) : — Thou euer, yons:, fresh, loned, and delicate wooer, Whose blush doth thawe the consecrated Snow TKat lyes on Dians lap. Qy. For Dians read Danae's. Act V. Scene 4, Lines 45, 46. Thou rather shalt inforce it with thy smile, Then hew too 't, with thy Sword. Hew too H appears to be always modernised to hew to 7, though what that may mean I know not, I think we should read, — Than heiu H out with thy sword. 70 Julius Cicsar, Act T, Scene 2, Lines 123, 124. And that same Eye, whose bend doth awe the "World, Did loose his Lustre. Whose bend : qy. ichose beam. llarbcllr. Act I. Scene 2, Lines 55, 56. Till that Belloiia's Bridegroome, lapt in proofs, Confronted him with selte-comparisons. For comparisons read caparisons. Act I. Scene 7, Lines 15, 16. Who should against his Murtherer shut the doore, Not beare the knife my sella. For beare read bare. Act I. Scene 7, Line 24. Shall blow the horrid deed in euery eye. For eye read ear. MACBETH. 71 Act II. Scene 1, Lines 17 — 19. Qy. read, Being imprepar'd, Our will becnme the seruant to defect, Which else should free haue wrought. to effect What, else, should free haue wrought. Act III. Scene 4, Lines 75 — 78. Blood hath bene shed ere now, i' th' olden time Ere humane .Statute purg'd the gentle Weale : I, and since too, Murthers haue bene perform'd Too terrible ibr the eare. Point this passage thus, — Blood hath bene shed ere now. I' th' olden time. Ere humane Statute purg'd the gentle Weale — I, and since too — Murthers haue bene perform'd Too terrible for the eaie. Act IV. Scene 2, Lines 21, 22. But floate upon a wilde and violent Sea Each way, and moue. Read, — Each way it moves. Act V. Scene 3, Lines 20, 21. this push Will cheere me euer, or dif-eate me now. Folios 2, 3, and 4, for dif-eate, have disease. Steevens and others, adopting Capell's and Jeunen's conjecture, 72 MACBETH. changed to dissent, wliicli cliange naturally carried with it the conjecture (Percy's) tliat cheer should be chair. Qj. read, — Will cheer me ever, or defeat me now. Act V. Scene 7, Lines 12, 13. But SwottIs I smile at, "Weapons laugh to scome, Brandish'd by man that's of a Woman borne. Qy. read, — But loords I smile at, &c. [ a' breaks words, and keeps whole weapons. Senry V., III. 2, 33.] Act V. Scene 8, Lines 25 — 27. Wee'l haiie thee, as our rarer Monsters are Painted upon a jjole, and under-writ, Heere may you see the Tyrant. Qy. read, "We'll have thee painted, as our rarer Monsters are. And underwrit upon a scroll : "Here may you see the Tyrant." Act V. Scene 8, Lines 40—43. He onely liu'd but till he was a man, The which no sooner had his Prowesse confirm'd In the unshrinking station M'here he fought, But like a man he dy'de. For the second line read, — The which no sooner had his prowesse proY'd ; No sooner had his prowess this confirm'd. 73 lamlet. Act I. Scene 4, Lines 36 — 38. the rlram of eale Doth all the noble substance of a doubt To his own scandal. Enter Ghost. Hot. Look, my lord, it comes ! I give these lines as they stand in the Cambridge Edition, which follows the reading of the 2iid and 3rd Quartos. Quartos 4, 5, and 6 print ease instead of e,ale. It is scarcely necessary to observe that in the early sketch of the Play (Qo. 1) and in the Folios there is no corresponding passage. I shall not here attempt to analyse the vast mass of con- jectural emendations of this difficult speech, believing as I do with the Cambridge Editors that noue are satisfactory ; but shall at once proceed to submit for consideration my own contribution to the heap. I propose, then, to read, — the bran of meal Doth all the noble substance of it doubt : So this one scandal .... Miter Ghost. ffor. Look, my lord, it comes ! It seemed to me that the key to the solution of the difficulty lay in the four mysterious letters, eale; if they may be formed by the addition of an m into the word 7)ieale (the usual old spelling of meal), the change of the preceding word clrajn to bran is obvious, and we have then a sentence singularly in accordance with the argument of Hamlet's speech, namely, that one particular fault or defect will in the general opinion discredit many fine qualities. He F 74 HAMLET. repeats this argument over and over again, and illustrates it by the homely simile of the bran doubting or discrediting all the noble substance of the meal. He is then proceeding to the "moral" of his argument, which is that this one scandal of drunkenness darkens the reputation of the Danes, when the entry of the ghost makes him break off his speech, and Horatio completes the line by exclaiming, " Look, my lord, it comes !" If the hrayi of meal is accepted, the change of of a to of it hardly needs apology. On the change of To his own to So this one, it must be remarked that, as three separate errors of the press, they might easily be disposed of ; it is their all three coming together that "must give us pause." In So, the S being next the T, the error would be easily accounted for. His and this are so frequently confounded in the old copies, that no one would hesitate to correct where the sense of a passage required the change. In this very play of " Hamlet " I have noted fourteen instances. The corruption of one into own is a much more interesting subject of investigation, but I think the error is likely to have arisen from the similarity in sound of the two words. See note on " Two Gentlemen of Verona," Act. II. Scene 1, Lines 1, 2, pronunciation of ore and one, where also I have noted two instances of one and own being confounded. The simile of the b7'an and meal seems to have been a favourite one with the writers of the Elizabethan period. Shakespeare, who so rarely repeats himself, uses it in two other places. In " Cymbeline :" — Nature hath meal and bran, contempt anigrace. Again, in " Coriolanus :" — he is ill school'd In bolted language ; meal and bran together He thi-ows without distinction. HAMLET. 75 Act I. Scene 5, Line 70. Cut off euen in the Blossomes of my Sinne. Read, — blossom of my sins. Act II. Scene 2, Lines 257, 258. You are welcome : but my Vnckle Father, and Aunt Mother are deceiu'd. For Aunt Mother, read Mother-Aunt. Hamlet's mother had become his auut just as his uncle had become his father. Act III. Scene 1, Lines 98—100. And with them words of so sweet breath compos'd, As made the things more rich, [their] perfume left Take these againe. Read, — Take them again. Note. — [their] in second line is supplied from Qos., which also have lost for left. Left, however, is a very good reading, or qy. reft. Act III. Scene 4, Lines 152 — 155. Forgiue me this my Vertue, For in the fatuesse of this [these] pursie times, Vertue it selfe, of Vice must pardon begge, Yea courb, and woe, for leaue to do him good. In the first line, qy. read, — Forgive me this, my Virtue. Note. — In last line, the word courb in modern editions is usually printed curb. Courb, to bend, seems to me a better reading here than curb, to restrain. F 2 76 KING LEAR. Act IV. Scene 7, Lines 16—21. The other Motiue, "Why to a piiblike count I might not go, Is the great loue the generall gender beare him, Who clipping all his Faults in their affection Would like the Spring that turneth Wood to Stone, Conuert his Gyues to Graces. For Gyues, in last line, read gyres. His gyres, i, e., his " wild and whirling " actions, bis mad eccentricities. Act V. Scene 2, Lines 96—98. Samlet. Mee thinkes it is very soultry, and hot for my Complexion. Osricke. Exceedingly, my Lord, it is very soultry, &c. The Quartos have, — and hot, or my complexion, — which Warburtou adopted, adding after comjjlexion a dash, to mark the sentence as uncompleted. I suspect that Hamlet's speech should end at Jiot, and that for my complexion is a petty oath (^Fore my complexion !) which should be given to Osrick. See Rosalind, in "As You Like It," — Good my complexion ! Un0 It^ar. Act I. Scene 1, Lines 172 — 177. Fiue dayes we do allot thee for prouision. To shield thee from disasters of the world, And on the sixt to turne thy hated backe Vpon our kingdome ; if on the tenth day following Thy banisht trunke be found in our Dominions, The moment is thy death. OTHELLO. 77 If on the tenth day following, — read, — se'nth day ; the sense of the passage requires this altercation. Collier's MS. Cor- rector accordingly has seventh ; but if we may contract seven- nights to se'nnights, why not seventh to se'nth ? #tljdl0. Act I. Scene 3, Lines 260—264. I therefore beg it not To please the pallate of my Appetite : Nor to comply with heat the yong affects In my defunct, and proper satisfaction. But to be free, and bounteous to her minde. Read the last three lines thus : — Nor to comply with heat the young affects — In me defunct — but for her satisfaction, And to be free and bounteous to her mind. (The young affects, i. e., which affects the young.) Act II. Scene 1, Lines 25—28. The Ship is heere put in : A Verennessa, Michael Cassio Lieutenant to the warlike Moore, Othello, Is come on Shore : the Moore himselfe at Sea And is in full Commission heere for Cyprus. 78 OTHELLO. Read, The ship is here put in, " La Veronesa :" Michael Cassio, Lieutenant to the warlike Moor, Othello, Is come on shore. The Moor /litnaerf's at sea, And is in full commission hound for Cyprus. Note. — Himself s is an alteration of Rowe's. Act II. Scene 1, Lines 166—168. With as little a web as this, will I ensnare as great a Fly as Cassio. I smile vpon her, do : I will giue thee in thine owne Courtship. Qy. in second line for — I will giue thee — read, — I will glue thee. Note. — Folio 2 has, — gyve thee; the Quartos, — catch you. Act II. Scene 3, Lines 203—206. "WTiat in a Towne of warre, Yet wilde, the peoples hearts brim-full of feare. To Manage priuate, and domesticke Quarrell, &c. Read, What ! in a town ivith war/ Yet wild, &c. Act III. Scene 4, Lines 39, 40. For heere's a yong, and sweating Diuell heere That commonly rebels. Read, — For there's a young, &c. ANTONY AND CLEOPATRA. 79 Act IV. Scene 1, Line 233. Othe. I am glad to see you mad. I)cs. Why, sweete Othello ? This speech of Desderaona's sliould be marked as ex- clamatory — Why, sweet Othello ! — This is one of the innumerable instances in which the printers used the " ? " for the " ! " Act IV. Scene 2, Lines 240, 24 L Rodrigo. I will heare further reason for this. lago. And you shalbe satisfi'd. Read this second line, — And you shall : be satisfied. ^ntong aitir Clm^atra. Act I. Scene 2, Lines 64, 65. Amen, deere Goddesse, heare that prayer of the people. Eead, — of tliy people. Act I. Scene 4, Lines 28—33. But to confound such time, That drummes him from his sport, and speakes as lowd As his owne State, and ours, 'tis to be chid : As we rate Boyes, who being mature in knowledge, Pawne theii- experience to their present pleasure. And so rebeU to iudgement. 80 ANTONY AND CLEOPATRA. Read the last four lines thus, — he's to be chid As we rate boys, who, being mature in knowledge, Pawns his experience to his present pleasure, And so rebels to judgment. Boys are not mature in knowledge, and cannot pawn experience nor rebel against judgment they do not possess ; but Antony being so, and doing thus, is to be chidden as a boy. Act II. Scene 1, Lines 38, 39. 1 cannot hope, Caesar and Anthony shall well greet together. It was not Menas' cue to hope that they would ; his hope, if he was true to Pompey, must have been the other way; read, therefore, — I cannot hold. Act II. Scene 2, Lines 232—236. I saw her once Hop forty Paces through the publicke streete, And hauing lost her breath, she spoke, and panted, That she did make defect, perfection, And breathlesse powre breath forth. In the last line, the Folios 3 and 4, for breath, have breathe, and on their authority (?) the line has always, I believe, been given thus, — And, breathless, power breathe forth. If we modernise the spelling, I think we should read, what I believe to be the sense of the 1st Folio as given above, — And, breathless, jyowr breath forth. ANTONY AND CLEOPATRA. 81 Note. — In the Cambridge Edition power is given as the reading of all the Folios. Booth's Reprint and Staunton's Facsimile of the 1st Folio have powre, the form in wliich the verb pour is frequently there printed ; as, indeed, to the present day it is still frequently pronounced. Act II. Scene 6, Lines 29—31. Ee pleas'd to tell ts, (For this is from the present) how you take The offers we haue sent you. For present, in second line, read purpose. Note. — In F. 1 the whole of this Hue is included in the parentheses. Act II. Sr-ENE 7, Lines 108—110. the Boy .shall sing. The holding euery man shall beate as loud, As his strong sides can voUy. For heate, Folios 3 and 4 have heat. Theobald, whose reading is generally adopted, changed to bear. To hear the holding or burthen of a song is of course a usual expression ; but I incline to think that in the present instance the word wanted is — bleat. Act III. Scene 13, Lines 55 — 57. Cleopatra. Go on, right Eoyall. Tliidias. He knowes that you embrace not Anthony As you did loue, but as you feared him. 82 ANTONY AND CLEOPATRA. Read, Cleo. Go on. Thid. Eight Eoyal ! He kuows, &c. &o. Mem. — In modern editions Thidias becomes Thyrens. Act III. ScEXE 13, Lines 195, 196. Now hee'l out-ftare the Lightning, to he furious Is to be frighted out of feure, &c. Read, rather, — outjlare the Lightning. Act IV. Scene 8, Lines 35—39. — — Trumpetters With brazen dinne blast you the Citties eare, Make mingle with oiu' ratling Tabourines, That heauen and earth may strike then- sounds together, Applauding our approach. In third line, for Make mingle, read, 3fake H tingle, — i. €. Make the city's ear tingle with our rattling tajjrtbourines. Act V. Scene 1, Lines 14 — 17. The breaking of so great a thing, should make A greater cracke. The round world Should haue shooke Lyons into ciuill streets, And cittizens to their dennes. Qy. for second line read, — A greater crack in the round world ; — CYMBELINE. 83 Act V. Scene 1, Lines 26—30. Ccesar. Looke you sad friends, The Gods rebuke me, but it is Tydings To wash the eyes of Kings. BollabcUa. And strange it is. That Nature must compell us to lament Oui- most perfifted deeds. This second speech Theobald gives to Agrippa ; I would continue it to Cassar, and in the last line, for perjijied, would read, — perjited. Act V. Scene 2, Lines 137—139. This is the breefe of Money, Plate, & Jewels I am possest of, 'tis exactly valewed, Not petty things admitted. For last line read, — No petty things omitted. I was not aware when I made this alteration that Theobald read, — Not petty things omitted. Mem. — In the Folios there is a colon after breefe in the first line, struck out by Pope. Cgmb^Iitt^. Act I. Scene 1, Lines 104—106. I neuer do him wrong, But he do's buy my Iniuries, to be Friends : Payes deere for my ofiences. 84 CYMBELINE. Read, I never do him ■wrong But he does buy my Injuries ; to be Friends, Pays dear for my oifences. Act I. Scene 5, Lines 27 — 29. Enter Pisanio. \_Queen aside.'] Heere comes a flattering Rascall, vpon bim Will 1 first worke ; Ilee's for bis Master, And enemy to my Sonne. Read in two last Hues, — be's, for bis master, Ah enemy to my son. Act I. Scene 5, Line 68. Tbinke wbat a cbance tbou cbangest on. The queen is urging Pisanio to abandon the cause of Posthumus, and to serve that of her son Cloten. She has ah'eady asked him wliat he can expect by being a " de- pender on a thing that leans." Read, Tbink wbat a cbance tbou Jiaiigest on. Act I. Scene 6, Lines 101—103. Tbis object, wbicb Takes prisoner tbe wild motion of mine eye, Fiering it onely beere. CYMBELINE. 85 The 2nd, 3rd, and 4th Folios, followed, I believe, by all the editors, read, — Fixing it only here. It seems to me that " fiering" (firing, giving lire to) is a very good i-eading, and should be restored. Act II. ScEXE 4, Lines 20—26. Our countrymen Are men more ordei-'d, then when Julius Ca3sar Smil'd at their laeke of skill, but found their courage Worthy his frowning at. Their discipline, (Now wing-led with their courages) will make knowne To their Approuers, they are People, such That mend upon the world. The usual reading, founded on the 2nd, 3rd, and 4th Folios, of lines four and five is, — Their discipline, Now mingled with their courages, will make known. I would read, — Their discipline (Now ivuigcd) with their courages will make known. i. e., now Jledged. Act II. Scene 5, Line 27. All Faults that name, nay, that Hell knowes. The 2nd, 3rd, and 4th Folios have, — All faults that moT/ be named, &c. A simpler, and I believe a better, alteration would be, — All faults that man, nay, that Hell knows. Dyee conjectured, — that have a name ; Sidney Walker, — that man can name. 86 CTMBELINE. In the last lines of this scene Posthumus exclaims (his theme being the supposed viciousuess of women), — He write against them, Detest them, curse them : yet 'tis greater Skill In a true Hate, to pray they haiie their will : The very Diuels cannot plague them better. Qy. is this last line the cynical note of some reader of the MS. play, accidentally foisted into the text ? The sense and sentence is complete without it, and the speech should surely end with the rhyming couplet. Act III. Scene 1, Lines 47 — 49. Cfesars Ambition, Which swell'd so much, that it did almost stretch The sides o' th' "World. Qy. read, To th' sides o' th' World. Read, Act III. Scene 1, Lines 83, 84. I know your Masters pleasure, and he mine : All the liemaine, is welcome. All tJtat remains is — " Welcome. Act III. Scene 2, Lines 40 — 43. [Posthumus' letter to Imogen.] Justice, and your Fathers wrath (should he take me in his Dominion) could not be so cruell to me, as you : (oh the deerest of Creatures) would euen renew me with your CYMBELINE. 87 Read the last part thus, — as you, the dearest of creatures, would you not now renew me with your eyes. Act III. Scene 4, Lines 2, 3. Ne'er long'd my Mother so To see me fu-st, as I have now. Read, — as I do now. Act III. Scene 4, Lines 61 — 64. So thou, Posthumus Wilt lay the Leauen on all proper men ; Goodly, and gallant, shall be false and periur'd From thy great I'aile. Qy. read, So thou, Posthumus, Wilt lay the leaven on all ; proper men. Goodly and gallant, shall be, &c. &c. Read, Act III. Scene 4, Lines 138—140. I' th' worlds Volume Our Britaine seemes as of it, but not in't : In a great Poole, a Swannes-nest. Our Britain seems as in it, but not of it. 88 CTMBELINE. Act III. Scene 4, Lines 169 — 174. I haue already fit ('Tis in my Cloake-bagpe) Doublet, Hat, Hose, all That answer to them : Would you in their seruing, (And with what imitation you can borrow From youth of such a season) 'fore Noble Lucius Present your selfe, &c. Qy. in third line read, — Would you in their seeming. Act III. Scene 5, Lines 7 — 9. So Sir : I desire of you A conduct ouer Land, to Milfor-Hauen. Madam, all joy befall your Grace, and you. Read the last line thus : — All joy befall your grace ! Madam, and you ! Lucius is addressing the king; he wishes him all joy, and then, turning to the queen, he wishes her the like. Act III. Scene 5, Lines 26, 27. 'Tis not sleepy businesse, But must be look'd too speedily, and strongly. Read, — 'Tis no sleepy business. Act IV. Scene 2, Lines 140—144. the which he hearing, (As it is like him) might breake out, and sweare Heel'd fetch us in, yet is't not probable To come alone, either he so undertaking, Or they so sutl'ering. CYMBELINE. 89 In fourth line, for — To come alone — read, — lie'ld come alone. Act IV. Scene 2, Lines 167—170. Poor sicko Fidele. He willingly to him, to gaine his colour, Il'd let a parish of such Clotens blood, And praise my selfe for charity. In second line read, — to gain him colour. Act V. Scene 3, Lines 91—93. Lay hands on him : a Dogge, A legge of Rome shall not retume to tell What Crows haue peckt them here. In the second line I believe all modern editions have — A leg of Rome. In " Timon of Athens," Act III. Sc. 6, Line 79, we find, " the common legge of people," and in this instance Rowe — followed, I believe, by all editors — changes the word legge to lag. It seems to me that in both these cases the meaning of the word legge is identical, and that any change in the one case must be also ado2:»ted in the other. Act V. Scene 4, Lines 26—28. and so great Powres, If you will take this Audit, take this life, And cancell these cold Bonds. Qy. in second line read, — If you will make this audit, take my life. 90 — ♦ — Act I. Scene 1, Lines 15 — 18. Her face the book of praises, where is read Nothing but curious pleasures, as from thence Sorrow were ever rackt, and testy wrath Could never be her mild companion. For last line read, — Could never be her wild companion ; or, Could never be in her mild company. Mem. — Punctuation corrected in the above extract. Act I. Scene 1, Lines 27 — 29. Before thee stands this faire Hesperides, With golden fruite, but dangerous to be toucht : For death like Dragons here affright thee hard ? Read last line, — For death, like dragons, here affrights thee hard ! Malone read, — For death-like di-agons here affi-ight thee hard. Wrongly, as I think ; the meaning of the passage being that death guarded Antiochus' daughter as the dragons the gardens of the Hesperides. PERICLES. 91 See also lower down in this same speech, lines 38 — 40, alluding to the impaled heads of former competitors, — Here they stand martyrs slain in Cupids warres ; And with dead cheeks advise thee to desist, For going on deaths net, whome none resist. Read, — For going on death's met, &c. Act I. ScEXE 2, Lines 1 — 3. Why should this change of thoughts, The sad companion duU-ey'd melaucholly By me so us'd a guest, &c. &c. Qy. for change of thoughts, read, cast of thought ; and read, with Dyce, Be my, instead of B// me, in third line. Act I. Scene 3, Lines 22, 23. So puts himself unto the shipmans toyl. With whom each minute threatens life or death. Read in second line, — threatens life ivith death. Mem. — Prose in all the old copies ; verse first by Rowe. Act IL Scene 3, Lines 63, 64. And Princes not doing so, are like to Gnats, Which make a sound, but kill'd, are wondi-ed at. In second line read, — but still ne'er wonder'd at. G 2 92 PEEICLES. Act III. (Gower), Line 14. "What's dumbe in shew, I'le plain with speech. After this follows the dumb show. Qy. instead of — What's dumbe in shew — read, — What's dark in show. Gower's intention, which he also carries out after the dumb show has left the stage, is only to plain (or explain) those parts of the dumb show which might seem obscure to the audience. Act IV. (Gower), Lines 11 — 16. but alack That monster Envy oft the wrack Of earned praise, Marina's life Seek to take off by treason's knife, And in this kinde, our Cleon hath One Daughter and a full grown wench. The want of rhyme in these two last lines has led to a corruption of the sense in modern editions. Malone and Steevens, placing a full stop at knife, read, And in this kind hath our Cleon One Daughter and a wench full grown. What is to be understood by Cleon having a daughter m this kind I do not pretend to know ; but it is quite clear that the intention of the passage, as given above, is, that Envy seeks to destroy Marina, and in this kind, i. e., and in this manner. Read, therefore. And in this kind : Cleon doth own One daughter and a wench full grown. I am not satisfied with the rhyme, but I am confident I have restored the sense. Seek in fourth line should, of course, be Seeks. perici.es. 93 Act IV. (Goaver), Lines 23—25. Or when she would with sharp needle wound The cambrick, which she made more sound By hurting it, — In the first line we should either adopt Malone's altera- tion of needle to neeld, or else read, — she'ld, for she would. Lower down, in same chorus, lines 45, 46, — Read, the unborn event, I do commend to your content, — the unborn event I do commend to your intent, — Act IY. Scene 1, Lines 79—81. I never kill'd a Mouse, nor hurt a Flye. I trod upon a worme once against my will, hut I wept for it. The first three Quartos omit once after worm, and all the old copies print the speech as prose. Divided as by Malone, I would read, — I never kill'd a mouse, nor hurt a fly, JVor trod upon a worm against my will. But I wept for it. Act IY. Scene 4 (Gower), Lines 13 — 16. Old Hellicanus goes along behinde. Is left to govern it : you bear in minde Old Escanes, whom Hellicanus late Advanc'd in time to great and high estate. A very slight correction of the punctuation makes this passage perfectly clear, — 94 PERICLES. Old Hellicanus goes along. Behind Is left to govern it, you bear in mind, Old Escanes, whom Hellicanus late Advanced in time to great and high estate. Malone and Steevens between them — followed, I believe, by most editors — turned the passage completely inside out, thus, — Old Escanes, whom Helicanus late Advanced in time to great and high estate, Is left to govern. Bear you it in mind. Old Helicanus goes along behind. I find that to some readers the it in to govern it is a stumbling-block ; it, they contend, is a relative without an antecedent, for though, of course. Tyre is the place Old Escanes is to govern, yet Tyre is not mentioned in Gower's speech. As I understand the phrase, to govern it means simply to act the part of governor, just as in " Taming of the Shrew," Act III., end of Scene 2, — Shall sweet Bianca practise how to bride it ? — means, shall she practise how to act the part of bride ? See also " Winter's Tale," Act IV. Scene 4, Line 438, — Being now awake, Til queen it no inch further. Act IV. Scene 6, Line 89. How's this ? how's this? some more, be sage. Eead, — No more; he sage ! or, Come now ; he sage! THE END. CHAULtS JONES, PBINTER, WEST UAKDING STREET. %o,^ hz^ THE LIBRARY UNIVERSITY OF CALIFORNIA Santa Barbara STACK COLLECTION THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW. 30ot-8,'65(F6447s4)9482 n 3 1205 03059 0713 UC SOUTHERN REGIONAL LIBRARY FACILITY A A 001 425 220