Clar. The duty that I owe unto your majesty I seal upon the lips of this sweet babe. Q. Eliz. Thanks, noble Clarence; worthy brother, thanks. 30 Glou. And, that I love the tree from whence thou sprang'st, Witness the loving kiss I give the fruit. [Aside] To say the truth, so Judas kiss'd his master, 35 Clar. What will your grace have done with Margaret? Reignier, her father, to the King of France Hath pawn'd the Sicils and Jerusalem, And hither have they sent it for her ransom. 40 K. Edw. Away with her, and waft her hence to France. And now what rests but that we spend the time With stately triumphs, mirthful comic shows, Such as befits the pleasure of the court? Sound drums and trumpets! farewell sour annoy ! For here, I hope, begins our lasting joy. 45 [Exeunt. 44 befits the pleasure of the] Ff. befits court?] Rowe. Court. Ff. NOTES. NOTE I. II. 1. 95. Pope and Hanmer make no new scene here, although they evidently intended to do so, as the next scene is marked as Scene III. In Theobald, as usual, the scenes are not numbered. NOTE II. II. 2. 89. In this passage the lines 89-92 are given to 'Cla.' in the first Folio, and to 'George' in the Quartos; but it is evident that Shakespeare, by altering his brother' in line 92 to me,' intended the whole to be spoken by Edward. This is another instance of Shakespeare's haste in remodelling the older plays. NOTE III. II. 5. 92, 93. Capell follows Hanmer in adopting the reading of the Quartos. We retain the reading of the Folios, because the alteration merely transfers the difficulty of explanation from one line to another. NOTE IV. III. 1. As Sinklo is certainly the name of an Actor, who is mentioned in the stage directions in the Taming of the Shrew (Ind. 1. 86), and in Henry IV. Pt. II. (Act v. Sc. 4), there is great probability that Humfrey is the name of another Actor, perhaps, as Malone suggests, Humfrey Jeaffes. Neither of these is mentioned in the list of 'Principall Actors' prefixed to the first Folio. NOTE V. IV. 1. 20-23. The following is the arrangement of these lines in the Folios: 'Not I no : God forbid, that I should wish them seuer'd, Whom God hath ioyn'd together: I, and 'twere pittie, to sunder them, That yoake so well together.' Pope reads: 'Not I; no God forbid that I should wish NOTE VI. IV. 2. 13. The reading 'overture' first appears in Warburton's edition, being probably a misprint. Johnson adopts it, but suggests the true reading 'coverture,' without giving any indication that this was the reading in all the Folios and in all the editions before Warburton's. We give this as one of the many instances of the carelessness with which Johnson's work was done. NOTE VII. Iv. 8. In the Folios, Somerset is introduced in the stage direction, though he had gone with young Richmond into Brittany. The mistake arose from the Quartos in which Scene VI, and Scene VIII. form but one. NOTE VIII. V. I. 44. This conjecture of Warburton's, which as he does not mention it in his edition we have marked 'withdrawn,' is found in a series of unpublished letters from Theobald to Warburton recently' added to the treasures of the British Museum. The first of these letters is dated Feb. 10, 1729, and the last Sep. 4, 1736. That in which 1 Written in 1864. allusion is made to the passage in question is dated March 10, 1732. Theobald rejects Warburton's suggestion, for, he says, 'Deck' is 'a county dialect,' meaning the same thing. Among the MSS. recently acquired by the Museum is a series of letters from Hanmer to Warburton beginning Dec. 24, 1735, and ending May 25, 1739. In a letter dated July 27, 1737, Hanmer mentions his conjectural reading 'truss' for 'cost' (1. 1. 268) which he afterwards inserted in the text of his edition. He defends it thus: when a hawk raiseth a fowl aloft and soaring upwards with it at length seizeth it in the air, she is said to truss the fowl, which I imagine is the word which the poor desponding king was made here to apply to his crown.' NOTE IX. v. 2. 48. The first Folio, which the later Folios copy verbatim but not literatim, reads as follows: 'Oh farewell Warwicke. Warw. Sweet rest his Soule: Pope reads: Flye Lords, and saue your selues, For Warwicke bids you all farewell, to meet in Heauen.' 'O farewel Warwick. War. Sweetly rest his soul! Capell : Fly lords and save your selves, for Warwick bids 'O, farewel, Warwick! War. Sweet rest his soul!-Fly, lords, and save yourselves; Rann: 'O, farewel, Warwick! War. Sweet rest his soul !-- Fly, lords, and save yourselves; Warwick bids you All farewel to meet in heaven.' In his edition of 1778 Steevens followed Pope's arrangement; restoring, however, 'Sweet' for 'Sweetly' and omitting 'again.' Fly, lords, and save yourselves; for Warwick bids The arrangement which we have adopted is exactly that of the Quartos. Mr Collier was the first of modern editors to introduce it in his text. NOTE X. v. 5. We have adhered in the stage directions as nearly as possible to the Folios, which throughout the play mark no division of the scenes, except at the end of an Act. Rowe first omitted the Exeunt. Theobald, who also continued the scene, gave Alarm. Retreat. Excursions. Both Parties go out. Re-enter King Edward, &c. Capell first made a new scene here and, altering the relative position of the stage directions, gave Exeunt both the Armies. Scene v. Alarums; Excursions; afterwards a Retreat. Then, Enter, as from Conquest, King Edward, &c. Capell's arrangement has, as usual, been followed by subsequent editors. NOTE XI. v. 5. 77, 78. 'Where is that devil's butcher, Hard-favour'd Richard? Richard, where art thou?' The reading we have given in the text is that of Steevens (1778), which appears to be nearest the corresponding passage of the Quartos. The first Folio has : 'Where is that diuels butcher Richard? Hard fauor'd Richard? Richard, where art thou?' The second Folio: 'Where is that divels butcher Richard Hard favor'd Richard? Richard, where art thou?' The third and fourth put a comma after the first 'Richard,' the third reading 'devils,' the fourth 'devil's.' Rowe follows the Folios. |