Hi jij i hi )i |jj| i \i\\\\m P 1 I' Hi 1 illil I!) ill 111181! HH 11 -PttMW ill ill 1 9 fell p 1 i In !■ ■•■■■■->'' ; ■:• iiiii^ii-i! -1: !'!':! 1 ; |i| 1 i| i Class i_l Book_/. Copyright N° COPYRIGHT DEPOSIT. THE Tragedie of King Ri- chard the fe. cond. %As it hath heene publicly dRd by the right Honourable the~> horde ChamberUine his Ser* Hants* LONDON Printed by Valentine Simmes for Androw Wife, and 3rcto be fold at his fhop inPauks church yardat thefigneofthe Angel. 159 7* Facsimile of Title-Page, First Quarto $>■ Entered at Stationers' Hall Copyright, igi6 By GINN AND COMPANY ALL RIGHTS RESERVED 2l6.S 3Tfte gtbenagum jgregg GINN AND COMPANY • PRO- PRIETORS • BOSTON • U.S.A. CI.A431432 I*© / . PREFACE The text of this edition of King Richard the Second is based upon a collation of the First Quarto (1597), the seven- teenth century Folios, the Globe edition, the Cambridge (W. A. Wright) edition of 1891, and that of Delius (1882). As compared with the text of the earlier editions of Hudson's Shakespeare, it is conservative. Exclusive of changes in spelling, punctuation, and stage directions, very few emenda- tions by eighteenth century and nineteenth century editors have been adopted ; and these, with the more important varia- tions from the First Folio, are indicated in the textual notes. These notes are printed immediately below the text, so that a reader or student may see at a glance the evidence in the case of a disputed reading, and have some definite under- standing of the reasons for those differences in the text of Shakespeare which frequently surprise and very often annoy. Such an arrangement should be of special help in the case of a play universally read and very often acted, as actors and interpreters seldom agree in adhering to one text. A con- sideration of the more poetical, or the more dramatically effective, of two variant readings will often lead to rich re- sults in awakening a spirit of discriminating interpretation and in developing true creative criticism. In no sense is this a textual variorum edition. The variants given are only those of importance and high authority. vi THE NEW HUDSON SHAKESPEARE The spelling and the punctuation of the text are modern, except in the case of verb terminations in -ed, which, when the e is silent, are printed with the apostrophe in its place. This is the general usage in the First Folio. The important contractions in the First Folio which may indicate Elizabethan pronunciation ('i' th" for 'in the,' ' pamp'red' for 'pamper'd,' for example) are also followed. Modern spelling has to a cer- tain extent been adopted in the text variants, but the original spelling has been retained wherever its peculiarities have been the basis for important textual criticism and emendation. With the exception of the position of the textual variants, the plan of this edition is similar to that of the old Hudson Shakespeare. It is impossible to specify the various instances of revision and rearrangement in the matter of the Introduc- tion and the interpretative notes, but the endeavor has been to retain all that gave the old edition its unique place and to add the results of what seems vital and permanent in later inquiry and research. In this edition, as in the volumes of the series already published, the chapters entitled Sources, Date of Composition, Early Editions, Versification and Dic- tion, Duration of Time, Dramatic Construction and Develop- ment with Analysis by Act and Scene, Historical Connections, and Stage History are wholly new. In this edition, too, is introduced a chronological chart, covering the important events of Shakespeare's life as man and as author and indi- cating in parallel columns his relation to contemporary writers and events. As a guide to reading clubs and literary societies, there has been appended to the Introduction a table of the distribution of characters in the play, giving the acts and scenes in which each character appears and the number of lines spoken by each. The index of words and phrases PREFACE vii has been so arranged as to serve both as a glossary and as a guide to the more important grammatical differences between Elizabethan and modern English. While it is important that the principle of suum cuique be attended to so far as is possible in matters of research and scholarship, it is becoming more and more difficult to give every man his own in Shakespearian annotation. The amount of material accumulated is so great that the identity-origin of much important comment and suggestion is either wholly lost or so crushed out of shape as to be beyond recognition. Instructive significance perhaps attaches to this in editing the works of one who quietly made so much of materials gath- ered by others. But the list of authorities given on page xlvii will indicate the chief source of much that has gone to enrich the value of this edition. Especial acknowledgment is here made of the obligations to Dr. William Aldis Wright and Dr. Horace Howard Furness, whose work in the collation of Quartos, Folios, and the more important English and Amer- ican editions of Shakespeare has been of so great value to all subsequent editors and investigators. With regard to the general plan of this revision of Hud- son's Shakespeare, Professor W. P. Trent, of Columbia Uni- versity, has offered valuable suggestions and given important advice. CONTENTS INTRODUCTION Page I. Sources xi The Main Story xii Holinshed's Chronicles xii Minor Incidents and Details xii Hall's Chronicle and Stow's Annals . . xii Daniel's Civil Wars xiii II. Date of Composition xiii External Evidence xiv Internal. Evidence xv III. Early Editions xv Quartos xv Folios xvii Rowe's Editions xviii IV. Versification and Diction xviii Blank Verse xviii Alexandrines xx Rhyme xx Prose xxi V. Duration of Time xxi P. A. Daniel's Time Analysis xxii VI. Dramatic Construction and Development . . . xxiii Analysis by Act and Scene xxv VII. The Characters xxviii Richard xxviii BOLINGBROKE XXXV ix X THE NEW HUDSON SHAKESPEARE Page VIII. Stage History xl The Seventeenth Century xli The Eighteenth Century xlii The Nineteenth Century and Later . . . xlii IX. Historical Connections xliii Genealogical Table xliv Authorities (with Abbreviations) xlvii Chronological Chart xlviii Distribution of Characters lii THE TEXT Act I 3 Act II 37 Act III 70 Act IV 98 ActV 114 Index of Words and Phrases 143 FACSIMILE Title-Page of the First Quarto Frontispiece INTRODUCTION Note. In citations from Shakespeare's plays and nondramatic poems the numbering has reference to the Globe edition, except in the case of this play, where the reference is to this edition. I. SOURCES With that steady growth of national spirit which charac- terized the reign of Elizabeth, developed the great national drama. The full tide of this enthusiasm found immortal ex- pression in Shakespeare's ten history plays, " the most purely historical " of which, says Coleridge, 1 is King Richard the Second. Because of the political unrest of the times, in the later years of her reign Elizabeth was not without enemies who sought secretly to depose her, and minds of the students of the day turned naturally to the dethroned Richard. It was only natural, therefore, that Shakespeare should at this time choose Richard the Second for dramatic study. The leading events of the play and all the persons except the queen, the whole substance, action, and interest are purely historical, with only such heightening of effect, such vivid- ness of coloring, and such vital invigoration as poetry can add without marring or displacing the truth of history. The chief source of the letter and historical detail of the drama is Holinshed's Chronicles, which was also used by Shakespeare as the basis of his other English history plays. 1 See Notes a?td Lectures upon Shakespeare. xi xii THE NEW HUDSON SHAKESPEARE The Main Story Holinshed' s Chronicles} As in his other plays dealing with English history, Shakespeare derived the great body of his material for King Richard the Second from the Chronicles of England, Scotland, and Irelafid, of Raphael Holinshed (Holynshed, Hollynshed, Hollingshead, etc.) first published in two folio volumes in 1577, and " newlie augmented and continued" in 1 586-1 587. It is probably from this second edition that Shakespeare drew his details, for only in this does Holinshed mention the portent of the ' withering of the bay-trees ' which Shakespeare uses in II, iv, 8. In none of his dramas of English history has Shakespeare diverged so little in the thread of his narrative from Holinshed as in King Richard the Second, but this is because the interests of dramatic economy and artistic effectiveness demand little or nothing that is not presented in the ' source:' The chief dif- ferences are those of time and place, insignificant changes in the characters, and the introduction of new characters and incidents. Minor Incidents and Details 1 . HalVs Chronicle a?id Stow's Annals. It is probable that The Union of the Noble and Illustre Famelies of Lancastre and York, by Edward Hall, published in 1542, furnished Shakespeare with some of the minor details of King Richard the Second; and certain of the suggestions for the treatment of Mowbray may have come from Stow's (Stowe) Annales, or a Generate Chronicle of England from Brute until the 1 In W. G. Boswell-Stone's Shakspere's Holinshed are given all the portions of the Chronicles which are of special interest to the Shakespeare student. INTRODUCTION xiii present yeare of Christ 1580. John Stow was one of the earliest and most diligent collectors of English antiquities, who, in addition to the preparation of several volumes of which the Annals was one, assisted in the continuation of Holinshed's Chro?iides. 2. Daniel's Civil Wars. Entered in The Stationers' Regis- ters in October, 1594, were four volumes of an eight-volume historical poem by Samuel Daniel, entitled The Civile Wars between the two houses of Lancaster and Yorke, which present several striking parallels to Shakespeare's King Richard the Second and King Henry the Fourth. It is significant that in the instances in which Daniel's historical poem and King Richard the Second resemble each other they apparently differ from any known source. For example, both picture the child queen as a woman mature in years and in thought, both give to the queen an interview with Richard after his return from London; in both the triumph of Bolingbroke and the humiliation of Richard are brought to a climax in their ride into London together — in these and other minor respects differing from the facts as now generally accepted. But there is only conjecture as to which was composed the earlier and influenced the content of the other. (See below, Date of Composition.) II. DATE OF COMPOSITION The date of composition of King Richard the Second falls within 1597, the later time limit (ter?ni?ius ante quern), when the play was entered in The Stationers' Registers, and 1593, the earlier time limit {terminus post queni). The weight of evidence is in favor of 1593-159 4. Xiv THE NEW HUDSON SHAKESPEARE External Evidence King Richard the Second was mentioned by Francis Meres in the Palladis Tamia, Wits Treasury ; being the Second Part of Wits Commonwealth, published in 1598. Here Meres gives a list of twelve noteworthy Shakespeare plays in ex- istence at that time, and expressly refers to "Richard the 2." The suggestion that Shakespeare may have drawn on Daniel's Civil Wars for some of his minor details has been brought forward as bearing on the question of time of com- position, for three volumes of the four published in 1595 (they were entered in 1594) relate exclusively to the closing events of the life of Richard the Second. If Shakespeare drew upon these, he could not have completed his work earlier than 1596, the year in which King Henry the Fourth was written. But the parallels found in the two works do not serve to throw any light on the question of precedence. Another consideration is much more to the point. Shake- speare, in strict keeping with the nature and purpose of his work, makes the queen, in mind, character, and deportment, a mature woman, although she was in reality a child of eleven. This and other departures from historical truth con- stitute a liberty of art which was in every way justifiable in a historical drama, and which Shakespeare never scrupled to use when the proper ends of dramatic representation could by this means be furthered. On the other hand, the plan of Daniel's poem, and also the bent of his mind, caused him to write for the most part with the accuracy of a chronicler, so that the fine vein of poetry scarcely had fair play, being over- much hampered by the rigidity of literal truth. Yet he repre- sents the queen not as in history, but as in Shakespeare's INTRODUCTION XV drama. Such deviations from fact, however justifiable in either case, seem more likely to have been original in the play than in the poem. The natural conclusion eliminates Daniel's account as a ' source,' and places the composition of King Richard the Second 'before the latter part of 1594. Internal Evidence Style and Diction. The internal evidence of style, the abundance of rhymes (one fifth of the whole play consisting of rhymed lines), the frequent passages of elaborated verbal trifling, the smooth-flowing current of the verse, and the relative lack of compactness of texture, make strongly in favor of as early a date as 1594, when the author was thirty years old. (See below, Versification and Diction.) III. EARLY EDITIONS Quartos King Richard the Second was entered in The Stationers' Registers at London, August 29, 1597, and was published anonymously some time that year with the following title- page : " THE I Tragedie of King Ri-|chard the se-|cond. | As it hath beene publikely acted | by the right Honourable the | Lorde Chamberlaine his Ser- | vants. | London | Printed by Valentine Simmes for Androw Wise, and | are to be sold at his shop in Paules church yard at | the signe of the Angel. | 1597." This was the First Quarto edition, referred to in the textual notes of this edition as Q^ In 1598 the same text was issued again with " By William Shake-speare " on the title-page. This is known as the Second Quarto, Q 2 . xvi THE NEW HUDSON SHAKESPEARE The Third Quarto edition was brought out in 1608, one issue with the title-page bearing the words, " With new additions of the Parliament Sceane, and the deposing of King Richard." These additions comprise one hundred and sixty-five lines (IV, i, 154-318). There is substantial agreement among critics that the * additions ' were written with the rest of the play, for they are all of a piece with the surrounding portions ; there is nothing in the style, the matter, or the connection of them to create any suspicion of a different period of workmanship. And curiously enough the line, "A woeful pageant have we here beheld " (IV, i, 321), which is spoken by the Abbot and can refer only to the deposition scene, was retained in the First Quarto, thus furnishing indisputable evidence that the whole scene was a part of the original draft. The non- appearance of these lines in the two earlier Quartos is easily explained: Elizabeth was still on the throne, and the part that she had played in deposing her unhappy kinswoman, the beautiful Mary Queen of Scots, together with the fact that she was keenly conscious of the political unrest of the times, made the subject of deposition a hateful one. Thus in 1599 Sir John Hayward suffered imprisonment for pub- lishing The First Part of the Life and Raigne of Henrie Il/f extending to the end of the first yeare of his raigne, which related the deposing of Richard. It is therefore quite certain that no publisher would then have dared to issue Shakespeare's play with such a scene. Again, two years later (1601), to assist Essex in his at- tempt to raise an insurrection in London, accomplices pro- cured the acting of " the play of the deposing and killing of King Richard the Second " on the Saturday preceding the INTRODUCTION xvii unsuccessful upheaval. The object of the whole affair was " to excite the feelings of the populace by representing the abdication of an English sovereign on the stage." This com- paratively unimportant happening is significant in its bearing on the suppression by Shakespeare of a part of the fourth act which was necessary to the dramatic unity of the play, but which did not appear in published form until after the death of Elizabeth. The Fourth Quarto, Q 4 (1615), was a mere reprinting of the Third. A Fifth Quarto, Q 5 , printed in 1634, was based on the Second Folio. Folios King Richard the Second appeared in the First Folio, Fi, published in 1623, with the title The life and death of Ki?ig Richard the Second. It occupies pages 23 to 45 in the division of the book devoted to the ' Histories,' which are arranged in historical sequence beginning with King fohn. The First Folio is the famous volume in which all Shakespeare's col- lected plays (with the exception of Pericles, first printed in the Third Folio) were first given to the world. The text of this edition seems to have been based on the Fourth Quarto, but in it several passages, fifty lines in all, are unaccountably lacking. The Second Folio, F 2 (1632), the Third Folio, F 3 (1663, 1664), and the Fourth Folio, F 4 (1685), show few variants in the text, and none of importance. It is in the Folios, not in the Quartos, that the play is divided into acts and scenes. The First Folio affords the most reliable text of the new additions, and the First Quarto of all the rest of the play. These have been made the basis of our text. xviii THE NEW HUDSON SHAKESPEARE Rowe's Editions The first critical editor of Shakespeare's plays was Nicholas Rowe, poet laureate to George I. His first edition was issued in 1709 in six octavo volumes. In this edition Rowe, an ex- perienced playwright, marked the entrances and exits of the characters and introduced many stage directions. He also introduced the list of dramatis personam which has been made the basis for all later lists. A second edition in eight volumes was published in 1 7 1 4. Rowe followed very closely the text of the Fourth Folio, but modernized spelling, punctuation, and occasionally grammar. IV. VERSIFICATION AND DICTION Blank Verse King Richard the Second is written wholly in verse and for the most part in blank verse 1 — the unrhymed, iambic five- stress (decasyllabic) verse, or iambic pentameter, introduced into England from Italy by Henry Howard, Earl of Surrey, about 1540, and used by him in a translation of the second and fourth books of Vergil's sEneid. Nicholas Grimald ( TotteVs Miscellany, 1557) employed the measure for the first time in English original poetry, and its roots began to strike deep into British soil and absorb substance. It is peculiarly sig- nificant that Sackville and Norton should have used it as the 1 The term ' blank verse ' was just coming into use in Shakespeare's day. It seems to have been used for the first time in literature in Nash's Preface to Greene's Menaphon, where we find the expression, " the swelling bumbast of bragging blanke verse." Shakespeare uses the expression three times, always humorously or satirically (see Much Ado About Nothing, V, ii, 32). INTRODUCTION XIX measure of Gorboduc, the first English tragedy (performed by "the Gentlemen of the Inner Temple" in 1561, and first printed in 1565). About the time when Shakespeare arrived in London the infinite possibilities of blank verse as a vehicle for dramatic poetry and passion were being shown by Kyd, and above all by Marlowe. Blank verse as used by Shakespeare is really an epitome of the development of the measure in connection with the English drama. In his earlier plays the blank verse is often similar to that of Gorboduc. The tendency is to adhere to the syllable-counting principle, to make the line the unit, the sentence and phrase coinciding with the line (end-stopped verse), and to use five perfect iambic feet to the line. In plays of the middle period, such as The Merchant of Ve?iice and As You Like It, written be- tween 1596 and 1600, the blank verse is more like that of Kyd and Marlowe, with less monotonous regularity in the structure and an increasing tendency to carry on the sense from one line to another with a syntactical or rhetorical pause at the end of the line (run-on verse, enjambemeni). Redun- dant syllables now abound, arid the melody is richer and fuller. In Shakespeare's later plays the blank verse breaks away from bondage to formal line limits, and sweeps all with it in freedom, power, and organic unity. The verse of King Richard the Second is more monoto- nously regular than that of the later plays ; it is less flexible and varied, less musical and sonorous, and it lacks the superb movement of the verse in Othello, The Winter's Tale, and The Tenipest. End-stopped, normally regular iambic pentam- eter lines are abundant but the metre is more flexible than the severely end-stopped verses of the earliest plays. Short lines are repeatedly used for interrupted and exclamatory xx THE NEW HUDSON SHAKESPEARE remarks, as in III, iv, 71 ; IV, i, 182 ; V, v, 104, etc. There are no weak endings and only four light endings, 1 the play in this respect resembling the earlier plays. Alexandrines While French prosodists apply the term ' Alexandrine ' only to a twelve-syllable line, with the pause after the sixth syllable, it is generally used in English to designate iambic six-stress verse, or iambic hexameter, of which we have ex- amples in IV, i, 19, 171, and V, iii, 42, 101. This was a favorite Elizabethan measure, and it was common in moral plays and the earlier heroic drama. English literature has no finer examples of this verse than the last line of each stanza of The Faerie Qiieen. In King Richard the Second are more than thirty Alexandrines. Rhyme Apart from the use of rhyme in songs, lyrics, and portions of masques (as in The Tempest, IV, i, 60-138), a progress from more to less rhyme is a sure index to Shakespeare's development as a dramatist and a master of expression. In the early Love's Labour's Lost are more than one thousand rhyming five-stress iambic lines ; in Julius Ccesar only thirty- four ; in The Te?npest only two ; in The Wi?iter's Tale not one. In King Richard the Second the extraordinary abun- dance of rhyme renders this play conspicuous not only among 1 Light endings, as denned by Ingram, are such words as am, can, do, has, I, thoii, etc., on which " the voice can to a certain small extent dwell " ; weak endings are words like and, for, from, if, in, of, or, which " are so essentially proclitic . . . that we are forced to run them, in pronunciation no less than in sense, into the closest connection with the opening words of the succeeding line." INTRODUCTION xxi the histories but among all the early plays. Here the rhyme though not used with complete consistency is employed (i) to mark the close of speeches and scenes, as in I, i, 107-108, I, i, 204-205; (2) to point an epigram, as in II, i, 139-140; (3) to aid in expressing strong emotion, as in V, i, 85-87, V, v, 109-112. Prose Of recent years there have been interesting discussions of the question " whether we are justified in supposing that Shakespeare was guided by any fixed principle in his em- ployment of verse and prose, or whether he merely employed them, as fancy suggested, for the sake of variety and relief." * It is a significant fact that in King Richard the Second and many other early plays there is little or no prose, and that the proportion of prose to blank verse increases with the decrease of rhyme. V. DURATION OF TIME 1 . Historic Time. The period of time covered by this play dates from April 29, 1398, just after the death of the Duke of Gloucester, to the beginning of March, 1400, when the body of Richard was brought to London. 2. Dramatic Time. As represented on the stage the time of the play is fourteen days with intervals the length of which has not been determined with exactness. 1 Professor J. Churton Collins, Shakespeare as a Prose Writer. See Delius, Die Prosa in Shakespeares Dramen (Shakespeare Jahr- buch, V, 227-273); Janssen, Die Prosa in Shakespeares Dramen; Professor Hiram Corson, An Introduction to the Study of Shake- speare, pages 83-98. xxii THE NEW HUDSON SHAKESPEARE The following is P. A. Daniel's time analysis : ! Day i. — I, i. Interval (perhaps of about four and a half months). Day 2. — I, ii. Interval (Gaunt's journey to Coventry). Day 3. — I, iii. Interval (journey from Coventry to London). 2 Day 4. — I, iv ; II, i. . Interval (a day or two). Day 5. — II, ii. Interval. Day 6. — II, iii. Interval. Day 7. — II, iv; III, i. Day 8. — III, ii. Interval. Day 9. — III, iii. Interval. Day 10. — III, iv. Interval. Day 11. — IV, i; V, i. Interval. Day 12. — V, ii, iii, iv. Interval. Day 13. — V, v. Interval. Day 14. — V, vi. 1 New Shakspere Society Transactions, 1877-1879, pages 264-270. 2 In the Tra?is actions, page 264, Daniel definitely indicates this interval, but does not include it in his summary on page 269. The omission was doubtless an oversight. INTRODUCTION xxiii VI. DRAMATIC CONSTRUCTION AND DEVELOPMENT In all the qualities of a work of art merely, or as an in- stance of dramatic architecture and delineation, King Richard the Second is much inferior to King Henry the Fourth. But the latter is a specimen of the mixed drama ; that is, its delineations are partly historical, partly ideal, its idealized characters being used as the vehicle of a larger moral history than would otherwise be compatible with the laws of dra- matic reason. In King Richard the Second, on the other hand, all the prominent delineations are historical ; with few exceptions no interest, no incidents, of any other kind are admitted : so that, as Coleridge has said, "it is perhaps the most purely historical of Shakespeare's dramas." And he justly argues that it is not merely the use of historical matter, but the peculiar relation which this matter bears to the plot, that makes a drama properly historical. Macbeth, for instance, has much of historical matter, yet it cannot fittingly be called a historical drama, because the history neither forms nor guides, but only subserves, the plot. Nor does the admission of matter that is not fact keep a drama from being truly historical, provided history orders and gov- erns the plot. Viewed in this larger way, both King Richard the Second and King Henry the Fourth are in the strictest sense historical plays; the difference between them being, that in the former the history furnishes the whole matter and order of the work, while in the latter it furnishes a part, and at the same time shapes and directs whatever is added by the creative imagination. Thus, in a purely his- torical drama, the history makes the plot ; in a mixed drama, xxiv THE NEW HUDSON SHAKESPEARE it directs the plot ; in such tragedies as King Lear and Macbeth, it subserves the plot. Especially noteworthy in Shakespeare's handling of his- torical material is his calmness and poise of judgment. In the bitter conflicts of factions and principles he allows the several persons to utter, in the extremest forms, their op- posing views without committing himself to any of them or betraying any disapproval of them. He holds the balance even between justice to the men and justice to the truth. The claims of legitimacy and of revolution, of divine right, personal merit, and public choice, the doctrines of the mo- narchical, the aristocratic, the popular origin of the state — all these are by turns urged in their most rational or most plausible aspects, but merely in the order and on the footing of dramatic propriety. At no time does Shakespeare play or affect to play the part of umpire between the wranglers : which of them has the truth, or the better cause — this he leaves to appear silently in the ultimate sum-total of results. And so imper- turbable is his fairness, so unswerving his impartiality, as almost to seem the offspring of a heartless and cynical indif- ference. Hence a French writer, Chasles, sets him down as " chiefly remarkable for a judgment so high, so firm, so un- compromising, that one is well-nigh tempted to impeach his coldness, and to find in this impassible observer something that may almost be called cruel towards the human race. In the historical pieces," he continues, " the picturesque, rapid, and vehement genius which produced them seems to bow before the higher law of a judgment almost ironical in its clear-sightedness. Sensibility to impressions, the ardent force of imagination, the eloquence of passion — these brilliant INTRODUCTION XXV gifts of nature which would seem destined to draw a poet beyond all limits, are subordinated in that extraordinary intelligence to a calm and almost deriding sagacity, that pardons nothing and forgets nothing." Both tragedy and comedy deal with a conflict between an individual force (which may be centered either in one character or in a group of characters acting as one) and environing cir- cumstances. In tragedy the individual (one person or a group) is overwhelmed ; in comedy the individual triumphs. In both tragedy and comedy five stages may be noted in the plot development: (i) the exposition, or introduction; (2) the complication, rising action, or growth ; (3) the climax, crisis, or turning point ; (4) the resolution, falling action, or con- sequence ; and (5) the denouement, catastrophe, 1 or conclu- sion. Let it not be thought for a moment that each of these stages is clearly differentiated. As a rule they pass insensibly into each other, as they do in life. Analysis by Act and Scene 2 I. The Exposition, or Introduction (Tying of the Knot) Act I, Scene i. In this opening scene the important characters are introduced, the main action is begun at once, and the situation gradually explained. The keynote of the whole play — the contest and contrast between Richard, the usurped, and Bolingbroke, the usurper — is struck when Bolingbroke resists the wishes of Richard. 1 "Catastrophe — the change or revolution which produces the conclusion or final event of a dramatic piece." — Johnson. 2 " It must be understood that a play can be analyzed into very different schemes of plot. It must not be thought that one of these schemes is right and the rest wrong ; but the schemes will be better or worse in proportion as — while of course representing correctly the facts of the play — they bring out more or less of what ministers to our sense of design." — Moulton. v xxvi THE NEW HUDSON SHAKESPEARE II. The Complication, Rising Action, or Growth (Tying of the Knot) Act I, Scene ii. The fact of Richard's participation in Gloucester's death is forced into prominence, and thus the fate of the king is foreshadowed and Bolingbroke's act in the preceding scene explained. Act I, Scene Hi. Against the background of a mediaeval tourna- ment this scene is made to show how the uneasy conscience of Richard drives him to the dangerous expedient of banishment for both Bolingbroke and Norfolk. Bolingbroke is thus made an implacable and dangerous foe, and the complicating action of the play is forwarded. Act I, Scene iv. While this scene does not advance the action, the complication is strengthened in Richard's recognition of the popu- larity of Bolingbroke and in the demonstration of his own weak- nesses. Richard lays bare (i) his dislike and fear of Bolingbroke; (2) his disregard of the rights of his subjects, thus effectively alien- ating them ; (3) his unnatural indifference to Gaunt's appeal ; (4) the influence held over him by unscrupulous favorites. At the bedside of the dying Gaunt, Richard is seen at his worst — scornful, mocking, unrepentant. Act II, Scene i. The main plot is unfolded in Richard's forcing Bolingbroke into open rebellion, and the consequent winning to his side of much popular support. Further insight into Richard's character is afforded by the announcement of his unjust purpose of seizing Bolingbroke's inheritance. Act II, Scene ii. Here instead of attempting to create suspense, Shakespeare uses the queen's premonitions of evil as the means of forecasting the impending disaster. In the interest of dramatic economy the accomplishment of the revolution is hastened, and sympathetic attention is directed to Richard's bearing in misfortune. Act II, Scene Hi. In effective contrast to the last scene in which confusion and foreboding prevail, here is presented the quiet, sure advance of a strong man to his goal. Act II, Scene iv. In the short space of twenty-four lines is depicted the ruin of Richard's last hope. Through the dispersion of his army because of a rumor that he is dead, he is left without the means of accomplishing the purpose for which he left England. INTRODUCTION xxvii Act Iff, Scow i. This scene symbolizes what is to follow and shows the real strength and kingliness of Bolingbroke, who seizes and condemns to death Richard's favorites. Act III, Scene ii. By means of a series of minor events a minute delineation of Richard's character is presented, thus throwing light on his past conduct and furnishing the means of interpreting the future. Through numerous ' entrances ' Richard is shown oscillating between confident arrogance and utter despair. III. The Climax, Crisis, or Turning Point (the Knot Tied) Act III, Scene Hi. Here, in the decisive moment toward which all the action has been tending, occurs the virtual triumph of Boling- broke and the defeat of Richard, briefly stated in the king's own words, "Your own is yours, and I am yours, and all" (line 197). Though intensely dramatic, the scene unfolds no vulgar struggle, merely the reaction of character on character. IV. The Resolution, Falling Action, or Consequence (the Untying of the Knot) Act III, Scene iv. Through the bitter grief of the queen, the pity of the gardener, the patriotic resentment of the servant toward the king, the preceding scene is intensified. Like the fourth scene of the first act, this is a comment on the struggle, and the dramatic resolution is foreshadowed in the queen's speech at the close. Act IV, Scene i. The three events of this scene — the arraignment of Aumerle, the protest of Carlisle, the public surrender of Richard — are of great dramatic value in showing the significance of the resolution just effected. The tension from this point is slackened. Act V, Scene i. The parting between Richard and the queen, which is the first time they hold actual conversation together in the play, furnishes a characteristic instance of Shakespeare's use of the love motive to increase, by contrast, the dire effect of political tragedy. Act V, Scenes ii and Hi. In Bolingbroke's attitude toward Aumerle and his parents, the tolerance and firmness of the future king are displayed in dramatic contrast to the character of York. Act V, Scene iv. This short scene of eleven lines forecasts the death of Richard. xxviii THE NEW HUDSON SHAKESPEARE Act V, Scene v. Final touches are here made to the portrait of Richard. In his monologue (lines 1-66) Richard's attitude toward his calamity is fantastic but shows him strangely unrepentant ; in the dialogue with his groom his personal charm shines out ; and in his death is added the one heroic touch to an unheroic monarch. V. Denouement, Catastrophe, or Conclusion (the Knot Untied) Act V, Scene vi. The last scene is less a triumph for Bolingbroke than a vague foreboding of the future. It " consists of three divi- sions, each in appearance contributing to seal the success of the new king. The conspiracy has been sternly put down ; the Abbot of Westminster, ' the grand conspirator,' has died ; and finally Richard, the ' buried fear,' has been removed. The last, though seemingly the climax in the ascending scale of triumph, at once changes the key to a tragic minor, and the drama closes on a solemn and bodeful note which leaves us mindful of Carlisle's prophecy that the 'woes are yet to come'" (Herford). It is interesting to note that it is Bolingbroke who starts the action in the first scene and who speaks the closing words of the last. VII. THE CHARACTERS In Shakespeare's delineations of historical characters may be seen a kind of poetical or psychological comparative anatomy. He reconstructs characteristic traits from a few fragments which would have escaped a perception less apprehensive and quick. Such is his fineness of faculty that from a mere detail he reproduces the entire mental, moral, and physical structure of the man to whom it belonged. Richard Richard, as presented in Shakespeare's full-length portrait, is among the strongest of his historical delineations. His character both in history and in the play is mainly that of a pampered, presumptuous voluptuary, who cannot harbor the INTRODUCTION xxix idea that the nation exists for any other purpose than to serve his pleasure, and who does not hesitate to scorn the legiti- mate cares and duties of the crown. All this has the effect of bringing his personal character into contempt even before his administration becomes unpopular. Hume describes him as " indolent, profuse, addicted to low pleasures, spending his whole time in feasting and jollity, and dissipating, in idle show, or in bounties to favorites of no reputation, that revenue which the people expected to see him employ in enterprises directed to public honour and disadvantage." In the first three acts Richard appears so altogether despicable that it seems hardly possible he should ever rally to his side any honest stirrings either of pity or of respect. He is at once crafty and credulous, indolent and arrogant, effeminate and aggressive ; a trifler while fortune smiles, a whimperer when she frowns. His utter falseness of heart in forwarding the combat, while secretly bent on preventing it ; his arbitrary freakishness in letting it proceed till the com- batants are on the point of crossing their lances, and then peremptorily arresting it ; his petulant tyranny in passing the sentence of banishment on both men, and his nervous, timid apprehensiveness in exacting from them an oath not to have any correspondence during their exile; his mean, scoffing insolence to the broken-hearted Gaunt, his ostenta- tious scorn of the dying man's reproofs, his impious levity in wishing him a speedy death ; and his imperious, headlong contempt of justice, and even of his own plighted faith, in seizing the Lancaster estates to his own use before the " time-honoured Lancaster" (I, i, i) is in the grave — these things mark him out as a thorough profligate, who glories in spurning whatever is held most sacred by all true men. XXX THE NEW HUDSON SHAKESPEARE Since Richard scorns strong and independent supports, he takes to climbing-plants that finally pull him to the ground. Such being his disposition, he seeks the society of frivolous and incompetent men, and so draws about him a set of spendthrift minions, who stop his ear with flatteries, and in- flame his blood with wanton fancies. It is largely the com- panionship of such men that makes him insolent and deaf to sober counsel, and draws him into a shallow aping of foreign manners and fashions. As revealed in the first part of King Henry the Fourth (III, ii), among his other traits of wantonness is a restless haunting of public places and scenes of promiscuous familiarity whereby he makes himself " stale and cheap to vulgar company," so that, even "when he has occasion to be seen, he is but as the cuckoo is in June, heard, not regarded." This is not, to be sure, brought out in King Richa?'d the Second and is perhaps rightly withheld, lest it should too much turn away our sympathies from the king in his humiliation and sorrow. But it is aptly urged by Bolingbroke in the following speech, when he remonstrates with Prince Harry against that conduct which seems likely to bring him into a similar predicament : The skipping king, he ambled up and down With shallow jesters and rash bavin wits, Soon kindled and soon burnt ; carded his state, Mingled his royalty with capering fools, Had his great name profaned with their scorns And gave his countenance, against his name, To laugh at gibing boys and stand the push Of every beardless vain comparative, Grew a companion to the common streets, Enfeoff'd himself to popularity ; That, being daily swallow'd by men's eyes, INTRODUCTION xxxi They surfeited with honey and began To loathe the taste of sweetness, whereof a little More than a little is by much too much. [i Henry IV, III, ii, 60-73] Notwithstanding all that may be justly brought forward against Richard, he had, without doubt, the mental, moral, and practical gifts of a well-rounded man, and endowments of both strength and beauty ; but there seemed to be no principle of cohesion among them. He thus moves alto- gether by fits and starts, because the tempering and moder- ating power of judgment is wanting. A thought strikes him, and whirls him far off to the right, where another thought strikes him, and whirls him as far off to the left. And so he goes pitching and zigzagging hither and thither. This is not necessarily constitutional with him, but mainly the result of wrong education and wrong living. A long indulgence in voluptuous arts and the poison of wanton associates have dissolved his self-restraint, inducing a habit of setting pleasure before duty, and of making reason wait on passion. This wrought into his texture a certain chronic sleaziness which rendered him more and more the sport of contradictory impulses and humors. Professor Dowden justly observes 1 that, without any genuine kingly power, he has a feeling of what kingly power must be ; without any veritable re- ligion, he has a pale shadow of religiosity. Indeed, every- thing about him is shadowy. His mind lives in a sort of phantom-world, and cannot seem to distinguish fancy from fact. Richard is not without ability to think clearly and justly, but he cannot for any length of time maintain a reasonable 1 Shakspere : A Critical Study of his Mind and Art. xxxil THE NEW HUDSON SHAKESPEARE train of thought. Hence his discourse presents a strange medley of sense and puerility, and we often have a gem of thought or a beautiful image followed by a childish platitude. So too he is lofty and abject, pious and profane, bold and shrinking by turns, and is ever running through the gamut of sharps and flats. His every feeling was, as Coleridge 1 says, " abandoned for its direct opposite upon the pressure of external accident." This supreme trait of weakness is most tellingly displayed in his dialogue with Carlisle, Aumerle, Salisbury, and Scroop, just after his return from Ireland when upon learning how Bolingbroke is carrying all before him, he vibrates so rapidly between the extremes of un- grounded hope and unmanly despair. His spirit soars in the faith that, for every man in arms with Bolingbroke, " God for his Richard hath in heavenly pay a glorious angel" (III, ii, 60-61). But when, a moment after, he finds that, so far from angels mustering to his aid, even men are deserting him, all his faith instantly vanishes in pale-faced terror and dismay. He is ever inviting hostile designs by openly anticipating them, or by futile or ill-judged precautions against them, as when he swears the two banished dukes not to plot or join hands against him during their exile. Again, when Boling- broke comes, avowedly and with just cause, to reclaim his inheritance, he does not plan to grasp the crown till Richard's weak-kneed concession and acquiescence put it in his mind, and fairly woo him to it. Thus the apprehension of being deposed, instead of stiffening up his manhood, at once weakens his intellect and spirit. When a show of bold and resolute self-assertion, or a manly and stout-hearted defiance, 1 See Notes and Lectures upon Shakespeare. INTRODUCTION xxxiii would outdare and avert the peril, he simply quails and cowers. His deprecating of the blow before it comes is a tacit pledge of submission. He himself tells Bolingbroke, " they well deserve to have, that know the strong'st and surest way to get" (III, iii, 200-201). Perhaps the most obvious point in Richard's character is that the prospect of adversity or distress, instead of kindling any strain of manhood in him, or of having a bracing effect upon his courage, only melts his spirit into a kind of senti- mental pulp. Suffering does not even develop the virtue of passive fortitude in him : at its touch he abandons himself to a course of passionate weakness. He is so steeped in sentimentalism that even in his sorrow he makes a luxury of woe itself. He hangs over his griefs, hugs them, nurses them, buries himself in them, as if the sweet agony were to him a glad refuge from the stings of self-reproach, or a wel- come release from the exercise of manly thought. Thus he becomes a moralizing day-dreamer, spending his wits in a sort of holiday of poetical, self -brooding tearfulness. It is also to be noted that in his reverse of fortune Richard is altogether self-centered and so absorbed in self-pity that he has no thought to spare for those whom his fall has dragged down into ruin with him. This is part of his gen- eral character, which, to quote Coleridge, 1 is that of " a mind deeply reflective in its misfortunes, but wanting the guide to all sound reflection — the power of going out of himself, under the conduct of a loftier reason than could endure to dwell upon the merely personal." In this respect, one may well be tempted to run a parallel, as Hazlitt has done, between Richard the Second and Henry 1 See Notes and Lectures upon Shakespeare. Xxxiv THE NEW HUDSON SHAKESPEARE the Sixth as drawn by Shakespeare. The two kings closely re- semble each other in a certain weakness of character border- ing on effeminacy, and this resemblance is made especially clear by their similarity of state and fortune. Richard is as selfish as he is weak, and weak partly because of his selfishness. He reads men and things altogether through the medium of his own wishes and desires, and because his thoughts do not rise out of self, and are ever concerned with general truth, his course of life runs tearingly a-clash with the laws and conditions of his place. With Henry, on the other hand, dis- interestedness is pushed to the degree of an infirmity. He seems to perceive and grasp truth the more willingly where it involves a sacrifice of his personal interests and rights. But a man, especially a king, cannot be wise for others, un- less he be so for himself. Thus Henry's weakness seems to spring in some degree from an excessive disregard of self. He permits the laws to suffer, and in them the people, partly because he cannot vindicate them without making them sub- serve his own interests. And when others break their oaths to him, he blames his own remissness as having caused them to wrong themselves. But Richard is at least felt to be the victim as well as the author of wrong ; and Shakespeare evidently did not mean that the wrongs he has done should lie so heavy upon us as to kill all pity for the wrong he suffers. As the scene shifts " from Richard's night to Bolingbroke's fair day," our sym- pathies are deeply moved for the wretched monarch, partly because the spectacle of fallen greatness, of humiliation and distress, however merited, is a natural object of commiseration, partly because honest pity naturally draws other sentiments to it. The heart must be hard indeed that does not respond to INTRODUCTION xxxv the pathos of York's account of the discrowned monarch's ride into London : No man cried ' God save him ! ' No joyful tongue gave him his welcome home ; But dust was thrown upon his sacred head ; Which with such gentle sorrow he shook off, His face still combating with tears and smiles, (The badges of his grief and patience) That had not God for some strong purpose steel'd The hearts of men, they must perforce have melted, And barbarism itself have pitied him. [V, ii, 28-36] And it is rather surprising how much he redeems himself in our thoughts by his manly outburst of resentment in the Parliament scene, when the sneaking Northumberland so meanly admonishes him to " ravel out " his " weav'd-up follies" (IV, i, 228-229). Then, too, his faults and infirmi- ties are so much those of our common humanity that even through them he creeps into our affections, and spins round us the ties of brotherhood. BOLINGBROKE In collision with such a compact, close-knit character as Bolingbroke, it is no wonder that the stumbling, loose-jointed Richard should soon go to pieces. In one of his paroxysms of regal conceit, he flatters himself that " not all the water in the rough rude sea can wash the balm from an anointed king" (III, ii, 54-55). But his fate is a solemn warning that even a king can, by persistent misgovernment, wash away the anointment of his own consecration and effectu- ally discrown himself. Richard thought to stand secure in the strength of his divine right, and would not see how this might be practically annulled by misuse. By not respecting xxxvi THE NEW HUDSON SHAKESPEARE his great office, he taught the people to despise him, and set them to longing for a ruler who would be a king in soul as well as in title. Thus Richard finds himself hope- lessly unkinged in an unequal struggle with a king by nature and merit. Bolingbroke is obviously the moving and controlling spirit of the drama. Everything waits upon his firm and tranquil will, and responds to his silent purpose. He starts the action, shapes its whole course, and ties up all its lines at the close, he himself riding, in calm and conscious triumph, the whirl- wind he has helped to raise. Bold, crafty, humble, and aspir- ing, he is full of energy, yet has all his forces so thoroughly in hand that he is never mastered by them. He spreads himself by deeds, not by talk ; plans industriously, but says nothing about it. Neither friends nor enemies know what he is thinking of or striving for, until his thoughts have ac- complished their ends. Consequently, throughout the play he remains an enigma both to the other dramatis personae and to the audience. At once ardent and self -restrained, far-sighted, firmly poised, always eying his mark steadily, and ever working towards it stealthily, he knows perfectly how to bide his time. He sees the opportunity clearly while it is coming, and seizes it promptly when it has come, but all so quietly as to seem the mere servant of events, and not at all the shaper of them. He is undoubtedly ambitious of the crown, expects to have it, means to get it, and frames his action to that end. But he builds both the ambition and the expecta- tion on his knowledge of Richard's character and his own political insight. Reading the signs of the time with a states- man's eye, he knows that things are hastening towards a INTRODUCTION xxxvii crisis in the state. He also knows that they will be apt to make an end the sooner if left to their natural course. The truth is not, after all, so much that he forces the crown from Richard, as that he lets Richard's fitful, jerking im- potence shake it into his hand. It must be acknowledged, however, that he takes, and knows he is taking, just the right way to stimulate Richard's convulsive zigzaggery into fatal action. Bolingbroke, throughout the play, appears possessed of qualities at once attractive and commanding. In the first part of King Henry the Fourth (I, iii, 241) the tempestuous Hotspur denounces him as a " vile politician." A politician he is indeed, but he is much more than that. He is a con- scious adept and a willing practicer in the ways of popularity. But if there is much of artfulness in his condescension, there is much of genuineness too. He knows that the strength of the throne must lie in having the hearts of the people knit to it, and he believes that the tribute of a winning address, or of gracious and obliging behavior, may be honestly and wisely paid in exchange for their honest affection. He is a master of just that proud complaisance and benignant lofti- ness, that happy mixture of affability and reserve, which readily gains popular confidence and respect. But in his courtship of the people he does not for an instant forget that their love will keep the longer and the better for being so seasoned with reverence as to stop short of familiarity. He therefore seldom appears before them, and when he does he sees to it that their eyes are glad of the sight but are not glutted, and that their love of the man in no measure melts down their awe of the prince. The way he sweetens himself into their hearts by smiling and bowing a gracious xxxvni THE NEW HUDSON SHAKESPEARE farewell upon them, when leaving for his place of exile, is best illustrated in Richard's description : How he did seem to dive into their hearts With humble and familiar courtesy, What reverence he did throw away on slaves, Wooing poor craftsmen with the craft of smiles And patient underbearing of his fortune, As 'twere to banish their affects with him. Off goes his bonnet to an oyster-wench ; A brace of draymen bid God speed him well, And had the tribute of his supple knee, With ' Thanks, my countrymen, my loving friends.' [I, iv, 25-34] Bolingbroke's departure is with the bearing of a conscious victor. He knows that the hearts of the people are going with him, and that his power at home will strike its roots the deeper for the tyranny which forces him abroad, where he must sigh his " English breath in foreign clouds, eating the bitter bread of banishment" (III, i, 20-21). From that moment, he sees that the crown is his, and the inspiration of his vision is one cause of his throwing such winning bland- ness and compliance into his parting salutations. On coming back to reclaim his plundered inheritance, instead of waiting for a formal settlement of rights and titles, no sooner is he landed than he quietly assumes the functions, and goes to doing the works, of sovereignty, while disclaiming the office and all pretensions to it. In their long experience of a king without kingliness, the people have had enough of the name without the thing, so Bolingbroke proceeds to enact the thing without the name. In this way he puts into their hearts the sentiment of loyalty, and his loftiness of spirit gives to the title its old deamess and luster, at the same time pointing INTRODUCTION xxxix him out as the rightful wearer of it. Being thus a king in fact, the sentiments that have been wont to go with the crown slowly and silently center upon him. Whether Boling- broke consciously designs all this may indeed be questioned, but such is clearly the natural climax of the course he pursues. Bolingbroke's bearing towards the lords who gather round him is not less remarkable than his attitude toward the popu- lace. During their long ride together, he relieves the tedious- ness of the journey by such graciousness that he wins and fastens them to his cause, yet without so committing him- self as to give them any power over him. The Percys, from the importance of their aid, evidently reckon upon being a power behind the throne greater than the throne ; but they are not long in finding they have mistaken their man. So in the deposition scene, when the insolent Northumberland thinks to rule the crestfallen Richard by dint of browbeating, Bolingbroke quietly overrules him. He does this so much in the spirit of one born to command as to make it evident that the reign of favoritism is at an end. He is not unmindful that those who have engaged in rebellion to set him up may do the same again to pull him down. Therefore he lets them know that, instead of being his master, they have given themselves a master in him, and that if he has used their services in establishing his throne, he has done so as their king, and not as their dependent. He wins admiration by his magnanimity to the brave old Bishop of Carlisle, whose honest, outspoken, uncompromising loyalty to Richard draws from him a reproof, but in language so restrained and tem- perate as to show that he honors the man much more than he resents the act. The same nobleness of spirit, or, at least, xl THE NEW HUDSON SHAKESPEARE politic generosity, is shown again in his declared purpose of recalling Norfolk and reinstating him in his lands and honors, and perhaps still more in the scene where he pardons Aumerle, and where, while the old Duke and Duchess of York are pleading, the one against, the other for, their son's life, he gently plays with the occasion but finally speaks the word that binds all three hearts indis- solubly to him. All through the fourth and fifth acts, Bolingbroke, sparing of words, prompt and vigorous, yet temperate and prudent, makes a forcible contrast to Richard's violent, imbecile tyrannizing in the first and second. As for the murder of Richard, this is a wretched climax, but there is the less need of remarking upon it, since Bolingbroke's professed abhor- rence of the deed and remorse for having hinted it, whether or not sincere, sufficiently mark it out for reprobation. The immediate cause of it is the conspiracy for restoring the deposed king, which has cost the lives of several men. And the fact that Richard's life thus holds Bolingbroke in con- stant peril of assassination amply explains why the latter should wish the ground and motive for such plots removed, though it may not in the least excuse the means used for attaining this end. The source of all these evils lies in the usurpation, and for this Richard is quite as much to blame as Bolingbroke. VIII. STAGE HISTORY A hero who is neither a deep-dyed villain nor a full-blooded hero is seldom to the popular taste. Richard the Second, both in life and in Shakespeare's dramatization, was only a weakling, demanding neither hatred nor admiration, and it INTRODUCTION xli is little wonder that the play has never been a great favorite on the stage except in the early seventeenth century. The Seventeenth Century The popularity of the tragedy in Shakespeare's time is indicated by its appearance in five Quarto editions, for only three of Shakespeare's plays were published five times and only sixteen out of the thirty-seven appeared at all in Quarto. As explained elsewhere (see above, Sources) the later years of Elizabeth's reign were full of unrest and political dis- turbances, and the subject of deposition was one uppermost in the minds of many. The political history of Richard's reign, which is of little interest to us to-day, engaged the eager attention of Shakespeare's contemporaries. Of the Third Quarto, published in 1608, some of the copies have a title-page including the statement, "As it hath been lately acted by the Kinges Majesties seruantes, at the Globe." This indicates a revival of the play in the early years of the reign of James I. It was in September of this same year (1608) that on the ship of a Captain William Keeling, then near the coast of Sierra Leone, performances are said to have been given of both King Richard the Second and Hamlet} A play entitled The Sicilian Usurper by Nahum Tate, poet laureate in the reign of William III, was produced at the Theatre Royal in 1681. This was in reality an adapta- tion of Shakespeare's King Richard the Second, and although the dramatis personam appeared under changed names and 1 References to this effect appear in Reeling's journal as pub- lished by the Hakluyt Society, 1849, i n Narratives of Voyages towards the North- West. xlii THE NEW HUDSON SHAKESPEARE much of the conduct of Richard was so modified that every scene was " full of respect to Majesty, and the dignity of Courts, not one altered passage but what breathes loyalty," it gave offense and was stopped after two performances. The Eighteenth Century An adaptation of Theobald was twice produced in London, in 17 18 and in 1738, the latter performance occurring in the reign of George II, whose foreign policy was being attacked by the prime minister, Sir Robert Walpole. The audiences were quick to see the likeness between the thwarting of Richard's plans for a series of French campaigns and Walpole's interference with King George's desire for a war with Spain, and the play soon fell into disfavor. Both Francis Gentleman and James Goodhall prepared versions of the tragedy ; that of Gentleman was given at Bath in 1754, but while Goodhall in 1772 published his adaptation at Manchester, he seems not to have been successful in his attempt to secure its production by Garrick. The Nineteenth Century and Later Edmund Kean's attempted revival in 18 15 won the praise of Hazlitt. Not until 1857 was a notable produc- tion given in London, this being a series of performances by Charles Kean, who arranged the play with an elaborate staging. Walter Pater * speaks enthusiastically of Kean's production and acting : u In the painstaking revival of King Richard the Second by the late Charles Kean, those who were young thirty years ago were afforded much more than Shakespeare's play could ever have been before — the very 1 Appreciations, with an Essay 071 Style. INTRODUCTION xliii person of the king based on the stately old portrait in West- minster Abbey, ' the earliest extant contemporary likeness of any English sovereign,' the grace, the winning pathos, the sympathetic voice of the player, the tasteful archaeology confronting vulgar modern London with a scenic production, for once really agreeable, of the London of Chaucer. In the hands of Kean the play became like an exquisite performance on the violin." Both Junius Booth and Edwin Booth appeared in this tragedy about the middle of the century. Sir Henry Irving in 1898, at a cost of over thirty thousand dollars, prepared an elaborate and historically accurate production, for which the celebrated Edwin A. Abbey painted scenery and designed costumes; but because of Irving's ill health the play was never presented. The tragedy has been popular in Ger- many, two hundred performances having been given in twenty-five years. Since the close of the nineteenth century several attempts have been made in England to revive interest in Shake- speare's English history plays. Of F. R. Benson's perform- ances both at London and at Stratford his King Richard the Second was the most popular. Sir Herbert Beerbohm Tree's revival in 1903 was called "a gorgeous series of pictures and pageants." IX. HISTORICAL CONNECTIONS The genealogical table on pages xliv and xlv gives the more important historical characters of King Richard the Second and shows in what other plays of Shakespeare they, their ancestors, or their descendants, are either mentioned or appear as dramatis personae. HISTORICAL Edward III 1327-1377 H 5 Edward Wil liam Lionel Philippa ~ (3) Catharine Swynford = the Black d. 335 Duke of Clar- Roet (?) Prince ence d. 1369 Geoffrey Duke of 1 Aquitaine d. 1376 Chaucer (?) Thomas Ralph Joan Beaufort Neville = Beaufort (1) Elizabeth 1 H 5 de Burgh Thomas Earl of Earl of .1 Chaucer Dorset West- Joan of Philippa = Duke of more- Kent (I) the = Matilda Exeter land Fair Maid Edmund Burghersh d. 1425 d. 1425 1 Mortimer Michael H5 H4 12 H 5 RICHARD II Earl of de la Pole 1377-1399 March Earl of R2 Suffolk — Anne Morti- d. 1415 (1) Anne of mer H 5 Bohemia (See descend- 1 (2) Isabella ants of Ed- (3) William of France mund Langley de la Pole = Alice = (2) Thomas Montague R2 Duke of York) Earl of Suffolk exc. 1450 H6i Earl of Salisbury d. 1428 H 5 Charles de la Bret ~|o Constable of France k.A. 1415 Signs ane Abbreviatio NS IN H 5 the Tables I = direct descent from = = married to ~ = brother or sister H^, = brother or sister of the half blood d. = died exc.= executed k.= killed k.A.= killed at Agincourt R2 = one of the dramatis personam in Richard II R3= do. Richard III H 4 » = do. 1 Henry IV H 4 2 = do. 2 Henry IV H6 1 = do. / Henry VI H6 2 = do. 2 Henry VI H63= do. 3 Henry VI Hs= do. Henry V (2) Owen Tudor = KJ= do. King John 1 Edmund Tudor Italics indicate that the person is only mentioned in I the play. Numerals in parentheses before a name Henry Tudor Earl of Richmond indicate a first, second, or third marriage. Nu- HENRY VII TUDOR merals after a king's reign indicate the dates of 1485-1509 his reign. H6 3 R 3 xli CONNECTIONS Philippa of Hainault d. 1369 I John of Gaunt Duke of Lancaster d. 1399 R2 (2) Constance of Castile (1) Blanche of Lancaster Chaucer's ' Duchesse ' ? d. 1369 Henry Bolingbroke Earl of Derby Duke of Hereford Duke of Lancaster HENRY IV LANCASTER 1399-1413 R2 H4 12 (2) Joan of Navarre d. 1437 (1) Mary de Bohun d. 1394 I Edmund Langley Duke of York d. 1402 R2 ~ (1) Isabella of Castile, d. 1393 :(2) Joan of Kent (II) Duchess of York R2 (3) Henry, 3 Baron Scrope of Masham Lord Scroop exc. 1415 H S Thomas Duke of Gloucester d. 1397 I Edward Earl of Rutland Duke of AUMERLE Duke of York k.A. 1415 R2 H5 Richard Earl of Cambridge exc. 1415 H S Anne Mortimer I Richard Plantagenet Duke of York d. 1460 H6J23 1 I Constance Thomas Despenser d. 1400 Isabella Richard Beauchamp Earl of Warwick d.^39 I EDWARD IV 1461-1483 R3 H6 23 Elisabeth I 3 Edmund Earl of Rutland H63 I George Duke of Clarence d. 1479 H63 R 3 RICHARD III 1483-1485 H6 2 3 R 3 Henry of Monmouth ' Prince Hal' Duke of Lancaster HENRY V 1413-1422 H4H5 KATHARINE OF FRANCE d.M 37 HENRY VI 1422-1471 H6 1 " Edward of Wales Richard EDWARD V Duke of York R3 R 3 T Thomas Duke of Clarence k. 1421 John Duke of Bedford Regent of France d- 143S H 4 H 5 H6 1 Humphrey ' Good Duke Humphrey ' Duke of Gloucester d. 1447 H4 1 H5 H6 12 xlv AUTHORITIES (With the more important abbreviations used in the notes) Qi = First Quarto, 1597. Q 2 = Second Quarto, 1598. Q 3 = Third Quarto, 1608. Q 4 = Fourth Quarto, 161 5. Q 5 = Fifth Quarto, 1634. Qq = the five Quartos, 1 597-1 634. Fi = First Folio, 1623. F 2 = Second Folio, 1632. F 3 = Third Folio, 1663, 1664. F 4 = Fourth Folio, 1685. Ff = all the seventeenth century Folios. Rowe = Rowe's editions, 1709, 17 14. Pope = Pope's editions, 1723, 1728. Theobald = Theobald's editions, 1733, 1740. Hanmer = Hanmer's edition, 1744. Johnson = Johnson's edition, 1765. Capell = Capell's edition, 1768. Malone = Malone's edition, 1790. Steevens = Steevens's edition, 1793. Collier = J. P. Collier's (second) edition, 1858. Globe = Globe edition (Clark and Wright), 1864. Dyce = Dyce's (third) edition, 1875. Delius = Delius's (fifth) edition, 1882. Camb = Cambridge (third) edition (W. A.Wright), 1891. Clar = Clarendon Press edition (W.A.Wright). Verity = A. W. Verity's Pitt Press edition. Herford = C. H. Herford's Eversley edition. Abbott = E. A. Abbott's A Shakespearian Grammar. Bradley = A. C. Bradley's Shakespearean Tragedy, 1904. Cotgrave = Cotgrave's Dictionarie of the French and English Tongues, 161 1. Schmidt = Schmidt's Shakespeare Lexicon. Skeat = Skeat's An Etymological Dictionary. Murray = A New English Dictionary {The Oxford Dictionary). Holinshed = Holinshed's Chronicles (second edition), 1 586-1587. xlvii s < 3 O 5 • 4) 1) O p °* o "11 > c Ml ° O ~ .2 i a prisoner . Ascham rdale died. ds War of 0) c he O C M m M JJT3 re ^ g e " opened v Fields, flowed by in." Hans B 3 2^ a z 2 q c > n c <-> re ° — « O T3 re ^ c eg 4)Q fa 1 S-d re H** t:-o < > OS o H !/) X '-'Cm 0) 1-. „, oo m <-j o e .5 S re q, fa c * " £r « S o.!2 w re i, bo ^'> ei re H , w M • 01 <" to to 09 to >, to 2 o 4> CO 3 Q 09 «3B rg "* re •a to 4-> to §1 0°a O re 0> "3 'S o 5 it •d "2 ft o' W e< to^ a 5 § gO w o t z X o K O 93 132 3 b0 So n o >•£ CO Mid w a) TO "C H 0.2 1 "o H Sic m .2 '-3 -i2 T3 0) in »>,''d*;o<'>-£w'«> *^ re o ~ .2~ . *"o rtM H en Mj, .<« « £ >-s n >, < =C3 £ § O 3 rt 2 r O£ otf Hxi uS a2 a-atefai-sP* UJ H < 6 X in fc w n a u o .£-d *j u «2 c re | 2 c o JO c o ^3 '-5 "J3 X < a) s re b liM •d re c re c M .co 1 fa ,£5 o >- M fcTrr-l ^ O <& * 3 O fa o re U fa < 3" IO s 00 5 IO ID IO g > xlviii ^J u c « 3fa o a^ c o ^ •"(BO) 3.2 > '■£ >*- 3^ O g 3 3 U x°* 3 O Gosson's School Of Abuse. North's Plu- tarch. Lyly'sEuphues (pt. i). Spenser's Shepherd's Calendar to 00 W « 9 C £ O a a 1 v> at o g u H t/5 s <* 5 H ► '3 V "s 6 oo a "8. as y~v aS — i 01 u_, o o oa 0- V) 3 " O .5 '3 « M "fl s Ml O •4-» t-. "co en «*>» rt'SS ©."2 ■O.MO C r- W S 0.2 •o.Efe OrtO < 1 3 Sis CO a 5 « I C/l W 5 in H E s o u w "L oo" „ oo w ~ ■•-» O DO S 3 11 (4 T3S, as 52 •g 0) a c to n lo B o T3 c i w u e a X l> a s < O E o ja c c M 3 CO ft 3 E X a c a o o 3 1) £3 a, 00 CO pi 00 <* oo to 00 IT) VO 00 in 00 10 10 5 1 m 1 to xlix < X 5 z t 111 g-dS t w .2*0 *4J 11 CO E fl MS §"5 3 ■S c o c* •jg 2;^.o 0) cj v. 6jo a PI fa °| rt M ■O M oE °fa~ 3 3 s' a c iB a> I V HW >M vO c 1-1 o ■§■2 »— >ctJ &:l ► w < w a, co W -< X > < c 1/1 S H O p* > X a. < K u o £ 2 M ■23 ^ i . Is SI o> as CO J°° 8 +j • CO co^ai SWEHtM °&.2 cos O o 5 <^- ^ 0*2 o | £ ** o S bi o 5 S o c *• « il rt « s 8- fa rt fa T3TJ « O rttJ o S 3 00 C Pi lbs CO fa CO jfa a < > & m to u"> CO in 1 a 1 rtTJ > ct ^ O J2 §2 to ■-3 c o a) '£ Xi u rsPh a I •S a* o O j o o c o CO O ao T3 CO a o O T3 in U E a V £ Q cu > id ^T3 cu > rt 3 X a O CD -ax) <| en CO 3<« > o T3 c o o gj 3 3 a o £ ao T3 3 i en ~ cr 2 n: o 2 u c3>-3 a c k .5 en >^ en i- rt C in D in u X o 3 'T; In O o CO 3 3 ^r 3 n CD o '3 © a o Q o IS 6« T3^ S co £dj a o o O 3 O c 1) U 23 •si CO II £ « 3 o >> g CO 'c o >-. 2 Q oo" CO CI -3 s >^3 3 o O i-3 o 3 nj 3 •2 •— > a w a, xi © X> o 1 W) 5 o a 5 G o o ► >> M 3 CU » , IH CO o ? ctf co CO vD > o 3 « 5S 8 2 co o £ £2 i X T3 2 co to u 'St c3 E fS a a 3 rt coffi M CU > o <^ . 3 "rt CO o £ 13 CO OJ X O T3 C ^ T3 -a tl-a °x « is « "Si? 2" 3-C &>, ^ h< co lift "o a X l - a. I; O - *3 o a. to X «J X >, •r a 5* OT 3"S ■S.H 3 O .53 o T3T3 3,2 1« bj)3 £8 6CT3 3-S 6^S 2 s 3 o o rt 3 S3 ^o2 nxM 4) ^3 .S rt fe Oh X~ co O |M Q P3 W Oh CO | N ro » u-> O O Q CO \ CO \ CD 1 1 1 1 o to King Richard uncles Edmund of Langley, Duke of York, Henry, surnamed Bolingbroke, Duke of Hereford, son to John of Gaunt ; afterwards King Henry IV Duke of Aumerle, 3 son to the Duke of York Thomas Mowbray, Duke of Norfolk Duke of Surrey Earl of Salisbury Lord Berkeley 4 Bushy, "1 ■n , servants to King Bagot. 5 l Green f» 1 *> J Richard Earl of Northumberland Henry Percy, surnamed Hot- spur, son to Northumberland Lord Ross Lord Willoughby 6 Lord Fitzwater Bishop of Carlisle Abbot of Westminster Lord Marshal Sir Stephen Scroop Sir Pierce of Exton Captain of a band of Welsh- men Queen to King Richard Duchess of York Duchess of Gloucester 7 Lady attending on the Queen Lords, Heralds, Officers, Soldiers, two Gardeners, Keeper, Messenger, Groom, and other Attendants. Scene : England and Wales. 1 DRAMATIS PERSONS. Rowe was the first to give a list of the characters. His list was corrected by Capell, and this corrected list has been substantially followed by subsequent editors. 2 Notes on the historical relations of the more important Dramatis Personae are given when each character is introduced into the play. 3 Aumerle. Pronounced ' o-murl'.' 4 Berkeley. Pronounced r berk'lee ' or < bark'lee ' (see textual variants, II, ii, 119). « Berkley' is the spelling in the Cambridge text. 5 Bagot. Pronounced < bag'ot.' 6 Willoughby. Pronounced < wil'o-bee.' 7 Gloucester. Pronounced ' glos'ter.' The Folios usually spell the name 1 Glouster,' and many modern editions adopt the form ' Gloster.' 2 ACT I Scene I. London. King Richard's palace Efiter King Richard, John of Gaunt, with other Nobles and Attendants King Richard. Old John of Gaunt, time-honoured Lan- caster, Hast thou, according to thy oath and band, Brought hither Henry Hereford thy bold son, Here to make good the boist'rous late appeal, ACT I. Scene I | Actus Primus, throughout the play). — London . . . Scaena Prima Ff | Qi omits (similarly palace | QiFf omit. For the dramatic construction and analysis of scenes, and the characters, see Introduction. ACT I. Scene I. In the Folios, not in the Quartos, the play is di- vided into acts and scenes, which are given with Latin nomenclature. i. Gaunt, . . . Lancaster. The Duke of Lancaster, fourth son of Edward III, was born in 1340, in the city of Ghent, Flanders, from which he received his surname. At the time represented in this play, 1398, he was fifty-eight years of age. In Shakespeare's day men were considered old at fifty. 2. band : bond. ' Band ' and ' bond ' were at first merely phonetic variants, and interchangeable. In The Comedy of Errors, IV, ii, 49-51, there is a pun on the words. Six weeks before the time of this scene Lancaster had given his oath and bond, in a Parliament held at Shrewsbury, that his son should appear for combat at the time and place appointed. This was in accordance with ancient custom. 3. Hereford. In the First Folio written ' Herford ' and pronounced as a dissyllable throughout the play. 4. appeal: impeachment (of treason). As in IV, i, 45, 79. 3 4 THE NEW HUDSON SHAKESPEARE act i Which then our leisure would not let us hear, 5 Against the Duke of Norfolk, Thomas Mowbray ? Gaunt. I have, my liege. King Richard. Tell me, moreover, hast thou sounded him, If he appeal the duke on ancient malice ; Or worthily, as a good subject should, 10 On some known ground of treachery in him ? Gaunt. As near as I could sift him on that argument, On some apparent danger seen in him Aim'd at your highness, no inveterate malice. King Richard. Then call them to our presence ; face to face, 1 5 And frowning brow to brow, ourselves will hear Th' accuser and the accused freely speak : High-stomach'd are they both, and full of ire, In rage deaf as the sea, hasty as fire. E7iter Bolingbroke and Mowbray Bolingbroke. Many years of happy days befall 20 My gracious sovereign, my most loving liege ! Mowbray. Each day still better other's happiness ; 20. Scene II Pope. — befall | befal Globe Carnb. 12. sift him: discover his motives by shrewd questioning. 0,1. Ham- let, II, ii, 58. — argument: subject for discussion, subject. Often so. 13. apparent: evident, manifest. So in IV, i, 124. 18. High-stomach'd : of high courage, haughty. Shakespeare uses ' stomach ' in the figurative senses of ' appetite,' ' anger,' and ' war- like spirit' (i.e. appetite for battle). 19. Bolingbroke. Henry Plantagenet, the eldest son of Lan- caster, surnamed Bolingbroke from his having been born at the castle of that name in Lincolnshire. 22. still : always, continually. So in II, ii, 34, and often. — other's : the other's. Often so. See Abbott, § 12. scene i KING RICHARD THE SECOND 5 Until the heavens, envying earth's good hap, Add an immortal title to your crown ! King Richard. We thank you both : yet one but flatters us, 25 As well appeareth by the cause you come ; Namely, to appeal each other of high treason. Cousin of Hereford, what dost thou object Against the Duke of Norfolk, Thomas Mowbray ? Bolingbroke. First, heaven be the record to my speech ! In the devotion of a subject's love, 31 Tendering the precious safety of my prince, And free from other misbegotten hate, Come I appellant to this princely presence. Now, Thomas Mowbray, do I turn to thee, 35 And mark my greeting well ; for what I speak My body shall make good upon this earth, Or my divine soul answer it in heaven. Thou art a traitor, and a miscreant, Too good to be so, and too bad to live, 40 Since the more fair and crystal is the sky, The uglier seem the clouds that in it fly. Once more, the more to aggravate the note, With a foul traitor's name stuff I thy throat, 34. appellant Qi | appealant Ff. 26. cause you come : cause for which you come. For the apparent omission of the relative here and in line 50, see Abbott, §§ 244, 394. 28. what dost thou object : what charge do you lay. 32. Tendering: holding tender, cherishing. In Hamlet, I, iii, 107, there is a play on this and the usual meaning of the word, ' offer.' 40. Too good. Mowbray was of the royal blood. 43- aggravate the note : add to the stigma. 44. stuff . . . throat. Cf . the expression ' swallow an insult.' 6 THE NEW HUDSON SHAKESPEARE act i And wish (so please my sovereign) ere I move, 45 What my tongue speaks my right-drawn sword may prove. Mowbray. Let not my cold words here accuse my zeal : 'T is not the trial of a woman's war, The bitter clamour of two eager tongues, Can arbitrate this cause betwixt us twain ; 50 The blood is hot that must be cool'd for this : Yet can I not of such tame patience boast As to be hush'd, and nought at all to say : First, the fair reverence of your highness curbs me From giving reins and spurs to my free speech ; 55 Which else would post until it had return'd These terms of treason doubled down his throat : Setting aside his high blood's royalty, And let him be no kinsman to my liege, - I do defy him, and I spit at him ; 60 Call him a slanderous coward and a villain : Which to maintain, I would allow him odds, And meet him, were I tied to run afoot Even to the frozen ridges of the Alps, Or any other ground inhabitable, 65 47. cold Q1F1 1 coole F2 I cool F3F4. 57. doubled Qi | doubly Ff. 46. right-drawn sword : sword drawn in a rightful cause. 49. eager: biting. The original (Latin) meaning. 40-50. tongues, Can : tongues that can. See note, line 26. 56. post: go posthaste. Cf. Ill, iv, 90; V, ii, 112. 58. Setting aside Bolingbroke's royal blood. 65. inhabitable : not habitable. The prefix has here a privative sense. Cf. Heywood, General History of Women (1624) : " where all the country was scorched by the heat of the sun, and the place al- most inhabitable for the multitude of serpents." Shakespeare uses 1 inhabit ' and ' uninhabitable ' in their modern meanings. scene I KING RICHARD THE SECOND 7 Where ever Englishman durst set his foot. Mean time let this defend my loyalty : By all my hopes, most falsely doth he lie. Bolingbroke. Pale trembling coward, there I throw my gage, Disclaiming here the kindred of the king, 70 And lay aside my high blood's royalty, Which fear, not reverence, makes thee to except. If guilty dread have left thee so much strength As to take up mine honour's pawn, then stoop : By that and all the rites of knighthood else, 75 Will I make good against thee, arm to arm, What I have spoke, or thou canst worse devise. Mowbray. I take it up ; and by that sword I swear, Which gently laid my knighthood on my shoulder, I '11 answer thee in any fair degree, 80 Or chivalrous design of knightly trial : And when I mount, alive may I not light, If I be traitor, or unjustly fight ! King Richard. What doth our cousin lay to Mowbray's charge ? It must be great that can inherit us 85 So much as of a thought of ill in him. Bolingbroke. Look, what I speak, my life shall prove it true ; 70. the king Qi | a King Ff. devise Qi | spoken, or thou canst 73. have Qi | hath Ff. deuise Ff. 77. spoke, or thou canst worse 87. speak | speake Oi | said Ff. 74. pawn: pledge. The gauntlet of line 69. Cf. IV, i, 55, 70. 82. light : alight from my horse, dismount. 85. inherit us : cause us to inherit. See Abbott, § 290. 8 THE NEW HUDSON SHAKESPEARE act i That Mowbray hath receiv'd eight thousand nobles In name of lendings for your highness' soldiers, The which he hath detained for lewd employments, 90 Like a false traitor and injurious villain : Besides I say, and will in battle prove, Or here or elsewhere to the furthest verge That ever was survey'd by English eye, That all the treasons for these eighteen years 95 Complotted and contrived in this land Fetch from false Mowbray their first head and spring. Further I say, and further will maintain Upon his bad life to make all this good, That he did plot the Duke of Gloucester's death, 100 Suggest his soon — believing adversaries, And consequently, like a traitor coward, Sluic'd out his innocent soul through streams of blood : 97. Fetch Qi I Fetch'd Fi. 90. lewd : knavish, base. The word at first meant ' lay,' ' not cler- ical '; then ' unlearned,' 'vulgar.' 100. Duke of Gloucester. This was Thomas of Woodstock, the youngest son of Edward III, and so uncle to the king. Fierce, tur- bulent, and noted for cruelty in an age of cruel men, he was arrested for treason in 1397, and his own nephews and brothers concurred in the judgment against him. Upon his arrest he was given into the keeping of Norfolk, who pretended to conduct him to the Tower ; but, when they reached the Thames, he put him on board a ship, took him to Calais, of which Norfolk was governor, and confined him in the castle. When ordered, some time afterwards, to bring his prisoner before Parliament for trial, Norfolk answered that he could not produce the Duke, because, being in the king's prison at Calais, he had there died. Holinshed says " the King sent unto Thomas Mowbraie to make the duke secretly awaie." 101. Suggest: instigate. Usually in a bad sense. Cf. Ill, iv, 75. scene i KING RICHARD THE SECOND 9 Which blood, like sacrificing Abel's, cries, Even from the tongueless caverns of the earth, 105 To me for justice and rough chastisement ; And, by the glorious worth of my descent, This arm shall do it, or this life be spent. King Richard. How high a pitch his resolution soars ! Thomas of Norfolk, what say'st thou to this ? no Mowbray. O, let my sovereign turn away his face, And bid his ears a little while be deaf, Till I have told this slander of his blood, How God and good men hate so foul a liar. King Richard. Mowbray, impartial are our eyes and ears : 115 Were he my brother, nay, my kingdom's heir, As he is but my father's brother's son, Now, by my sceptre's awe, I make a vow, Such neighbour nearness to our sacred blood Should nothing privilege him, nor partialize 120 The unstooping firmness of my upright soul : He is our subject, Mowbray ; so art thou : Free speech and fearless I to thee allow. Mowbray. Then Bolingbroke, as low as to thy heart, Through the false passage of thy throat, thou liest. 125 116. my . . . my Qi | my . . . our Ff. 104-106. cries ... To me. The words finely express the subtle but stern audacity of Bolingbroke. They are a note of terror to the king and are the more effective because he cannot or dare not resent them. 109. pitch. A term in falconry, denoting the height to which a hawk or falcon flies. 113. slander : disgrace (that which causes slander) . — blood : ancestry. 116. my kingdom's heir. These words are like a premonition. Bolingbroke and Gaunt had already determined to seize the throne. IO THE NEW HUDSON SHAKESPEARE act i Three parts of that receipt I had for Calais Disburs'd I duly to his highness' soldiers ; The other part reserv'd I by consent, For that my sovereign liege was in my debt Upon remainder of a dear account, 130 Since last I went to France to fetch his queen : Now swallow down that lie. For Gloucester's death, I slew him not ; but to my own disgrace Neglected my sworn duty in that case. For you, my noble Lord of Lancaster, 135 The honourable father to my foe, Once did I lay an ambush for your life, A trespass that doth vex my grieved soul ; But ere I last receiv'd the sacrament I did confess it, and exactly begg'd 140 126. Calais | Callice QiFf. 137. did I Qi | I did Ff. 126. receipt: money received. Cf. Coriolanus, I, i, 116. 130. dear : heavy. 'Dear' is often used in Shakespeare to express strong emotion, either of pleasure or of pain. It may be used in this general sense here. Cf. I, iii, 151. Norfolk and Aumerle, with several other peers and a large retinue of knights and esquires, were sent over to France in 1395, to negotiate a marriage between Richard and Isabella, daughter of the French king, then in her eighth year. The next year, 1396, Norfolk went to France again and formally married Isabella in the name and behalf of his sovereign. Richard's first wife, daughter of Charles IV, Emperor of Germany, and known in history as "the good Queen Anne," died in 1394, "to the great greefe of hir husband, who loved hir intirelie." 134. This reads as if Norfolk held it his duty to slay Gloucester, or, at least, to obey the king's order to that effect. But such can hardly be his meaning, since to excuse himself so would be to ac- cuse the king. And perhaps by ' sworn duty ' he means his duty to shield Gloucester from the violence of others. 140. exactly : scrupulously, punctiliously, explicitly. scene I KING RICHARD THE SECOND II Your grace's pardon, and I hope I had it. This is my fault : as for the rest appeal'd, It issues from the rancour of a villain, A recreant and most degenerate traitor : Which in myself I boldly will defend ; 145 And interchangeably hurl down my gage Upon this overweening traitor's foot, To prove myself a loyal gentleman Even in the best blood chamber'd in his bosom. In haste whereof, most heartily I pray 150 Your highness to assign our trial day. King Richard. Wrath-kindled gentlemen, be rul'd by me ; Let 's purge this choler without letting blood : This we prescribe, though no physician ; Deep malice makes too deep incision : 155 Forget, forgive ; conclude and be agreed ; Our doctors say this is no month to bleed. Good uncle, let this end where it begun ; We '11 calm the Duke of Norfolk, you your son. Gaunt. To be a make-peace shall become my age : 160 Throw down, my son, the Duke of Norfolk's gage. King Richard. And, Norfolk, throw down his. Gaunt. When, Harry, when ? Obedience bids I should not bid again. 157. month Qi | time Ff. when obedience bids, Obedience bids 162-163. When, Harry, when? Qi | When Harrie when? Obedience Obedience bids Camb | When Harry ? bids, Obedience bids Fi. 153. choler : bile, anger. A play on the double meaning. 156. conclude : come to terms, settle the matter. 157. In the old almanacs the best times for blood-lettin>g were carefully noted. " It was customary with our fathers to be bled periodically, in spring and in autumn." — Clar. 12 THE NEW HUDSON SHAKESPEARE act i King Richard. Norfolk, throw down, we bid ; there is no boot. Mowbray. Myself I throw, dread sovereign, at thy foot. My life thou shalt command, but not my shame : 166 The one my duty owes ; but my fair name, Despite of death that lives upon my grave, To dark dishonour's use thou shalt not have. I am disgrac'd, impeach'd, and baffl'd here; 170 Pierc'd to the soul with slander's venom'd spear, The which no balm can cure but his heart-blood Which breath 'd this poison. King Richard. Rage must be withstood : Give me his gage : lions make leopards tame. Mowbray. Yea, but not change his spots : take but my shame, 1 7 5 And I resign my gage. My dear dear lord, The purest treasure mortal times afford Is spotless reputation ; that away, Men are but gilded loam or painted clay. A jewel in a ten-times-barr'd-up chest 180 Is a bold spirit in a loyal breast. Mine honour is my life ; both grow in one ; 172. balm I balme Q1F1F3 I blame F2F4. 164. there is no boot : it is useless to resist. Cf.I,iii, 174; III,iv,i8. 168. that. The antecedent is 'name.' Cf. Ill, ii, 38. 170. baffl'd : disgraced as if held recreant. See Murray. 172-173. his heart-blood Which : the heart blood of him who. Here ' his,' retaining its force as the genitive of ' he,' stands as the ante- cedent of a relative. 175. change his spots. Cf. Jeremiah, xiii, 23. Mowbray intimates that even the king cannot wipe out his shame in yielding to this accusation. scene I KING RICHARD THE SECOND 13 Take honour from me, and my life is done : Then, dear my liege, mine honour let me try ; In that I live, and for that will I die. 185 King Richard. Cousin, throw up your gage ; do you begin. Bolingbroke. O, God defend my soul from such deep sin ! Shall I seem crest-fall'n in my father's sight ? Or with pale beggar-fear impeach my height Before this out-dar'd dastard ? Ere my tongue 190 Shall wound my honour with such feeble wrong, Or sound so base a parle, my teeth shall tear The slavish motive of recanting fear, And spit it bleeding in his high disgrace, Where shame doth harbour, even in Mowbray's face. 195 [Exit Gaunt] King Richard. We were not born to sue, but to com- mand; Which since we cannot do to make you friends, Be ready, as your lives shall answer it, 187. God Qi I heauen Ff. — deep | 191. my Q1F4 I mine F1F2F8. deepe Qi | foule Ff. 192. parle Ff | parlee Qi. 187. The Folios have changed ' God ' of the Quarto to ' heaven.' An act of Parliament under King James forbade the use of the name ' God ' on the stage. This accounts for similar changes throughout the play. 191. feeble wrong : wrong of feebleness, wrong that would show feebleness. Cf. 'partial slander,' I, iii, 241. 192-195. parle: parley. Cf. King John, II, i, 205. — my teeth . . . face. It is said that the Greek philosopher Anaxarchus, when being pounded in a mortar at the command of Nicocreon, tyrant of Cyprus, bit off his tongue and spit it into the face of his tormentor. 193. motive: moving power, instrument (i.e. the tongue, by which fear is expressed). Cf. Hamlet, I, i, 105. 14 THE NEW HUDSON SHAKESPEARE act i At Coventry, upon Saint Lambert's day : There shall your swords and lances arbitrate 200 The swelling difference of your settled hate : Since we can not atone you, we shall see Justice design the victor's chivalry. Lord marshal, command our officers at arms Be ready to direct these home alarms. [Exeunt] 205 Scene II. The Duke of Lancaster's palace Enter John of Gaunt with the Duchess of Gloucester Gaunt. Alas, the part I had in Woodstock's blood Doth more solicit me than your exclaims, To stir against the butchers of his life ! But since correction lieth in those hands Which made the fault that we cannot correct, 5 Put we our quarrel to the will of heaven ; Scene II | Scene III Pope. — The . . .palace Theobald. 199. Saint Lambert's day. " The King . . . ordeined ... a daie of battell appointed them at Coventrie . . . some saie upon a mondaie in August, other upon saint Lamberts daie, being the seventeenth of September." — Holinshed. 202. atone : set at one, reconcile. The original meaning. 203. design : point out. The original (Latin) meaning. Scene II. . . . Enter . . . Duchess of Gloucester. She was Eleanor Bohun, sister to Mary, wife of Bolingbroke. 1. My blood relationship to Woodstock. Thomas, brother of John of Gaunt, was surnamed Woodstock from the place of his birth. 4. those hands. Referring to the king, whom Gaunt charges with responsibility for Gloucester's death. 6-7. heaven . . . they. ' Heaven ' is elsewhere found as a plural. Cf. Hamlet, III, iv, 173 : " Heaven hath pleas'd . . . that I must be their scourge and minister." scene ii KING RICHARD THE SECOND 15 Who, when they see the hours ripe on earth, Will rain hot vengeance on offenders' heads. Duchess. Finds brotherhood in thee no sharper spur ? Hath love in thy old blood no living fire ? 10 Edward's seven sons, whereof thyself art one, Were as seven vials of his sacred blood, Or seven fair branches springing from one root : Some of those seven are dried by nature's course, Some of those branches by the Destinies cut ; 1 5 But Thomas, my dear lord, my life, my Gloucester, One vial full of Edward's sacred blood, One flourishing branch of his most royal root, Is crack'd, and all the precious liquor spilt, Is hack'd down, and his summer leaves all faded 20 By envy's hand and murder's bloody axe. Ah, Gaunt, his blood was thine ! that bed, that womb, That metal, that self-mould, that fashion'd thee Made him a man ; and though thou liv'st and breath'st, Yet art thou slain in him : thou dost consent 25 In some large measure to thy father's death, In that thou seest thy wretched brother die, Who was the model of thy father's life : Call it not patience, Gaunt ; it is despair : In suff'ring thus thy brother to be slaughter'd, 30 Thou show'st the naked pathway to thy life, 8. rain F3 I raine QiFslraigne Fi. —faded Q1F4 I vaded F1F2F3. 20. leaves Q1F2F3F4 I leafes Fi. 23. metal | mettall Qi | mettle Ff. 15. Destinies. The three Fates (Greek, Moipcu ; Latin, Parcae), or goddesses of destiny, were Clotho, Lachesis, and Atropos. 21. Here, as elsewhere in Shakespeare, ' envy ' means ' hatred.' 28. model: thing modeled, image, copy. Cf. 'merit,' I, iii, 156. 16 THE NEW HUDSON SHAKESPEARE act i Teaching stern murder how to butcher thee : That which in mean men we intitle patience Is pale cold cowardice in noble breasts. What shall I say ? to safeguard thine own life, 35 The best way is to venge my Gloucester's death. Gaunt. God's is the quarrel ; for God's substitute, His deputy anointed in His sight, Hath caus'd his death : the which, if wrongfully, Let heaven revenge ; for I may never lift 40 An angry arm against His minister. Duchess. Where then, alas, may I complain myself ? Gaunt. To God, the widow's champion and defence. Duchess. Why, then, I will. Farewell, old Gaunt ; Thou go'st to Coventry, there to behold 45 Our cousin Hereford and fell Mowbray fight. O, sit my husband's wrongs on Hereford's spear, That it may enter butcher Mowbray's breast ! Or, if misfortune miss the first career, Be Mowbray's sins so heavy in his bosom, 50 That they may break his foaming courser's back, And throw the rider headlong in the lists, A caitiff recreant to my cousin Hereford ! 37. God's . . . God's Qi | Heauens 43. God Qi | heauen Ff. . . . heauens Ff. 47. sit Ff | set Qi. 42. complain myself . Cf.'retir'd himself,' I V, i, 96; "I do repent me," V, iii, 52. Reflexives are common in Shakespeare. See Abbott, § 296. 49. career: charge (in a combat or tournament), encounter. The earlier meanings are ' race course,' and ' space within the barriers at a tournament.' 53. caitiff : captive. Here an adjective, with the original (Latin) meaning. — recreant: one who yields. The original (Latin) meaning. ' Caitiff ' and ' recreant ' are terms of chivalry. scene ii KING RICHARD THE SECOND 17 Farewell, old Gaunt : thy sometimes brother's wife With her companion grief must end her life. 55 Gaunt. Sister, farewell ; I must to Coventry, As much good stay with thee as go with me ! Duchess. Yet one word more : grief boundeth where it falls, Not with the empty hollowness, but weight : I take my leave before I have begun ; 60 For sorrow ends not when it seemeth done : Commend me to thy brother, Edmund York. Lo, this is all : nay, yet depart not so, Though this be all, do not so quickly go ; I shall remember more. Bid him, ah — what ? — 65 With all good speed at Plashy visit me. Alack, and what shall good old York there see But empty lodgings and unfurnish'd walls, UnpeopPd offices, untrodden stones ? And what hear there for welcome but my groans ? 70 Therefore commend me ; let him not come there, To seek out sorrow that dwells every where. Desolate, desolate, will I hence and die : The last leave of thee takes my weeping eye. [Exeunt] 62. thy Q I my Qi. 65. ah, I ah Qi | Oh, Ff. 55. companion grief. Cf. the words of Constance, Arthur's mother, King John, III, i, 73 : "here I and sorrows sit." 66. Plashy. Gloucester's seat (in virtue of his office as High Con- stable), near Dunmow, in Essex, on the way to Coventry. 68. unfurnish'd. " The usual manner of hanging the rooms in the old castles was only to cover the naked stone walls with tapestry, or arras, hung upon tenter hooks, from which they were easily taken down upon every removal." — Bishop Percy. 18 THE NEW HUDSON SHAKESPEARE act I Scene III. The lists at Coventry Enter the Lord Marshal and the Duke of Aumerle Marshal. My Lord Aumerle, is Harry Hereford arm'd ? Aumerle. Yea, at all points, and longs to enter in. Marshal. The Duke of Norfolk, sprightfully and bold, Stays but the summons of the appellant's trumpet. Aumerle. Why, then, the champions are prepar'd, and stay For nothing but his majesty's approach. 6 The trumpets sound, and the King enters with his nobles, Gaunt, Bushy, Bagot, Green, a?id others. When they are set, enter Mowbray in arms, defendant, with a Herald King Richard. Marshal, demand of yonder champion The cause of his arrival here in arms : Ask him his name, and orderly proceed To swear him in the justice of his cause. 10 Marshal. In God's name, and the king's, say who thou art, And why thou com'st thus knightly clad in arms, Against what man thou com'st, and what thy quarrel : Scene III | Scene IV Pope.— 4. appellant's | Appealants Ff. The . . . Coventry Pope. 13. and what Qi I and what's Ff. Scene III. The official actors in this scene are spoken of by Holinshed as follows : " The duke of Aumarle that daie being high constable of England, and the duke of Surrie marshall, entered into the listes with a great companie of men apparelled in silke sendall imbrodered with silver, both richlie and curiouslie, everie man having, a tipped staffe to keepe the field in order." Aumerle was Edward, son of Edmund of York. His title was from the town of Albemarle, or Aumerle, in Normandy. He fell at Agincourt. 2. at all points : completely, cap-a-pie. scene in KING RICHARD THE SECOND 19 Speak truly on thy knighthood and thy oath, As so defend thee heaven, and thy valour! 15 Mowbray. My name is Thomas Mowbray, Duke of Norfolk ; Who hither come engaged by my oath (Which God defend a knight should violate !) Both to defend my loyalty and truth To God, my king, and my succeeding issue, . 20 Against the Duke of Hereford that appeals me ; And, by the grace of God and this mine arm, To prove him, in defending of myself, A traitor to my God, my king, and me : And as I truly fight, defend me heaven ! 2 5 The trumpets sound. Enter Bolingbroke, appellant, in armour, with a Herald King Richard. Marshal, ask yonder knight in arms, Both who he is, and why he cometh hither Thus plated in habiliments of war ; And formally, according to our law, Depose him in the justice of his cause. 30 Marshal. What is thy name ? and wherefore com'st thou hither Before King Richard in his royal lists ? 14. thy oath Qi | thine oath Ff. 20. and my Qi | and his Ff. 15. As so QiFf I And so Rowe 28. plated Qi | placed FfQs. Delius. 29. formally Q1F2F3F4 I formerly 17. come Q1F2F3F4 I comes Fi. F1Q4. 18. God Qi I heauen Ff. 18. defend: forbid. Cf. French defendre. So ' forfend,' IV, i, 129. 20. my succeeding issue. Norfolk's children would share in the forfeiture incurred through his treason against the king. 30. Depose him ; take his deposition, examine him on oath. 20 THE NEW HUDSON SHAKESPEARE act I Against whom com'st thou ? and what 's thy quarrel ? Speak like a true knight, so defend thee heaven ! 34 Bolingbroke. Harry of Hereford, Lancaster, and Derby, Am I ; who ready here do stand in arms, To prove, by God's grace and my body's valour, In lists, on Thomas Mowbray, Duke of Norfolk, That he 's a traitor, foul and dangerous, To God of heaven, King Richard, and to me : 40 And as I truly fight, defend me heaven ! Marshal. On pain of death, no person be so bold Or daring-hardy as to touch the lists, Except the marshal and such officers Appointed to direct these fair designs. 45 Bolingbroke. Lord marshal, let me kiss my sovereign's hand, And bow my knee before his majesty : For Mowbray and myself are like two men That vow a long and weary pilgrimage ; Then let us take a ceremonious leave 50 And loving farewell of our several friends. Marshal. The appellant in all duty greets your highness, And craves to kiss your hand, and take his leave. King Richard. We will descend, and fold him in our arms. Cousin of Hereford, as thy cause is right, 55 So be thy fortune in this royal fight ! Farewell, my blood ; which if to-day thou shed, Lament we may, but not revenge thee dead. Bolingbroke. O, let no noble eye profane a tear 37. God's Qi I heauens Ff. ing, hardy Qi | daring hardie F1F2. 43. daring-hardy Theobald I dar- 55. right Qi | just Ff. scene in KING RICHARD THE SECOND 21 For me, if I be gor'd with Mowbray's spear : 60 As confident as is the falcon's flight Against a bird, do I with Mowbray fight. My loving lord, I take my leave of you ; Of you, my noble cousin, Lord Aumerle ; Not sick, although I have to do with death, 65 But lusty, young, and cheerly drawing breath. Lo, as at English feasts, so I regreet The daintiest last, to make the end most sweet : O thou, the earthly author of my blood, Whose youthful spirit, in me regenerate, 70 Doth with a twofold vigour lift me up To reach at victory above my head, Add proof unto mine armour with thy prayers ; And with thy blessings steel my lance's point, That it may enter Mowbray's waxen coat, 75 And furbish new the name of John a Gaunt, Even in the lusty haviour of his son. Gaunt. God in thy good cause make thee prosp'rous ! Be swift like lightning in the execution ; And let thy blows, doubly redoubled, 80 Fall like amazing thunder on the casque Of thy adverse pernicious enemy : Rouse up thy youthful blood, be valiant and live. 69. earthly Qi | earthy Ff. Gaunt QiFf | o' Gaunt Theobald. 71. vigour Q1F2F3F4 I rigor Fi. 78, 85, 101. God Qi | Heauen Ff. 76. furbish Qi | furnish Ff . — a 82. adverse Qi | amaz'd Ff. 67. regreet: greet, salute. So in line 186. Cf. line 142, and note. 75. waxen : turned to wax, penetrable. An example of prolepsis. 77. haviour: behaviour. 'Haviour' (variants are 'haver,' 'havoir,' ' havour ') is from the French avoir. It is an older form than ' be- haviour.' See Murray. 22 THE NEW HUDSON SHAKESPEARE act i Bolingbroke. Mine innocency and Saint George to thrive ! Mowbray. However God or fortune cast my lot, 85 There lives or dies, true to King Richard's throne, A loyal, just, and upright gentleman. Never did captive with a freer heart Cast off his chains of bondage, and embrace His golden uncontroll'd enfranchisement, 90 More than my dancing soul doth celebrate This feast of battle with mine adversary. Most mighty liege, and my companion peers, Take from my mouth the wish of happy years : As gentle and as jocund as to jest 95 Go I to fight : truth hath a quiet breast. King Richard. Farewell, my lord : securely I espy Virtue with valour couched in thine eye. Order the trial, marshal, and begin. Marshal. Harry of Hereford, Lancaster, and Derby, 100 Receive thy lance ; and God defend the right ! Bolingbroke. Strong as a tower in hope, I cry Amen. Marshal. Go bear this lance to Thomas, Duke of Norfolk. 84. innocency Capell | innocence 86. King | Kings Fi. QiFf I innocence, God Pope. 101. the right Qi | thy right Ff. 84. Saint George : England's patron saint. — to thrive : help me to thrive. For the ellipsis, see Abbott, § 382. 95. as to jest. Cf. Hamlet, III, ii, 244 : " No, no, they do but jest, poison in jest." Possibly there is a reference to playing a part in a masque. Schmidt interprets, <( as if I were going to a mock-fight." 97. securely: confidently, free from anxiety. Limiting ' couched.' Cf. the meaning in II, i, 266. 103. Go bear. In the Elizabethan period ' go ' and ' come ' still took the simple infinitive (without ' to ') to express purpose, where to-day we may use the infinitive with ' to,' but prefer ' and ' with a coordinate verb. Cf. I, iv, 63. See Abbott, § 349, scene in KING RICHARD THE SECOND 23 1 Herald. Harry of Hereford, Lancaster, and Derby, Stands here for God, his sovereign, and himself, 105 On pain to be found false and recreant, To prove the Duke of Norfolk, Thomas Mowbray, A traitor to his God, his king, and him ; And dares him to set forward to the fight. 2 Herald. Here standeth Thomas Mowbray, Duke of Norfolk, no On pain to be found false and recreant, Both to defend himself and to approve Henry of Hereford, Lancaster, and Derby, To God, his sovereign, and to him disloyal ; Courageously and with a free desire 115 Attending but the signal to begin. Marshal. Sound, trumpets, and set forward, combatants. [A charge sounded} Stay, the king hath thrown his warder down. King Richard. Let them lay by their helmets and their spears, And both return back to their chairs again : 120 Withdraw with us ; and let the trumpets sound While we return these dukes what we decree. [A long flourish} Draw near And list what with our council we have done : 109. forward Q1F3F4 I forwards F1F2. 118. warder: staff (borne by the presiding officer of the combat). " The king cast downe his warder, and the heralds cried, ' Ho, ho ! ' Then the king caused their speares to be taken from them, and commanded them to repaire againe to their chaires, where they re- mained two long houres." — Holinshed. 24 THE NEW HUDSON SHAKESPEARE act i For that our kingdom's earth should not be soil'd 125 With that dear blood which it hath fostered ; And for our eyes do hate the dire aspect Of civil wounds plough 'd up with neighbours' sword ; And for we think the eagle-winged pride Of sky-aspiring and ambitious thoughts, 130 With rival-hating envy, set on you To wake our peace, which in our country's cradle Draws the sweet infant breath of gentle sleep ; Which so rous'd up with boist'rous untun'd drums, With harsh-resounding trumpets' dreadful bray, 135 And grating shock of wrathful iron arms, Might from our quiet confines fright fair peace, And make us wade even in our kindred's blood ; Therefore we banish you our territories : You, cousin Hereford, upon pain of life, 140 Till twice five summers have enrich'd our fields, Shall not regreet our fair dominions, But tread the stranger paths of banishment. Bolingbroke. Your will be done : this must my com- fort be, That sun that warms you here shall shine on me ; 145 And those his golden beams to you here lent Shall point on me, and gild my banishment. 128. civil Ff I cruell Qi (some Q1Q2Q3Q4 I F1Q5 omit, copies). — sword Qi | swords Ff. 140. upon QiFf | on Pope. — life 129-133. And for . . . gentle sleep Qi | death Ff. 125. For that: in as much as. Often so. See Abbott, § 151. 140. pain of life. An older idiom than ' pain of death ' with the same meaning. Cf. line 153. 142. regreet: greet again. Or perhaps simply 'greet.' Cf. line 67, and see note. scene in KING RICHARD THE SECOND 25 King Richard. Norfolk, for thee remains a heavier doom, Which I with some unwillingness pronounce : The sly slow hours shall not determinate 150 The dateless limit of thy dear exile : The hopeless word of ' never to return ' Breathe I against thee, upon pain of life. Mowbray. A heavy sentence, my most sovereign liege, And all unlook'd for from your highness' mouth : 155 A dearer merit, not so deep a maim As to be cast forth in the common air, Have I deserved at your highness' hands : The language I have learn 'd these forty years (My native English) now I must forego ; 160 And now my tongue's use is to me no more Than an unstringed viol, or a harp, Or like a cunning instrument cas'd up, Or, being open, put into his hands That knows no touch to tune the harmony : 165 Within my mouth you have enjail'd my tongue, Doubly portcullis'd with my teeth and lips ; And dull, unfeeling, barren ignorance 150. sly slow QqFiF3F4 I flye 167. portcullis'd | portcullist Qi | slow F2. percullist Fi. 150. sly slow hours. The idea is that of creeping forward stealthily and noiselessly. Cf. the Grave-digger's song in Hamlet, V, i, 89 : " But age with his stealing steps " ; Sonnets, lxxvii, 7-8 : Thou by thy dial's shady stealth mayst know Time's thievish progress to eternity. In earlier editions of Hudson's Shakespeare ' fly-slow ' (i.e. ' slow flying'), the reading of the Second Folio, was adopted. — deter- minate : set a limit to. 156. merit : thing merited, reward. Cf. ' model,' I, ii, 28, ( 26 THE NEW HUDSON SHAKESPEARE act i Is made my jailer to attend on me. I am too old to fawn upon a nurse, 170 Too far in years to be a pupil now : What is thy sentence, then, but speechless death, Which robs my tongue from breathing native breath ? King Richard. It boots thee not to be compassionate : After our sentence plaining comes too late. 175 Mowbray. Then thus I turn me from my country's light, To dwell in solemn shades of endless night. King Richard. Return again, and take an oath with thee. Lay on our royal sword your banish'd hands ; Swear by the duty that you owe to God 180 (Our part therein we banish with yourselves) To keep the oath that we administer : You never shall (so help you truth, and God !) Embrace each other's love in banishment ; Nor never look upon each other's face ; 185 Nor never write, regreet, nor reconcile This louring tempest of your home-bred hate ; Nor never by advised purpose meet, To plot, contrive, or complot any ill, 'Gainst us, our state, our subjects, or our land. 190 Bolingbroke. I swear. 172. then Ff | Qi omits. 180, 183, 204. God Qi | heauen Ff. 180. you owe Ff | y' owe Qi. 186. regreet, nor Qi| regreet, or Ff. 174. compassionate : sorrowful. Shakespeare nowhere else uses the word to express pity for one's own emotions. 181. Richard releases them from allegiance to him. " Writers on the law of nations are divided in opinion whether an exile is still bound by his allegiance to the State that banished him. Shakespeare here is of the side of those who hold the negative." — Staunton. 188. advised : considered, deliberate. Frequently so. scene in KING RICHARD THE SECOND 27 Mowbray. And I, to keep all this. Bolingbroke. Norfolk, so far as to mine enemy : By this time, had the king permitted us, One of our souls had wander'd in the air, 195 Banish'd this frail sepulchre of our flesh, As now our flesh is banish'd from this land : Confess thy treasons ere thou fly the realm ; Since thou hast far to go, bear not along The clogging burden of a guilty soul. 200 Mowbray. No, Bolingbroke : if ever I were traitor, My name be blotted from the book of life, And I from heaven banish'd as from hence ! But what thou art, God, thou, and I do know ; And all too soon, I fear, the king shall rue : 205 Farewell, my liege. Now no way can I stray; Save back to England, all the world 's my way. [jExit~\ King Richard. Uncle, even in the glasses of thine eyes I see thy grieved heart : thy sad aspect Hath from the number of his banish'd years 210 Pluck'd four away. [To Bolingbroke] Six frozen winters spent, Return with welcome home from banishment. Bolingbroke. How long a time lies in one little word ! Four lagging winters and four wanton springs End in a word : such is the breath of kings. 215 198. the Qi I this Ff. 211. [To Bolingbroke] Steev- 208. Scene V Pope. ens. 193. Norfolk, so far as I may speak to mine enemy. Bolingbroke wishes to speak to Norfolk, but by way of caution reminds him that they are still on the footing of enemies. See Abbott, § 382. 205. rue. When he learns what Bolingbroke's purpose is. 214. wanton : unrestrained, free, wayward. Often so. 28 THE NEW HUDSON SHAKESPEARE act i Gaunt. I thank my liege, that in regard of me He shortens four years of my son's exile : But little vantage shall I reap thereby ; For, ere the six years that he hath to spend Can change their moons and bring their times about, 220 My oil-dried lamp and time-bewasted light Shall be extinct with age and endless night ; My inch of taper will be burnt and done, And blindfold death not let me see my son. King Richard. Why, uncle, thou hast many years to live. Gaunt. But not a minute, king, that thou canst give : 226 Shorten my days thou canst with sullen sorrow, And pluck nights from me, but not lend a morrow ; Thou canst help time to furrow me with age, But stop no wrinkle in his pilgrimage : 230 Thy word is current with him for my death, But dead, thy kingdom cannot buy my breath. King Richard. Thy son is banish'd upon good advice, Whereto thy tongue a party-verdict gave : Why at our justice seem'st thou then to lour? 235 Gaunt. Things sweet to taste prove in digestion sour. You urg'd me as a judge, but I had rather You would have bid me argue like a father. O, had 't been a stranger, not my child, To smooth his fault I should have been more mild : 240 227. sullen Qi I sudden Ff. Qq I FfQs omit. 239-242. 0, had 't... life destroy 'd 240. should Qi | would Q2Q3Q4. 227. sullen : gloomy, melancholy. Commonly so. 231. is current : bears the stamp of authority. 233. upon good advice : after due consideration. 234. Your tongue had a part in the sentence I pronounced. scene in KING RICHARD THE SECOND 29 A partial slander sought I to avoid, And in the sentence my own life destroy'd : Alas, I look'd when some of you should say, I was too strict to make mine own away ; But you gave leave to my unwilling tongue 245 Against my will to do myself this wrong. King Richard. Cousin, farewell ; and, uncle, bid him so : Six years we banish him, and he shall go. [Flourish. Exeunt King Richard and tram] Aumerle. Cousin, farewell : what presence must not know, From where you do remain let paper show. 250 Marshal. My lord, no leave take I ; for I will ride, As far as land will let me, by your side. Gaunt. O, to what purpose dost thou hoard thy words, That thou return'st no greeting to thy friends ? Bolingbroke. I have too few to take my leave of you, When the tongue's office should be prodigal 256 To breathe th' abundant dolour of the heart. Gaunt. Thy grief is but thy absence for a time. 248. [Flourish. Exeunt . . . train] 249. Scene VI Pope. Exit. Flourish Ff | Qi omits. 241. partial slander : slander our charge of partiality. Cf. ' feeble wrong,' I, i, 191, and see note. 244. to make : in making. The infinitive was often so used. Cf. 256-257. See Abbott, § 356. 249-250. Aumerle asks to be informed by Bolingbroke of his place of residence. — presence : the king. In line 289 it means the 1 presence-chamber,' where the king received his guests. Aumerle's words are purposely obscure. They might be taken as meaning treachery. 256-257. prodigal . . . dolour of : prodigal of giving expression to the deep grief of. 3 97 > 98- [Kneels] Rowe. no. prayer Qi | prayers Ff. 93. walk Qi I kneele F1F2. m, 129. Bolingbroke | Bui. Ff ! 99. Ill . . . grace Qi | Ff omit. . Yorke Qi. 106. shall Ff I still Qi. 89. make : do. Cf. As You Like It, I, i, 31 : "what make you here ? " 130 THE NEW HUDSON SHAKESPEARE act v Duchess. Nay, do not say, * stand up ' ; Say ' pardon ' first, and afterwards ' stand up.' And if I were thy nurse, thy tongue to teach, f Pardon ' should be the first word of thy speech. I never long'd to hear a word till now : 115 Say ' pardon,' king, let pity teach thee how : The word is short, but not so short as sweet, No word like ' pardon,' for kings' mouths so meet. York. Speak it in French, king ; say, ' pardonne moi.' Duchess. Dost thou teach pardon pardon to destroy ? 120 Ah, my sour husband, my hard-hearted lord, That set'st the word itself against the word ! Speak ' pardon ' as 't is current in our land ; The chopping French we do not understand. Thine eye begins to speak, set thy tongue there : 125 Or in thy piteous heart plant thou thine ear ; That hearing how our plaints and prayers do pierce, Pity may move thee ' pardon ' to rehearse. Bolingbroke. Good aunt, stand up. Duchess. I do not sue to stand ; Pardon is all the suit I have in hand. 130 Bolingbroke. I pardon him, as God shall pardon me. Duchess. O happy vantage of a kneeling knee ! Yet am I sick for fear : speak it again ; 112. Say . . . and Oi I But . . . 129. Bolingbroke | Bui. Ff. | and Ff. ' Yorke Qi. 113. And if QiFf I An if Theobald. 131, 146. God Qi | heauen Ff. 119. ' pardonne moi ' : excuse me. By adding moi York ironically turns the French word pardonnej; ' pardon,' into ' excuse me,' a polite form of refusal. 124. chopping: changing, bandying (that can change 'pardon' into 'refuse to pardon'). scene iv KING RICHARD THE SECOND 131 Twice saying ' pardon ' doth not pardon twain, But makes one pardon strong. Bolingbroke. I pardon him with all my heart. 135 Duchess. A god on earth thou art. Bolingbroke. But for our trusty brother-in-law and the abbot, With all the rest of that consorted crew, Destruction straight shall dog them at the heels : Good uncle, help to order several powers 140 To Oxford, or where'er these traitors are : They shall not live within this world, I swear, But I will have them, if I once know where. Uncle, farewell ; and, cousin too adieu : Your mother well hath pray'd, and prove you true. 145 Duchess. Come, my old son : I pray God make thee new. \^Exeunf\ Scene IV. The same Enter Exton and Servant Exton. Didst thou not mark the king, what words he spake, 1 Have I no friend will rid me of this living fear ? ' Was it not so ? 135. I pardon . . . heart QiFf | 146. [Exeunt] Exeunt. Manet sir With all my heart I pardon him Pierce Exton, &c. Qi | Exit Ff. Pope Globe. Scene IV Steevens | Scene IX 137. and the Qi | the Ff. Pope | Ff continue Scene. 144. cousin too Q5 | cosin QiFf. 137. brother-in-law : John, Earl of Huntington, who had married the Lady Elizabeth, Bolingbroke's sister. 140. several: separate. The original (Latin) meaning. Often so. 145. prove you true. Aumerle, who succeeded his father as Duke of York, died leading the van at Agincourt. Cf. Henry V, IV, vi, 3-32. 132 THE NEW HUDSON SHAKESPEARE act v Servant. These were his very words. Exton. ' Have I no friend ? ' quoth he : he spake it twice, And urg'd it twice together, did he not ? 5 Servant. He did. Exton. And speaking it, he wistly look'd on me ; As who should say, * I would thou wert the man That would divorce this terror from my heart ' ; Meaning the king at Pomfret : come, let 's go ; 10 I am the king's friend, and will rid his foe. [Exeunt] Scene V. Pomfret Castle Ente?- King Richard King Richard. I have been studying how I may compare This prison where I live unto the world : And for because the world is populous, And here is not a creature but myself, I cannot do it ; yet I '11 hammer it out. 5 My brain I '11 prove the female to my soul, My soul the father : and these two beget A generation of still-breeding thoughts, And these same thoughts people this little world ; 3. These Qi | Those Ff. I A prison at Pomfret Castle Pope. Scene V Steevens | Scaena Quarta i. I may Qi | to Ff. Ff I Scene X Pope. — Pomfret Castle 5. hammer it Qi I hammer 't Ff. 8. who: he who. An indefinite pronoun. See Abbott, § 257. 11. rid : remove, destroy. Cf. The Tempest, I, ii, 364. 8. still-breeding : continually breeding. Cf. ' still-closing waters,' The Tempest, III, iii, 64. 9. this little world. An allusion to the Platonic doctrine that man is the microcosm, or little world, being an epitome of the exterior scene v KING RICHARD THE SECOND 133 In humours like the people of this world, 10 For no thought is contented. The better sort, As thoughts of things divine, are intermix'd With scruples and do set the word itself Against the word, As thus : ' Come, little ones ' ; and then again, 1 5 ' It is as hard to come as for a camel To thread the postern of a small needle's eye.' Thoughts tending to ambition, they do plot Unlikely wonders ; how these vain weak nails May tear a passage through the flinty ribs 20 Of this hard world, my ragged prison walls ; And, for they cannot, die in their own pride. Thoughts tending to content flatter themselves, That they are not the first of fortune's slaves, Nor shall not be the last ; like silly beggars, 25 Who sitting in the stocks refuge their shame That many have, and others must sit there ; And in this thought they find a kind of ease, Bearing their own misfortunes on the back 13, 14. word Qi I faith Ff. Fi. — small Qi | Ff omit. 17. thread Q4 I threed Qi | thred 29. misfortunes Qi | misfortune Ff. universe, or great world (macrocosm) ; and that things existing without are made knowable to us by certain things within us corre- sponding to them or resembling them. 10. humours : moods (natural to a temperament). This meaning comes from the theory of the old physiologists that four cardinal ' humors ' — blood, choler or yellow bile, phlegm, and melancholy or black bile — determine by their conditions and proportions a person's physical and mental qualities. 26-27. refuge their shame . . . there : provide refuge for their shame, saying that many have sat, and others must sit, there. 134 THE NEW HUDSON SHAKESPEARE act v Of such as have before endur'd the like. 30 Thus play I in one person many people, And none contented : sometimes am I king ; Then treasons make me wish myself a beggar, And so I am : then crushing penury Persuades me I was better when a king ; 35 Then am I king'd again : and by and by Think that I am unking'd by Bolingbroke, And straight am nothing. But whate'er I be, Nor I, nor any man that but man is, With nothing shall be pleas'd, till he be eas'd 40 With being nothing. Music do I hear ? [Music] Ha, ha! keep time : how sour sweet music is, When time is broke, and no proportion kept ! So is it in the music of men's lives ; And here have I the daintiness of ear 45 To check time broke in a disorder'd string ; But for the concord of my state and time, Had not an ear to hear my true time broke. I wasted time, and now doth time waste me ; For now hath time made me his numb 'ring clock : 50 31. person Qi | Prison Ff. 38. be Qi | am Ff. 33. treasons make Qi | Treason 46. check Qi | heare F1F2. makes Ff. 40-41. till . . . nothing : till he finds the relief that comes with death. A play on ' nothing ' in lines 38 and 40. 46. check : censure, reprove. 50-57. " There are three ways in which a clock notices the prog- ress of time ; namely, by the libration of the pendulum, the index on the dial, and the striking of the hour. To these the king, in his comparison, severally alludes ; his sighs corresponding to the jarring of the pendulum, which, at the same time that it watches or numbers scene v KING RICHARD THE SECOND 135 My thoughts are minutes, and with sighs they jar Their watches on unto mine eyes, the outward watch, Whereto my finger, like a dial's point, Is pointing still, in cleansing them from tears. Now sir, the sound that tells what hour it is 55 Are clamorous groans, which strike upon my heart, Which is the bell : so sighs and tears and groans Show minutes, times, and hours : but my time Runs posting on in Bolingbroke's proud joy, While I stand fooling here, his Jack o' th' clock. 60 This music mads me ; let it sound no more ! For though it have holp madmen to their wits, In me it seems it will make wise men mad Yet blessing on his heart that gives it me ! For 't is a sign of love ; and love to Richard ) 65 Is a strange brooch in this all-hating world. 56. which Qi I that Ff. and times Ff. —but Q1F1 | O but 58. times, and hours Qi | houres, F2F3F4. the seconds, marks also their progress in minutes on the dial or out- ward watch, to which the king compares his eyes ; and their want of figures is supplied by a succession of tears, or, to use an expres- sion of Milton, ?)iimite-drops ; his finger, by as regularly wiping these away, performs the office of the dial-point ; his clamorous groans are the sounds that tell the hour." — Henley. 51-52. jar Their watches : cause their numbers to tick. 60. Jack 0' th' clock : miniature figure of a man that struck the bell. 62. Music caused the evil spirit to depart from Saul. / Samttel, xvi, 23. Cf. The Tempest, I, ii, 390-392 ; The Merchant of Venice, V, i, 66-87. 66. brooch : ornament. Properly an ornamental clasp, worn on the hat. Cf. Hamlet, IV, vii, 94-95 : I know him well, he is the brooch indeed, And gem of all the nation. 136 THE NEW HUDSON SHAKESPEARE act v E?iter a Groom of the stable Groom. Hail, royal prince ! King Richard. Thanks, noble peer ; The cheapest of us is ten groats too dear. What art thou ? and how com'st thou hither, Where no man never comes, but that sad dog 70 That brings me food, to make misfortune live ? Groom. I was a poor groom of thy stable, king, When thou wert king ; who, travelling towards York, With much ado at length have gotten leave To look upon my sometimes royal master's face. 75 O, how it yearn'd my heart when I beheld In London streets, that coronation day, When Bolingbroke rode on roan Barbary, That horse that thou so often hast bestrid, That horse, that I so carefully have dress'd ! 80 67. Scene XI Pope. 70. never Qi | euer Ff. 67-68. ' Noble peer ' is meant as a sportive rejoinder to the Groom's ' royal prince,' and the humor of the royal sufferer as thus shown is very gentle and graceful. So, in The Merchant of Venice, II, ix, 85, a servant, entering, asks, " Where is my lady ? " and Portia replies, " Here : what would my lord ? " In the text a quibble is also intended on ' royal ' and ' noble,' which were used as names of gold coins. In Elizabeth's time the royal was 10s., the noble 6s. 8d., the groat 4d. ; so that the difference between the royal and the noble was ten groats. And Richard says that the cheapest of them, the noble, worth twenty groats, is rated at double his true worth. 76. yearn'd : grieved. This is the only meaning of the word in Shakespeare, whether it is used transitively, as here, or intransitively. Skeat considers earn {yearn) 'to grieve,' of distinct origin from earn (year?i), 'to desire.' Bradley considers it the same word. 70-94. '" This incident of roan Barbary is an invention of the poet. Did Shakespeare intend only a little bit of helpless pathos ? Or is scene v KING RICHARD THE SECOND 137 King Richard. Rode he on Barbary ? Tell me, gentle friend, How went he under him ? Groom. So proudly as if he disdain'd the ground. King Richard. So proud that Bolingbroke was on his back! That jade hath eat bread from my royal hand ; 85 This hand hath made him proud with clapping him : Would he not stumble ? would he not fall down (Since pride must have a fall) and break the neck Of that proud man that did usurp his back ? Forgiveness, horse ! why do I rail on thee, 90 Since thou, created to be aw'd by man, Wast born to bear ? I was not made a horse, And yet I bear a burden like an ass, Spurr'd, gall'd, and tir'd by jauncing Bolingbroke. Enter Keeper, with a dish Keeper. Fellow, give place ; here is no longer stay. 95 King Richard. If thou love me, 't is time thou wert away. 83. if he Oi I if he had Ff. gall'd Ff. 94. Spurr'd, gall'd, Qi | Spur- 95. Scene XII Pope. there a touch of hidden irony here ? A poor spark of affection re- mains for Richard, but it has been kindled half by Richard, and half by Richard's horse. The fancy of the fallen king disports itself for the last time, and hangs its latest wreath around this incident. Then suddenly comes the darkness. Suddenly the hectic passion of Rich- ard flares ; he snatches the axe from a servant, and deals about him deadly blows. In another moment he is extinct ; the graceful futile existence has ceased." — Dowden. 94. jauncing. Used of a rider showing off his mount. See Murray and cf. Romeo and Juliet, II, v, 53. 138 THE NEW HUDSON SHAKESPEARE act v Groom. What my tongue dares not, that my heart shall say. [Exit] Keeper. My lord, will 't please you to fall to ? King Richard. Taste of it first, as thou art wont to do. Keeper. My lord, I dare not : Sir Pierce of Exton, who lately came from th' king, commands the contrary. 101 King Richard. The devil take Henry of Lancaster and thee! Patience is stale, and I am weary of it. [Beats the keeper] Keeper. Help, help, help ! Enter Exton and Servants, armed King Richard. How now ? what means death in this rude assault? 105 99. art Qi I wer't Ff. Capell | Enter . . . Seruants Ff | The 103. [Beats . . .] Rowe. murderers rush in Oi. 105. Enter . . . Servants, armed 99-104. " This knight . . . came to Pomfret, commanding the esquier that was accustomed to sew [set the dishes on the tabie] and take the assaie [taste the food] before King Richard, to doo so no more. . . . King Richard . . . was serued without courtesie or assaie ; wherevpon much maruelling at the sudden change, he de- manded of the esquier whie he did not his dutie : Sir (said he) I am otherwise commanded by sir Piers of Exton, which is newlie come from K. Henrie. When King Richard heard that word, he tooke the keruing knife in his hand, and strake the esquier on the head, saieng : The diuell take Henrie of Lancaster and thee togither." — Holinshed. 105-118. w King Richard . . . wrung the bill [halberd] out of his hands & so valiantlie defended himself that he slue foure of those that thus came to assaile him. . . . He was felled with a stroke of a pollax which sir Piers gaue him vpon the head. ... It is said that sir Piers of Exton, after he had thus slaine him, wept right bitterlie, as one striken with the pricke of a giltie conscience." — Holinshed. scene vi KING RICHARD THE SECOND 139 Villain, thy own hand yields thy death's instrument. [Snatching an axe from a Servant and killing hint] Go thou, and fill another room in hell. \He kills another. Then Exton strikes him down] That hand shall burn in never-quenching fire, That staggers thus my person. Exton, thy fierce hand Hath with the king's blood stain'd the king's own land, no Mount, mount, my soul ! thy seat is up on high ; Whilst my gross flesh sinks downward, here to die. [Dies'] Exton. As full of valour as of royal blood : Both have I spill'd : O, would the deed were good ! For now the devil, that told me I did well, 1 1 5 Says that this deed is chronicled in hell. This dead king to the living king I '11 bear : Take hence the rest, and give them burial here. [Exeunt] Scene VI. Windsor Castle Flourish. Enter Bolingbroke, York, with other Lords, and Attendants Bolingbroke. Kind uncle York, the latest news we hear Is that the rebels have consum'd with fire Our town of Cicester in Gloucestershire, But whether they be ta'en or slain, we hear not. 106. thy Qi I thine Ff. — {Snatch- Scene VI Steevens I Scaena ing . . .] Globe I snatching an Axe, Quinta Ff I Scene XIII Pope. — and killing him Capell. Windsor Castle Camb. 107. [He kills another Pope.— 1. Bolingbroke I Bui. Ff|King Then Exton . . .] Here Exton ... Qi (and throughout the Scene). Ql I Exton . . . Ff. 3. Cicester Rowe I Ciceter QiFf. 112. [Dies] Rowe. 3. Cicester. Still the common local pronunciation of Cirencester. 140 THE NEW HUDSON SHAKESPEARE act v Enter Northumberland Welcome, my lord : what is the news ? 5 Northumberland. First to thy sacred state wish I all happiness. The next news is, I have to London sent The heads of Oxford, Salisbury, Blunt, and Kent : The manner of their taking may appear At large discoursed in this paper here. 10 Bolingbroke. We thank thee, gentle Percy, for thy pains, And to thy worth will add right worthy gains. Enter Fitzwater Fitzwater. My lord, I have from Oxford sent to London The heads of Brocas and Sir Bennet Seely, Two of the dangerous consorted traitors, 15 That sought at Oxford thy dire overthrow. Bolingbroke. Thy pains, Fitzwater, shall not be forgot, Right noble is thy merit, well I wot. Enter Percy, and the Bishop of Carlisle Percy. The grand conspirator, Abbot of Westminster, With clog of conscience and sour melancholy, 20 Hath yielded up his body to the grave ; 8. Oxford, Salisbury, Blunt Qi I (Salsbury Fi), Spencer, Blunt Ff. Oxford, Salisbury Q2Q3Q4 I Salisbury 19-21. This Abbot of Westminster was William of Colchester. The representation is taken from Holinshed, but is unhistorical, as he survived the king many years ; and, though called " the grand conspirator," it is very doubtful whether he had any hand in the conspiracy ; at least nothing was proved against him. scene vi KING RICHARD THE SECOND 141 But here is Carlisle living, to abide Thy kingly doom and sentence of his pride. Bolingbroke. Carlisle, this is your doom : Choose out some secret place, some reverend room, 25 More than thou hast, and with it joy thy life : So as thou liv'st in peace, die free from strife : For though mine enemy thou hast ever been, High sparks of honour in thee have I seen. Enter Exton, with persons bearing a coffi?i Exton. Great king, within this coffin I present 30 Thy buried fear : herein all breathless lies The mightiest of thy greatest enemies, Richard of Bordeaux, by me hither brought. Bolingbroke. Exton, I thank thee not, for thou hast wrought A deed of slander with thy fatal hand 35 Upon my head and all this famous land. Exton. From your own mouth, my lord, did I this deed. Bolingbroke. They love not poison that do poison need, Nor do I thee : though I did wish him dead, I hate the murderer, love him murdered. 40 33. Bordeaux | Burdeaux QiFf. 35. slander Qi | slaughter Q2Ff. 24. " The bishop of Carleill was impeached and condemned of the same conspiracie, but the king of his mercifull clemencie par- doned him of that offense, although he died shortly after more through feare than force of sicknesse as some haue written." — Holinshed. 30. Cf. King John, IV, ii, 203-206. 33. Richard of Bordeaux. Richard was born at Bordeaux. 35-36. A deed of slander . . . Upon : a deed to bring reproach upon. 142 THE NEW HUDSON SHAKESPEARE act v The guilt of conscience take thou for thy labour, But neither my good word, nor princely favour ; With Cain go wander through the shade of night, And never show thy head by day nor light. Lords, I protest, my soul is full of woe, 45 That blood should sprinkle me to make me grow : Come mourn with me, for that I do lament, And put on sullen black incontinent. I '11 make a voyage to the Holy Land, To wash this blood off from my guilty hand : 50 March sadly after ; grace my mournings here In weeping after this untimely bier. \Exeunt\ 43. through the shade Ff I through 47. that Ff | what Qi. shades Qi. 51. mournings Qi | mourning Ff. 48. sullen. Cf. I, iii, 227, and see note. — incontinent: immediately. 49-50. This is the motive of the opening scene of 1 Henry IV. 52. " After he was thus dead, his bodie was imbalmed and seered and couered with lead all saue the face to the intent that all men might see him and perceiue that he was departed this life : for as the corps was conueied from Pomfret to London, in all the townes and places where those that had the conueiance of it did staie with it all night, they caused dirige to be soong in the euening and masse of requiem in the moorning." — Holinshed. INDEX This Index includes the most important words, phrases, etc., explained in the notes. The figures in heavy-faced type refer to the pages ; those in plain type, to the lines containing what is explained. a dust : 64 91 a happy gentleman in : 70 9 Abbot of Westminster : 140 19 absent time : 63 79 Act I, Scene 1 : 3 Act I, Scene II : 14 Act I, Scene III : 18 advised: 26 188 affects : 34 30 against : 94 28 aggravate the note : 5 43 all ill left : 67 154 and humour' d thus, comes : 80 168-169 apish nation : 38 22 apparent : 4 13, 104 124 appeach : 123 79 appeal : 3 4, 100 45 appointments : 85 53 apprehension : 32 300 apricocks : 94 29 argument : 4 12 as in a theatre, etc. : 120 23-36 as to jest : 22 95 as to mine enemy : 27 193 at all points : 18 2 at large : 72 41 at six and seven : 58 122 at time of year : 95 57 atone : 14 202 attach : 67 156 attainder : 99 24 Aumerle : 2 3 awful : 86 76 ay : 107 20 1 baffl'd : 12 no Bagot : 2 5, 78 122 bait : 109 238 balm : 107 207 band : 3 2 barbed: 88 in Barkloughly : 72 l base court : 90 176 bay-trees ... all with- er'd : 68 8 beadsmen : 78 116 beauteous inn . . . ale- house guest : 115 13-15 1 Beggar . . . King ' : 128 80 beholding : 105 160 being altogether had: 93 15 benevolences : 49 250 Berkeley : 2 4 beseeming me : 103 116 best: 103 116 betid: 116 42 bias : 93 5 bills: 78 lis blanks : 49 250 143 blood: 9 113 Bolingbroke : 4 19 bonnet : 34 31 boy : 101 65 braving: 65 112, 66 143 bring : 32 304 broking pawn : 52 293 brooch : 135 66 brooks : 72 2 brother-in-law: 131 137 but now : 76 76 Caesar's ill-erected tower : 114 2 caitiff : 16 53 career : 16 49 careful : 56 75 care-tun'd : 77 92 Carlisle : 141 24 cause you come : 5 26 change his spots : 12 175 charters : 35 48 check : 134 46 choler : 11 153 chopping : 130 124 Cicester : 139 3 clean : 70 io clerk : 106 173 climate : 104 130 close : 37 12 comfortable : 56 76 commend : 88 116 common trade : 89 156 companion grief : 17 55 144 THE NEW HUDSON SHAKESPEARE compare between : 46 185 compassionate : 26 174 complain myself : 16 42 complices : 67 165 composition : 40 73 conceit : 54 33 conclude : 11 156 conduct : 105 157 confound itself : 96 60 convey : 112 317 Cotswold : 60 9 craftsmen . . . craft : 34 28 cries ... to me : 9 104- 106 dead time : 98 10 dear : 10 130 death . . . the antic : 80 162 deceivable : 64 84 deed of slander upon : 141 35-36 defend : 19 18 depose him : 19 30 design : 14 203 despised : 64 95 Destinies : 15 15 determinate : 25 150 detested : 65 109 digg'd : 90 169 digressing : 127 66 discomfortable : 74 36 distrain'd : 66 131 double-fatal: 78 117 Dramatis Personam : 2 l draws . . . makes : 60 5 Duchess of York: 119 l Duke of Gloucester : 8 100 Duke of York : 37 l eager : 6 49 ear : 82 212 Earl of Salisbury: 68 l Earl of Wiltshire: 47 215 Earl of Worcester : 55 58 Ely House : 36 58 enfranchisement : 87 114 England : 99 17 entreated : 72 37 envy : 15 21 events : 47 214 exactly: 10 140 except : 33 6 expedience : 51 287 expedient : 35 39 eye of heaven : 30 275 faint : 52 297 fantastic summer's : 32 299 farm : 35 45 favours : 106 168 feeble wrong : 13 191 fight and die : 81 184 Flint castle : 82 209 foil : 30 266 fond : 123 95, 124 101 fondly : 91 185, 101 72 for : 33 12, 35 43 for me : 33 6 for that : 24 125 for why : 116 46 gage ... in gage : 100 34 gaunt in being old : 40 73-83 Gaunt, . . . Lancaster : 3 l Gaunt's rebukes : 45 166 glose : 37 10 Gloucester : 2 7 gnarling : 32 292 go bear : 22 103 go signify : 85 49 God : 13 187 grav'd : 79 140 Hallowmas : 118 80 hath . . . grow : 82 212 haviour: 21 77 heaven . . . they : 14 6-7 Hereford : 3 3 high-stomack'd : 4 18 his : 43 119, 79 135, 110 267 his heart-blood which : 12 172-173 hold . . . triumphs : 121 52 holds you dear as Harry: 44 143-144 household coat : 71 24 humours : 133 10 I could sing, etc. : 94 22 I task . . . like : 100 52 ill : 41 92-94 imp out : 52 292 imprese : 71 25 in : 67 160 in a wilderness : 101 74 in manner : 70 1 1 in post : 52 296 in presence : 101 62 in this new world : 102 78 incontinent : 142 48 indifferent : 65 116 inhabitable : 6 65 inherit us : 7 85 inspir'd . . . expiring : 38 31-32 is : 30 260 is current : 28 231 Jack o' th' clock : 135 60 jar their watches : 135 51-52 jauncing : 137 94 joy : 60 15 kerns : 45 156 kill ... in me : 41 86 knots : 95 46 INDEX 145 Lancaster : 63 70 lean-witted : 42 115 learn : 104 120 letters patents : 47 202 lewd : 8 90 liberal : 48 229 light : 7 82 lingers in extremity : 56 72 lodge : 90 162 long apprenticehood : 30 271 long-parted mother : 73 8 love they to live : 43 138 make : 129 89 make a leg : 90 175 manage : 35 39 manual seal of death : 99 25 map : 114 12 marry : 34 16 me rather had : 91 192 measure : 31 291, 93 7 merely : 49 243 merit : 25 156 meteors : 68 9 mistake : 83 17 model : 15 28, 79 153 model . . . stand : 114 11 moe : 49 239 month to bleed : 11 157 mortal : 73 21 motive : 13 193 music . . . holp mad- men : 135 61-62 my fair stars : 99 21 my kingdom's heir : 9 116 my succeeding issue : 19 20 my teeth . . . face : 13 192-195 near : 75 64, 118 88 nicely : 41 84 no venom else : 45 157 noble peer : 136 67 numb'ring clock : 134 50-57 obscene : 104 131 of: 81 186 on: 126 34 other's : 4 22 owes : 106 185 pain of life : 24 140 painted imagery : 120 16 pale : 95 40 pale-fac'd : 64 94 palmer's : 89 151 pardonne moi : 130 119 parle : 13 192 part : 70 3 partial slander : 29 241 party : 88 115 party-verdict : 28 234 pawn : 7 74 peace : 78 128 pelican : 43 126 pelting : 39 60 perspectives . . . dis- tinguish form : 53 18-20 Phaethon : 91 178 pill'd : 49 246 pines : 118 77 pitch : 9 109 Plashy : 17 66 plot : 113 324 Pomfret : 117 52 pompous : 109 250 possess 'd : 42 107 post : 6 56 power : 55 46 presence : 29 249, 31 289 presently: 36 52, 81 179 press'd : 75 58 press 'd to death : 96 72 prodigal . . . dolour of : 29 256-257 property : 79 135 prove you true : 131 145 quit their griefs : 116 43 rankle : 32 302 rapier : 100 40 Ravenspurgh : 52 296 receipt : 10 126 recreant : 16 53 refuge their shame, etc. : 133 26-27 regreet : 21 67, 24 142 remember : 30 269 repeal : 55 49, 102 85 rescued the Black Prince : 64 101 restful : 99 12 retir'd : 55 46, 102 96 revenues : 108 212 reversion : 35 35, 54 38 rheum : 33 8 Richard of Bordeaux : 14133 rid : 132 11 right-drawn sword : 6 46 ring : 57 92 roan Barbary : 136 78 rouse : 65 128 royalties : 46 190 rubs : 93 4 rue : 27 205 rug-headed : 45 156 St. George : 22 84 St. Lambert's day : 14 199 Salisbury : 68 l Scroop : 77 91 seal : 122 56 secure : 126 43 securely : 22 97, 50 266 security : 74 34 see : 47 217 146 THE NEW HUDSON SHAKESPEARE seize the crown : 106 181 self . . . conceit: 80 166 self-borne arms : 63 80 senseless conjuration : 73 23 set down their hands : 124 98 set of beads: 89 147 sets me : 101 57 several : 131 140 shadows, which shows: 53 14-15 sheer : 127 61 short 'st of day : 118 80 shrewd : 75 59 sift him : 4 12 signiories : 71 22, 102 89 Sir John Ramston : 51 283 sister : 57 105 slander : 9 113 sly slow hours : 25 150 so my untruth : 57 101 son . . . Arundel : 51 280 sooth : 89 136 sort : 109 246 speak treason : 127 44 staff : 55 59 stands . . . upon : 66 138 still : 4 22, 54 34 still-breeding : 132 8 strew' d : 31 289 stuff . . . throat : 5 44 subjected : 80 176 substitutes : 35 48 sue his livery : 47 203- 204 suggest : 8 101 sullen : 28 227, 142 48 sullens : 44 139 sun to sun : 101 55 supplant : 45 156 sworn brother : 115 20 sworn duty : 10 134 sympathize : 116 46 take Hereford's rights : 46 195 tendering : 5 32 that : 12 168, 74 38 the shadow . . . your face : 111 292-293 there an end : 117 69 there is no boot : 12 164 there lies . . . eyes : 90 168-169 these articles : 109 243 this : 102 84 this little world : 132 9 those hands : 14 4 thus high : 92 195 tidings : 50 272 till . . . nothing : 134 40-41 timeless : 98 5 't is doubt : 96 69 't is in reversion : 54 38 't is nothing less : 54 34 to : 111 297 to be : 115 31 to fight : 81 183 to make : 29 244 to rust: 88 116 to the bay : 65 128 to thrive : 22 84 toil'd : 102 96 to-morrow next : 74 217 tongues, can : 6 49-50 too good : 5 40 tribute . . . supple knee : 34 33 twenty : 76 76 unavoided : 50 268 undeck : 109 250 underbearing : 34 29 unfurnish'd : 17 68 unthrifty son : 125 l upon good advice : 28 233 upon his party : 82 203 verge : 42 102 want their remedies : 92 203 wanting the manage : 91 179 wanton : 27 214 warder : 23 118 was never lion rag'd : 45 173 was this face . . . men : 111 281-283 waste : 42 103 waxen : 21 75 we did observe : 33 1 weep for joy : 72 4-6 Westminster Hall : 98 what dost . . . object : 5 28 where : 81 185 who : 132 8 Willoughby : 2 6 with wit's regard: 3828 Woodstock's blood: 14i worst : 103 115 wrongs : 65 128 yearn'd : 136 76 Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: Feb. 2009 PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 16066 (724)779-2111 H mil