Part 35

[13] _as they_] _as if they_ Rowe.

[18] _haply_] Collier. _happily_ Ff.

[20] Sec. Gent.] Gent. 2. Ff (and throughout).

[28] Third Gent.] Gent. 3. Ff (and throughout).

[31] _Hermione's_] _Hermiones_ Ff. _Hermione_ Rowe.

[50] _which_] _who_ Rowe.

[51] _weather-bitten_] F1 F2. _weather-beaten_ F3 F4.

[53] _to do it_] _to draw it_ Hanmer. _to do it justice_ Singer conj. _to show it_ Collier (Collier MS.).

[57] _matter_] _matters_ F4.

[58] _with_] _of_ Capell conj.

[63] _Wrecked_] _Wrackt_ Ff.

[70] _locks_] _lock'd_ Hanmer.

[71] _losing_] _losing her_ Collier (Collier MS.).

[75] _caught_] _and caught_ Keightley conj.

[75, 76] _caught ... fish_] omitted by Hanmer (Warburton).

[77] _bravely_] _heavily_ Collier (Collier MS.).

[81] _marble there_] F3. _marble, there_ F1 F2. _marble there,_ F4.

[82] _swooned_] Pope. _swownded_ F1 F2. _swounded_ F3 F4.]

[99] _wink_] _winking_ S. Walker conj., reading lines 98-101 as four lines of verse, ending _benefit ... eye ... makes us ... along._

[101] Exeunt Gentlemen.] Capell. Exit. Ff. Exeunt. Rowe.

[102] _had I not_] _had not I_ Rowe (ed. 2).

[108] _extremity_] _and extremity_ Keightley conj.

[112] SCENE VI. Pope.

[114] _moe_] F1. _more_ F2 F3 F4.

[117] _this other_] _the other_ Hanmer.

[140] _an_] Hanmer. _and_ Ff.

[158] _masters_] F1. _master_ F2 F3 F4.

## SCENE III. _A chapel in_ PAULINA'S _house_.

_Enter_ LEONTES, POLIXENES, FLORIZEL, PERDITA, CAMILLO, PAULINA, Lords, _and_ Attendants.

_Leon._ O grave and good Paulina, the great comfort That I have had of thee!

_Paul._ What, sovereign sir, I did not well, I meant well. All my services You have paid home: but that you have vouchsafed With your crown'd brother and these your contracted 5 Heirs of your kingdoms, my poor house to visit, It is a surplus of your grace, which never My life may last to answer.

_Leon._ O Paulina, We honour you with trouble: but we came To see the statue of our queen: your gallery 10 Have we pass'd through, not without much content In many singularities; but we saw not That which my daughter came to look upon, The statue of her mother.

_Paul._ As she lived peerless, So her dead likeness, I do well believe, 15 Excels whatever yet you look'd upon Or hand of man hath done; therefore I keep it Lonely, apart. But here it is: prepare To see the life as lively mock'd as ever Still sleep mock'd death: behold, and say 'tis well. 20 [_Paulina draws a curtain, and discovers Hermione standing like a statue._ I like your silence, it the more shows off Your wonder: but yet speak; first, you, my liege. Comes it not something near?

_Leon._ Her natural posture! Chide me, dear stone, that I may say indeed Thou art Hermione; or rather, thou art she 25 In thy not chiding, for she was as tender As infancy and grace. But yet, Paulina, Hermione was not so much wrinkled, nothing So aged as this seems.

_Pol._ O, not by much.

_Paul._ So much the more our carver's excellence; 30 Which lets go by some sixteen years and makes her As she lived now.

_Leon._ As now she might have done, So much to my good comfort, as it is Now piercing to my soul. O, thus she stood, Even with such life of majesty, warm life, 35 As now it coldly stands, when first I woo'd her! I am ashamed: does not the stone rebuke me For being more stone than it? O royal piece There's magic in thy majesty, which has My evils conjured to remembrance, and 40 From thy admiring daughter took the spirits, Standing like stone with thee.

_Per._ And give me leave, And do not say 'tis superstition, that I kneel and then implore her blessing. Lady, Dear queen, that ended when I but began, 45 Give me that hand of yours to kiss.

_Paul._ O, patience! The statue is but newly fix'd, the colour's Not dry.

_Cam._ My lord, your sorrow was too sore laid on, Which sixteen winters cannot blow away, 50 So many summers dry: scarce any joy Did ever so long live; no sorrow But kill'd itself much sooner.

_Pol._ Dear my brother, Let him that was the cause of this have power To take off so much grief from you as he 55 Will piece up in himself.

_Paul._ Indeed, my lord, If I had thought the sight of my poor image Would thus have wrought you, for the stone is mine, I'ld not have show'd it.

_Leon._ Do not draw the curtain.

_Paul._ No longer shall you gaze on't, lest your fancy 60 May think anon it moves.

_Leon._ Let be, let be. Would I were dead, but that, methinks, already-- What was he that did make it? See, my lord, Would you not deem it breathed? and that those veins Did verily bear blood?

_Pol._ Masterly done: 65 The very life seems warm upon her lip.

_Leon._ The fixure of her eye has motion in't, As we are mock'd with art.

_Paul._ I'll draw the curtain: My lord's almost so far transported that He'll think anon it lives.

_Leon._ O sweet Paulina, 70 Make me to think so twenty years together! No settled senses of the world can match The pleasure of that madness. Let't alone.

_Paul._ I am sorry, sir, I have thus far stirr'd you: but I could afflict you farther.

_Leon._ Do, Paulina; 75 For this affliction has a taste as sweet As any cordial comfort. Still, methinks, There is an air comes from her: what fine chisel Could ever yet cut breath? Let no man mock me, For I will kiss her.

_Paul._ Good my lord, forbear: 80 The ruddiness upon her lip is wet; You'll mar it if you kiss it, stain your own With oily painting. Shall I draw the curtain?

_Leon._ No, not these twenty years.

_Per._ So long could I Stand by, a looker on.

_Paul._ Either forbear, 85 Quit presently the chapel, or resolve you For more amazement. If you can behold it, I'll make the statue move indeed, descend And take you by the hand: but then you'll think, Which I protest against I am assisted 90 By wicked powers.

_Leon._ What you can make her do, I am content to look on: what to speak, I am content to hear; for 'tis as easy To make her speak as move.

_Paul._ It is required You do awake your faith. Then all stand still; 95 On: those that think it is unlawful business I am about, let them depart.

_Leon._ Proceed: No foot shall stir.

_Paul._ Music, awake her; strike! [_Music._ 'Tis time; descend; be stone no more; approach; Strike all that look upon with marvel. Come, 100 I'll fill your grave up: stir, nay, come away, Bequeath to death your numbness, for from him Dear life redeems you. You perceive she stirs: [_Hermione comes down._ Start not; her actions shall be holy as You hear my spell is lawful: do not shun her 105 Until you see her die again; for then You kill her double. Nay, present your hand: When she was young you woo'd her; now in age Is she become the suitor?

_Leon._ O, she's warm! If this be magic, let it be an art 110 Lawful as eating.

_Pol._ She embraces him.

_Cam._ She hangs about his neck: If she pertain to life let her speak too.

_Pol._ Ay, and make't manifest where she has lived, Or how stolen from the dead.

_Paul._ That she is living, 115 Were it but told you, should be hooted at Like an old tale: but it appears she lives, Though yet she speak not. Mark a little while. Please you to interpose, fair madam: kneel And pray your mother's blessing. Turn, good lady; 120 Our Perdita is found.

_Her._ You gods, look down And from your sacred vials pour your graces Upon my daughter's head! Tell me, mine own, Where hast thou been preserved? where lived? how found Thy father's court? for thou shalt hear that I, 125 Knowing by Paulina that the oracle Gave hope thou wast in being, have preserved Myself to see the issue.

_Paul._ There's time enough for that; Lest they desire upon this push to trouble Your joys with like relation. Go together, 130 You precious winners all; your exultation Partake to every one. I, an old turtle, Will wing me to some wither'd bough and there My mate, that's never to be found again, Lament till I am lost.

_Leon._ O, peace, Paulina! 135 Thou shouldst a husband take by my consent, As I by thine a wife: this is a match, And made between's by vows. Thou hast found mine; But how, is to be question'd; for I saw her, As I thought, dead; and have in vain said many 140 A prayer upon her grave. I'll not seek far,-- For him, I partly know his mind,--to find thee An honourable husband. Come, Camillo, And take her by the hand, whose worth and honesty Is richly noted and here justified 145 By us, a pair of kings. Let's from this place. What! look upon my brother: both your pardons, That e'er I put between your holy looks My ill suspicion. This your son-in-law, And son unto the king, whom heavens directing, 150 Is troth-plight to your daughter. Good Paulina, Lead us from hence, where we may leisurely Each one demand, and answer to his part Perform'd in this wide gap of time, since first We were dissever'd: hastily lead away. [_Exeunt._ 155

LINENOTES:

## SCENE III.] SCENE VII. Pope.

A chapel ...] A Chapel in Paulina's House: at upper End a Nich; a Curtain before it. Capell.

Lords and Attendants.] Rowe. Hermione (like a Statue:) Lords, &c. Ff.

[16] _you_] _you've_ Anon. conj.

[18] _Lonely_] Hanmer. _Louely_ F1. _Lovely_ F2 F3 F4. See note (XXIII).

[20] [Paulina ...] Rowe.

[28] _much_] om. Seymour conj.

[41] _thy_] _my_ Theobald.

[44] _then_] _thus_ Collier (Collier MS.).

[47] _colour's_] _colours_ S. Walker conj.

[48] [Staying Perdita. Capell.

[52, 53] _sorrow But_] _sorrow but It_ S. Walker conj.

[58] _is mine,_] _i' th' mine_ Tyrwhitt conj.

[61] _moves_] _move_ Pope.

[62] _already--_] Rowe. _alreadie._ F1. _already._ F2 F3 F4. _already I am but dead stone, looking upon stone_ Collier (Collier MS.). _already I'm in heaven, amd looking on an angel_. Anon. apud Singer conj.

[67] _fixure_] _fixture_ F4. _fissure_ Warburton conj.

[68] _As_] _And_ Capell. _So_ Mason conj.

_are_] _were_ Rowe (ed. 2).

[73] _Let't_] _Let_ Johnson.

[74] _I am_] _I'm_ Pope.

[75] _farther_] F1 F2. _further_ F3 F4.

[80] _my_] _me_ F2.

[96] _On: those_] Ff. _And those_ Pope. _Or those_ Hanmer.

[98] [Music.] Rowe.

[100] _upon_] _on you_ Hanmer. _upon you_ Keightley conj. _upon't_ Anon. conj.

[103] [Hermione ...] Rowe.

[109] _suitor?_] Ff. _suitor._ Rowe (ed. 2).

[Embracing her. Rowe.

[112, 113] _She hangs... too_] Arranged by S. Walker as two lines, ending _pertain ... too._

[114] _make't_] Capell. _make it_ Ff. _make_ Hanmer.

[121] [Presenting Perdita, who kneels to Her. Rowe.

[122] _vials_] Pope. _viols_ Ff.

[129] _Lest_] F3 F4. _Least_ F1 F2.

[144] _by the_] om. Collier (Collier MS.).

[147] [To Her. Hanmer.

[149] _This_] _This'_ S. Walker conj.

[150] _whom heavens directing,_] _from heav'n's directing,_ Hanmer. _who, heavens directing,_ Capell. _(whom heavens directing,_) Malone.

[155] _We were_] F1 F2. _Were_ F3 F4.

NOTES.

NOTE I.

I. 2. 42. Warburton, who reads 'good heed' with the later Folios, says that Mr Theobald, not understanding the phrase, altered it to 'good deed.' In reality Theobald recalled the reading of the first Folio, which Warburton had not taken the trouble to collate.

NOTE II.

I. 2. 154. 'Methoughts' is of course a form grammatically inaccurate, suggested by the more familiar 'methinks.' It occurs, however, sufficiently often in the old editions to warrant us in supposing that it came from the author's pen. We therefore retain it.

NOTE III.

I. 2. 272. Mr Collier tells us that some copies of the second Folio read 'think it.' Ours has 'think.'

NOTE IV.

I. 2. 459. Johnson says: 'Dr Warburton's conjecture is, I think, just; but what shall be done with the following words of which I can make nothing? Perhaps the line, which connected them to the rest, is lost.' In fact we should have expected Polixenes to say that his flight without Hermione would be the best means not only of securing his own safety but of dispelling the suspicions Leontes entertained of his queen.

NOTE V.

II. 1. 136. The Folios spell 'than' and 'then' indifferently 'then.' In this passage Malone was inclined to restore 'then.'

NOTE VI.

II. 1. 143. If 'land-damn' be the right reading it has not yet received a satisfactory explanation. The word 'lamback' which in his first edition Mr Collier offered as a conjecture, he afterwards found in the corrected copy of the second Folio. But with the sense which he assigns to it 'to beat,' it seems an anticlimax after the threat contained in the line preceding. We omitted to record in our note that Dr Nicholson proposes to read 'Lent-damn.'

NOTE VII.

II. 3. 177. 'It,' as a possessive pronoun, is found again in this play (III. 2. 99). In the latter place Rowe was the first to make the correction 'its.' In _The Tempest_ (II. 1. 157), as here, the change is made by the third Folio. See our note on that passage. It is remarkable that the only comedies in which this ancient usage occurs, viz. _The Tempest_ and _The Winter's Tale_, are among the latest of our author's works. Perhaps the printer is responsible for the singularity.

Mr Staunton has mentioned the following instances in the Histories and Tragedies: _King John_, II. 1, _Timon of Athens_, V. 2, _King Lear_, I. 4, _Hamlet_, I. 2 and V. 1. 'It' occurs besides in _Henry V_., V. 2, _Cymbeline_, III. 4, _Romeo and Juliet_, I. 3, and _Antony and Cleopatra_, II. 7.

In _Hamlet_, I. 2, the first Quarto has _his_, the first Folio, published twenty years later, has _it_. In the same play, V. 1, one of the Quartos has _it's_. Professor Craik quotes also from the Quarto, _ith_ or _it_ in _King Lear_, IV. 2. But the two Quartos of 1608 in Capell's collection both read _it_. 'Its' is found in _The Tempest_, I. 2. 95, 393, _Measure for Measure_, I. 2. 4, _Winter's Tale_, I. 2. 151, 152, 157, 266, III. 3. 46, 2 _Henry VI._ III. 2, _Henry VIII._ I. 1. On the whole we think it most probable that Shakespeare would not deliberately have written _it_ for _its_, or _his_, except when imitating the language of rustics or children. It is only fair, however, to mention that Mr Staunton and Professor Craik are of a different opinion. After all it is not of very great consequence which form we preserve in the text, as we carefully record all the minutest variations at the foot of the page.

NOTE VIII.

III. 2. 10. The first Folio prints 'silence' in italics, like a stage-direction. The subsequent Folios have 'Silence. Enter,' also in italics. Rowe printed it, as we have done, as part of the officer's speech. Capell assigned it to a crier, and Mr Dyce, in support of this, quotes the commencement of Queen Catharine's trial, in _Henry the Eighth_, II. 4. But there is no reason why in this play the officer who has already spoken should not also command silence.

NOTE IX.

III. 2. 41. "It is surprising," says Mr Staunton, "that this passage should have passed without question, for grief must surely be an error. Hermione means that life to her is of as little estimation as the most trivial thing which she would part with; and she expresses the same sentiment shortly after in similar terms,--'no life,--I prize it not a straw.' Could she speak of grief as a trifle, of no moment or importance?"

Is not the meaning this, that Hermione now holds life and grief to be inseparable and would willingly be rid of both? Johnson's note is to this effect.

NOTE X.

III. 3. 59. If written in Arabic numerals 16 would be more likely to be mistaken for 10 than 13, which Capell suggested. Besides 'sixteen' seems to suit the context better than 'thirteen.' Another mistake of one number for another occurs IV. 2. 3, but this may have been an error on the author's part.

NOTE XI.

III. 3. 122. Capell's copy of the first Folio has distinctly 'fight.' A copy in the possession of the Rev. N. M. Ferrers, Fellow of Gonville and Caius College, has as distinctly 'sight.'

NOTE XII.

IV. 1. 1. Johnson followed Theobald and Warburton in printing Time's speech at the end of the third act, but said in his note: 'I believe this speech of Time rather begins the fourth act than concludes the third.' He had not referred, apparently, to the Folios or to Rowe and Pope. Theobald did not mean to include the speech in either act, but drew a line above it to mark that it was an interlude between the third and fourth. Warburton, and Johnson after him, omitted the line.

NOTE XIII.

IV. 3. 48. A writer in _The Gentleman's Magazine_, 1st series, Vol. LX. p. 306, suggests that by 'me--' in this place is meant 'mercy,' and that the clown's exclamation is interrupted by Autolycus.

NOTE XIV.

IV. 4. 82. We have retained here the spelling 'gillyvors' in preference to the more familiar form 'gillyflowers,' because the latter is due to an etymological error. The original word is 'caryophyllus,' which becomes 'girofle' in French, and thence by metathesis 'gilofre,' 'gillyvor.'

NOTE XV.

IV. 4. 263. We have retained _wives_ in this passage because Steevens' reading _wives'_ is too strictly grammatical to accord with the reckless volubility of the charlatan. To be consistent, Steevens ought to have printed _witnesses'_ for _witnesses_ in line 275.

NOTE XVI.

IV. 4. 288. The first three Folios read thus;

Song. _Get you hence for I must goe_ Aut. _Where it fits not you to know._

The fourth thus:

SONG.

_Get you hence for I must go,_ Aut. _Where fits not you to know._

Rowe first set it right.

NOTE XVII.

IV. 4. 328. We have adopted the spelling 'squier' here, as in _Love's Labour's Lost_, V. 2. 474, because the word in this sense is now obsolete, and because this spelling comes nearest to 'esquierre,' from which it is derived.

NOTE XVIII.

IV. 4. 417. We have followed Rowe in ejecting the first 'never' from the line, for these reasons. 1. The misprint is of a very common sort. The printer's eye caught the word at the end of the line. 2. The metre is improved by the change. The line was made doubly inharmonious by the repetition of 'never.' 3. The sense is improved. Polixenes would rather make light of his son's sighs than dwell so emphatically upon their cause.

NOTE XIX.

IV. 4. 504. We think Malone's stage direction 'going' was inserted under a mistaken view of Florizel's meaning. He apologises to Camillo for talking apart with Perdita in his presence. At the commencement of this whispered conversation he said to Camillo, 'I'll hear you by and by,' and at the close of it he turns again to him with 'Now, good Camillo;' &c.

NOTE XX.

IV. 4. 693. In the first Folio the reading is 'at 'Pallace,' the apostrophe, if it be not a misprint, pointing either to the omission of the article or its absorption in rapid pronunciation, as in IV. 4. 105, 'with' Sun.' Perhaps the Clown speaks of the King being 'at palace' as he would have spoken of an ordinary man being 'at home.'

NOTE XXI.

IV. 4. 715. The first Folio has 'at toaze,' which is apparently a corruption. The subsequent Folios read 'or toaze,' which in default of a more certain correction we have adopted. It is not improbable, however, that Autolycus may have coined a word to puzzle the clowns, which afterwards puzzled the printers.

NOTE XXII.

V. I. 60. Steevens distinctly claims as his own the emendation which is due to Capell, and credit has been given him for it by Malone and subsequent editors. In a similar manner he appropriates Capell's division of the speeches in line 75 as a conjecture of his own. Malone proposes to retain the reading of the Folios in lines 58-60, with a different punctuation, thus:

"Again possess her corpse, (and on the stage Where we offenders now appear soul-vex'd) And begin, 'why to me?'"

In the last words there is probably a corruption which cannot be removed by simple transposition.

NOTE XXIII.

V. 3. 18. Mr Halliwell says that 'Lonely' is the reading of the first Folio. Capell's copy has 'Lowely,' and the same is found in Mr Ferrers' copy.

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