III. 2. 174-176. NOTE XV. The first Quarto, whose arrangement is followed in all the other Quartos, reads: Our meeting 'On thursday we our selues will march. The first Folio has: 'On Thursday, wee our selues will march. : Our meeting is Bridgenorth and Harry, you shall march Pope altered the passage thus: 'On Thursday, we our selves will march: our meeting Through Glo'stershire: by which, some twelve days hence Capell's arrangement, taking in the previous line, is as follows: NOTE XVI. III. 3. 87. Theobald was the first to insert the words 'and Peto' in the stage directions. They are omitted in the Quartos and Folios, and Steevens following Johnson's conjecture, changed them to 'and Pointz.' This alteration is supported by the reading of the Dering MS. in line 196, 'Poynes' for 'Peto.' But 'Peto' is found in the text in III. 3. 196. It is true, as Johnson points out, that Peto is afterwards (Iv. 2. 9) mentioned as Falstaff's lieutenant, but this may be the honourable place which the prince had promised him (II. 4. 526). NOTE XVII. III. 3. 198. Steevens adopted, without acknowledgement, Capell's arrangement: 'Jack, Meet me to-morrow in the Temple hall.' Hudson (Harvard Shakespeare) reads: 'Meet me to-morrow, Jack, i' the Temple-hall.' NOTE XVIII. Iv. 1. 54. It is not improbable that a line may have been lost after reversion. NOTE XIX. IV. 1. 99. We leave this obscure passage as it stands in the old copies. Possibly, as Steevens suggested, a line has dropped out after wind. The phrase 'wing the wind' seems to apply to ostriches (for such is unquestionably the meaning of 'estridges') less than to any other birds. Mr Dyce quotes a passage from Claudian (In Eutropium, II. 310-313) to justify it: 'Vasta velut Libyæ venantum vocibus ales Cum premitur, calidas cursu transmittit arenas, Inque modum veli sinuatis flamine pennis Pulverulenta volat.' But this means that the bird spreads its wings like a sail bellying with the wind a different thing from 'winging the wind.' Malone, agreeing with Steevens that a line might have been lost, suggested the following: ‘All plum'd like estridges, that with the wind Run on, in gallant trim they now advance: IV. 4. 22. NOTE XX. We leave these lines as they are in the Quartos and Folios. Pope read the passage, perhaps rightly, as prose. Steevens (1793) smoothed the lines thus : 'Gent. Why, good my lord, you need not fear; there's Douglas, And Mortimer. Arch. No, Mortimer 's not there.' [So Dr Alexander Blair, except that he read 'Lord Mortimer-' for 'And Mortimer.'] NOTE XX v. 1. We have followed the Quartos, Folios, and all editors till Capell's time, in leaving the 'Earl of Westmoreland' among the persons entering. He does not speak, indeed, but it might be intended that he should be present as a mute person for the nonce. On the same principle we have left 'Lord John of Lancaster' in the stage direction of 1. 1. [But Westmoreland, as was pointed out by Malone, was in the rebel camp as a pledge for Worcester's safe conduct. See IV. 3. 108, 109 and v. 2. 29, 32, 44. I have therefore followed Capell in omitting his name. W. A. W.] NOTE XXII. v. 2. 72. Mr Collier reads 'wild o' liberty,' observing in a note that the three oldest Quartos have this reading. The true reading of these Quartos, and the fourth, is what we have given in the foot-note, 'wild a libertie.' Mr Grant White retains it in his text, interpreting 'never did I hear so wild a liberty reported of any prince.' Pope also adopted this reading without any note of explanation. Theobald restored what he called the reading of the old copies' and punctuated thus: "Of any prince, so wild, at liberty.' NOTE XXIII. v. 2. 101. The stage direction of the first Quarto is literally as follows: Here they embrace, the trumpets sound, the king enters with his power, alarme to the battel, then enter Douglas, and sir Walter Blunt. The Folios have substantially the same, omitting the word 'Here.' They indicate no change of scene in this place. The Quartos do not, either here or elsewhere, mark any division into act or scene. NOTE XXIV. v. 4. 132–136. Pope reads thus: 'I did, I saw him dead, And breathless on the ground: art thou alive, Or is it Fancy plays upon our eye-sight? I pr'ythee speak, we will not trust our eyes Capell thus: 'I did; I saw him dead, breathless and bleeding Art thou alive? or is it fantasy, That plays upon our eye-sight? I pr'ythee, speak; NOTE XXV. v. 5. 30. Malone reads 'shewn' on the authority of the Quarto of 1598. But Capell's copy of that edition has taught,' and this is the reading of Malone's own copy, now in the Bodleian Library. Malone's error is due to his following Capell's note in which 'shewn' is said to be the reading of the Quartos and Folios in 1. 30 instead of 1. 29. |