Note return to page 1 Of this the Editions, earlier than the first Folio, are, I. 4to, by Valentine Simmes, for Andrew Wise, 1598, of which I have a collation by Mr. Theobald. II. 4to, for Mathew Law, 1615, from which the first Folio was printed.

Note return to page 2 1The Life and Death of King Richard II.] But this History comprizes little more than the Two last Years of this 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. Theobald.

Note return to page 3 2Right-drawn.] Drawn in a right or just Cause.

Note return to page 4 *Inhabitable.] That is, not habitable, uninhabitable.

Note return to page 5 3My Scepter's awe.] The reverence due to my Scepter.

Note return to page 6 4This we prescribe, though no physician, &c.] I must make one Remark, in general, on the Rhymes throughout this whole play; they are so much inferior to the rest of the writing, that they appear to me of a different hand. What confirms this, is, that the context does every where exactly (and frequently much better) connect without the inserted rhymes, except in a very few places; and just there too, the rhyming verses are of a much better taste than all the others, which rather strengthens my conjecture. Pope.

Note return to page 7 *No boot.] That is, no advantage, no use, in delay or refusal.

Note return to page 8 5My fair Name, &c.] That is, My name that lives on my grave in despight of death. This easy passage most of the Editors seem to have mistaken.

Note return to page 9 6Or with pale beggar face &lblank;] i. e. with a face of supplication. But this will not satisfy the Oxford Editor, he turns it to haggard fear. Warburton.

Note return to page 10 7The slavish motive &lblank;] Motive, for instrument. Warb. Rather that which fear puts in motion.

Note return to page 11 *The part I had.] That is, my relation of consanguinity to Gloucester. Hanmer.

Note return to page 12 8A caitiff recreant &lblank;] Caitiff originally signified a prisoner; next a slave, from the condition of prisoners; then a scoundrel, from the qualities of a slave. &grH;&grm;&gri;&grs;&gru; &grt;&grhc;&grst; &grag;&grr;&gre;&grt;&grhc;&grst; &gra;&grp;&gro;&gra;&grid;&grn;&gru;&grt;&gra;&gri; &grd;&gro;&grua;&grl;&gri;&gro;&grn; &grhc;&grm;&gra;&grr;. In this passage it partakes of all these significations.

Note return to page 13 9&lblank; his succeeding Issue,] Such is the reading of the first folio; the later editions read my Issue. Mowbray's Issue was, by this accusation, in danger of an attainder, and therefore he might come among other reasons for their sake, but the old reading is more just and grammatical.

Note return to page 14 1As gentle and as jocund, as to jest,] Not so neither. We should read, to just, i. e. to tilt or tourny, which was a kind of sport too. Warburton. The sense would perhaps have been better if the authour had written what his commentator substitutes, but the rhyme to which sense is too often enslaved, obliged Shakespeare to write jest, and obliges us to read it.

Note return to page 15 2And for we think, the eagle-winged pride, &c.] These five verses are omitted in the other editions, and restored from the first of 1598. Pope.

Note return to page 16 3To wake our Peace, &lblank; which thus rouz'd up &lblank; Might fright fair Peace,] Thus the sentence stands in the common reading, absurdly enough: which made the Oxford Editor, instead of, fright fair Peace, read, be affrighted; as if these latter words could ever, possibly, have been blundered into the former by transcribers. But his business is to alter as his fancy leads him, not to reform errors, as the text and rules of criticism, direct. In a word, then, the true original of the blunder was this: The Editors, before Mr. Pope, had taken their Editions from the Folios, in which the text stood thus, &lblank; the dire aspect Of civil wounds plough'd up with neighbour swords; Which thus rouz'd up, &lblank; &lblank; fright fair Peace. This is sense. But Mr. Pope, who carefully examined the first printed plays in Quarto, (very much to the advantage of his Edition) coming to this place, found five lines, in the first Edition of this play printed in 1598, omitted in the first general collection of the poet's works; and not enough attending to their agreement with the common text, put them into their place. Whereas, in truth, the five lines were omitted by Shakespeare himself, as not agreeing to the rest of the context; which, on revise, he thought fit to alter. On this account I have put them into hooks, not as spurious, but as rejected on the author's revise; and, indeed, with great judgment; for, To wake our Peace, which in our country's cradle Draws the sweet infant breath of gentle sleep, as pretty as it is in the image, is absurd in the sense: For Peace awake is still Peace, as well as when asleep. The difference is, that Peace asleep gives one the notion of a happy people sunk in sloth and luxury, which is not the idea the speaker would raise, and from which state, the sooner it was awaked the better. Warburton.

Note return to page 17 4A dearer merit, not so deep a maim, Have I deserved, &c. &lblank;] To deserve a merit is a phrase of which I know not any example. I wish some copy would exhibit, A dearer mede, and not so deep a maim. To deserve a mede or reward, is regular and easy.

Note return to page 18 5Compassionate, for plaintive. Warburton.

Note return to page 19 6(Our part, &c.] It is a question much debated amongst the writers of the Law of Nations, whether a banish'd man be still tied in allegiance to the state which sent him into exile. Tully and Lord Chancellor Clarendon declare for the affirmative: Hobbs and Puffendorf hold the negative. Our author, by this line, seems to be of the same opinion. Warb.

Note return to page 20 *Norfolk,—so far, &c] I do not clearly see what is the sense of this abrupt line, but suppose the meaning to be this. Hereford immediately after his oath of perpetual enmity addresses Norfolk, and, fearing some misconstruction, turns to the king and says—so far as to mine enemy —that is, I should say nothing to him but what enemies may say to each other.

Note return to page 21 7&lblank; all the world's my way.] Perhaps Milton had this in his mind when he wrote these lines. The world was all before them, where to chuse Their place of rest, and Providence their guide.

Note return to page 22 *And pluck nights from me, but not lend a morrow;] It is matter of very melancholy consideration, that all human advantages confer more power of doing evil than good.

Note return to page 23 †A partial slander &lblank;] That is, the reproach of partiality. This is a just picture of the struggle between principle and affection.

Note return to page 24 8Boling. 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 Apprenticeship, 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. Theobald.

Note return to page 25 *&lblank; Journeyman to Grief?] I am afraid our authour in this place designed a very poor quibble, as journey signifies both travel and a day's work. However, he is not to be censured for what he himself rejected.

Note return to page 26 9All Places that the Eye of Heav'n visits, &c.] The fourteen verses that follow, are found in the first Edition. Pope. I am inclined to believe that what Mr. Theobald and Mr. Pope have restored were expunged in the revision by the authour: if the lines inclosed in crotchets are omitted, the sense is more coherent. Nothing is more frequent among dramatick writers, than to shorten their dialogues for the stage.

Note return to page 27 1&lblank; yet a true-born Englishman.] Here the first act ought to end, that between the first and second acts there may be time for John of Gaunt to accompany his son, return and fall sick. Then the first scene of the second act begins with a natural conversation, interrupted by a message from John of Gaunt, by which the king is called to visit him, which visit is paid in the following scene. As the play is now divided, more time passes between the two last scenes of the first act, than between the first act and the second.

Note return to page 28 2Report of fashions in proud Italy,] Our authour, who gives to all nations the customs of England, and to all ages the manners of his own; has charged the times of Richard with a folly not perhaps known then, but very frequent in Shakespeare's time, and much lamented by the wisest and best of our ancestors.

Note return to page 29 3Where Will doth mutiny with wit's regard.] Where the will rebels against the notices of the understanding.

Note return to page 30 *&lblank; whose way himself will chuse;] Do not attempt to guide him who, whatever thou shalt say, will take his own course.

Note return to page 31 †Rash. That is, hasty, violent.

Note return to page 32 4Against infection, &lblank;] I once suspected that for infection we might read invasion; but the copies all agree, and I suppose Shakespeare meant to say, that islanders are secured by their situation both from war and pestilence.

Note return to page 33 5Less happier lands.] So read all the editions, except Hanmer's, which has less happy. I believe Shakespeare, from the habit of saying more happier according to the custom of his time, inadvertently writ less happier.

Note return to page 34 6Fear'd for their breed, and famous by their birth.] The first edition in 4to, 1598, reads, Fear'd by their breed, and famous for their birth. The second 4to in 1615, Fear'd by their breed, and famous by their birth. The first folio, though printed from the second quarto, reads as the first. The particles in this authour seem often to have been printed by chance. Perhaps the passage, which appears a little disordered, may be regulated thus: &lblank; royal kings, Fear'd for their breed, and famous for their birth, For Christian service, and true chivalry; Renowned for their deeds as far from home As is the Sepulchre.

Note return to page 35 7Thy state of law is bondslave to the law;] State of law, i. e. legal sov'rainty. But the Oxford Editor alters it to state o'er law, i. e. absolute sov'rainty. A doctrine, which, if our poet ever learnt at all, he learnt not in the reign when this play was written, Queen Elizabeth's, but in the reign after it, King James's. By bondslave to the law, the poet means his being inslaved to his favorite subjects. Warburton. This sentiment, whatever it be, is obscurely expressed. I understand it differently from the learned commentator, being perhaps not quite so zealous for Shakespeare's political reputation. The reasoning of Gaunt, I think, is this: By setting thy royalties to farm thou hast reduced thyself to a state below sovereignty, thou art now no longer king but landlord of England, subject to the same restraint and limitations as other landlords; by making thy condition a state of law, a condition upon which the common rules of law can operate, thou art become a bondslave to the law; thou hast made thyself amenable to laws from which thou wert originally exempt. Whether this interpretation be true or no, it is plain that Dr. Warburton's explanation of bondslave to the law, is not true.

Note return to page 36 8And thy unkindness be like crooked age, To crop at once a too-long wither'd flow'r.] Thus stand these lines in all the copies, but I think there is an errour. Why should Gaunt, already old, call on any thing like age to end him? How can age be said to crop at once? How is the idea of crookedness connected with that of cropping? I suppose the poet dictated thus: And thy unkindness be time's crooked edge To crop at once &lblank; That is, let thy unkindness be time's scythe to crop. Edge was easily confounded by the ear with age, and one mistake once admitted made way for another.

Note return to page 37 9Love they.] That is, let them love.

Note return to page 38 *Deny his offer'd homage.] That is, refuse to admit the homage, by which he is to hold his lands.

Note return to page 39 1To strike the sails, is, to contract them when there is too much wind.

Note return to page 40 2With nothing trembles, yet at something grieves.] The following line requires that this should be read just the contrary way, With something trembles, yet at nothing grieves. Warburton. All the old editions read, &lblank; my inward soul With nothing trembles; at something it grieves. The reading, which Dr. Warburton corrects, is itself an innovation. His conjecture gives indeed a better sense than that of any copy, but copies must not be needlesly forsaken.

Note return to page 41 3Like Perspectives, which rightly gaz'd upon, Shew nothing but confusion; ey'd awry, Distinguish form.] This is a fine similitude, and the thing meant is this. Amongst mathematical recreations, there is one in Optics, in which a figure is drawn, wherein all the rules of Perspective are inverted: so that, if held in the same position with those pictures which are drawn according to the rules of Perspective, it can 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 Shakespear says, ey'd awry. Warburton.

Note return to page 42 4As, though, on thinking on no thought I think.] We should read, as though in thinking: That is, though musing I have no distinct idea of calamity. The involuntary and unaccountable depression of the mind, which every one has sometime felt, is here very forcibly described.

Note return to page 43 5For nothing hath begot my something grief; Or something hath, the nothing that I grieve. With these lines I know not well what can be done. The Queen's reasoning, as it now stands, is this. My trouble is not conceit, for conceit is still derived from some antecedent cause, some forefather grief; but with me the case is, that either my real grief hath no real cause, or some real cause has produced a fancy'd grief. That is, my grief is not conceit, because it either has not a cause like conceit, or it has a cause like conceit. This can hardly stand. Let us try again, and read thus: For nothing hath begot my something grief; Not something hath the nothing which I grieve. That is: My grief is not conceit; conceit is an imaginary uneasiness from some past occurrence. But, on the contrary, here is real grief without a real cause; not a real cause with a fanciful sorrow. This, I think, must be the meaning; harsh at the best, yet better than contradiction or absurdity.

Note return to page 44 6'Tis in reversion that I do possess, But what it is, that is not yet known, &c.] I am about to propose an interpretation which many will think harsh, and which I do not offer for certain. To possess a man, is, in Shakespear, to inform him fully, to make him comprehend. To be possessed, is, to be fully informed. Of this sense the examples are numerous. I have possest him my most stay Can be but short. Meas. for Meas. Is he possest what sum you need. Merch. of Venice. I therefore imagine the Queen says thus: 'Tis in reversion—that I do possess. &lblank; The event is yet in futurity—that I know with full conviction—but what it is, that is not yet known. In any other interpretation she must say that she possesses what is not yet come, which, though it may be allowed to be poetical and figurative language, is yet, I think, less natural than my explanation.

Note return to page 45 7Might have retired his power.] Might have drawn it back. A French sense.

Note return to page 46 *My sorrow's dismal heir.] The authour seems to have used heir in an improper sense, an heir being one that inherits by succession, is here put for one that succeeds, though he succeeds but in order of time, not in order of descent.

Note return to page 47 8Get 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. Theobald.

Note return to page 48 *Untruth.] That is, Disloyalty, treachery.

Note return to page 49 9&lblank; the absent time,] For unprepared. Not an inelegant synecdoche. Warburton. He means nothing more than, time of the king's absence.

Note return to page 50 1And ostentation of despised arms?] But sure the ostentation of despised arms would not fright any one. We should read &lblank; disposed arms. i. e. forces in battle-array. War. This alteration is harsh. Sir T. Hanmer reads despightful. Mr. Upton gives this passage as a proof that our authour uses the passive participle in an active sense. The copies all agree. Perhaps the old Duke means to treat him with contempt as well as with severity, and to insinuate that he despises his power, as being able to master it. In this sense all is right.

Note return to page 51 *On what condition.] It should be, in what condition. That is, in what degree of guilt. The particles in the old editions are of little credit.

Note return to page 52 †Wherefore was I born?] To what purpose serves birth and lineal succession? I am Duke of Lancaster by the same right of birth as the King is king of England.

Note return to page 53 2Here is a scene so unartfully and irregularly thrust into an improper place, that I cannot but suspect it accidentally transposed; which, when the scenes were written on single pages, might easily happen, in the wildness of Shakespeare's drama. This dialogue was, in the authour's draught, probably the second scene of the ensuing act, and there I would advise the reader to insert it, though I have not ventured on so bold a change. My conjecture is not so presumptuous as may be thought. The play was not, in Shakespeare's time, broken into acts; the two editions published before his death exhibit only a sequence of scenes from the beginning to the end, without any hint of a pause of action. In a drama so desultory and erratick, left in such a state, transpositions might easily be made.

Note return to page 54 *The bay-trees, &c.] This enumeration of prodigies is in the highest degree poetical and striking.

Note return to page 55 3From mine own windows torn my houshold coat.] It was the practice, when coloured glass was in use, of which there are still some remains in old seats and churches, to anneal the arms of the family in the windows of the house.

Note return to page 56 4Thanks, 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 rhime 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 and Inattention to History. Bolingbroke is, as it were, yet but just arrived; 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 employed any Force against him Theobald. This emendation, which I think is just, has been followed by Sir T. Hanmer, but is neglected by Dr. Warburton.

Note return to page 57 *Here may be properly inserted the last scene of the second act.

Note return to page 58 5Fear not, my Lord.] Of this speech the four last lines were restored from the first edition by Mr. Pope. They were, I suppose, omitted by the players only to shorten the scenes, for they are worthy of the authour and suitable to the personage.

Note return to page 59 *Behind the globe, &c.] I should read, &lblank; the searching eye of heav'n is hid Behind the globe and lights the lower world.

Note return to page 60 6The breath of worldly men.] Here is the doctrine of indefeasible right expressed in the strongest terms, but our poet did not learn it in the reign of King James, to which it is now the practice of all writers, whose opinions are regulated by fashion or interest, to impute the original of every tenet which they have been taught to think false or foolish.

Note return to page 61 7Mine ear is open. It seems to be the design of the poet to raise Richard to esteem in his fall, and consequently to interest the reader in his favour. He gives him only passive fortitude, the virtue of a confessor rather than of a king. In his prosperity we saw him imperious and oppressive, but in his distress he is wise, patient, and pious.

Note return to page 62 8Thy very Beadsmen learn to bend their bows.] Such is the reading of all the copies, yet I doubt whether beadsmen be right, for the bow seems to be mentioned here as the proper weapon of a beadsman. The king's beadsmen were his chaplains. Trensa calls himself the beadsman of his patron. Beadsman might likewise be any men maintained by charity to pray for their benefactor. Hanmer reads the very beadsmen, but thy is better.

Note return to page 63 9Of double fatal Ewe, &lblank;] Called so, because the leaves of the Ewe are poison, and the wood is employed for instruments of death; therefore double fatal should be with an hyphen. Warburton.

Note return to page 64 1Where 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 Judas's. But how was their Peace made? Why, with the Loss of their Heads. This being explained, 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? Theobald. This emendation Dr. Warburton adopts. Hanmer leaves a blank after Wiltshire. I believe the authour rather than transcriber, made a mistake. Where is he got does not sound in my ear like an expression of Shakespeare.

Note return to page 65 2And that small model of the barren earth.] He uses model here, as he frequently does elsewhere, for part, portion. Warburton. He uses it rather for mould. That earth, which closing upon the body, takes its form. This interpretation the next line seems to authorise.

Note return to page 66 3A metaphor, not of the most sublime kind, taken from a pie.

Note return to page 67 4There the Antick sits. Here is an allusion to the antick or fool of old farces, whose chief part is to deride and disturb the graver and more splendid personages.

Note return to page 68 5Tradition.] This word seems here used in an improper sense, for traditional practices: That is, established or customary homage.

Note return to page 69 6Death destroying death.] That is, to dye fighting, is to return the evil that we suffer, to destroy the destroyers. I once read death defying death, but destroying is as well.

Note return to page 70 7I'll hate him everlastingly, That bids me be of comfort.] This sentiment is drawn from nature. Nothing is more offensive to a mind convinced that his distress is without a remedy, and preparing to submit quietly to irresistible calamity, than these petty and conjectured comforts which unskilful officiousness thinks it virtue to administer.

Note return to page 71 *For taking so the head, &lblank;] To take the head is, to act without restraint; to take undue liberties.

Note return to page 72 8See! see! King Richard doth himself appear,] The following six lines are absurdly given to Bolingbroke, who is made to condemn his own conduct and disculp the King's. It is plain these six and the four following all belong to York. Warb.

Note return to page 73 9But 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'er 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. Theobald. Shall ill become the flow'r of England's face;] By the flow'r of England's face, is meant the choicest youths of England, who shall be slaughter'd in this quarrel, or have bloody crowns. The flower of England's face, to design her choicest Youth, is a fine and noble expression. Pericles, by a similar thought, said that the destruction of the Athenian youth was a fatality like cutting off the Spring from the Year. Yet the Oxford Editor, who did not apprehend the figure, alters the line thus, “Shall misbecome the flow'ry England's face.” Which means—I know not what. Warburton. Dr. Warburton has inserted light in peace in the text of his own edition, but live in peace is more suitable to Richard's intention, which is to tell him that though he should get the crown by rebellion, it will be long before it will live in peace, be so settled as to be firm. The flow'r of England's face, is very happily explained, and any alteration is therefore needless.

Note return to page 74 1And by the bury'd hand of warlike Gaunt.] It should be read just the other way, And by the warlike hand of bury'd Gaunt. Warburt. I see no great difference.

Note return to page 75 2With words of sooth; &lblank;] Sooth is sweet as well as true. In this place sooth means sweetness or softness, a signification yet retained in the verb to sooth.

Note return to page 76 3Or 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. Theobald. Dr. Warburton has put tread in his own text, but trade will serve very well in the sense either of commerce or custom.

Note return to page 77 4&lblank; on their sovereign's head:] Shakespeare is very apt to deviate from the pathetick to the ridiculous. Had the speech of Richard ended at this line it had exhibited the natural language of submissive misery, conforming its intention to the present fortune, and calmly ending its purposes in death.

Note return to page 78 *Against a Change; woe is fore-run with woe.] But what was there, in the Gardiners' talking of State, for matter of so much woe? Besides, this is intended for a Sentence, but proves a very simple one. I suppose Shakespeare wrote, &lblank; woe is fore-run with mocks, which has some meaning in it; and signifies, that, when great Men are on the decline, their inferiors take advantage of their condition, and treat them without ceremony. And this we find to be the case in the following scene. But the Editors were seeking for a rhime. Tho' had they not been so impatient they would have found it gingled to what followed, tho' it did not to what went before. Warburton. There is no need of any emendation. The poet, according to the common doctrine of prognostication, supposes dejection to forerun calamity, and a kingdom to be filled with rumours of sorrow when any great disaster is impending. The sense is that, publick evils are always presignified by publick pensiveness, and plaintive conversation. The conceit of rhyming mocks with apricocks, which I hope Shakespeare knew better how to spell, shows that the commentator was resolved not to let his conjecture fall for want of any support that he could give it.

Note return to page 79 5&lblank; our firm state?] How could he say ours when he immediately subjoins, that it was infirm? We should read, &lblank; a firm state. Warburton.

Note return to page 80 6I would, the plants, &c. &lblank;] This expectation of the queen is somewhat ludicrous, and unsuitable to her condition; the gardener's reflexion is better adapted to the state both of his mind and his fortune. Mr. Pope, who has been throughout this play very diligent to reject what he did not like, has yet, I know not why, spared the last lines of this act.

Note return to page 81 7&lblank; his timeless end.] Timeless for untimely. Warb.

Note return to page 82 8&lblank; my fair stars,] I rather think it should be stem, he being of the royal blood. Warburton. I think the present reading unexceptionable. The birth is supposed to be influenced by the stars, therefore our authour with his usual licence takes stars for birth.

Note return to page 83 9If that thy valour stand on sympathies,] Here is a translated sense much harsher than that of stars explained in the foregoing note. Aumerle has challenged Bagot with some hesitation, as not being his equal, and therefore one whom, according to the rules of chivalry, he was not obliged to fight, as a nobler life was not to be staked in duel against a baser. Fitzwalter then throws down his gage a pledge of battle, and tells him that if he stands upon sympathies, that is, upon equality of blood, the combat is now offered him by a man of rank not inferiour to his own. Sympathy is an affection incident at once to two subjects. This community of affection implies a likeness or equality of nature, and thence our poet transferred the term to equality of blood.

Note return to page 84 1&lblank; my rapier's point.] Shakespeare deserts the manners of the age in which his drama is placed very often, without necessity or advantage. The edge of a sword had served his purpose as well as the point of a rapier, and he had then escaped the impropriety of giving the English nobles a weapon which was not seen in England till two centuries afterwards.

Note return to page 85 *This speech I have restored from the first edition in humble imitation of former editors, though, I believe, against the mind of the authour. For the earth I suppose we should read, thy oath.

Note return to page 86 2I dare meet Surrey in a wilderness.] I dare meet him where no Help can be had by me against him. So in Macbeth, &lblank; O be alive again, And dare me to the desert with thy sword.

Note return to page 87 3In this new world.] In this world where I have just begun to be an actor. Surrey has, a few Lines above, called him boy.

Note return to page 88 4Yet best beseeming me to speak the truth.] It might be read more grammatically, Yet best beseems it me to speak the truth. But I do not think it is printed otherwise than as Shakespeare wrote it.

Note return to page 89 5And shall the figure, &c.] Here is another proof that our authour did not learn in King James's court his elevated notions of the right of kings. I know not any flatterer of the Stuarts who has expressed this doctrine in much stronger terms. It must be observed that the Poet intends from the beginning to the end to exhibit this bishop as brave, pious, and venerable.

Note return to page 90 6His day of trial.] After this line, whatever follows, almost to the end of the act, containing the whole process of dethroning and debasing King Richard, was added after the first edition of 1598, and before the second of 1615. Part of the addition is proper, and part might have been forborn without much loss. The authour, I suppose, intended to make a very moving scene.

Note return to page 91 7The favours.] The countenances; the features

Note return to page 92 8The emptier ever dancing.] This is a comparison not easily accommodated to the subject, nor very naturally introduced. The best part is this line, in which he makes the usurper the empty bucket.

Note return to page 93 9My care, is loss of care, by old care done] Shakespeare often obscures his meaning by playing with sounds. Richard seems to say here, that his cares are not made less by the increase of Bolingbroke's cares, for this reason, that his care is the loss of care, his grief is, that his regal cares are at an end, by the cessation of the care to which he had been accustomed.

Note return to page 94 1My Balm.] The oil of consecration. He has mentioned it before.

Note return to page 95 2If thou would'st.] That is, if thou would'st read over a list of thy own deeds.

Note return to page 96 3A Sort] A pack, a company. Warburton. The last who used the word sort in this sense was, perhaps, Waller. A sort of lusty shepherds strive.

Note return to page 97 4Conveyers are ye all.] To convey is a term often used in an ill sense, and so Richard understands it here. Pistol says of stealing, convey the wise it call; and to convey is the word for slight of hand, which seems to be alluded to here. Ye are all, says the deposed Prince, jugglers who rise with this nimble dexterity by the fall of a good king.

Note return to page 98 5As sharp as thorn.] This pathetick denunciation shews that Shakespeare intended to impress his auditors with dislike of the deposal of Richard.

Note return to page 99 *To bury, to conceal; to keep secret.

Note return to page 100 6In the first edition there is no personal appearance of King Richard, so that all to the line at which he leaves the stage was inserted afterwards.

Note return to page 101 7To Julius Cæsar's, &c.] The Tower of London is traditionally said to have been the work of Julius Cæsar.

Note return to page 102 8Here let us rest, if, &c.] Here rest, if any rest can harbour here. Milton.

Note return to page 103 9&lblank; O thou, the model where old Troy did stand.] The Queen uses comparative terms absolutely. Instead of saying, Thou who appearest as the ground on which the magnificence of Troy was once erected, she says, O thou, the model, &c. Thou map of honour. Thou picture of greatness.

Note return to page 104 *Join not with grief,] Do not thou unite with grief against me; do not, by thy additional sorrows, enable grief to strike me down at once. My own part of sorrow I can bear, but thy affliction will immediately destroy me.

Note return to page 105 1&lblank; I am sworn brother, To grim necessity; &lblank;] I have reconciled myself to necessity, I am in a state of amity with the constraint which I have sustained.

Note return to page 106 2&lblank; to quit their grief.] To retaliate their mournful stories.

Note return to page 107 3For why? &lblank;] The poet should have ended this speech with the foregoing line, and have spared his childish prattle about the fire.

Note return to page 108 4Better far off, than near, be ne'er the near,] To be never the nigher, or as it is commonly spoken in the mid land counties, ne'er the ne-er, is, to make no advance towards the good desired.

Note return to page 109 5Are idly bent &lblank;] That is, carelesly turned, thrown without attention. This the poet learned by his attendance and practice on the stage.

Note return to page 110 *&lblank; bear you well] That is, conduct yourself with prudence.

Note return to page 111 †Yea, look'st thou pale? let me see the Writing.] Such harsh and defective lines as this, are probably corrupt, and might be easily supplied, but that it would be dangerous to let conjecture look on such slight occasions.6Q0142

Note return to page 112 *This is a very proper introduction to the future character of Henry the fifth, to his debaucheries in his youth, and his greatness in his manhood.

Note return to page 113 6In former copies, Thy Overflow of Good converts to Bad;] This is the Reading of all the printed Copies in general; and I never 'till lately suspected its being faulty. The Reasoning is disjointed, and inconclusive: My Emendation makes it clear and of a Piece. “Thy Overflow of Good changes the Complexion of thy Son's Guilt; and thy Goodness, being so abundant, shall excuse his Trespass.” Theobald.

Note return to page 114 7The King and Beggar seems to have been an interlude well known in the time of our authour, who has alluded to it more than once. I cannot now find that any copy of it is left.

Note return to page 115 8&lblank; Pardonnez moy.] That is, excuse me, a phrase used when any thing is civilly denied. This whole passage is such as I could well wish away.

Note return to page 116 9But for our trusty Brother-in-law—the Abbot &lblank;] 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. Theobald.

Note return to page 117 1&lblank; with sighs they jar, Their watches, &c. &lblank;] I think this expression must be corrupt, but I know not well how to make it better. The first quarto reads, My thoughts are minutes; and with sighs they jar, There watches to mine eyes the outward watch. The second quarto: My thoughts are minutes, and with sighs they jar, There watches on unto mine eyes the outward watch. The first folio agrees with the second quarto. Perhaps out of these two readings the right may be made. Watch seems to be used in a double sense for a quantity of time, and for the instrument that measures time. I read, but with no great confidence, thus: My thoughts are minutes, and with sighs they jar, Their watches on; mine eyes the outward watch, Whereto, &c.

Note return to page 118 2&lblank; in this all-hating world.] We should read fall-hating, i. e. Love to Richard is a very rare jewel, in a world that shuns and avoids those who are fallen, or in misfortunes. Warburton. I believe the meaning is, this world in which I am universally hated.6Q0143

Note return to page 119 3Where 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 Dr. 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. Theobald. Dr. Warburton says peremptorily, read Drudge but I still persist in the old reading.

Note return to page 120 *This play is extracted from the Chronicle of Hollingshead, in which many passages may be found which Shakespeare has, with very little alteration, transplanted into his scenes; particularly a speech of the bishop of Carlisle in defence of King Richard's unalienable right, and immunity from human jurisdiction. Johnson, who, in his Catiline and Sejanus, has inserted many speeches from the Roman historians, was, perhaps, induced to that practice by the example of Shakespeare, who had condescended sometimes to copy more ignoble writers. But Shakespeare had more of his own than Johnson, and, if he sometimes was willing to spare his labour, shewed by what he performed at other times, that his extracts were made by choice or idleness rather than necessity. This play is one of those which Shakespeare has apparently revised; but as success in works of invention is not always proportionate to labour, it is not finished at last with the happy force of some other of his tragedies, nor can be said much to affect the passions, or enlarge the understanding.

Note return to page 121 The persons of the drama were first collected by Rowe.

Note return to page 122 Of this play the Editions are, I. 1599, S. S. for And. Wise. II. 1604. III. 1608, for Matthew Law. IV. 1613, W. W. for Matt. Law. V. 1622, T. P. sold by Matthew Law. All in quarto. VI. Folio 1623. VII. 4to 1639, John Norton, sold by Hugh Perry. VIII. Folio 1632, &c. Of these Editions I have the I. V. VI. VII. VIII.

Note return to page 123 1The 1st Part of Henry IV.] The Transactions, contained 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 happened on Saturday the 21st of July (the Eve of St. Mary Magdalen) in the Year 1403. Theobald. Shakespeare has apparently designed a regular connection of these dramatick histories from Richard the second to Henry the fifth. King Henry, at the end of Richard the second, declares his purpose to visit the Holy Land, which he resumes in this speech. The complaint made by king Henry in the last act of Richard the second, of the wildness of his son, prepares the reader for the frolicks which are here to be recounted, and the characters which are now to be exhibited.

Note return to page 124 2Find we a time for frighted peace to pant, And breathe short-winded accents &lblank;] That is, Let us soften peace to rest a while without disturbance, that she may recover breath to propose new wars.

Note return to page 125 3No more the thirsty entrance of this Soil Shall damp her lips with her own children's blood:] This nonsense should be read; Shall trempe, i. e. moisten, and refers to thirsty, in the preceding line: Trempe, from the French, tremper, properly signifies the moistness made by rain. Warb. That these lines are absurd is soon discovered, but how this nonsense will be made sense is not so easily told; surely not by reading trempe, for what means he, that says, the thirsty entrance of this Soil shall no more trempe her lips with her children's blood, more than he that says it shall not damp her lips? To suppose the entrance of the soil to mean the entrance of a King upon Dominion, and King Henry to predict that Kings shall enter hereafter without bloodshed, is to give words such a latitude of meaning, that no nonsense can want a congruous interpretation. The antient copies neither have trempe nor damp; the first 4to of 1599, that of 1622, the Folio of 1623, and the 4to of 1639, all read, No more the thirsty entrance of this soil Shall daube her lips with her own children's blood. The Folios of 1632 and 1664 read, by an apparent errour of the press; Shall damb her lips, from which the later editors have idly adopted damp. The old reading helps the editor no better than the new, nor can I satisfactorily reform the passage. I think that thirsty entrance must be wrong, yet know not what to offer. We may read, but not very elegantly, No more the thirsty entrails of this soil Shall daubed be with her own children's blood. The relative her, is inaccurately used in both readings; but to regard sense more than grammar is familiar to our authour. We may suppose a verse or two lost between these two lines. This is a cheap way of palliating an editor's inability; but I believe such omissions are more frequent in Shakespeare than is commonly imagined.

Note return to page 126 4&lblank; Those opposed eyes,] The similitude is beautiful: But, what are eyes meeting in intestine shocks, and marching all one way? The true reading is, files; which appears not only from the integrity of the metaphor, well beseeming ranks march all one way; but from the nature of those meteors to which they are compared; namely long streaks of red, which represent the lines of armies; the appearance of which, and their likeness to such lines, gave occasion to all the superstition of the common people concerning armies in the air, &c. Out of mere contradiction, the Oxford Editor would improve my alteration of files to arms, and so loses both the integrity of the metaphor and the likeness of the comparison. Warburt. This passage is not very accurate in the expression, but I think nothing can be changed.

Note return to page 127 5As far as to the sepulchre, &c.] The lawfulness and justice of the holy wars have been much disputed; but perhaps there is a principle on which the question may be easily determined. If it be part of the religion of the Mahometans, to extirpate by the sword all other religions, it is, by the law of self defence, lawful for men of every other religion, and for Christians among others, to make war upon Mahometans, simply as Mahometans, as men obliged by their own principles to make war upon Christians, and only lying in wait till opportunity shall promise them success.

Note return to page 128 6&lblank; this dear expedience.] For expedition. Warburton.

Note return to page 129 7And many limits &lblank;] Limits for estimates. Warburt.

Note return to page 130 8Which makes him prune himself, &lblank;] Doubtless Shakespeare wrote plume. And to this the Oxford Editor gives his fiat. Warburton. I am not so confident as those two editors. The metaphor is taken from a cock who in his pride prunes himself; that is, picks off the loose feathers to smooth the rest. To prune and to plume, spoken of a bird, is the same.

Note return to page 131 9Than out of anger can be uttered.] That is, More is to be said than anger will suffer me to say: More than can issue from a mind disturbed like mine.

Note return to page 132 1To demand that truly, which thou wouldst truly know.] The Prince's objection to the question seems to be, that Falstaff had asked in the night what was the time of day.

Note return to page 133 2In former editions, 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 called Thieves of the Day's Beauty? They robbed by Moonshine; they could not steal the fair Day-light. I have ventured to substitute, Booty: and this I take to be the Meaning. Let us not be called Thieves, the Purloiners of that Booty, which, to the Proprietors, was the Purchase of honest Labour and Industry by Day. Theobald.

Note return to page 134 3got with swearing, lay by;] i. e. swearing at the passengers they robbed, lay by your arms; or rather, lay by was a phrase that then signified stand still, addressed to those who were preparing to rush forward. But the Oxford Editor kindly accommodates these old thieves with a new cant phrase, taken from Bag-shot-Heath or Finchly-Common, of lug out. Warburton.

Note return to page 135 4As the Honey of Hybla, my Old Lad of the Castle.] Mr. Rowe took notice of a Tradition, that this Part of Falstaff was written originally under the Name of Oldcastle. An ingenious Correspondent 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, 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 die of a Sweat, unless already he be killed 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, called, 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 called 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 Henry V: and consequently, 'tis not improbable, that he might continue the mention of Sir John Oldcastle, till some Descendants of that Family moved Queen Elizabeth to command him to change the Name. Theobald. my old lad of the castle;] This alludes to the name Shakespear first gave to this buffoon character, which was Sir John Oldcastle: And when he changed the name, he forgot to strike out this expression that alluded to it. The reason of the change was this, one Sir John Oldcastle having suffered in the time of Henry V. for the opinions of Wickliffe, it gave offence; and therefore the Poet altered it to Falstaff, and endeavours to remove the scandal, in the Epilogue to the second part of Henry IV. Fuller takes notice of this matter in his Church History,—Stage-Poets have themselves been very bold with, and others very merry at, the memory of Sir John Oldcastle, whom they have fancied a boon companion, a jovial royster, and a coward to boot. The best is, Sir John Falstaff hath relieved the memory of Sir John Oldcastle, and of late is substituted buffoon in his place. Book 4. p. 168. But, to be candid, I believe there was no malice in the matter. Shakespear wanted a droll name to his character, and never considered whom it belonged to: we have a like instance in the Merry Wives of Windsor, where he calls his French Quack, Caius, a name, at that time, very respectable, as belonging to an eminent and learned physician, one of the founders of Caius College in Cambridge. Warburton.

Note return to page 136 5And is not a buff-jerkin a most sweet robe of durance?] To understand the propriety of the Prince's answer, it must be remarked that the sheriff's officers were formerly clad in buff. So that when Falstaff asks whether his hostess is not a sweet wench, the Prince asks in return, whether it will not be a sweet thing to go to prison by running in debt to this sweet wench.

Note return to page 137 6For obtaining of suits.] Suit, spoken of one that attends at court, means a petition; used with respect to the hangman, means the cloaths of the offender.

Note return to page 138 7A Gib-cat means, I know not why, an old cat.

Note return to page 139 8The melancholy of Moor-ditch I do not understand, unless it may allude to the croaking of frogs.

Note return to page 140 9The most comparative.] Sir T. Hanmer, and Dr. Warburton after him, read, incomparative, I suppose for incomparable, or peerless, but comparative here means quick at comparisons, or fruitful in similies, and is properly introduced.

Note return to page 141 1O, thou hast, &c.] For iteration Sir T. Hanmer and Dr. Warburton read attraction, of which the meaning is certainly more apparent; but an Editor is not always to change what he does not understand. In the last speech a text is very indecently and abusively applied, to which Falstaff answers, thou hast damnable iteration, or, a wicked trick of repeating and applying holy texts. This I think is the meaning.

Note return to page 142 2In former Editions: 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 applied 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 escaped all the Editors here, as any 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. Theobald. Mr. Theobald has fastened on an observation made by Pope, hyperbolical enough, but not contradicted by the erroneous reading in this place, the speech not being so characteristick as to be infallibly applied to the speaker. Theobald's triumph over the other Editors might have been abated by a confession, that the first edition gave him at least a glimpse of the emendation.

Note return to page 143 3The present reading may perhaps be right, but I think it necessary to remark, that all the old Editions read, if thou darest not stand for ten shillings.

Note return to page 144 4In former editions: Falstaff, Harvey, Rossil, and Gads-hill shalt rob these men that we have already way-laid.] Thus We have two Persons named, as Characters in this Play, that never were among the Dramatis Personæ. But let us see who they were, that committed this Robbery. In the second Act, we come to a Scene of the High-way. Falstaff, wanting his Horse, calls out on Hal, Poins, Bardolph, and Peto. 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 concerned are Falstaff, Bardolph, Peto, and Gads-hill. Accordingly, the Robbery is committed: and the Prince and Poins afterwards rob these Four. In the Boar's-Head Tavern, the Prince rallies Peto and Bardolph for their running away; who confess the Charge. Is it not plain, that Bardolph, and Peto were two of the four Robbers? And who then can doubt, but Harvey and Rossil were the Names of the Actors. Theobald.

Note return to page 145 5Reproof is confutation.

Note return to page 146 6&lblank; shall I falsify men's hopes;] Just the contrary. We should read fears. Warburton. To falsify hope is to exceed hope, to give much where men hoped for little. This speech is very artfully introduced to keep the Prince from appearing vile in the opinion of the audience; it prepares them for his future reformation, and, what is yet more valuable, exhibits a natural picture of a great mind offering excuses to itself, and palliating those follies which it can neither justify nor forsake.

Note return to page 147 7I will from henceforth rather be myself, Mighty and to be fear'd, than my Condition;] i. e. I will from henceforth rather put on the character that becomes me, and exert the resentment of an injured King, than still continue in the inactivity and mildness of my natural disposition. And this sentiment he has well expressed, save that by his usual licence, he puts the word condition for disposition: which use of terms depaising our Oxford Editor, as it frequently does, he in a loss for the meaning, substitutes in for than, Mighty and to be fear'd in my condition. So that by condition, in this reading, must be meant station, office. But it cannot be predicated of station and office, that it is smooth as oyl, soft as young down: which shews that condition must needs be licentiously used for disposition, as we said before. Warb. The commentator has well explained the sense which was not very difficult, but is mistaken in supposing the use of condition licentious. Shakespeare uses it very frequently for temper of mind, and in this sense the vulgar still say a good or ill-conditioned man.

Note return to page 148 8The moody frontier &lblank;] This is nonsense. We should read frontlet, i. e. forehead. Warburton. So in Lear, when one of the King's daughters frowns, he tells her of her frontlet. All the editions read frontier in this place. May it not mean, Majesty will not endure the moody brow of a servant to border upon it, to be near it? Shakespeare has licences equal to this.

Note return to page 149 9At harvest home.] That is, at a time of festivity.

Note return to page 150 1A pouncet-box, &lblank;] A small box for musk or other perfumes then in fashion: The lid of which being cut with open work gave it its name; from poinsoner, to prick, pierce, or engrave. Warburton.

Note return to page 151 2I, then all smarting with my wounds being cold, (To be so pester'd with a popinjay)] But in the beginning of the Speech he represents himself at this time not as cold but hot, and inflamed with rage and labour. “When I was dry with rage and extreme toil, &c. I am persuaded therefore that Shakespear wrote and pointed it thus, “I then all smarting with my wounds; being gal'd “To be so pester'd with a popinjay, &c. Warburton. Whatever Percy might say of his rage and toil, which is merely declamatory and apologetical, his wounds would at this time be certainly cold, and when they were cold would smart, and not before. If any alteration were necessary I should transpose the lines. I then all smarting with my wounds being cold, Out of my grief, and my impatience, To be so pester'd with a popinjay, Answer'd neglectingly. A popinjay is a parrot.

Note return to page 152 3To do him wrong, or anyway impeach What then he said, so he unsay it now.] Let us consider the whole passage, which, according to the present reading, bears this literal sense. “Whatever Percy then said may reasonably die and never rise to impeach what he then said, so he unsay it now.” This is the exact sense, or rather nonsense, which the passage makes in the present reading. It should therefore, without question, be thus printed and emended, To do him wrong, or any way impeach. What then he said, see, he unsays it now. i. e. “Whatever Percy then said may reasonably die, and never rise to do him wrong or any ways impeach him. For see, my Liege, what he then said, he now unsays.” And the King's answer is pertinent to the words, as so emended.— why, yet he doth deny his prisoners, but with proviso, &c. implying, “you are mistaken in saying, see he now unsays it.” But the answer is utterly impertinent to what preceeds in the common reading. Warburton. The learned commentator has perplexed the passage. The construction is, Let what he then said never rise to impeach him so he unsay it now.

Note return to page 153 4&lblank; and indent with fears.] The reason why he says, bargain and article with fears, meaning with Mortimer, is, because he supposed Mortimer had wilfully betrayed his own forces to Glendower out of fear, as appears from his next Speech. No need therefore to change fears to foes, as the Oxford Editor has done. Warburton. The difficulty seems to me to arise from this, that the King is not desired to article or contract with Mortimer, but with another for Mortimer. Perhaps we may read, Shall we buy treason? and indent with peers, When they have lost and forfeited themselves? Shall we purchase back a traytor? Shall we descend to a composition with Worcester, Northumberland, and young Percy, who by disobedience have lost and forfeited their honours and themselves.

Note return to page 154 5He never did fall off, my sovereign Liege, But by the chance of war; &lblank;] A poor apology for a soldier, and a man of honour, that he fell off, and revolted by the chance of war. The Poet certainly wrote, But 'bides the chance of war. i. e. he never did revolt, but abides the chance of war, as a prisoner. And if he still endured the rigour of imprisonment, that was a plain proof he was not revolted to the enemy. Hot-spur says the same thing afterwards, &lblank; suffer'd his kinsman March &lblank; to be encag'd in Wales. Here again the Oxford Editor makes this correction his own, at the small expence of changing 'bides to bore. Warburton. The plain meaning is, he came not into the enemy's power but by the chance of war. To 'bide the chance of war may well enough signify to stand the hazard of a battle, but can scarcely mean to endure the severities of a prison. The King charged Mortimer that he wilfully betrayed his army, and, as he was then with the enemy, calls him revolted Mortimer. Hot-spur replies, that he never fell off, that is, fell into Glendower's hands, but by the chance of war. I should not have explained thus tediously a passage so hard to be mistaken; but that two Editors have already mistaken it.

Note return to page 155 6&lblank; to prove that true, Needs no more but one tongue, For all those wounds, &c.] This passage is of obscure construction. The later editors point it, as they understood that for the wounds a tongue was needful, and only one tongue. This is harsh. I rather think it is a broken sentence. To prove the loyalty of Mortimer, says Hot-spur, one speaking witness is sufficient, for his wounds proclaim his loyalty, those mouthed wounds, &c.

Note return to page 156 7Who then affrighted, &c.] This passage has been censured as sounding nonsense, which represents a stream of water as capable of fear. It is misunderstood. Severn is here not the flood but the tutelary power of the flood, who was frighted, and hid his head in the hollow bank.

Note return to page 157 8Never did bare and rotten policy.] All the quarto's which I have seen read bare in this place. The first folio, and all the subsequent editions, have base. I believe bare is right: never did policy lying open to detection so colour its workings.

Note return to page 158 9&lblank; but, sirrah, from this hour.] The Oxford Editor is a deal more courtly than his old plain Elizabeth author. He changes sirrah therefore to Sir: And punctilios of this kind he very carefully discharges throughout his edition: which it may be enough once for all just to have taken notice of. Warburton.

Note return to page 159 1Although it be with hazard, &c.] So the first folio, and all the following editions. The quarto's read, Although I make a hazard of my head.

Note return to page 160 2But I will lift the downfall'n Mortimer] The quarto of 1599 reads down-trod Mortimer: which is better. Warb. All the quartos that I have seen read down-trod, the three folios read downfall.

Note return to page 161 3An eye of death.] That is, an eye menacing death. Hot-spur seems to describe the King as trembling with rage rather than fear.

Note return to page 162 *Disdain'd for disdainful.

Note return to page 163 4On the unsteadfast footing of a spear.] i. e. of a spear laid across. Warburton.

Note return to page 164 5By heav'n, methinks, &c.] Gildon, a critic of the size of Dennis, &c. calls this speech, without any ceremony, a ridiculous rant and absolute madness. Mr. Theobald talks in the same strain. The French critics had taught these people just enough to understand where Shakespear had transgressed the rules of the Greek tragic writers; and on those occasions, they are full of the poor frigid cant, of fable, sentiment, diction, unities, &c. But it is another thing to get to Shakespear's sense: to do this required a little of their own. For want of which, they could not see that the poet here uses an allegorical covering to express a noble and very natural thought. —Hot-spur, all on fire, exclaims against huckstering and bartering for honour, and dividing it into shares. O! says he, could I be sure that when I had purchased honour I should wear her dignities without a Rival—what then? why then, By heav'n, methinks, it were an easy leap, To pull bright honour from the pale fac'd Moon: i. e. tho' some great and shining character in the most elevated orb, was already in possession of her, yet it would, methinks, be easy by greater acts, to eclipse his glory, and pluck all his honours from him; Or dive into the bottom of the deep, And pluck up drowned honour by the locks: i. e. or what is still more difficult, tho' there were in the world no great examples to incite and fire my emulation, but that honour was quite sunk and buried in oblivion, yet would I bring it back into vogue, and render it more illustrious than ever. So that we see, tho' the expression be sublime and daring, yet the thought is the natural movement of an heroic mind. Euripides at least thought so, when he put the very same sentiment, in the same words, into the mouth of Eteocles—I will not, madam, disguise my thoughts; I could scale heaven, I could descend to the very entrails of the earth, if so be that by that price I could obtain a kingdom. Warburton. Though I am very far from condemning this speech with Gildon and Theobald as absolute madness, yet I cannot find in it that profundity of reflection and beauty of allegory which the learned commentator has endeavoured to display. This sally of Hot-spur may be, I think, soberly and rationally vindicated as the violent eruption of a mind inflated with ambition and fired with resentment; as the boastful clamour of a man able to do much, and eager to do more; as the hasty motion of turbulent desire; as the dark expression of indetermined thoughts. The passage from Euripides is surely not allegorical, yet it is produced, and properly, as parallel.

Note return to page 165 6But out upon this half-fac'd fellowship!] I think this finely expressed. The image is taken from one who turns from another, so as to stand before him with a side face; which implied neither a full consorting, nor a separation. Warb. I cannot think this word rightly explained. It alludes rather to dress. A coat is said to be faced when part of it, as the sleeves or bosom, is covered with something finer and more splendid than the main substance. The mantua-makers still use the word. Half-fac'd fellowship is then partnership but half adorned, partnership which yet wants half the shew of dignities and honours.

Note return to page 166 *&lblank; a world of figures here, &c.] Figure is used here equivocally. As it is applied to Hotspur's speech it is a rhetorical mode; as opposed to form, it means appearance or shape.

Note return to page 167 7And that same sword-and-buckler Prince of Wales.] A Royster, or turbulent fellow, that fought in the taverns, or raised disorders in the streets, was called a swash-buckler. In this sense sword-and-buckler is used here.

Note return to page 168 *Alluding to what passed in King Richard, Act II. Sc. IX.

Note return to page 169 8I speak not this in estimation,] Estimation for conjecture. But between this and the foregoing verse it appears there were some lines which are now lost. For, consider the sense. What was it that was ruminated, plotted, and set down? Why, as the text stands at present, that the Archbishop bore his brother's death hardly. It is plain then that they were some consequences of that resentment which the speaker informed Hot-spur of, and to which his conclusion of, I speak not this by conjecture but on good proof, must be referred. But some player, I suppose, thinking the speech too long, struck them out. Warburton. If the Editor had, before he wrote his note, read ten lines forward, he would have seen that nothing is omitted. Worcester gives a dark hint of a conspiracy. Hot-spur smells it, that is, guesses it. Northumberland reproves him for not suffering Worcester to tell his design. Hot-spur, according to the vehemence of his temper, still follows his own conjecture.

Note return to page 170 *To let slip is, to loose the greyhound.

Note return to page 171 *A head is a body of forces.

Note return to page 172 9This is a natural description of the state of mind between those that have conferred, and those that have received, obligations too great to be satisfied. That this would be the event of Northumberland's disloyalty was predicted by King Richard in the former play.

Note return to page 173 1out of all cess.] The Oxford Editor not understanding this phrase, has alter'd it to—out of all case. As if it were likely that a blundering transcriber should change so common a word as case for cess? which, it is probable, he understood no more than this critic; but it means out of all measure: the phrase being taken from a cess, tax or subsidy; which being by regular and moderate rates, when any thing was exorbitant, or out of measure, it was said to be, out of all cess. Warburton.

Note return to page 174 2as dank.] i. e. wet, rotten. Pope.

Note return to page 175 3Botts are worms in the stomach of a horse.

Note return to page 176 4like a Loach.] Scotch, a lake. Warburton.

Note return to page 177 5And two Razes of Ginger.] As our Author in several Passages mentions a Race of Ginger, I thought proper to distinguish it from the Raze mentioned here. The former signifies no more than a single Root of it; but a Raze is the Indian Term for a Bale of it. Theobald.

Note return to page 178 6Franklin is a little gentleman.

Note return to page 179 7St. Nicholas' clarks,] St. Nicholas was the Patron Saint of scholars: And Nicholas, or Old Nick, is a cant name for the Devil. Hence he equivocally calls robbers, St Nicholas's clarks. Warburton.6Q0145

Note return to page 180 8&lblank; I am joined with no foot-land-rakers, &lblank;] That is, with no padders, no wanderers on foot. No long-staff six-penny strikers, no fellows that infest the road with long staffs and knock men down for sixpence. None of those mad mustachio purple hued maltworms, none of those whose faces are red with drinking ale.

Note return to page 181 9&lblank; 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. To Mr. Pope's second Conjecture, of cunning Men that look sharp and aim well, I have nothing to reply seriously: but chuse to drop it. The Reading which I have 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. Theobald. This is a very acute and judicious attempt at emendation, and is not undeservedly adopted by Dr Warburton. Sir Thomas Hanmer reads great owners, not without equal or greater likelihood of truth. I know not however whether any change is necessary; Gadshill tells the Chamberlain that he is joined with no mean wretches, but with burgomasters and great ones, or as he terms them in merriment by a cant termination, great-oneyers, or greatone-eers, as we say privateer, auctioneer, circuiteer. This is I fancy the whole of the matter.

Note return to page 182 1&lblank; such as will strike sooner than speak; and speak sooner than drink; and drink sooner than pray; &lblank;] According to the specimen given us in this play, of this dissolute gang, we have no reason to think they were less ready to drink than speak. Besides, it is plain, a natural gradation was here intended to be given of their actions, relative to one another. But what has speaking, drinking and praying to do with one another? We should certainly read think in both places instead of drink; and then we have a very regular and humourous climax. They will strike sooner than speak; and speak sooner than think; and think sooner than pray. By which last words is meant, that Tho' perhaps they may now and then reflect on their crimes, they will never repent of them. The Oxford Editor has dignified this correction by his adoption of it. Warburton.

Note return to page 183 2She will, she will; justice hath liquor'd her.] A Satire on chicane, in courts of justice; which supports ill men in their violations of the law, under the very cover of it. Warburton.

Note return to page 184 3&lblank; we have the receipt of Fern-seed, &lblank;] Fern is one of those plants which have their seed on the back of the leaf so small as to escape the sight. Those who perceived that fern was propagated by semination and yet could never see the seed, were much at a loss for a solution of the difficulty; and as wonder always endeavours to augment itself, they ascribed to Fern-seed many strange properties, some of which the rustick virgins have not yet forgotten or exploded.

Note return to page 185 *&lblank; Homo is a name, &c.] Gadshill had promised as he was a true man, the chamberlain wills him to promise rather as he is a false thief; to which Gadshill answers, that though he might have reason to change the word true, he might have spared man, for homo is a name common to all men, and among others to thieves.

Note return to page 186 4&lblank; four foot by the square] The thought is humourous, and alludes to his bulk: Insinuating, that his legs being four foot asunder, when he advanced four foot, this put together made four foot square. Warburton. I am in doubt whether there is so much humour here as is suspected: four foot by the square is probably no more than four foot by a rule.

Note return to page 187 5&lblank; medicines to make me love him,] Alluding to the vulgar notion of love-powder.

Note return to page 188 6&lblank; rob a foot further.] This is only a slight errour which yet has run through all the copies. We should read rub a foot. So we now say rub on.

Note return to page 189 7To colt is, to fool, to trick, but the prince taking it in another sense opposes it by uncolt, that is, unhorse.

Note return to page 190 8&lblank; heir-apparent garters;] Alluding to the order of the garter, in which he was enrolled as heir apparent.

Note return to page 191 9Bardolph—What news.] In all the copies that I have seen Poins is made to speak upon the entrance of Gads-hill thus, O, 'tis our Setter, I know his voice.—Bardolph, What news? This is absurd; he knows Gads-hill to be the setter, and asks Bardolph what news. To countenance this impropriety, the later editions have made Gads-hill and Bardolph enter together, but the old copies bring in Gads-hill alone, and we find that Falstaff, who knew their stations, calls to Bardolph among others for his horse, but not to Gads-hill who was posted at a distance. We should therefore read, Poins. O 'tis our setter, &c. Bard. What news? Gadsh. Case ye, &c.

Note return to page 192 1For frontiers Sir Thomas Hanmer, and after him Dr. Warburton, read very plausibly fortins.

Note return to page 193 2And thus hath so bestir'd &lblank;] Perhaps, And thought hath so disturb'd.6Q0146

Note return to page 194 3Out, you mad-headed ape!] This and the following speech of the lady are in the early editions printed as prose; those editions are indeed in such cases of no great authority, but perhaps they were right in this place, for some words have been left out to make the metre.

Note return to page 195 4Hot. Away, away, you trifler:—love! I love thee not,] This I think would be better thus, Hot. Away, you trifler. Lady. Love! Hot. I love thee not. This is no time, go.

Note return to page 196 5&lblank; mammets,] Puppets.

Note return to page 197 6&lblank; Corinthian,] A wencher.

Note return to page 198 7under-skinker,] A tapster; an under-drawer. Skink is drink, and a skinker is one that serves drink at table.

Note return to page 199 8Enter Francis the drawer.] This scene, helped by the distraction of the drawer, and grimaces of the prince, may entertain upon the stage, but afford not much delight to the reader. The authour has judiciously made it short.

Note return to page 200 9The prince intends to ask the drawer whether he will rob his master whom he denotes by many contemptuous distinctions, of which all are easily intelligible but puke-stocking, which may have indeed a dirty meaning, but it is not the meaning here intended, for the prince designs to mention the materials of the stocking. There is something wrong which I cannot rectify.

Note return to page 201 1&lblank; brown bastard &lblank;] Bastard was a kind of sweet wine. The prince finding the drawer not able, or not willing to understand his instigation, puzzles him with unconnected prattle, and drives him away.

Note return to page 202 2&lblank; I am not yet of Percy's mind,] The drawer's answer had interrupted the prince's train of discourse. He was proceeding thus, I am now of all humours that have shewed themseves humours —I am not yet of Percy's mind. That is, I am willing to indulge myself in gaity and frolick, and try all the varieties of human life. I am not yet of Percy's mind, who thinks all the time lost that is not spent in bloodshed, forgets decency and civility, and has nothing but the barren talk of a brutal soldier.

Note return to page 203 3Ribi, that is, drink. Hanmer. All the former editions have rivo, which certainly had no meaning, but yet was perhaps the cant of English taverns.

Note return to page 204 4&lblank; 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 Reflection of his own 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 Similie 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.” Theobald. Didst thou never see Titan kiss a dish of butter? pitiful-hearted Titan! that melted at the sweet tale of the Sun?] This perplexes Mr. Theobald; he calls it nonsense, and indeed, having made nonsense of it, changes it to pitiful-hearted Butler. But the common reading is right: And all that wants restoring is a parenthesis into which (pitiful-hearted Titan!) should be put. Pitiful-hearted means only amorous, which was Titan's character: the pronoun that refers to butter. But the Oxford Editor goes still further, and not only takes without ceremony, Mr. Theobald's bread and butter, but turns tale into face; not perceiving that the heat of the Sun is figuratively represented as a love-tale, the poet having before called him pitiful-hearted, or amorous. Warburton.

Note return to page 205 5&lblank; here's lime in this sack too; there is nothing but roguery to be found in villainous man;] Sir Richard Hawkins, one of Queen Elizabeth's sea-captains, in his voyages, p. 379. says, Since the Spanish sacks have been common in our taverns, which for conservation are mingled with lime in the making, our nation complains of calentures, of the stone, the dropsy, and infinite other distempers not heard of before this wine came into frequent use. Besides, there is no year that it wasteth not two millions of crowns of our substance by conveyance into foreign countries. This latter, indeed, was a substantial evil. But as to lime's giving the stone, this sure must be only the good old man's prejudice; since in a wiser age by far, an old woman made her fortune, by shewing us that lime was a cure for the stone. Sir John Falstaff, were he alive again, would say she deserved it, for satisfying us that we might drink sack in safety: But that liquor has been long since out of date. I think Lord Clarendon, in his Apology, tells us, That sweet wines before the Restoration, were so much to the English taste, that we engrossed the whole product of the Canaries; and that not a pipe of it was expended in any other country in Europe. But the banished Cavaliers brought home with them the goust for French wines, which has continued ever since; and from whence, perhaps, we may more truly date the greater frequency of the stone. Warb.

Note return to page 206 6&lblank; I would, I were a weaver; I could sing psalms, &c.] In the persecutions of the protestants in Flanders under Philip II. those who came over into England on that occasion, brought with them the woollen manufactory. These were Calvinists, who were always distinguished for their love of psalmody. Warburton. In the first editions the passage is read thus, I could sing psalms or any thing. In the first folio thus, I could sing all manner of songs. Many expressions bordering on indecency are found in the first editions, which are afterwards corrected. The reading of the three last editions, I could sing psalms and all manner of songs, is made without authority out of different copies. I believe nothing more is here meant than to allude to the practice of weavers, who having their hands more employed than their minds, amuse themselves frequently with songs at the loom. The knight, being full of vexation, wishes he could sing to divert his thoughts. Weavers are mentioned as lovers of musick in the Merchant of Venice. Perhaps to sing like a Weaver might be proverbial.

Note return to page 207 7Their points being broken— down fell his hose.] To understand Poins's joke the double meaning of point must be remembered, which signifies the sharp end of a weapon, and the lace of a garment.

Note return to page 208 8Tallow-catch.] This word is in all the editions, but having no meaning, cannot be understood. In some parts of the kingdom, a cake or mass of wax or tallow, is called a keech, which is doubtless the word intended here, unless we read tallow-ketch, that is, tub of tallow.

Note return to page 209 9You starveling, you elf-skin.] For elf-skin Sir T. Hanmer and Dr. Warburton read Eelskin. The true reading, I believe, is Elfkin, or little fairy. For though the Bastard in King John compares his brother's legs to two eelskins stuff'd, yet an eelskin simply bears no great resemblance to a man.

Note return to page 210 1There is a Nobleman &lblank; give him as much as will make him a royal man] I believe here is a kind of jest intended. He that had received a noble was, in cant language, called a nobleman: in this sense the Prince catches the word, and bids the landlady give him as much as will make him a royal man, that is, a real or royal, and send him away.

Note return to page 211 2The blood of true men.] That is, of the men with whom they fought, of honest men, opposed to thieves.

Note return to page 212 3taken in the manner.] The Quarto and Folio read with the manner, which is right. Taken with the manner is a law phrase, and then in common use, to signify taken in the fact. But the Oxford Editor alters it, for better security of the sense, to taken in the manour. i. e. I suppose, by the lord of it, as a strey. Warburton.

Note return to page 213 4The fire was in his face. A red face is termed a firy face. While I affirm a firy face. Is to the owner no disgrace. Legend of Capt. Jones.

Note return to page 214 5Hot livers, and cold purses.] That is, drunkenness and poverty. To drink was, in the language of those times, to heat the liver.

Note return to page 215 6Bombast is the stuffing of cloaths.

Note return to page 216 7Shakespeare never has any care to preserve the manners of the time. Pistols were not known in the age of Henry. Pistols were, I believe, about our authour's time, eminently used by the Scots. Sir Henry Wotton somewhere makes mention of a Scotish pistol.

Note return to page 217 8Blue-caps.] A name of ridicule given to the Scots from their blue bonnets.

Note return to page 218 9You may buy land, &c.] In former times the prosperity of the nation was known by the value of land as now by the price of stocks. Before Henry the seventh made it safe to serve the king regnant, it was the practice at every revolution for the conqueror to confiscate the estates of those that opposed, and perhaps of those who did not assist him. Those, therefore, that foresaw a change of government, and thought their estates in danger, were desirous to sell them in haste for something that might be carried away.

Note return to page 219 1This answer might, I think, have better been omitted. It contains only a repetition of Falstaff's mock-royalty.

Note return to page 220 2A lamentable tragedy, mixed full of pleasant mirth, containing the life of Cambyses King of Persia. By Thomas Preston. Theobald. I question if Shakespeare had ever seen this tragedy; for there is a remarkable peculiarity of measure, which, when he professed to speak in King Cambyses' vein, he would hardly have missed, if he had known it.

Note return to page 221 3My leg.] That is, My obeisance to my father.

Note return to page 222 4Harry, I do not only marvel, &c.] A ridicule on the public oratory of that time. Warb.

Note return to page 223 5Though camomile, &c.] This whole speech is supremely comick. The simile of camomile used to illustrate a contrary effect, brings to my remembrance an observation of a later writer of some merit, whom the desire of being witty has betrayed into a like thought. Meaning to enforce with great vehemence the mad temerity of young soldiers, he remarks, that though Bedlam be in the road to Hogsden, it is out of the way to promotion.

Note return to page 224 6a micher,] i. e. Truant; to mich, is to lurk out of sight, a hedge-creeper. Warburton. The allusion is to a truant-boy, who, unwilling to go to school, and afraid to go home, lurks in the fields, and picks wild fruits.

Note return to page 225 7This passage is happily restored by Sir Thomas Hanmer.

Note return to page 226 8Rabbet-sucker is, I suppose, a sucking rabbet. The jest is in comparing himself to something thin and little. So a poulterer's hare, a hare hung up by the hind legs without a skin, is long and slender.

Note return to page 227 9Boulting hutch.] Bolting-hutch is, I think, a meal-bag.

Note return to page 228 1Of the Manning-tree Ox I can give no account, but the meaning is clear.

Note return to page 229 *Cunning was not yet debased to a bad meaning. It signified knowing or skilful.

Note return to page 230 2Take me with you] That is, go no faster than I can follow you. Let me know your meaning.

Note return to page 231 *&lblank; hide thee behind the arras,] The bulk of Falstaff made him not the fittest to be concealed behind the hangings, but every poet sacrifices something to the scenery; if Falstaff had not been hidden he could not have been found asleep, nor had his pockets searched.

Note return to page 232 3go call him forth.] The scenery here is somewhat perplexed. When the sheriff came, the whole gang retired, and Falstaff was hidden. As soon as the sheriff is sent away the Prince orders Falstaff to be called: by whom? by Peto. But why had not Peto gone up stairs with the rest, and if he had, why did not the rest come down with him? The conversation that follows between the prince and Peto, seems to be apart from the others. I cannot but suspect that for Peto we should read Poins: what had Peto done that his place should be honourable, or that he should be trusted with the plot against Falstaff? Poins has the prince's confidence, and is a man of courage. This alteration clears the whole difficulty, they all retired but Poins, who, with the prince, having only robbed the robbers, had no need to conceal himself from the travellers. We may therefore boldly change the scenical direction thus, Exeunt Falstaff, Bardolph, Gadshill, and Peto; manent the Prince and Poins.

Note return to page 233 4&lblank; I know, his death will be a march of twelvescore.] i. e. It will kill him to march so far as twelvescore yards.

Note return to page 234 5&lblank; induction] That is, entrance; beginning.

Note return to page 235 6Diseased Nature &lblank;] The poet has here taken, from the perverseness and contrariousness of Hotspur's temper, an opportunity of raising his character, by a very rational and philosophical confutation of superstitious errour.

Note return to page 236 7Methinks, my moiety, &lblank;] Hotspur is here just such a divider as the Irishman who made three halves: Therefore, for the honour of Shakespeare, I will suppose, with the Oxford Editor, that he wrote portion. Warb. I will not suppose it.

Note return to page 237 *The tongue.] The English language.

Note return to page 238 8(I'll haste the writer) He means the writer of the articles. Pope.

Note return to page 239 9&lblank; of the Moldwarp and the Ant,] This alludes to an old prophecy which is said to have induced Owen Glendower to take arms against King Henry. See Hall's Chronicle, folio 20. Pope.

Note return to page 240 1&lblank; profited In strange concealments; &lblank;] Skilled in wonderful secrets.

Note return to page 241 *&lblank; too wilful-blame,] This is a mode of speech with which I am not acquainted. Perhaps it might be read too wilful-blunt, or too wilful-bent, or thus, Indeed, my lord, you are to blame, too wilful.

Note return to page 242 2All on the wanton rushes lay you down,] It was the custom in this country, for many ages, to strew the floors with rushes as we now cover them with carpets.

Note return to page 243 3And on your eye-lids crown the God of Sleep,] The expression is fine; intimating, that the God of Sleep should not only sit on his eye lids, but that he should sit crown'd, that is, pleased and delighted. Warburton.

Note return to page 244 4Making such diff'rence betwixt wake and sleep,] She will lull you by her song into soft tranquillity, in which you shall be so near to sleep as to be free from perturbation, and so much awake as to be sensible of pleasure; a state partaking of sleep and wakefulness, as the twilight of night and day.

Note return to page 245 5&lblank; our book, &lblank;] Our paper of conditions.

Note return to page 246 6And those musicians, that shall play to you Hang in the air &lblank; Yet] The particle yet being used here adversatively, must have a particle of concession preceding it. I read therefore And tho' th' musicians &lblank; Warburton.

Note return to page 247 7Neither. 'Tis a woman's fault.] I do not plainly see what is a woman's fault.6Q0147

Note return to page 248 8Velvet-guards.] To such as have their cloaths adorned with shreds of velvet, which was, I suppose, the finery of Cockneys.

Note return to page 249 *'Tis the next way to turn taylor, &c.] I suppose Percy means, that singing is a mean quality, and therefore he excuses his lady.

Note return to page 250 9For some displeasing service &lblank;] service for action, simply. Warburton.

Note return to page 251 1&lblank; such lewd, such mean attempts,] Shakespear certainly wrote attaints, i. e. unlawful actions. Warb.

Note return to page 252 2Yet such extenuation let me beg, &c.] The construction is somewhat obscure. Let me beg so much extenuation, that, upon confutation of many false charges, I may be pardoned some that are true. I should read on reproof instead of in reproof, but concerning Shakespeare's particles there is no certainty.

Note return to page 253 3Loyal to possession.] True to him that had then possession of the crown.

Note return to page 254 4And then I stole all courtesie from heav'n,] This is an allusion to the story of Prometheus's theft, who stole fire from thence; and as with this he made a Man, so with that, Bolingbroke made a King. As the Gods were supposed jealous in appropriating reason to themselves, the getting fire from thence, which lighted it up in the mind, was called a theft; and as power is their prerogative, the getting courtesie from thence, by which power is best procured, is called a theft. The thought is exquisitely great and beautiful. Warburton.

Note return to page 255 5Rash bavin wits. Rash is heady, thoughtless. Bavin is Brushwood, which, fired, burns fiercely, but is soon out.

Note return to page 256 6In former copies, &lblank; carded his State;] Richard is here represented as laying aside his royalty, and mixing himself with common jesters. This will lead us to the true reading, which I suppose is, 'scarded his State; i. e. discarded, threw off. Warb.

Note return to page 257 7And gave his countenance, against his name.] Made his presence injurious to his reputation.

Note return to page 258 8Of every beardless, vain comparative.] Of every boy whose vanity incited him to try his wit against the King's. When Lewis XIV. was asked, why, with so much wit, he never attempted raillery, he answered, that he who practised raillery ought to bear it in his turn, and that to stand the butt of raillery was not suitable to the dignity of a King. Scudery's Conversation.

Note return to page 259 9He hath more worthy interest to the state, Than thou, the shadow of succession!] This is obscure. I believe the meaning is,—Hot-spur hath a right to the kingdom more worthy than thou, who hast only the shadowy right of lineal succession, while he has real and solid power.

Note return to page 260 *Dearest is most fatal, most mischievous.

Note return to page 261 1And stain my favours in a bloody mask,] We should read favour, i. e. countenance. Warburton. Favours are features.

Note return to page 262 2A Brewer's horse.] I suppose a brewer's horse was apt to be lean with hard work.

Note return to page 263 3The knight of the burning lamp.] This is a natural picture. Every man who feels in himself the pain of deformity, however, like this merry knight, he may affect to make sport with it among those whom it is his interest to please, is ready to revenge any hint of contempt upon one whom he can use with freedom.

Note return to page 264 4Good cheap.] Cheap is market, and good cheap therefore is a bon marchè.

Note return to page 265 5&lblank; what call you rich?] A face set with carbuncles is called a rich face. Legend of Capt. Jones.

Note return to page 266 6&lblank; Newgate-fashion.] As prisoners are conveyed to Newgate, fastened two and two together.

Note return to page 267 7There's no more faith in thee than in a stew'd prune, &c.] The propriety of these similies I am not sure that I fully understand. A stewed prune has the appearance of a prune, but has no taste. A drawn fox, that is, an exenterated fox, has the form of a fox without his powers. I think Dr. Warburton's explication wrong, which makes a drawn fox to mean, a fox often hunted; though to draw is a hunters term for persuit by the track. My interpretation makes the fox suit better to the prune. These are very slender disquisitions, but such is the task of a commentator.

Note return to page 268 8&lblank; Maid Marian may be, &c.] Maid Marian is a man dressed like a woman, who attends the dancers of the morris.6Q0150

Note return to page 269 9impudent, imboss'd rascal, &lblank;] Imbossed is swoln, puffy.

Note return to page 270 1&lblank; and yet you will stand to it, you will not pocket up wrongs:] Some part of this merry dialogue seems to have been lost. I suppose Falstaff in pressing the robbery upon his hostess, had declared his resolution not to pocket up wrongs or injuries, to which the prince alludes.

Note return to page 271 2Peto, to horse; &lblank;] I cannot but think that Peto is again put for Poins. I suppose the copy had only a P&wblank;. We have Peto afterwards, not riding with the Prince, but lieutenant to Falstaff.

Note return to page 272 3Mess. His letters bear his mind, not I his mind.] The line should be read and divided thus, Mess. His letters bear his mind, not I. Hot. His mind! Hot-spur had asked who leads his power? The Messenger answers, His letters bear his mind. The other replies, His mind! As much as to say, I inquire not about his mind, I want to know where his powers are. This is natural, and perfectly in character. Warburton.

Note return to page 273 4On any soul removed.] On any less near to himself; on any whose interest is remote.

Note return to page 274 5&lblank; therein should we read The very bottom, and the soul of hope,] To read the bottom and soul of hope, and the bound of fortune, though all the copies and all the editors have received it, surely cannot be right. I can think on no other word than risque. Therein should we risque The very bottom, &c. The list is the selvage; figuratively, the utmost line of circumference, the utmost extent.

Note return to page 275 6A comfort of retirement.] A support to which we may have recourse.

Note return to page 276 7The quality and hair of our attempt.] The hair seems to be the complexion, the character. The metaphor appears harsh to us, but, perhaps, was familiar in our authour's time.

Note return to page 277 8We of th' offending side.] All the later editions have this reading, but all the older copies which I have seen, from the first quarto to the edition of Rowe, read, we of the off'ring side. Of this reading the sense is obscure, and therefore the change has been made; but since neither offering nor offending are words likely to be mistaken, I cannot but suspect that offering is right, especially as it is read in the first copy of 1599, which is more correctly printed than any single edition, that I have yet seen, of a play written by Shakespeare. The offering side may signify that party, which, acting in opposition to the law, strengthens itself only by offers; encreases its numbers only by promises. The King can raise an army, and continue it by threats of punishment; but those, whom no man is under any obligation to obey, can gather forces only by offers of advantage: and it is truly remarked, that they, whose influence arises from offers, must keep danger out of sight. The offering side may mean simply the assailant, in opposition to the defendant, and it is likewise true of him that offers war, or makes an invasion, that his cause ought to be kept clear from all objections.

Note return to page 278 9All furnisht, all in arms, All plum'd like Estridges, that with the wind Baited like Eagles.] To bait with the wind appears to me an improper expression. To bait is in the style of falconry, to beat the wing, from the French battre, that is, to flutter in preparation for flight. Besides, what is the meaning of Estridges, that baited with the wind like Eagles; for the relative that, in the usual construction, must relate to Estridges. Sir Thomas Hanmer reads, All plum'd like Estridges, and with the wind Baiting like Eagles, By which he has escaped part of the difficulty, but has yet left impropriety sufficient to make his reading questionable. I read, All furnish'd, all in arms, All plum'd like Estridges that wing the wind Baited like Eagles. This gives a strong image. They were not only plum'd like Estridges, but their plumes fluttered like those of an Estridge on the wing mounting against the wind. A more lively representation of young men ardent for enterprize perhaps no writer has ever given.6Q0151

Note return to page 279 1I saw young Harry, with his beaver on.] We should read, beaver up. It is an impropriety to say on: For the beaver is only the visiere of the Helmet, which, let down, covers the face. When the soldier was not upon action he wore it up, so that his face might be seen, (hence Vernon says he saw young Harry.) But when upon action, it was let down to cover and secure the face. Hence in the second part of Henry IV. it is said, Their armed staves in charge, their beavers down. Warburton. There is no need of all this note, for beaver may be a helmet; or the prince, trying his armour, might wear his beaver down.

Note return to page 280 2His cuisses on his thighs, &lblank;] Cuisses, French, armour for the thighs. Pope. The reason why his cuisses are so particularly mentioned, I conceive to be, that his horsemanship is here praised, and the cuisses are that part of armour which most hinders a horseman's activity.

Note return to page 281 3And witch the world &lblank;] For bewitch, charm. Pope.

Note return to page 282 4Harry to Harry shall, hot horse to horse, Meet, and ne'er part.] This reading I have restored from the first edition. The second edition in 1622, reads, Harry to Harry shall, not horse to horse, Meet, and ne'er part. which has been followed by all the criticks except Sir Tho. Hanmer, who, justly remarking the impertinence of the negative, reads, Harry to Harry shall, and horse to horse, Meet, and ne'er part. But the unexampled expression of meeting to, for meeting with or simply meeting, is yet left. The ancient reading is surely right.

Note return to page 283 *Lieutenant Peto.] This passage proves that Peto did not go with the prince.

Note return to page 284 5Sowc'd gurnet.] I believe a sowced gurnet is a pickled anchovy. Much of Falstaff's humour consists in comparing himself to somewhat little.6Q0152

Note return to page 285 6Worse than a struck-fowl, or a hurt wild duck.] The repetition of the same image disposed Sir Tho. Hanmer, and after him Dr. Warburton, to read, in opposition to all the copies, a struck Deer, which is indeed a proper expression, but not likely to have been corrupted. Shakespeare, perhaps, wrote a struck sorel, which, being negligently read by a man not skilled in hunter's language, was easily changed to struck fowl. Sorel is used in Love's labour lost for a young deer, and the terms of the chase were, in our authour's time, familiar to the ears of every gentleman.

Note return to page 286 7Younger sons to younger brothers] Raleigh, in his discourse on war, uses this very expression for men of desperate fortune and wild adventure. Which borrowed it from the other I know not, but I think the play was printed before the discourse.

Note return to page 287 8&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 esteemed 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-turned 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 Raggamuffians were reduced 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 Bachanals.” Theobald. Dr. Warburton's emendation is very acute and judicious, but I know not whether the licentiousness of our authour's diction may not allow us to suppose that he meant to represent his soldiers, as more ragged, though less honourably ragged, than an old ancient.

Note return to page 288 9gyves on;] i. e. shackles. Pope.

Note return to page 289 1Good enough to toss.] That is, to toss upon a pike.

Note return to page 290 2Such great leading.] Such Conduct, such experience in martial business.

Note return to page 291 3In this whole speech he alludes again to some passages in Richard the second.

Note return to page 292 *Task'd the whole State.] I suppose it should be, tax'd the whole state.

Note return to page 293 4This head of safety.] This army from which I hope for protection.

Note return to page 294 5Sealed brief.] A brief is simply a letter.

Note return to page 295 *In the first proportion.] Whose quota was larger than that of any other man in the confederacy.

Note return to page 296 6&lblank; a rated sinew too,] So the first edition, i. e. accounted a strong aid. Pope. A strength on which we reckoned; a help of which we made account.

Note return to page 297 7Act V.] It seems proper to be remarked, that in the editions printed while the authour lived, this play is not broken into acts. The division which was made by the players in the first folio seems commodious enough, but, being without authority, may be changed by any editor who thinks himself able to make a better.

Note return to page 298 8To his purposes.] That is, to the sun's, to that which the sun portends by his unusual appearance.

Note return to page 299 9Fal. Rebellion lay in his way, and he found it. 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 and unseasonable Chattering. I therefore have preserv'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 medling 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 called 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? 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. Theobald.

Note return to page 300 1My staff of office.] See Richard the second.

Note return to page 301 2As that ungentle gull, the cuckow's bird.] The cuckow's chicken, who, being hatched and fed by the sparrow, in whose nest the cuckow's egg was laid, grows in time able to devour her nurse.

Note return to page 302 3We stand opposed, &c.] We stand in opposition to you.

Note return to page 303 4More active-valiant, or more valiant-young.] Sir T. Hanmer reads, more valued young. I think the present gingle has more of Shakespeare.

Note return to page 304 *This exit is remarked by Mr. Upton.

Note return to page 305 5honour is a mere scutcheon,] This is very fine. The reward of brave actions formerly was only some honourable bearing in the shields of arms bestow'd upon deservers. But Falstaff having said that honour often came not till after death, he calls it very wittily a scutcheon, which is the painted heraldry borne in funeral processions. And by meer scutcheon is insinuated, that whether alive or dead, honour was but a name. Warburton.

Note return to page 306 6Suspicion, all our lives, shall be stuck full of eyes.] The same image of suspicion is exhibited in a Latin tragedy, called Roxana, written about the same time by Dr. William Alablaster.

Note return to page 307 7An adopted name of privilege, A hair-brain'd Hot-spur.] The name of Hot-spur will privilege him from censure.

Note return to page 308 8And Westmorland, that was ingag'd.] Engag'd is, delivered as an hostage. A few lines before, upon the return of Worcester, he orders Westmorland to be dismissed.

Note return to page 309 9By still dispraising Praise, valued with You.] This foolish line is indeed in the Folio of 1623, but it is evidently the players' nonsense. Warb. This line is not only in the first folio, but in all the editions before it that I have seen. Why it should be censured as nonsense I know not. To vilify praise, compared or valued with merit superiour to praise, is no harsh expression. There is another objection to be made. Prince Henry, in his challenge of Percy, had indeed commended him, but with no such hyperboles as might represent him above praise, and there seems to be no reason why Vernon should magnify the Prince's candour beyond the truth. Did then Shakespeare forget the foregoing scene? or are some lines lost from the prince's speech?

Note return to page 310 1He made a blushing cital of himself,] Cital for taxation. Pope.

Note return to page 311 2Of any Prince, so wild, at liberty.] Of any prince that played such pranks, and was not confined as a madman.

Note return to page 312 3Now, Esperanza! &lblank;] This was the word of battle on Percy's side. See Hall's Chronicle, folio 22. Pope.

Note return to page 313 4For (heav'n to earth) &lblank;] i. e. one might wager heaven to earth. Warburton.

Note return to page 314 5Shot free at London.] A play upon shot, as it means the part of a reckoning, and a missive weapon discharged from artillery.

Note return to page 315 6here's no vanity!] In our author's time the negative, in common speech, was used to design, ironically, the excess of a thing. Thus Ben Johnson in Every Man in his Humour, says, O here's no foppery! 'Death, I can endure the stocks better. Meaning, as the passage shews, that the foppery was excessive. And so in many other places. But the Oxford Editor not apprehending this, has alter'd it to, there's vanity! Warburton. I am in doubt whether this interpretation, though ingenious and well supported, is true. The words may mean, here is real honour, no vanity, or no empty appearance.

Note return to page 316 7Turk Gregory never did such deeds in arms,] Meaning Gregory the seventh, called Hildebrand. This furious frier surmounted almost invincible obstacles to deprive the emperor of his right of investiture of bishops, which his predecessors had long attempted in vain. Fox, in his history, had made this Gregory so odious, that I don't doubt but the good protestants of that time were well pleased to hear him thus characterised, as uniting the attributes of their two great enemies, the Turk and Pope, in one. Warburton.

Note return to page 317 8I have paid Percy, I have made him sure. P. Henry. He is, indeed, and, &c.] The Prince's Answer, which is apparently connected with Falstaff's last words, does not cohere so well as if the knight had said, I have made him sure; Percy's safe enough. Perhaps a word or two like these may be lost.

Note return to page 318 9If Percy be alive, I'll pierce him;] Certainly, he'll pierce him, i. e. Prince Henry will, who is just gone out to seek him. Besides, I'll pierce him, contradicts the whole turn and humour of the speech. Warburton. I rather take the conceit to be this. To pierce a vessel is to tap it. Falstaff takes up his bottle which the Prince had tossed at his head, and being about to animate himself with a draught, cries, if Percy be alive I'll pierce him, and so draws the cork. I do not propose this with much confidence.

Note return to page 319 *A carbonado is a piece of meat cut croswise for the grid-iron.

Note return to page 320 1Those proud Titles thou hast won of me; They wound my thoughts &lblank; But thought's the slave of life, and life time's fool; And time &lblank; must have a stop.] Hot-spur in his last moments endeavours to console himself. The glory of the Prince wounds his thoughts, but thought, being dependent on life, must cease with it, and will soon be at an end. Life, on which thought depends, is itself of no great value, being the fool and sport of time; of time which, with all its dominion over sublunary things, must itself at last be stopped.

Note return to page 321 *Ill-weav'd ambition, &c. &lblank;] A metaphor taken from cloath, which shrinks when it is ill-weav'd, when its texture is loose.

Note return to page 322 2 Carminibus confide bonis—jacet ecce Tibullus Vix manet e toto parva quod urna capit. Ovid.

Note return to page 323 3But let my favours hide thy mangled face,] We should read favour, face or countenance. He stooping down here to kiss Hot-spur. Warburton. He rather covers his face with a scarf to hide the ghastliness of death.

Note return to page 324 4So fair a deer.] This is the reading of the first edition, and of the other quartos. The first folio has fat, which was followed by all the editors. There is in these lines a very natural mixture of the serious and ludicrous produced by the view of Percy and Falstaff. I wish all play on words had been forborn.

Note return to page 325 †a dearer] Many of greater value.

Note return to page 326 *To powder is to salt.

Note return to page 327 *&lblank; a double man;] That is, I am not Falstaff and Percy together, though having Percy on my back, I seem double.

Note return to page 328 4These two lines are added from the quarto. Pope. I suspect that they were rejected by Shakespeare himself.

Note return to page 329 I. Quarto, printed by V. S. for Andrew Wise and William Aspley, 1600. II. Folio, 1623.

Note return to page 330 5The second Part of Henry IV. The Transactions comprized in this History take up about nine Years. The Action commences with the Account of Hot-spur's being defeated and killed; and closes with the Death of K. Henry IV, and the Coronation of K. Henry V. Theobald.

Note return to page 331 6Mr. Upton thinks these two plays improperly called the first and second parts of Henry the fourth. The first play ends, he says, with the peaceful settlement of Henry in the kingdom by the defeat of the rebels. This is hardly true, for the rebels are not yet finally suppressed. The second, he tells us, shews Henry the fifth in the various lights of a good-natured rake, till, on his father's death, he assumes a more manly character. This is true; but this representation gives us no idea of a dramatick action. These two plays will appear to every reader, who shall peruse them without ambition of critical discoveries, to be so connected that the second is merely a sequel to the first; to be two only because they are too long to be one.

Note return to page 332 1Enter Rumour, &lblank;] This speech of Rumour is not inelegant or unpoetical, but is wholly useless, since we are told nothing which the first scene does not clearly and naturally discover. The only end of such prologues is to inform the audience of some facts previous to the action, of which they can have no knowledge from the persons of the drama.

Note return to page 333 2 &lblank; painted full of tongues.] This direction, which is only to be found in the first Edition in Quarto of 1600, explains a passage in what follows, otherwise obscure. Pope.6Q0153

Note return to page 334 3&lblank; Rumour is a pipe] Here the poet imagines himself describing Rumour, and forgets that Rumour is the speaker.

Note return to page 335 4And this worm-eaten Hole of ragged Stone;] Northumberland had retir'd and fortified himself in his Castle, a Place of Strength in those Times, though the Building might be impaired by its Antiquity; and therefore, I believe, our Poet wrote: And this worm-eaten Hold of ragged Stone. Theobald.

Note return to page 336 7father of some stratagem.] Stratagem, for vigorous action. Warburton.

Note return to page 337 8Rowel head.] I think that I have observed in old prints the rowel of those times to have been only a single spike.

Note return to page 338 9Silken point.] A point is a string tagged; or lace.

Note return to page 339 1&lblank; some hilding fellow, &lblank;] For hinderling, i. e. base, degenerate. Pope.

Note return to page 340 2So woe-be-gone.] The word was common enough amongst the old Scotish and English poets, as G. Douglas, Chaucer, lord Buckhurst, Fairfax; and signifies, far gone in woe. Warburton.

Note return to page 341 3Your spirit.] The impression upon your mind, by which you conceive the death of your son.

Note return to page 342 4Yet for all this, say not, &c.] The contradiction in the first part of this speech might be imputed to the distraction of Northumberland's mind, but the calmness of the reflection, contained in the last lines, seems not much to countenance such a supposition. I will venture to distribute this passage in a manner which will, I hope, seem more commodious, but do not wish the reader to forget, that the most commodious is not always the true reading. Bard. Yet for all this, say not that Percy's dead. North. I see a strange confession in thine eye, Thou shak'st thy head, and holdst it fear, or sin, To speak a truth. If he be slain, say so. The tongue offends not, that reports his death; And he doth sin, that doth belie the dead, Not he that saith the dead is not alive. Morton. Yet the first bringer of unwelcome news Hath but a losing office, and his tongue Sounds ever after as a sullen bell, Remember'd, tolling a departing friend. Here is a natural interposition of Bardolph at the beginning, who is not pleased to hear his news confuted, and a proper preparation of Morton for the tale which he is unwilling to tell.

Note return to page 343 5&lblank; hold'st it fear, or sin.] Fear, for danger. Warburton.

Note return to page 344 6If he be slain, say so.] The words say so are in the first folio, but not in the quarto: they are necessary to the verse, but the sense proceeds as well without them.

Note return to page 345 7Far from his metal was his party steel'd; Which once in him abated, &lblank;] The word metal is one of those hacknied metaphorical terms, which resumes so much of a literal sense as not to need the idea (from whence the figure is taken) to be kept up. So that it may with elegance enough be said, his metal was abated, as well as his courage was abated. See what is said on this subject on Love's Labour Lost, Act V. But when the writer shews, as here, both before and after, [—his party steel'd— turn'd on themselves like dull and heavy lead] that his intention was not to drop the idea from whence he took his metaphor, then he cannot say with propriety and elegance, his metal was abated; because what he predicates of metal, must be then convey'd in a term conformable to the metaphor. Hence I conclude that Shakespeare wrote, Which once in him rebated,— i. e. blunted. Warburton. Here is a great effort to produce little effect. The commentator does not seem fully to understand the word abated, which is not here put for the general idea of diminished, nor for the notion of blunted as applied to a single edge, but for reduced to a lower temper, or as the workmen now call it, let down. It is very proper.

Note return to page 346 8'Gan vail his stomach, &lblank;] Began to fall his courage, to let his spirits sink under his fortune.

Note return to page 347 9&lblank; buckle] Bend; yield to pressure.

Note return to page 348 1The old Edition, The ragged'st Hour that Time and Spight dare bring To frown, &c. &lblank;] There is no Consonance of Metaphors betwixt ragged and frown; nor, indeed, any Dignity in the Image. On both Accounts, therefore, I suspect, our Author wrote, as I have reformed the Text, The rugged'st Hour, &c. Theob.

Note return to page 349 2The conclusion of this noble speech is extremely striking. There is no need to suppose it exactly philosophical, darkness in poetry may be absence of eyes as well as privation of light. Yet we may remark, that by an ancient opinion it has been held, that if the human race, for whom the world was made, were extirpated, the whole system of sublunary nature would cease.

Note return to page 350 3This strained passion, &c. &lblank;] This line is only in the first edition, where it is spoken by Umfreville, who speaks no where else. It seems necessary to the connection. Pope.

Note return to page 351 4You cast th' event of war, &c.] The fourteen lines from hence to Bardolph's next speech, are not to be found in the first editions till that in Folio of 1623. A very great number of other lines in this play are inserted after the first edition in like manner, but of such spirit and mastery generally, that the insertions are plainly by Shakespeare himself. Pope. To this note I have nothing to add, but that the editor speaks of more editions than I believe him to have seen, there having been but one edition yet discovered by me that precedes the first folio.

Note return to page 352 5The gentle, &c. &lblank;] These one-and-twenty lines were added since the first edition.

Note return to page 353 6Tells them, he doth bestride a bleeding land] That is, stands over his country to defend her as she lies bleeding on the ground. So Falstaff before says to the Prince, If thou see me down, Hal, and bestride me, so; it is an office of friendship.

Note return to page 354 7Mandrake is a root supposed to have the shape of a man; it is now counterfeited with the root of briony.

Note return to page 355 8I was never mann'd] That is, I never before had an agate for my man. I was never mann'd with an agate till now:] Alluding to the little figures cut in agates, and other hard stones, for seals: and therefore he says, I will set you neither in gold nor silver. The Oxford Editor alters this to aglet, a tag to the points then in use: (a word indeed which our author uses to express the same thought) But aglets, tho' they were sometimes of gold or silver, were never set in those metals Warburton.

Note return to page 356 9&lblank; he may keep it still as a face royal,] That is, a face exempt from the touch of vulgar hands. So a stag-royal is not to be hunted, a mine-royal is not to be dug.

Note return to page 357 1To bear in hand, is to keep in expectation.

Note return to page 358 2&lblank; if a man is thorough with them in honest taking up,] That is, If a man by taking up goods is in their debt. To be thorough seems to be the same with the present phrase, to be in with a tradesman.

Note return to page 359 3the lightness of his wife shines through it, and yet cannot he see, though he have his own lanthorn to light him.] This joke seems evidently to have been taken from that of Plautus: Quò ambulas tu, qui Vulcanum in cornu conclusum geris. Amph. Act 1. Scene 1. and much improved. We need not doubt that a joke was here intended by Plautus, for the proverbial term of horns, for cuckoldom is very ancient, as appears by Artemidorus, who says, &grP;&grr;&gro;&gre;&gri;&grp;&gre;&gric;&grn; &gras;&gru;&grt;&grwci; &grora;&grt;&gri; &grhr; &grg;&gru;&grn;&grha; &grs;&gro;&gru; &grp;&gro;&grr;&grn;&gre;&grua;&grs;&gre;&gri;, &grk;&gra;&grig; &grt;&grog; &grl;&gre;&grg;&gro;&grm;&gre;&grn;&gro;&grn;, &grk;&grea;&grr;&gra;&grt;&gra; &gras;&gru;&grt;&grwd; &grp;&gro;&gri;&grha;&grs;&gre;&gri;, &grk;&gra;&grig; &grora;&gru;&grt;&grw;&grst; &gras;&grp;&grea;&grb;&grh;. &GROsa;&grn;&gre;&gri;&grr;&gro;&gri;. lib. 2. cap. 12. And he copied from those before him. Warburt.

Note return to page 360 4I bought him in Paul's,] At that time the resort of idle people, cheats, and knights of the post. Warburton.

Note return to page 361 *Hunt-counter.] That is, blunderer. He does not, I think, allude to any relation between the judge's servant and the counter-prison.

Note return to page 362 5Fal. Very well, my Lord, very well:] In the Quarto Edition, 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 first part of Henry IV. concerning the Tradition of Falstaff's Character having been first called 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 altered 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. Theobald.

Note return to page 363 6I do not understand this joke. Dogs lead the blind, but why does a dog lead the fat?

Note return to page 364 7A wassel candle, &c.] A wassel candle is a large candle lighted up at a feast. There is a poor quibble upon the word wax, which signifies encrease as well as the matter of the honey-comb.

Note return to page 365 8You 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 humorous 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. Theobald.

Note return to page 366 *I cannot tell.] I cannot be taken in a reckoning; I cannot pass current.

Note return to page 367 9in these coster-mongers' days,] In these times when the prevalence of trade has produced that meanness that rates the merit of every thing by money.

Note return to page 368 1&lblank; your wit single?] We call a man single-witted who attains but one species of knowledge. This sense I know not how to apply to Falstaff, and rather think that the Chief Justice hints at a calamity always incident to a gray-haired wit, whose misfortune is, that his merriment is unfashionable. His allusions are to forgotten facts; his illustrations are drawn from notions obscured by time; his wit is therefore single, such as none has any part in but himself.

Note return to page 369 2&lblank; a three-man beetle— A beetle wielded by three men. Pope.

Note return to page 370 3&lblank; step too far] The four following lines were added in the second edition.

Note return to page 371 4Yes, if this present quality of war.] These first twenty lines were first inserted in the folio of 1623. The first clause of this passage is evidently corrupted. All the folio editions and Mr. Rowe's concur in the same reading, which Mr. Pope altered thus, Yes, if this present quality of war Impede the instant act. This has been silently followed by Mr. Theobald, Sir Tho. Hanmer, and Dr. Warburton; but the corruption is certainly deeper, for in the present reading Bardolph makes the inconvenience of hope to be that it may cause delay, when indeed the whole tenour of his argument is to recommend delay to the rest that are too forward. I know not what to propose, and am afraid that something is omitted, and that the injury is irremediable. Yet, perhaps, the alteration requisite is no more than this, Yes, in this present quality of war, Indeed of instant action. It never, says Hastings, did harm to lay down likelihoods of hope. Yes, says Bardolph, it has done harm in this present quality of war, in a state of things, such as is now before us, of war, indeed of instant action. This is obscure, but Mr. Pope's reading is still less reasonable.

Note return to page 372 5If he should do so,] This passage is read in the first editions thus. If he should do so, French and Welsh he leaves his back unarm'd, they baying him at the heels, never fear that. These lines, which were evidently printed from an interlined copy not understood, are properly regulated in the next edition, and are here only mentioned to show what errors may be suspected to remain.

Note return to page 373 6Let us on, &c.] This excellent speech of York was one of the passages added by Shakespeare after his first Edition. Pope.

Note return to page 374 7If he come but within my vice.] Vice or grasp. A metaphor taken from a smith's vice: There is another reading in the old Edition, view, which I think not so good. Pope.

Note return to page 375 8&lblank; Lubbar's-head] This is, I suppose, a colloquial corruption of the Libbard's head.

Note return to page 376 9A hundred mark is a long one.] A long one? A long What? 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 Marks 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. Theobald.

Note return to page 377 1Malmsey-nose.] That is, red nose, from the colour of malmsey wine.

Note return to page 378 2Hony-suckle villain—hony-seed rogue.] The landlady's corruption of homicidal and homicide. Theobald.

Note return to page 379 3Thou wo't, wo't thou? &c.] The first folio reads, I think, less properly, thou wilt not? thou wilt not?

Note return to page 380 4Fal. Away, you scullion.] This speech is given to the page in all the editions to the folio of 1664. It is more proper for Falstaff, but that the boy must not stand quite silent and useless on the stage.

Note return to page 381 5For likening his father to a singing man.] Such is the reading of the first edition, all the rest have for likening him to a singing man. The original edition is right; the prince might allow familiarities with himself, and yet very properly break the knight's head when he ridiculed his father.

Note return to page 382 6I know you have practised] In the first quarto it is read thus, You have, as it appears to me, practised upon the easy yielding spirit of this woman, and made her serve your uses both in purse and person. Without this the following exhortation of the Chief Justice is less proper.

Note return to page 383 7This sneap] A Yorkshire word for rebuke. Pope.

Note return to page 384 8Answer in the effect of your reputation.] That is, answer in a manner suitable to your character.

Note return to page 385 9German Hunting in water-work,] i. e. in water-colours. Warburton.

Note return to page 386 1These bed-hangings,] We should read dead-hangings, i. e. faded. Warburton. I think the present reading may well stand. He recommends painted paper instead of tapestry, which he calls bed-hangings, in contempt, as fitter to make curtains than to hang walls.

Note return to page 387 2The quarto of 1600 adds, And God knows, whether those, that bawl out of the ruins of thy linen, shall inherit his Kingdom: but the midwives say, the children are not in the fault; whereupon the world increases, and kindreds are mightily strengthened.] This passage Mr. Pope restored from the first edition. I think it may as well be omitted, and therefore have degraded it to the margin. It is omitted in the first folio, and in all subsequent editions before Mr. Pope's, and was perhaps expunged by the authour. The editors, unwilling to lose any thing of Shakespeare's, not only insert what he has added, but recal what he has rejected.

Note return to page 388 3All ostentation of sorrow.] Ostentation is here not boastful shew, but simply shew. Merchant of Venice. &lblank; One well studied in a sad ostent To please his Grandame.

Note return to page 389 4Proper fellow of my hands] A tall or proper man of his hands was a stout fighting man.

Note return to page 390 5Poins. Come, you virtuous ass, &c.] Tho' all the Editions give this Speech to Poins, it seems evident by the Page's immediate Reply, that it must be placed to Bardolph. For Bardolph 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 Bardolph, a bold unbred Fellow, to banter him on his aukward Bashfulness. Theobald.

Note return to page 391 6Shakespeare is here mistaken in his Mythology, and has confounded Althea's firebrand with Hecuba's. The firebrand of Althea was real; but Hecuba, when she was big with Paris, dreamed that she was delivered of a firebrand that consumed the kingdom.

Note return to page 392 7The Martlemas, your master,] That is, the autumn, or rather the latter spring. The old fellow with juvenile passions.

Note return to page 393 8This wen.] The swoln excrescence of a man.

Note return to page 394 9The 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 Mony, is of all Others the most complaisant: His Cap is always at hand. Warburton.

Note return to page 395 1Prince Henry.] All the editors, except Sir Thomas Hanmer, have left this letter in confusion, making the Prince read part, and Poins part. I have followed his correction.

Note return to page 396 2That's to make him eat twenty of his words.] Why just twenty, when the letter contain'd, above eight times twenty? we should read plenty; and in this word the joke, as slender as it is, consists. Warburton.

Note return to page 397 *Frank is sty. Pope.

Note return to page 398 3Ephesians, &c.] Ephesian was a term in the cant of these times of which I know not the precise notion: it was, perhaps, a toper. So the Host in the Merry Wives of Windsor, It is thine Host, thine Ephesian calls.

Note return to page 399 4Put on two leather jerkins.] This was a plot very unlikely to succeed where the Prince and the drawers were all known, but it produces merriment, which our authour found more useful than probability.

Note return to page 400 5a heavy descension.] Other readings have it declension. Mr. Pope chose the first. On which Mr. Theobald says, But why not declension? are not the terms properly synonimous? If so, might not Mr. Pope say in his turn, then why not descension? But it is not so. And descension was preferred with judgment. For descension signifies a voluntary going down; declension, a natural and necessary. Thus when we speak of the Sun, poetically, as a charioteer, we should say his descension: if physically, as a mere globe of light, his declension. Warburton. Descension is the reading of the first edition. Mr. Upton proposes that we should read thus by transposition. From a God to a Bull, a low transformation;—from a Prince to a Prentice, a heavy declension. This reading is elegant, and perhaps right.

Note return to page 401 6He had no legs, &c.] The twenty-two following lines are of those added by Shakespeare after his first edition. Pope.

Note return to page 402 7To rain upon remembrance &lblank;] Alluding to the plant, rosemary, so called, and used in funerals.— Thus in The Winter's Tale, For you there's rosemary and rue, these keep Seeming and savour all the winter long, Grace and remembrance be unto you both, &c. For as rue was called herb of grace, from its being used in exorcisms: so rosemary was called remembrance, from its being a cephalic. Warburton.

Note return to page 403 8&lblank; Sneak's Noise;] Sneak was a street minstrel, and therefore the drawer goes out to listen if he can hear him in the neigbourhood.

Note return to page 404 9Dispatch, &c.] This period is from the first edition. Pope.

Note return to page 405 1&lblank; here will be old Utis:] Utis, an old word yet in use in some countries, signifying a merry festival, from the French, Huit, octo, ab A. S. Eahta. Octavæ Festi alicujus. Skinner. Pope.

Note return to page 406 2So is all her sect; &lblank;] I know not why sect is printed in all the copies, I believe sex is meant.

Note return to page 407 3You make fat rascals,] Falstaff alludes to a phrase of the forest; lean deer are called rascal deer. He tells her she calls him wrong, being fat he cannot be a rascal.

Note return to page 408 4Your brooches, pearls and owches:] Brooches were chains of gold that women wore formerly about their necks. Owches were bosses of gold set with diamonds. Pope. I believe Falstaff gives these splendid names as we give that of carbuncle to something very different from gems and ornaments, but the passage deserves not a laborious research.

Note return to page 409 5Rheumatick.] She would say splenetick. Hanmer. As two dry toasts, which cannot meet but they grate one another.

Note return to page 410 6Ancient Pistol is the same as ensign Pistol. Falstaff was captain, Peto lieutenant, and Pistol ensign, or ancient.

Note return to page 411 7I will bar no honest man my house, nor no cheater;] The humour of this consists in the woman's mistaking the title of Cheater (which our ancestors gave to him whom we now, with better manners, call a Gamester) for that officer of the exchequer called an Escheator, well known to the common people of that time; and named, either corruptly or satirically, a Cheater. Warburton.

Note return to page 412 8what, with two points on your shoulder? much!] Much was a common expression of disdain at that time, of the same sense with that more modern one, Marry come up. The Oxford Editor not apprehending this, alters it to march. Warburt. I cannot but think the emendation right. This use of much I do not remember, nor is it here proved by any example.

Note return to page 413 *As a mark of his commission.

Note return to page 414 9No more, Pistol, &c.] This is from the old edition of 1600. Pope.

Note return to page 415 1&lblank; he lives upon mouldy stew'd prunes and dry'd cakes.] That is, he lives at other mens cost, but is not admitted to their tables, and gets only what is too stale to be eaten in the house.

Note return to page 416 2&lblank; hollow-pamper'd jades of Asia, &c.] These lines are in part a quotation out of an old absurd fustian play intitled, Tamburlain's Conquests, or the Scythian Shepherd. Theobald.

Note return to page 417 *Cannibal is used by a blunder for Hannibal. This was afterwards copied by Congreve's Bluff and Wittol. Bluff is a character apparently taken from this of Ancient Pistol.

Note return to page 418 3have 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. Hirir is to strike: 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? Theobald.

Note return to page 419 4Sir Tho. Hanmer reads, Si fortuna me tormenta, il sperare me contenta, which is undoubtedly the true reading, but perhaps it was intended that Pistol should corrupt it.

Note return to page 420 5Come we to full points, &c.] That is, shall we stop here, shall we have no further entertainment.

Note return to page 421 6Sweet 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 domestic Mistress Dol Tear-sheet. Theobald.

Note return to page 422 7Galloway nags.] That is, common hackneys.

Note return to page 423 8Little tydy Bartholomew Boar-pig.] For tidy Sir T. Hanmer reads tiny, but they are both words of endearment, and equally proper. Bartholomew Boar-pig is a little pig made of paste, sold at Bartholomew fair, and given to children for a fairing.

Note return to page 424 9Eats conger and fennel, and drinks off candles' ends] These qualifications I do not understand.

Note return to page 425 1discreet stories;] We should read indiscreet. Warb.

Note return to page 426 *Nave of a wheel.] Nave and knave are easily reconciled, but why nave of a wheel? I suppose for his roundness. He was called round man in contempt before.

Note return to page 427 2Saturn and Venus this year in conjunction.] This was indeed a prodigy. The Astrologers, says Ficinus, remark, that Saturn and Venus are never conjoined.

Note return to page 428 3lisping to his master's old Tables, &c.] We should read clasping too his master's old Table, &c. i. e. embracing his master's cast-off whore, and now his bawd, [his note-book, his counsel-keeper.] We have the same phrase again in Cymbaline, You clasp young Cupid's Tables.Warburton. This emendation is very specious. I think it right.

Note return to page 429 4Ha! a Bastard. &c.] The improbability of this scene is scarcely ballanced by the humour.

Note return to page 430 5Candle-mine.] Thou inexhaustible magazine of tallow.

Note return to page 431 6And burns, poor soul.] This is Sir T. Hanmer's reading. Undoubtedly right. The other editions had, she is in hell already, and burns poor souls. The venereal disease was called in these times the brennynge or burning.

Note return to page 432 7This first scene is not in my copy of the first edition.

Note return to page 433 8A watch-case, &c.] This alludes to the watchmen set in garrison-towns upon some eminence attending upon an alarum bell, which he was to ring out in case of fire, or any approaching danger. He had a case or box to shelter him from the weather, but at his utmost peril he was not to sleep whilst he was upon duty. These alarum bells are mentioned in several other places of Shakespear. Hanmer.

Note return to page 434 9&lblank; then, happy low! lye down;] Evidently corrupted from happy lowly clown. These two lines making the just conclusion from what preceded. If sleep will fly a king and consort itself with beggars, then happy the lowly clown, and uneasy the crown'd head. Warburton. Dr. Warburton has not admitted this emendation into his text: I am glad to do it the justice which its authour has neglected.

Note return to page 435 1In the old Edition: Why then good morrow to you all, my Lords: Have you read o'er, &c.] 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. The King would hardly have said Good morrow to You All, to two Peers. Theobald. Sir T. Hanmer and Dr. Warburton have received this emendation, and read well for all. The reading either way is of no importance.

Note return to page 436 2It is but as a body yet distemper'd,] What would he have more? We should read, It is but as a body slight distemper'd. Warburton. The present reading is right. Distemper, that is, according to the old physick, a disproportionate mixture of humours, or inequality of innate heat and radical humidity, is less than actual disease, being only the state which foreruns or produces diseases. The difference between distemper and disease, seems to be much the same as between disposition and habit.

Note return to page 437 3My lord Northumberland will soon be cool'd.] I believe Shakespear wrote school'd; tutor'd, and brought to submission. Warburton. Cool'd is certainly right.

Note return to page 438 4&lblank; O, if this were seen, &c.] These four lines are supplied from the Edition of 1600. Warb. My copy wants the whole scene, and therefore these lines. There is some difficulty in the line, What perils past, what crosses to ensue, because it seems to make past perils equally terrible with ensuing crosses.

Note return to page 439 5He refers to King Richard, act 5. scene 2. But whether the King's or the authour's memory fails him, so it was, that Warwick was not present at that conversation.

Note return to page 440 6And by the necessary form of this,] I think we might better read, The necessary form of things. The word this has no very evident antecedent.

Note return to page 441 *Are these things then necessities? Then let us meet them like necessites;] I am inclined to read, Then let us meet them like necessity. That is, with the resistless violence of necessity; then comes more aptly the following line: And that same word even now cries out on us. That is, the word necessity.

Note return to page 442 7&lblank; unto the Holy Land.] This play, like the former, proceeds in one unbroken tenour through the first edition, and there is therefore no evidence that the division of the acts was made by the authour. Since then every editor has the same right to mark the intervals of action as the players, who made the present distribution, I should propose that this scene may be added to the foregoing act, and the remove from London to Gloucestershire be made in the intermediate time, but that it would shorten the next act too much, which has not even now its due proportion to the rest.

Note return to page 443 8&lblank; by the rood.] i. e. the cross. Pope.

Note return to page 444 9&lblank; clapt in the clowt] i. e. hit the white mark. Warburt.

Note return to page 445 1&lblank; fourteen and fourteen and a half,] That is, fourteen score of yards.

Note return to page 446 2&lblank; very good, a good phrase.] Accomodate was a modish term of that time, as Ben Johnson informs us: You are not to cast or wring for the perfumed terms of the time, as accommodation, complement, spirit, &c. but use them properly in their places as others. Discoveries. Hence Bardolph calls it a word of exceeding good command. His definition of it is admirable, and highly satirical: nothing being more common than for inaccurate speakers or writers, when they should define, to put their hearers off with a synonimous term; or, for want of that, even with the same term differently accomodated; as in the instance before us. Warburt.

Note return to page 447 3we have a number of shadows do fill up the muster-book.] That is, we have in the muster-book many names for which we receive pay, though we have not the men.

Note return to page 448 4Bona-Roba.] A fine showy wanton.

Note return to page 449 5&lblank; I have three pound] Here seems to be a wrong computation. He had forty shillings for each. Perhaps he meant to conceal part of the profit.

Note return to page 450 6&lblank; swifter than he that gibbets on the brewer's bucket.] Swifter than he that carries beer from the vat to the barrel, in buckets hung upon a gibbet or beam crossing his shoulders.

Note return to page 451 7Caliver, a hand-gun.

Note return to page 452 8&lblank; bald shot.] Shot is used for shooter, one who is to fight by shooting.

Note return to page 453 9&lblank; I was then Sir Dagonet in Arthur's Show;] The only Intelligence I have gleaned 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. Theobald. The story of Sir Dagonet is to be found in La Mort d'Arthure, an old romance much celebrated in our authour's time, or a little before it. When papistry, says Ascham in his Schoolmaster, as a standing pool overflowed all England, few books were read in our tongue saving certain books of chivalry, as they said, for pastime and pleasure; which books, as some say, were made in monasteries by idle monks. As one, for example, La Mort d'Arthure. In this romance Sir Dagonet is King Arthur's fool. Shakespeare would not have shown his justice capable of representing any higher character.6Q0154

Note return to page 454 1Over-scutcht] i. e. whipt, carted. Pope. I rather think that the word means dirty, or grimed, the word huswives agrees better with this sense. Shallow crept into mean houses, and boasted his accomplishments to the dirty women.

Note return to page 455 2And now is this Vice's Dagger.] By Vice here the Poet means that droll Character in the old Plays, (which I have several times mentioned in the course of these Notes) equipped 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. Theobald.

Note return to page 456 3&lblank; beat his own name;] That is, beat gaunt, a fellow so slender that his name might have been gaunt.

Note return to page 457 4&lblank; philosopher's two stones] One of which was an universal medicine, and the other a transmuter of baser metals into gold. Warburton. I believe the commentator has refined this passage too much. A philosopher's two stones, is only more than the philosopher's stone. The universal medicine was never, so far as I know, conceived to be a stone, before the time of Butler's stone.

Note return to page 458 5If the young Dace] That is, If the pike may prey upon the dace, if it be the law of nature that the stronger may seize upon the weaker, Falstaff may with great propriety devour Shallow.

Note return to page 459 6Let us sway on, &lblank;] We should read way on, i. e. march on. Warburton. I know not that I have ever seen sway in this sense, but I believe it is the true word, and was intended to express the uniform and forcible motion of a compact body. There is a sense of the noun in Milton kindred to this, where speaking of a weighty sword, he says, It descends with huge two-handed sway.

Note return to page 460 7Led on by bloody youth, &lblank;] I believe Shakespeare wrote, heady youth. Warburton. I think bloody can hardly be right, perhaps it was moody, that is, furious. So in Scene 8 of this Act. Being moody give him line and scope Till that his passions, like a whale on ground, Confound themselves with working.6Q0155

Note return to page 461 *For graves Dr. Warburton very plausibly reads glaves, and is followed by Sir Thomas Hanmer.

Note return to page 462 8In this speech after the first two lines, the next twenty-five are either omitted in the first edition, or added in the second. The answer in which both the editions agree, apparently refers to some of these lines, which therefore may be probably supposed rather to have been dropped by a player desirous to shorten his speech, than added by the second labour of the authour.

Note return to page 463 9In former Editions: And are inforc'd from our most quiet there,] This is said in answer to Westmorland's upbraiding the Archbishop for engaging in a course which so ill became his profession, &lblank; You my lord Archbishop Whose See is by a civil peace maintain'd, &c. So that the reply must be this, And are inforc'd from our most quiet Sphere. Warb.

Note return to page 464 *And consecrate, &c.] 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;) I found this Verse. I have ventur'd to substitute Page for Edge, with regard to the Uniformity of Metaphor. Tho' the Sword of Rebellion, drawn by a Bishop, may in some sort be said to be consecrated by his Reverence, Theobald.

Note return to page 465 1And consecrate Commotion's Civil Edge?] So the old books read. But Mr. Theobald changes edge to page, out of regard to the uniformity (as he calls it) of the metaphor. But he did not understand what was meant by edge. It was an old custom, continued from the time of the first croisades, for the pope to consecrate the general's sword, which was employ'd in the service of the church. To this custom the line in question alludes. As to the cant of uniformity of metaphor in writing, this is to be observed, that changing the allusion in the same sentence is indeed vicious, and what Quintilian condemns, Multi quum initium à tempestate sumserint, incendio aut ruinâ finiunt. But when one comparison or allusion is fairly separated from another, by distinct sentences, the case is different. So it is here; in one sentence we see the book of rebellion stampt with a seal divine; in the other, the sword of civil discord consecrated. But this change of the metaphor is not only allowable, but fit. For the dwelling overlong upon one occasions the discourse to degenerate into a dull kind of allegorism. Warburton. What Mr. Theobald says of two editions seems to be true, for my copy reads, commotion's bitter edge, but civil is undoubtedly right, and one would wonder how bitter could intrude if civil had been written first, perhaps the authour himself made the change.

Note return to page 466 2My brother general, &c. &lblank; I make my quarrel in particular.] The sense is this, My brother general, the Common-wealth, which ought to distribute its benefits equally, is become an enemy to those of his own house, to brothers-born, by giving some all, and others none; and this (says he) I make my quarrel or grievance that honours are unequally distributed; the constant birth of male-contents, and source of civil commotions. Warburton. In the first folio the second line is omitted, yet that reading, unintelligible as it is, has been followed by Sir T. Hanmer. How difficultly sense can be drawn from the best reading the explication of Dr. Warburton may show. I believe there is an errour in the first line, which perhaps may be rectified thus, My quarrel general, the common-wealth, To Brother born an household cruelty, I make my quarrel in particular. That is, my general cause of discontent is publick mismanagement, my particular cause a domestick injury done to my natural brother, who had been beheaded by the King's order.

Note return to page 467 *Construe the times to their necessities.] That is, judge of what is done in these times according to the exigencies that overrule us.

Note return to page 468 †Or from the King, &c] Whether the faults of government be imputed to the time or the king, it appears not that you have, for your part, been injured either by the king or the time.

Note return to page 469 ‡Their armed staves in charge] An armed staff is a lance. To be in charge, is to be fixed for the encounter.

Note return to page 470 3And 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 reform'd the Text very near to the Traces of the corrupted Reading. Theobald.

Note return to page 471 4This is intended in the General's name:] That is, this power is included in the name or office of a general. We wonder that you can ask a question so trifling.

Note return to page 472 *Substantial form.] That is, by a pardon of due form and legal validity.

Note return to page 473 5To us, and to our purposes, confin'd;] This schedule we see consists of three parts, 1. A redress of general grievances. 2. A pardon for those in arms. 3. Some demands of advantage for them. But this third part is very strangely expressed. And present execution of our wills To us and to our purposes confin'd. The first line shews they had something to demand, and the second expresses, the modesty of that demand. The demand, says the speaker, is confined to us and to our purposes. A very modest kind of restriction truly! only as extensive as their appetites and passions. Without question Shakespear wrote, To us and to our properties confin'd; i. e. we desire no more than security for our liberties and properties: and this was no unreasonable demand. Warburton. This passage is so obscure that I know not what to make of it. Nothing better occurs to me, than to read consign'd, for confin'd. That is, let the execution of our demands be put into our hands according to our declared purposes.

Note return to page 474 6We come within our awful banks again,] We should read lawful. Warb. Awful banks are the proper limits of reverence.

Note return to page 475 7The old copies: We may meet At either end in peace; which Heav'n so frame!] That easy, but certain, Change in the Text, I owe to Dr. Thirlby. Theobald.

Note return to page 476 8In former Editions: That, were our royal faiths martyrs in love.] If royal faiths can mean faith to a king, it yet cannot mean it without much violence done to the language. I therefore read, with Sir T. Hanmer, loyal faiths, which is proper, natural, and suitable to the intention of the speaker.

Note return to page 477 *Of dainty and such picking grievances] I cannot but think that this line is corrupted, and that we should read, Of picking out such dainty grievances.

Note return to page 478 9&lblank; wipe his tables clean,] Alluding to a table-book of slate, ivory, &c. Warburton.

Note return to page 479 1The sanctities of Heav'n.] This expression Milton has copied, Around him all the Sanctities of Heav'n Stood thick as stars.

Note return to page 480 *To take up, is to levy, to raise in arms.

Note return to page 481 2In common sense] I believe Shakespear wrote, common fence, i. e. drove by self-defence. Warb. Common sense is the general sense of general danger.

Note return to page 482 3And so Success of mischief &lblank;] Success, for succession. Warb.

Note return to page 483 4Therefore, be merry, Coz.] That is: therefore, notwithstanding this sudden impulse to heaviness, be merry, for such sudden dejections forebode good.

Note return to page 484 5Let our trains, &c.] That is, our army on each part, that we may both see those that were to have opposed us.

Note return to page 485 6It cannot but raise some indignation to find this horrible violation of faith passed over thus slightly by the poet, without any note of censure or detestation.

Note return to page 486 7The heat is past.] That is, the violence of resentment, the eagerness of revenge.

Note return to page 487 *Stand my good Lord in your good report.] We must either read, pray let me stand, or by a construction somewhat harsh, understand it thus: Give me leave to go—and—stand. To stand in a report, referred to the reporter, is to persist, and Falstaff did not ask the prince to persist in his present opinion.

Note return to page 488 8&lblank; I, in my condition, Shall better speak of you than you deserve.] I know not well the meaning of the word condition in this place; I believe it is the same with temper of mind: I shall, in my good nature, speak better of you than you merit.

Note return to page 489 9This same sober-blooded boy doth not love me, nor a man cannot make him laugh.] Falstaff speaks here like a veteran in life. The young prince did not love him, and he despaired to gain his affection, for he could not make him laugh. Men only become friends by community of pleasures. He who cannot be softened into gayety cannot easily be melted into kindness.

Note return to page 490 1Forgetive from forge; inventive, imaginative.

Note return to page 491 2I have him already tempering &c.] A very pleasant allusion to the old use of sealing with soft wax. Warburton.

Note return to page 492 3Humourous as winter,] That is, changeable as the weather of a winter's day. Dryden says of Almanzor, that he is humorous as wind.

Note return to page 493 4&lblank; congealed in the spring of day.] Alluding to the opinion of some philosophers, that the vapours being congealed in the air by cold, (which is most intense towards the morning) and being afterwards rarified and let loose by the warmth of the sun, occasion those sudden and impetuous gusts of wind which are called Flaws. Hanmer.

Note return to page 494 5Rash gun powder.] Rash is quick, violent, sudden. This representation of the prince, is a natural picture of a young man whose passions are yet too strong for his virtues.

Note return to page 495 *&lblank; his affection] His passions; his inordinate desires.

Note return to page 496 6'Tis seldom when the bee, &c.] As the bee, having once placed her comb in a carcase, stays by her honey, so he that has once taken pleasure in bad company, will continue to associate with those that have the art of pleasing him.

Note return to page 497 7In his particular.] We should read, I think, in this particular; that is, in this detail, in this account which is minute and distinct.

Note return to page 498 8Hath wrought the mure, &lblank;] i. e. the wall. Pope.

Note return to page 499 9The people fear me; &lblank;] i. e. make me afraid; which sense the Oxford Editor not taking, alters it to fear it. Warb.

Note return to page 500 1Unfather'd heirs] That is, equivocal births; animals that had no animal progenitors; productions not brought forth according to the stated laws of generation.

Note return to page 501 2The seasons change their manners, &lblank;] This is finely expressed; alluding to the terms of rough and harsh, and mild and soft, applied to weather. Warb.

Note return to page 502 3Unless some dull and favourable hand] Thus the old editions read it. Evidently corrupt. Shakespear seems to have wrote, Unless some doleing favourable hand. Doleing, i. e. a hand using soft melancholy airs. Warburton. I rather think that dull signifies, melancholy, gentle, soothing. Doleing cannot be received without some example of its use, which the commentator has not given, and my memory will not supply.

Note return to page 503 4Yield his engrossments.] His accumulations.

Note return to page 504 *&lblank; seal'd up my expectation;] Thou hast confirmed my opinion.

Note return to page 505 5England shall double gild his treble Guilt;] Evidently the nonsense of some foolish Player: For we must make a difference between what Shakespear might be suppos'd to have written off hand, and what he had corrected. These Scenes are of the latter kind; therefore such lines by no means to be esteemed his. But except Mr. Pope, (who judiciously threw out this line) not one of Shakespear's Editors seem ever to have had so reasonable and necessary a rule in their heads, when they set upon correcting this author. Warburton. I know not why this commentator should speak with so much confidence what he cannot know, or determine so positively what so capricious a writer as our poet might either deliberately or wantonly produce. This line is indeed such as disgraces a few that precede and follow it, but it suits well enough with the daggers hid in thought, and whetted on the flinty hearts; and the answer which the prince makes, and which is applauded for wisdom, is not of a strain much higher than this ejected line.

Note return to page 506 *This is obscure in the construction, though the general meaning is clear enough. The order is, this obedience which is taught this exterior bending by my duteous spirit; or, this obedience which teaches this exteriour bending to my inwardly duteous spirit. I know not which is right.

Note return to page 507 *True is loyal.

Note return to page 508 6In med'cine potable.] There has long prevailed an opinion that a solution of gold has great medicinal virtues, and that incorruptibility of gold might be communicated to the body impregnated with it. Some have pretended to make potable gold among other frauds practised on credulity.

Note return to page 509 7Soil is spot, dirt, turpitude, reproach.

Note return to page 510 8Wounding supposed peace—] Supposed, for undermined. Warburton. Rather counterfeited, imagined, nor real.

Note return to page 511 9&lblank; All these bold fears,] We should certainly read, All their bold feats, i. e. plots, commotions of conspirators. Warburton. There is no need of alteration. Fear is here used in the active sense, for that which causes fear.

Note return to page 512 1Changes the mode;] Mode, here, does not signify fashion, but time and measure in singing, or the pitch in speaking: Modus, a word peculiar to the ancient Drama: For the metaphor is continued from the words immediately preceding, &lblank; as a Scene, Acting that Argument &lblank; Warburton. Mode is here in its usual sense, the form or state of things. Nothing is more easy than to make obscurities and clear them.

Note return to page 513 2Successively.] To order of succession. Every usurper snatches a claim of hereditary right as soon as he can.

Note return to page 514 3To lead out many to the Holy Land;] As plausible as this reading is, it is corrupt. Shakespear, I think, wrote, To lead our many—our many or meiny, i. e. our people. Warburton. As plausible as this emendation is I think it wrong. The sense is: Of those who assisted my usurpation, some I have cut off, and many I intended to lead abroad. This journey to the Holy Land, of which the king very frequently revives the mention, had two motives, religion and policy. He durst not wear the ill-gotten crown without expiation, but in the act of expiation he contrives to make his wickedness successful.

Note return to page 515 4How I came, &c.] This is a true picture of a mind divided between heaven and earth. He prays for the prosperity of guilt while he deprecates its punishment.

Note return to page 516 5I will not excuse you, &c.] The sterility of Justice Shallow's wit is admirably described, in thus making him, by one of the finest strokes of nature, so often vary his phrase, to express one and the same thing, and that the commonest. Warburton.

Note return to page 517 6Those precepts cannot be serv'd.] Precept is a justice's warrant. To the offices which Falstaff gives Davy in the following scene, may be added that of justice's clerk. Davy has almost as many employments as Scrub in the Stratagem.

Note return to page 518 7Bearded-hermites-staves.] He had before called him the starved justice. His want of flesh is a standing jest.

Note return to page 519 8Two actions.] There is something humorous in making a spendthrift compute time by the operation of an action for debt.

Note return to page 520 9Fellow that never had the ache.] That is, a young fellow, one whose disposition to merriment, time and pain have not yet impaired.

Note return to page 521 1A ragged and forestall'd remission.] Ragged has no sense here. We should read, A rated and forestall'd remission. i. e. a remission that must be sought for, and bought with supplication. Warburton. Different minds have different perplexities. I am more puzzled with forestall'd than with ragged, for ragged, in our authour's licentious diction, may easily signify beggarly, mean, base, ignominious; but forestalled I know not how to apply to remission in any sense primitive or figurative. I should be glad of another word, but cannot find it. Perhaps by forestall'd remission, he may mean a pardon begged by a voluntary confession of offence, and anticipation of the charge.

Note return to page 522 2Not the Turkish court.] Not the court where the prince that mounts the throne puts his brothers to death.

Note return to page 523 3Was this easy?] That is, was this not grievous? Shakespeare has easy in this sense elsewhere.

Note return to page 524 4To trip the course of law.] To defeat the process of justice, a metaphor taken from the act of tripping a runner.

Note return to page 525 5To mock your working in a second body.] To treat with contempt your acts executed by a representative.

Note return to page 526 6In your state.] In your regal character and office, not with the passion of a man interested, but with the impartiality of a Legislator.

Note return to page 527 *Remembrance.] That is, admonition.

Note return to page 528 7My father is gone wild.] Mr. Pope, by substituting wail'd for wild, without sufficient consideration, afforded Mr. Theobald much matter of ostentatious triumph.

Note return to page 529 8Sadly I survive.] Sadly is the same as soberly, seriously, gravely. Sad is opposed to wild.

Note return to page 530 9&lblank; the state of floods,] i. e. the assembly, or general meeting of the floods. For all rivers, running to the sea, are there represented as holding their sessions. This thought naturally introduced the following. Now call we our high Court of Parliament. But the Oxford Editor, much a stranger to the phraseology of that time in general, and to his author's in particular, out of mere loss for his meaning, reads it backwards, the floods of state. Warburton.

Note return to page 531 *a dish of carraways.] A comfit or confection so called in our author's time. A passage in De Vigneul Marville's Melanges d' Histoire et de Litt. will explain this odd treat. Dans le dernier siecle ou l'on avoit le goút delicat, on ne croioit pas pouvoir vivre sans Dragées. Il n'etoit fils de bonne mere, qui n'eut sont Dragier; et il est raporte dans l'histoire du duc de Guise, que quand il fut tue à Blois il avoit son Dragier à la main.

Note return to page 532 *Proface.] Italian from profaccia; that is, much good may it do you. Hanmer. I rather think proface is uttered by mistake for perforce. Davy impertinently asks Bardolph and the Page, who, according to their place, were standing, to sit down. Bardolph complies; the Page, knowing his duty, declines the seat, and Davy cries proface, and sets him down by force.

Note return to page 533 1The heart's all.] That is, the intention with which the entertainment is given. The humour consists in making Davy act as master of the house.

Note return to page 534 2Cavaleroes.] This was the term by which an airy splendid irregular fellow was distinguished. The soldiers of King Charles were called Cavaliers from the gayety which they affected in opposition to the sour faction of the parliament.

Note return to page 535 3Samingo] He means to say, San Domingo. Hanmer. Of Samingo, or San Domingo, I see not the use in this place.

Note return to page 536 4An old man can do somewhat.] It may be observed that Shakespeare, in the Merry Wives of Windsor, which he wrote after this play, for the greater commodiousness of his plot, changed the age of Silence. He is here a man advanced in years, with a son at the university: he there goes a courting to a young girl. Shallow is an old man in both plays.6Q0156

Note return to page 537 5Let King Cophetua, &c.] Lines taken from an old bombast play of King Cophetua: of whom, as we learn from Shakespear, there were ballads too. Warb. See Love's labour lost.

Note return to page 538 6&lblank; Bezonian, speak or die.] So again Suffolk says in 2d Henry VI. Great Men oft die by vile Bezonians. It is a Term of Reproach, frequent in the Writers contemporary with our Poet. Bisognoso, a needy Person; thence metaphorically, a base Scoundrel. Theobald.

Note return to page 539 *&lblank; Fig me like The bragging Spaniard.] To fig, in Spanish, Higas dar, is to insult by putting the thumb between the fore and middle finger. From this Spanish custom we yet say in contempt, a fig for you.

Note return to page 540 7Where is the life that late I led, &lblank;] Words of an old ballad. Warburton.

Note return to page 541 8It has been already observ'd on the Merry Wives of Windsor, that Nut-book seems to have been in those times a name of reproach for a catchpoll.

Note return to page 542 9&lblank; thou thin man in a Censer!] These old Censers of thin metal had generally at the bottom the figure of some saint raised up with the hammer, in a barbarous kind of imbossed or chased work. The hunger-starved Beadle is compared, in substance, to one of these thin raised figures, by the same kind of humour that Pistol, in the Merry Wives, calls Slender, a laten bilboe. Warb.

Note return to page 543 1blue bottle rogue!] A name I suppose given to the beadle from the colour of his livery.

Note return to page 544 2half-kirtles.] Probably the dress of the prostitutes of that time.

Note return to page 545 *It has been already observed, that, at ceremonial entertainments, it was the custom to strew the floor with rushes. Caius de Ephemera.

Note return to page 546 3The two little answers here given to Pistol, are transferred by Sir T. Hanmer to Shallow, the repetition of it doth suits Shallow best.

Note return to page 547 4'Tis all in every part.] The sentence alluded to is, 'Tis all in all, and all in every part. And so doubtless it should be read. 'Tis a common way of expressing one's approbation of a right measure, to say, 'tis all in all. To which this phantastic character adds, with some humour, and all in every part: which, both together, make up the philosophic sentence, and compleat the absurdity of Pistol's phraseology. Warburton.

Note return to page 548 *Profane, in our authour, often signifies, love of talk without the particular idea now given it. So in Othello, Is he not a profane and very liberal counsellor.

Note return to page 549 5&lblank; Know, the Grave doth gape For thee, thrice wider than for other men. Reply not to me with a fool-born jest;] Nature is highly touched in this passage. The king having shaken off his vanities, schools his old companion for his follies with great severity: he assumes the air of a preacher; bids him fall to his prayers, seek grace, and leave gormandizing. But that word unluckily presenting him with a pleasant idea, he cannot forbear pursuing it. 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 immediately, and fearing Sir John should take the advantage of it, checks both himself and the knight, with Reply not to me with a fool-born jest; and so resumes the thread of his discourse, and goes moralizing on to the end of the chapter. Thus the poet copies nature with great skill, and shews us how apt men are to fall back into their old customs, when the change is not made by degrees, and brought into a habit, but determined of at once on the motives of honour, interest or reason. Warburton.

Note return to page 550 6Mr. Rowe observes, that many readers lament to see Falstaff so hardly used by his old friend. But if it be considered that the fat knight has never uttered one sentiment of generosity, and with all his power of exciting mirth, has nothing in him that can be esteemed, no great pain will be suffered from the reflection that he is compelled to live honestly, and maintained by the king, with a promise of advancement when he shall deserve it. I think the poet more blameable for Poins, who is always represented as joining some virtues with his vices, and is therefore treated by the prince with apparent distinction, yet he does nothing in the time of action, and though after the bustle is over he is again a favourite, at last vanishes without notice. Shakespeare certainly lost him by heedlessness, in the multiplicity of his characters, the variety of his action, and his eagerness to end the play.

Note return to page 551 *I do not see why Falstaff is carried to the Fleet. We have never lost sight of him since his dismission from the king; he has committed no new fault, and therefore incurred no punishment; but the different agitations of fear, anger, and surprise in him and his company, made a good scene to the eye; and our authour, who wanted them no longer on the stage, was glad to find this method of sweeping them away.

Note return to page 552 *This epilogue was merely occasional, and alludes to some theatrical transaction.

Note return to page 553 †This trick of influencing one part of the audience by the favour of the other, has been played already in the epilogue to As you like it.

Note return to page 554 1For Oldcastle died a martyr,] This alludes to a play in which Sir John Oldcastle was put for Falstaff. Pope.

Note return to page 555 11004001*I fancy every reader, when he ends this play, cries out with Desdemona, O most lame and impotent conclusion! As this play was not, to our knowledge, divided into acts by the authour, I could be content to conclude it with the death of Henry the fourth. In that Jerusalem shall Harry dye. These scenes which now make the fifth act of Henry the fourth, might then be the first of Henry the fifth; but the truth is, that they do unite very commodiously to either play. When these plays were represented, I believe they ended as they are now ended in the books; but Shakespeare seems to have designed that the whole series of action from the beginning of Richard the second, to the end of Henry the fifth, should be considered by the reader as one work, upon one plan, only broken into parts by the necessity of exhibition. None of Shakespeare's plays are more read than the first and second parts of Henry the fourth. Perhaps no authour has ever in two plays afforded so much delight. The great events are interesting, for the fate of kingdoms depends upon them; the slighter occurrences are diverting, and, except one or two, sufficiently probable; the incidents are multiplied with wonderful fertility of invention, and the characters diversified with the utmost nicety of discernment, and the profoundest skill in the nature of man. The prince, who is the hero both of the comick and tragick part, is a young man of great abilities and violent passions, whose sentiments are right, though his actions are wrong; whose virtues are obscured by negligence, and whose understanding is dissipated by levity. In his idle hours he is rather loose than wicked, and when the occasion forces out his latent qualities, he is great without effort, and brave without tumult. The trifler is roused into a hero, and the hero again reposes in the trifler. This character is great, original, and just. Piercy is a rugged soldier, cholerick, and quarrelsome, and has only the soldier's virtues, generosity and courage. But Falstaff unimitated, unimitable Falstaff, how shall I describe thee? Thou compound of sense and vice; of sense which may be admired but not esteemed, of vice which may be despised, but hardly detested. Falstaff is a character loaded with faults, and with those faults which naturally produce contempt. He is a thief, and a glutton, a coward, and a boaster, always ready to cheat the weak, and prey upon the poor; to terrify the timorous and insult the defenceless. At once obsequious and malignant, he satirises in their absence those whom he lives by flattering. He is familiar with the prince only as an agent of vice, but of this familiarity he is so proud as not only to be supercilious and haughty with common men, but to think his interest of importance to the duke of Lancaster. Yet the man thus corrupt, thus despicable, makes himself necessary to the prince that despises him, by the most pleasing of all qualities, perpetual gaiety, by an unfailing power of exciting laughter, which is the more freely indulged, as his wit is not of the splendid or ambitious kind, but consists in easy escapes and sallies of levity, which make sport but raise no envy. It must be observed that he is stained with no enormous or sanguinary crimes, so that his licentiousness is not so offensive but that it may be borne for his mirth. The moral to be drawn from this representation is, that no man is more dangerous than he that with a will to corrupt, hath the power to please; and that neither wit nor honesty ought to think themselves safe with such a companion when they see Henry seduced by Falstaff.

Note return to page 556 Of this play the editions are, I. 1600, Tho. Crede for Tho. Milleyton, 4to. II. 1608, for J. P. 4to. III. 1623, &c. Folio. I have the second quarto and folio. The folio edition is much enlarged.

Note return to page 557 1The life of Henry V.] This play was writ (as appears from a passage in the chorus to the fifth act) at the time of the Earl of Essex's commanding the forces in Ireland in the reign of Queen Elizabeth, and not till after Henry the VIth had been played, as may be seen by the conclusion of this play. Pope. The Life of K. Henry.] The Transactions compriz'd in this Historical Play, commence about the latter end of the first, and terminate in the 8th Year of this King's reign; when he married Catharine Princess of France, and closed up the Differences betwixt England and that Crown. Theo.

Note return to page 558 1O for a Muse of fire, &c.] This goes upon the notion of the Peripatetic System, which imagines several Heavens one above another; the last and highest of which was one of fire. Warburton. It alludes likewise to the aspiring nature of fire, which, by its levity, at the separation of the chaos, took the highest seat of all the elements.

Note return to page 559 2&lblank; Princes to act, And monarchs to behold.] Shakespeare does not seem to set distance enough between the performers and spectators.

Note return to page 560 3Within this wooden O.] Nothing shews more evidently the power of custom over language, than that the frequent use of calling a circle an O could so much hide the meanness of the metaphor from Shakespeare, that he has used it many times where he makes his most eager attempts at dignity of stile.

Note return to page 561 4The very caskes.] The helmets.

Note return to page 562 5Imaginary forces.] Imaginary for imaginative, or your powers of fancy. Active and passive words are by this authour frequently confounded.

Note return to page 563 6Whose high up-reared, and abutting fronts, The perillous narrow ocean parts asunder.] Without doubt the author wrote, Whose high-up-reared, and abutting fronts Perillous, the narrow ocean parts asunder;] for his purpose is to shew, that the highest danger arises from the shock of their meeting; and that it is but a little thing which keeps them asunder. This sense my emendation gives us, as the common reading gives us a contrary; for those whom a perillous ocean parts asunder, are in no danger of meeting. Warb.

Note return to page 564 7And make imaginary puissance.] This passage shews that Shakespeare was fully sensible of the absurdity of shewing battles on the theatre, which indeed is never done but tragedy becomes farce. Nothing can be represented to the eye but by something like it, and within a wooden O nothing very like a battle can be exhibited.

Note return to page 565 8For 'tis your thoughts that now must deck our Kings, Carry them here and there] We should read king for kings. The prologue relates only to this single play. The mistake was made by referring them to kings which belongs to thoughts. The sense is, your thoughts must give the king his proper greatness, carry therefore your thoughts here and there.

Note return to page 566 2Archbishop of Canterbury.] This first scene was added since the edition of 1608, which is much short of the present editions, wherein the speeches are generally enlarg'd and raised: Several whole scenes besides, and all the chorus's also, were since added by Shakespeare. Pope.

Note return to page 567 *Consideration, like an angel, &c.] As paradise when sin and Adam were driven out by the angel became the habitation of celestial spirits, so the king's heart, since consideration has driven out his follies, is now the receptacle of wisdom and of virtue.

Note return to page 568 3Never came reformation like a flood] Alluding to the method by which Hercules cleansed the famous stables when he turned a river through them. Hercules still is in our authour's head when he mentions the Hydra.

Note return to page 569 4Hear him but reason in divinity, &c.] This speech seems to have been copied from King James's prelates, speaking of their Solomon; when Archbishop Whitgift, who, as an eminent writer says, died soon afterwards, and probably doated then, at the Hampton-Court conference, declared himself verily persuaded, that his sacred Majesty spake by the Spirit of God. And, in effect, this scene was added after King James's accession to the crown: So that we have no way of avoiding its being esteemed a compliment to him, but by supposing it was a satire on his bishops. Warburton. Why these lines should be divided from the rest of the speech and applied to king James, I am not able to conceive; nor why an opportunity should be so eagerly snatched to treat with contempt that part of his character which was least contemptible. King James's theological knowledge was not inconsiderable. To preside at disputations is not very suitable to a king, but to understand the questions is surely laudable. The poet, if he had James in his thoughts, was no skilful encomiast; for the mention of Harry's skill in war, forced upon the remembrance of his audience the great deficiency of their present king; who yet with all his faults, and many faults he had, was such that Sir Robert Cotton says, he would be content that England should never have a better, provided that it should never have a worse.

Note return to page 570 5The air, &c.] This line is exquisitely beautiful.

Note return to page 571 6So that the Art and practic part of Life,] All the Editions, if I am not deceiv'd, are guilty of a slight Corruption in this Passage. The Archbishop has been shewing, what a Master the King was in the Theory of Divinity, War and Policy: so that it must be expected (as I conceive, he would infer;) that the King should now wed that Theory to Action, and the putting the several Parts of his Knowledge into Practice. If this be our author's Meaning, I think, we can hardly doubt but he wrote, So that the Act, and practic, &c. Thus we have a Consonance in the Terms and Sense. For Theory is the Art, and Study of the Rules of any Science; and Action, the Exemplification of those Rules by Proof and Experiment. Theobald. This emendation is received by Dr. Warburton, but it appears to me founded upon a misinterpretation. The true meaning seems to be this. He discourses with so much skill on all subjects, that the art and practice of life must be the mistress or teacher of his theorique, that is, that his theory must have been taught by art and practice, which, says he, is strange since he could see little of the true art or practice among his loose companions, nor ever retired to digest his practice into theory: Art is used by the authour for practice, as distinguished from science or theory.

Note return to page 572 7&lblank; crescive in his faculty.] Encreasing in its proper power.

Note return to page 573 8The severals, and unhidden passages] This line I suspect of corruption, though it may be fairly enough explained: the passages of his titles are the lines of succession, by which his claims descend. Unhidden is open, clear.

Note return to page 574 9Shall we call in, &c.] Here began the old play. Pope.

Note return to page 575 *task] Keep busied with scruples and laborious disquisitions.

Note return to page 576 1Or nicely charge your understanding soul] Take heed lest by nice and subtle sophistry you burthen your knowing soul, or knowingly burthen your soul, with the guilt of advancing a false title, or of maintaining, by specious fallacies, a claim which, if shewn in its native and true colours, would appear to be false.

Note return to page 577 †miscreate &lblank;] Ill-begotten; illegitimate; spurious.

Note return to page 578 2&lblank; take heed how you impawn our person;] The whole drift of the king is to impress upon the archbishop a due sense of the caution with which he is to speak. He tells him that the crime of unjust war, if the war be unjust, shall rest upon him. Therefore take heed how you impawn your person. So I think it should be read. Take heed how you pledge yourself, your honour, your happiness, in support of bad advice. Dr. Warburton explains impawn by engage, and so escapes the difficulty.

Note return to page 579 3&lblank; There is no bar, &c.] This whole speech is copied (in a manner verbatim) from Hall's Chronicle, Henry V, year the second, folio 4. xx, xxx, xl, &c. In the first edition it is very imperfect, and the whole history and names of the princes are confounded; but this was afterwards set right, and corrected from his original, Hall's Chronicle. Pope.

Note return to page 580 4To fine his title, &c.] This is the reading of the 4to of 1608, that of the folio is, To find his title. I would read, To line his title with shows of truth. To line may signify at once to decorate and to strengthen. In Macbeth: He did line the rebels with hidden help and vantage. Dr. Warburton says, that to fine his title, is to refine or improve it. The reader is to judge.

Note return to page 581 *Mr. Pope reads: Than openly imbrace] But where is the Antithesis betwixt hide in the preceding Line, and imbrace in this? The two old Folio's read, Than amply to imbarre— We certainly must read, as Mr. Warburton advis'd me,—Than amply to imbare—lay open, display to View. I am surpriz'd Mr. Pope did not start this Conjecture, as Mr. Rowe has led the way to it in his Edition, who reads; Than amply to make bare their crooked Titles. Theobald. Mr. Theobald might have found in the quarto of 1608, this reading, Than amply to embrace their crooked causes, out of which line Mr. Pope formed his reading, erroneous indeed, but not merely capricious.

Note return to page 582 5These four speeches were added after the first edition.

Note return to page 583 6They know your Grace hath cause, and means, and might, So hath your Highness &lblank;] We should read, &lblank; your Race had cause &lblank; which is carrying on the sense of the concluding words of Exeter. As did the former Lions of your blood. meaning Edward III, and the Black Prince. Warburton. I do not see but the present reading may stand as I have pointed it.

Note return to page 584 7These two lines Dr. Warburton gives to Westmorland, but with so little reason that I have continued them to Canterbury. The credit of old copies, though not great, is yet more than nothing.

Note return to page 585 8&lblank; giddy neighbour &lblank;] That is, inconstant, changeable.

Note return to page 586 9Never went with his forces into France.] Shakespeare wrote the line thus, Ne'er went with his full forces into France. The following expressions of unfurnisht kingdom, gleaned land, and empty of defence, shew this. Warburton. There is no need of alteration.

Note return to page 587 1And make his chronicle as rich with praise,] He is speaking of King Edward's prisoners; so that it appears Shakespeare wrote, &lblank; as rich with prize, i. e. captures, booty. Without this, there is neither beauty nor likeness in the similitude. Warb. The change of praise to prize, I believe no body will approve; the similitude between the chronicle and sea consists only in this, that they are both full, and filled with something valuable. Besides, Dr. Warburton presupposes a reading which exists in no ancient copy, for his chronicle as the later editions give it, the quarto has your, the folio their chronicle. Your and their written by contraction yr are just alike, and her in the old hands is not much unlike yr. I believe we should read her chronicle.

Note return to page 588 2Ely. But there's a saying, &c.] This speech, which is dissuasive of the war with France, is absurdly given to one of the churchmen in confederacy to push the King upon it, as appears by the first scene of this act. Besides, the poet had here an eye to Hall, who gives this observation to the Duke of Exeter. But the editors have made Ely and Exeter change sides, and speak one another's speeches; for this, which is given to Ely, is Exeter's; and the following given to Exeter, is Ely's. Warburton.

Note return to page 589 3If that you will France win, &c.] Hall's Chronicle. Hen. V. year 2. fol. 7. p. 2. x. Pope.

Note return to page 590 4To tear and havock more than she can eat.] 'Tis not much the Quality of the Mouse to tear the Food it comes at, but to run over and defile it. The old Quarto reads, spoile; and the two first folio's, tame: from which last corrupted Word, I think, I have retriev'd the Poet's genuine Reading, taint. Theob.

Note return to page 591 5Yet that is but a curs'd Necessity;] So the old Quarto. The folio's read crush'd: Neither of the Words convey any tolerable Idea; but give us a counter-reasoning, and not at all pertinent. We should read, 'scus'd necessity. 'Tis Ely's business to shew, there is no real Necessity for staying at home: he must therefore mean, that tho' there be a seeming Necessity, yet it is one that may be well excus'd and got over. Warburton. Neither the old readings nor the emendation seem very satisfactory. A cursed necessity has no sense, a 'scus'd necessity is so harsh that one would not admit it, if any thing else can be found. A crush'd necessity may mean, a necessity which is subdu'd and overpowered by contrary reasons. We might read a crude necessity, a necessity not complete, or not well considered and digested, but it is too harsh. Sir T. Hanmer reads, Yet that is not o'course a necessity.

Note return to page 592 *For Government, though high, and low, and lower,] The Foundation and Expression of this Thought seems to be borrow'd from Cicero de Republica, lib. 2. Sic ex summis, & mediis, & infimis interjectis Ordinibus, ut fonis, moderatam, ratione Civitatem, Consensu dissimiliorum concinere; & quæ Harmonia à Musicis dicitur in Cantu, eam esse in Civitate Concordiam. Theobald.

Note return to page 593 6Setting endeavour in continual motion, To which is fixed, as an aim or butt, Obedience.] Neither the sense nor the construction of this passage is very obvious. The construction is, endeavour—as an aim or butt to which endeavour, obedience is fixed. The sense is, that all endeavour is to terminate in obedience, to be subordinate to the publick good and general design of government.

Note return to page 594 7Others, like merchants, venture trade abroad;] What is the venturing trade? I am persuaded we should read and point it thus, Others, like merchant venturers, trade abroad. Warburton. If the whole difficulty of this passage consist in the obscurity of the phrase to venture trade, it may be easily cleared. To venture trade is a phrase of the same import and structure as to hazard battle. Nothing could have raised an objection but the desire of being busy.

Note return to page 595 8The civil citizens kneading up the honey;] This may possibly be right; but I rather think that Shakespeare wrote heading up the honey; alluding to the putting up merchandise in casks. And this is in fact the case. The honey being headed up in separate and distinct cells by a thin membrane of wax drawn over the mouth of each of them, to hinder the liquid matter from running out. Warburton. To head the honey can hardly be right; for though we head the cask, no man talks of heading the commodities. To knead gives an easy sense, though not physically true. The bees do in fact knead the wax more than the honey, but that Shakespeare perhaps did not know.

Note return to page 596 9So may a thousand actions, once a-foot,] The speaker is endeavouring to shew, that the state is able to execute many projected actions at once, and conduct them all to their completion, without impeding or jostling one another in their course. Shakespeare, therefore, must have wrote, actions 't once a foot, i. e. at once: or, on foot together. Warburton. Sir T. Hanmer is more kind to this emendation by reading acts at once. The change is not necessary, the old text may stand.

Note return to page 597 *Chace is a term at tennis.

Note return to page 598 1And therefore, living hence, &lblank;] This expression has strength and energy: He never valued England, and therefore lived hence, i. e. as if absent from it. But the Oxford Editor alters hence to here. Warburton.

Note return to page 599 *For that I have laid by, &c.] To qualify myself for this undertaking, I have descended from my station, and studied the arts of life in a lower character.

Note return to page 600 †His balls to gun-stones.] When ordnance was first used, they discharged balls not of iron but of stone.

Note return to page 601 2In this place, in all the editions hitherto, is inserted the chorus which I have postponed. That chorus manifestly is intended to advertise the spectators of the change of the scene to Southampton, and therefore ought to be placed just before that change, and not here, where the scene is still continued in London. Pope. Now all the Youth of England] I have replaced this Chorus here, by the Authority of the Old Folio's; and ended the first Act, as the Poet certainly intended. Mr. Pope remov'd it, because (says he) This Chorus manifestly is intended to advertise the Spectators of the Change of the Scene to Southampton; and therefore ought to be placed just before that Change, and not here. 'Tis true, the Spectators are to be informed, that, when they next see the King, they are to suppose him at Southampton. But this does not imply any Necessity of this Chorus being contiguous to that Change. On the contrary, the very concluding Lines vouch absolutely against it. But, till the King come forth, and not till then,6Q0158 Unto Southampton do we shift our Scene. For how absurd is such a Notice, if the Scene is to change, so soon as ever the Chorus quits the Stage? Besides, unless this Chorus be prefixed to the Scene betwixt Nim, Bardolph, &c. We shall draw the Poet into another Absurdity. Pistol, Nim, and Bardolph are in this Scene talking of going to the Wars in France: but the King had but just, at his quitting the Stage, declar'd his Resolutions of commencing this War: And without the Interval of an Act, betwixt that Scene and the Comic Characters entring, how could they with any Probability be informed of this intended Expedition? Theobald. I think Mr. Pope mistaken in transposing this Chorus, and Mr. Theobald in concluding the act with it. The chorus evidently introduces that which follows, not comments on that which precedes, and therefore rather begins than ends the Act, and so I have printed it. Dr. Warburton follows Mr. Pope.

Note return to page 602 3For now sits Expectation in the air, And hides a sword from hilts unto the point With Crowns imperial, &c.] The imagery is wonderfully fine, and the thought exquisite. Expectation sitting in the air designs the height of their ambition; and the Sword hid from the hilt to the point with Crowns and Coronets, that all sentiments of danger were lost in the thoughts of glory. Warburton.

Note return to page 603 4And by their hands this grace of Kings must die, If hell and treason hold their promises, Ere he take ship for France; and in Southampton. Linger your patience on, and well digest Th' abuse of distance, while we force a play. The sum is paid, the traitors are agreed, The King is set from London, and the scene Is now transported, gentles, to Southampton: There is the play-house now.] I suppose every one that reads these lines looks about for a meaning which he cannot find. There is no connection of sense nor regularity of transition from one thought to the other. It may be suspected that some lines are lost, and in that case the sense is irretrievable. I rather think the meaning is obscured by an accidental transposition, which I would reform thus: And by their hands this grace of Kings must die, If hell and treason hold their promises. The sum is paid, the traitors are agreed, The King is set from London, and the scene Is now transported, gentles, to Southampton Ere he take ship for France. And in Southampton Linger your patience on, and well digest Th' abuse of distance, while we force a play. There is the play-house now. This alteration restores sense, and probably the true sense. The lines might be otherwise ranged, but this order pleases me best.

Note return to page 604 5&lblank; this grace of Kings &lblank;] i. e. he who does greatest honour to the title. By the same kind of phraseology the usurper in Hamlet is call'd the Vice of Kings, i. e. the opprobrium of them. Warburton.

Note return to page 605 6We'll not offend one stomach.] That is, you shall pass the sea without the qualms of sea-sickness.

Note return to page 606 7But, 'till the King come forth.] Here seems to be something omitted. Sir T. Hanmer reads, But when the King comes forth. which, as the passage now stands, is necessary. These lines, obscure as they are, refute Mr. Pope's conjectures on the true place of the chorus; for they shew that something is to intervene before the scene changes to Southampton.

Note return to page 607 8Bard. Well met, corporal Nim.] I have chose to begin the 2d Act here, because each Act may close regularly with a Chorus. Not that I am persuaded, this was the poet's intention to mark the Intervals of his Acts as the Chorus did on the old Grecian Stage. He had no occasion of this sort: since, in his Time, the Pauses of Action were filled up, as now, with a Lesson of Musick: But the Reasons for this Distribution are explained before. Theobald. I have already shewn why in this edition the act begins with the chorus.

Note return to page 608 9Lieutenant Bardolph.] At this scene begins the connection of this play with the latter part of King Henry IV. The characters would be indistinct, and the incidents unintelligible, without the knowledge of what passed in the two foregoing plays.

Note return to page 609 1there shall be smiles] I suspect smiles to be a marginal direction crept into the text. It is natural for a man, when he threatens, to break off abruptly, and conclude, But that shall be as it may. But this fantastical fellow is made to smile disdainfully while he threatens; which circumstance was marked for the player's direction in the margin. Warburton.

Note return to page 610 2And we'll all be sworn brothers to France.] We should read, we'll all go sworn brothers to France, or we'll all be sworn brothers in France.

Note return to page 611 3Patience be a tir'd mare.] The folio reads by corruption, tired name, from which Sir T. Hanmer, sagaciously enough, derived tired Dame. Mr. Theobald retrieved from the quarto tired Mare, the true reading.

Note return to page 612 4O welliday Lady, if he be not hewn now.] I cannot understand the Drift of this Expression. If he be not hewn, must signify, if he be not cut down; and in that Case, the very Thing is supposed, which Quickly was apprehensive of. But I rather think, her Fright arises upon seeing their Swords drawn: and I have ventured to make a slight Alteration accordingly. If he be not drawn, for, if he has not his Sword drawn, is an Expression familiar with our Poet. The.

Note return to page 613 5Island dog.] I believe we should read Iceland dog. He seems to allude to an account credited in Elizabeth's time, that in the North there was a nation with human bodies and dogs heads.

Note return to page 614 6For I can take.] I know not well what he can take. The quarto reads talk. In our authour to take, is sometimes to blast, which sense may serve in this place.

Note return to page 615 7Doating death is near.] The quarto has groaning death.

Note return to page 616 8To death and treachery.] Here the quarto inserts a line omitted in all the following editions. Exet. O! the lord of Masham!

Note return to page 617 9For which we have in head assembled them?] This is not an English phraseology. I am persuaded Shakespear wrote, For which we have in aid assembled them? alluding to the tenures of those times. Warburton. It is strange that the commentator should forget a word so eminently observable in this writer, as head for an army formed.

Note return to page 618 1Hearts create.] Hearts compounded or made up of duty and zeal.

Note return to page 619 2More advice.] On his return to more coolness of mind.

Note return to page 620 3&lblank; proceeding on distemper,] i. e. sudden passions. Warburton. Perturbation of mind. Temper is equality or calmness of mind, from an equipoise or due mixture of passions. Distemper of mind is the predominance of a passion, as distemper of body is the predominance of a humour.

Note return to page 621 4How shall we stretch our eye.] If we may not wink at small faults, how wide must we open our eyes at great.

Note return to page 622 5Quick] That is, living.

Note return to page 623 6Though the truth stand off as gross As black and white.] Though the truth be as apparent and visible as black and white contiguous to each other. To stand off is étre relevè, to be prominent to the eye, as the strong parts of a picture.

Note return to page 624 7Treason and murder &lblank;] What follows to the end of this speech is additional since the first edition. Pope.

Note return to page 625 8Working so grosly &lblank;] Grosly for commonly, which the Oxford Editor not understanding, alters it to closely. Warburt. Grosly is neither closely nor commonly, but palpably; with a plain and visible connexion of cause and effect.

Note return to page 626 9He that temper'd thee] Though temper'd may stand for formed or moulded, yet I fancy tempted was the authour's word, for it answers better to suggest in the opposition.

Note return to page 627 1Oh, how hast thou with jealousy infected The sweetness of affiance?] Shakespeare urges this aggravation of the guilt of treachery with great judgment. One of the worst consequences of breach of trust is the diminution of that confidence which makes the happiness of life, and the dissemination of suspicion, which is the poison of society.

Note return to page 628 2Garnish'd and deck'd in modest complement.] Modest complement, that is, fulness. Warburton. This note will not much help the reader, unless he knows to what fulness is to be applied, I take the meaning to be this. The King, having mentioned Scroop's temperance in diet, passes on to his decency in dress, and says that he was decked in modest complement; that is, he was decorated with ornaments, but such as might be worn without vain ostentation. Complement means something more than is necessary; so complement in language is what we say ad conciliandam gratiam, more than is strictly or literally meant.

Note return to page 629 3Not working with the eye without the ear,] He is here giving the character of a compleat gentleman, and says, he did not trust the eye without the confirmation of his ear. But when men have eye-sight-proof, they think they have sufficient evidence, and don't stay for the confirmation of an hear-say. Prudent men, on the contrary, won't trust the credit of the ear, till it be confirmed by the demonstration of the eye. And this is that conduct for which the king would here commend him. So that we must read, Not working with the ear, but with the eye. Warburton. The authour's meaning I should have thought not so difficult to find, as that an emendation should have been proposed. The king means to say of Scroop, that he was a cautious man, who knew that fronti nulla fides, that a specious appearance was deceitful, and therefore did not work with the eye without the ear, did not trust the air or look of any man till he had tried him by enquiry and conversation. Surely this is the character of a prudent man.

Note return to page 630 4&lblank; and so finely boulted didst thou seem &lblank;] i. e. refined or purged from all faults. Pope. Boulted is the same with sifted, and has consequently the meaning of refined.

Note return to page 631 5To make the full-fraught man, &lblank;] We should read, To mark the full-fraught man. i. e. marked by the blot he speaks of in the preceding line. Warburton.

Note return to page 632 6One of the conspirators against Queen Elizabeth, I think Parry, concludes his letter to her with these words, a culpa, but not a pœna; absolve me most dear Lady. This letter was much read at that time, and the authour doubtless copied it. This whole scene was much enlarged and improved after the first edition; the particular insertions it would be tedious to mention, and tedious without much use.

Note return to page 633 7Finer end, for final.

Note return to page 634 8Turning o' th' tide.] It has been a very old opinion, which Mead, de imperio solis, quotes, as if he believed it, that nobody dies but in the time of ebb; half the deaths in London confute the notion, but we find that it was common among the women of the poet's time.

Note return to page 635 9for his nose was as sharp as a pen, and a table of green-fields.] These words, and a table of green-fields, are not to be found in the old editions of 1600 and 1608. This nonsense got into all the following editions by a pleasant mistake of the stage editors, who printed from the common piece-meal-written parts in the play-house. A table was here directed to be brought in (it being a scene in a tavern where they drink at parting) and this direction crept into the text from the margin. Greenfield was the name of the property-man in that time who furnish'd implements, &c. for the actors, A table of Greenfield's. Pope. So reasonable an account of this blunder Mr. Theobald would not acquiesce in. He thought a table of Greenfield's part of the text, only corrupted, and that it should be read, he babled of green fields, because men do so in the ravings of a calenture. But he did not consider how ill this agrees with the nature of the Knight's illness, who was now in no babling humour: and so far from wanting cooling in green fields, that his feet were cold, and he just expiring. Warb. Upon this passage Mr. Theobald has a note that fills a page, which I omit in pity to my readers, since he only endeavours to prove, what I think every reader perceives to be true, that at this time no table could be wanted. Mr. Pope, in an appendix to his own edition in 12mo, seems to admit Theobald's emendation, which we would have allowed to be uncommonly happy, had we not been prejudiced against it by a conjecture with which, as it excited merriment, we are loath to part.

Note return to page 636 1Cold as any stone.] Such is the end of Falstaff, from whom Shakespeare had promised us in his epilogue to Henry IV. that we should receive more entertainment. It happened to Shakespeare as to other writers, to have his imagination crowded with a tumultuary confusion of images, which, while they were yet unsorted and unexamined, seemed sufficient to furnish a long train of incidents, and a new variety of merriment, but which, when he was to produce them to view, shrunk suddenly from him, or could not be accommodated to his general design. That he once designed to have brought Falstaff on the scene again, we know from himself; but whether he could contrive no train of adventures suitable to his character, or could match him with no companions likely to quicken his humour, or could open no new vein of pleasantry, and was afraid to continue the same strain lest it should not find the same reception, he has here for ever discarded him, and made haste to dispatch him, perhaps for the same reason for which Addison killed Sir Roger, that no other hand might attempt to exhibit him. Let meaner authours learn from this example, that it is dangerous to sell the bear which is yet not hunted, to promise to the publick what they have not written. This disappointment probably inclined Queen Elizabeth to command the poet to produce him once again, and to shew him in love or courtship. This was indeed a new source of humour, and produced a new play from the former characters. I forgot to note in the proper place, and therefore note here, that Falstaff's courtship, or The Merry Wives of Windsor, should be read between Henry IV. and Henry V.

Note return to page 637 2Let senses rule] I think this is wrong, but how to reform it I do not well see. Perhaps we may read, Let sense us rule. Pistol is taking leave of his wife, and giving her advice as he kisses her; he sees her rather weeping than attending, and supposing that in her heart she is still longing to go with him part of the way, he cries, Let sense us rule, that is, let us not give way to foolish fondness, but be ruled by our better understanding. He then continues his drections for her conduct in his absence.

Note return to page 638 *&lblank; pitch and pay;] I know not the meaning of pitch. Perhaps it should be pinch and pay; that is, as the language is of the present alehouses, touch pot, touch penny.6Q0160

Note return to page 639 †clear thy crystals.] Dry thine eyes.6Q0161

Note return to page 640 3And more than carefully it us concerns] This was a business indeed, that required more than care to discharge it. I am persuaded Shakespear wrote, more than carelesly. The King is supposed to hint here at the Dauphin's wanton affront in sending over tennis-balls to Henry: which, arising from over-great confidence of their own power, or contempt of their enemies, would naturally breed carelesness. Warburton. I do not see any defect in the present reading: more than carefully is with more than common care, a phrase of the same kind with better than well.

Note return to page 641 4You are too much mistaken in this King: &c.] This part is much enlarged since the first writing. Pope.

Note return to page 642 *How modest in exception &lblank;] How diffident and decent in making objections.

Note return to page 643 5Were but the out-side of the Roman Brutus.] Shakespear not having given us, in the first or second part of Henry IV. or in any other place but this, the remotest hint of the circumstance here alluded to, the comparison must needs be a little obscure to those who don't know or reflect that some historians have told us, that Henry IV. had entertain'd a deep jealousy of his son's aspiring superior genius. Therefore to prevent all umbrage, the prince withdrew from publick affairs, and amused himself in consorting with a dissolute crew of robbers. It seems to me, that Shakespear was ignorant of this circumstance when he wrote the two parts of Henry IV. for it might have been so managed as to have given new beauties to the character of Hal, and great improvements to the plot. And with regard to these matters, Shakespear generally tells us all he knew, and as soon as he knew it. Warburton.

Note return to page 644 6That haunted us &lblank;] We should assuredly read hunted: The integrity of the metaphor requires it. So, soon after, the king says again, You see this Chase is hotly followed. Warburton. The emendation weakens the passage. To haunt is a word of the utmost horrour, which shews that they dreaded the English as goblins and spirits.

Note return to page 645 7While that his mountain sire, on mountain standing,] We should read, mounting, ambitious, aspiring. Warburton.

Note return to page 646 8Up in the air, crown'd with the golden sun,] A nonsensical line of some player. Warburton. And why of a player? There is yet no proof that the players have interpolated a line.

Note return to page 647 9The fate of him.] His fate is what is allotted him by destiny, or what he is fated to perform.

Note return to page 648 *Spend their mouths.] That is, bark; the sportsman's term.

Note return to page 649 1Memorable Line.] This genealogy; this deduction of his lineage.

Note return to page 650 *The dead mens' blood.] The disposition of the images were more regular if we were to read thus: &lblank; upon your head Turning the dead mens' blood, the widows' tears, The orphans' cries, the pining maidens' groans, &c.

Note return to page 651 2Shall hide your trespass, &lblank;] Mr. Pope rightly corrected it, Shall chide &lblank; Warburton. I doubt whether it be rightly corrected. The meaning is, that the authours of this insult shall fly to caves for refuge.

Note return to page 652 3&lblank; Paris Louvre This palace was, I think, not built in those times.

Note return to page 653 4The well-appointed King at Dover peer Embark his Royalty; &lblank;] Thus all the Editions downwards, implicitly, after the first Folio. But could the Poet possibly be so discordant from himself, (and the Chronicles, which he copied;) to make the King here embark at Dover; when he has before told us so precisely, and that so often over, that he embark'd at Southampton? I dare acquit the Poet from so flagrant a Variation. The Indolence of a Transcriber, or a Compositor at Press, must give Rise to such an Error. They, seeing Peer at the End of the Verse, unluckily thought of Dover-peer, as the best known to them: and so unawares corrupted the Text. Theobald.

Note return to page 654 5&lblank; rivage] The bank or shore.

Note return to page 655 6&lblank; lynstock] The staff to which the match is fixed when ordnance is fired.

Note return to page 656 *Or close the wall, &c.] Here is apparently a chasm. One line at least is lost, which contained the other part of a disjunctive proposition. The King's speech is, Dear friends, either win the town, or close up the wall with dead. The old 4to gives no help.

Note return to page 657 †Portage of the head.] Portage, open space, from port, a gate. Let the eye appear in the head, as cannon through the battlements, or embrasures, of a fortification.

Note return to page 658 ‡His confounded base.] His worn or wasted base.

Note return to page 659 7&lblank; bend up every spirit] A metaphor from the bow.

Note return to page 660 8Argument is matter, or subject.

Note return to page 661 *A case of lives.] A set of lives, of which, when one is worn out, another may serve.

Note return to page 662 9This passage I have replaced from the first folio, which is the only authentick copy of this play. These lines, which perhaps are part of a song, Mr. Pope did not like, and therefore changed them, in conformity to the imperfect play in 4to, and was followed by the succeeding editors. For prevail I should read avail.

Note return to page 663 1&lblank; to men of mould,] To men of earth, to poor mortal men.

Note return to page 664 2&lblank; best men;] That is, bravest; so in the next lines, good deeds are brave actions.

Note return to page 665 3&lblank; the men would carry coals.] It appears that in Shakespeare's age, to carry coals was, I know not why, to endure affronts. So in Romeo and Juliet, one servingman asks another whether he will carry coals.

Note return to page 666 4&lblank; is digt himself four yards under the countermines;] Fluellin means, that the enemy had digged himself countermines four yards under the mines.

Note return to page 667 5&lblank; will plow up all,] That is, he will blow up all.

Note return to page 668 6&lblank; I shall quit you] That is, I shall, with your permission, requite you, that is, answer you, or interpose with my arguments, as I shall find opportunity.

Note return to page 669 *It were to be wished that the poor merriment of this dialogue had not been purchased with so much profaneness.

Note return to page 670 7&lblank; fell feats Enlinkt to waste and desolation?] All the savage practices naturally concomitant to the sack of cities.

Note return to page 671 *While yet the cool and temp'rate wind of grace O'er-blows the filthy and contagious clouds, &c.] This is a very harsh metaphor. To over-blow is to drive away, or to keep off.

Note return to page 672 *Scene V.] I have left this ridiculous scene as I found it; and am sorry to have no colour left, from any of the editions, to imagine it interpolated. Warburton. Sir T. Hanmer has rejected it. The scene is indeed mean enough, when it is read, but the grimaces of two French women, and the odd accent with which they uttered the English, made it divert upon the stage. It may be observed, that there is in it not only the French language, but the French spirit. Alice compliments the princess upon her knowledge of four words, and tells her that she pronounces like the English themselves. The princess suspects no deficiency in her instructress, nor the instructress in herself. Throughout the whole scene there may be found French servility, and French vanity. I cannot forbear to transcribe the first sentence of this dialogue from the edition of 1608, that the reader who has not looked into the old copies may judge of the strange negligence with which they are printed. Kate. Alice venecia, vous aves cates en, vou parte fort bon Angloys englatara, Coman, sae palla vou la main en francoy.

Note return to page 673 8Cath. Alice, tu as ete] I have regulated several Speeches in this French Scene: Some whereof were given to Alice, and yet evidently belonged to Catharine: and so, vice versa. It is not material to distinguish the particular Transpositions I have made. Mr. Gildon has left no bad Remark, I think, with Regard to our Poet's Conduct in the Character of this Princess: for why he should not allow her (says he) to speak in English as well as all the other French, I can't imagine: since it adds no Beauty; but gives a patch'd and pye-bald Dialogue of no Beauty or Force. Theobald.

Note return to page 674 9de fingre, &c.] It is apparent by the correction of Alice, that the princess forgot the nails, and therefore it should be left out in her part.

Note return to page 675 1&lblank; our fathers' luxury,] In this place, as in others, luxury means lust.

Note return to page 676 2Savage is here used in the French original sense, for silvan, uncultivated, the same with wild.

Note return to page 677 3In that nook-shotten Isle of Albion] Shotten signifies any thing projected: So nook-shotten Isle, is an Isle that shoots out into capes, promontories and necks of land, the very figure of Great-Britain. Warburton.

Note return to page 678 4&lblank; can sodden water, A drench for sur-reyn'd jades, &lblank;] The exact meaning of sur-reyn'd I do not know. It is common to give horses over-ridden or feverish, ground malt and hot water mixed, which is called a mash. To this he alludes.

Note return to page 679 5Charles Delabreth, &c.] Milton somewhere bids the English take notice how their names are mispelt by foreigners, and seems to think that we may lawfully treat foreign names in return with the same neglect. This privilege seems to be exercised in this catalogue of French names, which, since the sense of the authour is not asserted, I have left it as I found it.

Note return to page 680 6The poet has here defeated himself by passing too soon from one image to another. To bid the French rush upon the English as the torrents formed from melted snow stream from the Alps, was at once vehement and proper, but its force is destroyed by the grossness of the thought in the next line.

Note return to page 681 7Fortune is painted plind, with a muffler before her eyes, to signify to you that fortune is plind;] Here the fool of a player was for making a joke, as Hamlet says, not set down for him, and shewing a most pitiful ambition to be witty. For Fluellen, though he speaks with his country accent, yet is all the way represented as a man of good plain sense. Therefore, as it appears he knew the meaning of the term plind, by his use of it, he could never have said that Fortune was painted plind, to signify she was plind. He might as well have said afterwards, that she was painted inconstant, to signify she was inconstant. But there he speaks sense, and so, unquestionably, he did here. We should therefore strike out the first plind, and read, Fortune is painted with a muffler, &c. Warburton.

Note return to page 682 8The old editions, For he hath stol'n a Pax,] “And this is conformable to History, (says Mr. Pope) a Soldier (as Hall tells us) being hang'd at this Time for such a Fact.”— Both Hall and Holingshead agree as to the point of the Theft; but as to the Thing stolen, there is not that Conformity betwixt them and Mr. Pope. It was an ancient custom, at the Celebration of Mass, that when the Priest pronounc'd these Words, Pas Domini sit semper vobiscum! both Clergy and People kiss'd one another. And this was call'd Osculum Pacis, the Kiss of Peace. But that custom being abrogated, a certain Image is now presented to be kiss'd, which is call'd a Pax. But it was not this Image which Bardolph stole; it was a Pix; or little Chest, (from the Latin Word, Pixis, a Box;) in which the consecrated Host was used to be kept. “A foolish Soldier (says Hall expressly, and Holingshead after him;) stole a Pix out of a Church.” Theobald. What Theobald says is true, but might have been told in fewer words: I have examined the passage in Hall. Yet Dr. Warburton rejected the emendation, and continued Pope's note without animadversion.6Q0162

Note return to page 683 9Such slanders of the age.] This was a character very troublesome to wise men in our authour's time. It is the practice with him, says Ascham, to be warlike though he never looked enemy in the face, yet some warlike sign must be used, as a slovenly buskin, or an over-staring frownced head, as though out of every hair's top should suddenly start a good big oath.

Note return to page 684 1I must speak with him from the pridge.] “Speak with him from the Bridge, Mr. Pope tells us, is added in the latter Editions; but that it is plain from the Sequel, that the Scene here continues, and the affair of the Bridge is over.” This is a most inaccurate Criticism. Tho' the Affair of the Bridge be over, is that a Reason, that the King must receive no Intelligence from thence? Fluellen, who comes from the Bridge, wants to acquaint the King with the Transactions that had happened there. This he calls speaking to the King from the Bridge. Theobald. With this Dr. Warburton concurs.

Note return to page 685 *his fire's out.] This is the last time that any sport can be made with the red face of Bardolph, which, to confess the truth, seems to have taken more hold on Shakespeare's imagination than on any other. The conception is very cold to the solitary reader, though it may be somewhat invigorated by the exhibition on the stage. This poet is always more careful about the present than the future, about his audience than his readers.

Note return to page 686 2By my habit.] That is, by his herald's coat. The person of a herald being inviolable was distinguished in those times of formality by a peculiar dress, which is likewise yet worn on particular occasions.

Note return to page 687 3On our cue.] In our turn. This phrase the authour learned among players, and has imparted it to kings.

Note return to page 688 4God before.] This was an expression in that age for God being my guide, or, when used to another, God be thy guide. So in an old dialogue between a herdsman and a maiden going on pilgrimage to Walsingham, the herdsman takes his leave in these words, Now go thy ways, and God before. To prevent was used in the same sense.

Note return to page 689 5Scene IX.] This scene is shorter, and I think better, in the first editions of 1600 and 1608. But as the enlargements appear to be the author's own, I would not omit them. Pope.

Note return to page 690 6he bounds from the earth, as if his entrails were hairs;] Alluding to the bounding of tennis-balls, which were stuffed with hair, as appears from Much ado about Nothing, And the old ornament of his cheek hath already stufft tennis-balls. Warburton.6Q0163

Note return to page 691 7And all other jades you may call beasts:] It is plain that jades and beasts should change places, it being the first word and not the last, which is the term of reproach; as afterwards it is said, I had as lieve have my mistress a jade. Warburton.

Note return to page 692 8Wonder of nature &lblank;] Here, I suppose, some foolish poem of our author's time is ridiculed; which indeed partly appears from the answer. Warb.

Note return to page 693 9Like a Kerne of Ireland, your French hose off, and in your strait Strossers.] Thus all the Editions have mistaken this Word, which should be Trossers; and signifies, a pair of Breeches. Theobald.

Note return to page 694 *his lacquey;] He has beaten no body yet but his foot-boy.

Note return to page 695 1'Tis a hooded valour, and when it appears, it will bait.] This is said with allusion to falcons which are kept hooded when they are not to fly at game, and as soon as the hood is off bait or flap the wing. The meaning is, the dauphin's valour has never been let loose upon an enemy, yet, when he makes his first essay, we shall see how he will flutter.

Note return to page 696 2I will cap that proverb.] Alluding to the practice of capping verses.

Note return to page 697 3Fills the wide vessel of the universe.] Universe for horizon: for we are not to think Shakespear so ignorant as to imagine it was night over the whole globe at once. He intimates he knew otherwise, by that fine line in Midsummer Night's Dream. &lblank; following darkness like a dream. Besides, the image he employs shews he meant but half the globe; the horizon round, which has the shape of a vessel or goblet. Warburton. There is a better proof that Shakespeare knew the order of night and day in Macbeth. Now o'er one half the world Nature seems dead. But there was no great need of any justification. The universe, in its original sense, no more means this globe singly than the circuit of the horizon; but, however large in its philosophical sense, it may be poetically used for as much of the world as falls under observation. Let me remark further, that ignorance cannot be certainly inferred from inaccuracy. Knowledge is not always present.

Note return to page 698 4&lblank; the other's umber'd face.] Umber'd or umbred, is a term in blazonry, and signifies shadowed. Warburton.

Note return to page 699 5Do the low rated English play at dice;] i. e. do play them away at dice. Warburton.

Note return to page 700 6Investing lank-lean cheeks, &c.] A gesture investing cheeks and coats is nonsense. We should read, Invest in lank-lean cheeks. which is sense, i. e. their sad gesture was cloath'd, or set off, in lean-cheeks and worn coats. The image is strong and picturesque. Warburton.

Note return to page 701 7&lblank; Fear; that mean and gentle all Behold, (as may, &c.] As this stood, it was a most perplex'd and nonsensical Passage: and could not be intelligible, but as I have corrected it. The Poet, then addressing himself to every Degree of his Audience, tells them; he'll shew (as well as his unworthy Pen and Powers can describe it) a little Touch, or Sketch of this Hero in the Night. Theobald.

Note return to page 702 *Minding true things.] To mind is the same as to call to remembrance.

Note return to page 703 8Slough is the skin which the serpent annually throws off, and by the change of which he is supposed to regain new vigour and fresh youth. Legerity is lightness, nimbleness.

Note return to page 704 9Conditions are qualities. The meaning is, that objects are represented by his senses to him, as to other men by theirs. What is danger to another is danger likewise to him, and when he feels fear it is like the fear of meaner mortals.

Note return to page 705 1Rawly.] That is, without preparation, hastily, suddenly. What is not matured is raw. So in Macbeth, Why in this rawness left he wife and children.

Note return to page 706 2This is a very just distinction, and the whole argument is well followed, and properly concluded.

Note return to page 707 3That's a perilous shot out of an Elder-gun.] In the old play the thought is more opened. It is a great displeasure that an elder gun can do against a cannon.

Note return to page 708 *Twenty French crowns.] This conceit, rather too low for the King, has been already explained, as alluding to the venereal disease.

Note return to page 709 4Upon the King! &c.] This beautiful speech was added after the first edition. Pope. There is something very striking and solemn in this soliloquy, into which the king breaks immediately as soon as he is left alone. Something like this, on less occasions, every breast has felt. Reflection and seriousness rush upon the mind upon the separation of a gay company, and especially after forced and unwilling merriment.

Note return to page 710 5What are thy rents? What are thy comings-in? O ceremony, shew me but thy worth: What! is thy soul of adoration?] Thus is the last line given us, and the nonsense of it made worse by the ridiculous pointing. We should read, What is thy toll, O adoration! Let us examine how the context stands with my emendation. What are thy rents? What are thy comings-in? What is thy worth? What is thy toll?—(i. e. the duties, and imposts, thou receivest:) All here is consonant, and agreeable to a sensible exclamation. So King John:—No Italian priest shall tyth or toll in our dominions. But the Oxford Editor, now he finds the way open for alteration, reads, What is thy shew of adoration. By which happy emendation, what is about to be enquired into, is first taken for granted: namely, that ceremony is but a shew. And to make room for this word here, which is found in the immediate preceding line, he degrades it there, but puts as good a word indeed in its stead, that is to say, tell. Warburton. This emendation is not ill conceived, yet I believe it is erroneous. The first copy reads, What? is the soul of Odoration. This is incorrect, but I think we may discover the true reading easily enough to be, What is thy soul, O adoration? That is, O reverence paid to Kings, what art thou within? What are thy real qualities? What is thy intrinsick value?

Note return to page 711 6Farsed title running, &c] Farsed is stuffed. The tumid pufty titles with which a king's name is always introduced. This I think is the sense.6Q0166

Note return to page 712 7Can sleep so soundly, &c.] These lines are exquisitely pleasing. To sweat in the eye of Phœbus, and to sleep in Elysium, are expressions very poetical.

Note return to page 713 8In former editions: &lblank; take from them now The Sense of reck'ning of th' opposed Numbers: Pluck their hearts from them.] Thus the first folio. The Poet might intend, “Take from them the Sense of reckoning those opposed Numbers; which might pluck their Courage from them.” But the relative not being express'd, the Sense is very obscure. Theob. The change is admitted by Dr. Warburton, and rightly. Sir T. Hanmer reads, &lblank; th' opposed numbers Which stand before them. This reading he borrowed from the old quarto, which gives the passage thus, Take from them now the sense of reckoning, That the opposed multitudes that stand before them May not appall their courage.

Note return to page 714 9Since that my penitence comes after all, Imploring pardon.] We must observe, that Henry IV. had committed an injustice, of which he, and his son, reap'd the fruits. But reason tells us, justice demands that they who share the profits of iniquity, shall share also in the punishment. Scripture again tells us, that when men have sinned, the Grace of God gives frequent invitations to repentance; which, in the language of Divines, are stiled Calls. These, if neglected, or carelesly dallied with, are, at length, irrecoverably withdrawn, and then repentance comes too late. All this shews that the unintelligible reading of the text should be corrected thus, &lblank; comes after call. Warburton. I wish the commentator had explained his meaning a little better; for his comment is to me less intelligible than the text. I know not what he thinks of the king's penitence, whether coming in consequence of call, it is sufficient; or whether coming when calls have ceased, it is ineffectual. The first sense will suit but ill with the position, that all which he can do is nothing worth, and the latter as ill with the intention of Shakespear, who certainly does not mean to represent the king as abandoned and reprobate. The old reading is in my opinion easy and right. I do all this, says the king, though all that I can do is nothing worth, is so far from an adequate expiation of the crime, that penitence comes after all, imploring pardon both of the crime and the expiation.

Note return to page 715 1The tucket-sonance, &c.] He uses terms of the field as if they were going out only to the chase for sport. To dare the field is a phrase in falconry. Birds are dared when, by the falcon in the air, they are terrified from rising, so that they will be sometimes taken by the hand. Such an easy capture the lords expected to make of the English.

Note return to page 716 2Gimmal is in the western countries a ring; a gimmal bit is therefore a bit of which the parts were one within another.

Note return to page 717 3Their executors, the knavish crows.] The crows who are to have the disposal of what they shall leave, their hides and their flesh.

Note return to page 718 4I stay but for my guard.] It seems, by what follows, that guard in this place means rather something of ornament or of distinction than a body of attendants.

Note return to page 719 5In the old editions: Bed. Farewell, good Salisbury, and good Luck go with thee, And yet I do thee wrong to mind thee of it, For thou art fram'd of the firm Truth of Valour. Exe. Farewel, kind Lord: fight valiantly to day.] What does he do Salisbury Wrong to wish him good Luck? The ingenious Dr. Thirlby prescrib'd to me the Transposition of the Verses, which I have made in the Text: and the old Quarto's plainly lead to such a Regulation. Theobald.

Note return to page 720 *By Jove.] The king prays like a christian, and swears like a heathen.

Note return to page 721 †With advantages.] Old men, notwithstanding the natural forgetfulness of age, shall remember their feats of this day, and remember to tell them with advantage. Age is commonly boastful, and inclined to magnify past acts and past times.

Note return to page 722 6From this day to the ending.] It may be observed that we are apt to promise to ourselves a more lasting memory than the changing state of human things admits. This prediction is not verified; the feast of Crispin passes by without any mention of Agincourt. Late events obliterate the former: the civil wars have left in this nation scarcely any tradition of more ancient history.

Note return to page 723 *Gentle his condition.] This day shall advance him to the rank of a gentleman.

Note return to page 724 †Upon St. Crispian's day.] This speech, like many others of the declamatory kind, is too long. Had it been contracted to about half the number of lines, it might have gained force, and lost none of the sentiments.

Note return to page 725 7Bravely is splendidly, ostentatiously.

Note return to page 726 8Thou hast unwish'd five thousand men.] By wishing only thyself and me, thou hast wished five thousand men away. Shakespeare never thinks on such trifles as numbers. In the last scene the French are said to be full threescore thousand, which Exeter declares to be five to one; but, by the King's account, they are twelve to one.

Note return to page 727 9Mark then abounding Valour in our English.] Thus the Old Folio's. The Quarto's more erroneously still, Mark then aboundant &lblank; Mr. Pope degraded the Passage in both his Editions, because, I presume, he did not understand it. I have reformed the Text, and the Allusion is exceedingly beautiful; comparing the Revival of the English Valour to the rebounding of a Cannon-ball. Theobald.

Note return to page 728 1Killing in relapse of mortality.] What it is to kill in relapse of mortality, I do not know. I suspect that it should be read, Killing in reliques of mortality. That is, continuing to kill when they are the reliques that death has left behind it. That the allusion is, as Mr. Theobald thinks, exceedingly beautiful, I am afraid few readers will discover. The valour of a putrid body, that destroys by the stench, is one of the thoughts that do no great honour to the poet. Perhaps from this putrid valour Dryden might borrow the posthumous empire of Don Sebastian, who was to reign wheresoever his atoms should be scattered.

Note return to page 729 2Warriors for the working day.] We are soldiers but coarsely dressed; we have not on our holiday apparel.

Note return to page 730 3Quality, calmy, custure me, art thou a gentleman?] We should read this nonsense thus, Quality, cality—construe me, art thou a gentleman? i. e. tell me, let me understand whether thou be'st a gentleman. Warburton.

Note return to page 731 4Thou diest on point of fox.] Point of fox is an expression which, if the editors understood it, they should have explained. I suppose we may better read, On point of faulchion.6Q0168

Note return to page 732 5For I will fetch thy rym] We should read, Or I will fetch thy ransom out of thy throat. Warb. I know not what to do with rym. The measure gives reason to suppose that it stands for some monosyllable; and besides, ransome is a word not likely to have been corrupted.6Q0169

Note return to page 733 6Moy is a piece of money, whence Moi d'or, or moi of gold.

Note return to page 734 7In modern puppet-shows, which seem to be copied from the old farces, Punch sometimes fights the devil and always overcomes him. I suppose the vice of the old farce, to whom Punch succeeds, used to fight the devil with a wooden dagger.

Note return to page 735 8Let us die, instant: Once more back again;] This Verse, which is quite left out in Mr. Pope's Editions, stands imperfect in the first Folio. By the Addition of a Syllable, I think, I have retriev'd the Poet's Sense. It is thus in the Old Copy; Let us die in once more back again. Theobald.

Note return to page 736 9For, bearing this, I must perforce compound With mixtful eyes, &lblank;] The poet must have wrote, mistful: i. e. just ready to over-run with tears. The word he took from his observation of Nature: for just before the bursting out of tears the eyes grow dim as if in a mist. Warburton.

Note return to page 737 1Scene XIII.] Here, in the other editions, they begin the fourth act, very absurdly, since both the place and time evidently continue, and the words of Fluellen immediately follow those of the King just before. Pope.

Note return to page 738 2Kill the Poyes and the luggage! 'tis expresly against the Law of Arms;] In the Old Folio's, the 4th Act is made to begin here. But as the Matter of the Chorus, which is to come betwixt the 4th and 5th Acts, will by no means sort with the Scenery that here follows; I have chose to fall in with the other Regulation. Mr. Pope gives a Reason, why this Scene should be connective to the preceding Scene; but his Reason, according to Custom, is a mistaken one. The Words of Fluellen (he says,) immediately follow those of the King just before. The King's last Words, at his going off, were; Then ev'ry Soldier kill his Prisoners: Give the Word through. Now Mr. Pope must very accurately suppose, that Fluellen overhears this; and that by replying, Kill the Poyes and the luggage; 'tis expresly against the Law of Arms;—he is condemning the King's Order, as against martial Discipline. But this is a most absurd Supposition. Fluellen neither overhears, nor replies to, what the King had said: nor has kill the Poyes and the Luggage any reference to the Soldiers' killing their Prisoners. Nay, on the contrary (as there is no Interval of an Act here,) there must be some little Pause betwixt the King's going off, and Fluellen's Entring: (and therefore I have said, Alarms continued;) for we find by Gower's first Speech, that the Soldiers had already cut their Prisoners throats, which required some Time to do. The Matter is this. The Baggage, during the Battle, (as K. Henry had no Men to spare,) was guarded only by Boys and Lacqueys; which some French Runaways getting notice of, they came down upon the English Camp-boys, whom they kill'd, and plunder'd and burn'd the Baggage: in Resentment of which Villany it was, that the King, contrary to his wonted Lenity, order'd all Prisoners Throats to be cut. And to this Villany of the French Run-aways Fluellen is alluding, when he says, Kill the Poyes and the Luggage. The Fact is set out, (as Mr. Pope might have observ'd) both by Hall and Hollingshead. Theobald. Unhappily the king gives one reason for his order to kill the prisoners, and Gower another. The king killed his prisoners because he expected another battle, and he had not men sufficient to guard one army and fight another. Gower declares that the gallant king has worthily ordered the prisoners to be destroyed, because the luggage was plundered, and the boys were slain.

Note return to page 739 *The fat knight.] This is the last time that Falstaff can make sport. The poet was loath to part with him, and has continued his memory as long as he could.6Q0171

Note return to page 740 *Besides, we'll cut the throats, &c.] The king is in a very bloody disposition. He has already cut the throats of his prisoners, and threatens now to cut them again. No haste of composition could produce such negligence; neither was this play, which is the second draught of the same design, written in haste. There must be some dislocation of the scenes. If we place these lines at the beginning of the twelfth scene, the absurdity will be removed, and the action will proceed in a regular series. This transposition might easily happen in copies written for the players. Yet it must not be concealed, that in the imperfect play of 1608 the order of the scenes is the same as here.

Note return to page 741 *Great sort.] High rank. So in the ballad of Jane Shore, Lords and ladies of great sort.

Note return to page 742 †Quite from the answer of his degree.] A man of such station as is not bound to hazard his person in answer to a challenge from one of the soldier's low degree.

Note return to page 743 *Give me thy glove,—look, here is the fellow of it.] It must be, give me my glove, for of the soldier's glove the king had not the fellow.

Note return to page 744 3Charles Duke of Orleans, &c.] This list is copied from Hall. Pope.

Note return to page 745 4Mercenaries are in this place common soldiers, or hired soldiers. The gentlemen served at their own charge in consequence of their tenures.

Note return to page 746 5Do we all holy rites; &c.] The king (say the chroniclers) caused the Psalm, In exitu Israel de Ægypto (in which, according to the vulgate, is included the Psalm. Non nobis domine, &c) to be sung after the victory. Pope.

Note return to page 747 6Whiffler.] An officer who walks first in processions, or before persons in high stations, on occasions of ceremony. The name is still retained in London, and there is an officer so called that walks before their companies at times of publick solemnity. It seems a corruption from the French Word Huissier. Hanmer.

Note return to page 748 7Giving full trophy.] Transferring all the honours of conquest, all trophies, tokens, and shews, from himself to God.

Note return to page 749 8Like to the senators of antique Rome.] This is a very extraordinary compliment to the City. But he ever declines all general satire on them; and, in the epilogue to Henry VIII. he hints with disapprobation on his contemporary poets who were accustomed to abuse them. Indeed his satire is very rarely partial or licentious. Warburton.

Note return to page 750 9Likelihood,] Likelihood, for similitude. Warburton. The later editors, in hope of mending the measure of this line, have injured the sense. The folio reads as I have printed, but all the books, since revisal became fashionable, and editors have been more diligent to display themselves than to illustrate their authour, have given the line thus; As by a low, but loving likelihood. Thus they have destroyed the praise which the poet designed for Essex; for who would think himself honoured by the epithet low? The poet, desirous to celebrate that great man, whose popularity was then his boast, and afterwards his destruction, compares him to king Harry; but being afraid to offend the rival courtiers, or perhaps the queen herself, he confesses that he is lower than a king, but would never have represented him absolutely as low.

Note return to page 751 1Were now the General, &c.] The Earl of Essex in the reign of Queen Elizabeth. Pope.

Note return to page 752 *Broached.] Spitted; transfixed.

Note return to page 753 †Enter Fluellen and Gower.] This scene ought, in my opinion, to conclude the fourth act, and be placed before the last chorus. There is no English camp in this act; the quarrel apparently happens before the return of the army to England, and not after so long an interval as the chorus has supplied.

Note return to page 754 2To have me fold up, &c.] Dost thou desire to have me put thee to death.

Note return to page 755 *Squire of low degree.] That is, I will bring you to the ground.

Note return to page 756 †Astonish'd him.] That is, you have stunned him with the blow.

Note return to page 757 3I eat and eat I swear] Thus the first folio, for which the later editors have put, I eat and swear. We should read, I suppose, in the frigid tumour of Pistol's dialect, I eat and eke I swear.

Note return to page 758 4Fortune doth play the huswife.] That is, the jilt. Huswife is here in an ill sense.

Note return to page 759 *News have I, that my Dol is dead.] We must read, my Nell is dead. Dol Tearsheet was so little the favourite of Pistol that he offered her in contempt to Nym. Nor would her death have cut off his rendezvous; that is, deprived him of a home. Perhaps the poet forgot his plan.

Note return to page 760 5In the quarto of 1608 these lines are read thus, Doth fortune play the huswife with me now? Is honour cudgel'd from my warlike loins? Well France farewell. News have I certainly, That Doll is sick of malady of France. The wars affordeth nought, home will I trudge. Bawd will I turn, and use the slight of hand. To England will I steal, and there I'll steal; And patches will I get unto these scars, And swear I got them in the Gallia wars.

Note return to page 761 6The comick scenes of the history of Henry the fourth and fifth are now at an end, and all the comick personages are now dismissed. Falstaff and Mrs. Quickly are dead; Nym and Bardolph are hanged; Gadshill was lost immediately after the robbery; Poins and Peto have vanished since, one knows not how; and Pistol is now beaten into obscurity. I believe every reader regrets their departure.

Note return to page 762 7Peace to this meeting, wherefore we are met.] Peace, for which we are here met, be to this meeting. Here, after the chorus, the fifth act seems naturally to begin.

Note return to page 763 8Unto this bar.] To this barrier; to this place of congress.

Note return to page 764 9Her vine, &lblank; Unpruned dyes:] We must read, lyes: For neglect of pruning does not kill the vine, but causes it to ramify immoderately, and grow wild; by which the requisite nourishment is withdrawn from its fruit. Warb. This emendation is physically right, but poetically the vine may be well enough said to die which ceases to bear fruit.

Note return to page 765 *This image of prisoners is oddly introduced. A prisoner may be overgrown with hair, but wildness is contrary to the state of a prisoner. A hedge even-pleach'd is more properly imprisoned.6Q0173

Note return to page 766 1&lblank; diffus'd attire,] Diffus'd, for extravagant. The military habit of those times was extremely so. Act 3. Scene 7. Gower says, And what a beard of the General's cut, and a horrid suit of the camp, will do amongst &c. is wonderful to be thought on. Warburton. Diffus'd is so much used by our authour for wild, irregular, and strange, that in the Merry Wives of Windsor, he applies it to a song supposed to be sung by fairies.

Note return to page 767 2Former favour.] Former appearance.

Note return to page 768 3&lblank; we will suddenly Pass our accept, and peremptory answer.] As the French King desires more time to consider deliberately of the articles, 'tis odd and absurd for him to say absolutely, that he would accept them all. He certainly must mean, that he would at once wave and decline what he dislik'd, and consign to such as he approv'd of. Our author uses pass in this manner in other places: As in King John, But if you fondly pass our preffer'd love. Warb.

Note return to page 769 4&lblank; such a plain king,] I know not why Shakespeare now gives the king nearly such a character as he made him formerly ridicule in Percy. This military grossness and unskilfulness in all the softer arts, does not suit very well with the gaieties of his youth, with the general knowledge ascribed to him at his accession, or with the contemptuous message sent him by the Dauphin, who represents him as fitter for the ball room than the field, and tells him that he is not to revel into dutchies, or win provinces with a nimble galliard. The truth is, that the poet's matter failed him in the fifth act, and he was glad to fill it up with whatever he could get; and not even Shakespeare can write well without a proper subject. It is a vain endeavour for the most skilful hand to cultivate barrenness, or to paint upon vacuity.

Note return to page 770 5&lblank; a fellow of plain and uncoined constancy,] i. e. a constancy in the ingot, that hath suffered no alloy, as all coined metal has. Warburton. I believe this explanation is more ingenious than true; to coin is to stamp and to counterfeit. He uses it in both senses; uncoined constancy signifies real and true constancy, unrefined and unadorned.

Note return to page 771 *married wife] Every wife is a married wife. I suppose we should read new married; an epithet more expressive of fondness.

Note return to page 772 6&lblank; Constantinople] Shakespeare has here committed an anachronism. The Turks were not possessed of Constantinople before the year 1453, when Henry V. had been dead thirty-one years. Theobald.

Note return to page 773 7and untempering effect] Certainly, untempting. Warburton.

Note return to page 774 8frankness of my mirth,] We have here but a mean dialogue for princes; the merriment is very gross, and the sentiments are very worthless.

Note return to page 775 *This moral] That is, the application of this fable: the moral being the application of a fable, our authour calls any application a moral.

Note return to page 776 9nostre tres cher filz—And thus in Latin; præclarissimus filius] What, is tres cher, in French, Præclarissimus in Latin! We should read, Præcarissimus. Warburton.

Note return to page 777 1Thrust in between the passion of these Kingdoms,] The old Folio's have it, the pation; which makes me believe, the author's Word, was paction; a Word, more proper on the occasion of a Peace struck up. A Passion of two Kingdoms for one another, is an odd Expression. An Amity and political Harmony may be fixed betwixt two Countries, and yet either People be far from having a Passion for the other. Theobald.

Note return to page 778 2Our bending author &lblank;] We should read, blending author &lblank; So he says of him just afterwards, mangling by starts. Warburton.

Note return to page 779 3&lblank; by starts] By touching only on select parts.

Note return to page 780 11004002[4] 4This play has many scenes of high dignity, and many of easy merriment. The character of the King is well supported, except in his courtship, where he has neither the vivacity of Hal, nor the grandeur of Henry. The humour of Pistol is very happily continued; his character has perhaps been the model of all the bullies that have yet appeared on the English stage. The lines given to the chorus have many admirers; but the truth is, that in them a little may be praised, and much must be forgiven; nor can it be easily discovered why the intelligence given by the chorus is more necessary in this play than in many others where it is omitted. The great defect of this play is the emptiness and narrowness of the last act, which a very little diligence might have easily avoided.

Note return to page 781 1The first Part of K. Henry VI.] The Historical Transactions contained in this Play, take in the Compass of above 30 Years. I must observe, however, that our Author, in the three Parts of Henry VI. has not been very precise to the Date and Disposition of his Facts; but shuffled them, backwards and forwards, out of Time. For Instance; The Lord Talbot is kill'd at the End of the 4th Act of this Play, who in reality did not fall till the 13th of July 1453: and the 2d Part of Henry VI. opens with the Marriage of the King, which was solemniz'd 8 Years before Talbot's Death, in the Year 1445. Again, in the 2d Part, Dame Eleanor Cobham is introduced to insult Q. Margaret; though her Penance and Banishment for Sorcery happened three Years before that Princess came over to England. I could point out many other Transgressions against History, as far as the Order of Time is concerned. Indeed, tho' there are several Master-Strokes in these three Plays, which incontestably betray the Workmanship of Shakespeare; yet I am almost doubtful, whether they were entirely of his Writing. And unless they were wrote by him very early, I should rather imagine them to have been brought to him as a Director of the Stage; and so to have received some finishing Beauties at his Hand. An accurate Observer will easily see, the Diction of them is more obsolete, and the Numbers more mean and prosaical, than in the Generality of his genuine Compositions. Theobald.

Note return to page 782 2Brandish your crystal tresses &lblank;] We have heard of a crystal heaven, but never of crystal comets before. We should read, cristed or crested, i. e. tresses standing an end, or mounted like a crest. Warburton. I believe crystal is right.

Note return to page 783 3The subtle-witted French, &c.] There was a notion prevalent a long time, that life might be taken away by metrical charms. As superstition grew weaker these charms were imagined only to have power on irrational animals. In our author's time it was supposed that the Irish could kill rats by a song.

Note return to page 784 4Our Isle be made a Marish of salt Tears,] Thus it is in both the Impressions by Mr. Pope: upon what Authority, I cannot say. All the old Copies read, a Nourish: and considering it is said in the Line immediately preceding, that Babes shall suck at their Mothers moist Eyes, it seems very probable that our Author wrote, a Nourice: i. e. that the whole Isle should be one common Nurse, or Nourisher, of Tears: and those be the Nourishment of its miserable Issue. Theobald. Was there ever such nonsense! But he did not know that Marish is an old word for marsh or fen; and therefore very judiciously thus corrected by Mr. Pope. Warburton.

Note return to page 785 5Than Julius Cæsar, or bright—] I can't guess the occasion of the Hemystic and imperfect sense in this place; 'tis not impossible it might have been filled up with—Francis Drake,— tho' that were a terrible anachronism; (as bad as Hector's quoting Aristotle in Troilus and Cressida) yet perhaps at the time that brave Englishman was in his glory, to an English-hearted audience, and pronounced by some favourite actor, the thing might be popular, tho' not judicious; and therefore by some critick in favour of the author afterwards struck out. But this is a mere slight conjecture. Pope. To confute the slight conjecture of Pope a whole page of vehement opposition is annexed to this passage by Theobald. Sir T. Hanmer has stopped at Cæsar—perhaps more judiciously.

Note return to page 786 6To weep their intermissive miseries.] i. e. their miseries, which have had only a short intermission from Henry the Fifth's death to my coming amongst them. Warburton.

Note return to page 787 7If Sir John Fastolfe] Mr. Pope has taken Notice, “That Falstaff is here introduced again, who was dead in Henry V. the Occasion whereof is that this Play was written before Henry IV. or Henry V.” But Sir John Fastolfe, (for so he is called) was a Lieutenant General, Deputy Regent to the Duke of Bedford in Normandy, and a Knight of the Garter: and not the Comick Character afterwards introduced by our Author. Theobald.

Note return to page 788 8As their hungry prey.] I believe it should be read, As their hungred prey.

Note return to page 789 9England all Olivers and Rowlands bred,] These were two of the most famous in the list of Charlemagne's twelve Peers; and their exploits are render'd so ridiculously and equally extravagant by the old romancers, that from thence arose that saying amongst our plain and sensible ancestors, of giving one a Rowland for his Oliver, to signify the matching one incredible lye with another. Warburton.

Note return to page 790 1Gimmals.] A gimmal is a piece of jointed work, where one piece moves within another, whence it is taken at large for an engine. It is now by the vulgar called a gimcrack.

Note return to page 791 2Your chear appall'd.] Chear is countenance, appearance.

Note return to page 792 3&lblank; nine Sibyls of old Rome:] There were no nine Sibyls of Rome: but he confounds things, and mistakes this for the nine books of Sibylline oracles, brought to one of the Tarquins. Warburton.

Note return to page 793 4Believe my words.] It should rather be read, &lblank; believe her words.

Note return to page 794 *Expect St. Martin's summer.] That is, expect prosperity after misfortune, like fair weather at Martlemas, after winter has begun.

Note return to page 795 5Meaning the four daughters of Philip mentioned in the Acts. Hanmer.

Note return to page 796 6Conveyance means theft. Hanmer.

Note return to page 797 7How now ambitious umpire, what means this?] This Reading has obtained in all the Editions since the 2d Folio. The first Folio has it Umpheir. In both the Word is distinguish'd in Italicks. But why, Umpire? Or of what? The Traces of the Letters, and the Word being printed in Italicks, convince me, that the Duke's Christian Name lurk'd under this Corruption. Theobald.

Note return to page 798 8Piel'd Priest, &lblank;] Alluding to his shaven crown. Pope.

Note return to page 799 9&lblank; giv'st whores indulgences to sin;] The public stews were formerly under the district of the Bishop of Winchester. Pope.

Note return to page 800 1This be Damascus, be thou cursed Cain,] N. B. About four miles from Damascus is a high hill, reported to be the same on which Cain slew his brother Abel. Maundrell's Travels, page 131. Pope.

Note return to page 801 2Winchester Goose! &lblank;] A clap, or rather a strumpet was called a Winchester Goose.

Note return to page 802 3&lblank; that nobles should such stomachs bear! I myself fight not once in forty year.] The Mayor of London was not brought in to be laugh'd at, as is plain by his manner of interfering in the quarrel, where he all along preserves a sufficient dignity. In the line preceding these, he directs his officer, to whom without doubt these two lines should be given. They suit his character, and are very expressive of the pacific temper of the City Guards. Warburton. I see no reason for this change. The Mayor speaks first as a magistrate, and afterwards as a citizen.

Note return to page 803 *Pucelle or Pussel.] I know not what pussel is: perhaps it should be Pucelle or puzzle. Something with a meaning it should be, but a very poor meaning will serve.

Note return to page 804 4The superstition of those times taught that he that could draw the woman's blood, was free from her power.

Note return to page 805 5&lblank; like Adonis' Garden,] It may not be impertinent to take notice of a dispute between four critics, of very different orders, upon this very important point of the Gardens of Adonis. Milton had said, Spot more delicious than those Gardens feign'd, Or of reviv'd Adonis, or &lblank; which Dr Bentley pronounces spurious; For that the &grK;&grhc;&grp;&gro;&gri; &grA;&grd;&grwa;&grn;&gri;&grd;&gro;&grst;, the Gardens of Adonis, so frequently mentioned by Greek writers; Plato, Plutarch, &c. were nothing but portable earthen Pots, with some Lettice or Fennel growing in them. On his yearly festival every woman carried one of them for Adonis' worship; because Venus had once laid him in a lettice bed. The next day they were thrown away, &c. To this Dr. Pierce replies, That this account of the Gardens of Adonis is right, and yet Milton may be defended for what he says of them: For why (says he) did the Grecians on Adonis' festival carry these small earthen Gardens about in honour of him? It was because they had a tradition, that, when he was alive, he delighted in Gardens, and had a magnificent one: For proof of this we have Pliny's words, xix. 4. Antiquitas nihil priùs mirata est quàm Hesperidum Hortos, ac regum Adonidis & Alcinoi. One would now think the question well decided: But Mr. Theobald comes, and will needs be Dr. Bentley's second. A learned and reverend gentleman (says he) having attempted to impeach Dr. Bentley of error, for maintaining that there never was existent any magnificent or spacious Gardens of Adonis, an opinion in which it has been my fortune to second the Doctor, I thought my self concerned, in some part, to weigh those authorities alledged by the objector, &c. The reader sees that Mr. Theobald mistakes the very question in dispute between these two truly learned men, which was not whether Adonis' Gardens were ever existent, but whether there was a tradition of any celebrated Gardens cultivated by Adonis. For this would sufficiently justify Milton's mention of them, together with the Gardens of Alcinous, confessed by the poet himself to be fabulous. But hear their own words. There was no such Garden (says Dr. Bentley) ever existent, or even feign'd. He adds the latter part, as knowing that that would justify the poet; and it is on that assertion only that his adversary Dr. Pierce joins issue with him. Why (says he) did they carry the small earthen Gardens? It was because they had a tradition, that when he was alive he delighted in Gardens. Mr. Theobald, therefore, mistaking the question, it is no wonder that all he says, in his long note at the end of the fourth volume, is nothing to the purpose; it being to shew that Dr. Pierce's quotations from Pliny and others, do not prove the real existence of the Gardens. After these, comes the Oxford Editor; and he pronounces in favour of Dr. Bentley against Dr. Pierce, in these words, The Gardens of Adonis were never represented under any local description. But whether this was said at hazard, or to contradict Dr. Pierce, or to rectify Mr. Theobald's mistake of the question, it is so obscurely expressed, that one can hardly determine. Warburton.

Note return to page 806 *Unready was the current word in those times for undressed.

Note return to page 807 6All the editions read, Or else was wrangling Somerset i'th' errour?] Here is apparently a want of opposition between the two questions. I once read, Or else was wrangling Somerset i'th' right? But I have inserted Sir T. Hanmer's emendation.

Note return to page 808 7From off this briar pluck a white rose with me, &c.] This is given as the original of the two badges of the house of York and Lancaster, whether truly or not, is no great matter. But the proverbial expression of saying a thing under the Rose, I am persuaded, came from thence. When the nation had ranged itself into two great factions, under the white and red Rose, and were perpetually plotting and counterplotting against one another, then when a matter of faction was communicated by either party to his friend in the same quarrel, it was natural for him to add, that he said it under the Rose; meaning that, as it concern'd the faction, it was religiously to be kept secret. Warburton. Of this proverb other authours give other originals, but the question is not of great importance.

Note return to page 809 8Colours is here used ambiguously for tints and deceits.

Note return to page 810 9Well objected.] Properly thrown in our way, justly proposed.

Note return to page 811 1I scorn thee and thy Fashion, &lblank;] So the old copies read, and rightly. Mr. Theobald altered it to Faction, not considering that by fashion is meant the badge of the red-rose, which Somerset said he and his friends should be distinguish'd by. But Mr. Theobald asks, If Faction was not the true reading, why should Suffolk immediately reply, Turn not thy scorns this way, Plantagenet? Why? because Plantagenet had called Somerset, with whom Suffolk sided, peevish boy. Warb. Mr. Pope had altered fashion to passion.

Note return to page 812 2Spring crestless Yeomen &lblank;] i. e. those who have no right to arms. Warburton.

Note return to page 813 3He bears him on the place's privilege.] The Temple, being a religious house, was an asylum, a place of exemption, from violence, revenge and bloodshed.

Note return to page 814 4Corrupted and exempt &lblank;] Exempt, for excluded. Warburton.

Note return to page 815 5To scourge you for this Apprehension.] Tho' this Word possesses all the Copies, I am persuaded, it did not come from the Author. I have ventur'd to read, Reprehension: and Plantagenet means, that Somerset had reprehended or reproach'd him with his Father, the Earl of Cambridge's, Treason. Theobald.

Note return to page 816 6&lblank; for this apprehension;] Apprehension, i. e. opinion. Warburton.

Note return to page 817 7Let dying Mortimer here rest himself.] I know not whether Milton did not take from this hint the lines with which he opens his tragedy.

Note return to page 818 8This Edmund Mortimer, when K. Richard II. set out upon his fatal Irish expedition, was declared by that Prince Heir Apparent to the Crown: for which Reason K. Henry IV. and V. took Care to keep him in Prison during their whole Reigns. Theo.

Note return to page 819 *Exigent, end.

Note return to page 820 *Umpire of misery.] That is, he that terminates or concludes misery. The expression is harsh and forced.

Note return to page 821 †Disease seems to be here uneasiness, or discontent.

Note return to page 822 *Haughty is high.

Note return to page 823 9&lblank; and fair be all thy Hopes,] Mortimer knew Plantagenet's Hopes were fair, but that the Establishment of the Lancastrian Line disappointed them: sure, he would wish, that his Nephew's fair Hopes might have a fair Issue. I am persuaded the Poet wrote; &lblank; and fair befal thy Hopes! Theobald. This emendation is received by Sir T. Hanmer and Dr. Warburton. I do not see how the readings differ in sense. Fair is lucky, or prosperous. So we say, a fair wind, and fair fortune.

Note return to page 824 1Here dies the dusky torch &lblank;] The image is of a torch just extinguished, and yet smoaking. But we should read lies instead of dies. For when a dead man is represented by an extinguished torch, we must say the torch lies: when an extinguished torch is compared to a dead man, we must say the torch dies. The reason is plain, because integrity of metaphor requires that the terms proper to the thing illustrating, not the thing illustrated, be employed. Warburton.

Note return to page 825 2Choak'd with ambition of the meaner sort.] We are to understand the speaker as reflecting on the ill fortune of Mortimer, in being always made a tool of by the Percies of the north in their rebellious intrigues; rather than in asserting his claim to the crown, in support of his own princely ambition. Warburton.

Note return to page 826 3In the former Editions: Or make my Will th' Advantage of my Good.] So all the printed Copies: but with very little regard to the Poet's Meaning. I read, Or make my Ill th' Advantage of my Good. Thus we recover the Antithesis of the Expression. Theobald.

Note return to page 827 *Unaccustomed is unseemly, indecent.

Note return to page 828 4An Inkhorn mate.] A Bookman.

Note return to page 829 5Reguerdon.] Recompence, return.

Note return to page 830 6So will &lblank; discord breed.] That is, so will the malignity of this discord propagate itself and advance.

Note return to page 831 7&lblank; practisants.] Practice, in the language of that time, was treachery, and perhaps in the softer sense stratagem. Practisants are therefore confederates in stratagem.

Note return to page 832 8No way to that &lblank;] That is, no way equal to that, no way so fit as that.

Note return to page 833 9That hardly we escap'd the pride of France.] Pride signifies the haughty power. The same speaker says afterwards, Act 4. Scene 6. And from the pride of Gallia rescu'd thee. One would think this plain enough. But what won't a puzzling critic obscure! Mr. Theobald says, Pride of France is an absurd and unmeaning expression, and therefore alters it to Prize of France; and in this is followed by the Oxford Editor. Warburton.

Note return to page 834 1Alanson Sir T. Hanmer has replaced here, instead of Reignier, because Alanson, not Reignier, appears in the ensuing scene.

Note return to page 835 2&lblank; on her lowly babe,] It is plain Shakespeare wrote, lovely babe, it answering to fertile France above, which this domestic image is brought to illustrate. Warburton. The alteration is easy and probable, but perhaps the poet by lowly babe meant the babe lying low in death. Lowly answers as well to towns defaced and wasting ruin, as lovely to fertile.

Note return to page 836 3&lblank; These haughty words of hers Have batter'd me like roaring cannon-shot,] How these lines came hither I know not, there was nothing in the speech of Joan haughty or violent, it was all soft entreaty and mild expostulation.

Note return to page 837 4Done like a Frenchman: turn, and turn again!] This seems to be an offering of the poet to his royal mistress's resentment, for Henry the Fourth's last great turn in religion, in the year 1593. Warburton. The inconstancy of the French was always the subject of satire. I have read a dissertation written to prove that the index of the wind upon our steeples was made in form of a cock, to ridicule the French for their frequent changes.

Note return to page 838 5That, whoso draws a sword, 'tis present death;] Shakespeare wrote, &lblank; draws a sword i'th' presence 't's death; i. e. in the Court, or in the presence Chamber. Warburton. This reading cannot be right, because, as Mr. Edwards observed, it cannot be pronounced.

Note return to page 839 6&lblank; such as shall pretend] To pretend is to design, to intend.

Note return to page 840 7&lblank; haughty courage;] Haughty is here in its original sense for high.

Note return to page 841 8In former editions, And if I wish he did.] By the Pointing reform'd, and a single Letter expung'd, I have restor'd the Text to its Purity. And, if I wis, he did.—Warwick had said, the King meant no harm in wearing Somerset's Rose: York testily replies, “Nay, if I know any thing, he did think harm.” Theobald. This is followed by the succeeding editors, and is indeed plausible enough, but perhaps this speech may become intelligible enough without any change, only supposing it broken. And if—I wish—he did. or perhaps, And if he did, I wish &lblank;

Note return to page 842 9The common editions read, &lblank; the offer of their love. Sir T. Hanmer altered it to our.

Note return to page 843 1To rive their dangerous artillery] I do not understand the phrase to rive artillery, perhaps it might be to drive; we say to drive a blow, and to drive at a man, when we mean to express furious assault.

Note return to page 844 2&lblank; due thee] To due is to endue, to deck, to grace.

Note return to page 845 3&lblank; be then in blood;] Be high in spirits; be of true mettle.

Note return to page 846 4&lblank; with heads of steel,] Continuing the image of the deer he supposes the lances to be their horns.

Note return to page 847 5And I am lowted &lblank;] To lowt may signify to depress, to lower, to dishonour; but I do not remember it so used. We may read, And I am flouted. I am mocked, and treated with contempt.

Note return to page 848 6&lblank; the vulture] Alluding to the tale of Prometheus.

Note return to page 849 7&lblank; ring'd about] Environed, encircled.

Note return to page 850 *In advantage ling'ring.] Protracting his resistance by the advantage of a strong post.

Note return to page 851 8&lblank; worthless emulation.] In this line emulation signifies merely rivalry, not struggle for superior excellence.

Note return to page 852 *A feast of death.] To a field where death will be feasted with slaughter.

Note return to page 853 9For what reason this scene is written in rhyme I cannot guess. If Shakespeare had not in other plays mingled his rhymes and blank verses in the same manner, I should have suspected that this dialogue had been a part of some other poem which was never finished, and that being loath to throw his labour away, he inserted it here.

Note return to page 854 *Your regard.] Your care of your own safety.

Note return to page 855 1On that advantage, bought with such a Shame, To save a paltry life, and slay bright Fame!] This passage seems to lie obscure and disjointed. Neither the Grammar is to be justified; nor is the Sentiment better. I have ventur'd at a slight Alteration, which departs so little from the Reading which has obtain'd, but so much raises the Sense, as well as takes away the Obscurity, that I am willing to think it restores the Author's Meaning; Out on that vantage. Theobald. Sir T. Hanmer reads, Oh what advantage, which I have followed, though Mr. Theobald's conjecture may be well enough admitted.

Note return to page 856 2And like me to the peasant boys of France,] To like one to the peasants is, to compare, to level by comparison, the line is therefore intelligible enough by itself, but in this sense it wants connection. Sir T. Hanmer reads, And leave me, which makes a clear sense and just consequence. But as change is not to be allowed without necessity, I have suffered like to stand, because I suppose the authour meant the same as make like, or reduce to a level with.

Note return to page 857 *Death smear'd with captivity.] That is, death stained and dishonoured with captivity.

Note return to page 858 3Tendring my ruin, &lblank;] Watching me with tenderness in my fall.

Note return to page 859 4Thou antick death.] The fool, or antick of the play, made sport by mocking the graver personages.

Note return to page 860 5Through the lither sky.] Lither is flexible or yielding. In much the same sense Milton says, &lblank; He with broad sails Winnow'd the buxom air. That is, the obsequious air.

Note return to page 861 6The return of rhyme where young Talbot is again mentioned, and in no other place, strengthens the suspicion, that these verses were originally part of some other work, and were copied here only to save the trouble of composing new.

Note return to page 862 *Giglot is a wanton, or a strumpet.

Note return to page 863 7Conduct me to the Dauphin's tent, to know Who hath obtain'd &lblank;] Lucy's Message implied that he knew who had obtained the victory: therefore Sir T. Hanmer reads, Herald, conduct me to the Dauphin's tent.

Note return to page 864 *Nor in birth.] I would read for birth. That is, thou shalt not rule me though thy birth is legitimate and thy authority supreme.

Note return to page 865 8&lblank; ye charming Spells and Periapts;] Charms sow'd up. Ezek. xiii. 18. Wo to them that sow pillows to all arm-holes, to hunt souls. Pope.

Note return to page 866 9Monarch of the North.] The North was always supposed to be the particular habitation of bad spirits. Milton therefore assembles the rebel angels in the North.

Note return to page 867 1Out of the pow'rful regions under earth,] I believe Shakespear wrote legions. Warburton.

Note return to page 868 2As plays the sun upon the glassy streams, &c.] This comparison, made between things which seem sufficiently unlike, is intended to express the softness and delicacy of Lady Margaret's beauty, which delighted, but did not dazzle; which was bright, but gave no pain by its lustre.

Note return to page 869 3Disable not thyself.] Do not represent thyself so weak. To disable the judgment of another was, in that age, the same as to destroy its credit or authority.

Note return to page 870 4To send such peevish tokens &lblank;] Peevish, for childish. Warb.

Note return to page 871 5Why wilt thou be so obstacle?] A vulgar corruption of obstinate, which I think has oddly lasted since our authour's time till now.

Note return to page 872 6&lblank; my noble birth. 'Tis true, I gave a noble &lblank; &c.] This passage seems to corroborate an explanation, somewhat far fetched, which I have given in Henry IV. of the nobleman and Royal man.

Note return to page 873 7Alanson! that notorious Machiavel.] Machiavel being mentioned somewhat before his time, this line is by some of the editors given to the players, and ejected from the text.

Note return to page 874 8&lblank; 'till mischief and despair Drive you to break your necks, &lblank;] Perhaps Shakespeare intended to remark in this execration, the frequency of suicide among the English, which has been commonly imputed to the gloominess of their air.

Note return to page 875 9Betwixt our nation and th' aspiring French;] But would an Ambassador, who came to persuade peace with France, use it as an argument, that France was aspiring. Shakespeare without doubt wrote, &lblank; th' respiring French. i. e. who had but just got into breath again, after having been almost hunted down by the English. Warburton. The ambassadour yet uses no argument, but if he did, respiring would not much help the cause. Shakespeare wrote what might be pronounced, and therefore did not write th'respiring.

Note return to page 876 1&lblank; baleful enemies.] Baleful is sorrowful; I therefore rather imagine that we should read baneful, hurtful, or mischievous.

Note return to page 877 2&lblank; with a Coronet,] Coronet is here used for a crown.

Note return to page 878 3&lblank; upon comparison?] Do you stand to compare your present state, a state which you have neither right or power to maintain, with the terms which we offer?

Note return to page 879 4&lblank; accept the title thou usurp'st, Of benefit &lblank;] Benefit is here a term of law. Be content to live as the beneficiary of our king.

Note return to page 880 5So am I driv'n &lblank;] This simile is somewhat obscure; he seems to mean, that as a ship is driven against the tide by the wind, so he is driven by love against the current of his interest.

Note return to page 881 6&lblank; at a triumph] That is, at the sports by which a triumph is celebrated.

Note return to page 882 *By attorneyship.] By the intervention of another man's choice; or the discretional agency of another.

Note return to page 883 7If you do censure me, &c.] To censure is here simply to judge. If in judging me you consider the past frailties of your own youth.

Note return to page 884 8&lblank; ruminate my grief.] Grief in the first line is taken generally for pain or uneasiness; in the second specially for sorrow.

Note return to page 885 Of this play there is no copy earlier than that of the folio in 1623, though the two succeeding parts are extant in two editions in quarto. That the second and third parts were published without the first may be admitted as no weak proof that the copies were surreptitiously obtained, and that the printers of that time gave the publick those plays not such as the authour designed, but such as they could get them. That this play was written before the two others is indubitably collected from the series of events; that it was written and played before Henry the fifth is apparent, because in the epilogue there is mention made of this play, and not of the other parts. Henry the sixth in swaddling bands crown'd king, Whose state so many had i'th' managing That they lost France, and made all England rue, Which oft our stage hath shewn. France is lost in this play. The two following contain, as the old title imports, the contention of the houses of York and Lancaster. The two first parts of Henry VI. were printed in 1600. When Henry V. was written we know not, but it was printed likewise in 1600, and therefore before the publication of the first and second parts, the first part of Henry VI. had been often shown on the stage, and would certainly have appeared in its place had the authour been the publisher.

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