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P. 672. (66) “ And clamour moisten’d: then," &c.
The quartos have“ moistened her, then,&c.—See note (62).

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P. 673. (07)

fumiter,&c. The quartos have “femiter,” &c.; the folio has “Fenitar,” &c.


P. 673. (65)

" hoar-docks," &c. The quartos have “hor-docks,” &c.: the folio has “ Hardokes,” &c.—Perhaps the right reading is “harlocks:" see notes ad l. in the Varior. Shakespeare.

P. 680. (69)

* Through tatter'd clothes small vices do appear," &c. The quartos have through tattered ragges small vices," &c.—The folio has

Thorough tatter'd cloathes great Vices,” &c.

P. 680. (70)

Plate sin with gold,&c. Pope's correction (and an obvious one).—The folio has “Place sinnes with Gold,&c.- From these words to “accuser's lips” inclusive is only in the folio.

P. 680. (71)

does pierce it.The usual modern reading is “doth pierce it,” —which may be preferable on account of the “does” in the next line ; but that reading has no earlier authority than the third folio.

P. 680. (72)

This' a good block :-" Here I follow Sidney Walker (see his Shakespeare's Versification, &c. p. 80) in marking This'as the contraction of " This is.” (Walker, ibid. p. 81, observes that the same contraction ought to be introduced in a passage of The Taming of the Shrew :-where I introduced it of my own accord, Walker's essay having not yet appeared when I was occupied with that play: see vol. ii. p. 502, note (18).)- After these words an interrogation-point or an exclamation-point is usually put, in opposition to the old eds.- Mr. Collier's Ms. Corrector substitutes “ 'Tis a good plot :” but see Steerens's note ad l.

P. 681. (73)

have surgeons,” &c. So the folio.-The quartos read “haue a chirurgeon,” &c.—(Most of the modern editors print silently “ have a surgeon.”)

P. 681. (74) Ay, and laying autumn's dust.Steevens, “ for the sake of metre,” printed “Ay, and for laying,&c.,-Mr. Collier and Mr. Knight silently give the same reading: but qy. is “for” in any of the old eds.? VOL. V.

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P. 682. (15) " made tame to fortune's blows," &c. So the folio. — The quartos have “made lame by fortunes blowes,” &c. (which Malone considers to be the right reading, because in our author's xxxviib Sonnet we find, “So I, made lame by fortune's dearest spite,” &c.)

P. 683. (76)

O, untimely death!Here the old eds. have the word deathtwice.

P. 683. (77)

Let's see these pockets : the letters that he speaks of

May be my friends." This is the reading of the folio; and I see no reason for preferring that of the quartos,

lets see his pockets, These letters that he speakes of,” &c.

P. 683. (18) O undistinguish'd space of woman's will." The quartos have “ O vndistinguisht space of womans wit:” the first folio has " Oh indinguish'd space of Womans will;” the second and third folios have “Of indinguish'd space of \Vomans will;" and the fourth folio has “ Of indistinguish'd space of Womans will.”—The reading of the quartos, except in the last word, is no doubt the right one: and the sense is plain enough, “ undistinguish'd space” meaning space whose limits are not to be distinguished.—Here Mr. Collier's Ms. Corrector makes one of his unhappiest emendations,—“0, unextinguish'd blaze of woman's will.and Mr. Singer (Shakespeare Vindicated, &c. p. 273) offers a brace of conjectures, which I must take the liberty of saying he ought to have suppressed.

P. 684. (79) “Phys. Madam, sleeps still.“ According to the folio, the two parts of the Doctor and the Gentleman seem to have been combined, and played by the same actor. In the quartos, they are distinct, and have separate prefixes. We have followed the latter, because the scene was, in all probability, so originally written, and because merely the economy of performers seems to have led to the union of the two characters in the folio.” COLLIER.-See also Malone's first note on this scene.

P. 684. (50)

Is he array'd ?" After these words, Delius inserts, with the folio, the stage-direction “ Enter LEAR on [in] a chair carried by Servants ;” and he says that “from Cordelia’s question it is plain that Lear is not on the stage at the beginning of this scene.” But, as Capell long ago observed, “ their [the folios'] mode of bringing in Lear was a mere stage-convenience.” Notes, &c. vol. i. p. ii. p. 181. Cordelia has evidently come with Kent into the chamber where her father is asleep on a bed, the curtains of which conceal him from riew; and a subsequent exclamation of the Physician, “ Louder the music there !” shows that soft music is playing while he sleeps.

P. 684. (91) “Gent. Ay, madam; in the heaviness of sleep

We put fresh garments on him.
. Phys. Be by, goud madam, when we do awake him ;

I doubt not of his temperance.” One quarto gives the first of these speeches to “ Doct.” and the second to “Gent. :" the other two quartos give the first to “Doct." and the second to “ Kent:" and the folio gives both to “Gent," -- Mr. Collier adheres to the quartos which assign the first speech to Doct." and the second to “ Kent;" and remarks that “some modern editors (following Malone) have adopted a course consistent with no authority, by giving the two first lines to the Gentleman, and the two next to the Doctor.” But where the old copies are so strangely at variance with each other, some liberty may be allowed to an editor ; and the usual modern distribution of these speeches appears to me the only one which is at all satisfactory.

P. 686. (82) “ Fourscore and upwurd, not an hour more nor less ;

And, to deal plainly," &c. In this passage the folio alone has the words “not an hour more nor less." Sidney Walker (Shakespeare's Versification, &c. p. 156) observes, “ They are nonsense, it is true: but are they out of place in the mouth of Lear ?” Certainly not.

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P. 694. (84) “Yet am I noble as the adversary

I come to cope.

Alb. Which is that adversary ?" Here most of the modern editors insert, from the quartos, “withal” after “cope;" but unnecessarily: compare Troilus and Cressida, act ii. sc. 3, “Ajax shall cope the best."

P. 694. (*) “Behold, it is the privilege of mine honours,

My oath, and my profession : I protest,&c. The quartos have,

Behold it is the priuiledge of my tongue

My oath and profession. I protest,” &c. The folio has,

Behold it is my priuiledge,

The priuiledge of mine Honours,

My oath, and my profession. I protest," &c. by some mistake in the transcript, I presume.

P. 695. (86)

Hold, sir; Thou worse than any name, read thine own evil :-" Delius says that Hold, sir,” is a command to Edgar to forbear further violence on Edmund, and that the next line is addressed to Edmund, to whom Albany hands Goneril's letter found on Oswald. About " the next line" Delius is no doubt right; but (like Malone and Mr. Collier, as shown by the note of the former and the punctuation of the latter) he is quite mistaken about the Hold, sir,” which is also spoken to Edmund, -"Hold" being formerly a word commonly used when any one presented any thing to another : compare our author's Measure for Measure, Hold, therefore, Angelo," &c. act i. sc. l; and Julius Cæsar, Hold, my hand,” &c. act i. sc. 3; “But, hold thee, take this garland on thy brow," &c. act v. sc. 3.-The previous exclamation of the Duke, “Save him, save him !" was quite enough to stay the sword of Edgar.

P. 695. (87) “Gon. Ask me not what I know. [Exit." So the quartos.-" The folio," as Mr. Collier observes, “having erroneously fixed Goneril's erit earlier, transfers • Ask me not what I know' to Edmund: and to Edmund both Mr. Knight and Delius assign the words, though they are manifestly those of Goneril in her desperation, and proved by Edmund's next speech not to belong to him.

P. 696. (88)

That we the pain of death would hourly die,&c. So the folio.—The quartos have,

that with the paine of death Would hourely dye,&c. out of which Malone made the very probable reading, That with the pain of death we'd hourly die,&c.

P. 697. (89) "threw him on my father," &c. The quartos have threw me on my father,” &c.—This speech and the two next speeches are not in the folio.

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P. 700. (o)

The weight," &c. “This speech from the authority of the old quarto is rightly placed to Albany: in the edition by the players, it is given to Edgar, by whom, I doubt not, it was of custom spoken. And the case was this: he who played Edgar, being a more favourite actor than he who personated Albany, in spite of decorum it was thought proper he should have the last word.” THEOBALD.



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