Note return to page 1 [1] (1) Comedy of Errors.] The Controversy of our Author's Acquaintance with the Latine Tongue has been partly canvass'd upon his having writ this Play. “It is in great Measure taken (says Mr. Rowe from the Menæchmi of Plautus. How That happen'd, I cannot easily divine; since I do not take him to have been Master of Latine enough to read it in the Original: and I know of no Translation of Plautus so old as his Time”.—Thus far, his Acquaintance with the Roman Language is rather disputed, than ascertain'd. Let us see, What Mr. Gildon has observ'd upon This. “I confess, with Submission to the Writer of his Life, that I can find no such Need of Divination on this Head. For as it is beyond Contradiction plain, that this Comedy is taken from That of Plautus; so I think it as obvious to conclude from That, that Shakespeare did understand Latine enough to read him, and knew so much of him as to be able to form a Design out of That of the Roman Poet”.—We now find his Title to Learning a little better grounded. After these Gentlemen comes Mr. Pope, and diffidently corroborates Mr. Gildon's Opinion. “He appears (says he) also to have been conversant in Plautus, from whom he has taken the Plot of One of his Plays”. The Comedy of Errors is the Play meant here. But tho', perhaps, I may believe our Author better acquainted with the antient Languages, than these three Learned Men profess to do; yet, with Deference to them, his Literature will not come into Dispute on this Account. For the Menæchmi of Plautus was translated into English, (which our Criticks might have known from Langbaine,) and printed in Quarto in the Year 1515, half a Century before our Author was born.

Note return to page 2 [2] (2) A heavier Task could not have been impos'd, Than I to speak my Grief unspeakable.] The Poet seems to me here to have had in his Eye the Exordium of Æneas's Speech to Dido, in the second Book of Virgil's Æneis. Infandum, Regina, jubes renovare dolorem, &c.

Note return to page 3 [3] (3) Now trust me, were it not against our Laws, Against my Crown, my Oath, my Dignity, Which Princes would, they may not disannul,] Thus are these Lines placed in all the former Editions. But as the single Verb does not agree with all the Substantives, which should be govern'd of it, I have ventur'd to make a Transposition; and by a Change in the Pointing, clear'd up the Perplexity of the Sense.

Note return to page 4 [4] (4) As, nimble Jugglers, that deceive the Eye; Dark-working Sorcerers, that change the Mind; Soul-killing Witches, that deform the Body;] Tho' I have not disturb'd the Text, the ingenious Conjecture, Mr. Warburton made to me upon this Passage, has such an Appearance of Justness and Likelihood, that I shall subjoin it in his own Words. “Those, who attentively consider these three Lines, must confess, that the Poet intended, the Epithet given to each of these Miscreants should declare the Power by which they perform their Feats, and which would therefore be a just Characteristick of each of them. Thus, by nimble Jugglers, we are taught that they perform their Tricks by slight of hand: and by Soul-killing Witches, we are inform'd, the Mischief they do is by the Assistance of the Devil to whom they have given their Souls: But then, by dark-working Sorcerers, we are not instructed in the Means by which they perform their Ends. Besides, this Epithet agrees as well to Witches, as to them; and therefore, certainly, our Author could not design This in their Characteristick. I am confident, we should read; Drug-working Sorcerers, that change the Mind; And we know by the whole History of antient and modern Superstition, that these kind of Jugglers always pretended to work Changes of the Mind by these Applications. Hence all the Superstition of Love-potions, which in this Line is alluded to: And this Practice was so common amongst the Greeks, that they gave the Name of &grf;&gra;&grr;&grm;&gra;&grk;&grog;&grst; to this Operator: and therefore has Theocritus call'd his second Eidyllium, whose Subject is built on this kind of Sorcery, &grf;&gra;&grr;&grm;&gra;&grk;&gre;&grua;&grt;&grr;&gri;&gra;. Mr. Warburton. Brabantio, I remember, in Othello, where he thinks his Daughter's Senses and Inclinations must have been perverted by the Moor's Practices, speaks not a little in Confirmation of my Friend's Conjecture. Judge me the World, if 'tis not gross in Sense, That thou hast practis'd on her with foul Charms, Abus'd her delicate Youth with Drugs, or Minerals, That weaken Notion. &lblank;

Note return to page 5 [5] (5) I see the Jewel best enameled Will lose his Beauty; yet the gold bides still That others touch, and often touching will: Where gold and no Man that hath a Name, By Falshood and Corruption doth it Shame.] In this miserably mangled Condition is this Passage exhibited in the first Folio. All the Editions since have left out the last Couplet of it; I presume, as too hard for them. Mr. Pope, who pretends to have collated the first Folio, should have spar'd us the Lines, at least, in their Corruption.—I communicated my Doubts upon this Passage to my Friend Mr. Warburton; and to his Sagacity I owe, in good part, the Correction of it. The Sense of the whole is now very pertinent; which, without the two Lines from the 1st Folio, was very imperfect; not to say, ridiculous. The Comparison is fully closed. “Gold, indeed, bides handling well; but, for all that, often Touching will wear even Gold: So, no Man of a great Character, even as pure as Gold, but may in Time lose it by Falshood and Corruption.

Note return to page 6 [6] (6) Ant. Why is Time such a Niggard of Hair, being, as it is, so plentiful an Excrement? S. Dro. Because it is a Blessing that he bestows on Beasts, and what he hath scanted them in hair, he hath given them in Wit.] Surely, this is Mock-reasoning, and a Contradiction in Sense. Can Hair be suppos'd a Blessing, which Time bestows on Beasts peculiarly; and yet that he hath scanted them of it too? I corrected this Passage, as I have now reform'd the Text, in my Shakespeare restor'd; and Mr. Pope has been pleas'd to adopt my Correction in his last Edition. Men and Them, I observe, are very frequently mistaken vice versâ for each other, in the old Impressions of our Author.

Note return to page 7 [7] (7) I live distain'd, thou undishonoured.] To distaine (from the French Word, destaindre) signifies, to stain, defile, pollute. But the Context requires a Sense quite opposite. We must either read, unstain'd; or, by adding an Hyphen, and giving the Preposition a privative Force, read dis-stain'd, and then it will mean, unstain'd, undefiled.

Note return to page 8 [8] (8) We talk with Goblins, Owls, and elvish Sprights;] They might fancy, they talk'd with Goblins and Sprights; but why with Owls, in the Name of Nonsense? Or could Owls suck their Breath, and pinch them black and blue? I dare say, my Readers will acquiesce in the Justness of my Emendation here: The Word is common with our Author in other Passages; Merry Wives of Windsor. Strew good Luck, Ouphs, on ev'ry sacred Room. And, again; Like Urchins, Ouphs, and Fairies, green and white.

Note return to page 9 [9] (9) Why prat'st thou to thy self? Dromio, thou Dromio, snail, thou slug, thou sot.] In the first of these Lines Mr. Rowe and Mr. Pope have Both, for what Reason I cannot tell, curtail'd the Measure, and dismounted the doggrel Rhyme, which I have replac'd from the first Folio. The second Verse is there likewise read; Dromio, thou Dromio, thou snail, thou slug, thou sot. The Verse is thus half a Foot too long; my Correction cures that Fault: besides Drone corresponds with the other Appellations of Reproach.

Note return to page 10 [10] (10) Marry, so it doth appear By the Wrongs I suffer, and the Blows I bear.] Thus all the printed Copies; But, certainly, This is Cross-purposes in Reasoning. It appears, Dromio is an Ass by his making no Resistance: because an Ass, being kick'd, kicks again. Our Author never argues at this wild Rate, where his Text is genuine.

Note return to page 11 [11] (11) And, in Despight of Mirth,] In Despight of what Mirth? We don't find, that it was any Joke, or matter of Mirth, to be shut out of Doors by his Wife. I make no Doubt therefore, but I have restor'd the true Reading. Antipholis's Passion is plain enough all thro' this Scene: and, in the next Act, we find him confessing how angry He was at this Juncture.—And did not I in Rage depart from thence? The circumstances, I think, sufficiently justify my Emendation.

Note return to page 12 [12] (12) And may it be, that you have quite forgot An Husband's Office? Shall, Antipholis, Ev'n in the Spring of Love, thy love-springs rot? Shall love in buildings grow so ruinate?] This Passage has hither o labour'd under a double Corruption. What Conceit could our Editors have of Love in Buildings growing ruinate? Surely, they did not dream of Love made under an old Wall? Our Poet meant no more than This. Shall thy Love-springs rot, even in the Spring of Love? and shall thy Love grow ruinous, ev'n while 'tis but building up? The next Corruption is by an accident at Press, as I take it; This Scene for 52 Lines successively is strictly in alternate Rhymes: and this Measure is never broken, but in the Second, and Fourth, Lines of these two Couplets. 'Tis certain, I think, a monosyllable dropt from the Tail of the 2d Verse, and I have ventur'd to supply it by, I hope, a probable Conjecture.

Note return to page 13 [13] (13) Alas! poor Women, make us not believe, &c.] From the whole Tenour of the Context it is evident, that this Negative (not,) got Place in the first Copies instead of but. And these two Monosyllables have by mistake reciprocally dispossess'd one another in many other Passages of our Author's Works. Nothing can be more plain than the Poet's Sense in this Passage. Women, says He, are so easy of Faith, that only make them believe you love them, and they'll take the bare Profession, for the Substance and Reality.

Note return to page 14 [14] (14) What's her Name? S. Dro. Nell; Sir; but her name is three quarters; that is, an Ell and and three Quarters, &c.] This Passage has hitherto lain as perplext and unintelligible, as it is now easy, and truly humourous. If a Conundrum be restor'd, in setting it right, who can help it? There are enough besides in our Author, and Ben Jonson, to countenance that current Vice of the Times when this Play appear'd. Nor is Mr. Pope, in the Chastity of his Taste, to bristle up at me for the Revival of this Witticism, since I owe the Correction to the Sagacity of the ingenious Dr. Thirlby.

Note return to page 15 [15] (15) S. Ant. Where France? S. Dro. In her Forehead; arm'd and reverted, making War against her hair.] All the other Countries, mention'd in this Description, are in Dromio's Replies satirically characteriz'd: but here, as the Editors have order'd it, no Remark is made upon France; nor any Reason given, why it should be in her Forehead: but only the Kitchen-wench's high Forehead is rallied, as pushing back her hair. Thus all the modern Editions; but the first Folio reads—making War against her heir.—And I am very apt to think, this Last is the true Reading; and that an Equivoque, as the French call it, a double Meaning is design'd in the Poet's Allusion: and therefore I have replaced it in the Text. If my Conjecture be of any Weight, we may be able from it pretty precisely to fix the Date of this Play's Appearance. I am not asham'd to trust it to Judgment, & valeat quantum valere potest. In 1589, Henry IIId of France being stab'd and dying of his Wound, was succeeded by Henry IVth of Navarre, whom he appointed his Successor; but whose Claim the States of France resisted, on account of his being a Protestant. This, I take it, is what he means, by France making War against her heir. Now as, in 1591, Queen Elizabeth sent over 4000 Men, under the Conduct of the Earl of Essex, to the Assistance of this Henry of Navarre; it seems to me very probable, that during this Expedition being on foot, this Comedy made its Appearance. And it was the finest Address imaginable in the Poet, to throw such an oblique Sneer at France, for opposing the Succession of that Heir, whose Claim his Royal Mistress, the Queen, had sent over a Force to establish, and oblige them to acknowledge.

Note return to page 16 [16] (16) Ev'n just the Sum, that I do owe to you, Is owing to me by Antipholis.] Mr. Pope, who pretends that he makes no Innovations but ex fide Codicum, has sophisticated this Passage for no Reason in the World as I apprehend. The oldest Folio, and all the other Copies that I have seen, read in the second Line; Is growing to Me by Antipholis. So twice, afterwards, in this very Play; Adr. Bear me forthwith unto his Creditor, And, knowing how the Debt grows, I will pay it. Adr. I know the Man; what is the Sum he owes? Offi. Two hundred Ducats. Adr. Say, how grows it due?

Note return to page 17 [17] (17) A Fiend, a Fairy, pitiless and rough,] Dromio here bringing Word in haste that his Master is arrested, describes the Bailiff by Names proper to raise Horror and Detestation of such a Creature, such as, a Devil, a Fiend, a Wolf, &c. But how does Fairy come up to these terrible Ideas? Or with what Propriety can it be used here? Does he mean, that a Bailiff is like a Fairy in stealing away his Master? The truest Believers of those little Phantoms never pretended to think, that they stole any thing but Children. Certainly, it will sort better in Sense with the other Names annex'd, as well as the Character of a Catch-pole, to conclude that the Poet wrote;—a Fiend, a Fury, &c. I made this Conjecture in my Shakespeare restor'd; and Mr. Pope has thought fit to embrace it in his last Edition.

Note return to page 18 [18] (18) what, have you got the picture of old Adam new apparell'd?] A short Word or two must have slipt out here, by some Accident in copying, or at Press: otherwise I have no Conception of the Meaning of the Passage. The Case is this. Dromio's Master had been arrested, and sent his Servant home for Money to redeem him: He running back with the Money, meets the Twin Antipholis, whom he mistakes for his Master, and seeing him clear of the Officer before the Money was come, he cries in a Surprize; What, have you got rid of the Picture of old Adam new apparell'd? For so I have ventur'd to supply, by Conjecture. But why is the Officer call'd old Adam new apparell'd? The Allusion is to Adam in his State of Innocence going naked; and immediately after the Fall, being cloath'd in a Frock of Skins. Thus he was new-apparell'd: and in like manner the Sergeants of the Counter were formerly clad in Buff, or Calves-Skin, as the Author humourously a little lower calls it.

Note return to page 19 [19] (19) Mistress, respice finem, respect your End, or rather the Prophecy, like the Parrot, beware the rope's End.] We will endeavour to explain these Words, as they lie in Order. Respice finem seems to come in here oddly enough to make a Joke. But I am of Opinion, that Shakespeare might here allude to the last Words of a famous satirical Pamphlet, wrote at that time by Buchanan against the Lord of Liddington in Scotch, ending with these Latine Words, Respice finem, respice funem.— Our Author, perhaps, would shew, he could punn as well in English as the Other had done in Latine; and therefore translates, Respect your End, or beware the Rope's End. As for the Phrase, the Prophecy like the Parrot, We are to remember, the London Tradesmen of that time were very fond of this new exotic Bird, because he could speak; and, perhaps, almost as well as some grave Citizens. In teaching him the Lingua, 'twas no Wonder they should delight themselves in giving him many knavish Words, as rope, Scot, &c. to the Offence of many of his Majesty's Northern Subjects, of whom there are such a Number of merry Stories on record. However the Word Rope, by the bye, was the most common Word in his Language, and, no doubt, the most offensive. And the Joke was this; when the Parrot had bespatter'd any One with it, for the wise Owner to say to the offended Passenger, Sir, take care; my Parrot prophesies. Butler hints at this, Canto I. Part 1. ver. 549, speaking of Ralpho's Knowledge in Augury. Could tell what subtlest Parrots mean, That speak and think contrary clean; What Member 'tis of whom they talk, When they cry, Rope! and walk, Knave, walk. For by this Time they had made many Party Parrots, we may well suppose. Mr. Warburton.

Note return to page 20 [20] (20) It was the Copy of our Conference.] We are not to understand this Word here, as it is now used, in Opposition to an Original; any Thing done after a Pattern; but we are to take it in the nearest Sense to the Latine Word Copia, from which it is derived. Adriana would say, her Reproofs were the Burden, the Fulness of her Conference, all the Subject of her Talk. And in these Acceptations the Word Copie was used by Writers before our Author's time, as well as by his Contemporaries. So Hall, in his Reign of K. Henry Vth. p. 8. says;   If you vanquish the Numidians, you shall have Copie of Beasts. &lblank; i. e. plenty. And so B. Jonson in his Every Man out of his Humour; &lblank; that, being a Woman, She was blest with no more Copy of Wit, but to serve his Humour thus. And, again, in his Cynthia's Revels. &lblank; to be sure to have daily about him Copy and Variety of Colours. And in many other Passages of his Works.

Note return to page 21 [21] (21) The Place of Death and sorry Execution.] i. e. dismal, lamentable, to be griev'd at. In the like Acceptations our Poet employs it again, where Macbeth, after the Murder of Duncan, is looking on his own bloody Hands. &lblank; This is a sorry Sight.

Note return to page 22 [22] (22) Thirty three years] 'Tis impossible the Poet could be so forgetful, as to design this Number here: and therefore I have ventur'd to alter it to twenty five, upon a Proof, that, I think, amounts to Demonstration. The Number, I presume, was at first wrote in figures, and, perhaps, blindly; and thence the Mistake might arise. Ægeon, in the 1st Scene of the 1st Act, is precise as to the Time his Son left him, in Quest of his Brother: My youngest Boy, and yet my eldest Care, At eighteen Years became inquisitive After his Brother, &c. And how long it was from the Son's thus parting from his Father, to their meeting again at Ephesus, where Ægeon, mistakenly, recognizes the Twin-brother for him; we as precisely learn from another Passage in the 5th Act. Æge But seven years since, in Syracusa bay, Thou know'st, we parted; So that these two Numbers, put together, settle the Date of their Birth beyond Dispute.

Note return to page 23 [1] (1) Archidamus.] This is a Character of that Sort, which the old Criticks have call'd &grP;&grr;&groa;&grs;&grw;&grp;&gro;&grn; &grp;&grr;&gro;&grt;&gra;&grt;&gri;&grk;&groa;&grn;: One entirely out of the Action and Argument of the Play, and introduc'd only to open Something, necessary to be known, previous to the Action of the Fable. Donatus, in his Preface to Terence's Fair Andrian, explains this Character thus. Person autem protatica ea intelligitur, quæ semel inducta in Principio Fabulæ, in nullis deinceps fabulæ partibus adhibetur. “By a Protatick Character we are to understand such a One, as is introduc'd in the Beginning, and never after appears in any Part of the Fable.” Such is Sosia in that Comedy of Terence; Such, Davus in his Phormio; and Philotis and Syra, in his Mother-in-law. Such are the Servants of the Capulets and Mountagues, in our Author's Romeo and Juliet: the Two Gentlemen, who open his Cymbeline; the Sea-Captain, in the Second Scene of Twelfthnight; and (tho' thrown into the Middle of the Play) of the same Nature are the Gentlemen in K. Henry VIII; who are introduced only to make the Narratives of Buckingham's Arraignment, and Anne Bullen's Coronation.

Note return to page 24 [2] (2) &lblank; behind the gest Prescrib'd for's parting:] I have not ventur'd to alter the Text, tho', I freely own, I can neither trace, nor understand, the Phrase. I have suspected, that the Poet wrote; &lblank; behind the just Prescrib'd for's parting. i. e. the just, precise, time; the instant; (where Time is likewise understood) by an Elleipsis practis'd in all Tongues. It is familiar with us to say, I'll do such a thing just now. And in the same manner the French use their Adverb justement (eo ipso tempore) precisement, à point nommé.

Note return to page 25 [3] (3) &lblank; th' Imposition clear'd, Hereditary ours.] i. e. setting aside Original Sin: bating That Imposition from the Offence of our first Parents, we might have boldly protested our Innocence to Heaven, against any Guilt committed by Ourselves.

Note return to page 26 [4] (4)The Mort o'th' Deer.] To blow a Mort, is a hunting Phrase, signifying, to sound a particular Air, call'd a Mort, to give notice that the Deer, which was hunted, is run down, and killing, or kill'd.

Note return to page 27 [5] (5) I may be negligent, foolish, and fearful; In every one of these no Man is free, But that his Negligence, his Folly, Fear, Amongst the infinite Doings of the World Sometimes puts forth in your Affairs, my Lord.] Most accurate Pointing This, and fine Nonsense the Result of it! The old Folio's first blunder'd thus, and Mr. Rowe by Inadvertence (if he read the Sheets at all,) overlook'd the Fault. Mr. Pope, like a most obsequious Editor, has taken the Passage on Content, and pursued the Track of Stupidity. I dare say, every understanding Reader will allow, my Reformation of the Pointing has entirely retriev'd the Place from Obscurity, and reconcil'd it to the Author's Meaning.

Note return to page 28 [6] (6) &lblank; but I cannot Believe this Crack to be in my dread Mistress, So sovereignly being honourable. I have lov'd thee. &lblank; Leo. Make that thy Question and go rot.] This Passage wants very little weighing, to determine safely upon it, that the last Hemistich assign'd to Camillo, must have been mistakenly placed to him. It is a strange Instance of Disrespect and Insolence in Camillo to his King and Master, to tell him that He has once lov'd him.—But Sense and Reason will easily acquit our Poet from such an Impropriety. I have ventur'd at a Tansposition, which seems self-evident. Camillo will not be persuaded into a Suspicion of the Disloyalty imputed to his Mistress. The King, who believes Nothing but his Jealousy, provok'd that Camillo is so obstinately diffident, finely starts into a Rage and cries; I've lov'd thee.—Make't thy Question, and go rot. i. e. I have tender'd thee well, Camillo, but I here cancel all former Respect at once. If Thou any longer make a Question of my Wife's Disloyalty; go from my Presence, and Perdition overtake thee for thy Stubbornness.

Note return to page 29 [7] (7) Cam.&lblank; Swear his Thought over By each particular Star in Heaven, &c.] The Transposition of a single Letter reconciles this Passage to good Sense; which is not so, as the Text stands in all the printed Copies. Polixenes, in the preceding Speech, had been laying the deepest Imprecations on himself, if he had ever abus'd Leontes in any Familiarity with his Queen. To which Camillo very pertinently replies. &lblank; Swear this though over, &c. i. e. Sir, Though you should protest your Innocence never so often, and call every Star and Saint in Heaven to witness to your Adjuration; yet Jealousy is so rooted in my Master's Bosom, that All you can say and swear will have no Force to remove it.

Note return to page 30 [8] (8) He, who shall speak for her, is far off guilty, But that he speaks.] This cannot be the Speaker's Meaning. Leontes would say, I shall hold the Person in a great Measure guilty, who shall dare to intercede for her: And this, I believe, Shakespeare ventur'd to express thus: He, who shall speak for her, is far of guilty, &c. i. e. partakes far, deeply, of her Guilt.

Note return to page 31 [9] (9) I have three Daughters; the Eldest is eleven; The Second and the Third, nine; and Sons five; If this prove true, they'll pay for't.] The 2d Folio Edition led Mr. Rowe first inadvertently to fit five Sons upon Antigonus, more than the Poet ever design'd him: and Mr. Pope stumbled implicitly into the Mistake. But what increases the Jest, these three Daughters, and five Sons were Coheirs: If This was ever according to the Laws of Sicily, 'tis so peculiar, that Goltzius, Fazellus, or Cluverius would have thought it worthy of a short Notice. But the Reading of the 1st Folio Edition, which I have restor'd to the Text, makes no mention of any Sons, and so the Girls remain properly Coheirs; the Eldest, eleven years of Age; the second, Nine; and the Third, some five. I'll subjoin two Instances of this manner of Expression from our Author's K. Lear, But I have a Son, Sir, by order of Law, some Year elder than this; For that I am some twelve or fourteen Moon-shines Lag of a Brother?

Note return to page 32 [10] (10) These dang'rous, unsafe Lunes i'th' King! &lblank;] I have nowhere, but in our Author, observ'd this Word adopted in our Tongue, to signify, Frenzy, Lunacy. But it is a Mode of Expression with the French.—Il y a de la lune: (i. e. He has got the Moon in his Head; he is frantick.) Cotgrave. Lune. folie. Les femorres ont des lunes dans la téte. Richelet.

Note return to page 33 [11] (11) A Mankind Witch!] i. e. One as bold and masculine, as if She were a Man. So in B. Jonson's Silent Woman, when Morose is teiz'd by his new Wife's She-friends, he cries out in Detestation of their Boldness; O mankind Generation! And so Beaumont and Fletcher in their Monsieur Thomas. I do not bleed; 'twas a sound Knock she gave me; A plaguy mankind Girl!

Note return to page 34 [12] (12) The Climate's delicate, the Air most sweet, Fertile the Isle &lblank;] I must subjoin a very reasonable Conjecture of my Friend upon this Passage.—“But the Temple of Apollo at Delphi was not in an Island, but in Phocis on the Continent. It's plain, the blundering Transcribers had their Heads running on Delos, an Island of the Cyclades. So that the true Reading is undoubtedly; The Climate's delicate, the Air most sweet, Fertile the Soil; &lblank; Soil might with a very easy Transportation of the Letters be corrupted to Isle. But the true Reading manifests itself likewise on this Account; that, in a Description, the Sweetness of Air, and Fertility of Soil, is much more terse and elegant than Air and Isle. Mr. Warburton. But to confess the Truth, I am very suspicious that our Author, notwithstanding, wrote Isle, and for this Reason. The Groundwork and Incidents of his Play are taken from an old Story, call'd, The pleasant and delectable History of Dorastus and Fawnia; written by Mr. Robert Green, a Master of Arts in Cambridge, in the Reign of Q. Elizabeth: and there the Queen begs of her Lord, in the Rage of his Jealousy, That it would please his Majesty to send six of his Nobles, whom he best trusted, to the Isle of Delphos, there to enquire of the Oracle of Apollo, &c. Another palpable Absurdity our Author has copied from the same Tale, in making Bohemia a maritime Country, which is known to be Inland, and in the Heart of the main Continent.

Note return to page 35 [13] (13) Dion.&lblank; I shall report, For most it caught me, &c.] What will he report? And what means this Reason of his Report, viz. that the Celestial Habits first caught his Observation? I do not know, whether his Declaration of reporting, be more obscure, or his Reason for it more ridiculous. The Speaker seems to be under those Circumstances, which his Brother Ambassador in the next Speech talks of, &lblank; So surpriz'd my Sense, that I was Nothing. But if we may suppose him recover'd from his Surprize, we may be assur'd He said; &lblank; It shames Report. Foremost it caught me, the Celestial Habits, &c. Cleomines had said, The Temple much surpass'd the common Praise it bore. Dion replies, Yes, it shames Report by so far exceeding what Report had pretended to say of it: and then goes on to particularize the Wonders of the Place. The first Thing, says he, that struck me, was the Priests Habits, &c. And, by the Bye, it is worth observing, that the Wonders are particulariz'd in their exact Order: first, the Habits of the Priests, who were ready to meet Enquirers; then, the Priests Behaviour; then, the Sacrifice; and then, the pronouncing the Oracle. The Reader may see Van Dale de Oraculis Ethnicorum; and be satisfied of This. Mr. Warburton.

Note return to page 36 [14] (14) &lblank; lastly, hurried Here to this Place, i' th' open Air, before I have got Strength of Limbs.] This is the Reading of Mr. Rowe and Mr. Pope. I have restor'd, with the old Editions;—before I have got Strength of Limit. i. e. Strength enough for coming abroad, going never so little a way. So, in Cymbeline; A Prison, for a Debtor that not dares To stride a Limit.

Note return to page 37 [15] (15) That thou betrayd'st Polixenes, 'twas Nothing; That did but shew thee, of a Fool, inconstant, And damnable ingrateful.] I have ventur'd at a slight Alteration here, against the Authority of all the Copies. It is certainly too gross and blunt in Paulina, tho' She might impeach the King of Fooleries in some of his past Actions and Conduct, to call him downright a Fool. And it is much more pardonable in her to arraign his Morals, and the Qualities of his Mind, than rudely to call him Idiot to his Face.

Note return to page 38 [16] (16) &lblank; but, O, thou Tyrant! Do'st not repent these Things, for they are heavier Than all thy Woes can stir? therefore betake thee To Nothing but Despair.] Mr. Rowe read this Passage thus; but Mr. Pope has been pleas'd to add to the Absurdity of it, by an Innovation in the Pointing. Paulina is made, by this notable Change, to argue with the King in this manner; Do'st thou not repent of thy Actions, because Repentance can do thee no Service?—I have restor'd the genuine Reading of the old Copies: And, 'tis evident, Paulina is design'd to discourage him from Repentance, on the Supposition of his Crimes being too heinous to be forgiven: She therefore bids him absolutely to embrace Despair.

Note return to page 39 [17] (17) &lblank; Blossom, speed thee well! There lye, and there thy Character. &lblank;] The Reason why the Name of Character is given to the gold Mantle and Medal, seems this: By these, her Quality was to be known. And the Naturalists and Botanists pretending, that the Qualities of every Plant may be known by its Mark or Character, which, they say, Nature has impress'd on it; after he had called the Child Blossom, he straight makes an Allusion to that Opinion, and says,—thy Character. Mr. Warburton.

Note return to page 40 [18] (18) But I am not to say, it is a Sea; for it is now the Sky; betwixt the Firmament and it, you cannot thrust a Bodkin's Point.] I will not pretend to be positive, our Author had Don Quixote here in his Eye; but Sancho facetiously says something very like this, upon the sudden Mutability of a Woman's Resolutions. Entre el fi y el no de la Muger no me atreveria yo à poner una punta d' alfiler. Between a Woman's ay and no I would not undertake to thrust a pin's point. This Changeableness our Author, in his Lear, has finely call'd, The undistinguish'd Space of Woman's Will.

Note return to page 41 [19] (19) Shep. Would, I had been by to have help'd the old Man.] Tho' all the printed Copies concur in this Reading, I am persuaded, we ought to restore, Nobleman. The Shepherd knew nothing of Antigonus's Age; besides, the Clown had just told his Father, that he said, his Name was Antigonus a Nobleman, and no less than three times in this short Scene, the Clown, speaking of him, calls him the Gentleman.

Note return to page 42 [20] (20) You're a mad old Man; if the Sins of your youth are forgiven you, you're well to live. Gold! all Gold!] This the Clown says upon his opening his Fardel, and discovering the Wealth in it. But this is no Reason why he should call his Father a mad old Man. I have ventur'd to correct in the Text:—You're a made old Man: i. e. your Fortune's made by this adventitious Treasure. So our Poet, before, in his Midsummer-Night's Dream; We had all been made Men: And so, again, in his Twelfth-night; Go to, thou art made if thou desirest to be so. So Beaumont and Fletcher in their Elder Brother; We're made for ever. And in their Mad-Lover. Siph. O happy I! Chil. You're a made Man. And in a hundred more Instances, that might be quoted to prove the Use of the Expression.

Note return to page 43 [21] (21) &lblank; That make and unfold Error.] This does not in my Opinion take in the Poet's Thought. Time does not make mistakes, and discover them, at different Conjunctures; but the Poet means, that Time often for a Season covers Errors, which he afterwards displays and brings to Light. I chuse therefore to read; &lblank; that maske and unfold Error. To the like Purpose our Poet in Measure for Measure. Keep me in Patience; and with ripen'd Time Unfold the Evil which is here wrapt up In Countenance: And, again, in his Lear. Time shall unfold what plaited Cunning hides, Who covers Faults, at last with Shame derides.

Note return to page 44 [22] (22) That's likewise part of my Intelligence; but, I fear the Angle that plucks our Son thither.] The disjunctive here, I think, makes stark Nonsense of the Context: and the Editors have palm'd an Allusion in the Word Angle, which seems foreign to the Sense of the Passage. As, before, in the Taming of the Shrew, Angel is mistakenly put for Engle: so, I suspect, Angle, by the same easy Corruption, is here. I have there prov'd the Use and Meaning of the Word. I'll proceed briefly to justify the Emendation I have here made, by shewing how naturally it falls in with the Sense we should expect. Camillo had just told the King, he had heard of such a shepherd, and of a Daughter he had of most rare Note. Ay, replies the King, that's a Part of my Intelligence too; and, I fear, [that Daughter is] the Siren, the Decoy, the Invitation, that plucks our Son thither.

Note return to page 45 [23] (23) My Father nam'd me Autolicus, who being, as I am, litter'd under Mercury, was likewise a snapper up of unconsider'd Trifles.] The slight Transposition I have ventur'd to make of four short Monosyllables in this Passage, was prescrib'd by my ingenious Friend Mr. Warburton. The Poet's Meaning seems to be this. My Father nam'd me Autolicus, because I was born under Mercury; who was a Thief, as I am. The Allusion is, unquestionably, to this Passage in Ovid; Alipedis de stirpe Dei versuta propago Nascitur Autolycus, furtum ingeniosus ad omne. Metam. Lib. xi. The true Autolycus was the Son of Mercury; our fictitious one, born under his Planet: the first a Copy of his Father; the other, suppos'd to derive his Qualities from natal Predominance. To this Autolycus, the Son of Mercury, Martial has alluded in the 8th Book of his Epigrams. Non suit Autolyci tàm piceata manus. We find his History in Pherecydes, Hyginus, &c.

Note return to page 46 [24] (24) Three-man Songmen all, and very good ones.] By a three-man Songster we are to understand, a Singer of Catches; which Catches were then, and are now most commonly, in three Parts. So our Author, in 2d Part of K. Henry IV; Fal. If I do, fillip me with a three-man beetle. i. e. a three-handed Beetle, or one used by three Men together. So in an old Play, call'd, The Merry Milk-maids; Smirk. Nay, I'll put in too for my ha, ha, ha. This is a three-man's laughter. For the Laugh is kept up by three Persons in the Scene

Note return to page 47 [25] (25) Let me be unroll'd, and my Name put in the Book of Virtue.] Begging Gipsies, &c. in the Time of our Author were in Gangs, that had something of the Regularity of an incorporated Body. This is alluded to here. From this noble Society he wishes he may be unroll'd, if he does not do so, and so. Mr. Warburton.

Note return to page 48 [26] (26) &lblank; He tells her Something, That makes her Blood look on't.] Thus all the old Editions corruptedly. I dare say, I have restor'd the true Reading; and the Meaning must be this. The Prince tells her Something, that calls the Blood up into her Cheeks, and makes her blush. She, but a little before, uses a like Expression to describe the Prince's Sincerity, which appear'd in the honest Blood rising on his Face. Your Praises are too large; but that your Youth And the true Blood, which peeps forth fairly through it, Do plainly give you out an unstain'd Shepherd. I corrected the above Passage, when I publish'd my Shakespeare restor'd: and Mr. Pope in his last Impression has thought fit to embrace the Correction.

Note return to page 49 [27] (27) Master, there are three carters, three shepherds, three neat-herds, and three swine-herds,] Thus all the printed Copies hitherto. Now, in two Speeches after this, these are call'd four three's of herdsmen. But could the carters properly be call'd herdsmen? At least, they have not the final Syllable, herd, in their Names; which, I believe, Shakespeare intended, all the four three's should have. I have therefore guess'd that he wrote;—Master, there are three goat-herds, &c. And so, I think, we take in the four Species of Cattle usually tended by Herdsmen.

Note return to page 50 [28] (28) Things known betwixt us three I'll write you down, The which shall point you forth at ev'ry sitting, What you must say; &lblank;] Every Sitting, methinks, gives but a very poor Idea. Every fitting, as I have ventur'd to correct the Text, means, ev'ry convenient Opportunity; every Juncture, when it is fit to speak of such, or such, a Point. So, in the Tempest. For 'tis a Chronicle of day by day, Not a Relation for a Breakfast, nor Befitting this first Meeting.

Note return to page 51 [29] (29) Not a counterfeit Stone, not a ribbon, &c. to keep my pack from fastning.] But these Wares, all together, would not keep the Pack from fastning, unless they crouded it so, that it could not shut close. The Error is as old as the 2d Folio Edition, and from thence continued down. Mr. Pope, who pretends to have collared Impressions, might have observ'd that the Ist Folio has sit, as I have corrected, fasting. The Metaphor is taken from those who have no Provision left. His Pack, as it would hold a great deal, might be call'd a devouring Pack: and being now emptied of all its Fool, it might figuratively be said to have nothing left to stay its Stomach.

Note return to page 52 [30] (30) Destroy'd the sweet'st Companion, that e'er Man Bred his hopes out of, true. Pau. Too true, my Lord.] A very slight Examination will convince ev'ry intelligent Reader, that, true, here has jump'd out of its place in all the Editions. What the King would say, is absolutely complete without it: and the placing it, where the printed Copies have done, is an Embarrassment to the Sense. These two Reasons, I hope, will be sufficient to justify my Transposition.

Note return to page 53 [31] (31) &lblank; would make her sainted Spirit Again possess her Corps, and on this Stage (Where we Offenders now appear) soul-vext, And begin, &c.] 'Tis obvious, that the Grammar is defective; and the Sense consequently wants supporting. The slight Change I have made cures Both: and, surely, 'tis an Improvement to the Sentiment for the King to say, that Paulina and He offended his dead Wife's Ghost with the Subject of a second Match; rather than in general Terms to call themselves Offenders, Sinners.

Note return to page 54 [32] (32) I lost a Couple, that 'twixt Heav'n and Earth Might thus have stood, begetting Wonder, as You gracious Couple do; &lblank;] I have several times hinted how dangerous to Sense an innocent Comma is, in the Hands of Ignorance. The Editors, by a stupid Pointing here, had stifled a fine Hyperbole, and blunder'd the Text into Absurdity. Did the young Prince and his Consort stand betwixt Heaven and Earth, suspensi ad Ventos, as Virgil calls it? No such Matter. The King's Meaning is This; He had lost a pair of Children, who might have stood the Wonder of two Worlds, the Objects of Admiration to Gods and Men; as this young Prince and his Princess did, in his Opinion.

Note return to page 55 [33] (33) &lblank; and as sorry Your Choice is not so rich in Worth, as Beauty, That you might well enjoy her.] Mr. Warburton thinks, the Poet wrote here; Your Choice is not so rich in Birth as Beauty, Because Leontes was so far from disparaging, or thinking meanly of, her Worth; that, on the contrary, he rather esteems her a Treasure, and, in his very next Speech to the Prince, says: Would he do so, I'd beg your precious Mistress, Which he counts but a Trifle. I have not, however, disturb'd the Text, because by Worth, perhaps, the Poet might mean not the Endowments of Nature or Education; but the Royalty of her Dower.

Note return to page 56 [34] (34) that rare Italian Master, Julio Romano;] All the Encomiums, put together, that have been conferr'd on this excellent Artist in Painting and Architecture, do not amount to the fine Praise here given him by our Author. He was born in the Year 1492, liv'd just that Circle of Years which our Shakespeare did, and dy'd Eighteen Years before the Latter was born. Fine and generous, therefore, as this Tribute of Praise must be own'd, yet it was a strange Absurdity, sure, to thrust it into a Tale, the Action of which is suppos'd within the Period of Heathenism, and whilst the Oracles of Apollo were consulted. This, however, was a known and wilful Anachronism; which might have slept in Obscurity, perhaps Mr Pope will say, had I not animadverted on it.

Note return to page 57 [1] (1) The Life and Death &lblank;] Tho' this Play have this Title, yet the Action of it begins at the 34th Year of his Life; and takes in only some Transactions of his Reign to the Time of his Demise, being an Interval of about 17 Years. Of all the English Princes, (as Mr. Warburton observ'd to me,) that Shakespeare has taken into Tragedy, King John was the fittest to have made a Hero for a Tragedy on the antient Plan. Henry IV, V, and VIII, had Qualities great enough for it, but were generally fortunate. Richard II, and Henry VI, (sit Verbo Venia) were, at times, little better than Poltrons: And Richard III. was so black a Villain, that the Antients would have thought him fitter for a Gibbet than a Stage. But John had that Turbulence and Grandeur of the Passions, that Inconstancy of Temper, that equal Mixture of Good and Ill, and that Series of Misfortunes consequent thereto, as might make him very fit for a Hero in a just Composition.

Note return to page 58 [2] (2) With half that Face] But why with half that Face? There is no Question but the Poet wrote, as I have restor'd the Text. With that half-face—Mr. Pope, perhaps, will be angry with me for discovering an Anachronism of our Poet's, in the next Line; where he alludes to a Coin not struck till the Year 1504, in the Reign of K. Henry VII. viz. a Groat, which, as well as the half Groat, bare but half-faces impress'd. Vid. Stow's Survey of London, p. 47. Holingshed, Camden's Remains, &c. The Poet sneers at the meagre sharp Visage of the Elder Brother, by comparing him to a silver Groat, that bore the King's Face in Profile, so shew'd but half the Face. The Groats of all our Kings of England, and, indeed, all their other Coins of Silver, one or two only excepted, had a full Face crown'd; till Henry VII, at the Time above-mention'd, coin'd Groats and half Groats, as also some Shillings, with half Faces; that is, Faces in Profile, as all our Coin has now. The first Groats of K. Henry VIII. were like these of his Father; tho' afterwards he return'd to the broad Faces again. These Groats, with the Impression in Profile, are undoubtedly here alluded to: tho', as I said, the Poet is knowingly guilty of an Anachronism in it: for, in the Time of King John there were no Groats at all: they being first, as far as appears, coin'd in the Reign of K. Edward III.

Note return to page 59 [3] (3) &lblank; my Face so thin, That in mine Ear I durst not stick a Rose, Lest Men should say, Look, where three-farthings goes!] In this very obscure Passage our Poet is anticipating the Date of another Coin; humourously to rally a thin Face, eclipsed, as it were, by a full-blown Rose. We must observe, to explain this Allusion, that Queen Elizabeth was the first, and indeed the only, Prince who coin'd in England three-half-pence, and three-farthing Pieces. She at one and the same time, coin'd Shillings, Six-pences, Groats, Three-pences, Two-pences, Three-half-pence, Pence, Three-farthings, and Half-pence: And these Pieces all had her Head, and were alternately with the Rose behind, and without the Rose. The Shilling, Groat, Two-Pence, Penny, and Half-penny had it not: the other intermediate Coins, viz. the Six-pence, Three-pence, Three-half-pence, and Three-farthings had the Rose. This accurate Distinction I owe to the Favour and Communication of the worthy and ingenious Martin Folkes, Esq;. I'll venture to advance one Observation, before I have done with this Subject, that as each of the lesser of these Pieces were hardly to be distinguish'd in Size from that immediately next to it in Value; it was the common practice to deface the Rose upon the lesser Coin, to make it pass for that next above it in Price. And this serves to give Light to a Passage of Beaumont and Fletcher in their Scornful Lady. He had a Bastard, his own toward Issue, whipt, and then cropt, for washing out the Roses in Three-farthings to make them Pence.

Note return to page 60 [4] (4) My piked Man of Countries.] Thus Mr. Pope exhibits this Passage, and interprets the Word, formal, bearded. The old Copies give it us, picked, by a slight Corruption in the Spelling; but the Author certainly design'd, picqued; (from the French Verb, se piquer) i. e. touchy, tart, apprehensive, upon his Guard.

Note return to page 61 [5] (5) And so e'er Answer knows what Question would. (Saving in Dialogue &lblank;] In this fine Speech Faulconbridge would shew the Advantages and Prerogatives of Men of Worship. He particularly observes, that he has the Traveller at Command. (And here we must remember the Time our Author wrote in; when Travellers, by the daily Discovery of new Worlds, were in the greatest Estimation.) At the first Intimation of his Desire to hear strange Stories, the Traveller complies, and the Answer comes as easy as an A, b, c, book. Now, Sir, says the Knight, this is my Question:—The over-ready Traveller will scarce give him Leave to make it, but, e'er Answer knows what Question would,—What then? Why, according to the Stupidity of the hitherto receiv'd Reading, it grows towards Supper-time. And is not this worshipful Society? To spend all the Time betwixt Dinner and Supper, before either of them knows what the other would be at. So absurdly is the Sense vitiated, by putting the three Lines in a Parenthesis; which, we may suppose, was first occasion'd by their Blunder in the Word, Saving, instead of the true Word, Serving. Now my Emendation gives the Text this Turn; “And e'er Answer knows what the Question would be at, my Traveller serves in his Dialogue of Compliment, which is his standing Dish at all Tables, then he comes to talk of the Alpes and Apennines, &c. and by the time this Discourse concludes, it draws towards Supper.” All now here is Sense and Humour; and the Phrase of serving in is a very humourous one, to signify that this was his Worship's second Course. Mr. Warburton.

Note return to page 62 [6] (6) &lblank; Philip, sparrow, James.] Thus the old Copies; and Mr. Pope has attempted to gloss this Reading by telling us, that Philip is the common Name for a tame Sparrow. So that then Faulconbridge would say, Call me Philip? You may as well call me Sparrow.—The Allusion is very mean and trifling: and every Body, I believe, will chuse to embrace Mr. Warburton's Emendation, which I have inserted into the Text. Spare me, and Forbear me, it may be observed, are our Author's accustom'd Phrases; either when any one wants another to leave him, or would be rid of a displeasing Subject. So, in the Tempest, Alonso, when his Companions teize him with unseasonable Discourse, says; I pr'ythee, spare. So, Imogen, in Cymbeline, when She wants to get rid of Cloten; &lblank; I pray you, spare me; faith, I shall unfold equal Discourtesy To your best Kindness So in Anthony and Cleopatra, when he dismisses the Messenger, that brings an Account of his Wife's Death: &lblank; Forbear me; There's a great Spirit gone! And, in Measure for Measure, when the Duke would have Mariana leave him; I shall crave your Forbearance a little; may be, I will call upon you anon.

Note return to page 63 [7] (7) Knight, Knight,—good Mother, Basilisco like] Thus must this Passage be pointed; and, to come at the Humour of it, I must clear up an old Circumstance of Stage-History. Faulconbridge's Words here carry a conceal'd Piece of Satire on a stupid Drama of that Age, printed in 1599, and call'd Soliman and Perseda. In this Piece there is the Character of a bragging cowardly Knight, call'd Basilisco. His Pretension to Valour is so blown and seen thro', that Piston, a Buffoon-servant in the Play, jumps upon his Back, and will not disengage him, till he makes Basilisco swear upon his dudgeon Dagger to the Contents, and in the Terms, he dictates to him: as, for Instance. Bas. O, I swear, I swear. Pist. By the Contents of this Blade, Bas. By the Contents of this Blade, Pist. I, the aforesaid Basilisco, Bas. I, the aforesaid Basilisco, Knight, good Fellow, knight, knight, &lblank; Pist. Knave, good Fellow, knave, knave, &lblank; So that 'tis clear, our Poet is sneering at this Play; and makes Philip, when his Mother calls him knave, throw off that Reproach by humourously laying claim to his new Dignity of Knighthood; as Basilisco arrogantly insists on his Title of Knight in the Passage above quoted. This old Play is an execrable bad one; and, I suppose, was sufficiently exploded in the Representation: which might make this Circumstance so well known, as to become the Butt for a Stage-Sarcasm.

Note return to page 64 [8] (8) It lyes as sightly on the Back of him, As great Alcides' Shoes upon an Ass.] But why his Shoes, in the Name of Propriety? For let Hercules and his Shoes have been really as big as they were ever suppos'd to be, yet they (I mean, the Shoes) would not have been an Overload for an Ass. I am persuaded, I have retriev'd the true Reading; and let us observe the Justness of the Comparison now. Faulconbridge in his Resentment would say this to Austria. “That Lion's Skin, which my great Father King Richard once wore, looks as uncouthly on thy Back; as that other noble Hide, which was borne by Hercules, would look on the Back of an Ass.” A double Allusion was intended; first, to the Fable of the Ass in the Lion's Skin: then Richard I. is finely set in Competition with Alcides; as Austria is satyrically coupled with the Ass.

Note return to page 65 [9] (9) A greater Pow'r than We denies all this;] We must certainly read, as Mr. Warburton acutely observ'd to Me; A greater Pow'r, than Ye, denies all This; i. e. Tho' each of You pretend to be our rightful Kings, you are as yet only so in swaying over our Fears, in the Terrors we have of you; not acknowledg'd Kings in our Obedience.

Note return to page 66 [10] (10) He is the half Part of a blessed Man, Left to be finished by such as She:] The ingenious Dr. Thirlby prescrib'd that Reading, which I have here restor'd to the Text; and which is absolutely requisite to the Sense of the Passage.

Note return to page 67 [11] (11) With swifter Speed than Powder can inforce,] This is a wise Sophistication of Mr. Pope's, because he did not understand the genuine Text. I have restor'd, with the old Copies; With swifter Spleen than Powder, &c. i. e. with a Passion of Desire more swift in its Influence, than your Fire and Fury can compel us to. The Poet uses this Word again, afterwards in this Play, in the very same Sense; Faulc. Oh, I am scalded with my violent Motion, And Spleen of Speed to see your Majesty!

Note return to page 68 [12] (12) For Angiers and fair Touraine, Maine, Poictiers, And all that We upon this Side the Sea, Except this City now by us besieg'd, Find liable, &c.] This is a remarkable Instance of Carelessness in a Point that stares common Sense full in the Face: and yet thus all the Editors in their profound Sagacity. What was the City besieg'd, but Angiers? King John, consenting to match the Lady Blanch with the Dauphin, agrees, in Part of her Dowry, to give up all he held in France, except the City of Angiers which he now besieg'd and laid Claim to. But could it be thought, that he should at one and the same time give up all except Angiers, and give up That too? I corrected this Passage in the Appendix to my Shakespeare Restor'd; and Mr. Pope has embrac'd it in his last Edition. Anjou was one of the Provinces, (methinks, that Gentleman might have remembered;) which the English held in France; and which the French King by Chatilion claim'd of K. John in Right of Duke Arthur, at the very Opening of the Play. Angiers, instead of Anjou, has been falsely printed in several other Passages of this History.

Note return to page 69 [13] (13) &lblank; bid Kings come bow to it.] I must here account for the Liberty I have taken to make a Change in the Division of the 2d and 3d Acts. In the old Editions, the 2d Act was made to end here; tho' 'tis evident, Lady Constance here, in her Despair, seats herself on the Floor: and She must be supposed, as I formerly observ'd, immediately to rise again, only to go off and end the Act decently; or the flat Scene must shut her in from the Sight of the Audience, an Absurdity I cannot wish to accuse Shakespeare of. Mr. Gildon and some other Criticks fancied, that a considerable Part of the 2d Act was lost; and that the Chasm began here. I had joined in this Suspicion of a Scene or two being lost; and unwittingly drew Mr. Pope into this Error. “It seems to be so, says he, and it were to be wish'd the Restorer, (meaning Me,) could supply it.” To deserve this Great Man's Thanks, I'll venture at the Task; and hope to convince my Readers, that Nothing is lost; but that I have supplied the suspected Chasm, only by rectifying the Division of the Acts. Upon looking a little more narrowly into the Constitution of the Play, I am satisfied that the 3d Act ought to begin with that Scene, which has hitherto been accounted the Last of the 2d Act: and my Reasons for it are these. The Match being concluded, in the Scene before That, betwixt the Dauphin and Blanch, a Messenger is sent for Lady Constance to K. Philip's Tent, for Her to come to St. Mary's Church to the Solemnity. The Princes all go out, as to the Marriage; and the Bastard, staying a little behind, to descant on Interest and Commodity, very properly ends the Act. The next Scene then, in the French King's Tent, brings us Salisbury delivering his Message to Constance, who, refusing to go to the Solemnity, sets herself down on the Floor. The whole Train returning from the Church to the French King's Pavilion, Philip expresses such Satisfaction on Occasion of the happy Solemnity of that Day; that Constance rises from the Floor, and joins in the Scene by entring her Protest against their Joy, and cursing the Business of the Day. Thus, I conceive, the Scenes are fairly continued; and there is no Chasm in the Action: but a proper Interval made both for Salisbury's coming to Lady Constance, and for the Solemnization of the Marriage. Besides, as Faulconbridge is evidently the Poet's favourite Character; 'twas very well judg'd to close the Act with his Soliloquy.

Note return to page 70 [14] (14) Aust. Methinks, that Richard's Pride and Richard's Fall] These 12 subsequent Lines Mr. Pope first inserted from the Old Sketch of this Play, call'd, The troublesom Reign of K. John, in 2 Parts. As the Verses are not bad, I have not casheer'd them; tho' I do not conceive them so absolutely essential to clearing up any Circumstance of the Action, as Mr. Pope seems to imagine. What was the Ground of this Quarrel of the Bastard to Austria (says that Gentleman,) is no where specified in the present Play; nor is there in this Place, or the Scene where it is first hinted at, (namely, the 2d of Act 2) the least Mention of any Reason for it. This is the Editor's Assertion; but let us examine, how well it is grounded. In the very Beginning of the 2d Act, the Dauphin, speaking of Austria to young Arthur, says; Richard, that robb'd the Lyon of his heart, And fought the holy Wars in Palestine, By this brave Duke came early to his Grave. To which Arthur replies; God shall forgive you Cœur-de-lion's Death, The rather, that you give his Offspring Life; Is not this a sufficient Ground for Faulconbridge's Quarrel to Austria? It may be objected, Faulconbridge is not present to hear this. But, what if he be not? So the Audience be inform'd duely of the Circumstance, the Fact was too notorious to suppose Faulconbridge did not know of it. The Ground of his Quarrel, therefore, is fairly implied in that Knowledge: And the Poet's Art, perhaps, better shewn, (if we were to contend that Point,) to let the Information come from any other Mouth than That of Faulconbridge. But then to a second material Point. The Story is, (subjoins the Editor,) that Austria, who kill'd K. Richard Cœur-de-lion, wore, as the Spoil of that Prince, a Lion's Hide which had belong'd to him: This Circumstance renders the Anger of the Bastard very natural: and ought not to have been omitted. But is it omitted? Or, else, 'tis but begging the Question. In the 3d Act, when Lady Constance perceives that Austria has abandon'd her Interest, She says to him; O Lymoges! O Austria! thou dost shame That bloody Spoil. &lblank; Thou wear a Lion's hide! doff it, for shame; And hang a Calf's Skin on those recreant Limbs. Now Faulconbridge is present here, and sees Austria thus habited. But before, in the 2d Act, where Faulconbridge begins to quarrel with Austria, let us attend to their Dialogue. Aust. What the Devil art Thou? Faulc. One, that will play the Devil, Sir, with you, An' he may catch your Hide and You alone. You are the Hare, of whom the Proverb goes, Whose Valour plucks dead Lions by the Beard, I'll smoak your Skin-Coat, an' I catch you right; But may it not here again be objected, that though Faulconbridge saw Austria clad in a Lion's Hide; yet he might not know it to be the very Hide, which was worn by K. Richard his Father? But to put that Point out of all Doubt, let us only hear what Lady Blanch immediately replies; O, well did He become that Lion's Hide, That did disrobe the Lion of that Robe. I submit it therefore, whether these Lines have not been inserted, rather arbitrarily, than necessarily. Upon the whole, as Mr. Pope has generally been unfortunate in his Criticisms; so he is no less unhappy in his Diligence, when he would aim at giving a Reason for what he does.

Note return to page 71 [15] (15) O, lawful let it be, That I have leave with Rome to curse a while;] Mr. Pope, in the Nicety of his Ear, has, against the Authority of all the Copies, displaced a Jingle here; (which I have made bold to restore to the Text,) tho' it is obvious to every knowing Reader, how customary it is with our Poet, in a thousand Instances, to play on Words similar in Sound, and differing in Signification. He repeats the very same Conundrum on the two Words now before Us, in Julius Cæsar. Now is it Rome, indeed; and room enough, When there is in it but One only Man.

Note return to page 72 [16] (16) &lblank; the Devil tempts thee here In Likeness of a new untrimmed Bride.] Tho' all the Copies concur in this Reading, yet as untrimmed cannot bear any Signification to square with the Sense required, I cannot help thinking it a corrupted Reading. It might, indeed, admit of this Explanation, undress'd, ready to go to Bed: but then That is giving in to an Allusion too gross for Lady Constance. I have ventur'd to throw out the Negative, and read; In Likeness of a new and trimmed Bride. i. e. of a new Bride; and One, deck'd and adorn'd as well by Art as Nature. Or we might read; but it departs a little wider from the Traces of the Text as we find it; In Likeness of a new betrimmed Bride. But the first Conjecture answers the Sense and Purpose of the Speaker; and requires but a very slight Variation.

Note return to page 73 [17] (17) &lblank; it grows wond'rous hot; Some airy Devil hovers in the Sky.] I have, by Mr. Warburton's Direction, ventur'd to substitute, fiery Devil. It is a very unconclusive Inference, sure, that, because it grew wond'rous hot, some airy Devil hover'd in the Sky. It is a sort of Reasoning, that carries an Air of Ridicule; unless we could determine, that the Poet meant no more by the Epithet than to express the Sacred Text, in which the Devil is stiled the Prince of the Air.

Note return to page 74 [18] (18) &lblank; the fat Ribs of Peace Must by the hungry now be fed upon.] This Word now seems a very idle Term here, and conveys no satisfactory Idea. An Antithesis, and Opposition of Terms, so perpetual with our Author, requires; Must by the hungry War be fed upon. War, demanding a large Expence, is very poetically said to be hungry, and to prey on the Wealth and Fat of Peace. Mr. Warburton.

Note return to page 75 [19] (19) &lblank; If the mid-night Bell Did with his iron Tongue, and brazen Mouth, Sound on into the drowzy race of Night;] I do not think, that sound on gives here that Idea of Solemnity and Horror, which, 'tis plain, our Poet intended to impress by this fine Description; and which my Emendation conveys. i. e. If it were the still part of the Night, or One of the Clock in the Morning, when the Sound of the Bell strikes upon the Ear with most Awe and Terror. And it is very usual with our Shakespeare in other Passages to express the Horror of a Midnight Bell. So, in Othello; Silence that dreadful Bell, it frights the Isle. &lblank; what's the Business, That such an hideous Trumpet calls to Parley The Sleepers of the House? Macbeth. And sometimes, for the more Solemnity, he is used to add the Circumstance of the particular Hour. The iron Tongue of Midnight hath toll'd twelve. Midsum. Night's Dream. The Bell then beating One. Hamlet.

Note return to page 76 [20] (20) And scorns a modest Invocation.] So Mr. Pope: but I have thought fit to restore the Reading of the old Copies. 'Tis certain, our Author employs this Word, modern, in a great many places, very cramply. But we shall always understand him, if we but carry this Remark with us; that he generally uses it in the Signification of trifling, insignificant, not weighty, of small Moment, &c. Thus his Sense will be always clear to us; as it were, metaphorically, from those, who despise modern Things, and prefer the Antient to them.

Note return to page 77 [21] (21) They do confound their Skill in Covetousness.] i. e. Not by their Avarice, but in an eager Emulation, an intense Desire of excelling; as in Henry V. But if it be a Sin to covet Honour, I am the most offending Soul alive.

Note return to page 78 [22] (22) Like Heralds, 'twixt two dreadful Battles set;] But Heralds are not planted, I presume, in the midst betwixt two Lines of Battle; tho' they, and Trumpets, are often sent over from Party to Party, to propose Terms, demand a Parley, &c. I have therefore ventur'd to read, sent.

Note return to page 79 [23] (23) How easie dost Thou take all England up, From forth this Morsel of dead Royalty?] But how did Hubert take England up, from forth the dead Body of young Arthur? Most sagacious Editors! The stupid Pointing, which has prevail'd in all the Copies, makes stark Nonsense of the Passage. My Pointing restores it to its genuine Purity. Faulconbridge, seeing Hubert take up the Body of the dead Prince, makes two Reflections:—How easily, says He, dost thou take up all England in that Burthen! and then, That the Life, Right, and Truth of the Realm was fled to Heaven from out the breathless Coarse of that slaughter'd Royalty, &c.

Note return to page 80 [24] (24) But since you are a gentle Convertite.] i. e. a Convert, (a Penitent) as we now phrase it: But in our Author's Time, Convertite was the Term in Fashion. We find him use it again more than once; In As you like it, sententious Jaques says; &lblank; out of these Convertites There is much Matter to be heard and learn'd. And in his Poem, call'd, Tarquin and Lucrece: He thence departs a heavy Convertite; She there remains a hopeless Cast-away. And Beaumont and Fletcher in their Noble Gentleman. Your Cousin, who is now a Convertite; The Termination of this Word, no doubt, we form'd from the Italian Participle, convertito: And the Spaniards likewise call a Convert, un Convertído.

Note return to page 81 [25] (25) at St. Edmondsbury.] I have ventur'd to fix the Place of the Scene here, which is specified by none of the Editors, on the following Authorities. In the preceding Act, where Salisbury has fix'd to go over to the Dauphin, he says, Lords, I will meet him at St. Edmondsbury. And Count Melun, in this last Act, says; &lblank; and many more with me, Upon the Altar at St. Edmondsbury; Even on that Altar, where We swore to You Dear Amity, and everlasting Love. And it appears likewise from the Troublesom Reign of King John, in two Parts, (the first rough Model of this Play) that the Interchange of Vows betwixt the Dauphin and the English Barons was at St. Edmond's-bury.

Note return to page 82 [26] (26) Wherein we step after a stranger, march Upon her gentle Bosom,] Thus all the printed Copies have mistakingly pointed this Passage: but, with Submission to the former Editors, the Word Stranger is here an Adjective in its Usage, and to be coupled to March, which is its Substantive and no Verb. So in Richard II. And tread the stranger Paths of Banishment. And so in his Poem, call'd, Tarquin and Lucrece; But She, that never cop'd with stranger Eyes. As to the Use of this Word adjectively, I have already spoke in my 2d. Note on Midsummer Night's Dream.

Note return to page 83 [27] (27) &lblank; I must withdraw and weep Upon the Spot, for this enforced Cause.] Thus Mr. Pope points and reads these Lines: which, if I understand the Drift, is making Salisbury say, “I must go from this Spot, and weep upon it.”—I have chose to stick to the reading of the old Copies, and to throw the Passage into Parenthesis; This is what, I apprehend, the Poet means, Salisbury should say; “I must turn aside, and weep for this Stain, this Disgrace, of our Revolt; to which We have been enforced by the King's Proceedings.” So in the last Speech of Salisbury to Prince Henry the Word Spot again is used. And the like Tender of our Love we make To rest without a Spot for evermore.

Note return to page 84 [28] (28) This unheard Sawciness, and boyish Troops,] Thus the printed Copies in general: but unheard is an Epithet of very little Force, or Meaning here; besides let us observe how 'tis coupled. Faulconbridge is sneering at the Dauphin's Invasion, as an unadvis'd Enterprize, savouring of Youth and Indiscretion; the Result of Childishness, and unthinking Rashness: and he seems altogether to dwell on this Character of it, by calling his Preparation boyish Troops, dwarfish War, pigmy Arms; &c. So before, in the 1st Scene of this Act, Faulconbridge says; &lblank; shall a beardless Boy, A cockred, silken, Wanton brave our Fields? Let me subjoin a few Instances to shew, that this Epithet unhair'd is very much in the Mode of our Shakespeare's Expression. So, in Macbeth. &lblank; And many unrough Youths, That even now protest their First of Manhood, Love's Labour lost. I'll mark no Words that smooth-fac'd Lovers say. Antony and Cleopatra. &lblank; or who knows, If the scarce-bearded Cæsar have not sent His pow'rfull Mandate to you? Coriolanus. When with his Amazonian Chin he drove The bristled Lips before him. Tempest. &lblank; Till new-born Chins Be rough and razorable. Henry V. For who is he, whose Chin is but enrich'd With one appearing Hair, &lblank; And in his Poem, call'd, Venus and Adonis; Whose Beams upon his hairless Face are fix'd;

Note return to page 85 [29] (29) Unthread the rude Eye of Rebellion,] Tho' all the Copies concur in this Reading, how poor is the Metaphor, of unthreading the Eye of a Needle? And, besides, as there is no Mention made of a Needle, how remote and obscure is the Allusion without it? The Text, as I have restor'd it, is easy and natural; and it is the Mode of Expression, which our Author is every where fond of, to tread and untread, the Way, Path, Steps, &c. So Salisbury says afterwards in this Scene; We will untread the Steps of damned flight. Henry VIII. Say, Wolsey, that once trod the Ways of Glory. Richard II. But tread the stranger Paths of Banishment. Richard III. Go, tread the Path that thou shalt ne'er return. Merchant of Venice. Where is the Horse, that doth untread again His tedious Measures wi'th' unbated Fire, That he did pace them first? Hamlet. Whilst, like a puft and careless Libertine, Himself the Primrose Path of Dalliance treads. And in his Poem, call'd, Venus and Adonis; She treads the Paths, that She untreads again.

Note return to page 86 [30] (30) Unkind Remembrance; thou and endless Night Have done me shame: &lblank;] Why, endless Night? Hubert means no more, than that the Dulness of his Recollection, and the Darkness of the Night, had disgraced him in his not knowing Faulconbridge by the Tone of his Voice. Our Author certainly wrote, eye-less. Mr. Warburton likewise concurr'd in starting this Emendation.

Note return to page 87 [31] (31) Poison'd, ill Fate!] This is Mr. Pope's Reading, on no Authority that I can find. I have replac'd Fare, with the old Copies; and considering how much our Author lov'd and has practised the Jingle and Play on Words, similar in Sound; there is no Question but he intended it here. So, in his Second Part of Henr. VI. Sheriff, farewel; and better than I fare: And, in the Third Part of Henr. VI. How now, fair Lords? What Fare? What News abroad? Ill Fate both takes away the Antithesis, and makes a very flat insipid Exclamation.

Note return to page 88 [1] (1) The Life and Death of King Richard II.] But this History comprizes little more than the Two last Years of this unfortunate Prince. The Action of the Drama begins with Bolingbroke's appealing the Duke of Norfolk, on an Accusation of high Treason, which fell out in the Year 1398; and it closes with the Murder of King Richard at Pomfret Castle, towards the End of the Year 1400, or the Beginning of the ensuing Year. Mr. Gildon acknowledges, that Shakespeare has drawn K. Richard's Character according to the best Accounts of History; that is, insolent, proud, and thoughtless in Prosperity; dejected, and desponding on the Appearance of Danger.—But whatever Blemishes he had either in Temper or Conduct, the Distresses of his latter Days, the Double Divorce from his Throne and Queen, are painted in such strong Colours, that those Blemishes are lost in the Shade of his Misfortunes; and our Compassion for Him wipes out the Memory of such Spots, quus humana parùm cavit Natura.

Note return to page 89 [2] (2) Or any other Ground inhabitable.] I don't know that this Word, (like the French Term, inhabitable,) will admit the two different Acceptations of a Place to be dwelt in, and not to be dwelt in: (or that it may be taken in the latter Sense, as inhabitabilis (among the Latines) signifies uninhabitable; tho' inhabitare signifies only to inhabit:) and therefore I have ventur'd to read, Or any other Ground unhabitable; So in the old Quarto, or first rough Draught of our Author's Taming of the Shrew; Unhabitable as the burning Zone. I confess, there is a Passage in Ben. Jonson's Tragedy of Catiline, which should seem to favour the equivocal Construction and Use of this Word; And who, in such a Cause, and 'gainst such Fiends, Would not now wish himself all Arm and Weapon, To cut such Poysons from the Earth, and let Their Blood out, to be drawn away in Clouds, And pour'd on some inhabitable Place, Where the hot Sun and Slime breeds nought but Monsters? But, I suspect, Jonson wrote here; And pour'd on some unhabitable Place, &c. Tho', I know, by our Idiom, un and in prefix'd to Words for the Generality are equally Negatives in their Power.

Note return to page 90 [3] (3) Till I have told this Sland'rer of his blood.] All the authentic Copies read, Slander, as I have restor'd to the Text; This Mr. Pope has thought fit to throw out, as an Absurdity; and substituted Slanderer in its Place. But why not, Slander? 'Tis our Author's Mode of Expression in other Passages; But you must learn to know such Slanders of the Age, or else you may be marvellously mistook. K. Henr. V. Stain to thy Countrymen, thou hear'st thy Doom. I Henr. VI. Thou Slander of thy heavy Mother's Womb! Rich. III. Homer, in the same manner, as Mr. Pope might have remember'd, makes Agamemnon call the Greeks the Shames, the Reproaches, of Themselves. &GRWsc; &grp;&grea;&grp;&gro;&grn;&gre;&grst;, &grk;&graa;&grk;&grap; &GREs;&grl;&grea;&grg;&grx;&gre;&grap;, &GRAs;&grx;&gra;&gri;&grida;&grd;&gre;&grst;, &gro;&grus;&grk; &gresa;&grt;&grap; &GRAs;&grx;&gra;&gri;&gro;&grig;, Il. B. v. 235.

Note return to page 91 [4] (4) Farewel, my blood;] i. e. my Kinsman. This Appellation is purely classical. Projice tela manu, Sanguis meus. Virg. Æn. VI. ver. 836. &lblank; Tu Sanguinis ultimus auctor. Id. Æn. VII. ver. 49. Clarus Anchisæ Venerisq; Sanguis. Horat. Carm. Sæcul. &lblank; Vos O Pompilius Sanguis. Id. Art. Poet. ver. 292. &lblank; tenet, longumq; tenebit Tarpeias arces Sanguis tuus. Sil. Italicus. Lib. 3. &lblank; vos, O Superi, meus, ordine Sanguis, Ne pugnate odiis. Statius. Theb. lib. 3. &c. &c. &c.

Note return to page 92 [5] (5) Within my Mouth you have engoal'd my Tongue, Doubly portcullis'd with my Teeth and Lips:] These Verses Mr. Pope has degraded and thrown out of the Text, on Account of the Image convey'd in the second Line, as I presume. I am far from praising the Metaphor; but, perhaps, the Usage might be defended for once from the Example of our Master Homer. &GRAs;&grt;&grr;&gre;&gria;&grd;&grh;, &grp;&gro;&gric;&groa;&grn; &grs;&gre; &gresa;&grp;&gro;&grst; &grf;&grua;&grg;&gre;&grn; &grera;&grr;&grk;&gro;&grst; &gros;&grd;&groa;&grn;&grt;&grw;&grn;. Iliad. &grD;. v. 350. The &grera;&grr;&grk;&gro;&grst; &gros;&grd;&groa;&grn;&grt;&grw;&grn; here, methinks, approaches very nigh to the Idea of a Port-cullise.

Note return to page 93 [6] (6) Boling. Nay, rather, ev'ry tedious Stride I make,] This, and the six Verses which follow, I have ventur'd to supply from the old Quarto. The Allusion, 'tis true, to an Apprentice-ship, and becoming a Journeyman, is not in the sublime Taste, nor, as Horace has express'd it, spirat Tragicum satis: however as there is no Doubt of the Passage being genuine, the Lines are not so despicable as to deserve being quite lost.

Note return to page 94 [7] (7) Redeem from broken Pawn the blemish'd Crown,] What Ideas Mr. Rowe and Mr. Pope form'd to themselves from this passive Epithet annex'd to Pawn, I cannot tell. To me, it seems direct Nonsense. I have restor'd the Reading of the genuine old Copies, broking Pawn. The Revenues of the Crown were farm'd to the Earl of Wiltshire, who had them in Pawn for what Sums he advanc'd, and so plaid the Broker betwixt the King and Subject.

Note return to page 95 [8] (8) Like Perspectives, which, rightly gaz'd upon, Shew Nothing but Confusion; ey'd awry, Distinguish Form.] This is a very fine Similitude, and the Thing meant is This. Amongst Mathematical Recreations, This, which your Masters in Optics amuse themselves with, holds a principal Place. They draw a Figure, in which all the Rules of Perspective are directly inverted: so that, consequently, if held in the same Position with those Pictures which are drawn according to the Rules of Perspective, it must present Nothing but Confusion: and to be seen in Form, and under a regular Appearance, it must be look'd upon from a contrary Station: or, as Shakespeare says, ey'd awry. These Kind of Pictures are now very common; but not so, I believe, in our Author's Time, tho' he so well understood their Nature. Of our Writers, the Nearest I can meet with to his Time is Hobbes, who describes this Curiosity very particularly. Est & aliud Perspectivæ Genus, hujus de quâ diximus inversæ, in quâ Objectum ipsum rude aliquid apparet; & (nisi Oculo in certo Puncto collocato) informe; in Eo verò Puncto id videtur quod apparere voluit Pictor. Mr. Warburton. To this Sort of Picture our Author seems again to allude in his King Henry V. K. Henry. It is so; and you may some of you thank Love for my Blindness, who cannot see many a fair French City, for one fair French Maid that stands in my Way. Fr. King. Yes, my Lord, you see them perspectively; the Cities turn'd into a Maid.

Note return to page 96 [9] (9) Get thee to Plashie, &lblank;] The Lordship of Plashie was a Town of the Dutchess of Gloucester's in Essex. See Hall's Chronicle, p. 13.

Note return to page 97 [10] (10) Thanks, gentle Uncle; Come, my Lords, away, To fight with Glendower and his Complices, A while to Work, and after Holyday.] Tho' the intermediate Line has taken Possession of all the old Copies, I have great Suspicion of its being an Interpolation; and have therefore ventur'd to throw it out. The first and third Line rhyme to each other; nor, do I imagine, This was casual, but intended by the Poet. Were we to acknowledge the Line genuine, it must argue the Poet of Forgetfulness in his own Plan; and Inattention to History, of which he was most observant. Bolingbroke is, at it were, yet but just arriv'd; He is now at Bristol; weak in his Numbers; has had no Meeting with a Parliament; nor is so far assur'd of the Succession, as to think of going to suppress Insurrections before he is planted in the Throne. Besides, we find, the Opposition of Glendower begins the First Part of K. Henry IV; and Mortimer's Defeat by that hardy Welshman is the Tidings of the first Scene of that Play. Again, tho' Glendower in the very first Year of K. Henry IV, began to be troublesome, put in for the Supremacy of Wales, and imprison'd Mortimer; yet it was not till the succeeding Year, that the King employ'd any Force against him.

Note return to page 98 [11] (11) Not all the Water in the rough rude Sea Can wash the Balm from an anointed King;] This Passage seems to be parodied, if not sneer'd at, in the Noble Gentleman, by Beaumont and Fletcher. Monsieur Marine is persuaded to quit a Country Life, and come up to Court. When there, his Wife and her Accomplices make him believe that the King has created him a Duke. Upon his not behaving to their Minds, they unduke him; but He, not willing to resign his new Grandeur, argues thus upon it. The King cannot take back What he has giv'n, Unless I forfeit it by Course of Law: Not all the Water in the River Seine Can wash the Blood out of these princely Veins.

Note return to page 99 [12] (12) Where is the Earl of Wiltshire? where is Bagot? What is become of Bushy? where is Green?] Here are four of them named; and, within a very few Lines, the King, hearing they had made their peace with Bolingbroke, calls them three Judes's. But how was their Peace made? Why, with the Loss of their Heads. This being explain'd, Aumerle says, Is Bushy, Green, and th' Earl of Wiltshire dead? So that Bagot ought to be left out of the Question: and, indeed, he had made the best of his way for Chester, and from thence had escap'd into Ireland. And so we find him, in the 2d Act, determining to do. Bagot. No: I'll to Ireland to his Majesty. The Poet could not be guilty of so much Forgetfulness and Absurdity. The Transcribers must have blunder'd. It seems probable to me that He wrote, as I have conjecturally alter'd the Text. Where is the Earl of Wiltshire? where is He got? i. e. Into what Corner of my Dominions is He slunk, and absconded?

Note return to page 100 [13] (13) &lblank; when their thund'ring Smoak, At meeting, tears the cloudy Cheeks of heav'n:] This is the first Time, I believe, we ever heard of a thund'ring Smoak: I never conceiv'd any Thing of a more silent Nature. But this is a Nostrum of the wise Editors; who imagine, I presume, that the Report and Thundering of a Cannon proceed from the Smoak, and not from the Explosion of the Powder. I have restor'd the Reading of the elder Quarto, which gives us the true Allusion of the Poet. So again in the Beginning of 1 K. Henry IV. &lblank; Those opposed Eyes, Which like the Meteors of a troubled Heav'n, All of one Nature, of one Substance bred, Did lately meet in the intestine Shock And furious Close of civil Butchery, &c.

Note return to page 101 [14] (14) But e'er the Crown, he looks for, live in Peace, Ten thousand bloody Crowns of Mothers Sons Shall ill become the Flow'r of England's face;] Tho' I have not disturb'd the Text here, I cannot but think it liable to Suspicion. A Crown living in Peace, as Mr. Warburton justly observ'd to me, is a very odd Phrase. He supposes; But e're the Crown, he looks for, light in Peace, i. e. descend and settle upon Bolingbroke's Head in Peace.—Again, I have a small Quarrel to the third Line quoted. Would the Poet say, That bloody Crowns should disfigure the Flow'rs that spring on the Ground, and bedew the Grass with Blood? Surely, the two Images are too similar. I have suspected, Shall ill become the Floor of England's Face; i. e. Shall make a dismal Spectacle on the Surface of the Kingdom's Earth. So, in the Merchant of Venice, &lblank; Look, how the Floor of Heav'n Is thick inlay'd with Patterns of bright Gold.

Note return to page 102 [15] (15) Or I'll be buried in the King's high way; Some Way of common Trade, &lblank;] As specious as this Reading appears, Mr. Warburton, Mr. Bishop, and I, all concurr'd in suspecting it, and in the Amendment which now possesses the Text; Some way of common Tread, &lblank; i. e. a high Road. He subjoins immediately; For on my heart they tread now, while I live; And we know how much it is Shakespeare's way to diversify the Image with the same Word.

Note return to page 103 [16] (16) My Wretchedness suits with a Row of Pines;] This is meerly, I presume, ex Cathedrâ Popianâ; for I can find no Authority for it, any more than any Sense in it. Mr. Rowe's Editions, indeed, have it; My Wretchedness unto a Row of Pines. But this, again, is wrong; and we must read with the old Books, —unto a Row of Pins. So Hamlet says; I value not my Life at a Pin's Fee. &lblank; Oh, were it but my Life, I'd throw it down for your Deliverance As frankly as a Pin Meas. for Meas. The Queen here is staking her Afflictions to the most inconsiderable Trifle she can think of, that the Gardiners will talk of State-Affairs. The Allusion of a Row of Pins, 'tis true, is mean and ridiculous enough in Conscience; but these disproportion'd Wagers may be justified by a Number of parallel Instances. I'll lay my Head to any good Man's Hat. Love's Lab. Lost. And again. My Hat to an Halfpenny. Ibid. My Dukedom to a beggarly Denier. Richard III. So Ford, a Contemporary Poet with our Author, in his Love's Sacrifice; &lblank; By this Light, I'll pledge my Soul against a useless Rush. And again in the same Play. 'Tis a Lordship to a dozen of Points, &c. But Examples of this sort are so numerous, that I would be bound with great Ease to furnish five hundred.

Note return to page 104 [17] (17) I ll set a Bank of Rue, sow'r herb of Grace;] Our Poet has in other Passages, not without some Superstition, hinted at Rue having the Sur-name of Herbe de Grace. So, in his Winter's Tale; &lblank; Reverend Sirs, For You there's Rosemary and Rue, these keep Seeming and Savour all the Winter long; Grace and Remembrance be unto you Both! And Ophelia in Hamlet; There's Rue for you, and here's Some for me. We may call it herb of Grace o' Sundays; you may wear your Rue with a Difference. Rue, I presume, might have obtain'd this Addition of Reverence, for that it has been employ'd in some Countries as an Alexipharmic potent against Pestilence. And as to its general Efficacy against Poysons, Isidore, if we may believe him, tells us; that the Weezel eats of it, to prevent the Injury from a Serpent's Bite. But what contributed to its suppos'd Sanctity, I guess, is, that it was always one of the hallow'd Ingredients used in the Preparations by Exorcists to expel Devils. Mengus in his Flagellum Dæmonum, (and the other Books of That Stamp) furnish sufficient Authorities.

Note return to page 105 [18] (18) Oh, if you rear this House against his House,] This is only the Reading of our last Learned Editor, and can mean no more than This, If you rear the Parliament-house, or Bolingbroke's House against King Richard's House, it will make a most woeful Division. But, with Submission, the Poet intended Something farther: i. e. If you aim at setting up Monarchy against Monarchy, a House divided against it self can never stand. The Allusion is certainly to this Phrase in the Gospel; and all the genuine Copies, uno Ore, concur in reading; Oh, if you rear this House against this House, But Mr. Pope, perhaps, may not be for having Scripture alluded to, unless ludicrously; and so would not allow a Bishop to quote a Text, tho' ever so much to his Purpose.

Note return to page 106 [19] (19) O, good!—Convey:—Conveyers are you all,] i. e. Thieves. This will be explain'd by a Passage quoted from the Merry Wives of Windsor. Fals. &lblank; his Filching was like an unskilful Singer, he kept not Time. Nym. The good Humour is to steal at a Minute's Rest. Pist. Convey, the Wise it call. Steal?—foh! a Fico for the Phrase.

Note return to page 107 [20] (20) Scene changes to Oxford.] This Distinction of Scenary, which is marked in none of the former Copies, we owe to the happy Efforts of Mr. Pope in his Editions. But Indolence and Industry work the same Effects upon this Gentleman in his Discoveries, and are Both the Parents of Error. 'Tis true, the Turnaments, prepar'd for the Destruction of Bolingbroke, were appointed at Oxford, and thither Bolingbroke was invited by the Conspirators. But the Plot was discover'd early enough to prevent his setting out for Oxford; and the Duke of York impeach'd his Son to him, and Aumerle likewise accus'd himself, at the Castle of Windsor, where Bolingbroke then resided, as Mr. Pope might have seen in our English Chronicles: and therefore thither I have remov'd the Scene.

Note return to page 108 [21] (21) And rob our Watch, and beat our Passengers.] This Fashion seems a little alter'd in our Days, if we were to take this on Trust for the genuine Reading. But tho' the generality of the Copies have fall'n into this blundering Transposition, the good old Quarto, with which one would imagine Mr. Pope had traded so accurately, bids us read as I have regulated the Text. And beat our Watch, and rob our Passengers.

Note return to page 109 [22] (22) Thy Overflow of Good converts to Bad] This alludes to that Observation of the Naturalists. That the Extream of any Thing is easily converted to its Contrary. Mr. Warburton.

Note return to page 110 [23] (23) But for our trusty Brother-in-law,—the Abbot, &lblank;] Without these Marks of Disjunction, which I have thought proper to add, the Abbot here mention'd and Bolingbroke's Brother-in-law seem to be one and the same Person: but this was not the Case. The Abbot of Westminster was an Ecclesiastic; but the Brother-in-law, meant, was John Duke of Exeter and Earl of Huntingdon, (own Brother to King Richard II.) and who had married with the Lady Elizabeth Sister to Henry of Bolingbroke.

Note return to page 111 [24] (24) Where no Man ever comes, but that sad Dog] I have ventur'd at a Change here, against the Authority of the Copies, by the Direction of Mr. Warburton. Indeed, sad Dog savours too much of the Comedian, the Oratory of the late facetious Mr. Penkethman. And Drudge is the Word of Contempt, which our Author chuses to use on other like Occasions. So in the 2 Henry VI. Oh, that I were a God, to shoot forth Thunder Upon these paltry, servile, abject Drudges! And again, And will you credit this base Drudge's words? And in many other Passages.

Note return to page 112 [25] (25) &lblank; for Thou hast wrought A Deed of Slaughter with thy fatal Hand,] I have chose the Reading of the elder Quarto here, a Deed of Slander, &c. For Richard's Murther might be a Reproach upon the whole Country, tho' his Death could not be laid to their general Charge.

Note return to page 113 [1] (1) The 1st Part of Henry IV.] The Transactions, contain'd in this historical Drama, are comprized within the Period of about 10 Months: For the Action commences with the News brought of Hotspur having defeated the Scots under Archibald Earl Dowglas at Holmedon, (or Halidown hill) which Battle was fought on Holyrood day; (the 14th of September, 1402:) and it closes with the Defeat and Death of Hotspur at Shrewsbury; which Engagement happen'd on Saturday the 21st of July (the Eve of St. Mary Magdalen) in the Year 1403.

Note return to page 114 [2] (2) No more the thirsty Entrance of this Soil Shall dawb her Lips with her own Children's blood:] Thus the Oldest Quarto and the First Folio. I have chose to read with some of the more recent Impressions, damp: and if I do not mistake the Sense of the Passage, the Antithesis, that seems design'd, requires this Reading. Entrance of this Soil, I apprehend, cannot well mean an Invasion of the Kingdom: nor could the King have a Reason to say, that England should never again be attempted by hostile Arms. The Expression is very obscure; but I take This to be the Meaning: that the thirsty Earth, chapt and flaw'd with Drought, shall no more damp, or moisten her Lips, or Surface, with her own Children's blood. The dry Earth drinking in this manner, is a very natural Allusion, and frequent with our Author. So, in his Troublesom Reign of King John; Is all the Blood, y-spilt on either Part, Closing the Crannies of the thirsty Earth, Grown to a Love game, and a bridal Feast? 3 Henry VI. Thy Brother's blood the thirsty Earth hath drunk. Titus Andronicus. Let my Tears stanch the Earth's dry Appetite.

Note return to page 115 [3] (3) Sir Walter Blunt, new lighted from his Horse, Stain'd with the Variation of each Soil, Betwixt that Holmedon, &c.] This Circumstance of Blunt's Speed, and being bespatter'd with the different Dirt of each County, was look'd on, I apprehend, in a ludicrous Light by some Carpers; at least, I find it parodied in an old Comedy, and apply'd to a Person in a Scuffle tumbled into the Dirt. &lblank; your Band and Doublet Torn from your Neck and Back; and your brave Breeches Stain'd with the Variation of each Soil. Merry Milk-maids. Ac. 2. Sc. 2.

Note return to page 116 [4] (4) Let not Us, that are Squires of the Night's body, be call'd Thieves of the Day's Beauty.] This conveys no manner of Idea to me. How could They be call'd Thieves of the Day's Beauty? They robb'd by Moon-shine; they could not steal the fair Day-light. I have ventur'd to substitute, Booty: and This I take to be the Meaning. Let us not be call'd Thieves, the Purloiners of that Booty, which, to the Proprietors, was the Purchase of honest Labour and Industry by Day.

Note return to page 117 [5] (5) Fal. &lblank; and is not mine Hostess of the Tavern a most sweet Wench? P. Henry. &lblank; and is not a Buff-jerkin a most sweet Robe of Durance? Fal. &lblank; what a Plague have I to do with a Buff-jerkin? P. Henry. Why, what a Pox have I to do with my Hostess of the Tavern?] This manner of Cross-questioning is not unlike several Passages in Plautus; particularly This in Mostellaria, Ac. 1. Sc. 3. Jampridem ecastor frigidâ non lavi magis lubenter; Nec quum me melius, mea Scapha, rear esse defæcatam. S. Eventus rebus omnibus, velut horno Messis magna Fuit. P. Quid ea Messis attinet ad meam Lavationem? S. Nihilo plus, quàm Lavatio tua ad Messim.

Note return to page 118 [6] (6) As the Honey of Hybla, my Old Lad of the Castle.] Mr. Rowe, (as I have observ'd in a Note on the Merry Wives of Windsor,) took Notice of a Tradition, that this Part of Falstaff was said to have been written originally under the Name of Oldcastle. An ingenious Correspondent (whom I only know by his signing himself L. H.) hints to me, that the Passage above quoted from our Author proves, what Mr. Rowe tells us was a Tradition. Old Lad of the Castle seems to have a Reference to Oldcastle. Besides, if this had not been the Fact, (before the Change was made to Falstaff) why, in the Epilogue to the Second Part of Henry IV. where our Author promises to continue his Story with Sir John in it, should he say, Where, for any Thing I know, Falstaff shall dye of a Sweat, unless already he be kill'd with your hard Opinions: for Oldcastle dy'd a Martyr, and This is not the Man? This looks like declining a Point, that had been made an Objection to him. I'll give a farther Matter in Proof, which seems almost to fix the Charge. I have read an old Play, call'd, The famous Victories of Henry the Vth. containing the Honourable Battle of Agincourt.—The Action of this Piece commences about the 14th Year of K. Henry IVth's Reign, and ends with Henry the Vth. marrying Princess Catharine of France. The Scene opens with Prince Henry's Robberies. Sir John Oldcastle is one of his Gang, and call'd Jockie: and Ned and Gads-hill are two other Comrades.—From this old imperfect Sketch, I have a Suspicion, Shakespeare might form his two Parts of Henry the IVth, and his History of K. Henry V: and, consequently, 'tis not improbable, that he might continue the mention of Sir John Oldcastle, till some Descendants of That Family mov'd Q. Elizabeth to command him to change the Name. When this Change was made, it cannot now be easily determined. Falstaff is our Man as far back as the Year 1599; (the Date of my oldest Quarto of 1 Henry IV.) And that this Piece had been play'd, and was well known before that Year, appears from this Circumstance; that B. Jonson's Every Man out of his Humour started first into publick in 1599, and in the Close of it there is mention made of the Fat of Sir John Falstaff. I'll observe but one Thing more in Support of the Tradition, which will go near to put the Matter out of Question. I have an Edition printed in 1600 of the First Part of the true and honourable History of the Life of Sir John Oldcastle, the good Lord Cobham. There is a Prologue prefix'd, which expresses some Fears in the Author, lest the doubtful Title upon the Argument in hand should breed some Suspence in the Spectators: To stop which Scruple, says the Prologue, let this Brief suffice; It is no pamper'd Glutton we present, Nor aged Counsellor to youthful Sin. Every Body must agree, that Falstaff's Character is here unquestionably hinted at; and that there could be no Room for such a palliating Caution in this Prologue, unless Oldcastle's Name had once suffer'd by supporting Falstaff's Vices. That the Change was made some Years before this Piece appear'd on the Stage, seems obvious from one Speech of K. Henry V. in it: Where the Devil are all my old Thieves? Falstaff, that Villain, is so fat, he cannot get on's Horse; but, methinks, Poins and Peto should be stirring hereabouts.

Note return to page 119 [7] (7) Fal. Why, Hal, 'tis my Vocation, Hal. 'Tis no Sin for a Man to labour in his Vocation. Enter Poins. Poins. Now shall we know, if Gads-hill have set a Match.] Mr. Pope has given us one signal Observation in his Preface to our Author's Works. Throughout his Plays, says he, had all the Speeches been printed without the very Names of the Persons, I believe, one might have apply'd them with Certainty to every Speaker. But how fallible the most sufficient Critick may be, the Passage in Controversy is a main Instance. As signal a Blunder has escap'd all the Editors here, as any one thro' the whole Set of Plays. Will any one persuade me, Shakespeare could be guilty of such an Inconsistency, as to make Poins at his first Entrance want News of Gads-hill, and immediately after to be able to give a full Account of him?—No; Falstaff, seeing Poins at hand, turns the Stream of his Discourse from the Prince, and says, Now shall we know whether Gads-hill has set a Match for Us; and then immediately falls into Railing and Invectives against Poins. How admirably is This in Character for Falstaff! And Poins,—who knew well his abusive manner, seems in Part to overhear him: and so soon as he has return'd the Prince's Salutation, cries, by way of Answer, What says Monsieur Remorse? What says Sir John Sack and Sugar?

Note return to page 120 [8] (8) Falstaff, Harvey, Rossil, and Gads-hill shall rob those Men that We have already way-laid.] Thus the whole Stream of Editions, from the First downwards. But thus We have two Persons named, as Characters in this Play, that never were once inserted among the Dramatis Personæ in any of the Impressions whatsoever. But let us see who they were, that committed this Robbery; and then, perhaps, we may be able to account for this Pair of additional Thieves, as They at present seem. In the second Act, We come to a Scene of the High-way. Falstaff, wanting his Horse, which had been hid on purpose to plague him, calls out on Hal, Poins, Bardolfe, and Peto; and says, He has a great Mind to leave these Rogues. Presently, Gads-hill joins 'em, with Intelligence of Travellers being at hand; upon which the Prince says,—You Four shall front 'em in the narrow Lane, Ned Poins and I will walk lower. So that the Four to be concern'd are Falstaff, Bardolfe, Peto, and Gads-hill. Accordingly, the Robbery is committed: and the Prince and Poins afterwards rob them Four. When the Matter comes to an Examination in the Boar's-Head Tavern, the Prince rallies Peto and Bardolfe for their running away; who confess the Charge. Upon the Evidence now is it not plain, that Bardolfe and Peto were two of the four Robbers? And who then can doubt, but Harvey and Rossil were the Names of the Actors that perform'd those two Parts; and by Mistake, in the old Play-house Books, put instead of the Names of the Characters to be represented by them? So, throughout a whole Scene, in Much Ado about Nothing, the Names of Kemp and Cowley are printed in the old Books, instead of the Town-Clerk and Dogberry: as, in another Scene of the same Play, Jack Wilson we find mark'd to Enter instead of Balthazar. The like Inaccuracies are frequent thro' Beaumont and Fletcher. It were to be wish'd, indeed, Mistakes of this Sort had happen'd throughout our Author's Works: for so We might have known what particular Parts were perform'd by Shakespeare himself, and the other eminent Actors concern'd in the Company with him.

Note return to page 121 [9] (9) He never did fall off, my Sov'reign Liege, But by the Chance of War.] The Sense here is very carelesly express'd, if this be the genuine Reading: for, in that Case, the Poet must mean; He never did fall off, tho' We by the Chance of War have lost his Service. Mr. Warburton has suspected the Text; and therefore I'll subjoin his Reasons and Emendation.—“A very pretty way of apologizing for Mortimer! The King calls him revolted Mortimer; and well he might, if He had indeed revolted, tho' by the Chance of War. Can the Chance of War excuse a Soldier for forfeiting his Honour? Our military Men will scarce allow it. But in Case Hot-spur had a mind to insinuate, that the Chance of War was an Alleviation to the Revolt, he would not, sure, in common Sense have resented the Epithet in such a manner as to repeat the King's Words with great Disdain;—revolted Mortimer! This would be execrable Stuff, indeed, in the Mouth of a Soldier, or a Reasoner. I am persuaded therefore the Poet wrote; He never did fall off, my Sov'reign Leige, But bides the Chance of War. i. e. abides by it, endures it. And That, indeed, was a sufficient Proof that He had not faln off, if he yet endured the Rigours of Imprisonment. And that this was truly Hot-spur's Sentiment, that is, that he had at least a Mind to make the King believe so, hear his own Words afterwards; &lblank; suffer'd his Kinsman March, (Who is, if ev'ry Owner were right plac'd, Indeed, his King;) to be encag'd in Wales, &c.

Note return to page 122 [10] (10) By Heav'n, methinks, it were an easy Leap To pluck bright Honour, &c.] This bold Rhodomontado of Hot-spur, however, by the mouthing of an Actor, it may be always crown'd with Applause; I find, and not without some Justice, was carp'd at and ridicul'd in our Author's Time. In Beaumont and Fletcher's Knight of the burning Pestle, (the Rehearsal of those Days,) a Grocer's Wife brings her Prentice Ralph to the Play-house to act a Part; and encouraging him to exert, says, Hold up thy Head, Ralph; Shew the Gentlemen what Thou can'st do: Speak a huffing Part: I warrant you, the Gentlemen will accept of it. And then Ralph repeats this whole Speech of Hot-spur.

Note return to page 123 [11] (11) &lblank; which for diverse Reasons Which I shall send you written, be assur'd Will easily be granted You, my Lord. Your Son in Scotland being thus employ'd, Shall secretly into the Bosom creep Of that same noble Prelate, &c.] I have chang'd the Pointing of this Passage by the Direction of Dr. Thirlby; and certainly with just Reason. Worcester is here planning out a Conspiracy to his Nephew and Brother. But Worcester never calls his Nephew my Lord: nor was Hot-spur intended to be the Person to stir up the Archbishop. ‘Do You, (says He to Hot-spur;) deliver up your Prisoners; release Dowglas ransomless, and employ him to raise a Force for you in Scotland, which will be granted; And You, my Lord, (says He to Northumberland) while your Son is so employ'd, shall go and work upon the Archbishop of York to rise and assist You.’ Consonant to this, the King, at the End of this Play sends his Son John with an Army towards York, To meet Northumberland and Prelate Scroop, Who, as we hear, are busily in Arms.

Note return to page 124 [12] (12) And two Razes of Ginger] As our Author in several Passages mentions a Race of Ginger, I thought proper to distinguish it from the Raze mention'd here. The former signifies no more than a single Root of it, from the Italian Term Radice; but a Raze is the Indian Term for a Bale of it. Two Roots of this Spice, 'tis obvious, would hardly have been sent from Rochester to London by the Carrier.

Note return to page 125 [13] (13) Burgo-masters, and great one-eyers.] Perhaps oneraires, Trustees or Commissioners; says Mr. Pope. But how this Word comes to admit of any such Construction, I am at a loss to know. The Word is apparently of French Termination; and must have its Derivation from Onus of the Latines: accordingly the French say Ness oneraires, Ships of Burthen: and so un Agent oneraire is such an Agent qui a le Soin & la Charge d'une chose, dont un autre a l'honneur. So that this Exposition does not at all sort with the Characters intended by our Author. To Mr. Pope's second Conjecture, of cunning Men that look sharp and aim well, I have nothing to reply seriously: but choose to drop it. I formerly suspected that we should read Seigniors; but I retract it as a bad Conjecture. The Reading, which I have now substituted, I owe to the Friendship of the ingenious Nicholas Hardinge, Esq;. A Moneyer, is an Officer of the Mint, which makes Coin and delivers out the King's Money. Moneyers are also taken for Banquers, or those that make it their Trade to turn and return Money. Either of these Acceptations will admirably square with our Author's Context.

Note return to page 126 [14] (14) And when you breath in your watering, &c.] This decent way of expressing an Indecency puts me in mind of the same Decorum among the Greeks, which is quoted three times by Suidas, and which exactly comes up to this Phrase quoted by our Author. &GRAs;&grp;&gro;&gry;&gro;&grf;&gre;&gric;&grn;, &grt;&grog; &grp;&grea;&grr;&grd;&gre;&grs;&grq;&gra;&gri;, &gre;&grus;&grs;&grk;&grh;&grm;&groa;&grn;&grw;&grst; &grl;&grea;&grg;&grw;&grn;&grcolon; &gre;&grus;&grs;&grk;&grh;&grm;&gro;&grn;&grea;&grs;&grt;&gre;&grr;&gro;&grn; &grd;&greg;, &grd;&gri;&gra;&grp;&grn;&gre;&gric;&grn; &grk;&gra;&grig; &gras;&grp;&gro;&grp;&grn;&gre;&gric;&grn;.—&GRAs;&grp;&gro;&gry;&gro;&grf;&gre;&gric;&grn;&grcolon; Sic honestè pedere vocatur: Honestiùs verò est, &grd;&gri;&gra;&grp;&grn;&gre;&gric;&grn;, & &graa;&grp;&gro;&grp;&grn;&gre;&gric;&grn;.

Note return to page 127 [15] (15) pitiful-hearted Titan, that melted at the sweet Tale of the Sun?] This absurd Reading possesses all the Copies in general; and tho' it has pass'd thro' such a Number of Impressions, is Nonsense which we may pronounce to have arisen at first from the Inadvertence either of Transcribers, or the Compositors at Press. 'Tis well known, Titan is one of the poetical Names of the Sun; but we have no Authority from Fable for Titan's melting away at his own sweet Tale, as Narcissus did at the Reflexion of his own sweet Form. The Poet's Meaning was certainly this: Falstaff enters in a great Heat, after having been robb'd by the Prince and Poins in Disguise: and the Prince seeing him in such a Sweat, makes the following Simile upon him: “Do but look upon that Compound of Grease;—his Fat drips away with the Violence of his Motion, just as Butter does with the Heat of the Sun-beams darting full upon it.” I corrected the Passage in the Appendix to my Shakespeare Restor'd; and Mr. Pope, in his last Edition, has been so gracious to say at the Bottom of his Page; Or rather, Butter that melted, &c.

Note return to page 128 [16] (16) I would, I were a Weaver; I could sing Psalms, &c] This is plainly a Fling at the Puritanical Sectaries of our Author's Time. And I have observ'd This, that when the Men of Wit of his Age, and since, would characterize an ignorant sanctified Zealot, they have generally made him a Weaver by Profession: which shews, that That Spirit was most remarkable among those Mechanicks: and, I believe, I can account for its so happening. It is very well known, that when Philip the 2d was for stifling the Birth of the Reformation in Flanders and the Low Countries by an inquisitional Restraint, many of the Inhabitants forsook their Country, and sought Refuge amongst their Neighbours. Those, who came into England, brought over with them the Woollen Manufactory, and the Principles of Calvin: and at the same time taught us to weave Cloth, and ravel out the Contexture of Church-Government. So that Puritanism (a Word, which then took its Rise) and Weaving were generally profess'd by one and the same Artist. Their Love for Psalmody was what then did, and still does, distinguish the Disciples of John Calvin. Mr. Warburton.

Note return to page 129 [17] (17) and I will do it in King Cambyses's Vein] The Banter here is upon a Play written in old-fashion'd Metre, call'd, a Lamentable Tragedy, mix'd full of pleasant Mirth, containing the Life of Cambyses King of Persia, &c. If the whole were writ in that Measure with the Specimen given us by Mr. Langbaine in his Account of the Dramatic Poets; it is in Eight and Six, as Quince calls it in Midsummer Night's Dream. This was the Versification chiefly in Vogue, in the 14th and 15th Centuries: and most of the Plays of that Date, in black Letter, are in that Measure.

Note return to page 130 [18] (18) I understand thy Kisses, and Thou mine; And that's a feeble Disputation.] Thus Both Mr. Rowe and Mr. Pope in their Editions; but they have much enfeebled what Mortimer meant to say, in this aukward Epithet. This is not talking like a fond Bridegroom in the Honey Moon, as, 'tis evident, Mortimer is. I have restor'd the Reading of the Old Copies, which, I am confident, is the true one. What Mortimer would say to his young Wife, is This: Tho' I don't understand your Welsh, I understand the Tenderness of your Kisses, I feel the Force of their Argument, and moving Rhetorick, &c.

Note return to page 131 [19] (19) &lblank; ten times more dishonourably ragged than an old-fac'd Ancient.] Shakespeare uses this Word so promiscuously, to signify an Ensign or Standard bearer, and also the Colours or Standard borne, that I cannot be at a Certainty for his Allusion here. If the Text be genuine, I think, the Meaning must be; as dishonourably ragged as one that has been an Ensign all his days; that has let Age creep upon him, and never had Merit enough to gain Preferment. Mr. Warburton, who understands it in the Second Construction, has suspected the Text, and given the following ingenious Emendation.—“How is an old fac'd Ancient, or Ensign, dishonourably ragged? On the contrary, Nothing is esteem'd more honourable than a ragged Pair of Colours. A very little Alteration will restore it to its Original Sense, which contains a Touch of the strongest and most fine-turn d Satire in the World; Ten times more dishonourably ragged, than an old Feast Ancient: i. e. the Colours used by the City-Companies in their Feasts and Processions. For each Company had one with its peculiar Device, which was usually display'd and borne about on such Occasions. Now Nothing could be more witty or satirical than this Comparison. For as Falstaff's Raggamuffins were reduc'd to their tatter'd Condition thro' their riotous Excesses; so this old Feast Ancient became torn and shatter'd, not in any manly Exercise of Arms, but amidst the Revels of drunken Bacchanals.

Note return to page 132 [20] (20) Fal. Rebellion lay in his way, and he found it. &lblank; Prince. Peace, Chevet, peace.] This, I take to be an arbitrary Refinement of Mr. Pope's: nor can I easily agree, that Chevet is Shakespeare's Word here. Why should Prince Henry call Falstaff Bolster, for interposing in the Discourse betwixt the King and Worcester? With Submission, he does not take him up here for his unreasonable Size, but for his ill-tim'd unseasonable Chattering. I therefore have preferr'd the Reading of the Old Books. A Chewet, or Chuet, is a noisy chattering Bird, a Pie. This carries a proper Reproach to Falstaff for his meddling and impertinent Jest. And besides, if the Poet had intended that the Prince should fleer at Falstaff, on Account of his Corpulency, I doubt not, but he would have call'd him Bolster in plain English, and not have wrapp'd up the Abuse in the French Word Chevet. In another Passage of this Play, the Prince honestly calls him Quilt; 'Tis pity, Mr. Pope did not turn this into Lodier, or Materas, if his French would extend so far. As to Prince Henry, his Stock in this Language was so small, that when he comes to be King, he hammers out one small Sentence of it to Princess Catharine, and tells her, It is as easy for him to conquer the Kingdom as to speak so much more French.

Note return to page 133 [21] (21) I do not think, a braver Gentleman, More active, valiant, or more valiant young,] I have alter'd the pointing, and added Hyphens betwixt both the Adjectives in the second Verse. Without them the Sense seems feeble and cold. The Prince means, in my Opinion, he did not know a braver Gentleman than Hot-spur; one more sprightly and stirring in his Valour, or more valiant for his Youth. The latter Branch of this Character Beaumont and Fletcher, in their Two Noble Kinsmen, have express'd thus; I have not seen so young a Man, so noble;

Note return to page 134 [22] (22) &lblank; Never did I hear Of any Prince so wild a Liberty.] Thus Mr. Pope has given it us in Both his Editions, as if a Liberty could mean a Libertine. Whether Chance, or Purpose, be the Source of this Reading, is not easy to determine: for, besides that this Gentleman's Indolence is so singular, his Vein of Criticism is so extravagant, that, like our Author's Fools, he is seldom or never to be call'd to an Account for his Rhetorick. I have restored the Reading of the Old Copies: and his Meaning is, that a Prince of so wild and licentious a Behaviour should not be suffer'd at Liberty for Fear of doing Mischief. He inculcates the same Sentiment several times in Hamlet, on Account of that Prince's Madness. Madness in Great Ones must not unwatch'd go. I like him not, nor stands it safe with us To let his Madness range. His Liberty is full of Threats to all. How dang'rous is it, that this Man goes loose.

Note return to page 135 [23] (23) Turk Gregory] By this Turk Gregory our Author must certainly mean Pope Hildebrand who assum'd the Name of Gregory the 7th. Fox, in his Book of Martyrs, tells terrible Stories of this Hildebrand. It was He, who surmounted almost invincible Obstacles to deprive the Emperor of the Right of Investiture of Bishops, which his Predecessors had so long in vain attempted. But the Reason of giving him this Epithet of Turk was on Account of that infamous Penance he enjoin'd the Emperor Henry IV. and the treading on his Neck. Fox had made this Gregory so odious, that, I don't doubt, but the good Protestants at that Time were well pleas'd to hear his Tyranny publickly remark'd on. Mr. Warburton.

Note return to page 136 [24] (24) When that this Body did contain a Spirit, A Kingdom for it was too small a Bound! But now two paces of the vilest Earth Is room enough!] A Reflexion, very like this in Substance, our Author has again given us in his Julius Cæsar. O mighty Cæsar! Do'st thou lie so low? Are all thy Conquests, Glories, Triumphs, Spoils, Shrunk to this little Measure? Both these Passages may very well seem to have had their Foundation from Juvenal. &lblank; Mors sola fatetur Quantula sint Hominum Corpuscula. &lblank; Unus Pellæo Juveni non sufficit Orbis, Æstuat infælix angusto limite mundi Sarcophago contentus erit. Sat. X.

Note return to page 137 [3] (3) The 2d Part of Henry IV.] The Transactions compriz'd in this History take up about 9 Years. The Action commences with the Account of Hotspur's being defeated and kill'd; and closes with the Death of K. Henry IV, and the Coronation of K. Henry V.

Note return to page 138 [1] (1) Rumour, painted full of Tongues.] This Description of Rumour is plainly to me a Draught copied from Virgil's Picture of Fame. &lblank; cui quot sunt corpore Plumæ, Tot vigiles oculi subter, mirabile dictu, Tot linguæ, totidem ora sonant, tot subrigit aures. &lblank; Tam ficti pravique tenax, quàm nuntia veri. Hæc tùm multiplici populos Sermone replebat Gaudens, & pariter facta atque infecta canebat. Æneid. IV.

Note return to page 139 [2] (2) And this worm-eaten Hole of ragged Stone,] Northumberland had retir'd and fortified himself in his Castle, a Place of Strength in those Times, tho' the Building might be impair'd by its Antiquity; and therefore, I believe, our Poet wrote: And this worm-eaten Hold of ragged Stone. So, in the 3d Henry VI. The Queen with all the Northern Earls and Lords Intends here to besiege you in your Castle; She is hard by with twenty thousand Men; And therefore fortify your Hold, my Lord. So Daniel, in his Miseries of Civil Wars, speaking of this very Earl's Retirement, says; Northumberland, recover'd, still out stands,   The Principal of this great Family And Faction; having Berwick in his hands,   With other Holds; &lblank;

Note return to page 140 [4] (4) Yet the first bringer of unwelcome News Hath but a losing Office:] This Observation is certainly true in Nature, and has the Sanction of no less Authorities than Those of Æschylus and Sophocles; who say almost the same Thing with our Author here. &GRWsai;&grm;&gro;&gri;, &grk;&gra;&grk;&grog;&grn; &grm;&grea;&grn; &grp;&grr;&grwc;&grt;&gro;&grn; &gras;&grg;&grg;&grea;&grl;&grl;&gre;&gri;&grn; &grk;&gra;&grk;&graa;&grcolon; Æsch. in Pers. &grS;&grt;&grea;&grr;&grg;&gre;&gri; &grg;&grag;&grr; &gro;&grus;&grd;&gre;&grig;&grst; &grasa;&grg;&grg;&gre;&grl;&gro;&grn; &grk;&gra;&grk;&grwsc;&grn; &gres;&grp;&grwc;&grn;. Soph. in Antigone. Henr. Stephens has taken Notice, that in some of Æschylus's printed Copies this 2d Verse quoted had been inserted as a Part of his Text: but judges, the Mistake happen'd first from its having been transcrib'd in the Margin as a parallel Sentiment. Fortasse autem ex hoc Æschyli versu natus est ille, says He. This learned Man does not seem to have known, or remember'd, that the Verse was to be given to Sophocles.

Note return to page 141 [5] (5) The ragged'st Hour that Time and Spight dare bring To frown, &c.] I know very well, our Author frequently uses this Epithet, when he speaks either of sharp o'erhanging Rocks, ruin'd Fortifications, &c. but there is no Consonance of Metaphors here betwixt ragged and frown; nor, indeed, any Dignity in the Image. On Both Accounts, therefore, I suspect, our Author wrote, as I have reform'd the Text, The rugged'st Hour, &c.

Note return to page 142 [6] (6) The Juvenil, the Prince your Master!] All the old Editions both here, and in several other Passages of our Author, write, Juvenal. Why our modern Editors have been so nice to make the Change, I cannot say. Both the Words are equally well deriv'd. A juvenis est tùm juvenalis, tùm juvenilis; ut à verna, vernalis vernilis:—says Vossius in his Etymologicon. Nor does the Usage want its Authorities. Juvenalia, &grn;&grea;&grw;&grn; &gre;&gro;&grr;&grt;&grh;. Juvenalis, &grn;&grea;&grw;&grt;&gre;&grr;&gri;&grk;&gro;&grst;, &grn;&gre;&gra;&grn;&gri;&grk;&gro;&grst;&grcolon; say the old Glossaries.— Juvenalia fingebantur Dianæ simulachra, quià ea Ætas fortis est ad tolerandam viam. Diana enìm viarum putabatur Dea; says S. Pompeius Festus. In like manner, the Poets: Et mihi quæ fuerint juvenali in Corpore Vires. Virg. Æneid. V. Tu mihi dictasti juvenalia Carmina primus. Ovid. Epist. ad Maxim. Facete, comis, animo juvenali Senex. Antonius ad Nepot. Nunc ego te puerum, mox in juvenalibus annis, Jamque virum cernam. Idem. Idyll. IV. Scilicet immensæ, visis juvenalibus armis, Subsident Alpes? Sil. Italicus. l. II. Accipe facundi carmen juvenale Propertî. Martial. l. XIV. &c. &c.

Note return to page 143 [7] (7) Fal. Very well, my Lord, very well:] In the oldest Quarto Edition, which I have of this Play, (printed, in 1600) this Speech stands thus. Old. Very well, my Lord, very well: I had not observ'd This, when I wrote my Note, to the 1 Henry IV, concerning the Tradition of Falstaff's Character having been first call'd Oldcastle. This almost amounts to a self-evident Proof, of the Thing being so: and that, the Play being printed from the Stage Manuscript, Oldcastle had been all along alter'd into Falstaff, except in this single Place by an Oversight: of which the Printers not being aware, continued these initial Traces of the Original Name.

Note return to page 144 [8] (8) You follow the young Prince up and down like his evil Angel.] What a precious Collator has Mr. Pope approv'd himself in this Passage? Besides, if This were the true Reading, Falstaff could not have made the witty and humourous Evasion he has done in his Reply. I have restor'd the Reading of the oldest Quarto. The Lord Chief Justice calls Falstaff the Prince's ill Angel, or Genius: which Falstaff turns off by saying, an ill Angel (meaning the Coin call'd an Angel,) is light; but, surely, it can't be said that He wants Weight: ergo,—the Inference is obvious. Now Money may be call'd ill, or bad; but it is never call'd evil, with Regard to its being under Weight. This Mr. Pope will facetiously call restoring lost Puns: but if the Author wrote a Pun, and it happens to be lost in an Editor's Indolence, I shall in spite of his Grimace, venture at bringing it back to Light.

Note return to page 145 [9] (9) A hundred Mark is a long one,] A long one? A long What? a long Mark? For That's the only antecedent Substantive it has to agree with: and common Sense won't admit of its being coupled to That. It is almost needless to observe, how familiar it is with our Poet to play the Chimes upon Words similar in Sound, and differing in Signification: and therefore I make no Question but he wrote, A hundred Mark is a long Lone for a poor lone Woman to bear; i. e. 100 Marks is a good round Sum for a poor Widow to venture on Trust. According to the old way of writing the Word was spelt, more generally, Lone, than, Loan, as it is now.

Note return to page 146 [10] (10) O thou honey-seed Rogue!] The Poet very humorously makes Dame Quickly blunder out this Word, instead of homicide.

Note return to page 147 [11] (11) Ch. Just. What foolish Master taught you these Manners, Sir John? Fal. Master Gower, if they became me not, &c.] This same Affectation of Inadvertence is again practis'd by our Poet in the 1st Part of Henry. VI. Act 5. betwixt Princess Margaret and Suffolk, when He has made her his Prisoner. But there it wants the Grace and Humour, which we find here; because Margaret and Suffolk are forc'd to talk aside to themselves: and the Chief Justice and Falstaff have here Master Gower to address Themselves to by Turns.

Note return to page 148 [12] (12) Poins. Come, you virtuous Ass, &c.] Tho' all the Editions concur in giving this Speech to Poins, it seems evident to me, by the Page's immediate Reply, that it must be placed to Bardolfe. For Bardolfe had call'd to the Boy from an Ale-house, and, 'tis likely, made him half-drunk: and, the Boy being asham'd of it, 'tis natural for Bardolfe, a bold unbred Fellow, to banter him on his aukward Bashfulness. I have therefore placed it to him.

Note return to page 149 [13] (13) The Answer is as ready as a borrow'd Cap.] But how is a borrow'd Cap so ready? Read, a Borrower's Cap: and then there is some Humour in it. For a Man, that goes to borrow Money, is of all Others the most complaisant: His Cap is always at hand. Mr. Warburton.

Note return to page 150 [14] (14) I will imitate the honourable Romans in brevity.] I don't know, who could furnish Shakespeare with this Account of the Roman Brevity, but Pliny the Younger: B. 1. Epist. XI. Olìm nullas mihi Epistolas mittis. Nihil est (inquis,) quòd scribum. At hoc ipsum scribe, Nihil esse quod scribas: Vel solum illud, unde incipere Priores solebant, Si vales, bene est; ego valeo.—I commend me to thee, I commend thee, and I leave thee.. But, after all, should it not be Roman, (in the singular Number) and Brutus be meant? For He was peculiarly Laconick in his Stile. Mr. Warburton.

Note return to page 151 [15] (15) A heavy descension.] This is the Reading, which Mr. Pope has espous'd: but, why not, Declension? is not the Term purely synonomous? So in Richard III. Seduc'd the Pitch and Height of all his Thoughts To base Declension and loath'd Bigamy. And so, in Hamlet; &lblank; and to decline Upon a Wretch, whose natural Gifts were poor To Those of mine! For here it signifies, to stoop, descend.

Note return to page 152 [16] (16) But he did long in vain!] Nothing of longing has been express'd before, which makes me suspect this Reading. Shakespeare, and most of the Writers of his Time, lov'd a Repetition of the same Word: and as it is immediately before said, that Percy threw many a Northward Look, I am perswaded the Poet wrote; &lblank; but he did look in vain! I cannot help on this Occasion quoting a Passage from Aristophanes, which has been suspected and tamper'd with. &GRIsa;&grl;&grl;&gro;&grst; &grg;&gre;&grg;&grea;&grn;&grh;&grm;&gra;&gri; &grp;&grr;&gro;&grs;&grd;&gro;&grk;&grwc;&grn;, &gror; &grd;&grap; &gro;&grus;&grd;&grea;&grp;&grw;. Thesmoph. vers. 853. Keuster, who objects, that Expectation of any Body could never have the Effect here mention'd, would have us read, &GRAsc;&gru;&gro;&grst; &grg;&gre;&grg;&grea;&grn;&grh;&grm;&gra;&gri;, &c. I am dry'd, pined away, &c. with standing and expecting him. I own, I have always thought, the Error lay in another Word; and would read, &GRIsa;&grl;&grl;&gro;&grst; &grg;&gre;&grg;&grea;&grn;&grh;&grm;&gra;&gri; &grp;&grr;&gro;&grs;&grd;&grr;&gra;&grk;&grwa;&grn;&grcolon; &gror; &grd;&grap; &gro;&grus;&grd;&grea;&grp;&grw;. My Eyes are perfectly distorted, turn'd a-squint, with looking out for him: but I can see Nothing of him.

Note return to page 153 [17] (17) Cheater call you him? I will bar no honest man my House, nor no Cheater.] The Humour of This consists in the Hostess's Mistake in the Signification of the Word Cheater. For the Officer, who was concern'd in collecting the Escheats due to the Crown, was call'd by the common People the 'Cheater, i. e. the Escheater. And This was the honest Man the good Woman dreamt of. But as the publick Officers of the Revenue were always had in Odium, I make no Doubt, but the Poet meant here likewise to ridicule the Officer. Mr. Warburton.

Note return to page 154 [18] (18) I am the worse, when one says swagger: feel, Masters, how I shake. Dol. So you do, Hostess. Host. Do I? yea, in very Truth do I, as if it were an Aspen leaf.] This Fright of the Hostess, tho' perfectly in Nature and Character, seems sneer'd at by Beaumont and Fletcher in their Knight of the burning Pestle. By the Faith of my Body, o' has put me into such a Fright that I tremble (as they say) as 'twere an Aspen leaf. Look o' my little finger, George, how it shakes. Now, in Truth, every Member of my Body is the worse for't.

Note return to page 155 [19] (19) &lblank; Shall Pack-horses, And hollow pamper'd Jades of Asia, Which cannot go but thirty Miles a day, &c.] Pistol, tis certain, does not deliver himself like a Man of this World; but we'll derive one Testimony from hence, that all his Extravaganza's are not meer unmeaning Flights of Wildness; but thrown in to convey Strokes of Satire, and expose the Fustian of some contemporary Pieces. In the 2d Part of an old Play, call'd, Tamburlaine's Conquests, Or The Scythian Shepherd, Tamburlaine appears in his Chariot, drawn by the Kings of Trebizond and Soria, with Bits in their Mouths. He, holding the Reins in his left hand, and a Whip in his right, scourges them; and thus begins the Scene. Holla! ye pamper'd Jades of Asia, What! can ye draw but twenty-Miles a-day, And have so proud a Chariot at your Heels, And such a Coachman as great Tamburlaine? This Passage was in so strong Ridicule, that I find it again parodied in a Comedy call'd, The Sun's Darling; as also in the Coxcomb, by Beaumont and Fletcher.

Note return to page 156 [20] (20) Have we not Hiren here? Host. O' my Word, Captain, there's none such here.] i. e. Shall I fear, that have this trusty and invincible Sword by my Side? For, as King Arthur's Swords were call'd Caliburne and Ron; as Edward the Confessor's, Curtana; as Charlemagne's, Joyeuse; Orlando's, Durindana; Rinaldo's, Fusberta; and Rogero's, Balisarda; so Pistol, in Imitation of these Heroes, calls his Sword Hiren. I have been told, Amadis du Gaul had a Sword of this Name. It seems to belong to some Spanish Romance, and we may, perhaps, gather the Reason of the Name from that Language. La Crusca explains hiriendo, (the Gerund from hirir, to strike;) en frappant, battendo, percotendo: From hence it seems probable that Hiren may be deriv'd; and so signify, a swashing, cutting Sword.—But what wonderful Humour is there in the good Hostess so innocently mistaking Pistol's Drift, fancying that he meant to fight for a Whore in the House, and therefore telling him, On my Word, Captain, there's none such here; what the good-jer! do you think, I would deny her?

Note return to page 157 [21] (21) Sweet Knight, I kiss thy Neif.] i. e. I kiss thy Fist. Mr. Pope will have it, that neif here is from nativa. i. e. a Woman-Slave that is born in one's house; and that Pistol would kiss Falstaff's domestick Mistress Dol Tearsheet. But I appeal to every One that shall but read the Scene over, whether This could possibly be the Poet's Meaning. There is a perfect Fray betwixt Dol and Pistol; She calls him an hundred the worst Names She can think of: He threatens to murder her Ruff, and says, He could tear her. Bardolph would have him be gone; but He says, he'll see her damn'd first: and Dol, on the other hand, wants him to be thrust down Stairs, and says, She can't endure such a Fustian Rascal. I should very little expect, that these Parties, in such a Ferment, should come to kissing. And I am persuaded, Shakespeare thought of no Reconciliation: For the Brawl is kept on, till it rises to drawing Swords; and Pistol, among 'em, is hustled down Stairs. I can't think, any more is intended by the Poet than This: that Falstaff, weary of Pistol's wrangling, tells him, He would be quiet: and that Pistol, who had no Quarrel with Sir John, but a sort of Dependance on him, speaks the Knight fair and tells him, that he kisses his Fist: for so the Word Neif signifies in our Northern Counties. So, before, in Midsummer Night's Dream; Bott. Give me thy Neif, Monsieur Mustard-seed. And so in B. Jonson's Poetaster; I wu'not, my good two penny Rascal; reach me thy Neife.

Note return to page 158 [22] (22) &lblank; then happy low! lye down; Uneasie lyes the head, &c.] Tho' I have not disturb'd the Text, Mr. Warburton thinks, Shakespeare would not have used so poor a Repetition as lye down and uneasie lyes. He therefore conjectures &lblank;Then happy, lowly Clown! Uneasie lyes the Head, that wears a Crown. This, says He, is the just Conclusion from all said before. If Sleep will fly a King, and consort it self with Beggars, then happy the lowly Clown, and uneasy the crown'd Head.

Note return to page 159 [23] (23) Why then good morrow to you all, my Lords; Have you read o'er, &c.] I must account for the Change I have ventur'd at here. In the preceding Page the King sends Letters to Surrey and Warwick, with Charge that they should read them and attend him. Accordingly here Surrey and Warwick come, and no body else, in Obedience to that Summons. The King would hardly have said Good morrow to You All, to two Peers, and no more. My Emendation wants no further Support, than This naked Stating of the Case.

Note return to page 160 [24] (24) I was then Sir Dagonet in Arthur's Show.] The only Intelligence I have glean'd of this worthy Wight, Sir Dagonet, is from Beaumont and Fletcher in their Knight of the burning Pestle. Boy. Besides, it will shew ill favouredly to have a Grocer's Prentice to court a King's Daughter. Cit. Will it so, Sir? You are well read in Histories! I pray you, what was Sir Dagonet? Was not he Prentice to a Grocer in London? Read the Play of The Four Prentices of London, where they toss their Pikes so: &c.

Note return to page 161 [25] (25) There was a little quiver Fellow, and he would manage you his Piece thus.] This extreme fine Sketch of Nature and Humour in Shallow's Character seems, in my Opinion, invidiously enough sneer'd at in the Burning Pestle above quoted. Ran, tan, tan, tan, tan, tan.—O Wench, and thou hadst but seen little Ned of Aldgate drum! How he made it, roar again and laid on like a Tyrant; and then struck softly till the Ward came up, and then thunder'd again, and together We go: Sa, sa, sa, bounce, quoth the Guns; Courage, my Hearts, quoth the Captains; Saint George, quoth the Pikemen; and withal here they lay and here they lay; and yet for all This I am here, Wench.

Note return to page 162 [26] (26) And now is this Vice's Dagger.] By Vice here the Poet means that drole Character in the old Plays, (which I have several Times mention'd in the Course of these Notes,) equipp'd with Asses Ears and a Wooden Dagger. It is very satirical in Falstaff to compare Shallow's Activity and Impertinence to such a Machine as a wooden Dagger in the Hands and Management of a Buffoon.

Note return to page 163 [27] (27) Of forg'd Rebellion with a Seal divine?] In one of my Old Quarto's of 1600 (for I have Two of the self same Edition; one of which, 'tis evident, was corrected in some Passages during the working off the whole Impression;) after the Line above quoted I found this Verse, And consecrate Commotion's civil Edge. I have thought the Verse worth preserving, and ventur'd to substitute Page for Edge, with Regard to the Uniformity of Metaphor. Tho', I confess, the Latter may very well do in this Sense: that the Sword of Rebellion, drawn by a Bishop, may in some Sort be said to be consecrated by his Reverence; as the King, afterwards, talking of going to the Holy Wars, says, We'll draw no Swords, but What are sanctified.

Note return to page 164 [28] (28) My Brother General the Commonwealth I make my Quarrel in particular.] From the same corrected Old Quarto I retriev'd the intermediate Line now added to the Text; and which, as Mr. Warburton observ'd to me, is a very sensible and very necessary Line. “The Sense is this; (says my ingenious Friend;) My Brother General the Commonwealth, which ought to be the Nursing Father of Us all, equally distributing its Benefits, is become an houshold Enemy even to Those of his own House, to brothers born; by disinheriting Some who have an equal Title to the Patrimony with Others, to whom it gives all: And This I make my Quarrel. And this was the Grievance: the constant one that makes all the Malecontents in Civil Commotions; that Honours were not equally distributed.

Note return to page 165 [29] (29) And bless'd and grac'd more than the King himself.] The Two oldest Folio's (which first gave us this Speech of Westmorland) read this Line thus; And bless'd and grac'd, and did more than the King. Dr. Thirlby saw it was corrupted by the Transcribers, and gave me that easy Cure, with which I have reform'd the Text, so very near to the Traces of the corrupted Reading.

Note return to page 166 [30] (30) In sight of Both our Battles, we may meet At either end in Peace; (which Heav'n so frame! Or to the Place of Diff'rence, &c.] The Alteration which I have made here in the Pointing, and that easy but certain Change in the Text, I owe to the Direction of the ingenious Dr. Thirlby.

Note return to page 167 [31] (31) Th'incessant Care and Labour of his Mind Hath wrought the Mure, &c.] Daniel, in his Miseries of the English Civil Wars, speaking of the long Decay Henry IV felt from inward Sickness, has this very Thought. I don't know the Date of that Poem being wrote, so cannot say which Poet has copied from the Other. And Pain and Grief, inforcing more and more,   Besieg'd the Hold that could not long defend; Consuming so all the resisting Store   Of those Provisions Nature deign'd to lend, As that the Walls, worn thin, permit the Mind To look out thorough, and his Frailty find. Book IV. St. 84.

Note return to page 168 [32] (32) That from this golden Rigol &lblank;] i. e. Ring, or Circle. In Macbeth, he has express'd it; All that impedes thee from the Golden Round. But We once more meet with the Word Rigol in our Author's Works; About the mourning and congealed Face Of that black Blood a watry Rigol goes, &c. Tarquin and Lucrece. The Word seems of Italian Extraction.—Ridda, Chorea, cùm nexis manibus saltando in Orbem vertuntur. A Ridda, Ridoletto, rigoletto, rigolo.—So Ferrarius in his Origines Italicæ. Hence a Rigolet, or Rigol, may, I presume, stand in English for a Circle, any Thing round.

Note return to page 169 [33] (33) England shall double gild his treble Guilt] This Line is in all the Editions in general, but Mr. Pope's; and he has thought fit to cashier it. If he imagin'd the Conceit too mean, he ought at least to have degraded it to the bottom of his Page, not absolutely stifled it. But mean as the Conceit is, our Author has repeated it again in his K. Henry V. Have for the Gilt of France (O Guilt, indeed!) Confirm'd Conspiracy with fearful France.

Note return to page 170 [34] (34) My Father is gone wail'd into his Grave, (For in his Tomb lye my Affections)] This ridiculous Reading (which, I presume, is Mr. Pope's Conjecture, unsupported by Authorities, or Reason;) is not only Nonsense in it self, but is the Cause that Nonsense possesses the following Verses. The Poet certainly wrote, as I have restor'd with all the old Copies. “My Father, says the Prince, is gone wild into his Grave, for now all my wild Affections lye intomb'd with him; and I survive with his sober Spirit and Disposition, to disappoint those Expectations the Publick have form'd of me.” This the Prince had resolv'd to do, upon his Father's Demise; as we have heard from his own Mouth: &lblank; If I do feign, O, let me in my present Wildness dye: And never live to show th' incredulous World The noble Change that I have purposed. That he did make this Change, we hear from the Archbishop in the Beginning of Henry V. The Breath no sooner left his Father's body, But that his Wildness, mortified in him, Seem'd to dye too. These two Quotations very plainly assert our Poet's Reading, and are flagrant Testimonies of Mr. Pope's unhappy Fatality in guessing wrong.

Note return to page 171 [35] (35) Proface. What you want in Meat, you have in Drink.] I meet with this Word again in an old Comedy, call'd, The Widows Tears. Well, I have done;—and well done, Frailty. Proface; how lik'st Thou is? (Spoken to a Girl, that is greedily eating Victuals brought her by the Speaker) I have not found this Word any where explain'd; but I presume it a Contraction from the Italian Phrase, Bon vi profaccia; i. e. Much Good may't do You.

Note return to page 172 [36] (36) &lblank; Bezonian, speak or die.] So again Suffolk says in 2 Henry VI. Great Men oft die by vile Bezonians. We are not to imagine this any Nation of People; but it is a Term of Reproach, frequent in the Writers contemporary with our Poet, and of Italian Extraction. Bisogno, among other Significations, means, Necessity; and Bisognoso, a needy Person; thence, metaphorically, a base Scoundrel.

Note return to page 173 [37] (37) Thou thin Man in a Censer!] A Censer, 'tis well known, is a Vessel for burning Incense, a Perfume-pan. But what is this thin Man in it? I have seen several antique Censers, exactly in the Shape of our Dishes for the Table, which, being of Brass, were beat out exceeding thin. In the Middle of the Bottom was rais'd up, in imboss'd Work, with the Hammer, the Figure of some Saint in a kind of barbarous hollow Bass-relief, the whole Diameter of the Bottom. The Saint was generally He, to whom the Church, in which the Censer was us'd, was dedicated: (tho' I once saw one with an Adam and Eve at the Bottom.) Now this thin Beadle is compar'd, for his Substance, to one of these thin hammer'd Figures, with the same kind of Humour that Pistol in the Merry Wives calls Slender a laten Bilboe. Mr. Warburton.

Note return to page 174 [38] (38) &lblank; Know, the Grave doth gape For Thee thrice wider than for other Men] I cannot help observing on this Passage, as one of Shakespeare's grand Touches of Nature. The King, having shaken off his Vanities, in this Scene reproves his old Companion Sir John for his Follies with great Severity. He assumes the Air of a Preacher; bids him fall to his Prayers, and consider how ill-grey Heirs become a Buffoon; bids him seek after Grace, &c. and leave gourmandizing. But that Word, unluckily presenting him with a pleasant Idea, he can't forbear pursuing it in these Words,—Know, the Grave doth gape for thee thrice wider, &c. and is just falling back into Hal by an humourous Allusion to Falstaff's Bulk: but He perceives it at once, is afraid Sir John should take the Advantage of it, so checks both himself and the Knight with Reply not to me with a Fool-born jest; and resumes the Thread of his Discourse and moralizes on to the End of the Chapter. This, I think, is copying Nature with great Exactness, by shewing how apt Men are to fall back into old Customs; when the Change is not made by degrees, as the Habit itself was, but determined of all at once, on the Motives of Honour, Interest, or Reason. And Nothing is more disgusting than that vicious Practice of Dramatick Poets of violating the Unity of Character, and giving the same Personage different Aims, Pursuits, Appetites, and Passions, at the latter End of the Piece from what he set out with at the Beginning; that Rule of Horace's being much more general than He makes it: Servetur ad imum Qualis ab incœpto processerit, & sibi constet. Mr. Warburton.

Note return to page 175 [39] (39) Si Fortuna me tormento, spera me contento.] This false Italian is not from the Editors, but purposely from the Author. Pistol, as an ignorant Fellow, but an Affecter of Languages, quotes a Scrap he has heard, at all Adventures; not knowing whether he is right, or believing that any of the Company know. It seems to me a Fragment from some Chanson, or Madrigal; and, perhaps, stood thus in the Original. Si Fortuna me tormenta, La Esperanza me contenta. If Fortune afflict me, I'll wrap my self up contented in the Hope of her growing kinder.

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