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Enter Percy, wiM (he Bishop of Carlisle.
Percy. The grand conspirator, abbot of West*
With clog of conscience, and sour melancholy,
Baling. Carlisle, this is your doom:—
Enter Exton, with Attendants bearing a coffin.
Exton. Great king, within this coffin I present
Bding. Exton, I thank thee not; for thou hast
A deed of slander, with thy fatal hand,
Exton. From your own mouth, my lord, did I this deed.
Baling. They love not poison that do poison needj Nor do I thee; though I did wish him dead, I hate the murderer, love him murdered.
The guilt of conscience take thou for thy labour,
But neither my good word, nor princely favour:
With Cain go wander through the shade of night,
And never show thy head by day nor light.
Lords, I protest, my soul is full of woe,
That blood should sprinkle me, to make me grow:
Come, mourn with me for what I do lament,
And put on sullen black incontinent;
I'll make a voyage to the Holy land,
To wash this blood off from my guilty hand :—
March sadly after; grace my mournings here,
In weeping after this untimely bier. [Exeunt.
KING RICHARD II.
1 —inhabitable—] i. e. Not habitable.
8 —my scepter's awe—The reierence due to nojr sceptre.
3 This we prescribe, though no physician, Sfc.] 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.
"This observation of Mr. Pope's," says Mr. Edwards, "happens to be very unluckily placed here; "because the context, without the inserted rhimes, "will not connect at all. Read this passage as it "would stand corrected by this rule, and we shall "find, when the rhiming part of the dialogue is left "out, king Richard begins with dissuading them "from the duel, and, in the very next sentence, ap"points the time and place of their combat."
Mr. Edwards's censure is rather hasty; for in the note, to which it refers, it is allowed that some rhymes must be retained to make out the connection.
4 —no boot.] That is, no advantage, no we, in delay or refusal. Johnson.
4 7 he dovish motive—] Motive, for instrument.
Warburton. Rather that which fear puts in motion.
6 A caitiff recreant—] Caitiff originally signified a prisoner; next a slave, from the condition of prisoners; then a scoundrel, from the qualities of a slave.
'Hanri; lf/f Oi^eirj; aizroaivulai JaX1ov ^jjM.p. Jn this passage it partakes of all these significations.
7 Mowbray,] Mr. Edwards, in his MS. notes, observes, both from Matthew Paris and Holinshead, that the duke of Hereford, appellant, entered the lists first: and this indeed must have been the regular method of the combat; for the natural order of things requires, that the accuser or challenger should be at the place of appointment first. Steevens.
8 As gentle and a* jocund, as to jest,] Not so neither. We should read, to Just; ?'. e. to tilt or tournay, which was a kind of sport too. Wakbuhton.
The sense would perhaps have been better if the author had written what his commentator substitutes; but the rhyme, to which sense is too often enslaved, obliged Shakspeare to write jest, and obliges us to read it. Johnson.
9 And for vx think, <^-c.] These five verses are omitted in the other editions, and restored from the first of 1598. Popk.
10 To make our peace, Which so rous'd up
. 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,
i the dire aspect
Of civil wounds plough''d up with neighbour swords;
Which thus rouz'd up
—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