III. 3. 81. Theobald was the first to insert the words 'and Peto' in the stage directions. They are omitted in the Quartos and Folios, and Steevens following Johnson's conjecture, changed them to 'and Pointz.' This alteration is supported by the reading of the Dering MS. in line 186, 'Poynes' for 'Peto.' But 'Peto' is found in the text in III. 3. 186. It is true, as Johnson points out, that Peto is afterwards (IV. 2. 9) mentioned as Falstaff's lieutenant, but this may be the honourable place which the prince had promised him (II. 4. 519). NOTE XVII. III. 3. 187. Steevens adopted, without acknowledgement, Capell's arrangement: 'Jack, Meet me to-morrow in the Temple hall.' NOTE XVIII. IV. 1. 54. It is not improbable that a line may have been lost after _reversion_. NOTE XIX. IV. 1. 99. We leave this obscure passage as it stands in the old copies. Possibly, as Steevens suggested, a line has dropped out after _wind_. The phrase 'wing the wind' seems to apply to ostriches (for such is unquestionably the meaning of 'estridges') less than to any other birds. Mr Dyce quotes a passage from Claudian (_In Eutropium_, II. 310-313) to justify it: 'Vasta velut Libyæ venantum vocibus ales Cum premitur, calidas cursu transmittit arenas, Inque modum veli sinuatis flamine pennis Pulverulenta volat.' But this means that the bird spreads its wings like a sail bellying with the wind--a different thing from 'winging the wind.' Malone, agreeing with Steevens that a line might have been lost, suggested the following: 'All plum'd like estridges, that with the wind _Run on, in gallant trim they now advance_: Bated like eagles, &c.' NOTE XX. IV. 4. 22. We leave these lines as they are in the Quartos and Folios. Pope read the passage, perhaps rightly, as prose. Steevens smoothed the lines thus: '_Gent._ Why, good my lord, you need not fear; there's Douglas, And Mortimer. _Arch._ No, Mortimer's not there.' NOTE XXI. V. 1. We have followed the Quartos, Folios, and all editors till Capell's time, in leaving the 'Earl of Westmoreland' among the persons entering. He does not speak, indeed, but it might be intended that he should be present as a mute person for the nonce. On the same principle we have left 'Lord John of Lancaster' in the stage direction of I. 1. NOTE XXII. V. 2. 72. Mr Collier reads 'wild o' liberty,' observing in a note that the three oldest Quartos have this reading. The true reading of these Quartos, and the fourth, is what we have given in the foot-note, 'wild a libertie.' Mr Grant White retains it in his text, interpreting 'never did I hear so wild a liberty reported of any prince.' Pope also adopted this reading without any note of explanation. Theobald restored what he called 'the reading of the old copies' and punctuated thus: 'Of any prince, so wild, at liberty.' NOTE XXIII.