Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 2

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pg 2033Critical ApparatusSc. 53.3[Scæna Tertia.]

Critical ApparatusAlarums, excursions, Retreat. Enter Iohn, Eleanor, Arthur, Bastard, Hubert, Lords.

Iohn. So shall it be: your Grace shall stay behinde

2So strongly guarded: Cosen, looke not sad,

3Thy Grandame loues thee, and thy Vnkle will

4As deere be to thee, as thy father was.


Arth. O this will make my mother die with griefe.


Iohn. Cosen away for England, haste before,

7And ere our comming see thou shake the bags

Critical Apparatus8Of hoording Abbots, [the fat ribs of peace

9Must by the hungry now be fed vpon:

10Imprisoned angells Set at libertie]:

11Vse our Commission in his vtmost force.


Bast. Bell, Booke, & Candle, shall not driue me back,

13When gold and siluer becks me to come on.

14I leaue your highnesse: Grandame, I will pray

15(If euer I remember to be holy)

16For your faire safety: so I kisse your hand.


Ele. Farewell gentle Cosen.

Iohn. Coz, farewell.


Ele. Come hether little kinsman, harke, a worde.


Iohn. Come hether Hubert. O my gentle Hubert,

20We owe thee much: within this wall of flesh

21There is a soule counts thee her Creditor,

22And with aduantage meanes to pay thy loue:

23And my good friend, thy voluntary oath

24Liues in this bosome, deerely cherished.

25Giue me thy hand, I had a thing to say,

26But I will fit it with some better tune.

27By heauen Hubert, I am almost asham'd

28To say what good respect I haue of thee.


Hub. I am much bounden to your Maiesty.


Iohn. Good friend, thou hast no cause to say so yet,

31But thou shalt haue: and creepe time nere so slow,

32Yet it shall come, for me to doe thee good.

33I had a thing to say, but let it goe:

34The Sunne is in the heauen, and the proud day,

35Attended with the pleasures of the world,

pg 203436Is all too wanton, and too full of gawdes

37To giue me audience: If the mid-night bell

38Did with his yron tongue, and brazen mouth

Critical Apparatus39Sound on into the drowzie [cace] of night:

40If this same were a Church-yard where we stand,

41And thou possessed with a thousand wrongs:

42Or if that surly spirit melancholy

43Had bak'd thy bloud, and made it heauy, thicke,

44Which else runnes tickling vp and downe the veines,

45Making that idiot laughter keepe mens eyes,

46And straine their cheekes to idle merriment,

47A passion hatefull to my purposes:

48Or if that thou couldst see me without eyes,

49Heare me without thine eares, and make reply

50Without a tongue, vsing conceit alone,

51Without eyes, eares, and harmefull sound of words:

Critical Apparatus52Then, in despight of [broadeid] watchfull day,

53I would into thy bosome poure my thoughts:

54But (ah) I will not, yet I loue thee well,

55And by my troth I thinke thou lou'st me well.


Hub. So well, that what you bid me vndertake,

57Though that my death were adiunct to my Act,

58By heauen I would doe it.

Iohn. Doe not I know thou wouldst?

59Good Hubert, Hubert, Hubert throw thine eye

60On yon young boy: Ile tell thee what my friend,

61He is a very serpent in my way,

62And wheresoere this foot of mine doth tread,

63He lies before me: dost thou vnderstand me?

64Thou art his keeper.

Hub. And Ile keepe him so,

65That he shall not offend your Maiesty.


Iohn. Death.

Hub. My Lord.

Iohn. A Graue.

Hub. He shall not liue.

Iohn. Enough.

67I could be merry now, Hubert, I loue thee.

68Well, Ile not say what I intend for thee:

69Remember: Madam, Fare you well,

70Ile send those powers o're to your Maiesty.

pg 2035 71

Ele. My blessing goe with thee.

Iohn. For England Cosen, goe.

72Hubert shall be your man, attend on you

73With al true duetie: On toward Callice, hoa.


Notes Settings


Critical Apparatus
3.3 Scæna Tertia. capell (SCENE III.); no break jaggard. jowett reasonably hypothesizes that the 'Exit' encouraged the person marking off scene divisions to think that the stage did not clear and no new act was required.
Critical Apparatus Arthur, allot; ~,^ jaggard. Punctuation omitted to justify the line.
Critical Apparatus
3.3.8–9 the fat … libertie jowett (Taylor); imprisoned angels| Set at libertie: the fat ribs of peace| Must by the hungry now be fed vpon: jaggard; their imprison'd angells| Set at libertie (the rest as jaggard) pope; their imprison'd angels| Set thou at liberty (the rest as jaggard) theobald; set at liberty| Imprisoned angels (the rest as jaggard) keightley (Walker). As Taylor observes, these lines in jaggard are metrically anomalous compared to the rest of the play. The voiced '-ed' in 'imprisoned' is unusual, and eliding it results in an omitted stressed syllable at the caesura. 3.3.8 begins with three reversed feet, also anomalous. These two deviations from the metrical conventions of the play raise the possibility of error. Taylor suspects that the half-lines 'imprisoned angels' and 'Set at libertie' together make a regular pentameter line, as do 'Of hoording Abbots' and 'the fat ribs of peace'. He proposes 'Imprisond angells set at libertie' was a line supposed to be inserted between 3.3.9 and 3.3.11, but was incorrectly incorporated into the text by a scribe or compositor.
Critical Apparatus
3.3.39 cace this edition (Jowett); race jaggard; ear dyce; face sisson. Some editors retain jaggard glossing 'race' as 'course' (Shakespeare does not elsewhere use the word this way, but compare Spenser, Faerie Queene I.v.44.395). Alternatively, braunmuller suggests the meaning 'offspring'. dyce, adopting Collier's conjecture, finds 'race' the compositor's misreading of a scribal 'eare'; beaurline adopts 'ear', finding the bodily image an appropriate metaphor. sisson's notion that the 'r' in jaggard is a broken 'f' does not appear to be the case. 'Case' (likely in the form of 'cace' in copy) makes sense in the passage, describing night as a covering, a sense frequent in Shakespeare (compare Lucrece 356–7: 'and mistie night| Couers the shame'). Shakespeare uses the spelling 'cace' in Lucrece 711, although the spelling there may be used to preserve a sight rhyme. 'Case' may also evoke a belfry (early uses refer to a clock-case or organ-case); therefore the word may refer both to the housing of a bell and a covering over the world.
Critical Apparatus
3.3.52 broadeid pope (broad-ey'd); brooded jaggard. The form in jaggard is unusual for Shakespeare, who does not elsewhere use 'brooded' or 'brood' as an adjective. Additionally, 'brooded', implying darkness, 'conflicts with the distinction between night and day in the rest of John's speech' (beaurline). A compositor may have erroneously substituted a familiar word for a somewhat unusual one.
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