Chapter 17

[225]Two.

[226]A crowd is a small fiddle. Hence the name ofCrowdero, in Hudibras.Crowdedmeans—made a musical noise.—S.

[227]This oath occurs again, act v., sc. 2—"Yet shall ye find no other wight save she,by bread and salt."From the following passage, in Nash's "Lenten Stuff," 1599, it may be inferred that it was once customary to eatbread and saltprevious to the taking an oath: "Venus, for Hero was her Priest, and Juno Lucina the Midwife's Goddess, for she was now quickened, and cast away by the cruelty of Æolus, tookbread and salt, and eat it, that they would be smartly revenged on that truculent, windy jailor," &c.

[227]This oath occurs again, act v., sc. 2—

"Yet shall ye find no other wight save she,by bread and salt."

From the following passage, in Nash's "Lenten Stuff," 1599, it may be inferred that it was once customary to eatbread and saltprevious to the taking an oath: "Venus, for Hero was her Priest, and Juno Lucina the Midwife's Goddess, for she was now quickened, and cast away by the cruelty of Æolus, tookbread and salt, and eat it, that they would be smartly revenged on that truculent, windy jailor," &c.

[228][Brat.]

[229]Counsel or advice. So in act iv., sc. 2—"Therefore Ireedyou three, go hence and within keep close."Again—"Well, if ye will be ordered and do by myreed."Again, act v., sc. 2—"And where ye sat, he said full certain, if I would follow hisreed."Again, in Erasmus's "Praise of Folie," by Chaloner, sig. D 3: "Vnles perchaunce some would chuse suche a souldiour as was Demosthenes, who folowying Archilocus the poetesrede, scarse lookynge his enemies in the face, threw downe his shelde and ranne awaie, as cowardly a warriour as he was a wyse oratour."The old version of the singing Psalms also begins in this manner—"The man is blest that hath not bentTo wickedredehis ear."

[229]Counsel or advice. So in act iv., sc. 2—

"Therefore Ireedyou three, go hence and within keep close."

Again—

"Well, if ye will be ordered and do by myreed."

Again, act v., sc. 2—

"And where ye sat, he said full certain, if I would follow hisreed."

Again, in Erasmus's "Praise of Folie," by Chaloner, sig. D 3: "Vnles perchaunce some would chuse suche a souldiour as was Demosthenes, who folowying Archilocus the poetesrede, scarse lookynge his enemies in the face, threw downe his shelde and ranne awaie, as cowardly a warriour as he was a wyse oratour."

The old version of the singing Psalms also begins in this manner—

"The man is blest that hath not bentTo wickedredehis ear."

"The man is blest that hath not bent

To wickedredehis ear."

[230]i.e., Gladly know. So in Shakpeare's "Antony and Cleopatra," act i., sc. 1—"In which I bind,On pain of punishment, the world toweete,We stand up peerless."The [form]weetis also used by Spenser and Fairfax.

[230]i.e., Gladly know. So in Shakpeare's "Antony and Cleopatra," act i., sc. 1—

"In which I bind,On pain of punishment, the world toweete,We stand up peerless."

"In which I bind,

On pain of punishment, the world toweete,

We stand up peerless."

The [form]weetis also used by Spenser and Fairfax.

[231]In the ancient moralities, and in many of the earliest entertainments of the stage, the devil is introduced as a character, and it appears to have been customary to bring him before the audience with this cry ofho, ho, ho. See particularly the "Devil is an Ass," by Ben Jonson, act. i., sc. 1. From the following passages in "Wily Beguiled," 1606, we learn the manner in which the character used to be dressed:—"Tush! fear not the dodge: I'll rather put on my flashing red nose and my flaming face, and come wrapp'd in a calf's skin, and cry,ho, ho," &c. Again, "I'll put me on my great carnation nose, and wrap me in a rowsing calf's skin suit, and come like some hobgoblin, or some devil ascended from the grisly pit of hell; and like a scarbabe make him take his legs: I'll play the devil, I warrant ye."

[232]Topalteris, as Dr Johnson explains it, toshufflewith ambiguous expressions. Thus—"And be these juggling fiends no more believ'd,Thatpalterwith us in a double sense."—Macbeth, act v., sc. 8.In confirmation of Dr Johnson's explanation, Mr Steevens produces the following instances:—"Now fortune, frown, andpalter, if thou please."—Marius and Sylla, 1594."Romans that have spoke the word,And will notpalter."—Englishmen for my Money, c. 3.—O. G.

[232]Topalteris, as Dr Johnson explains it, toshufflewith ambiguous expressions. Thus—

"And be these juggling fiends no more believ'd,Thatpalterwith us in a double sense."—Macbeth, act v., sc. 8.

"And be these juggling fiends no more believ'd,

Thatpalterwith us in a double sense."

—Macbeth, act v., sc. 8.

In confirmation of Dr Johnson's explanation, Mr Steevens produces the following instances:—

"Now fortune, frown, andpalter, if thou please."—Marius and Sylla, 1594.

"Now fortune, frown, andpalter, if thou please."

—Marius and Sylla, 1594.

"Romans that have spoke the word,And will notpalter."—Englishmen for my Money, c. 3.—O. G.

"Romans that have spoke the word,

And will notpalter."

—Englishmen for my Money, c. 3.—O. G.

[233]I suppose he means to say a littleroom; and therefore retires till Gammer Gurton has uttered her complaint—S.

[234]I imagine this word was formerly used to signifysharp. So in "The Woman's Prize," by Beaumont and Fletcher, act ii., sc. 4—"They heave ye stool on stool, and fling [a-]main pot-lidsLike massy rocks dart ladles, tossing ironsAnd tongs like thunder-bolts, till overlaidThey fall beneath the weight."[Dyce's B. and F. vii., 140.]

[234]I imagine this word was formerly used to signifysharp. So in "The Woman's Prize," by Beaumont and Fletcher, act ii., sc. 4—

"They heave ye stool on stool, and fling [a-]main pot-lidsLike massy rocks dart ladles, tossing ironsAnd tongs like thunder-bolts, till overlaidThey fall beneath the weight."

"They heave ye stool on stool, and fling [a-]main pot-lids

Like massy rocks dart ladles, tossing irons

And tongs like thunder-bolts, till overlaid

They fall beneath the weight."

[Dyce's B. and F. vii., 140.]

[235]The ancient spurs were fixed into straps of leather. Spurriers, of course, would be obliged to use very strong needles.—S.

[236]Who was it, dear son? So in the ballad-poem of "Adam Bell," &c.—"Ye myght have asked towres and towne,Parkes and forestes plentie,None so pleasaunt to my pay, she said;Nor none solefeto me."[—Hazlitt'sPopular Poetry, ii. 160.]

[236]Who was it, dear son? So in the ballad-poem of "Adam Bell," &c.—

"Ye myght have asked towres and towne,Parkes and forestes plentie,None so pleasaunt to my pay, she said;Nor none solefeto me."[—Hazlitt'sPopular Poetry, ii. 160.]

"Ye myght have asked towres and towne,

Parkes and forestes plentie,

None so pleasaunt to my pay, she said;

Nor none solefeto me."

[—Hazlitt'sPopular Poetry, ii. 160.]

[237]Our, first edition.

[238]"As brisk as a body-louse was formerly proverbial." See Ray's "Proverbs," 1742, p. 219.

[239]"Callet, a lewd woman, a drab." [See Nares, edit. 1859, p. 128.] So in the "Supposes," by Geo. Gascoigne, act v., sc. 6: "Come hither, you oldkallat, you tatling huswife: that the deuill cut oute your tong."Again, in Jonson's "Fox," act iv., sc. 3—"Why, the calletYou told me of here I have ta'en disguis'd."Callettis elsewhere used for stupid, inactive—"Bid maudlin lay the cloth, take up the meat;Look how she stirres; you sullen elfe, youcallett,Is this the haste you make?"—Englishmen for my Money, 1631.—O. G.See other instances in Dr Grey's "Notes on Shakspeare," vol. ii., p. 41.

Again, in Jonson's "Fox," act iv., sc. 3—

"Why, the calletYou told me of here I have ta'en disguis'd."

"Why, the callet

You told me of here I have ta'en disguis'd."

Callettis elsewhere used for stupid, inactive—

"Bid maudlin lay the cloth, take up the meat;Look how she stirres; you sullen elfe, youcallett,Is this the haste you make?"—Englishmen for my Money, 1631.—O. G.

"Bid maudlin lay the cloth, take up the meat;

Look how she stirres; you sullen elfe, youcallett,

Is this the haste you make?"

—Englishmen for my Money, 1631.—O. G.

See other instances in Dr Grey's "Notes on Shakspeare," vol. ii., p. 41.

[240]Slygh.—First edition.

[241]Slepe not you gere.—First edition.

[242]Pebble-stones. Acobblein the north signifies apebble. Tocobbleis to throw stones. See Ray.—S.

[243]By nature.—S.

[244]This passage evidently shows that music playing between the acts was introduced in the earliest of our dramatic entertainments.

[245][Altered by Dodsley. Old edition hasthing.]

[246]Curtalis asmall horse; properly one who hath his taildocked or curtailed. So, in Dekker's "Villanies discovered by Lanthorne and Candlelight," &c., 1620, sig. H.: "He could shewe more crafty foxes in this wild goose chase, then there are white foxes in Russia; and more strange horse-trickes plaide by such riders, thenBankes his curtaldid ever practise (whose gambals of the two were the honester)."

[247]A naval phrase. The gib is the gib-sail. To set a sail, is also the technical term.—S.

[248][Abominable.]

[249]Friar Rushis mentioned in Reginald Scot's "Discoverie of Witchcraft," 1584, p. 522: "Frier Rushwas for all the world such another fellow as thisHudgin, and brought up even in the same schoole; to wit, in a kitchen: insomuch as the selfsame tale is written of the one as of the other concerning the skullian, which is said to have been slaine, &c. For the reading whereof I referre you toFrier Rushhis storie, or else to John Wierus 'De præstigiis demonum.'"

[250]Old copy,no.

[251]Old copy,on.

[252]Gabriel Harvey, in his "Pierces Supererogation," 1593, speaking of Long Meg of Westminster, says: "Although she were a lusty, bouncingrampe, somewhat like Gallimetta or maid Marian, yet was she not such a roinish rannel, such a dissolute flirt gillian," &c.

[253]Thou strumpet. See Note on "Antony and Cleopatra," Shakspeare, 1778, vol. viii., p. 175.—S.So in Davies's "Scourge of Polly" [1611]—"Or wantonRigg, or letcher dissolute,Do stand at Powles Crosse in a sheeten sute."—Reed.

[253]Thou strumpet. See Note on "Antony and Cleopatra," Shakspeare, 1778, vol. viii., p. 175.—S.

So in Davies's "Scourge of Polly" [1611]—

"Or wantonRigg, or letcher dissolute,Do stand at Powles Crosse in a sheeten sute."—Reed.

"Or wantonRigg, or letcher dissolute,

Do stand at Powles Crosse in a sheeten sute."—Reed.

[254]The accoutrements of an itinerant trull.—S.

[255]Thinkest or imaginest.

[256]Cutappears to have been an opprobrious term used by the vulgar when they scolded or abused each other. It occurs again, act v., sc. 2: "That lyingcutis lost, that she is not swinged and beaten."A horse is sometimes calledCutin our ancient writers, as in the "First Part of Henry IV.," act ii., sc. 1., and Falstaff says: "If I tell thee a lye, spit in my face, and call mehorse."Cutis therefore probably used in the same sense ashorse, to which it seems to have been synonymous. Several instances of the use of this term are collected by Mr Steevens, in his edition of Shakspeare; see vol. iv., p. 202.It appears probable to me that the opprobrious epithetCutarose from the practice of cutting the hair of convicted thieves; which was anciently the custom in England, as appears from the edicts of John de Northampton against adulterers, who thought, with Paulo Migante, that"England ne'er would thrive,Till all the whores were burnt alive."—See Holinshed, vol. 9., 754, Ed. 1807.—O. G.

[256]Cutappears to have been an opprobrious term used by the vulgar when they scolded or abused each other. It occurs again, act v., sc. 2: "That lyingcutis lost, that she is not swinged and beaten."

A horse is sometimes calledCutin our ancient writers, as in the "First Part of Henry IV.," act ii., sc. 1., and Falstaff says: "If I tell thee a lye, spit in my face, and call mehorse."Cutis therefore probably used in the same sense ashorse, to which it seems to have been synonymous. Several instances of the use of this term are collected by Mr Steevens, in his edition of Shakspeare; see vol. iv., p. 202.

It appears probable to me that the opprobrious epithetCutarose from the practice of cutting the hair of convicted thieves; which was anciently the custom in England, as appears from the edicts of John de Northampton against adulterers, who thought, with Paulo Migante, that

"England ne'er would thrive,Till all the whores were burnt alive."—See Holinshed, vol. 9., 754, Ed. 1807.—O. G.

"England ne'er would thrive,

Till all the whores were burnt alive."

—See Holinshed, vol. 9., 754, Ed. 1807.—O. G.

[257][Theeis not in the old copy.]

[258]i.e., Rat. So in one of the Chester Whitsun plays—"Here is arotten, there a mouse."—S.

[258]i.e., Rat. So in one of the Chester Whitsun plays—

"Here is arotten, there a mouse."—S.

[259]Not thy equal, but thy mistress.

[260]i.e., Rank strumpet from the stews.—S.

[261]Fygh—First edition.

[262]i.e., Hodmandod.—S.I find this word used in Nash's "Anatomie of Absurditie," 1589, sig. B., where it seems intended as synonymous tocuckold: "But women, through want of wisedome, are growne to such wantonesse, that uppon no occasion they will crosse the streete, to have a glaunce of some gallant, deeming that men by one looke of them shoulde be in love with them, and will not stick to make an errant over the way, to purchase a paramour to help at a pinche, who, under hur husbands, thathoddy peekesnose, must have all the destilling dew of his delicate rose, leaving him onely a sweet sent, good inough for such a sencelesse sotte."

[262]i.e., Hodmandod.—S.

I find this word used in Nash's "Anatomie of Absurditie," 1589, sig. B., where it seems intended as synonymous tocuckold: "But women, through want of wisedome, are growne to such wantonesse, that uppon no occasion they will crosse the streete, to have a glaunce of some gallant, deeming that men by one looke of them shoulde be in love with them, and will not stick to make an errant over the way, to purchase a paramour to help at a pinche, who, under hur husbands, thathoddy peekesnose, must have all the destilling dew of his delicate rose, leaving him onely a sweet sent, good inough for such a sencelesse sotte."

[263]Aloselis a worthless fellow. It is a term of contempt frequently used by Spenser. It is likewise to be met with in the "Death of Robert, Earl of Huntington," 1601:"To have the lozels company."Again, in "The Pinner of Wakefield," 1599:"Peace, prating lozel," &c.See Mr Steevens's "Notes on Shakspeare," vol. iv., p. 337. Again, in Hall's "Satires," edit. 1753, p. 78—"How his enraged ghost would stamp and stare,That Cæsar's throne is turn'd to Peter chayre,To see an old shornelozelperched high,Crossing beneath a golden canopy."See Holinshed's "Chron.," edit. 1577, vol. ii., p. 740 ("Five Days' Pastime," p. 67); "Englishmen for my Money," p. 42; Holinshed, vol. v., p. 208.—O. G.

[263]Aloselis a worthless fellow. It is a term of contempt frequently used by Spenser. It is likewise to be met with in the "Death of Robert, Earl of Huntington," 1601:

"To have the lozels company."

Again, in "The Pinner of Wakefield," 1599:

"Peace, prating lozel," &c.

See Mr Steevens's "Notes on Shakspeare," vol. iv., p. 337. Again, in Hall's "Satires," edit. 1753, p. 78—

"How his enraged ghost would stamp and stare,That Cæsar's throne is turn'd to Peter chayre,To see an old shornelozelperched high,Crossing beneath a golden canopy."

"How his enraged ghost would stamp and stare,

That Cæsar's throne is turn'd to Peter chayre,

To see an old shornelozelperched high,

Crossing beneath a golden canopy."

See Holinshed's "Chron.," edit. 1577, vol. ii., p. 740 ("Five Days' Pastime," p. 67); "Englishmen for my Money," p. 42; Holinshed, vol. v., p. 208.—O. G.

[264]Confess.

[265]Gammerin the first edition.

[266]Hodgein the first edition.

[267]i.e., Sulky, gloomy looks. It is still said, in vulgar language, that a discontented person looksglum.—S.

[268]This line is given to Gammer Gurton in the first edition.

[269]Old copy,let.

[270]That is, appear so mad.To doatandto be madwere used as synonymous terms. See Baret's "Alvearie,"v. Dote.

[271]Old copy hasTyb.

[272]Fetched. So, in "Cynthia's Revels," act i., sc. 2: "Nay, the other is better, exceeds it much: the invention is fartherfettoo."Again, in Ascham's "Toxophilus," p. 15: "And therefore agaynst a desperate evill began to seeke for a desperate remedie, which wasfetfrom Rome, a shop alwayes open to any mischief, as you shall perceive in these few leaves, if you marke them well."Again, in Lyly's "Euphues," p. 33: "That farfetand deere bought, is good for ladies."

[272]Fetched. So, in "Cynthia's Revels," act i., sc. 2: "Nay, the other is better, exceeds it much: the invention is fartherfettoo."

Again, in Ascham's "Toxophilus," p. 15: "And therefore agaynst a desperate evill began to seeke for a desperate remedie, which wasfetfrom Rome, a shop alwayes open to any mischief, as you shall perceive in these few leaves, if you marke them well."

Again, in Lyly's "Euphues," p. 33: "That farfetand deere bought, is good for ladies."

[273]A proverbial expression used by Ben Jonson in his "Magnetic Lady," and by Shakspeare in "The Two Gentlemen of Verona." See Mr Steevens's Note on the latter, and [Hazlitt's "Proverbs," 1869, p. 127.] It is also to be found in Nash's "Lenten Stuff," 1599.

[274]In Shakspeare's "Hamlet," Ophelia sings a song, in which this adjuration is used—"By gysand by Saint Charity."And it is also to be found in Gascoigne's Poems, in Preston's "Cambyses," and in the comedy of "See me and see me not," 1618—"By gisseI swear, were I so fairly wed," &c.Mr Steevens's note on "Hamlet," in which Mr Steevens observes, thatSaint Charityis a known saint among the Roman Catholics. Spenser mentions her ("Eclog," v., 255):—"Ah dear Lord and sweetSaint Charity!"Again, in "The Downfall of Robert, Earl of Huntington," 1601—"Therefore, sweet master, forSaint Charity."—Note onHamlet, act iv., sc. 5.[Dr Bailey supposes, which is very probable, that this abbreviated or corrupt form ofJesusarose from] the letters I H S being anciently all that was set down to denote that sacred name on altars, the covers of books, &c.It occurs also in the following passage of Erasmus's "Praise of Folie," by Chaloner, 1549:—"Lyke as many great lordes there be who set so muche by theim, as scant they can eate theyr meate, or byde a minute without theim, cherisshyng them (by iysse) a little better than thei are wont to dooe these frounyng philosophers," &c. Sig. G 2.Again, in "Euphues and his England," 1582, p. 5:—"Unto whome he replyed, shoaring up his eyes, 'by Jis,' soune, I accompt the cheere good which mainteineth health, and the servauntes honest whome I finde faythfull."

[274]In Shakspeare's "Hamlet," Ophelia sings a song, in which this adjuration is used—

"By gysand by Saint Charity."

And it is also to be found in Gascoigne's Poems, in Preston's "Cambyses," and in the comedy of "See me and see me not," 1618—

"By gisseI swear, were I so fairly wed," &c.

Mr Steevens's note on "Hamlet," in which Mr Steevens observes, thatSaint Charityis a known saint among the Roman Catholics. Spenser mentions her ("Eclog," v., 255):—

"Ah dear Lord and sweetSaint Charity!"

Again, in "The Downfall of Robert, Earl of Huntington," 1601—

"Therefore, sweet master, forSaint Charity."

—Note onHamlet, act iv., sc. 5.

[Dr Bailey supposes, which is very probable, that this abbreviated or corrupt form ofJesusarose from] the letters I H S being anciently all that was set down to denote that sacred name on altars, the covers of books, &c.

It occurs also in the following passage of Erasmus's "Praise of Folie," by Chaloner, 1549:—"Lyke as many great lordes there be who set so muche by theim, as scant they can eate theyr meate, or byde a minute without theim, cherisshyng them (by iysse) a little better than thei are wont to dooe these frounyng philosophers," &c. Sig. G 2.

Again, in "Euphues and his England," 1582, p. 5:—"Unto whome he replyed, shoaring up his eyes, 'by Jis,' soune, I accompt the cheere good which mainteineth health, and the servauntes honest whome I finde faythfull."

[275]i.e.,she went."For alli-yedeout at one ere,That in that other she did lere."—Romaunt of the Rose.The word is also used by Spenser and Fairfax.

[275]i.e.,she went.

"For alli-yedeout at one ere,That in that other she did lere."—Romaunt of the Rose.

"For alli-yedeout at one ere,

That in that other she did lere."

—Romaunt of the Rose.

The word is also used by Spenser and Fairfax.

[276][See a notesupra.]

[277]Baret, in his "Alvearie," explainsrave, "to talke like a madde bodie."

[278]I refuse, deny the charge.

[279][Among the honest sort?]

[280][Original,sooner.]

[281][This should form the commencement of a new scene, but it is not so marked.]

[282]So the edition of 1575. See note,supra.

[283][Ado. See Nares, edit. 1859, p. 576.]

[284]Reward. It is a word used by Spenser, Shakspeare, and the chief of our ancient writers.

[285]At the back of her house.

[286]God's, not the boy Cock's.

[287]Orig.you would.

[288]Orig.you.

[289][Orig.of.]

[290]Orig.kockes.

[291]Original,you.

[292][Beaten. Here was a note of half a page to explain and illustrate the meaning of the very common wordwot!]

[293]Poultry. So in Fitzherbert's "Boke of Husbandry": "Gyve thypoleyn—meate in the morning," &c. Again, in "Your five Gallants," by Middleton: "And to see how pitifully thepullenwill looke, it makes me after relent, and turne my anger into a quick fire to roast them."

[294]A base, contemptible fellow. So, in "Tom Tyler and his Wife," 1661, p. 19—"It is an old saying, praise at the parting,I think I have madethe cullionto wring.I was not beaten so black and blew,But I am sure he has as many new."In "Wily Beguiled:" "But to say the truth, she had little reason to take acullionlug loaf, milksop slave, when she may have a lawyer, a gentleman that stands upon his reputation in the country;" in Massinger's "Guardian," act. ii., sc. 4—"Love live Severino,And perish all suchcullionsas repineAt his new monarchy."And Bobadil, in Ben Jonson's "Every Man to his Humour," act. iii., sc. 5, when beating Cob, exclaims:"You basecullion, you."

[294]A base, contemptible fellow. So, in "Tom Tyler and his Wife," 1661, p. 19—

"It is an old saying, praise at the parting,I think I have madethe cullionto wring.I was not beaten so black and blew,But I am sure he has as many new."

"It is an old saying, praise at the parting,

I think I have madethe cullionto wring.

I was not beaten so black and blew,

But I am sure he has as many new."

In "Wily Beguiled:" "But to say the truth, she had little reason to take acullionlug loaf, milksop slave, when she may have a lawyer, a gentleman that stands upon his reputation in the country;" in Massinger's "Guardian," act. ii., sc. 4—

"Love live Severino,And perish all suchcullionsas repineAt his new monarchy."

"Love live Severino,

And perish all suchcullionsas repine

At his new monarchy."

And Bobadil, in Ben Jonson's "Every Man to his Humour," act. iii., sc. 5, when beating Cob, exclaims:

"You basecullion, you."

[295][Original,Dylde; the compositor having repeated thedofGodat the beginning of the following word. This is not an uncommon misprint.]

[296]Hals, in the Glossary to Douglas'sÆneid, is thus explained: "The hawse, the throat, or neck. A-S. and Isl.Hals, collum, thence,to halsorhawse, to embrace,collo dare brachia circum."

[297]The wordshrewat present is wholly confined to the female sex. It here appears to have been equally applied to the male, and signifiesnaughtorwicked. See Baret's "Alvearie,"v. Shrewd.

[298][Crushed.]

[299]The head. So, in "Hickscorner"—"I will rap you on thecostardwith my horn."—Mr Steevens's Note onLove's Labour's Lost, act iii., sc. 1.Again, in Ben Jonson's "Tale of a Tub," act ii., sc. 2—"Do you mutter! sir, snorle this way,That I may hear and answer what you say,With my school dagger 'bout yourcostard, sir."

[299]The head. So, in "Hickscorner"—

"I will rap you on thecostardwith my horn."

—Mr Steevens's Note onLove's Labour's Lost, act iii., sc. 1.

Again, in Ben Jonson's "Tale of a Tub," act ii., sc. 2—

"Do you mutter! sir, snorle this way,That I may hear and answer what you say,With my school dagger 'bout yourcostard, sir."

"Do you mutter! sir, snorle this way,

That I may hear and answer what you say,

With my school dagger 'bout yourcostard, sir."

[300]See Note on "King Henry VI.," Part I. Shakspeare, 1778, vol. vi., p. 192.—S.

[301]Bliss.

[302]A corruption ofwhat do you call it.—S.

[303]A proverbial phrase, used also by Dogberry in "Much ado about Nothing." Shakspeare, 1778, vol. ii., p. 326.—S.

[304]Japeis generally used in an obscene sense, as in the Prologue to "Grim the Collier of Croydon," and in Skelton's Song in Sir John Hawkins's "History of Music," vol. iii., p. 6. It here signifies ajestorjoke. So in the Prologue to Chaucer's "Canterbury Tales," l. 705—"Upon a day he gat him more moneieThan that the persone gat in monthes tweie.And thus with fained flattering andjapes,He made the persone and the peple his apes."And in "Batman upon Bartholome," 1535, as quoted by Sir John Hawkins, in his "History of Music," vol. ii., p. 125: "They kepe no counseyll, but they telle all that they here: sodeinly they laugh, and sodenly they wepe: alwaye they crye, jangle, andjape, uneth they ben stylle whyle they slepe.""Nay,iapenot with hym, he is no smal fole.It is a solemnpne syre and solayne."—Skelton's Works, [1843, vol. i., p. 17.]

"Upon a day he gat him more moneieThan that the persone gat in monthes tweie.And thus with fained flattering andjapes,He made the persone and the peple his apes."

"Upon a day he gat him more moneie

Than that the persone gat in monthes tweie.

And thus with fained flattering andjapes,

He made the persone and the peple his apes."

And in "Batman upon Bartholome," 1535, as quoted by Sir John Hawkins, in his "History of Music," vol. ii., p. 125: "They kepe no counseyll, but they telle all that they here: sodeinly they laugh, and sodenly they wepe: alwaye they crye, jangle, andjape, uneth they ben stylle whyle they slepe."

"Nay,iapenot with hym, he is no smal fole.It is a solemnpne syre and solayne."—Skelton's Works, [1843, vol. i., p. 17.]

"Nay,iapenot with hym, he is no smal fole.

It is a solemnpne syre and solayne."

—Skelton's Works, [1843, vol. i., p. 17.]

[305]i.e., To meddle.—S.

[306]Old copy,Scole.

[307][Parties.]

[308]Minsheu, in his Dictionary, 1627 (as quoted by Mr Tollet, in his "Notes on Shakspeare," vol. v. p. 433, says: "Natural ideots and fools have and still do accustome themselves to weare in their cappes cockes feathers, or a hat with a necke and head of a cock on the top," &c. From this circumstance Diccon probably calls Dr Rata cox; that is,a coxcomb,an idiot.)

[309]See the "History of Reynard the Fox," chap, vii., edit. 1701.—S.

[310][Wicked.]Litheris used sometimes forweakorlimber, at other timesleanorpale. Several examples of the former are collected by Mr Steevens ("Notes on Shakspeare," vol. vi., p. 263).Again, in "Euphues and his England," 1582, p. 24: "For as they that angle for the tortoys, having once caught him, are driven into such alythernesse, that they loose all their spirites, being benummed so," &c. Of the latter, the following will serve as a proof (Erasmus's "Praise of Folie," Chaloner's translation, 1549, sig. F 2): "Or at lest hyre some younge Phaon for mede to dooe the thyng, still daube theyrlitherchekes with peintyng," &c.

[310][Wicked.]Litheris used sometimes forweakorlimber, at other timesleanorpale. Several examples of the former are collected by Mr Steevens ("Notes on Shakspeare," vol. vi., p. 263).

Again, in "Euphues and his England," 1582, p. 24: "For as they that angle for the tortoys, having once caught him, are driven into such alythernesse, that they loose all their spirites, being benummed so," &c. Of the latter, the following will serve as a proof (Erasmus's "Praise of Folie," Chaloner's translation, 1549, sig. F 2): "Or at lest hyre some younge Phaon for mede to dooe the thyng, still daube theyrlitherchekes with peintyng," &c.

[311][An apparent reference to the story told in one of the early jest-books of a fellow who was led to execution, and who, when on the gallows, instead of a neck-verse, cried out, "Have at you daisy that grows yonder!" and leapt off the ladder. See "Pasquil's Jests," 1604, repr. Hazlitt, p. 48.]

[312]For the love of God, of heaven, or anything sacred, are adjurations frequently used at this day, and appear likewise to have been so at the time this play was written. From the indiscriminate use of them, it became customary on very earnest occasions to requestof all loves, orfor all the loves on earth. Of these modes of expression, Mr Steevens hath produced the following examples: "Conjuring his wifeof all lovesto prepare cheer fitting."—"Honest Whore," part 1."Desire himof all lovesto come over quickly."—Plautus'sMenæchmi, 1595."I pray theefor all lovesbe thou my mynde sens I am thyne."—Acolastus, 1540."Mrs Arden desired himof all lovesto come back againe."—Holinshed'sChronicle, p. 1064.—"Notes on Shakspeare," vol. i., p. 279.Again—"Speakof all loves."—Midsummer Night's Dream, act. ii., sc. 3.

"Desire himof all lovesto come over quickly."—Plautus'sMenæchmi, 1595."I pray theefor all lovesbe thou my mynde sens I am thyne."—Acolastus, 1540.

"Desire himof all lovesto come over quickly."—Plautus'sMenæchmi, 1595.

"Desire himof all lovesto come over quickly."

—Plautus'sMenæchmi, 1595.

"I pray theefor all lovesbe thou my mynde sens I am thyne."—Acolastus, 1540.

"I pray theefor all lovesbe thou my mynde sens I am thyne."

—Acolastus, 1540.

"Mrs Arden desired himof all lovesto come back againe."—Holinshed'sChronicle, p. 1064.—"Notes on Shakspeare," vol. i., p. 279.

Again—

"Speakof all loves."—Midsummer Night's Dream, act. ii., sc. 3.

"Speakof all loves."

—Midsummer Night's Dream, act. ii., sc. 3.

[313]Securely or certainly. So in Chaucer's "Troilus and Cressida," Book iii., l. 833—"The drede of lesing makith him, that heMay in no parfitesikernesseybe."

[313]Securely or certainly. So in Chaucer's "Troilus and Cressida," Book iii., l. 833—

"The drede of lesing makith him, that heMay in no parfitesikernesseybe."

"The drede of lesing makith him, that he

May in no parfitesikernesseybe."

[314][To the former edition. Printed for the Percy Society, 1849.]

[315]These have all been adopted in the present reprint. Thevariationsexhibited in the Percy Society's text should be rather called mistakes of the transcriber, and two whole lines were omitted.

[316]The Museum copy has a woodcut on the back of the title-page, which is wanting in the other copy, a circumstance which appears to confirm this opinion.

[317][Probably for the sake of the rhyme, instead ofentendu, understood.]

[318][Following.]

[319][i.e., God's wounds and hearts; the orig. hashartes.]

[320][Intend.]

[321][Conquer.]

[322][Samians.]

[323][Original has Crassus.]

[324][In the original the hemistich,She is called Treasure, is assigned to Inclination.]

[325]This speech is not assigned toInclinationin the original.—Halliwell(Additional Notes).

[326][Original hasproceed.]

[327][Intention.]

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