[ Note XIX.]
[IV. 3. 17.] The reading ‘cry’ (i.e. ‘crie’) for ‘are’ was suggested by a passage in Nashe’s Apologie for Pierce Pennilesse, 1693, quoted by Malone: ‘At that time that thy joys were in the fleeting, and thus crying ‘for the Lord’s sake’ out at an iron window.’
[ Note XX.]
[IV. 3. 83.] In order to avoid the unmetrical line 83, as given in the Folios and by all Editors to Johnson inclusive, the lines 82-85 have been arranged as five, thus:
| If... | Let... | In secret... | Ere... | To the under... | Capell. |
| If... | Let... | Both... | The sun... | The under... | Steevens. |
| If... | Let... | Both... | Ere... | To yonder... | Collier. |
| If... | Let... | Both... | The sun... | To yond... | Singer. |
Perhaps the best arrangement, because requiring the least change from the printing of the Folio, would be to put the words ‘And Claudio’ in a line by themselves. Many examples of such a broken line in the middle of a speech may be found (e.g. [V. 1. 448]), and it would add to the emphasis with which the Duke commends Claudio to the Provost’s care. The long line [V. 1. 465], might be similarly reduced by reading
‘His name
Is Barnardine.’
[ Note XXI.]
[IV. 5. 1.] Mr Spedding suggests that Act V. should begin here. Dr Johnson says: “This play has two Friars, either of whom might singly have served. I should therefore imagine that ‘Friar Thomas,’ in the first Act, might be changed without any harm to ‘Friar Peter:’ for why should the Duke unnecessarily trust two in an affair which required only one? The name of Friar Thomas is never mentioned in the dialogue, and therefore seems arbitrarily placed at the head of the scene.”