Act V. Scene 1.—How much more forcible are Shakespeare's lines—
"See where he lies inhersed in the arms
Of the most bloody nurser of his harms,"
than the MS. substitution—
"Of the still bleeding nurser of his harms."
Scene 4.—Four competing readings of the following lines present themselves for adjudication—
"Ay, beauty's princely majesty is such,
Confounds the tongue, and makes the senses rough."
This is the text of the earlier editions, and it evidently requires amendment. Sir T. Hanmer reads—
"Ay, beauty's princely majesty is such,
Confounds the tongue, and makes the senses crouch."
Our MS. corrector proposes—
"Ay, beauty's princely majesty is such,
Confounds the tongue, and mocks the sense of touch."
Mr Singer, who also, it seems, has a folio with MS. corrections, gives us, as a gleaning from its margins,
"Ay, beauty's princely majesty is such,
Confounds the tongue, and wakes the sense's touch,"
It may assist us in coming to a decision, if we view this sentiment through the medium of prose. First, according to Sir T. Hanmer, the presence of beauty is so commanding that it confounds the tongue, and overawes the senses. Secondly, "The princely majesty of beauty," says Mr Collier, expounding his protégé's version, "confounds the power of speech, and mocks all who would attempt to touch it. Thirdly, "Beauty," says Mr Singer, taking up the cause of his MS. corrector," although it confounds the tongue, awakes desire. This must have been the meaning of the poet." How peremptory a man becomes in behalf of MS. readings of which he happens to be the sole depositary. We confess that we prefer Sir T. Hanmer's to either of the other emendations, as the most intelligible and dignified of the three.
The Second Part of King Henry VI—Act I. Scene 3. (Enter three or four petitioners.)
"First Petitioner.—My masters, let us stand close, my Lord Protector will come this way by and by, and then we may deliver our supplications in the quill."
"In the quill"—what does that mean? Nobody can tell us. The margins furnish "in sequel." Mr Singer advances, "in the quoil, or coil"—"that is," says he, "in the bustle or tumult which would arise at the time the Protector passed." And this we prefer.
Act II. Scene 3.—Anything viler than the following italicised interpolation, or more out of keeping with the character of the speaker and the dignity of the scene, it is impossible to conceive. Queen Mary says to the Duke of Glo'ster—
"Give up your staff, sir, and the King his realm.
Glo'ster. My staff?—here, noble Henry, is my staff!
To think I fain would keep it makes me laugh;
As willingly I do the same resign
As e'er thy father, Henry, made it mine."
Yet Mr Collier has the hardihood to place this abominable forgery in the front of his battle, by introducing it into his preface, where he says, "Ought we not to welcome it with thanks as a fortunate recovery and a valuable restoration?" No, indeed, we ought to send it to the right about instanter, and order the apartment to be fumigated from which it had been expelled.
Act III. Scene 2.—The MS. corrector seems to be right in his amendment of these lines. Suffolk says to the Queen,
"Live thou to joy in life,
Myself to joy in nought but that thou liv'st."
The ordinary reading is "no" for "to." This ought to go into the text; and the same honour ought to be extended to "rebel" for "rabble" in Clifford's speech, Act IV. Scene 8.
The Third Part of King Henry VI.—In this play two creditable marginal emendations come before us, one of which it might be safe to admit into the text. The safe emendation is ev'n, in the lines where the father is lamenting over his slain son, (Act II. Scene 5)—
"And so obsequious will thy father be,
Ev'n for the loss of thee, having no more,
As Priam was for all his valiant sons."
