I. 1. 23. This is an instance of the lax grammar of the time which permitted the use of a singular pronoun referring to a plural substantive, and vice versa, as in _The Two Noble Kinsmen_, Act I. Sc. 1; ‘You cannot read it there; there, through my tears, Like wrinkled pebbles in a glassy stream, You may behold _’em_.’ NOTE V. I. 1. 110. Singer says that in a copy of F1 which he used, the reading is ‘sit.’ NOTE VI. I. 2. 86. There is probably an allusion in the words, ‘for she had a green wit,’ to the ‘green withes,’ with which Samson was bound. In Shakespeare’s time, ‘mote’ was frequently written ‘moth,’ as in IV. 3. 157 of this play, and in _Much Ado about Nothing_ (II. 3) the same variety of spelling gives rise to an obscure pun, ‘Note notes, forsooth, and nothing.’ Compare, also, _As You Like It_, III. 3. 5. NOTE VII. II. 1. 88. We have retained in this passage the reading of the first Quarto, ‘unpeeled,’ in preference to the ‘unpeopled’ of the second Quarto and the Folios, which is evidently only a conjectural emendation, and does not furnish a better sense than many other words which might be proposed. In the same way, in Act III. Sc. 1, line 61, we have followed the first Quarto in reading ‘volable’ instead of ‘voluble,’ as it has direct reference to Moth’s last words ‘thump, then, and I flee,’ and is in better keeping with the Euphuistic language of the speaker. NOTE VIII. In II. 1. 114 sqq. the speakers are ‘Berowne’ and ‘Kather.’ in Q1. This is followed by Capell, who justifies it as follows: ‘When the King and his lords enter, the ladies mask, and continue mask’d ’till they go: Biron, while the letter is reading, seeks his mistress; accosts Catharine instead of her, finds his error, and leaves her: the King’s exit gives him an opportunity to make another attempt, and he then lights on the right but without knowing her; makes a third by enquiry, and is baffled in that too, for he describes Maria, and is told she is Catharine.’ In this and other scenes the characters are so confused in the old copies that they can be determined only by the context, in this play a very unsafe guide. NOTE IX. II. 1. 212. In this line, as well as in III. 1. 140, 142, &c. and IV. 3. 279, the ‘O’ is superfluous and appears to have crept into the text from the last letter of the stage direction ‘Bero.’ In the first instance in which this occurs the first Quarto stands alone, and the error is corrected in the second Quarto and the Folios, and we have therefore ventured to make the same correction in the other cases. NOTE X. III. 1. 186. As ‘wightly,’ in the sense of ‘nimble,’ has no etymological connection with ‘white,’ we have thought it best to retain the spelling which is least likely to mislead. NOTE XI.