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The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [2515]

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is the discrepancy of the metaphor, the want of opposition between wicked and well-favoured. But he might have remembered what he says in his own preface concerning mixed modes. Shakespeare, whose mind was more intent upon notions than words, had in his thoughts the pulchritude of virtue, and the deformity of wickedness; and though he had mentioned wickedness, made the correlative answer to deformity.

III.i.7 (394,1) That things might change, or cease: tears his white hair] The first folio ends the speech at change, or cease, and begins again with Kent's question, But who is with him? The whole speech is forcible, but too long for the occasion, and properly retrenched.

III.i.18 (395,3) my note] My observation of your character.

III.i.29 (395,6) are but furnishings] Furnishings are what we now call colours, external pretences. (1773)

III.i.19 (395,8)

There is division,

Although as yet the face of it is cover'd

with mutual cunning, 'twixt Albany and Cornwall;

Who have (as who have not, whom their great stars

Throne and set high?) servants, who seem no less;

Which are to France the spies and speculations

Intelligent of our state. What hath been seen,

Either in snuffs and packings of the dukes;

Or the hard rein, which both of them have borne

Against the old kind king; or something deeper,

Whereof, perchance, these are but furnishings.

[But, true it is, from France there comes a power

Into this scatter'd kingdom; who already,

Wise in our negligence, have secret fee

In some of our best ports, and are at point

To shew their open banner.—Now to you:]]

The true state of this speech cannot from all these notes be discovered. As it now stands it is collected from two editions: the lines which I have distinguished by Italics are found in the folio, not in the quarto; the following lines inclosed in crotchets are in the quarto, not in the folio. So that if the speech be read with omissions of the Italics, it will stand according to the first edition; and if the Italics are read, and the lines that follow them omitted, it will then stand according to the second. The speech is now tedious, because it is formed by a coalition of both. The second edition is generally best, and was probably nearest to Shakespeare's last copy, but in this passage the first is preferable; for in the folio, the messenger is sent, he knows not why, he knows not whither. I suppose Shakespeare thought his plot opened rather too early, and made the alteration to veil the event from the audience; but trusting too much to himself, and full of a single purpose, he did not accommodate his new lines to the rest of the scene.—The learned critic's [Warburton] emendations are now to be examined. Scattered he has changed to scathed; for scattered, he says, gives the idea of an anarchy, which was not the case. It may be replied that scathed gives the idea of ruin, waste, and desolation, which was not the case. It is unworthy a lover of truth, in questions of great or little moment, to exaggerate or extenuate for mere convenience, or for vanity yet less than convenience. Scattered naturally means divided, unsettled, disunited.—Next is offered with great pomp a change of sea to seize; but in the first edition the word is fee, for hire, in the sense of having any one in fee, that is, at devotion for money. Fee is in the second quarto changed to see, from which one made sea and another seize.

III.ii.4 (398,1) thought-executing] Doing execution with rapidity equal to thought.

III.ii.19 (399,4) Here I stand, your slave] [W: brave] The meaning is plain enough, he was not their slave by right or compact, but by necessity and compulsion. Why should a passage be darkened for the sake of changing it? Besides, of brave in that sense I remember no example.

III.ii.24 (399,5) 'tis foul] Shameful; dishonourable.

III.ii.30 (399,6) So beggars marry many] i.e. A beggar marries a wife and lice.

III.ii.46 (400,1) Man's nature cannot carry/The affliction, nor the fear] So the folio: the later editions read, with the quarto, force for fear, less elegantly.

III.ii.56 (401,3)

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