Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 1

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Critical ApparatusEnter the King with his nobles.
Critical Apparatus1

King H. Can no man tell me of my vnthriftie sonne?

2Tis full three moneths since I did see him last,

3If any plague hang ouer vs tis he:

Critical Apparatus5I would to God my Lordes he might be found:

6Inquire at London, mongst the Tauernes there,

7For there (they say) he daylie doth frequent,

8With vnrestrained loose companions,

9Euen such (they say) as stand in narrow lanes,

Critical Apparatus10And beate our watch, and rob our passengers,

Critical Apparatus11Which he yong wanton and effeminate boy,

Critical Apparatus12Takes on the point of honour to support

13So dissolute a crew.

14

H. Percie My Lord, some two dayes since I saw the prince,

Critical Apparatus15And tould him of those triumphes helde at Oxford.

16

King. And what said the gallant?

Critical Apparatus17

Per. His answer was, he would vnto the stews,

Critical Apparatus18And from the commonst creature plucke a gloue,

19And weare it as a fauour, and with that,

20He would vnhorse the lustiest Challenger.

Critical Apparatus21

King H. As dissolute as desperat, yet through both,

Critical Apparatus22I see some sparkes of better hope, which elder yeares,

23May happily bring foorth. But who comes heere?

Critical ApparatusEnter Aumerle amazed.
pg 439 24

Aum. Where is the King?

Critical Apparatus25

King H. What meanes our cosen, that he stares and lookes so wildly.

26

Aum. God saue your grace, I doe beseech your Maiestie,

27To haue some conference with your grace alone.

28

King. Withdrawe your selues, and leaue vs here alone.

29What is the matter with our cosen nowe?

30

Aum. For euer may my knees growe to the earth,

Critical Apparatus31My tongue, cleaue to [the] rooffe within my mouth,

32Vnlesse a pardon ere I rise or speake.

33

King Intended, or committed, was this fault?

I2rCritical Apparatus34If on the first, how heynous [ere] it be

Link 35To win thy after loue, I pardon thee.

Critical Apparatus36

Aum. Then giue me leaue that [I] may turne the key,

Critical Apparatus37That no man enter till my tale be done.

Critical Apparatus38

King. Haue thy desire.

The Duke of Yorke knokes at the doore and crieth.Critical Apparatus
39

Yor. My leige beware, looke to thy selfe,

40Thou hast a Traitor in thy presence there.

41

King. Vilain Ile make thee safe.

42

Aum. Stay thy reuengefull hand, thou hast no cause to fear.

Critical Apparatus43

York. Open the dore, secure foole, hardie King,

44Shall I for loue speake treason to thy face,

Critical Apparatus45Open the dore, or I will breake it open.

Critical Apparatus46

King What is the matter vncle, speake,

47Recouer breath, tell vs, how neare is daunger,

48That wee may arme vs to encounter it?

Critical Apparatus49

Yor. Peruse this [writing] heere, and thou shalt know,

Critical Apparatus50The treason that my haste forbids me shew.

51

Aum. Remember as thou readst, thy promise past,

52I do repent me, reade not my name there,

53My hart is not confederate with my hand.

54

Yor. It was (vilaine) ere thy hand did set it downe.

55I tore it from the traitors bosome (King,)

56Feare, and not loue, begets his penitence:

Critical Apparatus57Forget to pittie him, [lest] pittie proue,

58A Serpent that will sting thee to the hart.

pg 440 59

King. O heynous, strong, and bould conspiracy;

60O loyall Father, of a treacherous Sonne,

61Thou sheere immaculate and siluer Fountaine,

62From whence this streame, through muddy passages,

Critical Apparatus63Hath held his current, and defild himselfe,

64Thy ouerflow of good, conuerts to bad:

65And thy aboundant goodnes, shall excuse,

66This deadly blot in thy digressing sonne.

67

Yor. So shall my vertue, be his vices baude,

68An he shall spend mine honour, with his shame,

69As thriftles sonnes, their scraping Fathers gold:

70Mine honour liues when his dishonour dies,

I2v Link 71Or my shamde life in his dishonour lies,

72Thou kilst me in his life giuing him breath,

Critical Apparatus73The traitor liues, the true man's put to death.

Critical Apparatus74

Du. What ho, my Liege, for Gods sake let me in.

Critical Apparatus75

King H. What shril [voicd] suppliant makes this eger crie?

Critical Apparatus76

Du. A woman, and thy aunt (great king) tis I,

77Speake with me, pitie me, open the doore,

78A beggar begs that neuer begd before.

79

King Our scene is altred from a serious thing,

80And now changde to the Beggar and the King:

81My dangerous cousin, let your mother in,

Critical Apparatus82I know she is come to pray for your foule sinne.

83

Yorke If thou do pardon whosoeuer pray,

84More sinnes for this forgiuenes prosper may:

Critical Apparatus85This festred ioynt cut off, the rest rest sound,

Critical Apparatus86This let alone wil all the rest confound.

87

Du. Oh king, beleeue not this hard-hearted man,

88Loue louing not it selfe, none other can.

89

Yorke Thou frantike woman, what dost thou make here?

90Shall thy old dugs once more a traitor reare?

91

Du. Sweete Yorke be patient, heare me gentle Liege.

92

King H. Rise vp good aunt.

Du. Not yet I thee beseech,

Critical Apparatus93For euer wil I walke vpon my knees,

94And neuer see day that the happy sees,

95Till thou giue ioy, vntil thou bid me ioy,

96By pardoning Rutland my transgressing boy.

97

Aum. Vnto my mothers prayers I bend my knee.

pg 441 98

Yorke Against them both my true ioynts bended be,

Critical Apparatus99Ill maist thou thriue if thou graunt any grace.

100

Du. Pleades he in earnest? looke vpon his face.

101His eies do drop no teares, his prayers are in iest,

Critical Apparatus102His words come from his [mouth], ours from our breast,

103He prayes but faintly, and would be denied,

104We pray with heart and soule, and all beside,

105His weary ioynts would gladly rise I know,

Critical Apparatus106Our knees [shall] kneele till to the ground they grow,

I3r Link 107His prayers are full of false hypocrisie,

108Ours of true zeale and deepe integritie,

109Our prayers do outpray his, then let them haue

Critical Apparatus110That mercy which true prayer ought to haue.

Critical Apparatus111

[King H.] Good aunt stand vp.

Du. Nay, do not say, stand vp;

Critical Apparatus112Say Pardon first, and afterwards, stand vp,

Critical Apparatus113And if I were thy nurse thy tong to teach,

114Pardon should be the first word of thy speach:

115I neuer longd to heare a word till now,

116Say pardon King, let pitie teach thee how,

117The word is short, but not so short as sweete,

118No word like pardon for Kings mouthes so meete.

Critical Apparatus119

Yorke Speake it in French, King say, Pardonne moy.

120

Du. Dost thou teach pardon pardon to destroy?

121Ah my sower husband, my hard-hearted Lord!

122That sets the word it selfe against the word:

123Speake pardon as tis currant in our land,

124The chopping French we do not vnderstand,

125Thine eie begins to speake, set thy tongue there:

Critical Apparatus126Or in thy piteous heart plant thou thine eare,

127That hearing how our plaints and prayers do pierce,

128Pitie may mooue thee pardon to rehearse.

129

King H. Good aunt stand vp.

Du. I do not sue to stand.

130Pardon is all the sute I haue in hand.

Critical Apparatus131

King I pardon him as God shall pardon me.

132

Du. Oh happy vantage of a kneeling knee,

133Yet am I sicke for feare, speake it againe,

pg 442134Twice saying pardon doth not pardon twaine,

Critical Apparatus135But makes one pardon strong.

King H. [With al my heart

136I pardon him].

Du. A god on earth thou art.

Critical Apparatus137

King H. But for our trusty brother in law and the Abbot,

138With all the rest of that consorted crew,

139Destruction strait shal dog them at the heeles,

140Good vncle, help to order seuerall powers,

I3v Link 141To Oxford, or where ere these traitors are,

142They shall not liue within this world I sweare,

143But I will haue them if I once know where.

Critical Apparatus144Vncle farewell, and cousin [so] adue,

145Your mother well hath prayed, and prooue you true.

Critical Apparatus146

Du. Come my olde sonne, I pray God make thee new.

Exeunt

Notes Settings

Notes

Critical Apparatus
5.3.0.1 Enter . . . nobles. 1simmes; Enter Bullingbrooke, Percie, and other Lords. jaggard. An instance where jaggard clarifies the entering parties.
Critical Apparatus
5.3.0.1 jaggard prints 'Enter Bullingbrooke, Percie, and other Lords.' for 'Enter … nobles.'
Critical Apparatus
5.3.1 tell me 1simmes; tell jaggard. jaggard removes the extra syllable from this line to smooth the meter, but it is not clear that the emendation is from annotation. The phrase 'tell of' only appears three times in Shakespeare, while the phrase 'tell me' occurs two other times in this play alone (notably, both examples are in lines spoken by King Richard).
Critical Apparatus
5.3.5 God 1simmes; heauen jaggard
Critical Apparatus
5.3.5 jaggard prints 'heauen' for 'God'
Critical Apparatus
5.3.10 beate . . . rob → rob . . . beate
Critical Apparatus
5.3.11 Which 1simmes, jaggard; while pope; Whilst capell. According to the OED, this is a relatively early usage of 'which' 'in vulgar use, without any antecedent, as a mere connective or introductory particle'. See also Abbott, 271.
Critical Apparatus
5.3.12–3 Takes . . . crew. jaggard; 1 line 1simmes: crew.|
Critical Apparatus
5.3.15 those 1simmes; these jaggard. Some editors prefer the specificity of jaggard, but jaggard does not require agency beyond the scope of a compositor.
Critical Apparatus
5.3.17 vnto 1simmes, jaggard; to 2wise
Critical Apparatus
5.3.18 commonst 1simmes, jaggard; commonest 2wise
Critical Apparatus
5.3.21–5 As . . . wildly 1simmes; both,| hope,| forth.| means| capell
Critical Apparatus
5.3.22 sparkes 1simmes, jaggard; sparkles 2wise
Critical Apparatus
5.3.22 yeares 1simmes; dayes jaggard. Annotation is the most likely explanation for the reading in jaggard. Most editors do not emend, preferring to keep the rhyme that jaggard disrupts. jowett defends jaggard on the grounds it repeatedly disrupts unintentional rhyme (see also 3.1.32, 3.3.90), and that this emendation is another example of an adjustment in time that occurs in several other emendations in jaggard (see also 1.1.157, 2.1.178, 5.5.58).
Critical Apparatus
5.3.22 jaggard prints 'dayes' for 'yeares'
Critical Apparatus
5.3.23.1 amazed 1simmes; not in jaggard
Critical Apparatus
5.3.25 What . . . wildly. 1simmes; 2 lines jaggard: stares|
Critical Apparatus
5.3.31 the dyce2 (Lettsom); my 1simmes, jaggard. This is a widely accepted example of shared error, where the compositor may have interpolated 'my' from either the beginning of the line or the end of it. The cumbersome change to the biblical line seems unnecessary and unlikely (see Psalms 137:6: 'If I doe not remember thee, let my tongue cleaue to the roofe of my mouth').
Critical Apparatus
5.3.34 ere 2wise; cre 1simmes
Critical Apparatus
5.3.36 I may 2wise, jaggard; May 1simmes
Critical Apparatus
5.3.37 be → me
Critical Apparatus
5.3.38 jaggard prints 'Yorke within.' for 'The . . . crieth.'
Critical Apparatus
5.3.38.1 The . . . crieth 1simmes; Yorke within. jaggard. jaggard clarifies the staging process (Aumerle has barred the door to make sure that he has a private audience with King Henry) jaggard also shortens the stage direction.
Critical Apparatus
5.3.43 foole, hardie = foolhardy. Here, as elsewhere, a comma is used where a hyphen would be today (see 1.3.43, 2.2.57 5.5.94).
Critical Apparatus
5.3.45 open. 1simmes; ~.| Enter Yorke. jaggard. jaggard provides another midscene entrance.
Critical Apparatus
5.3.45 jaggard adds 'Enter Yorke.' on a new line after 'open.'
Critical Apparatus
5.3.46–7 What . . . daunger, johnson; breath,| 1simmes
Critical Apparatus
5.3.49 writing 2wise; writtng 1simmes
Critical Apparatus
5.3.50 treason → reason
Critical Apparatus
5.3.57 lest jowett (Craven); lest thy 1simmes, jaggard. The emendation improves the rhythm immensely, and Craven's evidence about Simmes's compositor supports this finding as he tended to interpolate pronouns, and the word 'thy' appears eleven times on this sheet alone. jowett suggests that the compositor may have interpolated 'thee' from the next line.
Critical Apparatus
5.3.63 held 1simmes; hald 3wise; had jaggard. Another example of compounded error.
Critical Apparatus
5.3.73 death. 1simmes; ~.| Dutchesse within. jaggard. Another added stage direction clarifying the action in jaggard.
Critical Apparatus
5.3.73 jaggard prints 'Dutchesse within.' for 'Du.'
Critical Apparatus
5.3.74 Gods 1simmes; heauens jaggard
Critical Apparatus
5.3.74 jaggard prints 'heauens' for 'Gods'
Critical Apparatus
5.3.75 voicd 3wise, jaggard; voice 1simmes. An obvious error in 1simmes, probably the result of misreading, since terminal 'd' and 'e' can look similar.
Critical Apparatus
5.3.76 thy → thine
Critical Apparatus
5.3.82 she is 1simmes; she's jaggard. 1simmes yields irregular meter unless the two words are elided.
Critical Apparatus
5.3.85 rest rest → rest rests
Critical Apparatus
5.3.86 confound. 1simmes; ~.| Enter Dutchesse. jaggard. The Duchess may enter as early as the end of Yorke's previous speech. See related Performance Note.
Critical Apparatus
5.3.86 jaggard prints 'Enter Dutchesse.' on its own line after 'confound.'
Critical Apparatus
5.3.93 walke 1simmes; kneele jaggard. Editors have found both 1simmes and jaggard attractive. 1simmes refers to the penitential practice of walking on one's knees and has a parallel in Coriolanus: 'fall downe, and knee| The way into his mercy' (5.1.5–6). wilson suggests a parallel between jaggard and the line where More tells rebels 'and your unreuerent knees | make them your feet' (Sir Thomas More, IIc.112-3).
Critical Apparatus
5.3.93 jaggard prints 'kneele' for 'walke'
Critical Apparatus
5.3.99 Ill . . . grace. 1simmes; not in jaggard. As the line in 1simmes provides the first half of a rhymed couplet in a scene filled with rhymed couplets, it seems unusual that jaggard would purposely omit the line.
Critical Apparatus
5.3.102 come 1simmes, jaggard; do come 2wise
Critical Apparatus
5.3.102 mouth 2wise, jaggard; month 1simmes. A turned letter.
Critical Apparatus
5.3.106 shall jaggard; still 1simmes. jowett makes the plausible claim that 'still' could be contamination from 'till' two words later in the line. The reading in jaggard improves the meaning of the line.
Critical Apparatus
5.3.110 haue 1simmes, jaggard; crave walker conj. walker suggests this emendation on the basis that it seems unusual to rhyme the same two words in the final couplet. However, repetition may be part of the intended rhetorical effect of the scene (see 5.3.109–10, and Merchant of Venice 5.1.192–6, 5.1.198–201).
Critical Apparatus
5.3.110 prayer → prayers
Critical Apparatus
5.3.111 King H. 2wise, jaggard; Yorke 1simmes. 2wise corrects an obvious error. In the Huntington–Devonshire copy of 1simmes, 'Yorke' is crossed out and 'King' is written in the margin.
Critical Apparatus
5.3.112 Say 1simmes; But jaggard. Early editors and black accept jaggard, but most modern editors accept 1simmes. As it is far from clear that 1simmes is incorrect, its reading is followed here.
Critical Apparatus
5.3.113 And = An
Critical Apparatus
5.3.119 Pardonne moy = Pardonnez-moi (as in jowett). The 'vous' form is preferable here.
Critical Apparatus
5.3.126 thy 1simmes(b), jaggard; this 1simmes(a)
Critical Apparatus
5.3.126 One extant copy prints 'this' for 'thy'
Critical Apparatus
5.3.131 God 1simmes; heauen jaggard
Critical Apparatus
5.3.131 jaggard prints 'heauen' for 'God'
Critical Apparatus
5.3.135–6 With all my heart I pardon him pope; I pardon him| With all my heart 1simmes, jaggard (subs.). pope's emendation arranges the lines into a rhymed couplet. The 1simmes and jaggard reading was most likely the result of an error of transposition, in which the compositor replaced an uncommon word order with a common. The compositor may have even believed he was retaining the couplet, as the lineation error in 1simmes puts 'heart' and 'art' at the end of their respective lines.
Critical Apparatus
5.3.137 andnot in
Critical Apparatus
5.3.144 cousin so jowett (Craven); cousin 1simmes, jaggard; Cosin too 6norton. It seems unusual to have a line of irregular meter in the final three rhymed lines of the scene. While jowett's formulation is not common in Shakespeare, the line clearly needs emendation, and Craven's conjecture is supported by his claim that dropping 'so' here would be an error in keeping with compositor's known habits.
Critical Apparatus
5.3.146 God 1simmes; heauen jaggard
Critical Apparatus
5.3.146 jaggard prints 'heauen' for 'God'
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