Note return to page 1 [1] 1 The second part, &c.] This and the third part were first written under the title of the Contention of York and Lancaster, printed in 1600, but since vastly improved by the Author. Mr. Pope.

Note return to page 2 [2] 2 As by your high, &c.] Vide Hall's Chronicle, Fol. 66. Year 23. Init. Mr. Pope.

Note return to page 3 [3] 3 &lblank; mine alder-lievest Sovereign;] Alder-lievest is an old English word given to him to whom the speaker is supremely attached: Lievest being the superlative of the comparative, levar, rather, from lief. So Hall in his Chronicle, Henry VI. Folio 12. Ryght hyghe and mighty Prince, and my ryght noble, and, after one, levest Lord.

Note return to page 4 [4] 4 And all the wealthy kingdoms of the west,] certainly Shakespear wrote east.

Note return to page 5 [5] 5 Deep night, dark night, the silent of the night.] The silent of the night is a classical expression; and means an interlunar night.—Amica silentia Lunæ. So Pliny, Inter omnes verò convenit, utilissimè in coitu ejus sterni, quem diem alii interlunii, alii silentis Lunæ appellant. Lib. xvi. cap. 39. In imitation of this language, Milton says, The Sun to me is dark And silent as the Moon, When she deserts the night, Hid in her vacant interlunar Cave.

Note return to page 6 for hollow'd read hallow'd.

Note return to page 7 [6] 6 Lord Buckingham, methinks, &c.] This repetition of the prophesies, which is altogether unnecessary, after what the spectators had heard in the Scene immediately preceeding, is not to be found in the first edition of this Play. Mr. Pope.

Note return to page 8 [a] [(a) hardily. Mr. Theobald.—Vulg. hardly.

Note return to page 9 [7] 7 With such Holiness can you do it?] Do what? The verse wants a foot, we should read, With such Holiness can you not do it? Spoken ironically. By holiness he means hypocrisy: and says, have you not hypocrisy enough to hide your malice?

Note return to page 10 for beams read beam.

Note return to page 11 [7] 7 with a Sand-bag fastned to it.] As, according to the old laws of duels, Knights were to sight with the lance and sword; so those of inferior rank fought with an Ebon staff or battoon, to the farther end of which was fix'd a bag cram'd hard with sand. To this custom Hudibras has alluded in these humourous lines, Engag'd with money bags, as bold As men with Sand-bags did of old.

Note return to page 12 [8] 8 a cup of charneco.] On which the Oxford Editor thus criticises, in his Index. This seems to have been a cant word for some strong liquor, which was apt to bring drunken fellows to the stocks, since in Spanish Charniegos is a term used for the stocks. It was no cant word, but a common name for a sort of sweet wine, as appears from a passage in a pamphlet, intitled, The discovery of a London Monster, called the black dog of Newgate, printed 1612. Some drinking the neat wine of Orleance, some the Gascony. some the Bourdeaux. There wanted neither sherry, sick nor charneco, maligo nor amber-colour'd candy, nor liquorish ipocras, brown beloved bastard, fat aligant, or any quick-spirited liquor—And as charneca is, in Spanish, the name of a kind of turpentine tree, I imagine the growth of it was in some district abounding with that tree; or that it had its name from a certain flavour resembling it.

Note return to page 13 [9] 9 as Bevis of Southampton fell upon Ascapart.] I have added this from the old quarto.

Note return to page 14 [1] 1 For by his death &lblank;] death, for defeat. Because by the laws of duel he that was defeated was executed in consequence of it.

Note return to page 15 [2] 2 So cares and joys abound, as seasons fleet.] I imagine Shakespear might write, So cares and joys go round

Note return to page 16 [3] 3 Unneath] i. e. scarcely. Mr. Pope.

Note return to page 17 [a] [(a) strives. Dr. Thirlby.—Vulg. strays.]

Note return to page 18 [1] 1 Free Lords, &c. &lblank;] By this she means, (as may be seen by the sequel) you, who are not bound up to such precise regards of religion as is the King; but are men of the world, and know how to live.

Note return to page 19 for steal read steel.

Note return to page 20 [a] [(a) Well. Mr. Theobald—Vulg. Nell.]

Note return to page 21 [2] 2 Rear up his body, &c.] This line is not in the old Edition. Mr. Pope.

Note return to page 22 [a] [(a) witch. Mr. Theobald—Vulg. watch.]

Note return to page 23 [1] 1 Look on my George.] In the first Edition it is my ring.

Note return to page 24 [2] 2 Jove sometimes went disguis'd, &c.] This verse is omitted in all but the first old Edition, without which what follows is not sense. The next line also, Obscure and lowly swain, King Henry's blood! was falsly put in the captain's mouth. Mr. Pope.

Note return to page 25 [3] 3 Than Bargulus the strong Illyrian Pirate.] Mr. Theobald says, This wight I have not been able to trace, or discover from what legend our author derived his acquaintance with him. And yet he is to be met with in Tully's Offices; and the Legend is the famous Theopompus's history. Bargulus Illyrius latro, de quo est apud Theopompum, magnas opes habuit. lib. 2. cap. 11.

Note return to page 26 [a] [(a) Suf. Come, soldiers, &c. Oxford Editor—Vulg. Cap. Come, soldiers.]

Note return to page 27 [4] 4 They use to write it on the top of letters:] i. e. of letters missive, and such like publick acts. See Mabillon's Diplomata.

Note return to page 28 [5] 5 &lblank; I pass not;] i. e. I regard not. A common phrase of that time. The Oxford Editor reads, I pass them.

Note return to page 29 [6] 6 Henry hath money.] We should read mercy.

Note return to page 30 [7] 7 Is straitway claim'd and boarded with a pirate.] So the Editions read; and one would think it plain enough; alluding to York's claim to the crown. Cade's head-long tumult was well compared to a tempest, as York's premeditated rebellion to a piracy. But see what it is to be critical: Mr. Theobald says, claim'd should be calm'd, because a calm frequently succeeds a tempest. It may be so; but not here, if the King's word may be taken: who expressly, says, that no sooner was Cade driven back, but York appear'd in arms, But now is Cade driv'n back, his men dispers'd; And now is York in arms to second him.

Note return to page 31 [8] 8 but for a sallet, my brain-pan, &c.] A sallet by corruption from cælata, a helmet, (says Skinner) quia galeæ cælatæ fuerunt. Mr. Pope.

Note return to page 32 [a] [(a) As for more words, let this my sword report, &c. Oxford Editor—Vulg. As for more words, whose greatness answers words, &c.]

Note return to page 33 [1] 1 Would'st have me kneel? First, let me ask of these, If they can brook I bow a knee to man, Sirrah, call in my Sons to be my bail.] As these lines have hitherto stood, I think the sense perplex'd and obscure. I have ventur'd to transpose them, and make a slight alteration.

Note return to page 34 [2] 2 And the premised flames &lblank;] Premised, for sent before their time. The sense is, let the flames reserved for the last day be sent now.

Note return to page 35 [3] 3 &lblank; of all our present parts.] We should read, party.

Note return to page 36 [4] 4 &lblank; and all brush of time;] We should read, bruise.

Note return to page 37 [1] 1 The third part] First printed under the title of the true tragedy of Richard Duke of York, and the good King Henry the sixth, or the second part of the Contention between York and Lancaster; 1590. Mr. Pope.

Note return to page 38 [2] 2 Will cost my crown; &lblank;] Read coast, i. e. hover over it.

Note return to page 39 [3] 3 Dii faciant, &c. &lblank;] Ovid.

Note return to page 40 [4] 4 It is war's prize &lblank;] Read praise.

Note return to page 41 [5] 5 Would not have stain'd the roses just with blood:] So the second folio nonsensically reads the passage; but the old quarto, and first folio editions of better authority have it thus, That face of his the hungry canibals Would not have touch'd, would not have stain'd with blood. And this is sense. Could any one now have believed that an editor of common understanding should reject this, and fasten upon the nonsense of a latter edition only because it afforded matter for conjecture: And yet Mr. Theobald will needs correct, roses just with blood, to roses juic'd with blood, that is, change one blundering Editor's nonsense for another's. But if there ever was any meaning in the line, it was thus expressed, Would not have stain'd the roses just in bud. And this the Oxford Editor hath espoused.

Note return to page 42 [1] 1 Methinks, 'tis prize enough to be his son.] The old quarto reads pride, which is right, for ambition, i.e. We need not aim at any higher glory than this.

Note return to page 43 [2] 2 That things ill-got had ever bad success?] The Oxford Editor is scandalized at the harshness of this maxim, and therefore softens it thus, That things ill-gotten have had bad success.

Note return to page 44 [3] 3 O boy! thy father gave thee life too soon,] Because had he been born later he would not now have been of years to engage in this quarrel. And hath bereft thee of thy life too late,] i. e. he should have done it by not bringing thee into being, to make both father and son thus miserable. This is the sense, such as it is, of the two lines, however an indifferent sense was better than none, as it is brought to by the Oxford Editor by reading the lines thus, O boy! thy father gave thee life too late, And hath bereft thee of thy life too soon.

Note return to page 45 [a] [(a) life, in death. Oxford Editor.—Vulg. life and death.]

Note return to page 46 [1] 1 Sir John Gray,] Vid. Hall, 3d year of Edw. IV. folio 5. It was hitherto falsly printed Richard. Mr. Pope.

Note return to page 47 [2] 2 And set the murth'rous Machiavel to school.] As this is an Anachronism, and the old quarto reads, And set th' aspiring Catiline to school, I don't know why it should not be preferr'd.

Note return to page 48 [3] 3 O, but impatience waiteth on true sorrow. And see, where comes the breeder of my sorrow.] How does impatience, more particularly, wait on true sorrow? On the contrary, such sorrow as the Queen's, which came gradually on, through a long course of misfortunes, is generally less impatient than that of those who have fallen into sudden miseries. The true reading seems to be, O, but impatience waiting, rues to morrow: And see, where comes the breeder of my sorrow. i. e. When impatience waits and solicits for redress, there is nothing she so much dreads as being put off till to morrow, (a proverbial expression for procrastination.) This was a very proper reply to what the King said last, and in a sentiment worthy of the poet. A rhime too is added as was customary with him, at the closing a scene.

Note return to page 49 [4] 4 That this his love was an external plant,] The old quarto reads rightly eternal: Alluding to the plants of Paradise.

Note return to page 50 [5] 5 Did I let pass th' abuse done to my Neice?] Whom King Edward attempted in the Earl of Warwick's house. Holingshed.

Note return to page 51 for overture read coverture.

Note return to page 52 [a] [(a) Towns. Dr. Thirlby—Vulg. Town.]

Note return to page 53 [6] 6 &lblank; My meed hath got me fame:] Meed signifies reward. We should read my deed, i. e. my manners, conduct in the administration.

Note return to page 54 [1] 1 Which sounded like a cannon in a vault,] The old quarto reads clamour, which is undoubtedly right, i. e. a clamour of tongues, which, as he says, could not be distinguished. This was a pertinent similitude: The other absurd, and neither agrees with what is predicated of it, nor with what it is intended to illustrate.

Note return to page 55 [2] 2 What scene of death hath Roscius now to act?] Roscius was certainly put for Richard by some simple conceited player, who had heard of Roscius and of Rome; but did not know that he was an Actor in Comedy, not in Tragedy.

Note return to page 56 [3] 3 The raven rook'd her] What is rook'd her? Read, croak'd hoarse.

Note return to page 57 [1] 1 To fright the souls] This may be right. But I rather think Shakespear wrote the foule, French, the crowd or multitude running away in a rout or confusion.

Note return to page 58 [2] 2 Cheated of feature by dissembling nature,] By dissembling is not meant hypocritical nature, that pretends one thing and does another: But nature that puts together things of a dissimular kind, as a brave soul and deformed body.

Note return to page 59 [3] 3 &lblank; Edward be as true and just,] i. e. as open-hearted and free from deceit.

Note return to page 60 [4] 4 &lblank; where no blood dwells.] This may be right. But probably Shakespear wrote, whence no blood wells. i. e. whence no blood has its spring or course.

Note return to page 61 [5] 5 Thou wast the cause, and most accurst effect.] Effect, for executioner. He asks, was not the causer as ill as the executioner? She answers, Thou wast both. But, for causer, using the word cause, this led her to the word effect, for execution, or executioner. But the Oxford Editor troubling himself with nothing of this, will make a fine oratorical period of it. Thou wast the cause. And most accurst th' effect!

Note return to page 62 [6] 6 These eyes, which never &c.] The twelve following beautiful lines added after the first editions. Mr. Pope.

Note return to page 63 [7] 7 Fram'd in the prodigality of nature,] i. e. when nature was in a prodigal or lavish mood.

Note return to page 64 [8] 8 &lblank; to a beggarly Denier,] This may be right; but perhaps Shakespear wrote Taniere, French, a hut or cave.

Note return to page 65 for lost read loss.

Note return to page 66 [9] 9 It is determin'd, not concluded yet:] Determin'd signifies the final conclusion of the will: concluded, what cannot be alter'd by reason of some act, consequent on the final judgment.

Note return to page 67 [1] 1 Of your ill will, &c.] This line is restored from the first edition. Mr. Pope.

Note return to page 68 [2] 2 out, Devil! &lblank;] Read no.

Note return to page 69 for thee read them.

Note return to page 70 [3] 3 Hear me, you wrangling Pirates, &c.] This scene of Margaret's imprecations is fine and artful. She prepares the audience, like another Cassandra, for the following tragic revolutions.

Note return to page 71 [4] 4 Ah, gentle villain, &lblank;] We should read, ungentle villain.

Note return to page 72 [5] 5 Q. Mar. So just is God, &c.] This line should be given to Edward IVth's Queen.

Note return to page 73 [6] 6 &lblank; rooting hog!] The expression is fine, alluding (in memory of her young son) to the ravage which hogs make, with the finest flowers, in gardens; and intimating that Elizabeth was to expect no other treatment for her sons.

Note return to page 74 [7] 7 The slave of nature, &lblank;] The expression is strong and noble, and alludes to the ancient custom of masters' branding their profligate slaves: by which it is insinuated that his mis-shapen person was the mark that nature had set upon him to stigmatize his ill conditions. Shakespear expresses the same thought in The Comedy of Errors. He is deformed, crooked, &c. Stigmatical in making &lblank; But as the speaker rises in her resentment, she expresses this contemptuous thought much more openly, and condemns him to a still worse state of slavery. Sin, Death and Hell have set their marks upon him. Only, in the first line, her mention of his moral condition insinuates her reflections on his deformity: and, in the last, her mention of his deformity insinuates her reflections on his moral condition: And thus he has taught her to scold in all the elegance of figure.

Note return to page 75 [8] 8 Thou rag of honour, &lblank;] We should certainly read, Thou wrack of honour, &lblank; i. e. the ruin and destruction of honour! which I suppose was first writ rack, and then further corrupted to rag.

Note return to page 76 [9] 9 The lips of those, that breathe them in the air.] i. e. Of those who make a practice of cursing their enemies, and do it as often as they breathe. So that the sense is, the curses of such never ascend to the throne of vengeance. Never pass the lips, i. e. get past or further than the lips.

Note return to page 77 [1] 1 He is frank'd up to fatting for his pains,] A Frank is an old English word for a hogsty. 'Tis possible he uses this metaphor to Clarence, in allusion to the crest of the family of York, which was a Boar. Whereto relate those famous old verses on Richard III. The cat, the rat, and Lovel the dog Rule all England under a hog. He uses the same metaphor in the last scene of act 4. Mr Pope.

Note return to page 78 [2] 2 That woo'd the slimy bottom &lblank;] woo'd for ogled.

Note return to page 79 [3] 3 O God! if my deep prayers &c.] The four following lines have been added since the first edition. Mr. Pope.

Note return to page 80 [4] 4 Sorrow breaks seasons &c.] In the common editions the keeper is made to hold the dialogue with Clarence till this line. And here Brakenbury enters, pronouncing these words: which seem to me a reflection naturally resulting from the foregoing conversation, and therefore continued to be spoken by the same person, as it is accordingly in the first edition. Mr. Pope.

Note return to page 81 [5] 5 Take the Devil in thy mind, and believe him not: he would insinuate with thee &c.] One villain says, Conscience is at his elbow persuading him not to kill the Duke. The other says, take the devil into thy nearer acquaintance, into thy mind, who will be a match for thy conscience, and believe it not, &c. It is plain then, that him in both places in the text should be it, namely, conscience.

Note return to page 82 [6] 6 And charg'd us from his soul. &c.] This necessary line is restored from the old edition. Mr. Pope.

Note return to page 83 [7] 7 &lblank; and save your souls. &c.] The six following lines are not in the old edition. Mr. Pope.

Note return to page 84 [1] 1 To give your censures &lblank;] censures, for counsels.

Note return to page 85 [2] 2 My other self, my counsel's consistory, My oracle, my prophet, my dear cousin!] I have alter'd the pointing of this passage, whereby a strange and ridiculous Anticlimax is prevented.

Note return to page 86 [1] 1 &lblank; to your Chamber.] London was antiently called Camera regia. Mr. Pope.

Note return to page 87 [2] 2 Too ceremonious, and traditional.] Ceremonious for superstitious; traditional for adherent to old customs.

Note return to page 88 [3] 3 Weigh it but with the grosseness of this age,] But the more gross, that is, the more superstitious the age was, the stronger would be the imputation of violated sanctuary. The question, we see by what follows, is whether sanctuary could be claimed by an infant. The speaker resolves it in the negative, because it could be claimed by those only whose actions necessitated them to fly thither; or by those who had an understanding to demand it; neither of which could be an infant's case: It is plain then, the first line, which introduces this reasoning, should be read thus, Weigh it but with the greenness of his age. i. e. the young Duke of York's, whom his mother had fled with to sanctuary. The corrupted reading of the old quarto is something nearer the true. &lblank; the greatness of his age.

Note return to page 89 [4] 4 As 'twere retail'd to all Posterity;] And so it is: And, by that means, like most other retail'd things, became adulterated. We should read, &lblank; intail'd to all Posterity; which is finely and sensibly expressed, as if truth was the natural inheritance of our children; which it is impiety to deprive them of.

Note return to page 90 [5] 5 Thus like the formal vice, iniquity, I moralize two meanings in one word.] That the buffoon, or jester of the old English farces, was called the Vice, is certain: and that, in their moral representations, it was common to bring in the deadly sins, is as true. Of these we have yet several remains. But that the Vice used to assume the personages of these sins, is a fancy of Mr. Theobald's, who knew nothing of the matter. The truth is, the Vice was always a fool or jester: And, (as the Woman, in the Merchant of Venice, calls the Clown, alluding to this character,) a merry devil. Whereas these mortal sins were so many sad, serious ones. But what misled our editor was the name Iniquity, given to this Vice: But it was only on account of his unhappy tricks and rogueries. That it was given to him, and for the reason I mention, appears from the following passage of Johnson's Staple of News, second intermeane. M. How like you the Vice i'the play? T. Here is never a fiend to carry him away. Besides he has never a wooden dagger. M. That was the old way, Gossip, when Iniquity came in like Hocas Pocas, in a Jugler's Jerkin, with false skirts like the Knave of Clubs. And in The Devil's an Ass, we see this old Vice, Iniquity described more at large. From all this, it may be gather'd, that the text, where Richard compares himself to the formal Vice Iniquity, must be corrupt: And the interpolation of some foolish player. The Vice or Iniquity being not a formal, but a merry, buffoon character. Besides, Shakespear could never make an exact speaker refer to this character, because the subject he is upon is Tradition and Antiquity, which have no relation to it; and because it appears from the turn of the Passage, that he is apologizing for his equivocation by a reputable practice. To keep the reader no longer in suspence my conjecture is, that Shakespear wrote and pointed the lines in this manner, Thus like the formal-wise Antiquity I moralize: Two meanings in one word. Alluding to the Mythologic learning of the antients, of whom they are all here speaking. So that Richard's ironical apology is to this effect, You men of morals who so much extol your allwise antiquity, in what am I inferior to it? which was but an equivocator as I am. And it is remarkable, that the Greeks themselves called their remote antiquity, &grd;&gri;&grx;&groa;&grm;&gru;&grq;&gro;&grst; or the equivocator. So far as to the general sense; as to that which arises particularly out of the corrected expression, I shall only observe, that formal-wise is a compound epithet, an extreme fine one, and admirably fitted to the character of the speaker, who thought all wisdom but formality. It must therefore be read for the future with a hyphen. My other observation is with regard to the pointing; the common reading, I moralize two meanings &lblank; is nonsense: but reformed in this manner, very sensible, Thus like the formal-wise Antiquity I moralize: Two meanings in one word. i. e. I moralize as the antients did. And how was that? the having two meanings to one word. A ridicule on the morality of the antients, which he insinuates was no better than equivocating.

Note return to page 91 [6] 6 Too late he died &lblank;] i. e. too lately, the loss is too fresh in our memory. But the Oxford Editor not understanding this phraseology, to clear the Prince of all imputation of impiety, makes him say, Too soon he died &lblank;

Note return to page 92 [7] 7 I weigh it lightly &c.] i. e. I should still esteem it but a trifling gift were it heavier. But the Oxford Editor cannot bear the Duke should equivocate, and so reads, I'd weigh it lightly, i. e. I could manage it tho' it were heavier.

Note return to page 93 [8] 8 I think, there's ne'er a man &c.] This character is what Ennius gives of himself, and in the same words, Eo ego ingenio natus sum. amicitiam atque inimicitiam in frontem promptam gero. Ap. Non. in Inimic. But this is no imitation: For the thought, which is a common one, could hardly be expressed otherwise.

Note return to page 94 [1] 1 Ah! Buckingham, now do I play the Touch.] The technical term is requisite here. The poet wrote, &lblank; now do I ply the touch. i. e. apply the touchstone: for that is meant by what he calls touch. So, again, in Timon of Athens, speaking of Gold, he says; &lblank; O, thou touch of hearts! i. e. thou trial, touchstone.

Note return to page 95 [2] 2 And unrespective boys;] Unrespective, for unheeding.

Note return to page 96 [3] 3 Uncertain way of gain! &lblank;] Uncertain here used for unconstant: for he tells us here, that this was the certain way of establishing himself.

Note return to page 97 [4] 4 A King, perhaps &lblank;] From hence to the words, Thou troublest me, I am not in the vein—have been left out ever since the first editions, but I like them well enough to replace them. Mr. Pope.

Note return to page 98 [5] 5 Then fiery Expedition be my wing, Jove's Mercury, and herald for a King!] Expedition is here characterized in a very sublime manner. Which, in simple phrase, says no more than that Expedition is the soul of all great undertakings. Homer never taught an useful truth more nobly.

Note return to page 99 [6] 6 &lblank; say, that right for right] It's plain Shakespear wrote wrong for wrong; but the players thought that a little rhime was better than all reason.

Note return to page 100 [7] 7 Th' adulterate Hastings, &lblank;] I believe Shakespear wrote the Th' adulterer Hastings, &lblank;

Note return to page 101 [8] 8 The flatt'ring index of a direful pageant;] Without doubt Shakespear wrote &lblank; direful page.

Note return to page 102 [a] [(a) &lblank; to their client woes. Oxford Edition—Vulg. to your client's woes.]

Note return to page 103 [9] 9 The high imperial type &lblank;] i. e. the throne.

Note return to page 104 [1] 1 Look, what is done &c.] This long speech is not in the Edition of 1598 or that of 1602, but added by the Author since. Mr. Pope.

Note return to page 105 for less little read little less.

Note return to page 106 [2] 2 And every hour more competitors] By the word competitors, the speaker would insinuate, that men flocked to the adverse party, as if it it had been a competition for interest and glory. But the Oxford Editor will make Shakespear speak like other people, and so reads complices.

Note return to page 107 [3] 3 Out on ye, Owls!] i. e. birds of ill omen.

Note return to page 108 [4] 4 My son George Stanley is frankt up] See the note on Act I. Scene 4. of this play. Mr. Pope.

Note return to page 109 [1] 1 Is the determin'd respite of my wrongs.] This is nonsense, we should read respect of my wrongs, i. e. requital.

Note return to page 110 [2] 2 Give me some ink and paper;] I have placed these lines here as they stand in the first editions: the rest place them three speeches before, after the words Sir William Brandon, you shall bear my standard; interrupting what there follows: The Earl of Pembroke &c. I think them more naturally introduced here, when he is retiring to his tent; and considering what he has to do that night. Mr. Pope.

Note return to page 111 [3] 3 I dy'd for Hope] i. e. I died for wishing well to you. But Mr. Theobald, with great sagacity, conjectured holpe or aid; which gave the line this fine sense, I died for giving thee aid before I could give thee aid.

Note return to page 112 [4] 4 O coward Conscience!] This is extremely fine. The speaker had entirely got the better of his Conscience, and banished it from all his waking thoughts. But it takes advantage of his sleep, and frights him in his dreams. With great elegance therefore he is made to call it coward Conscience, which dares not encounter him while he is himself awake, and his faculties entire; but takes advantage of reason being off its guard, and the powers of the soul dissolved in sleep. But the Players, amongst their other innumerable absurdities in the representation of this Tragedy, make Richard say, instead of O coward Conscience, O tyrant Conscience! whereby not only a great beauty is lost, but a great blunder committed. For Richard had entirely got the better of his Conscience; which could, on no account, therefore, be said to play the tyrant with him.

Note return to page 113 [5] 5 They would restrain the one, distain the other.] The one means the Lands; the other their wives. It is plain then we should read, They would distrain, i. e. seize upon.

Note return to page 114 [a] [(a) his. Mr. Theobald.—Vulg. our]

Note return to page 115 [6] 6 Daring an opposite to ev'ry danger!] We should read, a Daring Opposite.

Note return to page 116 [7] 7 &lblank; and make use of it.] Some old books read, make much of it: and therefore Mr. Theobald reads so too: but very foolishly. Without doubt Shakespear himself thus corrected it, to make use of it. Which signifies don't abuse it like the Tyrant you have destroyed; whereas the other reading make much of it, signifies be fond of it; a very ridiculous moral for the conclusion of the Play.

Note return to page 117 11305001Thus like the formal Vice, Iniquity, &c.] As this corrupt reading in the common books hath occasioned our saying something of the barbarities of theatrical representations amongst us before the time of Shakespear, it may not be improper for a better apprehension of this whole matter to give the reader some general account of the rise and progress of the modern Stage. The first form, in which the Drama appeared in the West of Europe, after the destruction of learned Greece and Rome, and that a calm of Dulness had finished upon letters what the rage of barbarism had begun, was that of the Mysteries. These were the fashionable and favourite diversions of all Ranks of people both in France, Spain, and England. In which last place, as we learn by Stow, they were in use about the time of Richard the Second and Henry the Fourth. As to Italy, by what I can find, the first rudiments of their Stage, with regard to the matter, were prophane subjects, and, with regard to the form, a corruption of the ancient Mimes and Attellanes: By which means they got sooner into the right road than their neighbours; having had regular plays amongst them wrote as early as the fifteenth Century. As to these Mysteries, they were, as their name speaks them, a representation of some scripture-story, to the life: as may be seen from the following passage in an old French history, intitled La Chronique de Metz composée par le curé de St. Euchaire; which will give the reader no bad idea of the surprizing absurdity of these strange representations. &wlquo;L'an 1437 le 3 Juillet (says the honest chronicler) fut fait le Jeu de la Passion de N. S. en la plaine de Veximiel. Et fut Dieu un sire appelleé Seigneur Nicolle Dom Neufchastel, lequel etoit Curé de St. Victour de Metz, lequel fut presque mort en la Croix, s'il ne fût eté secourus; & convient qu'un autre Prêtre fut mis en la Croix pour parfaire le Personnage du Crucifiment pour ce jour; & le lendemain le dit Curé de St. Victour parfit la Resurrection, et fit très hautement son personage; et dura le dit Jeu—Et autre Prêtre qui s' appelloit Mre. Jean de Nicey, qui estoit Chapelain de Metrange, fut Judas; lequel fut presque mort en pendant, car le cuer li faillit, & fut bien hâtivement dependu & porté en Voye. Et etoit la bouche d'Enfer tres-bien faite; car elle ouvroit & clooit, quand les Diables y vouloient entrer et isser; et avoit deux gross Culs d' Acier, &c.&wrquo; Alluding to this kind of representations Archbishop Harsnet, in his Declaration of Popish Impostures, p. 71. says, &wlquo;The little Children were never so afraid of Hell-mouth in the old Plays, painted with great gang teeth, staring eyes, and foul bottle nose.&wrquo; Carew in his Survey of Cornwall, gives a fuller description of them in these words, &wlquo;The Guary Miracle, in English a Miracle-Play, is a kind of interlude compiled in Cornish out of some Scripture-history. For representing it, they raise an earthen Amphitheatre in some open Field, having the diameter of his inclosed Playne, some 40 or 50 foot. The country people flock from all sides many miles off, to hear and see it. For they have therein Devils and Devices, to delight as well the eye as the ear. The Players conne not their parts without book, but are prompted by one called the Ordinary, who followeth at their back with the book in his hand, &c. &c.&wrquo; There was always a Droll or Buffoon in these Mysteries, to make the People mirth with his sufferings or absurdities: and they could think of no better a personage to sustain this part than the Devil himself. Even in the Mystery of the Passion mentioned above, it was contrived to make him ridiculous. Which circumstance is hinted at by Shakespear (who has frequent allusions to these things) in the Taming of the Shrew, where one of the Players asks for a little Vinegar (as a property) to make their Devil roar. For after the spunge with the Gall and Vinegar had been employed in the representation, they used to clap it to the nose of the Devil; which making him roar, as if it had been holy-water, afforded infinite diversion to the People. So that Vinegar in the old Farces, was always afterwards in use to torment their Devil. We have divers old English Proverbs, in which the Devil is represented as acting or suffering ridiculously and absurdly, which all arose from the part he bore in these Mysteries, as in that, for instance, of—Great cry and little wool, as the Devil said when he sheared his hogs. For the sheep-shearing of Nabal being represented in the Mystery of David and Abigail, and the Devil always attending Nabal, was made to imitate it by shearing a Hog. This kind of absurdity, as it is the properest to create laughter, was the subject of the ridiculous, in the ancient Mimes, as we learn from these words of St. Austin: Ne faciamus ut Mimi solent, et optemus à Libero Aquam, à Lymphis Vinum1 [Subnote: 1 Civ. D. l. 4.] . These Mysteries, we see, were given in France at first, as well as in England, sub dio, and only in the Provinces. Afterwards we find them got into Paris, and a Company established in the Hôtel de Bourgogne to represent them. But good Letters and Religion beginning to make their way in the latter end of the reign of Francis the First, the stupidity and prophaneness of the Mysteries made the Courtiers and Clergy join their interest for their suppression. Accordingly, in the year 1541, the Procureur-General, in the name of the King, presented a Request against the Company to the Parliament. The three principal branches of his charge against them were, that the representation of the Old-Testament-Stories inclined the people to Judaism; That the New-Testament-Stories encouraged libertinism and infidelity; and that both of them lessened the Charities to the Poor: It seems that this prosecution succeeded; for, in 1548, the Parliament of Paris confirmed the company in the possession of the Hôtel de Bourgogne, but interdicted the representation of the Mysteries. But in Spain, we find by Cervantes, that they continued much longer; and held their own, even after good Comedy came in amongst them: As appears from the excellent Critique of the Canon, in the fourth book, where he shews how the old extravagant Romances might be made the foundation of a regular Epic (which, he says, tambien puede escrivirse en prosa como en verso;2 [Subnote: 2 B. 4. c. 20.] ) as the Mystery-Plays might be improved into artful Comedy. His words are, Pues que si venimos à las Comedias divinas, que de milagros falsos fingen en ellas, que de cosas apocrifas, y mal entendidas, attribueyendo a un Santo los milagros de otro3 [Subnote: 3 Ib. 21.] ; which made them so fond of Miracles that they introduced them into las Comedias humanas, as he calls them. To return; Upon this prohibition, the French poets turned themselves from Religious to Moral Farces. And in this we soon followed them: The public taste not suffering any greater alteration at first, tho' the Italians at this time afforded many just compositions for better Models. These Farces they called Moralities. Pierre Gringore, one of their old Poets, printed one of these Moralities, intitled La Moralité de l'Homme Obstiné. The Persons of the Drama are l'Homme Obstiné— Pugnition Divine—Simonie—Hypocrisie— and Demerites-Communes. The Homme Obstiné is the Atheist, and comes in blaspheming, and determined to persist in his impieties. Then Pugnition Divine appears, sitting on a throne in the Air, and menacing the Atheist with punishment. After this Scene, Simonie, Hypocrisie and Demerites-Communes appear and play their parts. In conclusion, Pugnition Divine returns, preaches to them, upbraids them with their Crimes, and, in short, draws them all to repentance, all but the Homme Obstiné, who persists in his impiety, and is destroyed for an example. To this sad serious subject they added, tho' in a separate representation, a merry kind of Farce called Sottié, in which there was un Paysan [the Clown] under the name of Sot commun [or Fool.] But we, who borrowed all these delicacies from the French, blended the Moralité and Sottié together: So that the Paysan or Sot-commun, the Clown or Fool, got a place in our serious Moralities: Whose business we may understand in the frequent allusions our Shakespear makes to them: As in that fine speech in the beginning of the third Act of Measure for Measure, where we have this obscure passage, &lblank; meerly thou art Death's Fool, For him thou labour'st by thy flight to shun, And yet runn'st tow'rd him still. For, in these Moralities, the Fool of the piece, in order to shew the inevitable approaches of Death, (another of the Dramatis Personæ) is made to employ all his Stratagems to avoid him; which, as the matter is ordered, bring the Fool, at every turn, into the very Jaws of his enemy: So that a representation of these Scenes would afford a great deal of good mirth and morals mixed together. The very same thing is again alluded to in these lines of Love's Labour lost, So Portent-like I would o'er-rule his State, That he should be my Fool, and I his Fate. Act iv. Sc. 2. But the French, as we say, keeping these two sorts of Farces distinct, they became, in time, the Parents of Tragedy and Comedy; while we, by jumbling them together, begot in an evil hour, that mungrel Species, unknown to Nature and Antiquity, called Tragi-Comedy.

Note return to page 118 [1] 1 'Till this time Pomp was single, but now marry'd To one above itself. &lblank;] The thought is odd and whimsical; and obscure enough to need an explanation—'Till this time (says the speaker) Pomp led a single life, as not finding a husband able to support her according to her dignity; but she has now got one in Henry VIII. who could support her even above her condition in finery.

Note return to page 119 [2] 2 Made former wonders, it's. &lblank;] i. e. the last draw [Subnote: for draw read drew.] over all the former wonders into itself, as the greater draws the less.

Note return to page 120 [3] 3 &lblank; that their very labour Was to them as a painting. &lblank;] i. e. the labour they sustained in bearing the weight of their finery, gave them so fresh a colour, as saved the trouble and expence of painting.

Note return to page 121 [4] 4 Durst wag his tongue in censure. &lblank;] Censure for determination, of which had the noblest appearance.

Note return to page 122 [5] 5 Bevis] The old romantic legend of Bevis of Southampton. Mr. Pope.

Note return to page 123 [6] 6 &lblank; All was royal, &c.] This speech was given in all the editions to Buckingham; but improperly. For he wanted information, having kept his chamber during the solemnity. I have therefore given it to Norfolk.

Note return to page 124 [7] 7 &lblank; that promises no element] element, for talent, capacity.

Note return to page 125 [8] 8 That such a ketch &lblank;] Ketch, from the Italian Caicchio, signifying a tub, barrel, or hogshead. Skinner. Mr. Pope.

Note return to page 126 [9] 9 A gift that heaven gives for him, which buys A place next to the King.] It is evident a word or two in the sentence is misplaced, and that we should read, A gift that heaven gives; which buys for him A place next to the King &lblank;

Note return to page 127 [1] 1 &lblank; whence has he that, If not from hell? the devil &lblank;] This ill pointing makes nonsense of the thought. I have regulated it as it now stands.

Note return to page 128 [2] 2 Must fetch in him he papers.] He papers, a verb; his own letter, by his own single authority, and without the concurrence of the council, must fetch in him whom he papers down.—I don't understand it unless this be the meaning. Mr. Pope.

Note return to page 129 [3] 3 &lblank; Every man, After the hideous storm that follow'd, &c.] His author, Hall, says, Monday 18th day of June there blew such storms of wind and weather that marvel was to hear; for which hideous tempest some said it was a very prognostication of trouble and hatred to come between princes. In Henry VIII. p. 80.

Note return to page 130 [4] 4 Th' ambassador is silenc'd?] Silenc'd for recall'd. This being proper to be said of an Orator; and an ambassador or publick minister being called an Orator, he applies silenc'd to ambassador.

Note return to page 131 [5] 5 Honour and plenteous safety; &lblank;] plenteous, for full, entire. But full also signifying plenteous he uses plenteous to denote entire.

Note return to page 132 [6] 6 From sincere motions;] in the sense of syncerus, Lat. legitimate, out of love to my country, and from no private prejudices.

Note return to page 133 [7] 7 &lblank; his mind and place Infecting one another;] This is very satirical. His mind he represents as highly corrupt; and yet he supposes the contagion of the place of first minister as adding an infection to it.

Note return to page 134 [8] 8 &lblank; suggests the King our master] suggests, for excites.

Note return to page 135 [8] 8 &lblank; and the best heart of it,] The expression is monstrous. The heart is supposed the seat of life: But, as if he had many lives, and to each of them, a heart, he says, his best heart. A way of speaking that would have become a cat rather than a King.

Note return to page 136 [9] 9 And lack of other means, &lblank;] Means does not signify methods of livelihood, for that was said immediately before—unfit for other life; but it signifies, necessaries—compelled, says the speaker, for want of bread and other necessaries. But the poet using, for the thing, [want of bread] the effect of it, [hunger] the passage is become doubly obscure; first, by using a term in a licentious sense, and then by putting it to a vicious construction. The not apprehending that this is one of the distinguishing peculiarities in Shakespear's stile, has been the occasion of so much ridiculous correction of him.

Note return to page 137 [1] 1 And Danger serves among them.] Could one easily believe, that a writer, who had, but immediately before, sunk so low in his expression, should here rise again to a height so truly sublime? where, by the noblest stretch of fancy, Danger is personalized as serving in the rebel army, and shaking the established government.

Note return to page 138 [2] 2 Things that are known alike &lblank;] alike, for equally to all.

Note return to page 139 [3] 3 There is no primer baseness.] The Queen is here complaining of the suffering of the Commons; which, she suspects, arose from the abuse of power in some great men. But she is very reserved in speaking her thoughts concerning the quality of it. We may be assured then, that she did not, in conclusion, call it the highest baseness; but rather made use of a word that could not offend the Cardinal, and yet would incline the King to give it a speedy hearing. I read therefore, There is no primer business. i. e. no matter of state that more earnestly presses a dispatch.

Note return to page 140 [4] 4 By sick interpreters, or weak ones, &lblank;] Sick, for prejudiced.

Note return to page 141 [5] 5 From every tree, lop, bark, and part o'th' timber:] Lop is a substantive, and signifies the branches.

Note return to page 142 [6] 6 &lblank; noble benefits &lblank;] benefits, for accomplishments.

Note return to page 143 [7] 7 Not well dispos'd, &lblank;] dispos'd, for placed, situate.

Note return to page 144 [8] 8 They turn to vicious forms, &lblank;] Forms, for habits, which he afterwards calls monstrous habits.

Note return to page 145 [a] [(a) Confession—Mr. Theobald—Vulg. Commission.]

Note return to page 146 [9] 9 Does an irresolute purpose.] Irresolute, for unperformed simply.

Note return to page 147 [1] 1 Is't possible, the spells of France should juggle Men into such strange mysteries?] These mysteries were the fantastic court-fashions. He says they were occasioned by the spells of France. Now it was the opinion of the common people, that conjurers, jugglers, &c. with spells and charms could force men to commit idle fantastic actions; and change even their shapes to something ridiculous and grotesque. To this superstition the poet alludes, who, therefore, we must think, wrote the second line thus, Men into such strange mockeries: A word well expressive of the whimsical fashions here complained of. Sir Thomas More, speaking of this very matter at the same time, says, Ut more simiæ laboret fingere Et æmulari Gallicas ineptias. But the Oxford Editor, without regard to the metaphor, but in order to improve on the emendation, reads mimick'ries; not considering neither that whatsoever any thing is changed or juggled into by spells, must have a passive signification, as mockeries, [i. e. visible figures] not an active, as mimick'ries.

Note return to page 148 [1] 1 &lblank; and those types of travel;] Very finely called so; as the mark of that vanity of mind, which was all our youth had gained by travel.

Note return to page 149 [1] 1 &lblank; no black envy Shall make my grave. &lblank;] The sense of this is, that envy should not procure or advance his death. But this is not what he would say; he believed the Cardinal's envy did procure his death. He is speaking not of another's envy, but his own. And his thought is, that he would not be remembered for an implacable unforgiving temper. We should read therefore, &lblank; no black envy Shall mark my grave &lblank;. alluding to the old custom of marking good or ill, by a white or black stone.

Note return to page 150 [2] 2 Where you are lib'ral &c.] The poet, supported by the truth of history, has very judiciously made this Duke of Buckingham, and his great rival, the Cardinal, in their fall, complain that their misfortunes were owing to two opposite causes: The one, by making friends indiscreetly: The other, by making none at all. An useful lesson to men of their rank and station. See note to Act III. Scene 6.

Note return to page 151 for too read to.

Note return to page 152 [3] 3 Into what pitch he please.] Here is a strange dissonance in the metaphor, which is taken from unbaked dough. I read, Into what pinch he please. i. e. into what shape he please.

Note return to page 153 [4] 4 Yet if that quarrel, Fortune, &lblank;] He calls Fortune a quarrel or arrow, from her striking so deep and suddenly. Quarrel was a large arrow so called. Thus Fairfax &lblank; Twang'd the string, out-flew the quarrel long.

Note return to page 154 [5] 5 More than my all, is nothing:] No figure can free this expression from nonsense. In spite of the exactness of measure, we should read, More than my all, which is nothing, i. e. which all is nothing.

Note return to page 155 [6] 6 You sign your place and calling, &lblank;] Sign, for answer.

Note return to page 156 [7] 7 &lblank; although not there At once, and fully satisfy'd; &lblank;] What he aims at is this; where I am robbed and bound, there must I be unloosed, tho' the injurers be not there to make me satisfaction: as much as to say, I owe so much to my own innocence, as to clear up my character, tho' I do not expect my wrongers will do me justice. It seems then that Shakespear wrote, Aton'd, and fully satisfy'd. &lblank;

Note return to page 157 [1] 1 They should be good men, their affairs are righteous,] Affairs, for professions; and then the sense is clear and pertinent. The proposition is, they are priests. The illation, therefore they are good men; for being understood: But if affairs be interpreted in its common signification, the sentence is absurd.

Note return to page 158 [2] 2 &lblank; Nay, forsooth, &lblank;] We should read, They, forsooth.

Note return to page 159 [3] 3 You turn the good we offer into envy.] Envy, for evil.

Note return to page 160 [4] 4 If ye be any thing, but churchmen's habits] This is finely expressed. Our great modern poet uses the same thought: &lblank; If the Monarch plays the Monk, If Cobler-like the Parson will be drunk, Worth makes the man, and Want of it, the Fellow; The rest is all but Leather or Prunello.

Note return to page 161 [5] 5 &lblank; or at least Strangely neglected? &lblank;] The plain sense requires us to read, stood not neglected.

Note return to page 162 [6] 6 &lblank; when did he regard The stamp of nobleness in any person Out of himself?] The expression is bad, and the thought false. For it supposes Wolsey to be noble, which was not so: we should read and point, &lblank; when did he regard The stamp of nobleness in any person; Out of't himself? i. e. when did he regard nobleness of blood in another; having none of his own to value himself upon.

Note return to page 163 [7] 7 And hedges his own way. &lblank;] It is not said, that the King perceives how he obstructs his own way; but how obliquely he pursues it: we should read therefore, edges his own way.

Note return to page 164 [8] 8 Stops on a sudden, &c.] How well the poet copies nature here, we may see by Sallust's description of Catiline's agitations, Citus modò, modò tardus incessus; prorsus in facie vecordia inerat.

Note return to page 165 [9] 9 Beyond all man's endeavours. &lblank;] Endeavours for deserts. But the Oxford Editor, not knowing the sense in which the word is here used, alters it to ambition.

Note return to page 166 [1] 1 'Till I find more than will, or words to do it, (I mean your malice;) know—I dare—deny it.] They bid him render up his seal. He answers, where's your commission? They say, we bear the King's will from his mouth. He replies, 'Till I find, &c. i. e. all the will or words I yet discover proceed from your malice; and, 'till I find more than that, I shall not comply with your demand. One would think this plain enough; yet the Oxford Editor, in the rage of emendation, alters the line thus, Whilst I find more than his will, or words to it, I mean your malice, &c. which bears this noble sense, worthy a wise Lord Chancellor: Whilst I find your malice joined to the King's will and pleasure, I shall not obey that will and pleasure.

Note return to page 167 [2] 2 Which since they are of you &lblank;] i. e. regard your person. One was that knowing himself to be pox'd, he yet came near the King's person.

Note return to page 168 [3] 3 &lblank; Nips his root;] As spring frosts are not injurious to the roots of fruit trees, I should imagine the Poet wrote shoot, i. e. that tender shoot on which are the young leaves and blossoms. The comparison, as well as expression of nips, is juster too in this reading. He has the same thought in Love's Labour Lost. Byron is like an envious sneaping frost That bites the first-born infants of the spring. So Milton in Sampson Agonistes, Abortive as the first-born bloom of spring, Nip'd with the lagging rear of winter's frost. which seems to be taken from the place in question.

Note return to page 169 [4] 4 &lblank; Wolsey, that once trod the ways of glory.] As the words, sounded, depths, shoals, wreck, follow; the uniformity of metaphor would dispose Shakespear methinks to write here, &lblank; rode the waves of glory. So in Troilus and Cressida. As if the passage and whole carriage of this action rode on his tide.

Note return to page 170 [5] 5 &lblank; cherish those hearts, that hate thee:] Though this be good divinity; and an admirable precept for our conduct in private life; it was never calculated or designed for the magistrate or publick minister. Nor could this be the direction of a man experienced in affairs to his pupil. It would make a good christian but a very ill and very unjust statesman. And we have nothing so infamous in tradition, as the supposed advice given to one of our kings, to cherish his enemies and be in no pain for his friends. I am of opinion the Poet wrote &lblank; cherish those hearts that wait thee. i. e. thy dependents. For the contrary practice had contributed to Wolsey's ruin. He was not careful enough in making dependents by his bounty, while intent in amassing wealth to himself. The following line seems to confirm this correction, Corruption wins not more than honesty. i. e. You will never find men won over to your temporary occasions by bribery so useful to you as friends made by a just and generous munificence.

Note return to page 171 [1] 1 &lblank; one, that by suggestion Ty'd all the kingdom;] i. e. by giving the King pernicious counsel, he ty'd or enslaved the kingdom. He uses the word here with great propriety, and seeming knowledge of the Latin tongue. For the late Roman writers, and their glossers, agree to give this sense to it: Suggestio est cum magistratus quilibet principi salubre consilium suggerit. So that nothing could be severer than this reflexion, that that wholsom counsel, which it is the minister's duty to give his prince, was so empoisoned by him, as to produce slavery to his country. Yet all this fine sense vanishes instantaneously before the touch of the Oxford Editor, by his happy thought of changing Ty'd into Tyth'd.

Note return to page 172 [2] 2 Of his own body he was ill, &lblank;] i. e. he abused his body by intemperance and luxury.

Note return to page 173 [1] 1 In them a wilder nature &lblank;] Wild, for uncommon.

Note return to page 174 [2] 2 Stands in the gap and Trade for more preferments.] We should read tread, i. e. road.

Note return to page 175 [3] &lblank; we are all men In our own natures frail, and capable Of frailty, &lblank;] If all men were actually frail, they were more than capable of frailty; to understand this therefore, as only said of the natural weakness of humanity, it is absurdly expressed; but this was not our author's sense: By, in our own natures frail, he alludes to the doctrine of original sin: So that the sentiment is this, We are sinners by imputation, and liable to become actually so.

Note return to page 176 [4] 4 These are but switches to 'em.] To what, or whom? We should point it thus, These are but switches.—To 'em. i. e. have at you, as we now say. He says this as he turns upon the mob.

Note return to page 177 [5] 5 Which were the hope of the strand,] i. e. such as, by another metaphor, he might have called the flower. But the Oxford Editor, in an ill humour, degrades them to the forlorn hope; and this is called emending.

Note return to page 178 [a] [(a) Your. Dr. Thirlby.—Vulg. you.]

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