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(If ever I remember to be holy,)
For your fair safety; so I kiss your hand.

Eli. Farewell, my gentle cousin.
K. John.

Coz, farewell.

[Exit Bastard. Eli. Come hither, little kinsman; hark, a word.

[She takes Arthur aside. K. John. Come hither, Hubert. O my gentle

Hubert,
We owe thee much; within this wall of flesh
There is a soul, counts thee her creditor,
And with advantage means to pay thy love:
And, my good friend, thy voluntary oath
Lives in this bosom, dearly cherished.
Give me thy hand. I had a thing to say,
But I will fit it with some better time.+
By heaven, Hubert, I am almost alham'd .
To say what good respect I have of thee.
Hub. I am much bounden to your majesty.
K. John. Good friend, thou hast no cause to say

so yet :
But thou shalt have; and creep time ne'er so

Now,
Yet it shall come, for me to do thee good.
I had a thing to say,—But let it go :
The sun is in the heaven; and the proud day,
Attended with the pleasures of the world,

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4- with some better time.] The old copy reads--tune. Cor. rected by Mr. Pope. The fame mistake has happened in Twelfth Night. See that play, Vol. IV. p. 63, n. 8. In Macbeth, A& IV. fc. ult. we have " This time goes manly," instead of " This tune goes manly.” MALONE.

In the handwriting of Shakspeare's age, the words time and tuns are scarcely to be distinguished from each other, STERVENS.

Is all too wanton, and too full of gawds,
To give me audience:-If the midnight bell
Did, with his iron tongue and brazen mouth,
Sound one unto the drowsy race of night;

s- full of gawds,] Gawds are any fhowy ornaments. So, in The Dumb Knight, 1633:

“ To caper in his grave, and with vain gawds

“ Trick up his coffin.” See Midsummer Night's Dream, Vol. V. p. 7. n. 8. Steevens.

6 Sound one unto the drowsy race of night;] Old copy-Sound on — STEEVENS.

We should read-Sound one, WARBURTON.

I should suppose the meaning of found on, to be this: If the midnight bell, by repeated strokes, was to hasten away the race of beings who are busy at that bour, or quicken night itself in its progress; the morning bell (that is, the bell that itrikes one) could not, with strict propriety, be made the agent; for the bell has ceased to be in the service of night, when it proclaims the arrival of day. Sound on may also have a peculiar propriety, because by the repetition of the strokes at twelve, it gives a much more forcible warning than when it only strikes one.

Such was once my opinion concerning the old reading; but on re-consideration, its propriety cannot appear more doubtful to any one than to myself.

It is too late to talk of hastening the night when the arrival of the morning is announced; and I am afraid that the repeated ftrokes have less of solemnity than the single notice, as they take from the horror and awful silence here described as so propitious to the dreadful purposes of the king. Though the hour of one be not the natural midnight, it is yet the most folemn moment of the poetical one; and Shakspeare himself has chosen to introduce his Ghost in Hamlet:

“ The bell then beating one." STEEVENS. The word one is here, as in many other passages in these plays, written on in the old copy. Mr. Theobald made the correction. He likewise substituted unto for into, the reading of the original copy; a change that requires no support. In Chaucer and other old writers one is usually written on. See Mr. Tyrwhite's Glossary to The Canterbury Tales. So once was anciently written ons. And it should seem from a quibbling passage in The Two Gentlemen of Verona, that one, in some counties at least, was pronounced in our author's time as if written 011. Hence the transcriber's ear might easily have deceived him. One of the persons whom I employed

If this same were a churchyard where we stand, And thou possessed with a thousand wrongs;

to read aloud to me each sheet of the present work [Mr. Malone's edition of our author] before it was printed off, constantly founded the word one in this manner. He was a native of Herefordshire.

The instances that are found in the original editions of our author's plays, in which on is printed instead of one, are so numerous, that there cannot, in my apprehension, be the smallest doubt that one is the true reading in the line before us. Thus, in Coriolanus, cdit. 1623, P. 15:.

« - This double worship,
“ Where on part does disdain with cause, the other

• Insult without all reason.” Again, in Cymbeline, 1623, p. 380:

perchance he spoke not; but,

“ Like a full-acorn'd boar, a Jarmen on,&c. Again, in Romeo and Juliet, 1623, p. 66:

" And thou, and Romeo, press on heavie bier.” Again, in The Comedy of Errors, 1623, p. 94:

« On, whose hard heart is button'd up with steel.” Again, in All's well that ends well, 1623, p. 240: “A good traveller is something at the latter end of a dinner,—but on that lies three thirds,' &c. Again, in Love's Labour's Loft, quarto, 1598:

"On, whom the musick of his own vain tongue-." Again, ibid. ediț. 1623, p. 133:

« On, her hairs were gold, crystal the other's eyes." The same spelling is found in many other books. So, in Holland's Suetonius, 1606, p. 14: “— he caught from on of them a trumpet," &c.

I should not have produced so many passages to prove a fact of which no one can be ignorant, who has the sightest knowledge of the early editions of these plays, or of our old writers, had not the author of Remarks, &c. on the last Edition of Shakspeare, asserted, with that modesty and accuracy by which his pamphlet is diftinguished, that the observation contained in the former part of this note was made by one totally unacquainted with the old copies, and that “ it would be difficult to find a single instance" in which on and one are confounded in those copies.

I suspect that we have too haftily in this line substituted unto for into; for into seems to have been frequently used for unta in Shakspeare's time. So, in Harsnet's Declaration, &c. 1603 : “ --when the nimble Vice would skip up nimbly-into the devil's neck,"

Or if that surly spirit, melancholy,
Had bak'd thy blood, and made it heavy, thick;
(Which, else, runs tickling up and down the veins,
Making that idiot, laughter, keep men's eyes,
And strain their cheeks to idle merriment,
A passion hateful to my purposes ;)
Or if that thou could'st see me without eyes,
Hear me without thine ears, and make reply
Without a tongue, using conceit alone,
Without eyes, ears, and harmful sound of words;
Then, in despite of brooded 8 watchful day,

Again, in Daniel's Civil Wars, B. IV. folio, 1602 :

« She doth conspire to have him made away,
“ Thrust thereinto not only with her pride,

“ But by her father's counsel and consent." Again, in our poet's King Henry V :

" Which to reduce into our former favour-". Again, in his Will :-" I commend my soul into the hands of God, my creator.” Again, in King Henry VIII:

Yes, that goodness Of gleaning all the land's wealth into one." i. e. into one man. Here we should now certainly write unto one."

Independently indeed of what has been now stated, into ought to be restored. So, Marlowe in his King Edward II. 1598:

“ I'll thunder such a peal into his eares,&c. MALONE. Shakspeare may be restored into obscurity. I retain Mr. Theobald's correction; for though “ thundering a peal into a man's cars" is good English, I do not perceive that such an expression as “ sounding one into a drowsy race,” is countenanced by any example hitherto produced. Steevens.

7 using conceit alone,] Conceit here, as in many other places, signifies conception, thought. So, in K. Richard III:

“There's some conceit or other likes him well,
“ When that he bids good-morrow with such fpirit.”

MALONE. 8- brooded - So the old copy. Mr. Pope reads-broadey'd, which alteration, however elegant, may be unnecessary. All animals while brooded, i. e. with a brood of young ones under their protection, are remarkably vigilant. The King says of Hamlet :

- something's in his soul
“ O'er which his melancholy sits at brood.

I would into thy bosom pour my thoughts :
But ah, I will not :-Yet I love thee well ;
And, by my troth, I think, thou lov’ft me well.

HUB. So well, that what you bid me undertake,
Though that my death were adjunct to my act,
By heaven, I'd do't.

K. John. Do not I know, thou would'st?
Good Hubert, Hubert, Hubert, throw thine eye
On yon young boy: I'll tell thee what, my friend,
He is a very serpent in my way;
And, wherefoe'er this foot of mine doth tread,
He lies before me: Dost thou understand me?
Thou art his keeper.
Hub.

And I'll keep him so,
That he shall not offend your majesty.
K. John. Death.

My lord ?
K. John.

A grave. Hub.

He shall not live. K. John.

Enough. I could be merry now: Hubert, I love thee; Well, I'll not say what I intend for thee: Remember.”— Madam, fare you well: I'll send those powers o'er to your majesty.

HUB.

Milton also, in L'Allegro, desires Melancholy to

“ Find out some uncouth cell

“ Where brooding darkness spreads his jealous wings :" plainly alluding to the watchfulness of fowls while they are fitting.

STEEVENS. Brooded, I apprehend, is here used, with our author's usual li. cence, for brooding; i. e. day, who is as vigilant, as ready with open eye to mark what is done in his presence, as an animal at brood. MALONE.

9 Remember.] This is one of the scenes to which may be

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