The Cambridge Shakespeare (Cambridge Library Collection - Literary Studies) (Volume 8)

Cambridge Library CoLLeCtion Books of enduring scholarly value

Literary studies This series provides a high-quality selection of early printings of literary works, textual editions, anthologies and literary criticism which are of lasting scholarly interest. Ranging from Old English to Shakespeare to early twentieth-century work from around the world, these books offer a valuable resource for scholars in reception history, textual editing, and literary studies.

The Cambridge Shakespeare The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various ‘profane’ expressions where metre or sense demanded it.

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The Cambridge Shakespeare Volume 8 William Shakespeare E dited by William George C l ark and William Aldis Wright

C A m b R I D G E U N I V E R SI t y P R E S S Cambridge, New york, melbourne, madrid, Cape town, Singapore, São Paolo, Delhi, Dubai, tokyo Published in the United States of America by Cambridge University Press, New york www.cambridge.org Information on this title: www.cambridge.org/9781108000857 © in this compilation Cambridge University Press 2009 This edition first published 1866 This digitally printed version 2009 ISbN 978-1-108-00085-7 Paperback This book reproduces the text of the original edition. The content and language reflect the beliefs, practices and terminology of their time, and have not been updated. Cambridge University Press wishes to make clear that the book, unless originally published by Cambridge, is not being republished by, in association or collaboration with, or with the endorsement or approval of, the original publisher or its successors in title.

THE

WORKS

OF

WILLIAM SHAKESPEARE.

THE WORKS OF

WILLIAM SHAKESPEARE EDITED BY

WILLIAM GEORGE CLARK, M.A. FELLOW AND TUTOR OF TRINITY COLLEGE, AND PUBLIC ORATOR IN THE UNIVERSITY OF CAMBRIDGE ;

AND WILLIAM ALDIS WRIGHT, M.A. LIBRARIAN OF TRINITY COLLEGE, CAMBRIDGE.

VOLUME VIII.

UonKon anti 7)y wanting title but having the last leaf. It has been supposed in consequence of statements made by Malone and Boswell that a third edition of King Lear was published in 1608. We shall show that there is no evidence for this. In the Variorum Shakespeare (11. 652), edited by Boswell in 1821, three Quartos are described, which are distinguished in the notes to the play by the letters A, B, C, respectively. The first of these is a copy of Q2, quoted by us as Q2 (Bodl. 1); the second is a copy of Qx; and the third, which is in reality another copy of Q2 and is quoted by us as Q3 (Bodl. 2), is described as follows: "Title the same as the two former, except that like the first it begins at signature B: and like the second, has no reference to the place of sale." This statement of Boswell's is taken from a note in Malone's handwriting prefixed to the copy in question, which we transcribe. "This copy of King Lear differs in some particulars from the two others in Vol. IV. " The title-page of it is the same as the second of those copies, that is, it has no dire6lion to the place of sale, and the first signat. is B,—notwithstanding which there arc

xiv

PREFA CE.

minute diversities; thus, in this copy in H 3 verso, we have ' A foole vsurps my bed'; in the other whose first signature is also B, we find—' My foote usurps my body\ and in the copy without any direction to the place of sale (whose first signature is A) 'My foote usurps my head'." Now it is a little remarkable that at present the copy has no title-page at all, and there is no trace of the titlepage having been removed since the volume has been in its present condition. The probability is that the title was originally wanting and that one had been supplied from a copy of Qt before it came into Malone's hands, and that while it was in this condition he wrote the above note upon it. It was then sent to be bound in a volume with other quartos, and the title may have been lost at the binder's, or may have been intentionally removed as not belonging to the book. That alterations were made by the binder is evident from the fa6l that the copy to which Malone refers as the second of those in Vol. IV. is in reality the first Malone, writing his note when Vol. IV. was arranged for binding, described the then order of the plays, which must afterwards have been altered. In any case, however Malone's statement is to be accounted for, it is quite clear that Boswell must have described the Quarto after it was bound, when the title could not have existed. We have said that Boswell quotes the three Quartos of Lear, now in the Bodleian, by the letters A, B, C, respectively. In doing so, however, he is not consistent. We record his mistakes that others may not be misled by them. Bearing in mind therefore that A = Q2 (Bodl. i), B = QX, and C = 0 2 (Bodl. 2), we find in A6t 11. Scene 2 (Vol. X. p. 97) < Quarto B, atisrent; Quarto A, reads wirevermt.' Here B and A should change places. In Act III. Scene 7 (p. 188), 'Quarto A omits roguish:' for A read C. In Act IV. Scene 2 (p. 199), for 'Quartos B and C, the whistling; read 'Quarto C alone. In Act IV. Scene 6 (p. 220) B and A should again be interchanged. In Aft V. Scene 3 (p. 277), 'Quarto A omits this line'; for A read B. It will be seen from these instances that A has been in turn made to represent three different copies.

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xv

The differences in various copies of Q2 are accounted for by supposing that the corrections were made before the sheets were all worked off, and that the corre6led and uncorre6led sheets were bound up indiscriminately. It will be observed that the readings of the uncorre£ted sheets of Q2 agree for the most part with those of O2, and this led us to the conclusion which had previously been arrived at by Capell and also by J. P. Kemble, that the edition which we have called Qx was the earlier of the two printed in the same year. But upon collating a copy of Q2 in the Bodleian, which we have called Q2 (Bodl. i), we found evidence which points to an opposite conclusion. In Kent's soliloquy (II. 2. 160) that copy, as will be seen in our notes, reads, nothing almost sees my rackles But miserie, &c. which of course is an accidental corruption, by displacement of the type, of 'myrackles' (i.e. 'miracles') the true reading. In the corrected copies of Q2 this is altered, apparently by the printer's conje6lure, to 'my wracke', which is also the reading of QT. Throughout the sheet in which this occurs the readings of QT agree with the corrected copies of O2, and had it not been for the instance quoted, we might have supposed that the corrections in the latter were made from Qz. But the corruption 'my rackles' for 'miracles' must have come from the original MS., and 'my wracke' is only a conjectural emendation, so that the order of succession in this sheet at least appears to be the following. First the uncorrected copy of 0 2 , then the same corrected, and lastly QT. On the other hand it is remarkable that Qiy if printed from Q2 at all, must have been printed from a copy made up, with the exception just mentioned from II. I. 128 to II. 4. 133, and another containing from IV. 6. 224 to V. 3. 64, of uncorre6led sheets. Another hypothesis which might be made is that Qx and Q2 were printed from the same manuscript, and that the printer of Qx corrupted 'miracles' into 'my wracke', while the printer of 0 2 made it 'my rackles', which was afterwards altered by a refer-

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ence to Qx. The question, however, is very difficult to decide, and at most is one rather of bibliographical curiosity than of critical importance. We may mention that, without giving the reasons for his conclusion, Jennens, in his edition of Lear in 1770, quotes as the 1st Quarto that which we have called Q2 and vice versa. A third Quarto, which we have called Q3, was printed very carelessly page for page from Qj and published in 1655In the first Folio King Lear was printed from an independent manuscript, and its text is on the whole much superior to that of the Quartos. Each however supplies passages which are wanting in the other. Capell appears to have prepared the play for press in the first instance from Pope's first edition. The manuscript readings and stage dire6lions, marked in his copy of that edition but not adopted in his own, we have quoted as ' Capell 3. O T H E L L O was first printed in Quarto in 1622 with the following title: THE I Tragoedy of Othello, | The Moore of Venice. | As it hath beene diverse times afted at the | Globe, and at the BlackFriers, by I his Maiesties Seruants. \ Written by William Shakespeare. I LONDON, I Printed by N O. for Thomas Walkley, and are to be sold at his | shop, at the Eagle and Child, in Brittans Bursse. | 1622. j

To this edition which we call Q x , the following preface was affixed by the publisher: The Stationer to the Reader. To set forth a booke without an Epistle, were like to the old English prouerbe, A blew coat without a badge, 6- the Author being dead, / thought good to take that piece of workc vpon wee: To commend it, L will not, for that which is good, I hope euery man will commend, without intreaty: and I am the bolder, because the Authors name is sufficient to vent his workc. Thus leauing euery one to the

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xvii

liberty of iudgement: I haue ventered to print this Play, and leaue it to the gemrall censure. Yours,

Thomas Walkley. This first Quarto contains many oaths and expletives, which in all the later editions are altered or omitted. This shows that the MS. from which it was printed had not been recently used as an a6ling copy. Many passages are omitted in Qx, by accident or design, and some which we find only in the later editions look like afterthoughts of the author. The title-page of the second Quarto is letter for letter the same as the first, except that it has the following imprint: LONDON, | Printed by A. M. for Richard Hawkins, and are to be sold at | his shoppe in Chancery-Lane, neere SergeantsInne. I 1630.

Of this Quarto, which we term Q2, Mr Collier says: 'It was unquestionably printed from a manuscript different from that used for the Quarto of 1622, or for the Folio of 1623/ But after a minute comparison of the two it appears to us clear that the Quarto of 1630 must have been printed from a copy of the Quarto of 1622, which had received additions and corre6lions in manuscript. The resemblances between the two are too close to allow of any other supposition. These additions and corre6lions, though agreeing for the most part with the first Folio, which had appeared in the interval, were derived from an independent source. The third Quarto, which we refer to as Q3, was printed from the second, and is called ' The Fourth Edition/ It has the following imprint: L ONDON, I Printed for William Leak at the Crown in Fleet- \ street, between the two Temple Gates, 1655

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Jennens, in his edition of Othello, published in 1773, was not aware of the existence of the Quarto of 1630, and quotes as the readings of the second Quarto those of the edition of 1655. An edition in Quarto, without date, is quoted by Capell on the authority of Pope; but on reference to Pope's list it appears that, though he has omitted the date, he refers to the Quarto of 1622, which contains the publisher's preface. The kindness of Sir S. Morton Peto has enabled us to consult a copy of the first Quarto in the library at Chipstead, which, in cases where its readings differ from those of the copies in the Capell and Devonshire collections, we have distinguished as Qz (Chip.). A Players' Quarto of 1695, for the use of which, as well as for other a6ls of kindness, we have to thank Sir Charles Bunbury, is quoted as Q(i695). In the Addenda we have given some readings which we had not previously seen from an anonymous tra6l published in 1752, with the title, Miscellaneous Observations on the Tragedy of Hainlet> Prince of Denmark. The rest are chiefly from books which have been published since the greater part of our volume was struck off. W. G. C. W. A. W.

ADDENDA. 117, 118. Add to note, As stars with Distempered or As stars with...Discoloured Staunton conj. !• 4» 36; 37. Add to note, the dram of leaven...of a dough Cartwright conj. the dram of evil...oft weigh down Bailey conj. x » 4- 73« your. ..reason'] of sovereignty your Hunter conj. I. 5. 11. Andfor\ Tlu? in Anon. MS. I- 5- 32, 34. shouldst...Wouldst] wouldst...Shouldst Anon. conj. (Misc. Obs. on Hamlet, 1752). II. 2. 82. Add to note, And think upon and answer Anon. conj. (Misc. Obs. on Hamlet, 1752). II. 2. 140. otct of thy star] out of thy soar Bailey conj. 11. 2. 162. Be..J/ie7t;] Let...then Anon. conj. (Misc. Obs. on Hamlet, 1752). II. 2. 438, 439. tyrannous...murder] treacherous and da7nned light To the vile murtherer Anon. conj. (Misc. Obs. on. Hamlet, 17.52). III, 1. 58. dings and arrows] stings a7id harrows Anon. conj. (Misc. Obs. on Hamlet, 1752). stings and horrors Anon. MS. III. 2. 21. scorn] sin Bailey conj. III. 2. 22. the very age] the visage Bailey conj. i n . 2. 23. pressure]posture Bailey conj. i n . 2. 206. Nor...give] Let earth not give me Axiom, conj. (Misc. Obs, on Hamlet, 1752). ill. 3. 15. The cease of] Deceasing Bailey conj. i n . 3. 169. Add to note, And either house Bailey conj. IV. 7. 112. begzin] begnawn Bailey conj. V. 2. 180. and outward...a kind] and out of the habit of encounter got a kind Bailey conj. V. 2. 180, 181. collection] diftion Bailey conj. V. 2. 182. Add to note, profottnd and re7iow7ied Bailey conj.

HAMLET,

I.

I.

72. Add to note, precious treasure Bailey conj. I. 1. 226. Add to note, burde7iy or Bailey conj. II. 4. 92- Add to note, Fiery? what? quality? Taylor conj. MS.

K I N G LEAR, I. I .

HAMLET.

VOL. VIII.

B

DRAMATIS PERSON^ 1 .

CLAUDIUS, king HAMLET, son to

of Denmark. the late, and nephew to the present king. POLONIUS, lord chamberlain, HORATIO, friend to Hamlet. LAERTES, son to Polonius.

VOLTIMAND, CORNELIUS, ROSENCRANTZ, GUILDENSTERN,

courtiers.

OSRIC,

A Gentleman, A Priest. MARCELLUS, I o f f i c e r s < BERNARDO, ) FRANCISCO, a soldier. REYNALDO, servant to Polonius.

Players. Two Clowns, grave-diggers. FORTINBRAS, prince of Norway. A Captain. English Ambassadors. GERTRUDE, queen of Denmark, and OPHELIA, daughter to Polonius.

mother to Hamlet.

Lords, Ladies, Officers, Soldiers, Sailors, Messengers, and other Attendants. Ghost of Hamlet's Father. SCENE: 1

DRAMATIS PERSONS.]

given by Rowe.

First

Denmark*. 2

Denmark] Edd. (Globe ed.) EL sinoor. Rowe.

THE TRAGEDY OF

HAMLET PRINCE

OF

DENMARK,

A C T I. SCENE I.

E7

FRANCISCO

.

. ^

A

• .

.

.

Ismore. A platform before the castle. at his post. Enter to him

BERNARDO.

Ber. Who's t here ? Fran. Nay, a , , , c 1, „ " nswer me: stand, and unfold yourself. Ber.

Fran.

Long- In

**

,1

i .

,

/e the king !

Bernar , > •do r ^^r. H e. Fran. You come most carefully upon your hour. Ber. 'Tis now struck twelve; get thee to bed, Francisco. Fran. For this relief much thanks ; 'tis bitter cold, And I am sick at heart. Acflus Primus. Scsena Prima. Ff. Omitted in Qq. See note (i). Elsinore.] Capell. A platform ] Malone, An open Place before the Palace. Rowe. A Platform before the Palace. Theobald. Platform of the Castle. Capell. Francisco at...] Francisco upon... Capell. Enter Barnardo, and Francisco, two Centinels. QqFf. ACT I. SCENE I.]

i. 1V/io's]F{Q6. Whose The rest. i—5. Who's He\ As in QqFf. Two lines of verse in Capell, the first ending tmfold. 4. Bernardo?} Barnardo? F T F 2 Q 6 F 3 . Barnardo. The rest. 6. carefully} chearfully F 3 F 4 . 7. now struck} new-struck Elze (Steevens conj.). struck} strooke Qq. strook B2

HAMLET.

4

[ACT i.

Ber. Have you had quiet guard ? Fran. Not a mouse stirring. Ber. Well, good night. If you do meet Horatio and Marcellus, The rivals of my-watch, bid them make haste. Fran. I think I hear them. Stand, ho ! Who is there? Enter

HORATIO

and MARCELLUS.

Hor. Friends to this ground. Mar. And liegemen to the Dane. Fran. Give you good night. Mar. O, farewell, honest soldier : Who hath relieved you ? Fran. Bernardo hath my place. \Exit. Give you good night. Mar. Holla ! Bernardo ! Ber. Say, What, is Horatio there ? Hor. A piece of him. Ber. Welcome, Horatio : welcome, good Marcellus. Mar. What, has this thing appear'd again to-night ? Ber. I have seen nothing. Mar. Horatio says 'tis but our fantasy, And will not let belief take hold of him Touching this dreaded sight, twice seen of us : Therefore I have entreated him along: With us to watch the minutes of this night, 11 —13. Well,...haste.] As in Qq. Prose in Ff. 1?, 13. Horatio...rivals] Horatio, and Marcellus The rival Warner conj. 14. ho] Qq. om. Ff. Who is] Qq. who's Ff. Enter...] QqFf (after line 13). 16, 18. Give you] om. Q (1676). 16—18. O, farewell...night.] Arranged as by Capell. Two lines in QqFf. 16. soldier] Ff. souldiers Qq. 17. Who haihi Who has Q (1676). kaiimyjQq. /«*'J »*j'FxFa. has my F 3 F 4 .

10

18. [Exit.] Exit Fran. QqF x . Exit Francisco. F 2 F 3 F 4 . Say A Say. Knieht. 18, 19. Say,. ..there ?] As in Capell. One line in QqFf. [Giving his hand. Warburton. I9. Mar.] (QJ Ff. Hora. Qq. 2I. What, has] Q 2 Q 3 FfQ 6 . What has Q 4 Q 5 . to-night?] to night? Qq to night. Ff. 23. our] a Q O O Warburton conj 25. S!^/tt] s ^ J t 26, i7. along With us to] alon