The flowers, fair ladies; and thy steps, no more Boling. O, who can hold a fire in his hand 24, Had I thy youth, and cause, I would not stay. Boling. Then, England's ground, farewell; sweet soil, adieu; My mother, and my nurse, that bears me yet! SCENE IV. [Exeunt. The same. A Room in the King's Castle. Enter KING RICHARD, BAGOT, and GREEN; AUMERLE following. K. Rich. We did observe 1. -Cousin Aumerle, How far brought you high Hereford on his way? 24 There is a passage resembling this in the fifth book of Cicero's Tusculan Questions, which were translated and published by John Dolman, in 1561. There is also something which might serve for a hint in Euphues. 25 Dr. Johnson thought that the first act should end here. 1 The king here addressed Green and Bagot, who, we may suppose had been talking to him of Bolingbroke's 'courtship to the common people,' at the time of his departure. 'Yes,' says Richard, we did observe it.' Aum. I brought high Hereford, if you call him so, But to the next high way, and there I left him. K. Rich. And, say, what store of parting tears were shed? Aum. 'Faith, none by me: except the north-east wind, Which then blew bitterly against our faces, K. Rich. What said our cousin, when you parted with him? Aum. Farewell: And, for my heart disdained that my tongue K. Rich. He is our cousin, cousin; but 'tis doubt, What reverence he did throw away on slaves; 2 The first folio and the quarto of 1597 read 'Faith, none for me.' The emendation was made in the folio, 1632. 3 The earlier quarto copies read 'Ourself and Bushy,' and no more. The folio: Ourself, and Bushy here, Bagot, and Greene.' In the quarto the stage direction says, 'Enter the King, with Bushie,' &c.; but in the folio, Enter the King, Aumerle,' &c. because it was observed that Bushy comes in afterward. On this account we have adopted a transposition made in the quarto of 1634. Wooing poor craftsmen, with the craft of smiles, Green. Well, he is gone; and with him go these 6 Now for the rebels, which stand out in Ireland:- K. Rich. We will ourself in person to this war. For our affairs in hand: If that come short, Our substitutes at home shall have blank charters; Enter BUSHY. Bushy, what news? Bushy. Old John of Gaunt is grievous sick, my lord; 4 To illustrate this, it should be remembered that courtesying (the act of reverence now confined to women) was anciently practised by men. 5 Spes altera Romæ.'-Virg. 6 Shakspeare often uses expedient for expeditious; but here its ordinary signification of fit, proper, will suit the context equally well. 7 i. e. cause. Suddenly taken; and hath sent post-haste, To entreat your majesty to visit him. Bushy. At Ely-house. K. Rich. Now put it, heaven, in his physician's mind, To help him to his grave immediately! The lining of his coffers shall make coats Come, gentlemen, let's all go visit him: 'Pray God, we may make haste, and come too late! [Exeunt. ACT II. SCENE I. London. A Room in Ely-house. GAUNT on a Couch; the DUKE OF YORK1, and others standing by him. Gaunt. Will the king come? that I may breathe my last. In wholesome counsel to his unstaied youth. York. Vex not yourself, nor strive not with your breath; For all in vain comes counsel to his ear. vain. For they breathe truth, that breathe their words in pain. 1 Edmond duke of York was the fifth son of Edward III. and was born, in 1441, at Langley, near St. Albans, Herts; from whence he had his surname. 'He was of an indolent disposition, a lover of pleasure, and averse to business; easily prevailed upon to lie still, and consult his own quiet, and never acting with spirit upon any occasion.'-Lowth's William of Wykeham, p. 205. 2 To insinuate, to lie, to flatter. He, that no more must say, is listen'd more Than they whom youth and ease have taught to glose; More are men's ends mark'd, than their lives before : York. No; it is stopp'd with other flattering sounds, Where doth the world thrust forth a vanity (So it be new, there's no respect how vile), That is not quickly buzz'd into his ears? Then all too late comes counsel to be heard, Where will doth mutiny with wit's regard5. Direct not him, whose way himself will choose; 'Tis breath thou lack'st, and that breath wilt thou lose. 3 This I suppose to be a musical term,' says Steevens. So in Lingua, 1607 : ' I dare engage my ears the close will jar.' Surely this is a supererogatory conclusion. Shakspeare evidently means no more than that music is sweetest in its close; or when the last sweet sounds rest on the delighted ear. But Steevens's soul, like that of his great coadjutor, does not seem to have been attuned to harmony. The context might however have shown him how superfluous his supposition was; and I have to apologize for diverting the attention of the reader from this beautiful passage for a moment. 4 The poet has charged the times of King Richard II. with a folly not perhaps known then, but very frequent in his own time, and much lamented by the wisest of our ancestors. 5 Where the will rebels against the notices of the understanding. |