NOTE XXV. IV. 5. 14-16. The Quartos have : 'Hora. Twere good she were spoken with, for shec may strew Dangerous coniectures in ill breeding mindes, Let her come in.' The Folios, 'Qu. 'Twere good she were spoken with, For she may strew dangerous coniectures In ill breeding minds. Let her come in.' Rowe followed the Folios; Pope, Theobald, Warburton and Capell, the Quartos. Hanmer continues the lines "Twere good...minds' to the Gentleman who had spoken the previous lines, and gives 'Let her come in &c.' to the Queen. Johnson follows Hanmer's distribution of the speeches, but substitutes 'Hor.' for 'Gent.' in lines 2 and 4; the arrangement proposed by Blackstone. Steevens (1773) assigned the speech "Twere good...spilt' (14-20) to Horatio, but restored it to the Queen in his next edition. Mr Grant White follows the Folios in giving the whole Speech to the Queen, but marks "Twere good... minds' as spoken aside, and 'Let...in' 'To Hor.' NOTE XXVI. IV. 5. 148. In the Quartos the passage is thus printed: 6 A noyse within. In the Folios: Enter Ophelia. Laer. Let her come in. How now, what noyse is that?' 'A noise within. Let her come in. Laer. How now? what noise is that?' Rowe followed the Folios, Pope the Quartos, reading 'Let...that?' as one line. Theobald first transferred the stage direction, Enter Ophelia, to follow the first line of Laertes's speech. NOTE XXVII. IV. 5. 163. Capell was the first to print these words as not forming part of the song. In the Folios they are printed like the former lines in italics. As there is no change of type in the Quartos, it is impossible to say on which side their authority is. There is a comma after 'teare' (or 'tear') in all the Quartos and Folios, except the sixth Quarto, which has a full stop. NOTE XXVIII. IV. 5. 166. Ophelia's speech, or song, is printed as three lines in the Quarto, thus: 'Oph. You must sing a downe a downe, And you call him a downe a. O how the wheele becomes it, It is the false Steward that stole his Maisters daughter.' It is printed as prose in the Folios; beginning, 'You must sing downe a-downe, &c.' There is no indication that any part was meant to be sung. Johnson first printed 'You must sing...call him a-down-a' in italics, as a snatch of song. Steevens (1778) put 'Down a down, as you call him a-down-a' in italics, a reading suggested by Capell's text, where 'Down' begins with a capital letter. The late Mr John Taylor, in a copy of the second Variorum edition (1813) now in the Library of Trinity College, Cambridge, has made the following note. "Ophelia gives the song without the Burthen first, and then she instructs them 'You must sing a-down a-down, and you (speaking to another) call him a-down-a."" NOTE XXIX. IV. 5. 195. In the Folios Ophelia's song is printed in Italics, and the words 'And...you' in Roman type, 'God buy ye' being in a separate line. In the second and third Quartos the whole is printed in Roman type, and ends thus: 'God a mercy on his soule, and of all Christians soules, God buy you.' We have indicated in the foot-note how the later Quartos differ from the earlier. NOTE XXX. IV. 7. 139. Pope in his second edition says that 'one edition has it, embaited or envenomed.' We have not been able to find this reading in any copy, but Theobald (Shakespeare Restored, p. 119) conjectured 'imbaited.' As this conjecture is not mentioned in his edition, we have here, as in other cases, recorded it as 'withdrawn.' NOTE XXXI. V. I. 57, 58. Mr Collier in his first edition conjectured that 'Yaughan' might be 'a mis-spelt stage direction to inform the player that he was to yawn at this point.' Mr Staunton says, "Whether by 'Yaughan' a man or place is meant, or whether the word is a corruption, we are not qualified to determine." Mr Grant White says, "I suspect that 'Yaughan' is a misprint for 'Tavern.' But some local allusion understood at the day may lurk under it." NOTE XXXII. V. 2. 205, 206. The reading in the text is taken partly from the Folios and partly from the Quartos, altering however the punctuation. The second Quarto, followed substantially by the rest, has as follows: 'The readines is all, since no man of ought he leaues, knowes what ist to leaue betimes, let be.' The first Folio, followed, except in spelling, by the rest, has: 'The readinesse is all, since no man ha's ought of what he leaues. What is't to leaue betimes?' The Quartos of 1676, 1683, 1695 and 1703 have: 'The readiness is all, since no man of ought he leaves knows what 'tis to leave betimes, let be.' Rowe, Pope and Theobald followed the Folios. Hanmer: 'The readiness is all. Since no man owes aught of what he leaves, what is't to leave betimes?' Warburton: 'The readiness is all. Since no man, of ought he leaves, knows, what is't to leave betimes? Let be.' Johnson: 'The readiness is all. Since no man knows aught of what he leaves, what is't to leave betimes?' Steevens (1773, 1778, 1785) and Rann adopt the reading of Johnson, adding the words 'Let be.' Warburton's reading was followed by Capell, Malone, Steevens (1793), the Editors of the three Variorum Shakespeares, 1803, 1813, 1821, Singer, Harness and Mr Collier. Caldecott first adopted the reading given in our text. Mr Grant White follows him. Becket would substitute 'has thought' for 'has aught.' Mr Keightley prints thus, marking the sentence as unfinished: 'The readiness is all. Since no man, of aught he leaves, knows what it is to leave betimes...... Let be.' NOTE XXXIII. V. 2. 290. Mr Staunton says, "The exclamation 'Ho!' meaning stop, should perhaps be addressed to the combatants, and not, as it is always printed, to those who are to raise the Queen." Hor. Friends to this ground. Mar. And leegemen to the Dane, O farewell honest souldier, who hath releeued you? 1. Barnardo hath my place, giue you good night. Mar. Holla, Barnardo. 2. Say, is Horatio there? Hor. A peece of him. 2. Welcome Horatio, welcome good Marcellus. Mar. What hath this thing appear'd againe to night. 2. I haue seene nothing. Mar. Horatio sayes tis but our fantasie, And wil not let beliefe take hold of him, Touching this dreaded sight twice seene by vs, That if againe this apparition come, 2. Sit downe I pray, and let vs once againe Assaile your eares that are so fortified, Hor. Wel,sit we downe,and let vs heare Bernardo speake of this. 2. Last night of al, when yonder starre that's westward from the pole, had made his course to Illumine that part of heauen. Where now it burnes, Enter Ghost. Mar. Breake off your talke, see where it comes againe. 2. In the same figure like the King that's dead, Mar. Thou art a scholler, speake to it Horatio. Hor. Most like, it horrors mee with feare and wonder. 2. It would be spoke to. Mar. Question it Horatio. Hor. What art thou that thus vsurps the state,in Which the Maiestie of buried Denmarke did sometimes [Sc. 1.] 30 35 40 Mar. It is offended. exit Ghost. 2. See, it stalkes away. 45 Hor. Stay, speake, speake, by heauen I charge thee speake. Mar. Tis gone and makes no answer. 2. How now Horatio,you tremble and looke pale, Is not this something more than fantasie? 50 What thinke you on't? Hor. Afore my God, I might not this beleeue, without Hor. As thou art to thy selfe, Such was the very armor he had on, When he the ambitious Norway combated. So frownd he once,when in an angry parle He smot the sleaded pollax on the yce, 55 60 Mar. Thus twice before, and iump at this dead hower, But in the thought and scope of my opinion, This bodes some strange eruption to the state. 65 Mar. Good,now sit downe, and tell me he that knowes Why this same strikt and most obseruant watch, So nightly toyles the subiect of the land, And why such dayly cost of brazen Cannon And forraine marte, for implements of warre, 70 Why such impresse of ship-writes, whose sore taske |