IV. 2. 1--3. The second and third Quartos begin the scene thus: '_Ham._ Safely stowd, but soft, what noyse, who calls on _Hamlet?_' The fourth and fifth have 'softly' for 'soft.' The Folios have: '_Ham._ Safely stowed. _Gentlemen within._ _Hamlet_, Lord _Hamlet_. _Ham._ What noise? Who cals on _Hamlet_?' In the players' Quarto of 1676, and the following editions, which otherwise adhere to the reading of the old Quartos, the words 'but soft' are omitted. They omit also 'on'. Capell gives: 'HAM.---- Safely stow'd. But, soft; ROS. &c. [_within._] _Hamlet!_ lord _Hamlet!_ HAM. What noise? who calls on _Hamlet_? O, here they come.' The arrangement adopted in our text was first given by Malone. NOTE XXV. IV. 5. 14--16. The Quartos have: '_Hora._ Twere good she were spoken with, for shee may strew Dangerous coniectures in ill breeding mindes, Let her come in.' The Folios, '_Qu._ 'Twere good she were spoken with, For she may strew dangerous coniectures In ill breeding minds. Let her come in.' Rowe followed the Folios; Pope, Theobald, Warburton and Capell, the Quartos. Hanmer continues the lines ''Twere good ... minds' to the Gentleman who had spoken the previous lines, and gives 'Let her come in &c.' to the Queen. Johnson follows Hanmer's distribution of the speeches, but substitutes 'Hor.' for 'Gent.' in lines 2 and 4; the arrangement proposed by Blackstone. Steevens (1773) assigned the speech ''Twere good ... spilt' (14--20) to Horatio, but restored it to the Queen in his next edition. Mr Grant White follows the Folios in giving the whole Speech to the Queen, but marks ''Twere good ... minds' as spoken aside, and 'Let ... in' 'To Hor.' NOTE XXVI. IV. 5. 148. In the Quartos the passage is thus printed: '_A noyse within._ _Enter Ophelia._ _Laer._ Let her come in. How now, what noyse is that?' In the Folios: '_A noise within. Let her come in._ _Enter Ophelia._ _Laer._ How now? what noise is that?' Rowe followed the Folios, Pope the Quartos, reading 'Let ... that?' as one line. Theobald first transferred the stage direction, _Enter Ophelia_, to follow the first line of Laertes's speech. NOTE XXVII. IV. 5. 163. Capell was the first to print these words as not forming part of the song. In the Folios they are printed like the former lines in italics. As there is no change of type in the Quartos, it is impossible to say on which side their authority is. There is a comma after 'teare' (or 'tear') in all the Quartos and Folios, except the sixth Quarto, which has a full stop. NOTE XXVIII. IV. 5. 166. Ophelia's speech, or song, is printed as three lines in the Quarto, thus: