So the text has been properly (compare ii. 1) corrected from quartos 1602, 1619. The folio has "Ford" instead of "Page," and "Page" instead of "Ford.”

98. the revolt of mine. So the folio. Dyce follows Pope, and reads "this revolt of mine,” citing King Henry V. ii. 2. 141, 142,

"For this revolt of thine, methinks, is like

Another fall of man."

Theobald printed "the revolt of mien." Walker (Crit. Exam. iii. 13) proposes "the revolt of mind," which had occurred to Jackson.

SCENE IV. —40. un boitier vert. The folio has "vnboyteene verd," - misprinting here, as elsewhere, the French most ridiculously.

52. You are John Rugby, and you are Jack Rugby. Mr. Halliwell prints "and you are Jack Rogoby;" and observes, "I adopt the method of spelling, Rogoby, from another speech in the first quarto. The doctor seems to intend a pun on his name; otherwise the speech is almost unmeaning." But "Jack" was a common term of contempt; and Caius uses it with a quibble. I now find (1863) that Mr. Grant White reads here “ You are John Rugabie, and you are Jack Rogue-by," and that everywhere else he makes the doctor call his servant "Rugabie."

61, 62. Villain! larron ! So the quarto, 1630. The folio has "Villanie, La-roone.”

84. you your. So the folio. The second folio and Dyce read "for your." The corresponding words in quartos 1602, 1619, are "tell your Maister Ile doo what I can for him."

...

104, 105. ver dat for myself? The folio reading. Dyce and Hanmer have "for dat," etc., and Dyce says: "Nothing can be more inconsistent than to print here (as some editors do) 'vor dat . . . for myself. The doctor has before (line 57) said 'for; and whenever the word afterward occurs in his speeches, one excepted, the folio has that spelling."

143. Will I? i' faith, that we will; and I will tell. Mr. Halliwell's (comparatively modern) Ms. of this play has "i faith, that I will," etc.; which Hanmer and Mr. Collier's Ms. Corrector also substitute, because the singular pronoun is twice used by Mrs. Quickly in the same breath. But the alteration, to say the least of it, is quite unneces sary; even now-a-days in colloquial language nothing is more common than "that we will" for "that I will.”

ACT II.

SCENE I.1. have I. The folio omits " I," but it was added in quarto 1630.

4, 5. though Love use Reason for his physician, he admits him not for his counsellor. So Johnson and Mr. Collier's Ms. Corrector. The folio has "vse Reason for his precisian, hee," etc., a reading on which Walker (Crit. Exam. iii. 13) justly bestows a "Bah!"

9. the love of soldier. The folio reading. Dyce follows the 3d and 4th folios, and reads "the love of a soldier," and says: "In this letter, as given in quartos 1602, 1619, we find A souldier doth not vse many words,' ," etc.

18. What an unweighed behaviour. So the folio. Dyce adopts the 3d folio reading, and omits "an." Capell prints “What one unweighed behaviour," which Grant White adopts.

24. for the putting-down of men. Dyce follows Theobald, and inserts "fat" before "men." See line 49.

50. praised. The folio has "praise."

54, 55. keep place . . . Hundredth Psalm to the tune of Green sleeves. Dyce reads "pace" for "place." "Green Sleeves, or Which nobody can deny, has been a favourite tune from the time of Elizabeth to the present day; and is still frequently to be heard in the streets of London to songs with the old burden, Which nobody can deny.' . . The earliest mention of the ballad of Green Sleeves in the Registers of the Stationers' Company is in September, 1580, when Richard Jones had licensed to him 'A new Northern Dittye of the Lady Greene Sleaves.' The date of the entry, however, is not always the date of the ballad; and this had evidently attained some popularity before that time, because on the same day Edward White had a license to print A ballad, being the Ladie Greene Sleeves Answere to Donkyn his frende.' . Within twelve days of the first entry of Green Sleeves it was converted to a pious use, and we have Greene Sleves moralised to the Scripture, declaring the manifold benefites and blessings of God bestowed on sinful man."" - Chappell's Popular Music of the Olden Time, i. 227–28, 2d ed.

6

...

77. strain. Is explained to mean here "turn, tendency," etc. Pope substituted "stain;" and so Mr. Collier's Ms. Corrector. Steevens says: "The modern editors read stain ;' but, I think, unnecessarily. A sim ilar expression occurs in The Winter's Tale,

6 With what encounter so uncurrent I

Have strain'd, t' appear thus.'

And again, in Timon,

6 a noble nature

May catch a wrench.'"

Compare, in iii. 3. 162, 163, of the present play, “I would all of the same strain were in the same distress."

88. 0, that my husband saw this letter! So the folio. The quartos 1602, 1619, have “O Lord if my husband should see this Letter." According to Mr. Staunton, the "O, that" of the folio is equivalent to “ O, if that.”

112, 113. Away, Sir Corporal Nym!

Believe it, Page; he speaks sense.

Johnson proposed to give the words “Believe it, Page; he speaks sense" to Nym; and to Nym they are assigned by Mr. Collier's Ms. Corrector, wrongly beyond all doubt, as Steevens has shown in the following note: "He [Doctor Johnson] seems not to have been aware of the manner in which the author meant this scene should be represented. Ford and Pistol, Page and Nym, enter in pairs, each pair in separate conversation; and while Pistol is informing Ford of Falstaff's design upon his wife, Nym is, during that time, talking aside to Page, and giving information of the like plot against him. When Pistol has finished, he calls out to Nym to come away; but seeing that he and Page are still in close debate, he goes off alone, first assuring Page he may depend on the truth of Nym's story: 'Believe it, Page,' etc. Nym then proceeds to tell the remainder of his tale out aloud: And this is true,' etc. A little farther on in this scene, Ford says to Page, You heard what this knave (i. e. Pistol) told me,' etc. Page replies, Yes: and you heard what the other (i. e. Nym) told me."" I may add (for, in spite of Steevens's note,

I have lately seen the alteration in question recommended by a periodical critic) that the reading of the folio is most fully confirmed by quartos 1602, 1619,

66

Page, belieue him what he ses. Away, sir Corporall Nym!

[Exit Pistoll."

'Any necessity,' I imagine.".

Walker's Crit. Exam. ii. 255.

122-124. and there's the humour of it. Adieu. [Exit. Page. [aside] The humour of it,' quoth 'a!

The folio, by mistake, omits "and there's the humour of it," — which words are found in quartos 1602, 1619, and which the next speech proves to be absolutely necessary.

124, 125. here's a fellow frights English out of his wits. So the folio. Dyce and Pope adopt the reading of the quartos 1602, 1619, "frights humour out of his wits."

127. a drawling, affecting rogue. The folio has "a drawling-affecting rogue," which Mr. Knight and Mr. Collier retain, Mr. Collier not hesitating to say that it means "a rogue who affects drawling." The fact is, that the folio abounds in passages where the hyphen, as here, is introduced with odd impropriety.

138. crotchets. So the folio. Dyce reads "crotchet." Corrected by Walker (Crit. Exam. i. 245).

148. we have. 66 Surely, we would have,'” says Walker (Crit. Exam. iii. 14); and Mr. Swynfen Jervis (unacquainted with Walker's conjecture) proposes to me “ We'd have."

191. Ford. So quartos 1602, 1619, in the corresponding speech; and so quarto 1630. The folio has "Shal." 193. Brook. Theobald says: "Thus both the old quartos; and thus most certainly the poet wrote. We