There is a remedy approv'd, set down 8 To cure the desperate languishings whereof Count. For Paris, was it? speak. This was your motive Hel. My lord, your son, made me to think of this; Had, from the conversation of my thoughts, If Count. you But think you, Helen, should tender your supposed aid, He would receive it? He and his physicians Are of a mind; he, that they cannot help him, Embowell'd of their doctrine, have left off Hel. . There's something in't', More than my father's skill, which was the greatest Of his profession, that his good receipt Shall, for my legacy, be sanctified By the luckiest stars in heaven: and, would your honour But give me leave to try success, I'd venture The well-lost life of mine on his grace's cure, By such a day, and hour. Count. Dost thou believe't? Hel. Ay, madam, knowingly. Count. Why, Helen, thou shalt have my leave, and love, Means, and attendants, and my loving greetings To those of mine in court. I'll stay at home, Be gone to-morrow; and be sure of this, What I can help thee to thou shalt not miss. [Exeunt. 8 To cure the desperate LANGUISHINGS] So the old editions. Malone and others read languishes. There's something IN'T,] The emendation of Sir Thomas Hanmer is, “There's something hints;" but the old copies read, "There's something in't," which is very intelligible, and therefore ought to be preserved. In "Twelfth Night," A. iv. sc. 3, the same expression occurs,-"There's something in't,”—and no alteration whatever is made in either case in the corr. fo. 1632. The same thing occurs later in this very play. ACT II. SCENE I. Paris. A Room in the KING'S Palace. Flourish. Enter KING, with young Lords taking leave for the King. Farewell, young lords: these warlike principles And is enough for both. 1 Lord. "Tis our hope, sir, After well-enter'd soldiers, to return And find your grace in health. King. No, no, it cannot be; and yet my heart That doth my life besiege. Farewell, young lords; 1 BERTRAM,] In the old stage-directions, Bertram is here called "Count Rosse," for Rossillion, as it is spelt in the folios. 2 and you, my LORDS, farewell.] Our reading is precisely that of the first and later folios, and no change seems required. The king is addressing himself to two separate bodies of young noblemen, who are about to take their departure, and he is supposed to have explained certain "warlike principles" to them before the scene opens. When the king afterwards says, "Share the advice betwixt you; if both gain all," &c. he means both the parties of nobility to whom he has been speaking. This interpretation enables us to retain "lords" in the plural in both instances, instead of making it singular, as recommended by Tyrwhitt, and adopted by some modern editors, Malone, however, excepted. 3 - he owes the malady] i.e. Owns; used constantly in this sense. let HIGHER Italy (Those 'bated, that inherit but the fall Of the last monarchy,) see, &c.] Upon this obscure passage, Coleridge has the following note: it ought to be observed that Hanmer was before him in the "guess" of bastards for "bated."-" It would be, I own, an audacious and unjustifiable change of the text; but yet, as a mere conjecture, I venture to suggest bastards for ''bated.' As it stands, I can make little or nothing of it. Why should the king except the then most illustrious states, which, as being republics, were the more truly inheritors of the Roman grandeur? With my conjecture the sense would be, 'let higher, or the more northern part of Italy, (unless higher be a corruption of hir'd, the metre seeming to demand a monosyllable,) those bastards that inherit only the infamy of their fathers, see,' &c. The following Not to woo honour, but to wed it: when The bravest questant shrinks, find what you seek, 2 Lord. Health, at your bidding, serve your majesty Our hearts receive your warnings. [The KING retires to a couch, attended. 1 Lord. O, my sweet lord, that you will stay behind us! Par. 'Tis not his fault, the spark. 2 Lord. O! 'tis brave wars. Par. Most admirable: I have seen those wars. Ber. I am commanded here, and kept a coil with; "Too young," and "the next year," and "'tis too early." Till honour be bought up, and no sword worn, But one to dance with. By heaven! I'll steal away. 1 Lord. There's honour in the theft. Par. Commit it, count. 2 Lord. I am your accessary; and so farewell. 2 Lord. Sweet monsieur Parolles ! Par. Noble heroes, my sword and your's are kin. Good sparks, and lustrous, a word, good metals:-you shall find in the regiment of the Spinii, one captain Spurio, with his cicatrice, an emblem of war, here on his sinister cheek: it was this very sword entrenched it: say to him, I live, and observe his reports for me. 2 Lord. We shall, noble captain. [Exeunt Lords. 'woo' and 'wed' are so far confirmative, as they indicate Shakespeare's manner of connexion by unmarked influences of association from some preceding metaphor. This it is which makes his style so peculiarly vital and organic. Likewise, those girls of Italy' strengthen the guess." Lit. Rem. ii. 120. We cannot agree with Coleridge, and his verbal emendations are seldom of much value: ""bated" or "abated," here means subdued or conquered. 5 But one to DANCE with.] In Shakespeare's time, as Malone remarks, it was usual for gentlemen to dance with swords on. - WITH his cicatrice,] The old copy reads, "his cicatrice with." Par. Mars dote on you for his novices!-What will you do? [Seeing him rise. Par.. Use a more spacious ceremony to the noble lords: you have restrained yourself within the list of too cold an adieu: be more expressive to them; for they wear themselves in the cap of the time. There do muster true gait; eat, speak, and move under the influence of the most received star; and though the devil lead the measure, such are to be followed. After them, and take a more dilated farewell. Ber. And I will do so. Par. Worthy fellows, and like to prove most sinewy sword[Exeunt BERTRAM and PAROLLES. men. Enter LAFEU. Laf. Pardon, my lord, [Kneeling.] for me and for my tidings. King. I'll see thee to stand up. Laf. Then here's a man stands, that has brought his pardon. I would, you had kneel'd, my lord, to ask me mercy, And that, at my bidding, you could so stand up. King. I would I had; so I had broke thy pate, And ask'd thee mercy for't. Laf. Goodfaith, across. But, my good lord, 'tis thus; Will you be cur'd of your infirmity'? King. No. Laf. O! will you eat no grapes, my royal fox? Yes, but you will, my noble grapes', an if 7 Stay; the king-] So the old copies; and to make the passage intelligible, modern editors have necessarily added, "Seeing him rise." Possibly with was accidentally omitted, and we ought to read, "Stay with the king.' 8 There do muster true gait ;] These words are struck out in the corr. fo. 1632, perhaps as not intelligible, or possibly not delivered by the performer of the part of Parolles. For the old text, might we not read "They do master true gait," referring to some fashionable mode of walking? I'll SEE thee to stand up.] "See" is the reading of all the old copies; but in Malone's Shakespeare by Boswell "see" is printed fee, without any notice of the change. In "The Merchant of Venice," A. iii. sc. 2, "fee me an officer " is misprinted "see me an officer," and blunders, occasioned by a confusion between the long s and ƒ, are frequent; but in this instance, why was the king to fee Lafeu to stand up: he had nothing to do but to tell him to rise, which he did by saying in effect, "I would rather see thee stand up than kneel." 1 Will you be cur'd of your infirmity?] The verse of this part of the scene is regulated as in the first folio, where it runs much more rythmically than as it was printed by Malone. 2 Yes, but you will, my noble grapes,] Alluding to the grapes, that is, intelligence of the possibility of cure which Lafeu had brought. The corr. fo. 1632 unnecessarily alters "my noble grapes" to "aye, noble grapes." My royal fox could reach them. I have seen To give great Charlemaine a pen in's hand, King. What her is this? Laf. Why, doctor she. My lord, there's one arriv'd, In this my light deliverance, I have spoke King. Laf. And not be all day neither. Nay, I'll fit you, [Exit LAFEU. King. Thus he his special nothing ever prologues. Re-enter LAFEU, with HELENA. Laf. Nay, come your ways. This haste hath wings, indeed. King. Laf. Nay, come your ways. This is his majesty, say your mind to him: A traitor you do look like; but such traitors His majesty seldom fears.-I am Cressid's uncle", 3 and make you dance CANARY] Canary was the name of a lively kind of dance. We have had it in "Love's Labour's Lost," A. iii. sc. 1. Is powerful to araise king Pepin,] The corr. fo. 1632 alters "araise" to the more modern word upraise. We are able to show when "araise" went out of use, for Drayton employed it in his Mortimeriados" when he first printed it in 1596, but altered it to raise, when he republished the poem, under the new title of "The Baron's Wars," in 1603. "Araise" had become obsolete before the old annotator made his alterations in his copy of the folio, 1632. 5 And write to her a love-line.] So the old editions; but the corrector of the folio, 1632, alters "And" to To: it is by no means necessary, but to adopt it would render Malone's conjecture, that something had been lost, less probable. 6 I am Cressid's uncle,] i. e. Pandarus. If Malone's opinion be correct, that |
