and keeper, and after this line, which is given to the keeper, we have a stage-direction, "Enter Brakenbury," and to him is assigned the rest of the speech, beginning at the next line. Brakenbury was lieutenant of the Tower; and we know from lines 96, 97 that Clarence was specially committed to his charge. It certainly would seem, from the stage-direction of F. 1, that the copy of the play from which that was transcribed, did assign the speeches in the former part of this scene, which we have given to Brakenbury, to another character (the keeper). There is no provision, however, for the exit of the keeper; and it would certainly seem that the Qq. on this point represent the better version of the two. Grant White defends the arrangement in Ff. on the ground that it would be infra dig. for Brakenbury to carry a great bunch of keys; and Hunter, in his Illustrations (vol. ii. pp. 83, 84), also prefers the reading of Ff. for the reasons: "First that it is improbable Brakenbury, who was the Lieutenant of the Tower, should pass the night in the sleeping room of his prisoner;" on which Dyce very pertinently observes that it is clear that this scene took place at daytime and not at night; secondly, Hunter thinks that the reflections of Brakenbury in this speech (75-83) having no reference to the dream, which Clarence has just narrated, would suit one better who had just entered and found Clarence sleeping, than one who had listened to such affecting words. He also thinks that the remarks, made by the person to whom Clarence narrates his dream, are more those of an uncultivated man, such as a keeper would be, than of one like Brakenbury. There is certainly some force in these latter objections; but, if we suppose Brakenbury, on his entrance, to pause a little and contemplate the sleeping Clarence, the words to which he gives utterance are appropriate, and may well be detached from the first line of the speech, on which we are commenting. The unnecessary introduction of a minor character is what a practical dramatist generally endeavours, if possible, to avoid; and we cannot say that there is sufficient reason for any such introduction here. As we have already said, Clarence was evidently committed to Brakenbury's special charge; and it is more likely that he would have made such confidences to him than to an inferior officer.

177. Lines 78, 79:

Princes have but their TITLES for their glories, An outward honour for an inward toil. Johnson would read troubles; the meaning of the line, however, would seem to be that the only reward princes have is their empty titles; though perhaps troubles would correspond better with the sense of the second line.

178. Lines 80, 81:

And, for unfelt imaginations,

They often feel a world of restless cares.

The meaning is: "In return for imaginary joys never experienced, they often suffer a world of real trouble."

179. Lines 84, 85:

First Murd. Ho! who's here?

Brak. What wouldst thou, fellow? and how cam'st thou hither?

Qq. omit line 84; and instead of What wouldst thou, fellow? have In God's name what are you? Perhaps the reading of Ff. was owing to the act of James L. so often alluded to.

180. Line 86.-In Qq. the prefix for this speech is Execu. or Exec. and in line 89 below, 2 Exe.

181. Lines 89, 90.-Printed as verse in Qq. and Ff. Qq instead of "Let him see our commission " have "show him our commission." If we wanted to make two verses, we might read:

'T is better to be brief than tedious;

Let him see our commission: talk no more; but it is much preferable to leave it in prose as printed in the text.

182. Line 94: guiltless of the meaning.-So Qq. Ft. have "from the meaning."

183. Line 95: There lies the duke asleep [Pointing to pallet], and there the keys [Giving him keys].-Qq. read: Here are the keys there sits the duke asleep.

The duke was probably not sitting on a chair, but lying on a pallet bed. It is difficult to see any reason why the reading of Qq. should be preferred.

184. Line 100: You may, sir; 't is a point of wisdom: FARE YOU WELL.-Qq. omit the last three words, which Ff. print as a separate line.

185. Lines 105, 106: Why, he shall never wake until the great judgment-day.-This speech stands thus in Q. 1: When he wakes, why foole he shall never wake till the judgmentday.

The reading of Ff. seems more in accordance with the next speech of the second murderer.

186. Line 112: having a warrant FOR IT.-So Qq.; Ff. omit for it.

187. Lines 112-114.-This passage is printed as verse in Qq. Ff.; but as verse without any measure in it; it would have been easy to have made it verse thus:

No, not to kill him, having warrant for 't;

But to be damn'd for killing him, from which

No warrant can defend me.

It would seem that while writing portions of this scene the author was in hesitation whether to write them in prose or verse.

188. Line 120: I hope my PASSIONATE humour will change.-Many editors prefer the reading of Qq. “my holy humour." Malone thought that some actor had made the change of holy to passionate on account of the act of James I. so often alluded to. But whether passionate here means " 'compassionate" or simply "full of emotion," as it so often does in Shakespeare, it seems the more Shakespearean epithet of the two. There was nothing particularly holy in the second murderer's temporary feeling of remorse.

189. Line 125: [After a short pause] How dost thou feel thyself now? The actor must evidently pause a short time before this speech, in order to give his comrade time to count twenty. There is a good deal of humour in this

scene. It reminds one more of the prose parts of Henry IV. than of the earlier historical plays. The speech of the second murderer on conscience (lines 138-148) is quite in Shakespeare's best style.

190. Line 151: Take the devil in thy mind.-Heath conjectured "Shake off this devil in thy mind," and Capell "Shake the devil out of thy mind." But though the expression in the text is a rather peculiar one, it does not need any emendation; as has been pointed out in the foot-note, the him in the next sentence refers to conreience and not to the devil.

191. Line 159: Take him over the costard.—Compare Henry V. iv. 1. 231: "I will take thee a box on the ear;" and Taming of Shrew, iii. 2. 165: took him such a cuff." The word take is closely allied to the Gothic têcan, and possibly is connected with the Latin tangere, both of which verbs mean "to touch."

192. Line 160: THROW him into the malmsey-butt.—Qq. read here "chop him." Is not this a misprint for "clap him?"

193. Line 176: Your eyes do menace me: why look you pale? This line is omitted in Qq.

194. Line 177.-The prefix to this line and the next line but one, where both murderers speak together, is in Qq. am; see below, note 268, where the prefix is ans.

195. Lines 194, 195:

I charge you, as you hope to have redemption By Christ's dear blood shed for our grievous sins. The reading in the text is that of Qq.; Ff. omit line 195 altogether, and instead of "as you hope to have redemption" have "as you hope for any goodness;" both these changes having probably been made on account of the act of James I.

196. Line 200: Erroneous vassals-Compare III. Henry VI. ii. 5. 90:

Erroneous, mutinous, and unnatural.

197. Lines 206-212.-These two speeches would seem to indicate that these murderers were not taken from the low or peasant class. They seem to have been acquainted with the history of the time; and were probably soldiers of fortune, or mercenaries, who must have been common enough during the civil wars; as they were also in Elizabeth's time, through the wars in the Netherlands.

198 Line 208: Thou didst receive the SACRAMENT to fight.--Qq. have "holy sacrament;" but it is very doubtful if it means anything more than taking an oath, withont receiving the holy communion. Compare Rich. II. v. 2. 97, and King John, v. 2. 6.

199. Line 209: In quarrel of the house of Lancaster.— Compare III. Henry VI. iii. 2. 6: "in quarrel of the house of York."

200. Line 218: He sends you not to murder me for this. -Before this line Qq. have "Why, sirs," in a separate line.

201. Line 222: O, know you yet, he doth it publicly.-Q4. emit this line.

Most editors hyphen

202. Line 227: gallant, springing. these two words; but it is not so printed either in Qq. or Ff. I take the meaning not to be "growing up in beauty," as Schmidt explains it; but that there are two separate epithets, gallant and springing = “youthful." There would seem to be a tautology between gallant and brave; but gallant expresses the graceful qualities of courage; brave the more solid qualities.

203. Line 228: That princely NOVICE. -He means a novice in the character of a prince, not simply a youth new to the world.

204. Line 246: Ay, MILLSTONES; as he lesson'd us to weep.-Compare Massinger's City Madam, iv. 3:

Will weep when he hears how we are us'd.
1. Serj. Yes millstones.

204 a. Lines 251, 252:

-Works, p. 447

It cannot be; for he bewept my fortune,
And hugg'd me in his arms, and swore, with sobs.
Q. 1 reads:

It cannot be, for when I parted with him,

He hugd me in his armes, and swore with sobs. The alteration was probably made on account of the metrical weakness of line 251 according to the reading of Q. 1. It is worth observing that in ii. 2. 23-25 Qq. 1 to 6 read:

And when he tould me so, he wept.

And hugd me in his arme, and kindly kist my cheeke,

for which F. 1 substituted

And when my Vnckle told me so, he wept, And pittied me, and kindly kist my cheeke: where, not only are the faults in metre of Qq. corrected, but it will be observed that the repetition of the words And hugd me in his arme,

is avoided by F. 1. Referring back to the first scene of this act we do not find anything in the text to warrant this description by Clarence of the farewell between him and his treacherous brother; but it is possible that these lines are intended to give a hint to the actor of Richard in his parting scene with Clarence, and that the final farewell, though no words are spoken, should be as emotional in action as it is here described.

204 b. Lines 257-260:

HAST THOU that holy feeling in THY SOUL, To counsel me to make my peace with God, And ART THOU yet to THY own SOUL so blind, That THOU WILT war with God by murdering me?—F. 1 gives this passage with you and your instead of thou and thine throughout, and souls instead of soul, making the appeal addressed to both the murderers, instead of to the one whom Clarence is, apparently, answering. Here the reading of Qq., which we follow, seems preferable. 204 c. Lines 261, 262:

O, sirs, consider, HE that set you on

To do THIS deed will hate you for the deed. F. 1 has "they that set you on" and "the deed," for "this deed," which is certainly weaker than the reading of Q. 1. 204 d. Lines 263-273:

Clar. Not to relent is beastly, savage, devilish.—
1

My friend, I spy some pity in thy looks;

O, if thine eye be not a flatterer,

Come thou on my side, and entreat for me:

A begging prince what beggar pities not? In the text of this much disputed passage we have followed Dyce; the first part of whose note is as follows: "So the first quarto (except that in the third line of Clarence's speech it has ('Oh if thy eye'); and so the later quartos (with some very trifling variations). The folio has:

Clar. Relent, and saue your soules:
Which of you, if you were a Princes Sonne,
Being pent from Liberty, as I am now,

If two such murtherers as your selues came to you,
Would not intreat for life, as you would begge
Were you in my distresse.

1 Relent no: 'Tis cowardly and womanish
Cla. Not to relent, is beastly, sauage, diuellish:
My Friend, I spy some pitty in thy lookes:
O, if thine eye be not a Flatterer,
Come thou on my side, and intreate for mee,
A begging Prince, what begger pitties not.
2 Looke behinde you, my Lord."

Pope, Hanmer, and Capell adopted the reading of Q.1; but rejected the last line of the speech

A begging prince what beggar pities not? Theobald, Knight, Collier, Verplanck, and Hudson follow F. 1. Spedding most ably advocated the retention of the reading of F, 1, simply transferring the lines Which of you, down to distress, from after line 263:

Relent and save your souls,

to line 273 (Globe edn.):

A begging prince what beggar pities not?

He also put a note of interrogation after entreat for life, and a break (-) instead of a full stop after distress. Johnson had already suggested the transference of these lines, and had inserted before the line

Which of you if you were a prince's son,

the words A begging prince to be spoken by one of the murderers. The same punctuation was adopted, independently, by Mr. Hudson; but he retained the additional lines in the same place as they occupy in F. 1. The Cambridge edd. have a very long note on this passage, and they adopt the arrangement first suggested by Tyrwhitt, and followed by Steevens in his edition of 1793, which is as follows:

Clar. Relent, and save your souls.

First Murd. Relent! 'tis cowardly and womanish Clar. Not to relent is beastly, savage, devilish.

Which of you, if you were a prince's son,

Being pent from liberty, as I am now,

If two such murderers as yourselves came to you, Would not entreat for life?

My friend I spy, &c.

They confess that this "involves a rather violent transposition;" but they (the Cambridge edd.) consider that the lines in F. 1 which are omitted by Q. 1 "appear to be Shakespeare's," and therefore should not be left out of the text. But it certainly seems as if the additional lines belong to another version of the speech; and the printing of the two together, which can only be accomplished by some such manipulation of the lines as suggested by Tyrwhitt, is a mistake, dramatically speaking. The lines given by Q. 1 are quite sufficient: but, at the same time, it is possible that the reading of F. 1 may be the right

one, according to one of the versions which the author had written; and that the lines beginning Which of you, and ending in my distress, were intended to be spoken by Clarence as a rapid and passionate appeal, which did not admit of the first murderer answering at once; and that the author intended the latter to pause in his answer, as if reflecting. This view is supported by the form of his answer in F. 1:

Relent? NO: 'Tis cowardly and womanish. which seems to indicate that he was rather moved by Clarence's appeal at first, and hesitated for a moment whether to listen to him or not.

204 e. Line 271: I'll drown you in the malmsey-butt within.-Q. 1 reads:

Ile chop thee in the malmesey But, in the next room;

see above, note 192.

ACT II. SCENE 1.

205. With regard to this scene it is worth noting that scene 1 of The True Tragedy of Richard III. 1594 (see Introduction, p. 474), was very probably the foundation of the present scene in Shakespeare's play. The old play of Richard III. begins with a kind of prologue between "Truth" and "Poetrie" and the Ghost of Clarence. Then comes the scene which corresponds with this one, with the stage-direction Enter Edward the Fourth, Lord Hastings, Lord Marcus (i.e. Lord Dorset), and Elizabeth (ie, the Princess Elizabeth). To them Richard (see Hazlitt's Shak Lib. vol. i. pt. 2, pp. 51-54). It will be observed that the older author is right, according to Sir Thomas More's history, in making reconciliation between Lord Hastings and Dorset, and not between Hastings and Rivers. The following passages show some faint resemblance between this scene in the old play and the corresponding scene in Shakespeare's play:

I could neuer get any lege of amity betwixt you (Ut supra, p. 54). But now through intretie of my Prince,

I knit a league of amitie for euer.

-Ut supra, p 56.

Lest he that is the supreme King of kings Confound your hidden falsehood (Rich. III. ii. 1. 13, 14). The scene in the old play, which is much longer than the corresponding one in Shakespeare's play, ends with the death of the king; and Richard, though he is present. does not speak. We have given these slight parallels from the two scenes to prove how very little use Shakespeare made of the old play. King Edward's speeches in the latter are evidently taken from the king's speeches as given in Sir Thomas More's history.

This scene is founded on a portion of that same history (pp. 12, 13), which was copied, almost word for word, by Holinshed, Hall, and the other chroniclers. It is too long to quote in its entirety; but we give some of the more

important passages. "But in his laste sickenesse, when hee perceiued his naturall strengthe soo sore enfebled, that hee dyspayred all recouerye, then hee consyderynge the youthe of his chyldren, albeit hee nothynge lesse mistrusted then that that happened, yet well foreseynge that manye harmes myghte growe by theyr debate, whyle the youth of hys children shoulde lacke discrecion of themself and good counsayle, of their frendes, of whiche either party shold counsayle for their owne commodity and rather by plesaunte aduyse too wynne themselfe fauour, then by profitable aduertisemente to do the children good, he called some of them before him that were at variaunce, and in especyall the Lorde Marques Dorsette the Quenes sonne by her fyrste housebande, and Richarde the Lorde Hastynges, a noble man, than lorde chaumberlayne agayne whome the Quene specially grudged, for the great fauoure the kyng bare hym, and also for that shee thoughte hym secretelye familyer with the kynge in wanton coumpanye. . . . When these lordes with diuerse other of bothe the parties were comme in presence, the kynge liftinge vppe himselfe and vndersette with pillowes, as it is reported on this wyse sayd vnto them. Then follows the speech, which is probably, most of it, the invention of Sir Thomas More; for the example of Livy and Tacitus was followed by many of our old English historians.

...

206. Line 4: From my Redeemer to REDEEM me hence.Pope substituted recall for redeem, an alteration which Walker also rather favours, but which seems unnecessary.

207. Line 5: And NOW IN peace my soul shall part TO heaven.-So Qq.; Ff. read "more to peace." Q. 1, Q. 2 have "part from heaven;" other old copies have the reading in the text.

208. Line 7: Rivers and Hastings.-Ff. have "Dorset and Rivers." According to Sir Thomas More (see above, note 205) it should be "Dorset and Hastings." But as F. 1 gives the next speech to Rivers and the following one to Hastings, we must presume that the reading of Qq. is the right one.

209. Line 8: Dissemble not your hatred, swear your love. --This line is variously explained; the meaning seems pretty clear: "Do not cherish secret hatred in your hearts while you pretend to be reconciled; but solemnly and sincerely swear to be friends."

210. Line 18: Madam, yourself ARE not exempt IN THIS. -Ff. Q. 7, Q. 8 have "is not;" other old copies "are not." Qq. have" in this;" Ff. "from this."

211. Line 25: Dorset, embrace him;-Hastings, love lord Marquess.-The arrangement of this line is Rowe's, which Ff. divide into two lines; omitted altogether by Qq. 212. Line 28: And so swear I.-Qq. add my lord. 213. Line 30: WIFE'S allies.-Ff. Qq. both read wives.

214. Line 33: Upon your grace, but with all duteous love. -Qq. read very weakly: On you or yours. The reading of F. 1 wisely avoids the tautology.

215. Line 39: this do I beg of GOD.-Ff. read heaven,

probably on account of the act passed in the reign of James I. (See II. Henry VI. note 305.)

216. Line 40: When I am cold in ZEAL to you or yours. -So Qq.; Ff. have love.

217. Line 44: To make the PERFECT period of this peace. -So Qq.; Ff. read blessed.

218. Line 45:

And, in good time, here comes the noble duke. Enter GLOSTER, attended by RATCLIFF. Ff. have:

And in good time,

Heere comes Sir Richard Ratcliffe, and the Duke.
Enter Ratcliffe, and Gloster.

We give line 45 as in Qq., which have the stage-direction Enter Gloster. We have followed F. 1 in making Ratcliff accompany Gloster here, though he does not speak. We thoroughly agree with Spedding's observations on this passage [New Shak. Soc. Transactions, 1875 (pt. 2, p. 15)]: "Here the alteration in the stage-direction was no doubt intended. Sir Richard Ratcliffe is described by Sir T. More in his history as one whose service the Protector specially used in that counsel' [the murder of the Lords at Pomfret] and the execution of such lawless enterprises, as a man who had been long secret with him,' &c. He had an important part in the action of the play, though he scarcely speaks a dozen lines, all through. Shakspere probably thought it advisable to bring him and his relation to Richard into prominence, that when he appears presently in the exercise of his office the spectators might know who he was. Therefore, though he is a mute in this scene, he was to come in with Richard; and 'Ratcliffe,' or 'Sir Richard Ratcliffe,' was written in the margin, meaning it to be added to the stage-direction, Enter Glocester.' The printer or the transcriber (for we do not know in what shape the copy went to the press) mistook it for an insertion meant for the text, and thrust it into Buckingham's speech; where it disorders the metre and does not come in at all naturally."

219. Line 49: BROTHER, we have done deeds of charity. -So Qq.; Ff. have Gloster.

220. Line 51: wrong-incensed.-Not hyphened in Qq. or Ff.; but it evidently should be regarded as one word. 221. Line 52: A blessed labour, my most sovereign LIEGE. -So Qq.; Ff. read lord.

222. Lines 55, 56:

Hold me a foe;

If I UNWITTINGLY, or in my rage. These two lines are printed as one line in Qq. and Ff. The latter have unwillingly, an obvious misprint.

223. Line 58: BY any in this presence. -So Qq.; Ff. read "To any;" the To having probably slipped up, by mistake, from the line below.

224. Lines 66, 67:

Of you, Lord Rivers,-and, Lord Grey, of you, That all without desert have frown'd on me.

1 In Q.1 the stage-direction is Enter Glocest. In that edition, up to the end of act. iv. sc. 1, Richard is always called Glocester.

We have followed, in this passage, Q. 1. In F. 1 the passage stands thus, the last line having been apparently inserted by mistake:

Of you and you, Lord Riuers and of Dorset,

That all without desert haue frown'd on me:

Of you Lord Wooduill, and Lord Scales of you. Spedding defends the reading of F. 1, and would adhere to it on the ground that, as the line stands in Qq., Richard speaks of two persons Rivers and Grey as of all; whereas he ought to have said "both of you." But putting aside the fact that all is sometimes used for both (see II. Henry VI. note 120), surely it might be allowed to stand here as referring generally to the queen's kindred. But Spedding does not notice the fact that, virtually, Lord Rivers, Lord Woodville, and Lord Scales are the same person (see II. Henry VI. note 12). The stage-direction before this scene in F. 1 is:

Enter the King sicke, the Queene, Lord Marquesse Dorset, Riuers, Hastings, Catesby, Buckingham, Woodwill, but the last-named personage, Woodville, is not included in the Dramatis Personæ as given in our edition, or in any other. The fact of it is, probably, that Shakespeare-small blame to him-got confused as to the different members of the Woodville family. Mr. Daniel's explanation of the passage in his Introduction to Q. 1 is as follows: "This mistake in making Rivers three separate persons, was evidently corrected when the play was revised for the Q. version, the 'Woodville' line struck out altogether, and its form given to the first line as we find it in the Q.: Gray,' Dorset's younger brother, being substituted for 'Dorset' because he was, in history as in the play, associated in death with his uncle Rivers; for the same reason in fact which caused the substitution of "Vaughan' for 'Dorset' in I. 3. 333" [Shakespere-Quarto Facsimiles, No. 11 (p. xvi.)]. As Mr. Daniel points out in a foot-note, F. 1 always speaks of brothers, though only one brother, the above-mentioned Earl Rivers, is introduced. "In two places in the Q., I. iii. 67 and IV. iv. 380, brothers is corrected to brother, though in the other four places this correction has been overlooked” (Ut supra, foot-note).

225. Lines 69-72.-These four lines have been quoted by Milton in his Iconoclastes, where he begins by saying that "The poets, and some English, have been in this point so mindful of decorum, as to put never more pious words in the mouth of any person, than of a tyrant." From a dramatic point of view these four lines express, admirably, the iniquitous hypocrisy of the speaker; the first three being spoken with an affectation of radiant benevolence, which, like every other kind of sentiment, Richard, who was a born actor, could most perfectly assume; then a pause, the eyes cast down; and the last line spoken in the softest, but at the same time clearest tone.

226. Line 81: Who knows not he is dead! who knows he is? This line is printed as two lines in F. 1, and given by mistake to the king; Q. 1 rightly makes Rivers the speaker.

227. Lines 88, 89:

And that a winged Mercury did bear;

Some tardy cripple bore the countermand.

The proverbial expression here alluded to is found in Drayton's Mortimeriados, The Lamentable ciuill warres of Edward the Second and the Barrons, 1596:

Ill newes hath wings, and with the winde doth go;
Comfort's a Cripple, and comes euer slow,

-Part ii. stanza 48.

Steevens quotes the above lines, which Malone says are only to be found in the edition of 1619. The title Mortimeriados was dropped in the later editions, and the poem itself altered; but the above lines will be found in the editions of 1602 and 1605, at end of stanza 27 of Canto II.

228. Line 90: too LAG to see him buried.-This word is used adverbially in one other passage in Shakespeare, coupled with of, viz. in Lear, i. 2. 5, 6:

some twelve or fourteen moonshines Lag of a brother.

229. Line 92: Nearer in bloody thoughts, BUT not in blood. So Qq.; Ff. have and.

230. Line 94: Enter STANLEY.-Qq. have Enter DERBY; Ff. EARL OF DERBY. We have followed Theobald in substituting Stanley throughout. See note 105, above.

231. Line 96: I PRAY THEE, peace.-So Qq.; F. 1 has "I prithee."

232. Lines 99-101:

The FORFEIT, sovereign, of my servant's life; Who slew to-day a riotous gentleman Lately attendant on the Duke of Norfolk. We cannot find any historical foundation for this incident. Johnson explains forfeit here as " the remission of the forfeit" (Var. Ed. vol. v. p. 74). But perhaps it has the same sense as in The Merchant of Venice, iv. 1 37: To have the due and forfeit of my bond.

The life of the servant was forfeited, and it is that life which Stanley asks as a boon.

233. Lines 102 et seq.-This beautiful passage was evidently suggested to Shakespeare by a short passage in Sir Thomas More's history when, speaking of Clarence's death, he says: "whose death kyng Edwarde (al beit he commaunded it) when he wist it was done, pitiously be wailed and sorrowfully repented" (p. 8). This is slightly expanded by Holinshed (vol. iii. p. 346): “But sure it is. that although king Edward were consenting to his death; yet he much did both lament his infortunate chance, & repent his sudden execution: insomuch that when anie person sued to him for the pardon of malefactors condemned to death, he would accustomablie saie, & openlie speake: Oh infortunate brother, for whose life not one would make sute." Openlie and apparantlie meaning by such words that by the meanes of some of the nobilitie he was deceined and brought to confusion."

234. Line 103: And shall THAT tongue give pardon to a slave?-Qq., very weakly, read "the same tongue." 235. Line 107: BADE me be advis'd.—So Qq.; Ff. have bid.

236. Lines 111, 112:

Who told me, in the field at Tewksbury, When Oxford had me down, he rescu'd me.